Chun-di-ru is an indigenous song of Choekhorling community that is revered as part of the cultural identity of the south-eastern Bhutanese community. Oral tradition traces the practice to the establishment of monarchy system in Bhutan. Since the content of the lyrics praises he ornaments worn by Azhi (Queen) Sonam Tshotsho. Sources recollect that the song was said to originate from either Bumthang or Trongsa, then the capital city of Bhutan in early 1900s. The song is similar to a Zhung-dra (an indigenous folk song) which is normally danced in a standing position with women forming a single row, though men can also participate in the dance if they choose. While there is no specific platform to showcase the song, locals say it is performed in all community ceremonies as well as for visiting guests. The song had been neither documented nor the lyrics written down until recently. The tradition has been transmitted orally, making it an endangered cultural element since elders have witnessed youth paying less interest and rarely participating. The song is listed as a performing art. Chondi-ru is one of few indigenous songs that represents and identity of Choekhorling community within Choekhorling Gewog (block), Nganglam Dungkhag, in Pemagatshel Dzongkhag (district) of southeast Bhutan. The song has a historical connection passed down as orally from forefathers to the present generation. According to oral accounts, the song originated from Bumthang or Trongsa during the First King Ugyen Wangchuck’s reign. Supposedly, the song composed by Armo (maid) Her Majesty’s attendant who offered her baby to Her Majesty by praising her splendid ornaments she was wearing. Since then, the song was preformed and sung widely by the attendants, as well as by business men and commoners. Tax collectors and traders are assumed to have carried the existence of the song and its performance to communities. The song has since completely disappeared from folk recollections of Bumthang and Trongsa. Judging by the song’s lyric and comparing it to other songs of various nearby communities: of Trashigang district and Martshala under Samdrub Chholing Dungkhag, Samdrupjongkhar district; the Chundri-ru lyric has a mixture of classical Bhutanese language Dzongkha, and some typical Tshangla language terms used for ornaments, the tune is quite distinctive as well. Besides the Chundi-ru song, there are also a few old songs which fall under the classification of Boe-dra (folk song) and Zhung-dra (the indigenous folk song) of spiritual, enjoyment, praise and romantic content.

This element was inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2001) The Jongmyo Shrine in Seoul is the setting for a Confucian ritual dedicated to the ancestors of the Joseon dynasty (14th to the 19th century) that encompasses song, dance and music. The ritual is practised once a year on the first Sunday in May and is organized by the descendants of the royal family. It offers a unique example of a Confucian ritual, which is no longer celebrated in China. The tradition is inspired by classical Chinese texts concerning the cult of ancestors and the notion of filial piety. It also includes a prayer for the eternal peace of the ancestors’ spirits in a shrine conceived as their spiritual resting place. The order of the ceremony was defined in the fifteenth century and most elements have remained unchanged until today. During the rite, the priests, dressed in ritual costume with a crown for the king and diadems for the others, make offerings of food and wine in ritual vessels. The Jongmyo Jerye is music played to accompany the rituals and is performed on traditional instruments, such as gongs, bells, lutes, zithers and flutes. The dances are performed by 64 dancers in 8 lines representing the opposing yet complementary forces of Yin and Yang as set out in the Confucian texts.The Munmu dance, accompanied by the harmonious and soothing Botaepyong music, is characterized by a first step to the left. While the Munmu dance symbolizes the force of the Yang, the Mumu dance, accompanied by Jeongdaeeop music and characterized by a movement to the right, represents the force of the Yin. The ancestral ritual is nowadays often considered to be devoid of meaning, especially in the context of the growing importance of Christianity. However, the ritual and its music are protected through the National List of Intangible Heritage and the 1982 Law for the Protection of Cultural Property.

