Publications
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Manage No DI00001447 Country Malaysia,Indonesia,Cambodia,Thailand Author ICHCAP, KF ASEAN Culture House Published Year 2023 Language English Copyright Attach File Preview (ENG)
Description | This section illuminates the charms of ASEAN mask dramas, which recreate myths and the historical values that permeate them. ASEAN mask dramas are a total art, the synthesis of masks, costumes, music, and dance, mainly telling folk tales or historical narratives. In particular, ASEAN countries such as Cambodia and Thailand have developed dance drama, mask drama, and also shadow puppetry by dramatizing the Hindu epic Ramayana from ancient India. Not only do ASEAN mask dramas show the diversity and artistic creativity of ASEAN culture but they also play an important role as a medium of cultural exchange. |
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EE00000091
Three genres of traditional dance in Bali
Traditional Balinese dances are performed by male and female dancers dressed in exquisite traditional costumes consisting of brightly coloured cloths painted with gold motifs of flora and fauna, and gold leafed and jewelled accessories. The dances are inspired by nature and symbolize the traditions, customs and religious values, composed in four elements: agem, basic body posture with knees turned out and stocmach pushed in; tandang, locomotive movements in different tempo and directions; tangkis, transitional movements with dynamic changes; and tangkep, facial expression with eyes movements showing happiness, sadness, anger, love, fear, etc. They are accompanied by music of Balinese gamelan instruments with symphonic poems that contain moral messages taken from religious teachings. Dancers portray various characters as strong or refine male role, female role, and mixed role. For Balinese, dance is a part of religious ceremonies conducted periodically according to the Balinese calendar. A dancer should also have taksu, charisma, a special spiritual energy which makes the performance become alive (dynamic). Balinese dances can be categorized as Wali (sacred), Bebali (semi-sacred) or Balih-balihan (entertainment). The three categories is applied with respect all over Bali using different dance forms according to the principle of desa (place), kala (time), and patra (occasion). In Balinese communities, dances are mainly transmitted informally to children from early ages in traditional groups (sekaa) and at formal schools in various levels. Traditional Balinese dances are rich in noble values and are an important part of the Balinese cultural heritage and identity, now studied almost all over Indonesia.
Indonesia 2015 -
EE00000056
Lkhon Khol Wat Svay Andet
Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana. Lkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.
Cambodia 2018 -
EE00000027
Mak Yong theatre
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices. Experts believe that Mak Yong appeared well before the Islamization of the country. It was performed as a royal theatre under the direct patronage of the Kelantan Sultanate until the 1920s. Hence, the tradition was perpetuated in a rural context without forsaking the numerous refinements acquired at court, such as sophisticated costume design. A typical Mak Yong performance opens with an offering followed by dances, acting and music as well as improvised monologues and dialogues. A single story can be presented over several consecutive nights in a series of three-hour performances. In the traditional village setting, the performances are held on a temporary open stage built of wood and palm leaves. The audience sits on three sides of the stage, the fourth side being reserved for the orchestra consisting of a three-stringed spiked fiddle (rebab), a pair of doubleheaded barrel drums (gendang) and hanging knobbed gongs (tetawak). Most roles are performed by women, and the stories are based on ancient Malay folk tales peopled with royal characters, divinities and clowns. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance and spirit possession.
Malaysia 2008 -
EE00000025
Khon, masked dance drama in Thailand
Khon is a highly-refined performing art that combines multiple artistic elements: musical, vocal, literary, dance, ritual and handicraft. It may have combined features of ancient genres: court ritual, martial art, and the shadow play. It tells the story of Ramakien – the localized Thai version of the Ramayana epic. Its many episodes depict the life of Rama, his journey in the forest, his love for his wife Sita, his army of monkeys, the fights with the army of Thosakan (Ravana), king of the giants, and his final victory. The dancers wear elaborately embroidered costumes. The giants and monkeys all wear masks that cover their entire head. The colours and shape of each mask are unique to each character. The drama is enacted through dancing, accompanied by a piphat classical xylophone ensemble, singing, and narration. Each major type of characters has a distinct mode of dance expression. The dance postures and movements, the music, and the repertoire have been handed down from generations since the 15th century. The masked dance performances form part of social practices such as royal cremation, cremation of high-ranking persons or revered monks, and celebration of sacred sites and temples. Dancers, musicians, craftsmen and other members of Khon community annually perform a ceremony to honour Khon masters of the past, teachers, and deities. During this ceremony, new members are initiated into the community. Khon performance is continually evolving with new interpretations, and the adoption of modern technology for stagecraft, whilst retaining its traditional intensive dance training and ritual.
Thailand 2018
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PI00007786
Cambodia, Lkhon Khol Wat Svay Andet(Sbai Chhieng (Embroidered shawl/sash))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. It is a rectangular embroidered shawl/sash worn around the body draping from the left shoulder to the opposing right hip and back up. At the back body, another fringe of the shawl hangs from the left shoulder down to mid-thigh level. This shawl matches the Sampot.
Cambodia 2023 -
PI00007787
Cambodia, Lkhon Khol Wat Svay Andet(Sbai Chhieng (Embroidered shawl/sash))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. It is a rectangular embroidered shawl/sash worn around the body draping from the left shoulder to the opposing right hip and back up. At the back body, another fringe of the shawl hangs from the left shoulder down to mid-thigh level. This shawl matches the Sampot.
Cambodia 2023 -
PI00007783
Cambodia, Lkhon Khol Wat Svay Andet(Av Chhieng (or Av Dai Makhang) (one-short-sleeve undershirt))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. This undershirt has just one left short sleeve. The undershirt is worn under the embroidered shawl. So it makes the undershirt visible on the left side.
Cambodia 2023 -
PI00007784
Cambodia, Lkhon Khol Wat Svay Andet(Av Chhieng (or Av Dai Makhang) (one-short-sleeve undershirt))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. This undershirt has just one left short sleeve. The undershirt is worn under the embroidered shawl. So it makes the undershirt visible on the left side.
Cambodia 2023 -
PI00007781
Cambodia, Lkhon Khol Wat Svay Andet(Surong Kor (Embroidered Ornament))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Collar embroidered ornament is worn around the neck and covers both sides of shoulders. It is put on the embroidered shawl.
