One of the traditional theater and folk circus. The group of clowns consisted of 4-5 people. They performed in celebrations, bazaars and holidays.

Spectacular art is ancient form of folk theatre. Its roots are to be found in the shows of tribal times. It existed before and can be seen now, and it embodies and reflects themes in folk life. Notably, the word "oyin" ("game", 'dance") has been long associated with this art for. Almost all types and forms of professional folk spectacular arts (such as performances and shows by maskharaboz, qiziqchi (actors, clowns), raqqos (dancers), dorboz (rope walkers), nayrangboz (illuzionists), mullakchi (acrobats), chavandoz (horsemen), yogoch oyoq (stilt walkers), ayiq, echki, ilon, maymun oynatish (tamers of bears, goats, monkeys and snakes), askiyaboz (wisecrackers), qogirchoqboz (puppeteers)) were called with a single word – "oyin", while their performers – "oyinchi" (the ones, who perform this activity).

The practice of Bon traditions was widespread in Bhutan long before the arrival of Buddhism, and it retains influence in Tshapey village. Previously people practiced animal sacrifice and had faith in nature. With the advent of Buddhism in the country, many elements of Bon dissipated even as Bon rituals continued. Taking on a fusion of Buddhism and aspects of Bon, this became known as Bo-kar, white Bon. This especially allowed Bon rituals to be performed without sacrificing human lives. Den-zha, a local festival in the village of Tshapey, is one of many such Bo-kar practices. This festival is about appeasing Ke-lha the deity of birth, or the local deity known as Nyep Dangnap, who is commonly worshipped as the protector of the Tshapey community. The deity's dark appearance is said to have given her the name Dang-nap, which is further exemplified by the deity's black mask that can be seen in the Lhakhang, temple, today. The Lhakhang, locally known as Haa Goenpa, or monastery. It is believed that the Goenpa was built on the spot where a dove miraculously landed. The dove is considered to be the Nob Denshap, heart emanation, of the Jowo image of Buddha Shakyamuni of Lhasa, Tibet. It is located about seven kilometers from the road. The most important Nangten, or relic, at the Lhakhang is a large statue of the Jowo Shakyamuni. It is said that any wishes or prayers made before the Jowo will come true. In earlier times, the Tshapey community took care of the Lhakhang, but in 1998 it was given to the Zhung Dratshang Central Monastic Body. It was severely damaged by an earthquake and renovated in 1992. Currently, eight people live in and around the Lhakhang - five Tshampa meditators, one Kunyer caretaker, and one Lopen or Lam the spiritual master. On this occasion, the members of the Tshapey community, including those who have moved away to other places, gather at the village Lhakhang to make Nyen-dhar monetary offerings. If they cannot come, they must come and make Shag-pa confession immediately after the festival period.

National Intangible Cultural Heritage, Republic of Korea Talchum (mask dance) was performed across the country up to the early Joseon Period (1392 – 1910). Gangnyeong Talchum (Mask Dance Drama of Gangneung) is a type of Sandae Dogamgeuk, which was performed at the Royal Palace. After the mask dance drama came to be no longer performed there by 1634 (the 12th year of King Injo’s reign), it was still enjoyed as a pastime by ordinary people. The Mask Dance Drama of Gangnyeong is performed on Dano (May 5 on the lunar calendar) in Gangnyeong-eup, Hwanghaenam-do, and dates perhaps from the late Joseon Period. The event is composed of seven acts, Lion Dance, Malttugi Dance, Mokjung Dance, Sangjwa Dance, Dance of the Nobleman and Malttugi, Dance of Chwibari and the Old Monk, and Dance of the Old Couple. Prior to the performance, the 20 members of the troupe march, playing music to entertain spectators along the road. The play includes satire about such issues as nobles harassing commoners, depraved monks, and male chauvinism as shown in the custom of allowing a man to take plural wives. Dance movements are slow. The main dance is Jangsamchum (Long Sleeve Dance). The rhythms used are dodeuri, taryeong, and jajin gutgeori. Thirty-plus types of narration are used, each of them using its unique rhythm. The parts concerning three brothers of a noble family talking about the essentials of the noble class or calling Malttugi, or Malttugi’s gag are similar to those of Ogwangdae (Mask Dance Drama) of Gyeongnam-do. The scene of an old female clown turning a spinning wheel is similar to that of Ogwangdae of Gasan. These similarities have a very important significance in the handing-down of mask dance in the country. Performers wearing masks displaying realistic facial expressions and engaging in elegant and slow dancing movements are features of Gangnyeong Talchum, which distinguish it from Bongsan Talchum, another kind of mask dance performed in Hwanghae-do.

