Inscribed in 2015 (10.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Tugging rituals and games of Vietnam have different characteristics, meanings and rules. The element is held as part of village festivals in Spring, a form for communities to pray for abundant harvests and prosperity, marking the start of a new agricultural cycle. Tugging game symbolizes the power of natural forces like the sun, water source that influence the harvests. In some localities, tugging game is associated with the legends of worshiped heroes for their merit in reclaiming the land, fighting against foreign invaders, protecting prosperous life of the people. It is usually held at the communal houses or temples after the rirual of commemoration of local guardian deities finished. The material used for tugging varies from region to region, reflecting the ecological and cultural context of each community, it can be made of bamboo, rattan stems, or ropes. The procedure for selecting teams or players is in accordance to the ritual rules, and the winning or losing team is regulated by customs to express certain religious meanings and the harmony of nature. Nowadays, tugging rituals and games are popularly known as a folk game that is entertaining, sporty and collective.

Cambodia,South Korea,Philippines,Viet Nam 2015

The Sbek Thom is a Khmer shadow theatre featuring two metre high, non-articulated puppets made of leather openwork. Dating from before the Angkorian period, the Sbek Thom, along with the Royal Ballet and mask theatre, is considered sacred. Dedicated to the divinities, performances could only take place on specific occasions three or four times a year, such as the Khmer New Year, the King’s birthday or the veneration of famous people. After the fall of Angkor in the fifteenth century, the shadow theatre evolved beyond a ritualistic activity to become an artistic form, while retaining its ceremonial dimension. The puppets are made from a single piece of leather in a special ceremony for each character representing gods and deities. The hides are dyed with a solution made from the bark of the Kandaol tree. The artisan draws the desired figure on the tanned hide, then cuts it out and paints it before attaching it to two bamboo sticks enabling the dancer to control the puppet. The performances traditionally take place at night outdoors beside a rice-field or pagoda. A large white backdrop is held between two tall bamboo screens in front of a large fire or, nowadays, projectors. The shadows of the puppet’s silhouettes are projected onto the white screen. The animators bring the puppets to life with precise and specific dance steps. The performance is accompanied by an orchestra and two narrators. Inspired from the Reamker, the Khmer version of the Ramayana, the performances stage scenes of this epic, which may last several nights and require up to 160 puppets for a single presentation.

Cambodia 2008

Chapei Dang Veng (hereafter Chapei) is a popular musical tradition found in Cambodian society. The singing of Chapei is accompanied by a long necked lute Chapei from which the tradition takes its name. Chapei is closely interwoven with the life, traditional customs and beliefs of the Cambodian people. The instrument itself is used in two eminent ancient ensembles,'Pleng Araek' (Spirit Music) and 'Pleng Kar Boran' (Traditional Wedding Music) both of which are endangered forms themselves. Chapei performers are generally male, although there are no restrictions regarding gender or social class. Chapei players are not only musically adept, but also witty, intelligent, and quick to adapt and improvise. They should be well-versed in language, literature, and poetry, and a good story teller. From 1975 to 1979, the Khmer Rouge regime systematically annihilated and destroyed any form of intellectual activity including traditional arts. As a result many traditions such as Chapei disappeared from the scene together with the people performing them. Only two grand masters of Chapei survived this gruesome period and together with some other masters and their students are trying to revive the art form today.

Cambodia 2016

Kun Lbokator is an ancient Khmer martial arts dating back to at least the Angkorian period, which aims to inculcate and develop mental and physical strength and discipline in its practitioners, by mastering self-defense techniques, while promoting the philosophy of non-violence. It is characterized and distinguished not only a martial arts form but also embodies a certain cultural aspect. For instance, the rituals and social practices observed in Kun Lbokator require that the practitioner possesses knowledge about nature and the universe. Practitioners are required to train and master striking and defense techniques relying on their bare arms and legs, and only once a student can demonstrate proficiency is weapons training introduced. Another essential aspect of Kun Lbokator is that it is to be practiced with an ensemble of elements including dance, music, natural medicine, sacred objects and/or amulets, tattoos, and weapons. Masters play a crucial role in the performing aspect of Kun Lbokator because they serve as mediators between the apprentices and the guardian spirits, and thus are responsible for introducing new apprentices to them and the surrounding nature, asking for the apprentices’ protection and safety in training. In return, practitioners are required to show respect to others and take a pledge to become good citizens. Presently, Kun Lbokator is still actively performed as part of ritual offerings to local protective deities, Neak Ta as well as in other festive events. Kun Lbokator is an intangible tradition widely practiced among Cambodians, regardless of their age, gender and educational backgrounds or statuses.