Cambodia 2023 -
PI00007782
Cambodia, Lkhon Khol Wat Svay Andet(Surong Kor (Embroidered Ornament))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Collar embroidered ornament is worn around the neck and covers both sides of shoulders. It is put on the embroidered shawl.
Cambodia 2023 -
PI00007779
Cambodia, Lkhon Khol Wat Svay Andet(Kantrum (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007780
Cambodia, Lkhon Khol Wat Svay Andet(Kantrum (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007776
Cambodia, Lkhon Khol Wat Svay Andet(Sleuk Tes (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007777
Cambodia, Lkhon Khol Wat Svay Andet(Sleuk Tes (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Indonesia 2023 -
PI00007778
Cambodia, Lkhon Khol Wat Svay Andet(Sleuk Tes (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007774
Cambodia, Lkhon Khol Wat Svay Andet(Kang Chhouk (Ankle adornment))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.
Cambodia 2023 -
PI00007775
Cambodia, Lkhon Khol Wat Svay Andet(Kang Chhouk (Ankle adornment))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.
Cambodia 2023 -
PI00007770
Cambodia, Lkhon Khol Wat Svay Andet(Kravel (or Roya) Earrings)
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ear ornament
Cambodia 2023 -
PI00007771
Cambodia, Lkhon Khol Wat Svay Andet(Kravel (or Roya) Earrings)
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ear ornament
Cambodia 2023 -
PI00007589
Lkhon Khol Wat Svay Andet
Hanuman (Monkey General in the Reamker), called Lok Ta Kamhaeng, become the local deity for worship.
Cambodia -
PI00007797
Thailand, Khon, Masked Dance Drama(Tossakanth (Ravana))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Tossakanth (Ravana) is the demon king of Lanka. In Thai Khon performance, Tossakanth masked is identified by his multiple tiered faces and normally in green color. However, the golden mask of Tossakanth is specifically used for only one special scene in the whole story when he cheerfully visits Sida (Sita) in his captivity asking her for love.
Thailand 2023 -
PI00007559
Khon, Masked dance drama in Thailand
Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.
Thailand 2023 -
PI00005952
Phi Ta Khon
Thailand
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PI00001707
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007812
Malaysia, Mak Yong Theatre(Gelang Tangan (Wristband))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Wristbands made from special velvet cloth with jewellery decorations with shiny sides.
Malaysia 2023 -
PI00007772
Cambodia, Lkhon Khol Wat Svay Andet(Kravel (or Roya) Earrings)
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ear ornament
Cambodia 2023 -
PI00007741
Cambodia, Lkhon Khol Wat Svay Andet(Kravil Choeng (Ankle adornment))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.
Cambodia 2023 -
PI00007619
Lkhon Khol Wat Svay Andet
The certificate of the Lkhon Khol Wat Svay Andet in the UNESCO List of ICH in Need of Urgent Safeguarding.
Cambodia -
PI00007574
Lkhon Khol Wat Svay Andet
The male roles, Preah Ream and Preah Leak, who wear mask, the troupe of Cambodian Youth for Lkhon Khol.
Cambodia -
PI00007628
Thailand, Phi Ta Khon
Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.
Thailand 2023 -
PI00007698
Malaysia, Awang Batil(Topeng Wak Nujum (Wak Nujum’s Mask))
Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of Wak Nujum. It is painted in red and white.
Malaysia 2023 -
PI00005939
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2010 -
PI00004211
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Malaysia -
PI00007759
Cambodia, Lkhon Khol Wat Svay Andet(Phka Labak (or Labak Phka Samyong) Pendant garland of flower)
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.
Cambodia 2023 -
PI00007727
Cambodia, Lkhon Khol Wat Svay Andet(Preah khan (Sword))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman’s attribute
Cambodia 2023 -
PI00007604
Lkhon Khol Wat Svay Andet
Performance to celebrate the Life Prolonging Ceremony of a Head Monk of another monastery.
Cambodia -
PI00007573
Lkhon Khol Wat Svay Andet
Pin Peat orchestra and narrator accompany the Lkhon Khol performance.
Cambodia -
PI00007627
Thailand, Phi Ta Khon
Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.
Thailand 2023 -
PI00007699
Malaysia, Awang Batil(Topeng Wak Nujum (Wak Nujum’s Mask))
Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of Wak Nujum. It is painted in red and white.
Malaysia 2023 -
PI00005940
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2010 -
PI00004210
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Malaysia -
PI00007760
Cambodia, Lkhon Khol Wat Svay Andet(Phka Labak (or Labak Phka Samyong) Pendant garland of flower)
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.
Cambodia 2023 -
PI00007725
Cambodia, Lkhon Khol Wat Svay Andet(Thnou (Bow))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ravana’s attribute
Cambodia 2023 -
PI00007603
Lkhon Khol Wat Svay Andet
Lkhon Khol performance to mark the Meak Bochea, a Buddhist ceremony.
Cambodia -
PI00007588
Lkhon Khol Wat Svay Andet
Hanuman (Monkey General in the Reamker), called Lok Ta Kamhaeng, become the local deity for worship.
Cambodia -
PI00007798
Thailand, Khon, Masked Dance Drama(Tossakanth (Ravana))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Tossakanth (Ravana) is the demon king of Lanka. In Thai Khon performance, Tossakanth masked is identified by his multiple tiered faces and normally in green color. However, the golden mask of Tossakanth is specifically used for only one special scene in the whole story when he cheerfully visits Sida (Sita) in his captivity asking her for love.
Thailand 2023 -
PI00007560
Khon, Masked dance drama in Thailand
Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.
Thailand 2023 -
PI00001708
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007811
Malaysia, Mak Yong Theatre(Lah (Chest Pad))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Decorated fine colorful beads used around the shoulder and neck.
Malaysia 2023 -
PI00007773
Cambodia, Lkhon Khol Wat Svay Andet(Kravel (or Roya) Earrings)
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ear ornament
Cambodia 2023 -
PI00007736
Cambodia, Lkhon Khol Wat Svay Andet(Kong Reak (Bangle))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007618
Lkhon Khol Wat Svay Andet
The MCFA research team surveyed and discussed how importance of nomination of Lkhon Khol in the UNESCO List of ICH with dance masters, manager, head monk and local authorities.
