‘Ak terek – Kok terek’ (“white poplar — green poplar”) is a fun and exciting game for children. Two teams line up against each other at a distance of 20 meters in one line, holding hands. The team that starts the game asks another team: “White poplar- green poplar. Which of us do you want?” The other team, having consulted, answers to the question in the same way: “We want (name of the player) to join us”. The player who is called by the team runs up and tries to break the chain between any two members. If he succeeds, he takes one player from the opposing team to his own. In case of failure - he remains in this team himself. Then the teams switch the roles, and the game continues. The winning team is the one who took away more of the ‘opponent’ players. In the southern Kyrgyzstan, the game is called Chartek. In Alai region it is called El Chabar. `Kachma top` (means escaping/dodging the ball). It is a traditional Kyrgyz game for children and adolescents somewhat similar to baseball. The game participants are divided into two teams. On a field measuring 50x100m, a line (maaru) is marked at both ends. By drawing lots, an offensive team (team of hitters) is appointed, which positions itself on the court. The ball server (pitcher) is selected (the ball is rolled up from animal fur). Then the order of hitters is established. The hitter enters the line, picks up a meter-long stick and strikes the tossed ball. Hitting as hard as possible, he must run to the opposite line. Then the players change. ‘Tak teke’ is an old, traditional wooden dancing goat puppet, which is put to life by the movement of the player’s fingers. ‘Tak teke’ was performed during celebrations or in a free time. The vertical stick was installed by hinges on the surface of a small table. A small wooden figure of the goat was attached to the stick. This stick, under the table, acceded to the strings of komuz (musical instrument) by the streaks. During the performance on komuz, the goat figure moves with a melody. `Besh tash` also known as top tash a game of five stones or group of stones. It is one of the ancient games that is mentioned in the Manas epic. This game is played by young girls in small groups of 2-6 people. A game is played with 5 pebbles with smooth surface. Each player performs a series of throwing and catching exercises with those pebbles. Exercises get more and more challenging from level to level. There are usually 7 levels but players can improvise and add extra levels based on mutual agreement.

The Gesar epic recounts the sacred deeds of the hero King Gesar, while unfolding a broad spectrum of oral genres, embedded hundreds of myth, legend, folktale, ballad, and proverb in narrative framework of “beads on a string,” namely “Gesar Epic Cycle,” demonstrating the sheer monumentality and vitality of verbal arts. So far we found the earliest manuscript is The Battle Between Vjang Regality and Gling Regality, which dated to the 14th century, while the earliest Mongolian woodblock version titled “Geser Khan, Guardian Lord of the Ten Directions,” was published in Beijing in 1716. As of today, there are over 120 different oral cantos on record. Not counting the texts in prose, the portions in verse alone are total over one million lines excluding different variations, indicating that the living oral epic continues to expand. As the creators and inheritors of the heroic song, the Tibetan singers and storytellers are traditionally classified in several ways by how they learn and master the epic. In oral performances, they invoke a flexible genre of bcad-lhug-spel-ma, namely ‘prosimetrum,’ by melding concisely worded prose with lyrical verse and over 80 melodies of music in responding to different contexts. They often use a variety of skills that include gestures, facial expressions, postures, and verbal sound effects to enhance the singing artistry. Among their meaningful props, the hat, bronze mirror, and costume are shaped in special ways to symbolize the traditional cosmology and aesthetics. In Mongolian tradition however, the epic singing is handed down professionally from master to apprentice. Performances usually feature musical accompaniment by stringed instruments called the “horse head fiddle” (morin khuur) and the “four stringed spiked fiddle” (hugur). The two major singing styles, “improvised melodic singing” (holboga) and “musical storytelling” (bensen ulger), are combined with oral narratives, which highlight vocal singing with deep, broad, and melodious sounds skilfully utilized as needed. Gesar epic performances play important roles in rites of passage, festival ceremonies and religious rituals in communities concerned. For instance, when a child is born, passages about King Gesar’s descending to the world are sung. The epic also reflects Tibet’s native Bon religion, in respect to beliefs, rituals, theology, divination, and so on. Moreover, the epic singing itself usually accompanies with specific ritualized practices, for example, smoke offering, meditation devoting, and spirit possessed. Hence, the epic is not only the dominant means for communicating with the hero, gods, ancestors, and members of society, but also the major entertainment in rural communities. The epic performers have acted as traditional educators who enable people understanding genealogy and history, astronomy and geography, zoology and botany, arts and crafts, medicine and treatment through their storytelling. Concrete narratives focusing on origins of nature and universe are incorporated in numerous episodes called Ode, such as Ode to Mountain, Ode to Sword, etc., revealing that the epic itself a continuum of experiential knowledge in response to their environment, their interaction with nature, universe, and history. As a Tibetan proverb goes, “On every person’s lips there is a canto of King Gesar.” It has been a constant inspiration for other art forms, including traditional forms such as Thangka painting, Tibetan opera, and Cham masked dance, as well as contemporary arts, which provides peoples and young generations a sense of cultural identity and historical continuity, while reflecting credit on the common cultural legacy, shared by generations, serves as a really all-embracing encyclopedia for the general public.

