Angkor in Cambodia is a World Heritage Site (inscribed on the World Heritage List in 1992) renowned for its archaeological and architectural significance. It contains artistic masterpieces of Khmer sculpture and design and is known for its regional influence of Khmer art. The tangible heritage aspects of Angkor have received global recognition and have been the focus of remarkable international conservation and restoration efforts in recent decades. Angkor, however, is also the site of lesser-known, yet unique, forms of intangible heritage, many of which have links to the Angkorian and pre-Angkorian periods. Over the past four years I have researched the intangible heritage of Angkor and potential mechanisms for its safeguarding. Many of the forms of intangible cultural heritage researched are intricately associated with the daily activities of people who live around the monuments of Angkor. These activities are related to the belief system of local Khmer and are often deeply intermingled with Buddhist and animistic values as well as familial and agricultural knowledge.

Laos, having existed for thousands of years, is among the most ancient nations of the world. Chinese historical documents indicate that the original settlement of the Lao nation was in the region of the Ai-Lao Mountains along the River Mekong in what is now called Sichuan County. The region where Ai-Lao tribe lived was called Kao Long. This name was later changed to Kio Long Kieng, which means the river of nine Nagas—the territory of the nine snakes who were known as the authentic and original family of the Lao nation. Therefore, due to their origins, Ai-Lao people widely admired or worshipped the Naga in many important rites and tattooed Naga symbols on their arms and body. In Luang Prabang, the people refer to the Naga in the local dialect as ngeuak, which means ‘water snake’.

The Cambodian teanh prot (“pulling the rope”), which is generally rendered in English as “tug-of-war,” is one of the most important ritual games played nationwide during certain times of year, especially around the three-day New Year holiday in mid-April. Although the game can be played at any time for entertainment, it is ritually played in the afternoon on the last day of the New Year and/or in the afternoon of chlong chet, a rice-associated ceremony observed shortly after the New Year. The event takes place in an open space of the village or Buddhist monastery.

In India, a land of faith, there are numerous occasions and venues where fear, desire, spirits, and rituals converge, leaving logic to take a back seat.

Since its establishment in 2007 and continuous operation since 2010, the Center for Research and Promotion of the Cultural Heritage (CCH) has been evaluated by the Vietnam Association for Cultural Heritage as one of the best units with the biggest number of effective professional activities among those units belonging to the Association. The two leaders of the Center are two respected scientists in the field of cultural heritage—Dr. Le Thị Minh Ly, member of the National Committee of Cultural Heritage and former Vice Director of Department of Cultural Heritage; and Associate Professor, Doctor Nguyen Van Huy, former Director of Vietnam Ethnology Museum. The number of staff working at the Center is limited to twelve, but this is not fixed. The Center expands its capacity through a strong network and mechanisms for collaborating with partners who have been working in the field of cultural heritage and community, especially in the field of safeguarding policy.

Block printing is a traditional techniques of textile design holding pride of place in the rich repository of Indian craft. Some scholars hold the view that it originated in China, and it came to India only in the twelfth century. Others cite fragments of printed cloth from Mohenjo-Daro or references in the Ramayana as evidence that it has existed in India since ancient times. The technique is unique in its ability to reflect both the creative ability of the designer and the sensibility of the printer-craftsmen. The creations of such bespoke production uniquely manifest the tiny imperfections that make it so highly prized. This singularity may never be achieved using automated machines.

The Loden Foundation is a pioneer organization in Bhutan bridging cultural heritage with socio-economic development. Loden literally means ‘the intelligent one’ and is an epithet of the Bodhisattvas, who work for the world using wisdom and compassion. Loden first started as a modest child sponsorship scheme in 1999 to help poor students go to school. Since then, it grew incrementally to become a leading NGO in Bhutan. Led by a group of people with shared visions, concerns and interests, Loden has three programs supported by a wide network of donors, volunteers, management team and partners.

Masks and mask dance exist through which they try to realize equality and be free from judgement, allowing you to express yourself as an equal in society regardless of class. The mask dance festival starts on the last Friday of September and lasts for ten days, and over a million people visit domestically and internationally. It has garnered attention from world leaders. Queen Elizabeth II of the UK, George H. Bush and George W. Bush of the USA, UN Secretary General Ban Ki Moon, and other influential leaders have attended. The festival is about mixing modernity with tradition coming together, creating a mosaic of different colors and cultural significance. They use the mask dance festival as a collaborative tool that can bring various cultures together. The mask dance festival also plays a large role in transmitting the heritage to younger generations through various associations that function as a network.

The island nation of Sri Lanka was ravaged by a 26-year civil war (1983 to 2009) that was the result of ethnic tensions between the Buddhist Sinhalese majority and the Hindu Tamil minority. The conflict cost over 100,000 lives and displaced hundreds and thousands of civilians. On this ethic tension and conflict situation Aru Sri Art Theatre emerged with belief that tradition and culture are the tools to bridge the divide between estranged communities and usher in change in the society. They instill their creative energies into the heart of the repertory, producing ethnic harmony concerts and legendary dance dramas. The vision of the team is to develop theatre in such a way that traditional art forms can flourish alongside contemporary interpretations. The belief is that it is as imperative to carry age-old traditions into the new millennium as it is to provide a fertile ground for growth, change and harmony.

The Ramayana is one of the two greatest Hindu epics of South Asia, the other being the Mahabharata. The Ramayana, authored by Sage Valmiki, tells the story of Lord Rama (the seventh incarnation of Lord Vishnu, ‘The Preserver’). Rama is referred to as Maryada Purushottam (the most superior man who embodies both divinity and humanity). The central message of the Ramayana is to demonstrate to worldly individuals how to lead a virtuous life that does not violate any laws of nature.

In Myanmar, the ceremony of novitiation or rite of passage is important for Buddhists. Buddhist parents believe that this ceremony is a great merit for the samsara or circle of life. The festival is held in March and April during holidays for students.

Yoga is a traditional practice from India that focuses on bringing harmony between mind and body. It is also known as the art and science of healthy living. Yoga is a combination of postures (called asanas), breathing techniques (called pranayama), relaxation, and meditation.