Cambodia 2022

"Ayai" is a popular art form that entertains audiences through dancing, singing and joke. Most Ayai singers have been ordained (Buddhist monks) or well-rounded individuals. They are eloquent with words, have a good sense of humor, fast learners who can memorize a long storyline and are flexible. They have to unexpectedly create lyrics to suit the context of the ceremony or event. There are two types of Ayai: Ayai Chhlang Chler and Ayai Reoung. Ayai Chhlang Chler performed as duel, a man and a woman pitching their wits against each other through singing, and dancing humorously. The lyrics can be sung according to the knowledge and talent of the artist in education, social issues, poems, legends, fairy tales and other stories. Whereas Ayai Reoung is a type of performance which performers follow a storyline, long or short. The story that is brought to perform, whether it is a fairy tale or a modern written story, is mostly a funny one. The performance also includes dancing, singing, and challenging with or to their performance partner, just like Ayai Chhlang Chler. The accompaniment of Ayay is called "Ayay ensemble", which includes instruments such as: Tro Ou, Tro Duong Toch (or Troso), Khim, Krapeu (Tak Ke or Tak), flute, ching and rounded earth drum. There are around 15 music used in this Ayay orchestra and those are: Hom Rong, Kanseng Krahom, Ayay worship song, Bampey klay song, Tan Chao song, Dil La song, Soy Sangvar song, Sen Sranoh song, Chab Chhay song, Yil Yog song, Teka Mong song, bird walking on the ground song and hunter Prey or Chao Phim song.

" Khsae Mouy or one string" is a kind of musical instrument that can be played solo or as part of other traditional music ensemble such as Arak and Pleng Kar orchestra like chapei Dang Veng. This string instrument is a sound box made of ripe gourd fruit (round gourd type) made of wood, about 0.80 m long, and has a string made of copper wire. A string has a beautiful sound. When playing, they meet the gourd shell to the chest and fasten the rope with copper nails worn on her left finger. A string is an old fire instrument, as can be seen in the carvings of ancient temples such as the Bayon Temple. In addition to accompanying a stringed song, you can also accompany chanting and story narration, as well as interact with a partner who is also a stringed player or with a Chapei Dang Veng player. Like the Chapei singer, the one who plays and sings Khsae Mouy used to be a venerated, learned to understand the Dharma and literature deeply and very wise. During the 1940s, one of the most famous and prominent stringed performers and singers was Phirum Pheasa Ouk Ou, also known as Ngoy, who used to perform dharma instruction to instruct the villagers with a stringed instrument and long chapei. His name became famous until the King gave him the title of "Phirumpeasa". Mr. Phirum Phasa has another well-known correspondent, Grandpa Chumtob sun. Nowadays, this string instrument has been incorporated into the curriculum of the Secondary School of Fine Arts.

“Poal Srei" is a type of theatre that wears a mask like a male masked theatre, but the performers are all women, even male characters, giants and monkeys. Male masked theatre has a separate group of narrators whereas female masked theatre, the performers take turns to narrate. Characters with faces masks are giants, monkey’s role, etc. When telling the story, the performers have to push their faces mask up a bit. The technical term in this form is often called "sing oneself, dance oneself". The costumes and jewelry are as luxurious as the Royal Theater. The music that accompanies the female masked theater is Pin Peat music.

It is believed that "Pin Peat music" is a combination of two groups of music, "Pen band" and "Peat Korng band". Pen is derived from the Sansakrit word “Vina”, an ancient Khmer word written “ven or vin”, Pen is a stringed instrument that uses fingers for triggering or strumming. The word Ven or vin is found in inscriptions (inscription No. K. 600, inscription in 611 CE, inscription of Preah Ko temple, inscription K. 315, inscription in 879 CE, and inscription of Preah Enkosei temple). No. K. 263 (D) inscribed in AD 984, etc.) and on the carvings of Sambor Prei Kuk (7th century AD) as well as on the walls of Angkor Wat (12th century) and Bayon temple (13th century AD) and so on. The "Peat" or full "Pat Kong" is a type of percussion instrument using a long with 8 or 9. Peat Korng is found in the inscription Nokor Wat IMA.36 inscriptions in the 16th century. Of the gallery of Angkor Wat temple. The pagoda is still in use today in Kork Ta Chan village, Kork Chak commune, Siem Reap district, Siem Reap province. To this day, even though in Pin Peat orchestra, Pen and Peat Korng are no longer found, People still call the orchestra as "Pin Peat”. Based on observation, in today's Pin Peat orchestra, there are instruments such as: Roneat Ek, Roneath Thoung, Roneath Thong or Ronat Dek, small gong, big gong, a pair of strings (small and large strings), a pair of big drums and ching. . As for the Pin Peat orchestra, the small orchestra has instruments such as: Roneat Ek, the big gong, the strings and a pair of big drums.

