Mudiyettu is a ritualistic art form of Kerala based on the mythological tale of battle between the goddess Kali and the demon Darika. It is a community ritual in which the entire village participates. After the summer crops have been harvested, the villagers reach the temple early in the morning on an appointed day. The traditional performers of Mudiyettu having purified themselves through fasting and prayers, proceed to draw on the temple floor a huge image of goddess Kali called 'Kalam' with coloured powder obtained from organic material. Kalam helps the performers imbue the spirit of the goddess. This is followed by an enactment of Kali-Darika myth, where Kali eventually vanquishes the demon. Mudiyettu performance which is said to herald the dawn of peaceful and prosperous new year, purifies and rejuvenates the whole community. It is performed annually in 'Bhagavati Kavus'', the temples of the goddess in different villages of Kerala along the rivers, Chalakkudy Puzha, Periyar and Moovattupuzha among thenMarar and Kurup communities. Mudiyettu combines in itself the mythic, the ritual, the festive and the ecological aspects of the community. At the same time it is an expression of aesthetic and creative aspirations of the community.

India 2010

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

National Intangible Cultural Heritage, Republic of Korea Mask dance is a stage play wherein one person or several people wearing a mask act as a person, an animal, or a supernatural being (god), delivering a message with dialogues or dances. Talchum (mask dance) was performed throughout the country until the early Joseon Period. When the Sandae (type of mask dance) was no longer performed in the Royal Palace, it was enjoyed as a pastime by ordinary people. Bongsan Talchum was started in Bongsan-gun, Hwanghae-do about 200 years ago. Performed on the night of Dano (fifth day of the fifth lunar month) and Haji (Summer Solstice), it is composed of dances associated with four monks, eight monks in black robe, a female member of a troupe, an old monk, a nobleman, and an old wife. Prior to the start of the play, the 36 members of the play (27 of them wearing masks) march to the site of the play while playing music. They also hold a sacrificial rite. The play contains satire about nobles harassing commoners, depraved monks, male chauvinism in a custom of allowing a man to take many wives, etc. Members dance to the tune of praying to Buddha, taryeong (Korean folk song), and gutgeori rhythm songs accompanied by the playing of samhyeon yukgak (three strings and six wind instruments) such as piri (flute), jeotdae (bamboo flute), haegeum (two-stringed fiddle), buk (drum), and janggo (hourglass-shaped drum). As the best known among the mask dances handed down in Hwanghae-do, Bongsan Talchum displays the lively movements of dancers including the shaking of the sleeves of the robes.

National Intangible Cultural Heritage, Republic of Korea Talchum (Mask Dance) is a stage play in which one person or people wearing a mask takes the role of a person, animal or a supernatural being (god), delivering a message through dialogues or dances. Talchum was performed throughout the country until the early Joseon Period. After the Sandae (a type of mask dance) came no longer to be performed in the Royal Palace in 1634 (the 12th year of King Injong’s reign), it was still enjoyed as a pastime by ordinary people. Eunyul Talchum was performed for 2-3 days on Dano (May 5 in the lunar calendar), Buddha’s birthday (April 8), and on Baekjung (July 15). It is said that people who fled to islands during war 200-300 years before wore masks on their return home as they felt ashamed, and that was the origin of Eunyul Talchum. Eunyul Talchum is composed of six acts, Lion Dance, Sangjwa Dance, Mokjung Dance, Old Monk Dance, and Dance of the Old Couple. Prior to the performance, the troupe held a sacrificial rite in a forest and marched to the site of the performance, entertaining people along the road. There are a total of 28 characters appearing on the performance. The play included satires about nobles harassing commoners, depraved monks, and male chauvinism in the custom of allowing a man to take plural wives. Eunyul Talchum displays a relationship with Bongsan Talchum (Mask Dance of Bongsan) and Haeju Talchum (Mask Dance of Haeju), both of which stem from Hwanghaedo Talchum (Mask Dance of Hwanghae-do).