Yike Theater is a typical folk performance art form of the Khmer people. Yike Theater was born in the Ba Sắc region of Sóc Trăng province with the great contributions of his ancestor Lý Cuôn. The theme is exploited from the treasure of Khmer folk literature. The stage and scenery are of the nature of a "gourd stage", and a landscape backdrop (available, can be pulled up and down). Basic dances such as military training, congratulations, good harvest, water invitation... Dance movements are divided into two character lines: the front line has poise and decisive movements (men) and graceful and soft movements (women); The villain line has exaggerated, fierce movements. The choreography has separate rules for different types of characters: people (13), python (02), and animals (01); individual choreography (04) and combat choreography (06). Music: the main musical instruments are strings and percussion, the most important being "trô u" (dip lute); Pinpet (pentatonic) orchestra. Music has its own characteristics, is methodical, has clear patterns and rules, and is used for each subject and character's personality. Songs and melodies: there are a total of 163 songs (tunes, including Lôm songs and Nô kô rek songs), of which 34 are traditional and official songs; The remaining songs are influenced by other art forms. The songs are divided into male and female voices, with specific characters such as hunters, fairies, male, female, and clown roles. The characteristic of Yike singing is that at the end of all the songs, there is a collective chant inside the stage. The art of makeup according to specific regulations shows the character's personality: bold, clear makeup (human - white, pink red; fox - red, black; fairy - blue). This is a combination of art forms from singing, dancing, music, martial arts, costumes, makeup, painting, and cuisine with unique characteristics of the community. Before performing, they worship the ancestors. The game exploits fairy tales and Khmer folk mythology.

