The Ban Narasilp (or Narasilp House) community in Wat Suntorn Thammatarn (or Wat Kae Nang Lerng) on Larn Luang Street is a descendant of the Khon-lakorn troupe called the Narasilp troupe. The Narasilp troupe has been transmitting Khon performing arts and craftsmanship for many generations. This area has been home to many classical Thai dance and drama troupes since the early Rattanakosin period of the late-eighteenth century.\nOn 14 June 2018, the Department of Cultural Promotion, Ministry of Culture, awarded the Ban Narasilp descendants and officially opened the Ban Narasilp on Larn Luang Street as a community learning center for learning to make and embroider Khon costumes to maintain continuity and the significance of Khon as a national intangible cultural heritage. In addition, the descendants have been supported with a budget for the training workshop to train a new generation of young artisans in classical Khon and Thai drama costume to safeguard this fine art for humanity.

Lkhon khol of Wat Svay Andet continues today because of its significance in the community’s beliefs and identity, but over the last decade it has been experiencing difficulty. Despite of having some support from the state, NGOs, and the community itself, the troop has faced some challenges, such as the lack of dance costumes, ornaments, masks, stages, and musical instruments. Furthermore, the number of performers has been gradually decreasing due to aging and a lack of natural talent, and the younger generations show little interest since the performances generate no income and they are busy with their studies or working.\nTraditionally, the lkhon khol is transmitted orally within a family and through informal, master-apprentice relationships. Community leaders, masters, and the temple patriarch also encourage younger generations to learn lkhon khol skills to ensure that the art form remains part of the community’s living cultural practice.\nApprentices have historically learned their preferential skills at their masters’ house at night, a time they were free from their agriculture work. While the same practice continues, recently amateurs are learning their art skills in groups during the day on Sundays or occasionally Thursday at the temple compound.

Yohor, a singing round dance of the Buryat ethnic group in Mongolia, the Buryat Republic of the Russian Federation, and the People’s Republic of China (Shineheen Buryats), is a complex synchronized expression of poetry, melody, and movement. Yohor is performed in the traditional manner with vocal singing and the modern way with playback music. Elders generally opt for the traditional way and have rich repertoire on Yohor songs. They say that the old way of singing is very important in the traditional way of dancing Yohor and that song can also affect the way of dancing.\nthe Yohor dance reflects a cultural uniqueness and a unity of Buryat people in three countries. Separated because of a long history and complicated political situations, Buryat people’s culture, tradition, and language changed. The Buryat language, an official dialect of Mongolian, has already been included in the category of severely endangered languages by the 2010 UNESCO Interactive Atlas of the World’s Languages in Danger. With this language loss, the number of elders who know the song narratives and old Yohor song repertoire are decreasing, and this brings the Yohor dance under the risk of disappearance as its complexity of song and movements but also of language. The annual and biennial cultural festivals, such as Altargana, Yohor, Night Yohor, and Global Yohor, show how Buryats have been trying to revive the traditional culture and art for long time. Even though, the collective memory and living experience of Buryat people is under the risk of disappearance due to rapid modernization and globalization with language loss.

The Koryo Saram living in Uzbekistan are descendants of Koreans who resettled from Primorsky Krai and Khabarovsk Krai in Russia to Central Asia around 1937. However, unlike the majority of Korean diaspora communities that were formed through voluntary migration, the Koryo Saram of Central Asia were forcibly resettled as a consequence of political decisions. And as a result the Koryo Saram who settled in Central Asia faced huge challenges adapting to their new geographical and sociocultural environment, and as ethnic minorities these challenges were intensified. The establishment and growth of the Korean diaspora community of Uzbekistan took place within this context. nOf the post-Soviet activities to safeguard and transmit intangible cultural heritage, the efforts of the Koryo Saram dance troupes deserve special mention, especially with the somewhat recently established Samjiyeon Dance Troupe, Asadal Dance Troupe, and Koryo Dance Troupe under the Central Koryo Saram Culture Association of Uzbekistan (Koryo Association). Established in 1998, Koryo Dance Troupe is the oldest of the three while the Samjiyeon Dance Troupe and Asadal Dance Troupe were established in 2014 and 2015, respectively. With the exception of Koryo Dance Troupe, young people (in their twenties and thirties) head up these troupes and the dancers are in their teens and twenties. Key activities of all the troupes include both dance education and performance.\nThese Koryo Saram dance troupes perform at various events, including the traditional Koryo Saram festivals of Chuseok (a harvest holiday) and Seolnal (Lunar New Year), and thus play a central role in the continued transmission of intangible cultural heritage. The dance troupes also perform at events alongside various other ethnic groups, promoting the Koryo Saram community’s place within Uzbek society as an ethnic group with a unique and honorable heritage, living harmoniously with its neighbors.y of Uzbekistan took place within this context.

Chau, a form of folk dance, is an energetic and vibrant art form which finds its roots in martial arts. Popularly, there are three types of the Chau dance known among the indigenous people of Chotonagpur Plateau region. While the Seraikella Chau is popular in Jharkhand and Mayurbhanj Chau in Odisha, the Purulia Chau is popular in the western plateau regions of West Bengal. In 2010, Chau dance was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. The dance is believed to date back to over a century, though the specifics of its origin cannot be definitely ascertained. The Purulia Chau dance comprises of rhythmic drum beatings, powerful acrobatic movements, and somersaults.\nMs. Mousumi Choudhury, Chau dancer, is the first female chau dancer of Purulia. Her father is a renowned Chau dancer- Ustad Jagannath Choudhury.