Cambodia -
PI00007587
Lkhon Khol Wat Svay Andet
The mediums are possessed by spirit getting on the performance stage to oversee the ceremony and bless the performers and spectators
Cambodia -
PI00007799
Thailand, Khon, Masked Dance Drama(Tossakanth (Ravana))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Tossakanth (Ravana) is the demon king of Lanka. In Thai Khon performance, Tossakanth masked is identified by his multiple tiered faces and normally in green color. However, the golden mask of Tossakanth is specifically used for only one special scene in the whole story when he cheerfully visits Sida (Sita) in his captivity asking her for love.
Thailand 2023 -
PI00007561
Khon, Masked dance drama in Thailand
Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.
Thailand 2023 -
PI00001709
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007808
Malaysia, Mak Yong Theatre(Bengkung and Pending)
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bengkung or belt, is a wide strip of cloth used to wrap the stomach, usually worn with Mak Yong clothing as part of the accessories. Pending is Malay silver/ gold Belt Buckle with hand carvings worn together with the bengkung.
Malaysia 2023 -
PI00007767
Cambodia, Lkhon Khol Wat Svay Andet(Chinh-chean Krang (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007737
Cambodia, Lkhon Khol Wat Svay Andet(Kong Reak (Bangle))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007617
Lkhon Khol Wat Svay Andet
The dance stage built by UNESCO Phnom Penh Office in 2000 is now occupied by the villagers, who have no land to live.
Cambodia -
PI00007572
Lkhon Khol Wat Svay Andet
Lkhon Khol narrator.
Cambodia -
PI00007626
Thailand, Phi Ta Khon
Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.
Thailand 2023 -
PI00007700
Malaysia, Awang Batil(Topeng Wak Nujum (Wak Nujum’s Mask))
Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of Wak Nujum. It is painted in red and white.
Malaysia 2023 -
PI00003722
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Rejang Renteng Dance performance at Besakih
Indonesia 2019 -
PI00004209
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Malaysia -
PI00007751
Cambodia, Lkhon Khol Wat Svay Andet(Khsae Kor (Necklace with a Pendant))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Neck pendant is worn around the neck over the collar embroidered ornament and embroidered shawl.
Cambodia 2023 -
PI00007720
Cambodia, Lkhon Khol Wat Svay Andet(Thnou (Bow))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ravana’s attribute
Cambodia 2023 -
PI00007602
Lkhon Khol Wat Svay Andet
Lkhon Khol dance is also offer to the spirit in the ritual.
Cambodia -
PI00007571
Lkhon Khol Wat Svay Andet
Demon and Monkey characters of the Lkhon Khol form.
Cambodia -
PI00007625
Thailand, Phi Ta Khon
Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.
Thailand 2023 -
PI00007695
Malaysia, Awang Batil(Topeng Hulubalang (Hulubalang’s Mask))
Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of hulubalang. It is painted in red and white.
Malaysia 2023 -
PI00003720
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Rejang Renteng Dance performance at Besakih
Indonesia 2019 -
PI00004208
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Malaysia -
PI00007752
Cambodia, Lkhon Khol Wat Svay Andet(Khsae Kor (Necklace with a Pendant))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Neck pendant is worn around the neck over the collar embroidered ornament and embroidered shawl.
Cambodia 2023 -
PI00007718
Cambodia, Lkhon Khol Wat Svay Andet(Thnou (Bow))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ravana’s attribute
Cambodia 2023 -
PI00007601
Lkhon Khol Wat Svay Andet
Wat Svay Andet’s spirit ritual is also held annually.
Cambodia -
PI00007586
Lkhon Khol Wat Svay Andet
The mediums are possessed by spirit getting on the performance stage to oversee the ceremony and bless the performers and spectators.
Cambodia -
PI00007794
Thailand, Khon, Masked Dance Drama(Hanuman)
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.
Thailand 2023 -
PI00007562
Khon, Masked dance drama in Thailand
Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.
Thailand 2023 -
PI00001710
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007809
Malaysia, Mak Yong Theatre(Bengkung and Pending)
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bengkung or belt, is a wide strip of cloth used to wrap the stomach, usually worn with Mak Yong clothing as part of the accessories. Pending is Malay silver/ gold Belt Buckle with hand carvings worn together with the bengkung.
Malaysia 2023 -
PI00007768
Cambodia, Lkhon Khol Wat Svay Andet(Chinh-chean Krang (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007738
Cambodia, Lkhon Khol Wat Svay Andet(Kong Reak (Bangle))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007616
Lkhon Khol Wat Svay Andet
Costumes and masks were donated by UNESCO Phnom Penh Office in 2000.
Cambodia -
PI00007585
Lkhon Khol Wat Svay Andet
In the middle night of the annual performance, the offerings made for spirits on the stage.
Cambodia -
PI00007795
Thailand, Khon, Masked Dance Drama(Hanuman)
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.
Thailand 2023 -
PI00007487
Khon, Masked dance drama in Thailand
Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances – which involve graceful dance movements, instrumental and vocal renditions and glittering costumes – depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters’ households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.
Thailand 2023 -
PI00001711
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007810
Malaysia, Mak Yong Theatre(Bengkung and Pending)
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bengkung or belt, is a wide strip of cloth used to wrap the stomach, usually worn with Mak Yong clothing as part of the accessories. Pending is Malay silver/ gold Belt Buckle with hand carvings worn together with the bengkung.
Malaysia 2023 -
PI00007769
Cambodia, Lkhon Khol Wat Svay Andet(Chinh-chean Krang (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007739
Cambodia, Lkhon Khol Wat Svay Andet(Kong Reak (Bangle))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007615
Lkhon Khol Wat Svay Andet
Master Im Sruon receives an honorable title as Human Living Treasure for the King in 2023.
Cambodia -
PI00007570
Lkhon Khol Wat Svay Andet
Lkhon Khol Performance by the troupe of Cambodian Youth for Lkhon Khol.
Cambodia -
PI00007624
Thailand, Phi Ta Khon
Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.