National Intangible Cultural Heritage, Republic of Korea Ogwangdae refers to a mask dance played in southern areas. “O” in the name Ogwangdae is said to have stemmed from Ohaengseol (Five Element Theories). This was one of the rites villagers performed at the beginning of the year in the lunar calendar. On the night of the New Year’s Day, people held the rite of Cheollyongje (Rite to the Heavenly Dragon). On the night of the year’s first full moon (January 15 on the lunar calendar), they performed jisin bapgi (“earth spirit treading”) followed by the Ogwangdae Dance. Gasan Ogwangdae is composed of six acts, Obangsin (Deities of the Five Directions)’s Dance, Yeongno Dance, Leper’s Dance, Nobleman’s Dance, Monk’s Dance, and Dance of the Old Couple. The play includes satire about nobles harassing commoners, depraved monks, and male chauvinism as it appears in the custom of allowing a man to take multiple wives. Gasan Ogwangdae Nori is distinguished from the versions performed in other areas, as it includes Obangsin’s Dance with the story that the husband dies at the end of the play unlike the other versions in which the wife dies. One or two lepers appear in the other versions, but this one, performed in Gasan-ri, Chukdong-myeon, Sacheon-si, Gyeongsangnam-do, has five lepers who dance, sing, and engage in tujeon nori (card game).

National Intangible Cultural Heritage, Republic of Korea Yangju Byeolsandae Nori is one of the Sandae Dogam performed by itinerary troupes based in Seoul and the capital region. Consisting of dance, pantomime, well-wishing remarks, and acrobatics, it originated about 200 years ago and came to be performed during holidays and seasonal festivals such as the Buddha’s Birthday, Dano Festival, and Chuseok (Harvest Moon Festival on the 15th day of the eighth lunar month) and during ritual prayers for rainfall. Yangju Byeolsandae Nori is known to have originated from the mask dances performed by the Sajikgol Ttakttagipae group in Seoul. Each performance consists of eight episodes, which were often preceded by a parade in which performers wearing masks would dance around a town playing music, and hold a rite consisting of prayers for the safety of its residents. The main event was essentially a satire of Korean society with 32 characters representing different social groups and stereotypes, including depraved monks, impoverished aristocrats, shamans, buffoons, servants, and commoners.

National Intangible Cultural Heritage, Republic of Korea Byeolsingut refers to a ritual held to pray to the village guardian for the peace of the village and good crop every three or five or ten years. In Hahoe Village in Andong, the villagers have performed this ritual for about 500 years, once (December 15) every 10 years or on special occasions. The rite is composed of eight acts, i.e. Gaksiui Mudong Madang (Boy Dancer Act), Juji Madang (Head Monk Act), Baekjeong Madang (Butcher Act), Halmi Madang (Old Woman Act), Pagyeseung Madang (Depraved Monk Act), Yangban Seonbi Madang (Act of Nobleman and Scholar), Hollye Madang (Wedding) Act, and Sinbang Madang (The First Night Act). The play includes ridicule of depraved monks, satires about nobles, and other humorous content. It is believed that the mask for a newly-wed woman symbolizes the village guardian. Thus, the mask is shown to people only during Byeolsingut. A total of eleven masks in ten types made of alder wood are used for the play. The original masks were designated as National Treasure No. 121 in 1964. The play is performed to the accompaniment of pungmulkkun (a farmer’s music band composed of kkwaenggwari (small gong), taepyeongso (conical wooden oboe), sogo (small drums), buk (drums), janggo (hourglass-shaped drum), and jing (large gong). This play performed in Hahoe ends without the post-event rite of burning the masks used as in mask play events that are held elsewhere. It is regarded as a valuable source of material in relation to how mask plays were performed in the country.

