Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Jeju’s harsh environmental features have made the islanders’ lives tough, inspiring respect for the sea. Dongguk Yeoji Seungnam (Augmented Survey of the Geography of Korea) of the Joseon Dynasty records, “As there is the custom of valuing licentious sacrifices, rites are held to honor the gods of forests, ponds, hills, trees and stones.” It can thus be inferred that many religious activities are conducted in Jeju. For Jeju islanders, the Yeongdeunggut rite is of special significance. When the time of Yeongdeung arrives, the rites are held throughout the island to plead for calm seas and abundant sea catches. Of all these rites, the one at the Chilmeoridang Shrine called the Jeju Chilmeoridang Yeongdeunggut is the most important. Its name implies that it is a rite for the goddess of wind only, but it is also a rite to worship village guardian gods and the Dragon King of the sea. While venerated, Yeongdeung also instills fear as she threatens people’s lives by stirring the sea. From early to mid-February when the goddess is present on the island, the sea is particularly turbulent. The islanders believe that as she leaves she removes all the contents of the shellfish. On the day of departure, however, the goddess also sows seeds along the shore to ensure people’s livelihood and the sea is purified to help the growth of the seeds. As such, importance has been attached to the time of her stay and people began to mark the occasion by performing a rite at the Chilmeoridang Shrine in supplication for safety and good sea harvests. Named after the village where it is located, the Chilmeoridang Shrine serves the goddess Yeongdeung and a couple, the Magistrate god and the sea goddess known as the Dragon King's Wife. The couple’s responsibilities are divided between the needs of the local residents (managed by the god) and the livelihood of fishermen and female divers (the domain of the goddess). The Chilmeoridang Shrine is where the Yeongdeung Welcome Rite is held on the 1st day of the second lunar month to mark the arrival of the goddess as well as the Yeongdeung Farewell Rite performed on the 14th. During this period, rituals for the mountain gods (dangje), which are performed in the first lunar month elsewhere in Korea, are carried out in other villages on Jeju Island. Only on Jeju are rituals for the mountain gods and rites for the goddess Yeongdeung combined into one shaman ritual, Yeongdeunggut. Compared to the simple Yeongdeung Welcome Rite, the Yeongdeung Farewell Rite is a sumptuous and more significant event. It is considered one of the most important of the shaman rituals and includes a rite for the Dragon King. The Welcome Rite begins with chogamje, a “calling of the gods” ceremony which involves greeting and inviting the gods to the shrine as well as reciting the participants’ names, followed by pungeoje, a “pleading for a good catch” ceremony, and ends with seoksalrimgut, a gut (shaman ritual) with a three-act play to entertain and appease the ancestral gods. The Farewell Rite also begins with the chogamje ceremony, but it also includes bonhyangdeum, an “entering the Village Shrine” ceremony. This involves asking the God and Goddess Couple to plead for the wellbeing of the village. The ritual includes three village officials offering drinks to the Couple and villagers asking that their wishes be granted. This is followed by chumul gongyeon, an “offering” ceremony in which drinks and rice cakes are offered to all the gods, a yowang maji, a “welcoming the Dragon King” ceremony, which is a special welcome for the Dragon King and the goddess Yeongdeung to ask them to ensure an abundant catch and safety at sea for the fishermen, and then by ssidrim, an “offering of seeds” ceremony in which fortunetelling is done with millet seeds and the sowing of seaweed seeds. Next comes the doaek mageum, “preventing disasters” ceremony that involves the throwing of a rooster to prevent disasters from happening in the village. There is also fortunetelling for the villagers and female divers. This is followed by the yeonggam nori, a play in which the village’s senior men launch a straw boat into the sea. The rite ends with the dosin, “sending the gods back” ceremony. Chilmeoridang Yeongdeunggut began to be widely known in 1980 as simbang (senior shaman) Ahn Sa-in was recognized as Skill Holder. At the time, the waves of modernization had resulted in a negative view of gut as being a dangerous superstition. However, the fishing people of Jeju, along with simbangs, went into deep valleys and sea caves to secretly offer up fervent prayers. Then, the ritual’s designation as an important intangible cultural heritage paved the way for its survival. Determined to revive the rite, Ahn Sa-in established an association with simbangs to safeguard the heritage. Among the founding members are the current Skill Holder Kim Yun-su, adviser Yang Chang-bo, and trainer Goh Sun-An. As Ahn, who had prevented the gut from disappearing on Jeju, passed away in 1990, Kim Yun-su was recognized as the second Skill Holder in 1995. There are currently 40 members. Although the rite is conducted by shamans, its real owners are female divers and ship owners, together called “dangol,” who prepare food for the rite and offer sacrifices to the gods. Starting from their early teens, the divers continue their work of collecting marine delicacies from the ocean floor, so their safety and abundance of the sea are their lifelong wish; and their existence helps maintain the Yeongdeunggut. Sending off the goddess Yeongdeung, the dangol prays: “When you leave, please sow seeds of turban shells, abalones, octopi and sea cucumbers so that we, the people who believe in the sea, can have an abundant sea catch.”