Thailand 2023 -
PI00007696
Malaysia, Awang Batil(Topeng Hulubalang (Hulubalang’s Mask))
Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of hulubalang. It is painted in red and white.
Malaysia 2023 -
PI00003718
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Rejang Renteng Dance performance at Besakih
Indonesia 2019 -
PI00004207
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Malaysia -
PI00007753
Cambodia, Lkhon Khol Wat Svay Andet(Khsae Kor (Necklace with a Pendant))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Neck pendant is worn around the neck over the collar embroidered ornament and embroidered shawl.
Cambodia 2023 -
PI00007719
Cambodia, Lkhon Khol Wat Svay Andet(Thnou (Bow))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ravana’s attribute
Cambodia 2023 -
PI00007600
Lkhon Khol Wat Svay Andet
Villagers and dancers’ relative helped dancers in dressing up.
Cambodia -
PI00007623
Thailand, Phi Ta Khon
Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.
Thailand 2023 -
PI00007697
Malaysia, Awang Batil(Topeng Hulubalang (Hulubalang’s Mask))
Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of hulubalang. It is painted in red and white.
Malaysia 2023 -
PI00003715
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Rejang Dewa Dance performance at Besakih
Indonesia 2019 -
PI00004206
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Malaysia -
PI00007754
Cambodia, Lkhon Khol Wat Svay Andet(Khsae Kor (Necklace with a Pendant))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Neck pendant is worn around the neck over the collar embroidered ornament and embroidered shawl.
Cambodia 2023 -
PI00007715
Cambodia, Lkhon Khol Wat Svay Andet(Makot Kampul Sruoch (Conical Headdress))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. The conical headdress are worn by female role dancers, who act as princess, king’s consort or divinity.
Cambodia 2023 -
PI00007599
Lkhon Khol Wat Svay Andet
Villagers and dancers’ relative helped dancers in dressing up.
Cambodia -
PI00007584
Lkhon Khol Wat Svay Andet
The female role (right) of Wat Svay Andet troupe.
Cambodia -
PI00007796
Thailand, Khon, Masked Dance Drama(Hanuman)
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.
Thailand 2023 -
PI00007488
Khon, Masked dance drama in Thailand
Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances – which involve graceful dance movements, instrumental and vocal renditions and glittering costumes – depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters’ households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.
Thailand 2023 -
PI00001712
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007806
Malaysia, Mak Yong Theatre(Keris)
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. The keris is an asymmetrical dagger with distinctive blade-patterning achieved through alternating laminations of iron and nickelous iron. Keris is used in Mak Yong performances as a symbol of the king's authority over his kingdom.
Malaysia 2023 -
PI00007764
Cambodia, Lkhon Khol Wat Svay Andet(Khsae Chhieng (Metal chained sash))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Metal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body draping from the left shoulder to the opposing right hip.
Cambodia 2023 -
PI00007740
Cambodia, Lkhon Khol Wat Svay Andet(Kong Reak (Bangle))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007614
Lkhon Khol Wat Svay Andet
The new dance stage was built with the financial contribution of MCFA and the community.
Cambodia -
PI00007583
Lkhon Khol Wat Svay Andet
The demon and monkey roles of Wat Svay Andet troupe wear masks as the same as other troupes.
Cambodia -
PI00007791
Thailand, Khon, Masked Dance Drama(Intorachit (Indrajit))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.
Thailand 2023 -
PI00007489
Khon, Masked dance drama in Thailand
Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances – which involve graceful dance movements, instrumental and vocal renditions and glittering costumes – depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters’ households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.
Thailand 2023 -
PI00001713
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007807
Malaysia, Mak Yong Theatre(Keris)
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. The keris is an asymmetrical dagger with distinctive blade-patterning achieved through alternating laminations of iron and nickelous iron. Keris is used in Mak Yong performances as a symbol of the king's authority over his kingdom.
Malaysia 2023 -
PI00007765
Cambodia, Lkhon Khol Wat Svay Andet(Khsae Chhieng (Metal chained sash))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Metal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body draping from the left shoulder to the opposing right hip.
Cambodia 2023 -
PI00007732
Cambodia, Lkhon Khol Wat Svay Andet(Kravil Dai (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007613
Lkhon Khol Wat Svay Andet
Representatives of MCFA and UNESCO Phnom Penh Office donated money to the Wat Svay Andet troupe
Cambodia -
PI00007563
Khon, Masked dance drama in Thailand
Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.
Thailand 2023 -
PI00003713
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Rejang Dewa Dance performance at Besakih
Indonesia 2019 -
PI00004205
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Malaysia 756K -
PI00007748
Cambodia, Lkhon Khol Wat Svay Andet(Snab Dai (Arm bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.
Cambodia 2023 -
PI00007716
Cambodia, Lkhon Khol Wat Svay Andet(Makot Kampul Sruoch (Conical Headdress))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. The conical headdress are worn by female role dancers, who act as princess, king’s consort or divinity.
Cambodia 2023 -
PI00007598
Lkhon Khol Wat Svay Andet
Villagers in the community helped to prepare ritual objects and cook food during the annual ceremony.
Cambodia -
PI00007564
Khon, Masked dance drama in Thailand
Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.
Thailand 2023 -
PI00003711
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Legong dance at Batubulan
Indonesia 2019 -
PI00004204
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Malaysia -
PI00007749
Cambodia, Lkhon Khol Wat Svay Andet(Snab Dai (Arm bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.
Cambodia 2023 -
PI00007717
Cambodia, Lkhon Khol Wat Svay Andet(Makot Kampul Sruoch (Conical Headdress))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. The conical headdress are worn by female role dancers, who act as princess, king’s consort or divinity.
Cambodia 2023 -
PI00007597
Lkhon Khol Wat Svay Andet
Villagers in the community helped to prepare ritual objects and cook food during the annual ceremony.
Cambodia -
PI00007582
Lkhon Khol Wat Svay Andet
The male roles, Preah Ream and Preah Leak, of the Wat Svay Andet troupe, who do not wear masks in the performance.
Cambodia -
PI00007792
Thailand, Khon, Masked Dance Drama(Intorachit (Indrajit))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.