"Trud" Dance is originated in rural communities and is now only found in Siem Reap and some villages of Battambang adjacent to Siem Reap. "Trud" in Sanskrit means “The act of cutting, detachment) The locals play this dance only during the Khmer New Year, in the sense of cutting off the old year to move on to the new year, as well as expelling evil spirits in order to get good fortune. However, during the dry season, this dance is also performed to pray for rainfall. In addition, the importance of playing this dance is to raise funds to build and repair communal infrastructures in the community, especially in the pagoda, which is not for personal gain. This dance can be joined by more or fewer dancers according to the preferences of the village or the number of volunteers. The equipment also depends on the number of dancers. The equipment is also doubled as the props and accompaniment to the dance. The complete Trud Dance can consist of instruments such as: Kanh Chhe (bamboo mast with bells on top), Changkrang Dombe, ChangKrang Rong, Sko Arak (hand drum), Bei Pok (flute), Tro Ou, Tro Sor (bowed strings) and Dang Santuch or Dang Doy (pulling bar of an ox cart) attached with an open bag for retrieving the donations. The main accessories for the Trud Dance are clown masks and crowns made of paper mache and lacquer, real deer and banteng antlers or artificial antlers made of paper mache, peacock feathers,s and fake long nails made of rattan. When performing, there are two or three priests leading the group and holding a fundraising bowl, and giving blessings to those who Donate. If it is played in rain asking ritual, the priest who leads the ceremony is called “Dangkhao”. The lyrics are not the same, it depends on the preference of the group or the village because some lyrics can be created immediately according to the actual situation in order to convince the donor to give more donations. But the interesting thing is that most of the "songs" contain 4 syllables in each line. 6 The following are some excerpts from the lyrics in the document of Samdech Preah Vanroth Iv Tuot, Chief of Monk from Battambang Province: Lyrics on arrival at the ceremonial ground I arrive outside your gate, calling out to you. My respected master Can I come inside? (Vocalizing) oh na neang na Can I come inside? Permit or not, Please let us know. We can come in or not, Please quickly tell us. (Vocalizing) oh na neang na Please quickly tell us. Fellow team! Fellow team! That the fire is lit Means that we are welcomed. (Vocalizing) oh na neang na Means that we are welcomed. Lyrics when asking for alms This Trud is not from here. This Trud is not from here. The master ordered us That we came here to play. (Vocalizing) oh na neang na That we came here to play. Big house with sculptures Stair steps made of silver Suiting his wealth (Vocalizing) oh na neang na sa ra mom bong. Lyrics when collecting the scattered alms Some hide, some throw, Some scoop up, Don’t talk, lads! Catch the money quietly (Vocalizing) Yeur chhai nao nao neang nan a na oun euy. Lyrics to bless the givers Fellow team! His silk and thread He gave us all We shall bless him. To have a son She weaves silk to bless regularly Officials He gave us all To get a mouthful for a daughter Soup for money. We bless him. Children as well. Sculpture land. Before performing, people prepare an offering for Lord Vishvakarman and the spirits of the land and nature. Then the priest ties holy thread to the wrists of the dancers and puts on the masks and horns for the performers. Mr. Pol Sam Oeun researched this dance in Battambang province and choreographed it as a performance on stage and performed for the first time by Mr. Meas Kok, who was the first singer to hold the Dang Santuch, and the following performers: Mr. Ros Lon, Mr. Meas Sam El, Ms. Mom Hoy, Mrs. Sieng Sivhun, Mrs. Kaing Steng, Mrs. Ok Leung, Mr. Hing Tim, Mr. Moeung Chandara, Mr. Kong Samith, Mr. Pen Lon, Mr. Put Lon, Mr. Suon Sareth, Mr. Eam Sean, Mr. Pen Yet. The dance ceased to be performed in 1975 and resumed in December 1979. Today, Trud Dance is very popular because during the period before the New Year. It is performed in government institutions, companies, or private houses to ward off evil spirits and bring prosperity.

Darshey is a traditional practice where a man holding a khadar (auspicious white scarf ) in his outstretched hands faces the seated crowd, and makes auspicious speeches at a ceremonial function, usually during religious and social occasions. (The origin of the tradition is attributed to Zhabdrung Ngawang Namgyal (1594-1651) when he introduced this practice during the consecration ceremony of Punakha Dzong in 1639.) The tradition, however, may vary slightly from village to village in the use of language and presentation such as making speeches decked with maxims or simply narratives. The worldly tradition of Darshey does not require to be sung like Gurma (Religious songs), Lu or Tsammo (Songs without choreographies) but is expressed more or less like a recitation. That is why a person may begin Darshey with the phrase such as ‘wo la so la …’ and end his speech by offering words of good wishes and aspirations such as ‘… let us pray that we see each other’s countenance again and again in future.’ Depending upon the talents and level of education, the performer applies poetic elegance in the speech; Darshey is usually performed during auspicious occasions. Atsara (masked clown) also makes similar speeches during Tshechus (Annual Mask Dance Festivals). Bhutan has a unique tradition of stressing on Tendrel (the independent arising of auspicious events). Any occasion or event has to begin and end on a positive and hopeful note. Whether it is house construction, marriage, promotion, or an important project, a ceremonial inauguration in the beginning and a well-wishing conclusion are very important social values. Thus, Darshey is an important item in any ceremonial programme. Darshey means narration of scarf, especially presented by an eloquent person to the guest of honour adding some melody in order to enhance the auspiciousness of the ceremony. It is an indigenous oral expression practiced all over Bhutan. Depending on the languages, dialects and cultures, Darshey is also called Legshey (elegant saying/narration of auspiciousness), Khashey (art of speech) and sometimes Nangwa drub (verbal approval). Unlike Gurma, Lu and Tsammo, Darshey has no complex melody, rather, it all depends on the tone and rhythm of the recitation. Regarding the lyrics, the reciter uses appropriate words to meet the occasion, mostly decorating these with similes and other literary flourishes. There are no specific lyrics for Darshey, and the elegance of the recitation depends on the literary and musical talents of the reciter. Moreover, there is great cultural diversity in Darshey, as the length, flow and rhythm of individual Darshey vary from village to village and dialect to dialect. However, Darshey normally starts right after the ceremonial ritual. When it is time to offer khadar to the guest of honour, presiding guest, or whoever else is being honoured, an eloquent speaker holds a silken scarf and begins the Darshey by saying “wo la so la” and concludes with well-wishing prayers and aspirations to the guest of honour and everyone gathered. Sadly, Darshey is slowly disappearing from our cultural landscape these days.