South Korea 2009

Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nearly every Korean knows and enjoys singing Arirang, which is not just one song but a variety of local versions handed down throughout Korea. Experts estimate the total number of folk songs carrying the title ""Arirang"" at some 3,600 variations belonging to about 60 versions. Arirang is essentially a simple song, consisting of the universal refrain Arirang, arirang, arariyo, and lyrics that have developed differently from region to region. The most typical lines express a universal sentiment: Arirang, arirang, arariyo; Over the Arirang hill you go. (refrain) Leaving me, my love, you'd go lame before three miles. (lyrics) The lyrics were not created by any particular individual, but an outcome of collective contributions made by ordinary Koreans through generations. They convey joys and sorrows of common people arising from love, parting with the beloved, troublesome in-laws, or national struggle against foreign invaders. Affection for Arirang is evident throughout today's ultra-modern Korean culture, well beyond the realm of traditional music. Arirang has been rearranged into modern ballads, rock 'n roll and hip-hop, as well as symphonic pieces, appealing to a wide array of audiences and striking a chord with Koreans; it is often described as their unofficial national anthem. Olympic champion Kim Yu-na skated to an Arirang theme, ""Homage to Korea,"" at the 2011 World Figure Skating Championships. Arirang is also one of the most recognized cultural symbols and is widely used as a theme for movies, dramas and soap operas, and names of commodities, restaurants, and broadcasting companies.

South Korea 2012

Inscribed in 2018 (13.COM) on the Representative List of the Intangible Cultural Heritage of Humanity As one of the popular Korean folk tradtion, ssireum is a type of wrestling in which two players wearing long fabric belts around their waists and one thigh grip their opponents' belt and employ various techniques to send the opponent to the ground. It is played on diverse occasions, including traditional holidays, market days, and festivals. Ssireum games occur on sand in any available space around a neighborhood, and are open to participation by community members of all ages, from children to seniors. The winner in the final game for adults is awarded an ox, which symbolises agricultural abundance, and the title of Jangsa. When the games are over, the Jangsa parades around the neighborhood riding the ox in celebration. The customary practice of providing an ox as a prize is meant to allow the winner to farm more effectively.

South Korea 2018

There are over 120 different types of knucklebone games are played in Mongolia, and the “knucklebone shooting” is the most common spread one among the general public. The Knucklebone shooting is a traditional game that contains the traditional custom and culture in complex way. Shooting tablets are flicked towards 30 pieces of ''Khasaa'', a target laid on a zurkhai (wooden surface) in a given order depending on the current game, at a distance of 9 elbows (4.72meters). It is a team game that each team competes by shooting to knock down more of the khasaa than the other. During tournaments, shooters communicate not in words, but by singing ''Knucklebone Shooting'' melodies and tunes such as ''Hail you, friend',' ''Hit the target,'' ''Hail the board'' that sound more or less like ''Long Songs''.