Thailand 2023 -
PI00007490
Khon, Masked dance drama in Thailand
Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances – which involve graceful dance movements, instrumental and vocal renditions and glittering costumes – depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters’ households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.
Thailand 2023 -
PI00001714
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007803
Malaysia, Mak Yong Theatre(Rotan Berai (Bamboo Rattan))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bamboo rattan held by Pak Yong(Main character of Mak Yong) is a symbol of power and control upon the people.
Malaysia 2023 -
PI00007766
Cambodia, Lkhon Khol Wat Svay Andet(Khsae Chhieng (Metal chained sash))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Metal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body draping from the left shoulder to the opposing right hip.
Cambodia 2023 -
PI00007733
Cambodia, Lkhon Khol Wat Svay Andet(Kravil Dai (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007612
Lkhon Khol Wat Svay Andet
Mr. Poch Phay, Lkhon Khol Troupe Manager.
Cambodia -
PI00007581
Lkhon Khol Wat Svay Andet
The troupe of Lkhon Khol Wat Svay Andet.
Cambodia -
PI00007793
Thailand, Khon, Masked Dance Drama(Intorachit (Indrajit))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.
Thailand 2023 -
PI00007486
Khon, Masked dance drama in Thailand
Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances – which involve graceful dance movements, instrumental and vocal renditions and glittering costumes – depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters’ households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.
Thailand 2023 -
PI00001715
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007804
Malaysia, Mak Yong Theatre(Rotan Berai (Bamboo Rattan))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bamboo rattan held by Pak Yong(Main character of Mak Yong) is a symbol of power and control upon the people.
Malaysia 2023 -
PI00007761
Cambodia, Lkhon Khol Wat Svay Andet(Phka Siet (Ear flower))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Any variety of a single large flower, a natural or artificial flower, is worn above the right ear of a dancer.
Cambodia 2023 -
PI00007734
Cambodia, Lkhon Khol Wat Svay Andet(Kravil Dai (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007611
Lkhon Khol Wat Svay Andet
Venerable Chea Bunthoeun, Monk Chief of Svay Andet Monastery.
Cambodia -
PI00007565
Khon, Masked dance drama in Thailand
Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.
Thailand 2023 -
PI00003710
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Baris Gede performance at Pura Besakih
Indonesia 2019 -
PI00002089
Mak Yong
Mak Yong Traditional Theatre is normally portrayed as a Malay dance drama that contains acting, dancing and singing. There is a consensus that Mak Yong originated from the ancestry of the Kelantan-Patani Government, and said to have established around 400 years ago at the Malay sultanate palace of Kelantan-Patani. Then it spred to the states of Terengganu and Kedah after which it settled at Serdang Muda, Sumatera and Riau Islands, Indonesia. A Mak Yong traditional performance does not use lots of props, set and background to portray a scene. Its performance structure is permanent and uniform although the storyline is different. A traditional performance in villages is held in an open theatre. The audiences sit on three sides while the fourth side is for musicians. Most characters are acted by women and the storylines are based on traditional folk stories. The Buka Panggung (literally translated as ‘Opening the Theatre’) ceremony starts a performance followed by the story plot and ends with the Tutup Panggung (or ‘Closing the Theatre’) ceremony. In the Buka Panggung ceremony the performance begins with the Mengadap Rebab segment, that is paying homage to the rebab (oud), the main musical instrument regarded as a chaste element in a performance. The actor who plays the Peran Tua character, that is the Elder Joker, pays homage to the oud and places it in the middle of the theatre while Jong Dongdang sings the song ‘San Gendang’. The actors who play the characters of Pak Yong, Mak Yong and Jong Dongdang stand in a circle while the maidens sing the song ‘Sedayung Mak Yong’ or the song ‘Sedara’. At the end of the song Pak Yong instructs the maidens to return to the palace, and this marks the end of the segment. The main characters are Pak Yong, Mak Yong, the King, Queen, Elder Joker and Junior Joker. There are also other characters like the Royal Soothsayer, Ship Captain, Guru, soldiers, genie, ghost and giant, depending on the storyline. The main musical instruments are a three-string oud, two drums and two gongs. There are also additional instruments to increase the degree of the melodious sound like cymbal, small bells and flute. In the year 2005 Mak Yong was recognised and proclaimed as “A Masterpiece of the Oral and Intangible Heritage of Humanity” by the United Nation Education, Scientific and Cultural Organisation (UNESCO). In the year 2008 Mak Yong was proclaimed as A Representative List of the Intangible Cultural Heritage of Humanity.
Malaysia -
PI00007750
Cambodia, Lkhon Khol Wat Svay Andet(Snab Dai (Arm bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.
Cambodia 2023 -
PI00007712
Cambodia, Lkhon Khol Wat Svay Andet(Mukh Krung Reap (The mask of Krung Reap))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. The Ravana mask crown consists of three tiers and it bears nine heads or faces: the lower tier consists of a large demon face (wide mouths with the large fangs of the wild boar on the upper jaw) and the other three small demon faces on the back; the middle tier bears four demon faces and the top tier comprises one human face. The lower and middle tier demon faces have blue (or sometimes gold colors), while the top tier human face has white color. The Ravana mask is used for the Ravana demon role.
Cambodia 2023 -
PI00007596
Lkhon Khol Wat Svay Andet
Crowded villagers watched the performance during the annual ceremony.
Cambodia -
PI00007595
Lkhon Khol Wat Svay Andet
Crowded villagers watched the performance during the annual ceremony.
Cambodia -
PI00007566
Khon, Masked dance drama in Thailand
Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.
