The birth of a child is considered auspicious and sacred in every culture. India, being multicultural in its beliefs and customs, has diverse traditions of local cuisines at all occasions, be it childbirth, or even death. Although the recipes have grown in number as a result of shared practices in modern times, traditional food items and their variants are still popular and can be found in almost all mandatory rituals.

Lunar month festival of the Mongols or holiday celebration of the first day of “White Moon” or “White Month” symbolizes the departure of winter and welcoming the spring of the new year. This festival and its rituals and traditions are unique and naturally accorded with a specific lifestyle of Mongolian nomadic culture. Therefore, during this festival, there are no gatherings of masses on the street to participate in folk parades and street carnivals as in urban cities and villages.

Based on a common geographical environment, the people of East Asia share a similar sense of the seasons and have been sharing the seasonal festival traditions for many years, which to a certain degree has brought commonality to their experience of heritage. The seasonal festival traditions in East Asia have a localized form of expression and common features.2) They all attach importance to seasonal nodes such as the Mid-Autumn Festival, Half of July, April Eight, and the Twenty-four Solar Terms. They value family ethics in the practice of festivals and share Confucian, Taoist, and Buddhist cultural traditions, with emphasis on “red-hot sociality.” As they collectively enjoy seasonal festivities, they continue creating arts-related activities around these festivals and transmitting their heritage values to the younger generation. East Asia's practices of seasonal festival traditions are both a manifestation of cultural diversity and cultural sharing. This presentation will discuss the sharing, sustaining, and collaborative safeguarding f East Asian Seasonal Festivals as ICH.

Saint Giong (Thánh Gióng), one of the Four Immortals (alongside Tan Vien, Chu Dong Tu, and Lieu Hanh) wor￾shipped by the Vietnamese people, is a historical hero dating back to the early time of the Viet nation.1 The story of Saint Giong has been transmitted through many generations as a legend that invokes the bravery and community solidarity of the Vietnamese people in fighting against foreign invaders. Today, the tremendous legacy of Saint Giong is manifest in the spiritual belief, the annual ceremony, and the temple where past and present collide.

There have been various cooperative activities for safe-guarding intangible cultural heritage (ICH) at the domestic, regional, and international level since the Convention for the Safeguarding of the ICH was adopted by UNESCO’s General Conference in 2003. ICHCAP, a UNESCO Category 2 Centre in the ICH field, has been working to share information, build networks, and raise visibility of ICH in the Asia-Pacific region, which shows the cultural iden-tities of relevant communities who can be a driving force of sustainable development of the societies. \nTug-of-war has also been an ICH theme ICHCAP has worked to safe-guard and raise awareness. Among a number of diverse ICH elements, tug-of-war is a cultural phenomenon found worldwide. In Asia, espe-cially, tug-of-war has been a custom deeply embedded in rice cultivation and is therefore found largely in agricultural societies. Tug-of-war was generally performed as a prayer for rain or to predict the bounty of the upcoming harvest. It has common features worldwide based on climate and environment. However, differences arise according to the distinct characteristic and the creativity of the region, which makes tug-of-war a worthwhile research subject as an Asian joint heritage.

"While the artistic heritage of the Pacific is no doubt rich and representative of its cultures, it is more than merely something to be gazed upon and admired. Rather, Pacific art is both functional and symbolic of deeper meanings. Items as commonplace as bows and arrows, masks, and meeting halls are tangible expressions of the spirit of a culture. The themes in the final section seek to represent this spirit. In examining the Tongan kupesi traditions, for example, we see how the symbolism contained within the art, beyond its outer function, is reflective of the indirect nature of Tongan culture and somewhat akin to the practice of using heliaki in speaking. Likewise, in learning the complex process of building Palauan bai meeting houses, we can see that the structures stand not only as important functional spaces but also as carriers of cultural motifs and legends passed down over time. \nAll these themes attest to the art and technology of the Pacific societies as not only reflecting aesthetics but also serving a function. Traditional technological know-how allows the Pacific islanders to use available resources to their best advantage. Architectural designs, motifs, lashings, knots, stone walls, and pavement ensure that structures withstand the test of time while also carrying vital symbolic knowledge."