Mongolia 2014

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity The Yeongsanjae is performed to help all beings and spirits enter into the world of truth, by worshipping and admiring the Buddha, Buddha’s law and monks. It is the highest and biggest ritual utilized by Korean Buddhists to represent the world of Buddha here and now and is based on the philosophy of the Lotus Sutra. It is also a means for meditation and training. The order of a Yeongsanjae performance is as follows: 1. Reception Ritual (siryeon): The purpose here is to receive all the saints and spirits of heaven and earth with the guidance of the Soul-Guiding Bodhisattva so that the ritual can be performed in a holy way. 2. Spirit Reception (daeryeong): The masters of the ritual are the spirits, dead and alive, i.e., all people. Dead spirits are invited to the ritual, while those present at the ritual are told why it is being performed and given the directions they should follow, based on the Buddha’s Law. Families of the deceased dedicate food and liquor as an expression of their love and respect for the dead. 3. Cleansing of the Dirt (gwanyok): This is the ritual to cleanse the three karmas of the spirits that have accepted invitation so as to facilitate the achievement of serenity. 4. Donation of Money (Jojeon Jeoman): “Jojeon” means money that can be used in the nether world, and “jeoman” means to endow money with value. The necessity of money is to awaken us to the fact that our life is maintained by material blessings from the outside. 5. Tea Donation (Sinjung Jakbeop): A tea ceremony is dedicated to all the saintly spirits invited with the hope that the ritual will be performed well. 6. Reception of Buddha (Gwaebul Iun): Sakyamuni Buddha, the master of the ritual and who will preach on the Lotus Sutra, and all the Buddhas and Bodhisattvas are received according to the Law of Buddhism. 7. Dedication of Rice Meal (Sangdan Gwongong): With the Buddhas and Bodhisattvas invited, a rice meal is dedicated. In this ritual, wishes are made that, with the merciful help of the Buddhas and Bodhisattvas, all beings will obtain happiness and that the light of truth lit by Buddha will shine over the world of suffering. 8. Sermon (Beopmun): A monk in place of Buddha reconfirms the purpose of the ceremony, presenting concrete ways to realize that purpose. The monk delivers a sermon in which the audience is invited to the door of truth. 9. Meal Ritual (Sikdang Jakbeop): This ritual meal is intended not for the Buddhas and Bodhisattvas, but for the monks attending the ceremony. However, symbolically, it is for all beings in this universe, and through this service a foundation is laid for becoming a Buddha. 10. Blessing Ritual (Jungdan Gwongong): All of the saintly beings attending the ritual are asked to help ensure a good performance of the ritual. It also asks for blessings on all those present at the ritual. 11. Meal for the Dead Ritual (Sisik): Since the attendees are fortunate to be listening to the words of Buddha and since all rejoice that the dead have all gone to heaven, a happy rather than sorrowful ritual is performed for the departed to celebrate and congratulate themselves on going to heaven. 12. Farewell Ritual (Bongsong & Sodae Baesong): At the opening of the ritual, all beings were politely received with chants, so likewise, they should be given a proper farewell. The farewell is the final step in affecting the deceased’s final destination. Since Yeongsanjae was designated an Important Intangible Cultural Heritage by the state in 1973, it has been under national protection. In 1987, when the Yeongsanjae Preservation Association was officially established, it started to perform activities to ensure its transmission. The Yeongsanjae has been transmitted by the Taego Order, a Korean Buddhist order. Based at Bongwonsa Temple, the Taego Order maintains the tradition of Buddhist rituals and as such, most of the transmitters are monks of the Taego Order. Currently, Monk Kim In-sik (Buddhist name: Guhae) is the primary Yeongsanjae expert in terms of Buddhist music, following the ranks of Jigwang, Byeokeung, Songam, and Ileung. Assisting Kim are Ma Myeong-chan, Lee Su-gil, Oh Chan-yeong, Lee Byeong-u, Lee Jo-won and Han Hui-ja, who are all trainers in Buddhist music and dance or making the ornamental paper flowers for the ritual. A total of 240 transmitters are leading the Yeongsanjae Preservation Association. Until 2006, Bongwonsa Temple held a Yeongsanjae ritual for the public on the fifth day of the fifth lunar month. In order to encourage more people to participate in the ritual, it is now held on Memorial Day, a national holiday which falls on June 6.