Thailand 2023 -
PI00003708
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Baris Gede performance at Pura Besakih
Indonesia 2019 -
PI00002090
Mak Yong
Mak Yong Traditional Theatre is normally portrayed as a Malay dance drama that contains acting, dancing and singing. There is a consensus that Mak Yong originated from the ancestry of the Kelantan-Patani Government, and said to have established around 400 years ago at the Malay sultanate palace of Kelantan-Patani. Then it spred to the states of Terengganu and Kedah after which it settled at Serdang Muda, Sumatera and Riau Islands, Indonesia. A Mak Yong traditional performance does not use lots of props, set and background to portray a scene. Its performance structure is permanent and uniform although the storyline is different. A traditional performance in villages is held in an open theatre. The audiences sit on three sides while the fourth side is for musicians. Most characters are acted by women and the storylines are based on traditional folk stories. The Buka Panggung (literally translated as ‘Opening the Theatre’) ceremony starts a performance followed by the story plot and ends with the Tutup Panggung (or ‘Closing the Theatre’) ceremony. In the Buka Panggung ceremony the performance begins with the Mengadap Rebab segment, that is paying homage to the rebab (oud), the main musical instrument regarded as a chaste element in a performance. The actor who plays the Peran Tua character, that is the Elder Joker, pays homage to the oud and places it in the middle of the theatre while Jong Dongdang sings the song ‘San Gendang’. The actors who play the characters of Pak Yong, Mak Yong and Jong Dongdang stand in a circle while the maidens sing the song ‘Sedayung Mak Yong’ or the song ‘Sedara’. At the end of the song Pak Yong instructs the maidens to return to the palace, and this marks the end of the segment. The main characters are Pak Yong, Mak Yong, the King, Queen, Elder Joker and Junior Joker. There are also other characters like the Royal Soothsayer, Ship Captain, Guru, soldiers, genie, ghost and giant, depending on the storyline. The main musical instruments are a three-string oud, two drums and two gongs. There are also additional instruments to increase the degree of the melodious sound like cymbal, small bells and flute. In the year 2005 Mak Yong was recognised and proclaimed as “A Masterpiece of the Oral and Intangible Heritage of Humanity” by the United Nation Education, Scientific and Cultural Organisation (UNESCO). In the year 2008 Mak Yong was proclaimed as A Representative List of the Intangible Cultural Heritage of Humanity.
Malaysia -
PI00007745
Cambodia, Lkhon Khol Wat Svay Andet(Snab Dai (Arm bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.
Cambodia 2023 -
PI00007713
Cambodia, Lkhon Khol Wat Svay Andet(Mukh Krung Reap (The mask of Krung Reap))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. The Ravana mask crown consists of three tiers and it bears nine heads or faces: the lower tier consists of a large demon face (wide mouths with the large fangs of the wild boar on the upper jaw) and the other three small demon faces on the back; the middle tier bears four demon faces and the top tier comprises one human face. The lower and middle tier demon faces have blue (or sometimes gold colors), while the top tier human face has white color. The Ravana mask is used for the Ravana demon role.
Cambodia 2023 -
PI00007580
Lkhon Khol Wat Svay Andet
Preah Vihear, the main temple of Wat Svay Andet.
Cambodia -
PI00007788
Thailand, Khon, Masked Dance Drama(Narai (Vishnu))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.
Thailand 2023 -
PI00007034
Khon Masked Dance
Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus. The content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age. Characteristics: · Representative masked dance of Thailand · Performed by male dancers in the palace Performed by Insawang Suphachai Directed by Insawang Suphachai
Thailand Nov -
PI00001716
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007805
Malaysia, Mak Yong Theatre(Rotan Berai (Bamboo Rattan))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bamboo rattan held by Pak Yong(Main character of Mak Yong) is a symbol of power and control upon the people.
Malaysia 2023 -
PI00007762
Cambodia, Lkhon Khol Wat Svay Andet(Phka Siet (Ear flower))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Any variety of a single large flower, a natural or artificial flower, is worn above the right ear of a dancer.
Cambodia 2023 -
PI00007735
Cambodia, Lkhon Khol Wat Svay Andet(Kravil Dai (Bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.
Cambodia 2023 -
PI00007610
Lkhon Khol Wat Svay Andet
Master Heng Sao, is one of the surviving dance masters, who revived the dance troupe after the Khmer Rouge Regime.
Cambodia -
PI00007579
Lkhon Khol Wat Svay Andet
Villagers watched Lkhon Khol Wat Svay Andet performance.
Cambodia -
PI00007789
Thailand, Khon, Masked Dance Drama(Narai (Vishnu))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.
Thailand 2023 -
PI00007033
Khon Masked Dance
Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus. The content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age. Characteristics: · Representative masked dance of Thailand · Performed by male dancers in the palace Performed by Insawang Suphachai Directed by Insawang Suphachai
Thailand Nov -
PI00001717
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007800
Malaysia, Mak Yong Theatre(Setanjak (Headgear) and Bunga Jurai (Jasmine Flower Decoration))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Headgear called 'setanjak' crown made from special velvet cloth with jewellery decorations with shiny sides.
Malaysia 2023 -
PI00007763
Cambodia, Lkhon Khol Wat Svay Andet(Phka Siet (Ear flower))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Any variety of a single large flower, a natural or artificial flower, is worn above the right ear of a dancer.
Cambodia 2023 -
PI00007729
Cambodia, Lkhon Khol Wat Svay Andet(Khsae Kravat (Belt))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A belt with buckle
Cambodia 2023 -
PI00007609
Lkhon Khol Wat Svay Andet
Master Im Sruon is one of the surviving dance masters, who revived the Wat Svay Andet dance troupe after the Khmer Rouge Regime.
Cambodia -
PI00007594
Lkhon Khol Wat Svay Andet
Dance performance in the spirit ritual.
Cambodia -
PI00007567
Khon, Masked dance drama in Thailand
Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.
Thailand 2023 -
PI00003707
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese Traditional Dance Topeng Sidakarya at Besakih
Indonesia 2019 -
PI00000027
Mak Yong Theatre
Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.
Malaysia -
PI00007746
Cambodia, Lkhon Khol Wat Svay Andet(Snab Dai (Arm bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.
Cambodia 2023 -
PI00007714
Cambodia, Lkhon Khol Wat Svay Andet(Mukh Krung Reap (The mask of Krung Reap))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods.
Cambodia 2023 -
PI00007593
Lkhon Khol Wat Svay Andet
The spirit ritual for the annual performance.
Cambodia -
PI00007568
Khon, Masked dance drama in Thailand
Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.
Thailand 2023 -
PI00003706
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese Barong Dance Show in Batubulan
Indonesia 2019 -
PI00000028
Mak Yong Theatre
Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.