There are three types of "shadow theater: large shadow theater, small shadow theater, and colored shadow theatre. "Large Shadow Puppet or Lkhon Sbaek Thom" is one of the oldest and most revered theaters in the country. It is interesting that in the inscription of Wat Baseth (K, 78) written in AD. 668 and 677 with the word "tokkatak" and the inscription of Kork Chak temple (K. 155) in the 7th century CE, there was the word "tokk tor", which are now called "tokkaktar". A picture that can be held up or down or a drawing that plays a story. Although it is not possible to confirm that this word is an ancient Khmer word called for "shadow theater", but it is also a proof or idea for consideration. The Lkhon Sbaek Thom only plays the story of Reamker, which is an ancient epic, and because the story of Reamker is too long, the whole story is never performed. Therefore, it is only excerpted the scene only. Traditionally, Lkhon Sbaek Thom is performed only in large ceremonies that are characterized by faith, devotion, prayer, and so on. Major ceremonies with large shadows include the Royal Cremation Ceremony and the Royal Family, Samdech Preah Sangkhareach, Chao Athikar Wat, Coronation Ceremony, and Birthday Celebration of the King, Chao Athikar Wat .... As for the ceremonies in the villages and districts, there are burial ceremonies in Khan Seima, the Inauguration Ceremony of the Buddha Statue, the ceremony for various achievements in the pagoda, Bon Phum, and so on. Lkhon Sbaek Thom is performed with a white canvas, about 2-3 meters wide, about 8-10 meters long, stretching about 1 meter above the ground. Behind the white cloth, there is a fireplace about 1 meter above the ground for lighting to illuminate the skin on the white cloth. Before the performance, they have to hold a ceremony to offer and pray to the masters and the souls. In that ceremony, a puppet shadow is put in front of the stage, and the most important image is Ey Sei, which is placed in the center and accompanied by the main characters, such as Noreay Pleng Sor, Preah Ream, Krong Reap, Hanuman, etc. In front of the skin, they prepare offerings of Bay Sei, Sla Thor, bananas, Mlu Sla, flowers, candles, incense, and rice ... as well as a bowl of blessing water. During the ceremony, all the performers must come and light candles and incense, with a teacher leading the prayer ceremony. At the end of the ceremony, the performance begins with the performer (also known as the "Neak Jert Sbaek") picking up a piece of Sbaek that is already arranged according to the story, places it next to the white cloth to reflect the shadows, and move it up and down with the rhythm of the music, accompanied by a narrative voice. In a fighting scene, the Sbaek are placed one on top of the other, or sometimes the two Sbaek are pressed against each other, slightly apart from the canvas, in order to make the fighting scene more realistic, leaving the two skins behind the performers to turn to a fight, pretend that the Sbaek is fighting like that. The audience can easily understand the story of the large shadow drama because of the narrator. That is why the narrator has a very important role. The narrators are usually old people who know the story well, although sometimes they have to look to the Sastra for help. Narrators sometimes have one and sometimes two to correspond. The words that are said are a collection of words, a poem and a list of words. The best narrator is one who uses humorous words to make the audience laugh. The fire that accompanies the large shadow theater is the music of Pin Peat ensemble. Usually, the skins for the large shadow theatre are made of cow skin, but according to some opinions, the main characters such as Ey Sei, Eyso and Noreay in ancient times were made from the skins of big tigers or bears, because these characters have higher power than the other characters. Freshly peeled skin is first cleaned and "killed" by staining the ashes and soaking in boiling water. The type of wood that is used to soak the leather is mixed with a strong sour and bitter wood so that it gives the leather color, lasts a long time and prevents insects from eating. Then the leather is carved into pictures according to the desired story. When carved, the bark is boiled to make ink to turn the leather brown, and the most important bark is the middle bark. Finally, a bamboo stick is used to tie the leather vertically, using one or two bamboo strips the size of the figure to hold the skin so that the leather can be held for the performance. According to research reports, between the 1960s-70s, there are large shadow theater groups in Phnom Penh, Siem Reap and Battambang. In 1965, the large shadow theater troupe was formed in the traditional dance troupe under the "National Preservation of Performance" and later become the "Department of Performing Arts", now under the Ministry of Culture and Fine Arts. In addition to the large shadow theater group of the Department of Performing Arts, there are also large shadow groups of the Arts Associations and Communities such as large shadow group, Sovannaphum Arts Association (Phnom Penh), Kork Thlok Arts Association (Phnom Penh), Wat Reach Bo (Siem Reap), Large shadow troupe Lok Ta Ty Chien (Siem Reap), large shadow group Lok Ta Hing (Siem Reap) and Banteay Meanchey Provincial Department of Culture.