South Korea 2009

Inscribed in 2013 (8.COM) on the Representative List of the Intangible Cultural Heritage of Humanity As the temperature falls in late autumn, the topic of choice for most Koreans is kimjang, making a large quantity of kimchi to sustain them through the country’s long and harsh winter. Kimchi, a categorical name for Korean-style preserved vegetables seasoned with local spices and fermented seafood, was recorded as part of Korean diet as early as 760 years ago. Kimchi has been an essential part of Korean meal across class and regional differences. The most humble meal consists of cooked rice and kimchi, but even the most luxurious banquet is not complete without kimchi. Kimjang incorporates Koreans' understanding of their natural environment, and closely reflects their regional ecosystems. Over time, Koreans have developed methods that best fit their specific natural conditions. Kimjang is thus deeply rooted in the natural milieu of Korean habitats. Preparation for kimjang follows a yearly seasonal cycle. In spring, households secure shrimp, anchovy, and other seafood for salting and fermenting. In summer, they purchase sea salt to be stored for up to two or three years, to let the bitter taste of brine out. In late summer, red chili peppers are dried and ground into powder. In late autumn housewives carefully monitor weather forecasts to determine the optimal date for kimjang: it is important to choose the right temperature for the kimchi to acquire the best taste through storing it in cool and stable conditions. In the custom of exchanging kimchi among households after kimjang, innovative skills and creative ideas are shared and accumulated.

South Korea 2013

Arirang is a lyrical singing genre, which has been handed down orally for centuries and which never has lost its popularity among the Koreans. Arirang was sung by the people in the northwestern part of the Korean peninsula as early as in the late 14th century. Today Arirang is sung in its traditional form by people all over the country, while it is also performed in symphonic arrangements and in dance music. Arirang typically contains a gentle and lyrical melody in five scales, and the refrain: Arirang, arirang, arariyon Over the Arirang hill you go. Arirang songs speak about leaving and reunion, sorrow, joy, and happiness. There are various categories of Arirang songs that can be classified by the lyrics or the melody used, and by place of origin. Currently 36 versions of Arirang are known. Most typical versions are Sodo Arirang, Phyongan Provincial Arirang, Jonchon Arirang, Haeju Arirang, Kangwon Provincial Arirang, Kosong Arirang, Onsong Arirang, Tanchon Arirang, Thongchon Arirang, Musan Arirang, Ku Arirang and Kosan Arirang, Arirang, as living heritage, up till the present day has undergone continuous developments, always reflecting the history of the Korean people. Under Japanese colonial rule, for instance, Arirang was widely sung as it reflected the distress about national ruin and the people’s spirit of resistance. In recent days such modern versions as “Arirang of Reunification” and “Arirang of Great Prosperity” have been produced reflecting the realities of our time.

North Korea 2014

Kimchi is a vegetable dish which is made by seasoning various vegetables or wild edible greens with spices, fruits, meat, fish or fermented seafood before undergoing lactic fermentation. In this course, tastes of the ingredients blend well producing a unique flavour. The tradition of Kimchi-making dates back to the 10th century and it has hundreds of variants. As rice typifies the staple food of the Koreans, so does Kimchi, the Korean’s side dish. It is served not only at every meal but also on special occasions such as weddings, holidays, birthday parties and memorial services for the deceased as well as state banquets. The daily consumption of Kimchi by Koreans is great in amount. Each Kimchi variant differs in ingredients and recipes according to seasons and localities. It has remarkable nutrition values as well. Koreans take it for granted that they help each other in Kimchi-making among neighbours, relatives or workplace colleagues. In this practice they boast their Kimchi, give advices on skills and congratulate each other on their successful Kimchi-making.