Malaysia -
PI00007747
Cambodia, Lkhon Khol Wat Svay Andet(Snab Dai (Arm bracelet))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.
Cambodia 2023 -
PI00007709
Cambodia, Lkhon Khol Wat Svay Andet(Mukh Hanuman (Hanuman Mask))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman mask is shown in stylized monkey form with white color, opened wide mouth, big nose and big eyes. For the monkey general, there is a golden headband worn around his head. This mask is used for Hanuman role.
Cambodia 2023 -
PI00007578
Lkhon Khol Wat Svay Andet
Hermit (left) and comedians’ roles, the troupe of Wat Svay Andet.
Cambodia -
PI00007790
Thailand, Khon, Masked Dance Drama(Narai (Vishnu))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.
Thailand 2023 -
PI00007032
Khon Masked Dance
Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus. The content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age. Characteristics: · Representative masked dance of Thailand · Performed by male dancers in the palace Performed by Insawang Suphachai Directed by Insawang Suphachai
Thailand Nov -
PI00001718
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007801
Malaysia, Mak Yong Theatre(Setanjak (Headgear) and Bunga Jurai (Jasmine Flower Decoration))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Headgear called 'setanjak' crown made from special velvet cloth with jewellery decorations with shiny sides.
Malaysia 2023 -
PI00007755
Cambodia, Lkhon Khol Wat Svay Andet(Phka Labak (or Labak Phka Samyong) Pendant garland of flower)
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.
Cambodia 2023 -
PI00007730
Cambodia, Lkhon Khol Wat Svay Andet(Khsae Kravat (Belt))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A belt with buckle
Cambodia 2023 -
PI00007608
Lkhon Khol Wat Svay Andet
Lkhon Khol apprentices, who are school boys, are trained in group at the monastery.
Cambodia -
PI00007577
Lkhon Khol Wat Svay Andet
The monkey role, Hanuman, the troupe of Ministry of Culture and Fine Arts.
Cambodia -
PI00007631
Thailand, Phi Ta Khon
Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.
Thailand 2023 -
PI00007031
Khon Masked Dance
Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus. The content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age. Characteristics: · Representative masked dance of Thailand · Performed by male dancers in the palace Performed by Insawang Suphachai Directed by Insawang Suphachai
Thailand Nov -
PI00001719
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007802
Malaysia, Mak Yong Theatre(Setanjak (Headgear) and Bunga Jurai (Jasmine Flower Decoration))
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Headgear called 'setanjak' crown made from special velvet cloth with jewellery decorations with shiny sides.
Malaysia 2023 -
PI00007756
Cambodia, Lkhon Khol Wat Svay Andet(Phka Labak (or Labak Phka Samyong) Pendant garland of flower)
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.
Cambodia 2023 -
PI00007731
Cambodia, Lkhon Khol Wat Svay Andet(Khsae Kravat (Belt))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A belt with buckle
Cambodia 2023 -
PI00007607
Lkhon Khol Wat Svay Andet
Lkhon Khol apprentices, who are school boys, are trained in group at the monastery.
Cambodia -
PI00007592
Lkhon Khol Wat Svay Andet
On the spiritual ceremony day for the annual performance, the Pin Peat music is performed to invite the Lok Ta Tos Mukh (Ravana mask) to the dance stage at the monastery.
Cambodia -
PI00007556
Khon, Masked dance drama in Thailand
Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.
Thailand 2023 -
PI00003704
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese Barong Dance Show in Batubulan
Indonesia 2019 -
PI00000029
Mak Yong Theatre
Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.
Malaysia -
PI00007742
Cambodia, Lkhon Khol Wat Svay Andet(Kravil Choeng (Ankle adornment))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.
Cambodia 2023 -
PI00007710
Cambodia, Lkhon Khol Wat Svay Andet(Mukh Hanuman (Hanuman Mask))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman mask is shown in stylized monkey form with white color, opened wide mouth, big nose and big eyes. For the monkey general, there is a golden headband worn around his head. This mask is used for Hanuman role.
Cambodia 2023 -
PI00007591
Lkhon Khol Wat Svay Andet
The mask of Ravana (King of Demons in the Reamker), called Lok Ta Tos Mukh, is stored in a spiritual house in front of a dancer’s house.
Cambodia -
PI00007557
Khon, Masked dance drama in Thailand
Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.
Thailand 2023 -
PI00001705
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00000030
Mak Yong Theatre
Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.
Malaysia -
PI00007743
Cambodia, Lkhon Khol Wat Svay Andet(Kravil Choeng (Ankle adornment))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.
Cambodia 2023 -
PI00007711
Cambodia, Lkhon Khol Wat Svay Andet(Mukh Hanuman (Hanuman Mask))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman mask is shown in stylized monkey form with white color, opened wide mouth, big nose and big eyes. For the monkey general, there is a golden headband worn around his head. This mask is used for Hanuman role.
Cambodia 2023 -
PI00007576
Lkhon Khol Wat Svay Andet
The demon role, Krong Reap, the troupe of Ministry of Culture and Fine Arts.
Cambodia -
PI00007630
Thailand, Phi Ta Khon
Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.
Thailand 2023 -
PI00007030
Khon Masked Dance
Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus. The content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age. Characteristics: · Representative masked dance of Thailand · Performed by male dancers in the palace Performed by Insawang Suphachai Directed by Insawang Suphachai
Thailand Nov -
PI00001720
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00004213
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Malaysia -
PI00007757
Cambodia, Lkhon Khol Wat Svay Andet(Phka Labak (or Labak Phka Samyong) Pendant garland of flower)
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.
Cambodia 2023 -
PI00007728
Cambodia, Lkhon Khol Wat Svay Andet(Preah khan (Sword))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman’s attribute
Cambodia 2023 -
PI00007606
Lkhon Khol Wat Svay Andet
Master Phka Soy, already passed away, trained Lkhon Khol skill to his apprentice.
Cambodia -
PI00007575
Lkhon Khol Wat Svay Andet
The female roles, Neang Sita, the troupe of Ministry of Culture and Fine Arts.
Cambodia -
PI00007629
Thailand, Phi Ta Khon
Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.