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

Tibetan opera, the most popular traditional opera of minority ethnic groups in China, is a comprehensive art combining folk song, dance, storytelling, chant, acrobatics and religious performance. Most popular in the Qinghai-Tibetan Plateau in western China, the performance begins with a prayer ceremony, including the cleansing of the stage by hunters and blessings by the elder, and concludes with another blessing. The heart of the opera is a drama narrated by a single speaker and enacted by performers supported by groups of singers, dancers and acrobats. Actors wear traditional masks of a variety of shapes and colours that contrast with their simple makeup.

China 2009

Meshrep, which in modern Uygur language means ‘get-together’ or ‘venue,’ is the developed version of the Uygur sacrificial offerings, blessings and ceremonial events of antiquity. Early records of Meshrep appear in the Chinese source The Biography of Gao Che in the Book of Wei (553 AD) and in the Arabic classic The Grand Dictionary of Turkic Language (1073 AD). The Meshrep is an organized folkloric event that follows certain procedures and is often held in a spacious outdoor venue on seasonal and traditional holidays, or according to the needs of the people’s life and work. There are mainly three types of participants: a) the host of Meshrep, viz, the yigetbixi who, elected by the local people, has to preside over the rituals, ballads and dances, games, mock court proceedings and other events taking place in the Meshrep; usually he is aided by several assistants that ensure the orderly progress of the activities; b) the folk artists invited to perform and c) the general public. The event is normally attended by hundreds of people and all of them participate in the activities. Meshrep contains a rich collection of traditions. A complete Meshrep event includes performances like the Uygur muqam, folk songs and dances, story-singing and drama, as well as other activities such as oral literature, tournaments and games, which people enjoy and actively take part in. Meshrep has both relation and difference with Uygur muqam. Usually, some songs and dance music from it will be sung, played in Meshrep event, for the public to enjoy it and dance by self-entertainment with the rhythm of the songs and dance music. In the Uygur “twelve muqam”, each set of muqam has such songs and dance music in its third part, therefore this part is also called “Meshrep”. Uygur muqam is the large comprehensive art form integrating song, dance and entertainment, while Meshrep is just one of the cultural space of Uygur Muqam. Meshrep is rather like a big stage for various arts or a carnival party, with the public freely participating in various activities, who are not only auditors, also players, even the participants and judge of the moral forum; there is no boundary between the spectator seats and the stage, while Uygur muqam artists are just a small portion of the mass participants of Meshrep. In conclusion, Uygur muqam is the art for the public to enjoy, while Meshrep is the important space accommodating various traditional cultural expression forms. Therefore, we can say that Meshrep is not only an important ‘moral forum’ and ‘stage’ for folk artists of various kind to display their brilliant skills, but also a ‘court’ where the host mediates conflicts and ensure the preservation of moral standards. Moreover, it is a ‘classroom’ where people learn about their traditional customs, nature, and different experience of economic production. It is a ‘playground’ where to entertain body and soul. Meshrep is the most important cultural venue carrier of Uygur traditions. There are dozen varieties of Meshrep known so far, this is evidence of the diversity of its social and cultural functions. For example: the ‘Kok (Young crops) Meshrep’ is held in Springtime; the ‘Huoxalik (Festivity) Meshrep’ takes place at weddings, adulthood rites, harvest and festivals; the ‘Namakul (Apology) Meshrep’ is held to mediate conflicts or settle disputes; the ‘Keiyet (Disciplinary) Meshrep’ is performed with the aim of criticizing immoral behaviours or educating the public; the ‘Dolan Meshrep’ is meant to show admiration for the hunting life and ravery of the ancestors; and the ‘Ketaphan (storytelling) Meshrep’ serves as a sort of review of literature. Thus, the word put in front of ‘Meshrep’ indicates the social and cultural function it is meant to perform. Meshrep is mainly transmitted and inherited by the hosts who know well its rules, sequence and cultural connotation, and by the virtuoso folk artists who frequently participate in Meshrep. They learn the tradition either from older hosts and skilled folk artists, or by frequently attending the Meshrep events. They become hosts of the Meshrep only after obtaining the appreciation and recognition of the local masses. At the same time, the transmission of Meshrep cannot dispense with the majority of Uygur people who participate in its actual practice. Being a cultural space for the practice of Uygur people’s traditions, Meshrep has already become a part of their culture and folk customs. It provides the Uygur people with abundant knowledge about their traditions and sustains their cultural identity. Hence, it is considered one of the most important cultural heritages of the Uygur nation. To rescue and safeguard Meshrep not only meets the demands for mutual respect among communities, groups and individuals, but it also answers to the need for improving its viabilityand achieving its sustainable development.