North Korea 2015

Falconry is the traditional art and practice of keeping, training and flying falcons to take quarry in its natural state, and has been practised for more than 4000 years. It is one of the oldest relationships between human and bird. It probably evolved in the steppes of Asia, and spread via cultural and trade links to other countries, first to Europe, North Africa and East Asia and later in the 16th century to the rest of the world. The practice of falconry in early and medieval periods of history is documented in many parts of the world. The falcon and her prey have evolved together over millions of years; their interaction is an age-old drama. The falconer’s task is to bring the actors together on nature’s stage. Falconry as intangible cultural heritage is integrated into communities as a social recreational practice and a means of connecting with nature. Originally a way of obtaining food, falconry has acquired other values over the centuries, and is identified with camaraderie, sharing, and expressions of freedom. Nowadays falconry is practised by people of all ages in local communities in more than eighty countries. Falconry expresses itself in multiple cultural domains, in particular ‘social practices, rituals and festive events’, as well as ‘knowledge and practices concerning nature and the universe’. These include traditional skills, traditional knowledge about the biology and behaviour of birds and the environment, the making of traditional falconry equipment, as well as linguistic and artistic expressions found in idioms, painting, sculpture, poetry, rituals and music. Falconry has its own set of culturally-shaped traditions and ethics; while falconers come from different backgrounds, they share universal values, traditions and practices. Falconry is transmitted from generation to generation as a cultural tradition by a variety of means, such as mentoring, learning within families, or formalized training in clubs and schools. The process of transmitting falconry heritage activates not only the historical memory of the falconry community but also enriches its cultural identity. In recent times falconry has seen a renaissance. Falconry provides modern man with links to nature and strengthens local identities. It is an important cultural symbol in many countries. The modern practice of falconry aims at safeguarding not only falcons, quarry, and habitats but also the practice itself as a living cultural tradition.

United Arab Emirates,Austria,Belgium,Czech Republic,Germany,Spain,France,Hungary,Italy,South Korea,Kazakhstan,Morocco,Mongolia,Pakistan,Portugal,Qatar,Saudi Arabia,Syria 2016

Chinese calligraphy is an artistic practice that, while fulfilling the practical function of information exchange through writing Chinese characters with brushes, ink, and paper as the main tools and materials, conveys human contemplation of nature, society and life and thus reflects the unique character, spirit, temperament, interest, and philosophy of the Chinese people through special graphic symbols and writing rhythms. Along with the appearance and evolution of Chinese characters, Chinese calligraphy has developed for more than 3,000 years and become a symbol of Chinese culture. In its development, calligraphy has developed a complete set of theories and skills. The art has enjoyed orderly propagation and continuous development through personal instruction and documented records, and presented distinct features in correspondence the change of time and alteration of tools and materials. Chinese history has produced a large number of prestigious calligraphers, such as Wang Xizhi (303-361 A.D.), Yan Zhenqing (709-785 A.D.), and Su Shi (1037-1101 A.D.).

China 2009

Inscribed in 2014 (9.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nongak is a fusion performing art genre that combines a percussion ensemble (with occasional use of wind instruments), parading, dancing, drama, and acrobatic feats. It has been practiced for various purposes, such as appeasing gods, chasing evil spirits and seeking blessings, praying for a rich harvest in spring, celebrating the harvest at autumn festivals, fund-raising for community projects, and professional entertainment. Any joyful community event was never complete without uproarious music and dance performed by the local band clad in colorful costumes. The resultant ecstatic excitement (sinmyeong) is often defined as a preeminent emotional characteristic of Korean people. The music frequently uses uneven beats of complex structures like simple three-time, compound time, and simple and compound time. Small hand-held gongs and hourglass drums, with their metal and leather sounds, play the main beats, while large gongs and barrel drums create simple rhythmic accents. The small hand-held drum players focus more on dancing than playing music. Dancing includes individual skill demonstrations, choreographic formations, and streamer dances. Actors wearing masks and peculiar outfits perform funny skits. Acrobatics include dish spinning and miming antics by child dancers carried on the shoulders of adult performers. Nongak was most often performed and enjoyed by grassroots people, but there were also professional groups putting on entertainment shows. In recent years, professional repertoires have evolved into the percussion quartet “Samul Nori” and the non-verbal theatrical show “Nanta,” dramatically emphasizing the music element and thereby appealing to broader audiences at home and from abroad.