Thailand 2023 -
PI00004212
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Malaysia -
PI00007758
Cambodia, Lkhon Khol Wat Svay Andet(Phka Labak (or Labak Phka Samyong) Pendant garland of flower)
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.
Cambodia 2023 -
PI00007726
Cambodia, Lkhon Khol Wat Svay Andet(Preah khan (Sword))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman’s attribute
Cambodia 2023 -
PI00007605
Lkhon Khol Wat Svay Andet
Master Rith Ros, already passed away, demonstrate the demon dance movement.
Cambodia -
PI00007590
Lkhon Khol Wat Svay Andet
The shrine of Lok Ta Kamhaeng (represented by Hanuman mask) is built for worship in front of the theatre during the annual performance that show how important he is.
Cambodia -
PI00007558
Khon, Masked dance drama in Thailand
Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.
Thailand 2023 -
PI00001706
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia 2019 -
PI00007744
Cambodia, Lkhon Khol Wat Svay Andet(Kravil Choeng (Ankle adornment))
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.
Cambodia 2023 -
PI00007620
Lkhon Khol Wat Svay Andet
H.E. Audrey Azoulay, Direcor General of the UNESCO, presents the Lkhon Khol Certificate to Samdech Hun Sen, Prime Minister of the Kingdom of Cambodia, during the 25th Anniversary of ICC-Angkor in 2018.
Cambodia
Videos
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VI00000972
Cambodia, Lkhon Khol Wat Svay Andet
Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods.
00:05:01
Cambodia 2023 -
VI00000966
Lkhon Khol Wat Svay Andet
Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana. Lkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.
#lkhon khol #mask dance #masked dance47:21
Cambodia -
VI00000793
Indonesia - Topeng Panji
Topeng is a word which means ‘wooden mask’ and is also used to refer to a form of masked dance theater which is transmitted in Java and Bali. ‘Panji Topeng’ is one of the most popular Topeng performances, based on the Panji chronicles, transmitted in Java. The tales of Panji, which exist in a range of variations, have been transmitted widely around the Southeast Asian region, and have inspired a wide range of traditional Indonesian dances, including Topeng performed in Cirebon, West Java and Malang, Java. Panji Topeng is characterized by the fluid and smooth movements of dancers wearing white masks. The silent and refined movements of dancers that almost appear to be gliding rather than walking, is the pinnacle of artistry in the Panji Topeng. After the diffusion of Hinduism, epics such as the Ramayana and Mahahbarata became the theme of Topeng dances. The dancers express fables, heroic sagas and legends about kings in dance, set to the music of gamelan. The oldest record of the Topeng dance can be found in the Nāgarakrĕtāgama epic about Hayam Wuruk (1334~1389), king of Majapahit, a Hindu kingdom in the 14th century. A handwritten copy of the Nāgarakrĕtāgama (1365), stored in the National Library of Indonesia, was included the Memory of the World Register in 2013. Characteristics: ∙Masked dance ∙“Nāgarakrĕtāgama” (1365), the oldest existing documentation of the Topeng dance was inscribed to the Memory of the World Register in 2013. Performed by Dadijono Darmawan Directed by Dadijono Darmawan Choreographed by Dadijono Darmawan
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Indonesia Nov -
VI00000975
Malaysia, Mak Yong Theatre
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life.
00:06:43
Malaysia 2023 -
VI00000965
Mak Yong Costume Wearing, Malaysia
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
#mak yong #traditional costumes02:31
Malaysia -
VI00000334
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
#vocal #instrumental music #gestures #costumes #theatre #dance drama #acting #dancing #singing #women00:06:38
Malaysia
Article
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DI00000481
Lkhon Khol
Inscribed in 2018 on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, Lkhon Khol Wat Svay Andet (Lkhon Kohl) is practiced in a community surrounding Wat Svay Andet, a Buddhist monastery located around ten kilometers east of Phnom Penh on the Mekong River. Lkhon Khol is a traditional mask theater performance of Cambodia with its origins during the Angkor period (ninth to fifteenth centuries). It exclusively is performed by men wearing masks to the accompaniment of a traditional orchestra and melodious recitation. Lkhon Khol, also known as “the monkey dance,” is ceremoniously performed once a year after the Khmer New Year for ritual purposes, linked mostly to the cycle of rice farming and the needs of farming communities. A specific theatrical performance is the Reamker, the Khmer version of Ramayana, which includes an introduction by storytellers who play an important role in the performance. Lkhon Khol is passed across generations orally. However, from 1970 to 1984, due to war and the Khmer Rouge regime, transmission was nearly impossible. In addition, economic factors, insufficient resources, and economic migration from the community have also limited transmission, which is what led it to be inscribed on the Urgent Safeguarding list. Two theater groups, Kampong Thom and the National Theater troupes from the Department of Fine Arts and the Ministry of Culture and fine arts, have started performing the Lkhon Khol. In addition, the theatrical performance is also part of the syllabus at the University of Fine Arts. Photo 1 : Lkhon Khol performance Ministry of Culture and Fine Arts of Cambodia, 2017 Photo 2 : Lkhon Khol Art painting CCBYSA PPPOfficial Photo 3 : Cambodian dance: Reamker (public domain)
ICHCAP 2021 -
DI00000235
A COMMUNITY SAFEGUARDING ITS LIVING HERITAGE, LKHON KHOL
On the east bank of the Mekong River about fifteen kilometers from Phnom Penh is Wat Svay Andet, a Buddhist monastic community mainly supported by two villages, Ta Skor and Peam Ek of Lvea-em District, Kandal Province. Wat Svay Andet is home to lkhon khol, a kind of theatre with recitation in which actors are all males, wear lacquer masks, and perform only scenes from Reamker, a Cambodian version of the Sanskrit Ramayana epic. This dance drama is accompanied by pinpeat, a traditional orchestra of percussion instruments. Although the dance is performed by villagers, the costumes and ornaments are as magnificent as those of classical court dance.
San Phalla Deputy Director, Books and Reading Department, Ministry of Culture and Fine Arts Chhay Davin Researcher, General Department of Cultural Technique, Ministry of Culture and Fine Arts , Lkhon Khol Community 2016 -
DI00000934
Mak Yong
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.