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.

Darshey is a traditional practice where a man holding a khadar (auspicious white scarf ) in his outstretched hands faces the seated crowd, and makes auspicious speeches at a ceremonial function, usually during religious and social occasions. (The origin of the tradition is attributed to Zhabdrung Ngawang Namgyal (1594-1651) when he introduced this practice during the consecration ceremony of Punakha Dzong in 1639.) The tradition, however, may vary slightly from village to village in the use of language and presentation such as making speeches decked with maxims or simply narratives. The worldly tradition of Darshey does not require to be sung like Gurma (Religious songs), Lu or Tsammo (Songs without choreographies) but is expressed more or less like a recitation. Darshey is usually performed during auspicious occasions. Atsara (masked clown) also makes similar speeches during Tshechus (Annual Mask Dance Festivals). Generally, ordinary people perceive Atsara as a comedian that appears during tshechus in the midst of mask dancers wearing a funny mask, usually holding a phallus and a rattle in his hands to entertain the audience. However, the word came from the Sanskrit term achāriya; a title attached to a great spiritual teacher, who can claim his place among the 84 Mahasiddhas, representing all those who have within one lifetime attained direct realisation of the Buddha’s teachings. Their appearance as clowns represents our ignorance through which we fail to see the ultimate truth. That is why our forefathers had regarded the senior atsaras as the embodiment of guardian deities and sublime beings. During such gatherings as tshechu all the dignitaries such as spiritual masters and monks, ministers, secretaries, merchants and the laities give them money as a mark of their appreciation. In return, the atsara also gives auspicious narration in the form of concluding words, which is a unique aspect of Bhutanese culture. Unfortunately, this good aspect of the atsara’s auspicious narration is now on the verge of disappearing.

The tradition-bearers of the element are communities in the three water-puppetry guilds of Bồ Dương Village (in Hồng Phong Commune, Ninh Giang District), An Liệt Village (in Thanh Hải Commune, Thanh Hà District) and Bùi Thượng Village (in Lê Lợi Commune, Gia Lộc District). Water puppetry is a form of amusement for villagers during village festivals. Performances often takes place in a small nhà trò or thủy đình stage in a pond at the village’s communal house. Performers submerge themselves in the water, behind a bamboo screen, to maneuver wooden puppets with poles and robes. A show often includes short playful scenes with various puppet characters, such as the Tễu clown, dragon, turtle, lion, snake, fish, dragon boat, and so on. Puppets are made of sung wood (cluster fig), meticulously sculptured and ornately decorated. The puppet’s base, attached with a manual mechanism that allows maneuvering underwater, is always heavier than the top so that it can float halfway without sinking. Music, rooted from North folk songs and chèo music is an important component. Popular excerpts and scenes are intro by Tễu, wrestling, fishing, dragon dance, the Eight Fairies, so on. In order to accommodate new audience tastes in contemporary life, water puppet artists create new scenes and excerpt with more sophisticated techniques.