South Korea 2008

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

"Lacquer" is a material composed of resin from (Kreol Tree), the last resin, water resin, and ash palm leave. That is why we sometimes hear the composition called "Mareak lacquer". Lacquer has been used since ancient times, as there are sculptures and inscriptions describing the use of this lacquer. For example, temple inscriptions. Kork Poti (K, 814), the inscription in Kampong Thom (K. 444), and the inscription of Prasat Chi Kreng (K. 168). Apart from being used for painting luxury and auspicious objects such as “Tork” wooden or golden plate used for holding valuable objects, “Tang Rong” wedding boxes, betel nut and leave boxes, and other everyday items, lacquers are also used to decorate crowns and masks for royal ballet and Lakhon Khol. That is why to this day, although the decoration on the mask of the dance is not made of lacquer, it is still called "mask lacquer". In general, the lacquer masks that are produced often have a giant mask, monkey masks, Ey sei masks, Ream masks, Preah Leak masks, or other animal masks, all of which are used in classical and Khol dance. According to the traditional method, in order to get the mask for the dancer, the clay is first kneaded into the desired shape, then applied glue on paper one layer at a time until another layer is thick enough. Next, left it to dry before removing the sample. However, this type of lacquer can only be used once or twice because the clay mold is easily damaged. After 1960, Mr. On Sok, a professor of "Khmok-Smach" at the School of Fine Arts, came up with the idea of making a mold from cement that can be used for a longer period than the one made of clay. When the mask sample is dried, you need to start gluing paper on it, but before gluing you need to soak the mask with water first to make it easier to peel off. Then use a piece of parchment paper to cover the mask and crumble another paper to glue on it with 10 layers but if the mask is small, it will be glued only 6 layers. The glue known as (Bay Marn is made by cooking rice flour with water). Let the mask dry before peeling, gluing, and sewing. When the mask is completely dried, start drawing ornament details of the mask such as Kbang, crown, ears or called (Jhon Trojeak) all of which are made by the lacquer. To make it you will need to boil Mareak resin, last resin, water resin and ash palm leave together then pour it into Kbach mold and let it cool before using it to glue on the mask. Then apply a layer of tan paint before applying gold foil on the lacquer. In the past, the molds were carved on marble, but later wax was added and cemented instead. The next step is to paint the mask according to the characters and then use a small brush to cut the strands into eyebrows, mustache, ears, and neck. Lastly, holes are pierced in the eyes and nostrils for the performer to see and breathe. Nowadays, traditional mask lacquer making is very rare as raw materials are becoming more and more difficult to find, and lacquer masks are sold at high prices, making it difficult for artists to buy and use them. Therefore, most of the dances that artists wear today are paper ornaments instead of lacquer.

Classical lyric woman dance.

Tanovar is a classical Uzbek national dance that embodies grace, rhythm, and deep emotional expression. Originating in Central Asia, particularly in Bukhara, Samarkand, and Tashkent, Tanovar is one of the most cherished traditional dances of Uzbekistan. Its elegant hand movements, soft footwork, and expressive gestures are performed to melodic music of the same name, often composed in slow 6/8 rhythm. The dance reflects themes of love, dignity, nature, and female beauty, often performed solo by women but also taught and adapted for group or stage performances. Tanovar is recognized for its symbolic gestures that convey inner emotion and storytelling without words. The preservation of Tanovar includes teaching in dance schools, cultural centers, informal community circles, and professional ensembles. It is regularly featured in national festivals, cultural days, and international performances, symbolizing Uzbekistan’s rich heritage and refined artistry.