Telugu language is the mother tongue for carriers and transmitters in safeguarding the Intangible Heritage of the Telugu people. We have come up with an interdisciplinary and innovative educational programming that safeguards our intangible heritage of over 53.6 million people in Andhra Pradesh (AP). Our higher educational programming cuts across the five domains delineated in the 2003 ICH Convention of UNESCO. It is an integral part of a systematic safeguarding plan that is unique. I will introduce the framework that enables us to bring together the teaching of intangible heritage in a linguistic environment through six tertiary educational institutions for the Telugu speaking people. I am responsible for the curricula, pedagogy, employment of carriers and transmitters as teachers and performance education in all the six colleges. \n\nWe also address the interface between intangible heritage and language through higher education. Moreover, I will also reflect on my own engagement as a carrier and transmitter of theatre traditions of the Telugu people. My conclusion would advocate that we need to think in new and innovative ways for safeguarding the rich diversity of the intangible heritage of humanity. Our innovative tertiary education programming provides a feasible role model.

The Mongols have traditionally shown great respect for the horse, honoring it in their national values and symbols (flags and emblems) as well as in folk songs. The morin khuur, so named for the ornamental horse-head carving at the top of its neck, is a unique two-stringed musical instrument developed by nomadic Mongols. The strings of both the bow and fiddle are made from the hair of a horse’s tail.

"BeezBistar Foundation (BBF), a community action-based non-governmental organization, was formed in 2009 by development workers and researchers. “BeezBistar” means prosperity in life and peaceful and joyful relations between human beings and all other life-forms. BBF works with local communities, especially farmers, weavers, fishers, adivashi, dalit, and other marginalized and socially vulnerable people for a prosperous and healthy life. Its guiding ethical principles are non-discrimination on the grounds of caste, race, class, and gender. BBF believes in people’s capacity to transform their existing situation of poverty and become pros- perous through a mediated process of interdependent, collective, and community support and actions. The notion of BEEZ is grounded in the local and indigenous culture of the peoples of Bangladesh, as well as advanced by science and life-affirming knowledge and technologies."

"Before starting this project, it was necessary to agree upon some definitions and concepts. Without understanding these concepts, it might have become difficult to create a suitable structure for the fieldwork. With this in mind, at the beginning of the project, which is based on a theoretical framework, we discussed the concept of agriculture.\n\n“To what we call culture in pre-established way is nothing but agriculture,” says Dr. Saheb Khandare in his 2012 book Krushi Sanskruti (Indian Agriculture), written in the Marathi language. Elaborating on this statement, he says, “in prehistoric times the word ‘clan’ was derived from kus. Kus means tilling, in the "

Gijisi tug‐of‐war is one among many traditional Korean tug‐of‐war games. \nPlaying Gijisi tug‐of‐war forms a temporary community as well as a trans-mission community. In exploring the formed community, this article will discuss how the communities are formed, the features they have, and the meaning such temporary communities have. In addition, this article will examine how continuous and conventional communities enable the Gijisi tug‐of‐war event to take place. While doing so, different features of the tug‐of‐war communities will be discussed by comparing the characteristics of the Gijisi tug‐of‐war community with the Jul Nanjang, a special market held for the tug-of-war. Although different and both have changed, the characteristics of contemporary traditional transmission commu-nity will be clarified. Such comparative research might give Gijisi tug‐of‐war to find its unique position among traditional tug‐of‐war games.\nBased on the name, Gijisi tug‐of‐war, one may assume that the people who create such a spectacular would be residents in Gijisi‐ri or even residents of Dangjin, which includes Gijisi‐ri. However, participation in the tug‐of‐war is not restricted and is open to visitors from the whole country as well as foreigners. As such, a community for playing tug‐of‐war is temporarily formed. In other words, it is a temporary com-munity that is formed in a specific time and space.

The widespread outbreak of novel coronavirus infections (COVID-19) has brought rapid changes on various systems and ways of life across the world, creating an entirely new global landscape. Korea’s activities to safeguard ICH were no exception. Amidst a situation that forced the cancelation of a wide range of ICH-related events and educational programs and considerations to find new safeguarding methods, the transition to non-face-to-face methods rather broadened the scope for safeguarding and promoting intangible heritage.