"Yike" is a popular theater among the locals. In the past, there was a Yike group in most district village to perform at important festivals or events in the community. During each performance, locals, young and old, come from everywhere to watch the performance. Therefore, the famous Yike performer is loved and remembered by the people around him or her forever. If the story is sad, the audiences often shed tears with the story without realizing it. Yike can be performed in both traditional and modern themes. When performing traditional repertoires, some characters such as giants, monkeys, Ei Sei, and Tlok (clown) all wear face masks, while male characters (kings or Devadas) wear sharp crowns, and some female characters (princesses, angels) wear crowns and Kbangs (another kind of headdress). Costumes are also very luxurious and elegant. However, it would change to adapt the story’s context. Spoken word and singing are the communication medium for the theater genre. Performers usually have to sing live, but if the characters do not sing well, they can lip singing. The accompanying music is Yi Ke music with 3 to 13 drums and 1 Tror. Tror is for opening the song and for the vocals of both the choir and the soloist to match. As for Sralai, it is used only in the song "Jeut" in the opening ceremony. Before starting to play, they have to do an opening ceremony or dance for their masters/spirits.There is music, singing and dancing, with a Yike teacher playing the drums and singing the opening song. Today, in addition to the Ministry of Culture and Fine Arts, Yike remains in some provinces, such as Pursat, Kampot, Kampong Chhnang, Kampong Thom, Kampong Cham, and the most famous Yike troupe is in Takeo. Therefore, Yike theater can be different from one place to another. Today, Yike is included in the curriculum of the Secondary School of Fine Arts. Among the dramas performed in Yike theatre, "Tum Teav" is the most popular. The Yike performance of Tum Teav was first performed in 1967 at the Suramarit Theater. The well-known Yike teachers who passed away are Lok Ta Khi and Lok Ta Duong. The stories that were performed include: -\t"Tum Teav" was staged in 1967 by Professor Pich Tum Kravil Prof. Hang Thorn Hak and Prof. Chheng Phon -\t“Ah Neak Khak Kam” were staged in 1967 by Prof. Pich Tum Kravil and Prof. Vann Sunheng under the direction of Prof. Chheng Phon. -\t“Sovann Chankiri” staged in 1973 by Mr. Mom Soth -\t“Mak Theung” staged by Prof. Pich Tum Kravil, edited by Prof. Chheng Phon and Prof. Hang Thorn Hak. -\t“Loyal Commander” and “Oh! Ptei Srok Khmer” staged in 1973 under the direction of Mr. Reach Teng -\t"Hang Yun" was edited in 1994 by Mrs. Uy Lattavann -\t"Phka Sla Bei" was staged in 1995 by Mr. Mom Soth, Professor Pich Tum Kravil, Professor Hang Soth and Mr. Mao Keng. -\t"Tip Soda Chan" was staged in 1995 by Mr. Ieng Sithul and Mrs. Uy Lattavann under the direction of Professor Hang Soth, Professor Pich Tum Kravil and Mr. Mao Keng.