China 2009

National Intangible Cultural Heritage, Republic of Korea Referring to farmers’ music that has been handed down in Iksan (previously called “Iri”), Iri Nongak belongs to Honam Udo Nongak (Farmers’ Performance of the Eastern Jeolla-do). Nongak (farmers’ performance) has developed briskly in Saesil Village in Iksan. The village brought people who learned farmers’ music from experts in nearby areas like Gimje and Jeongeup and who trained a high-quality farmers’ music troupe as we see today. An Iri nongak troupe is composed of yonggi (dragon flag), nonggi (farmers’ flag), swaenap (conical wooden oboe), trumpet, samul four percussion instruments, i.e., two kkwaenggwari (small gongs), two jing (large gongs), two buk (drums), and four janggo (hourglass-shaped drums), beopgo (Buddhist drum), and japsaek referring to a group composed of yangban (nobleman), daeposu (drummer), jorijung (masked clown), changbu (male clown), gaksi (young girl), and mudong (dancing boys). Troupe members who are called chibae or gunchong wear black vest over white jacket, white trousers, and sangmo (hat with feathers or strings attached), with bands in three colors tied around the head. Kkwaenggwari (small gong)-based rhythms include those related to ilche, ichae, samchae, oemachijilgut, pungnyugut, ochaejilgut, jwajilgut, yangsando garak, hohogut, and obangjin garak. Pangut (entertainment-oriented performance) proceeds in the order of insagut, ochaejilgut, jwajilgut, pungnyugut, yangsando, ginmaedoji (joint performance of kkwaenggwari and janggo), sambangjingut, banguljingut, hohogut, dallachigi, short maedoji, jjakdeureum, ilgwang nori, gujeong nori (individual play), and gi sseulgi. There are diverse forms of bupo nori (hat dance) performed by sangsoe (leader of the farmers’ music troupe). Well-developed janggo rhythms and dances are mixed with the music. The performance also features sogochum (small drum dances) and jinpuri march. Many rhythms are relatively slow. The music makes colorful rhythms, each played to meticulously transformed tunes. Pungnyugut and deongdeokgungi-related rhythms showcase highly sophisticated techniques. Iri Nongak is a folk art performance that has been handed down along with the village history, playing an important role as an event that provides consolation in the hard life of farmers and helps villagers get along with each other well.

South Korea 2014

National Intangible Cultural Heritage, Republic of Korea In this performance, an exorcist disguised as an ox prays for a good harvest, good commercial business, and success for children. It is presumed that the performance started during the Joseon Period (1392 – 1910). This performance is preceded by Jeseokgeori (Ritual Song for the Deity Jeseok) that is said to control things relating to longevity, grains, clothes and fortune/misfortune. It used to be held in Giho and Haeseo, Hwanghae-do. The performance starts around sunset and continues until the daybreak of the following day. Six female exorcists play janggo (hourglass-shaped drum), jing (large gong), jeo (bamboo flute), and piri (flute). Eight fabric straps are hung from above indicating the path through which Eight Heavenly Maids will descend. At the bottom of the fabrics are placed eight tubs, where the fairies will take a bath. An exorcist disguised as Sambuljeseok (Three Heavenly Deities) in a white robe and a hat sings a song about how he arranged the foundation of Joseon as instructed by the Jade Emperor of Heaven. By this time, a cowman appears, leading a cow. The performance ends with a scene of the deity Jeseok taking a trip to Seocheon Seoyeokguk (ancient India), while patrolling officers engage in a round of dance. Buddhist deities appearing in the performance, including Sambuljeseok Buddha, are a unique sight that cannot be found in any other exorcism performances. Pyeongsan Sonoreumgut (Shamanic Ox Performance of Pyeongsan, Hwanghae-do) was able to be maintained thanks to Jang Bo-bae, an exorcist from Pyeongsan, who continued the performance after the country’s liberation. As an event strongly influenced by Buddhism, the performance also combines elements of entertainment and high artistic quality. It serves as an occasion to pray for the happiness of local people and to strengthen the ties among them.