Robam Art is a type of classical, folk dance drama with a creative Khmer character, performed in community cultural activities or festivals. Robam Art was born, closely associated with community life, reflecting the reality of the social life of the Khmer people at that time. Therefore, through it, we can also understand part of the social history of the Mekong Delta in general and the Khmer people here in particular. Robam Art is a unique traditional art form of the Khmer people in Tra Vinh, a form of dance, singing combined with acting. Robam uses body language, combining traditional dance, singing and the art of masking to depict "old stories", revolving around myths, legends, history... Besides good characters such as: kings, princes, princesses... and evil characters (wearing masks) typically the ogre, there is also a clown role to create laughter, making the stage more fun. Robam Art with its unique features hidden in dances and masks, often ends with good triumphing over evil, good always triumphing over evil, guiding people to Truth - Goodness - Beauty. Robam Art is the result of intellectual activities, a unique creation of the Khmer people in the South. Robam Art has an indispensable important position in the spiritual life of the Khmer people in the past. It both serves the need for entertainment and has profound philosophical and educational values, thus having a significant impact on the formation and development of personality, soul, national character and cultural behavior of the Khmer community. In 2017, the Robam Art of the Khmer people in Tra Vinh province was recognized by the Ministry of Culture, Sports and Tourism, included in the List of National Intangible Cultural Heritage, belonging to the category of Folk Performing Arts.

“Bassac Theatre” Originally known as “Treung Khlok” Theatre, it originated in Kampuchea Krom Bassac District, Preah Trapeang Province (now under Vietnamese rule). Bassac troupe originally formed by the chief of Khsach Kandal pagoda (Kampuchea Krom) names of Sour and Lok Ta Cha Krun, as well as his students, Kru Kmoa, Kru Korn, and Kru Khla. During the 1930s, Lok Ta Cha Krun brought the Trung Khlok theatre to perform in Phnom Penh and other provinces along the Bassac River. The theatre also quickly gained popularity in Phnom Penh. At first, it was called "Theatre from Bassac District", then later abbreviated as "Bassac Theatre" and is still named today. Bassac theatre is performed in both speaking and singing and accompanied by the Bassac music. The theater genre is influenced by Chinese and Vietnamese operas. The female characters (princesses or goddesses) dress similarly to the characters in classical dance. The male characters (kings, gods, or giants) dress similarly to the male characters in Chinese or Vietnamese operas. But today, the male characters’ costume is also similar to the costumes of the actors in the classical dance, except that the giant characters still wear the same costume as before. The stage is often decorated with paintings of temples or artificial mountains. Bassac theatre often features artistic legends. Performances include sword fighting, stick fighting, or other martial arts or battle scenes. The songs are both traditional and modern. During the 1960s, the Bassac Theatre gained immense popularity. There were two famous characters that almost all Khmer people at that time knew until he was named the King and the Queen of Bassac, Lok Ta Saing Sarun and Lok Year Chek Mach. Nowadays, Bassac is included in the curriculum of the Secondary School of Fine Arts. Famous Bassac theatre teachers who have passed away, including Lok Ta Saing Sarun, Lok Year Chek Mach, Mrs. Un Wang, Mr. Sous Kanan, Ouk Si Phally, John (Battambang), Tapov, Tork Khmao, Em Samphon and Kru nhoun (Outstanding Tror musician).

Classical dance that is played with similar to Shashmakam melodies. This dance consists of three parts and is danced by men and women.

Renowned for its graceful hand gestures and stunning costumes, the Royal Ballet of Cambodia, also known as Khmer Classical Dance, has been closely associated with the Khmer court for over one thousand years. Performances would traditionally accompany royal ceremonies and observances such as coronations, marriages, funerals or Khmer holidays. This art form, which narrowly escaped annihilation in the 1970s, is cherished by many Cambodians. Infused with a sacred and symbolic role, the dance embodies the traditional values of refinement, respect and spirituality. Its repertory perpetuates the legends associated with the origins of the Khmer people. Consequently, Cambodians have long esteemed this tradition as the emblem of Khmer culture. Four distinct character types exist in the classical repertory: Neang the woman, Neayrong the man, Yeak the giant, and Sva the monkey. Each possesses distinctive colours, costumes, makeup and masks. The gestures and poses, mastered by the dancers only after years of intensive training, evoke the gamut of human emotions, from fear and rage to love and joy. An orchestra accompanies the dance, and a female chorus provides a running commentary on the plot, highlighting the emotions mimed by the dancers, who were considered the kings’ messengers to the gods and to the ancestors.

Cambodia 2008