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Traditionally, the Namsadang troupes didn’t settle in one place but traveled around, performing their repertoire mostly for grassroots audiences. The only extant group today was originally based in a neighborhood near Cheongnyongsa, a Buddhist temple in Seoun-myeon, Anseong City, Gyeonggi-do Province. Until the early 20th century, this group traveled from village to village around the central district of Korea and sometimes farther to Manchuria in northeastern China. Through its active itinerant performances the group influenced folk entertainment, masked dance plays and seasonal games in various regions. The wandering entertainers lived on small earnings from their shows, usually staying in Buddhist temples. They sold amulets made by monks and donated part of their income to host temples. A Namsadang troupe needs some 40-50 male performers to present its full repertoire. Under the kkokdusoe, literally the “head actor”, the troupe has a planner (gombaengisoe), stage manager (ddeunsoe), actors (gayeol), apprentices (ppiri), elderly seniors (jeoseungpae), errand runners (jan simbureumkkun) and porters (deungjimkkun). They have a strict hierarchy and apprenticeship to hand down their skills from generation to generation. The six acts of their program may be explained as follows: • Farmers’ Band Music (Pungmul): The farmers’ music played by the current Namsadang troupe originated in Gyeonggi and Chungcheong provinces in central Korea. It consists of a road parade and individual skill demonstrations. • Mask Dance Play (Deotboegi): Thirteen actors appear in four scenes – the ground purifier, the episode of scabies sufferer, the episode of feeble-minded scholar, and the episode of black monk. • Tightrope Walking (Eoreum): An acrobat performs a variety of feats on a tight rope between humorous exchanges with a clown on the ground. The rope is some 9-10 meters long and 2.5 meters high. Kwon Won-tae of the present Namsadang group can perform 17 kinds of feats. • Puppet Play (Deolmi): A total of 51 puppets in 31 kinds appear in this play with two acts and seven scenes. The stage is set up with black curtains, some 1.2 meters above ground. Puppeteers manipulate the puppets from behind the curtain, exchanging dialogue with a narrator seated in front of the stage along with musicians. The play consists of the Act of Old Man Park and the Act of Pyongyang Governor. The Act of Old Man Park has four scenes -- Old Man Park Goes on Sightseeing; Pijori (Park’s niece); Kkokdu Gaksi (Park’s wife); Isimi (python). The Act of Pyongyang Governor has three scenes -- Falconing, Pallbearing and Temple Building. • Acrobatics (Salpan): This act has a variety of breathtaking feats performed on the ground. • Sieve Frame Spinning (Beona): An acrobat displays intricate skills for spinning and tossing a sieve frame using a wooden stick some 40cm long. Sometimes he uses a tobacco pipe, a knife or a small reel, or an impromptu device combining these tools. Among the six acts of Namsadang Nori, the mask dance and puppet plays are particularly worthy of note for their explicit social messages. Characters in these humorous plays represent typical Koreans from different social classes, such as an aristocratic master and a defiant servant, an old couple and a concubine, Buddhist monks indulging in worldly pleasures, and the masses suffering from unending suppression and exploitation. These dramas were not simply designed to offer entertainment but also raise issues on behalf of the grassroots who had no means to voice their opinion. They were intended to imbue hopes for freedom and equality in the hearts of their commoner audience under yokes of class distinction. Through humorous depiction of women’s lives in a male-dominated society they also manifested the ideal of gender equality and human dignity. The masks and puppets symbolically express the reality faced by each character. The pains and sorrows in their hearts are soothed and even fears of death are overcome with cheerful plays. Namsadang plays thus advocated the ideas of freedom and equality through witty and humorous dialogue and symbolic dances and gestures. They spoke for the desires of Korean grassroots to pursue a beautiful and dignified life even though they had to accept the limitations of reality. These themes will be easily understood and earn sympathy from audiences around the world. The plays feature many silent characters, as well as abundant gestures and dances, facilitating easier communication and active audience participation beyond language barriers. The Namsadang troupes typically were performed in round outdoor spaces surrounded by crowds except the entrance and exit paths. The performing arenas, therefore, were open to everyone. The wandering entertainers held rites to pray for peace and fertility, playing loud and pleasant music, in every village they dropped in. They entertained the villagers with exciting programs of music, drama, dances and acrobatics, offering joyful moments to the oppressed commoners and boosting their morale. Namsadang Nori possesses intrinsic value as a content source for contemporary cultural creation. With a history spanning 1,500 years at the least, this integrated folk repertoire represents traditional Korean performing arts in broad genres. Its content will be actively utilized in various cultural genres in the years ahead. In this context, the recent hit movie “The King and the Clown” (2005) deftly proved such potential. The movie featured tightrope walking, farmers’ band, mask dance drama and puppet play in a number of scenes. Its two lead characters are wandering entertainers who happen to drift into the royal court. The movie’s phenomenal success has inspired many artists to employ motifs from the Namsadang repertory.

South Korea 2009