South Korea 2014

Farmers’ dance of China’s Korean ethnic group is a performing art danced at seasonal rites and festivals. It is one of the most representative artistic performances of the Korean ethnic group. It is also a symbolic artistic form showing nationality identity. The team leader waves a flag reading “farming, the root of the world”. Players with musical instruments of suona horns, small gongs, bell-shaped gongs, long drums, round drums and hand drums will play the instruments while dancing. They are accompanied by masked or unmasked farcical clowning dancers. Farmers’ dance is usually acted out in villages and fields. Farmers’ dance is closely associated with farming sacrifice ceremony. Before acting out the dance, players will hold a ceremony treading God of Land and sacrificing, to show respect to nature and pray for happiness and luck. Since it is generated in farming activities, farmers’ dance imitates manual labor with shrugging acts and walking field ridges. Farmers’ dance is widely known in the Korean ethnic group. People largely learn basic dancing skills through family influences and neighborhood exchanges. But to master superb dancing skills and music performances, players have to formally acknowledge seniors as teachers. Farmers’ dance art has been inherited under the mouth-heart teaching method. Players of lofty skills are highly respected and enjoy unusual prestige in communities. This plays a crucial role in passing along the art for generations. To date, people of Korean nationality in Wangqing County, Antu County, Helong City, Longjing City, Huichun City, Tumen City and Yanji City under Yanbian Korean Autonomous Prefecture, Wangqing County Farmers’ Dance Protection Development Association, China Korean Nationality Folk Protection Development Association, and 52 spreaders like Jin Mingchun are committing themselves to protecting and passing on farmers’ dance. The art has been handed down for six generations. Players spread from farmers to people of all walks in cities, enterprises and schools. Starting from the Korean Peninsula, farmers’ dance was introduced to China by Korean immigrants at the end of the 19th century. It has been innovated and improved in new environments by means of integrating agricultural production in high latitude areas and multi-ethnic group customs. Influenced by Han ethnic culture, “elephant caps” replace previous black cloth with red silk fabrics. Clustered waving belt is processed into two layers from the original single layer. “Elephant caps” are developed from original two varieties to current short, medium and long ones. Long “elephant cap” color belt is continually extended to amount to maximum 28 meters. Tossing “elephant cap” develops from “flat tossing” and “left-to-right tossing” to “vertical tossing” and “shaking dews”. Players also create “crossing circle skill” and “three-color-belt tossing skill”. As regards music, original four musical instruments are expanded to collaboration of wind instruments and stringed instruments. Women are admitted to play musical instruments, compared with previous whole-colored men players. All these contribute to cultivate Korean ethnic farmers’ dance of striking Chinese characteristics. Farmers’ dance is a product of arduous labor and wisdom of the Korean ethnic group over a long period of time. People of the Korean ethnic communities have realized it is their historic duty to carry forward farmers’ dance. So far, farmers’ dance groups of various sizes have spread all over villages of Korean ethnic groups. Most residential quarters and schools in Yanbian prefecture have also set up all sorts of farmers’ dance performance teams. Farmers’ dance teams, traditionally of 30 people each, will act on folk-custom festivals. One site will accommodate a number of teams at the same time. Farmers’ dance music, dance skills and players have been collected in Complete Works of China Folk Dance. Piao Yongguang, a famous scholar, has bought farmers’ dance into History of Korean Dance, furnishing theoretical basis for studying Korean history and ethnic features.

China 2009