"Arak" refers to inhuman, ghosts, demons, monsters that come to occupy or look after people, known as, "Protector." Traditionally, when there is a disaster in the village or district, such as drought and others, the villagers hold a ceremony to cast the spirits who always take care of their village by Ban jorn arak or trance to inquire about all the reasons. In the demonic ritual (or some districts call it "memot"), "Pleng Arak " is played to invite spirits to come and comfort the spirits not to get angry. The special melodies and lyrics that are performed in this ceremony are often related to ghosts, with words that are sarcastic, comforting, or exhilarating according to the characteristics of each ghost that enters. Nowadays, it is observed that in the Arak music troupe, there are musical instruments such as: 1 Tro khmer (or three-stringed Tro) 1, 1 Tro Ou (two-stringed Tro), 1 Pey (or Pey Or), 1 long chapei, 1 string or single 1, Pei Pok 1 and 4 devil drums. According to the classical music teacher, the old devil music has less equipment, there is one Khmer Tro, one string, one long chapei, one Pei Or and two arak drums.

"Khmer wedding music ensemble", has exactly the same music instrument as Arak ensemble, except that the number of drums is reduced from 4 (in the Arak orchestra) to 2 (in the wedding music orchestra). The music is for wedding receptions. Khmer wedding music consists of instruments such as: Tro Khmer 1, Tro Ou 1, Pey 1, Chapey Dang Vong 1, a string or solo music 1, Pei Pok 1, Ching 1 and the devil drum (or Dey drum) 2. But nowadays, wedding music has changed a lot, as most people mistakenly use instruments from "Ayai ensemble" to perform in the Wedding music ensemble which confuses the public (see page 45). Thus, for some people today modern wedding music ensemble consisted of the instruments such as: 1 Tro Ou, 1 Tro Doung (1 key), 1 small khim, 1 crocodile (Takke or Take), 1 Dey drum, 1 flute and 1 ching. The music teachers who are still remembered are: Teacher Meng Hun at the Department of Performing Arts (deceased), Teacher Yem Saing, Royal University of Fine Arts, Teacher San, Kandal Province, Teacher Sambo, Svay Rieng Province, Teacher Kem, Takeo Province.

"Pleng Mahoari" is for accompanying traditional dances, Mahoari plays, Pramochtey plays and other entertaining ceremonies. The melody is light, full of emotion, soft, passionate, and emotional. When singing, some instruments are paused and one or two songs are sung and then repeated once or twice. Based on research, there are more than 600 different melodies. Some of the Mahoari instruments are the same as the Pin Peat instruments. Mahoari music can be divided into 3 types: ordinary (or original) music, Mohoari Chneay or newly creative Mohoari and Mohoari Preah Reach Troub or Royal Mohoari. These three types of Mahoari music ensembles have some different instruments. Typical Mahoari music consists of instruments such as: Roneat Ek, Roneath Thong, Crocodile (Take), Flute, Tro Ou, Tro Duong (Tro So), Tro Chhao, Drum Thorn-Romnea, Ching. Mahoari Chneay or new composed Mohoari is a combination of classic western music instruments such as: violin, guitar, bongo alto, small ammonium, large ammonium, antifouling. For Mohoari Preah Reach Troub or Royal Mohoari Music ensemble has up to 14 instruments such as: Raneath Ek, Roneath Thong, Kong Vong Toch, Kong Vong Thom, Tro Khmer, Tro Ou, Tro Chhe, Flute, Chapei Dang Veng, Krapeu Ek, Krapeu Thong, Krab, Ching, Drum Thon-Romnea. The musicians and singers who are still remembered: Teacher Sek Poy (deceased), Teacher Meng Hun(deceased), Teacher Thuk Phan(deceased), Teacher Phi Pheoun (deceased), Teacher Yem Sem (deceased), Teacher Horm Nom (deceased), Teacher Sin Sisamouth (deceased), Teacher Sos Mat (deceased), Teacher Eb Chea, Teacher Yim Saing, Teacher Bun Chhom, Teacher Mao Poeung, Teacher Sangha Khon, Teacher Dek Khim, Ms. Samrith, Ms. Tong (Sophon Neary / Sophany).

"Pleng Klong Khek" is played for the dead body procession to cremation, accompanied by the Khmer boxing match, the procession of Buddha statues, the procession of candles, the procession of the King's wedding, etc. The Klong Khek music instrument consists of Sralai Chang 1 (mouth wide like a morning glory flower), double-faced drum (or sangna) and drums (or winning drum) may be more or less depending on the status of the corpse or ceremony. For ordinary people, there are two winning drums. If playing for the corpse of a prince, princess or civil servant with merit, the number of drums must be four, six, or eight, depending on the position and status. In the procession of the Buddha, the procession of candles, the procession of the royal wedding, and the procession to bury the ashes, they play the song "Tinaing" and use only one string and two double drums. As for the boxing match, they often use the song "Yon" when the player is commemorating the boxing teacher and the following songs to accompany the players during the match, such as banana peeling, crying owl, wrestling, and rabbit breaking legs. In such a program, usually, only one string and two winning drums can be used.