China 2010

The Ramman is a form of traditional ritual theatre celebrated every year in the courtyard of the temple of Bhumiyal Devta situated in Saloor Dungra Village in Painkhanda valley of Chamoli district, Uttarakhand, India. The village deity of Saloor Dungra is Bhumichetrapal, also known as Bhumiyal Devta. Historical accounts of the preexisting tradition are available since 1911. In the Hindu month, Baisakh (April-May), on the sankranti day, Bhumiyal Devta comes out in a procession to the temple. On the second day of the festival, people offer hariyali (sprouted barley plants), to the deity, which has ecological reference. Every day, the Bhumiyal Devta takes a round of the village. The main components of the masked performance are as follows: ▶Celestial Aspect -Dance of Ganesh-Kalinki (Parvati) -The dance of Sun God: Enactment of creation-myth and birth of Brahma and Ganesh. -Bur Deva (Narad): Rani-Radhika dance. -Bur Deva Raja dances along with Gopi Chand (Sri Krishna) and Rani Radhika (Gopis) on different beats and gestures. ▶Temporal Mwar-Mwarin Dance: The dance shows the travails of the buffalo herders in their hazardous journey through the jungle to the hills. A tiger is shown attacking and injuring the Mwar. Baniya-Baniyain Nritya (Dance of the Trader-Couple): It shows hardships of the common people. The episode shows robbers attacking and looting the merchant couple. ▶Performance The performance then shifts towards the enactment of the local Ramkatha, the core Rama story. Episodes from Rama’s life are sung. The dance is performed on 18 different beats yielding a total 324 beats and steps. The episodes enacted and sung are: -Ram-Lakshman’s visit to Janakpur -Sita’s Swyamwar -Hanuman Milan (Meeting with Hanuman) -Swarna Mrig Vadh (killing of the Golden deer) -Sita Haran (Abduction of Sita) -Lanka Dahan (Burning of Lanka) -Raj Tilak (Coronation ) There are other dances and episodes like Maal Nritya, Koorjogi and Narsingh Pattar Nritya. ▶Historical Aspect -Maal Nritya: Rama story is followed by the historical battle between the Gurkhas of Nepal and the local Garhwalis. Two dancers carrying weapons move on to the central performing arena, enacting a battle scene. They are comical in looks, attire and gestures. -Maal artists are four in number, two red and two white, respectively representing the Gorkhas and the Garhwalis. It is mandatory to have a red Maal from the Kunwar caste of the Rot hamlet, Saloor village, as it is believed that this hamlet supported the Gorkhas. The other three are selected by the Gram Panchas. One white Maal each is chosen from the twin villages and the remaining red Maal comes from village Dungra. This performance manifests past valour and bravery, sums up the total religious and aesthetic experience of the community, and renegotiates its identity and place in the bigger cosmic drama every year. ▶Ecological Aspect Ramman is an agrarian festival in celebration of ties between man, nature and the divine. Maize and barley seeds, sprouted in ritual pots, are offered to Bhumiyal Devta who, in turn, promises prosperity to all, including agricultural yield and forest produce. -Koorjogi: This episode is of immense ecological relevance. Various harmful weeds (koor) in the village fields are pulled out by Koorjogi (character who carries a sack full of these weeds). One of the most joyous moments in the series is throwing thorny weeds on each other, creating a mayhem of goodwill and merriment, establishing a sense of community and harmony. -Make-up of Artists: The Ramman performance involves use of masks and make-up using sheep’s wool, honey, vermilion, wheat flour, oil, turmeric, soot and locally grown plants and vegetables. -Masks are made from wood of local trees and this involves lengthy rituals. ▶Musical Aspect -Drumming Tradition: The performance revolves around playing of drums by Das drummers from the lowest caste, whose status is elevated during the performance. -Jagar Tradition: Jagaris or Bhallas of Rajput caste are professional bards and sing oral epics and legends (Jagars). The festival ends with a feast where the prasada of the deity is distributed as sacrament.

India 2009