Sekafi is a short-necked plucked lute similar to the sape of the orang ulu community. It is a strummed lute with three brass or wire strings. Like the tafe, its body is made from the soft wood of the jackfruit tree trunk. The surface of the instrument is painted with special designs, which reflect Lundayeh art. Some inter-influence between the sape of the orang ulu community in Sarawak and the sekafi could have occurred as they share similarities in terms of shape and their strummed lute. Their differences, however, are in the design, tune and decorative motifs on their body: these aspects portray the individual creativity of the musical instrument makers. Sekafi is usually performed solo for personal entertainment or as dance accompaniment. Not many Lundayeh in Tenom could play the sekafi today. This non-ability is a similar situation among the Lundayeh communities in Sipitang and Long Pasia.

Bài Chòi is a typical cultural activity of people in the South Central region in general, and in Phu Yen in particular, taking place during holidays. The Bài Chòi Festival usually takes place from the first day of the New Year to the day the Ritual Pole is taken down, which is the seventh day of Tet. At the beginning of the festival, elders and officials in the village hold a ceremony to worship the God of agriculture, the Tutelary God, and Earth gods, etc., Bài Chòi Festival consists of 9, 11, or 13 high bamboo huts with stairs leading up for players to sit. Each hut has a bamboo tube to hold cards and a punch to type out announcements. There are many forms of building huts. First, there are nine huts constructed in the shape of an octagon, or eight trigrams. Second, construct the eleven huts in accordance with the cans. Third, construct one of the 13 huts based on the animal of the zodiac. The middle hut is reserved for elders and dignitaries; The remaining huts are chosen by the players. The bamboo stall is set up in the middle, opposite the middle hut, for the orchestra of the elders. On the stall, there is a tray inlaid with conch containing wine, betel, areca nut, and money to bring to offer whenever a hut wins. A card game will have the participation of the following characters: A signer is a person who can play a game of cards well, understands the rules, can dance and sing well, and has an improvisational flair. An individual who operates the request of the signal is known as a sign operator. The card player call the card's leg. Start, a sign distributor distributes cards to the huts; shouts the signal to shake the tube, draw a card, and shouts a sentence for the card players to guess; sign operator receives cards; The card players strike the bell; run the check mark and hand over the card to the player that guessed correctly; When a hut has three cards, the signal is given to beat the war drum and the adoring drum, and the orchestra pours in congratulations; Call to the winning hut to collect the main card and three small cards for presentation; Carrying a tray of prize money, betel and areca nuts, wine and prize flags and giving them to the player in the winning hut; shouted congratulatory songs; The signal operator collects all the cards in the remaining huts to prepare for the next play. If "Hiệu" calls a card that matches the card in the tube, the player knocks 3 times. When he reaches the game, meaning there are no cards in the tube, he knocks for a long time. The deck of playing cards includes 27 or 33 spleen cards and 9 or 11 small bamboo cards, painted or printed with simple names, such as Nhứt Nọc, Nhì Nghèo, Tam Quăng, Tứ Cẳng, Ba Gà, Bảy Thưa, etc., The deck is divided into 3 sections: the "văn" section, the "vạn" section, and the book section. Mr. "Hiệu" usually controls the game like an actor, has a strong voice, and can read or improvise witty sentences to respond to the name of the card being called. In addition to entertainment, Thai verses also have the effect of educating people about morality, personality, love for the homeland, love for couples, etc.

Viet Nam 2017

National Intangible Cultural Heritage, Republic of Korea This ritual is held biennially in Tongyeong and Geojedo Island to pray for the peace of the village and abundant fish. This ritual features the exorcist’s beautiful songs and inclusion of buk (drums) among the accompanying instruments. Unlike its cousin held in villages along the East Coast, this one is carried out in a serious atmosphere with few gags exchanged between the exorcist and music players or in the narratives. In some instances, spectators and drummers act out a play in the middle of the ritual. The exorcist’s dance performed along with the ritual in most cases is rather simple and monotonous. Cheongsinak (music to invoke the deities) and Songsinak (farewell music to the deities) are performed respectively at the start and end of the ritual, to the accompaniment of daegeum (bamboo flute). This ritual has little entertainment value and involves not many narratives, but it goes long on the depth of belief in deities.

It is an indigenous Kazakh performing art that combines theater, music, and puppetry. Some people say orteke is a street theatre, others might claim it is a musical instrument, some would see it as a decorative art, and children perceive it as a toy and use for entertainment. Orteke represents a simultaneous ensemble of music performance on Kazakh traditional two-stringed instrument dombyra and a hopping dance of a wooden puppet. Fixed on a surface of a traditional drum (daulpaz) by a metal rod a flexible wooden figure of teke (a mountain goat) is connected to the fingers of a musician by one or several threads. Flexible head and joints of a puppet are connected to the pulling string. As the musician strikes his/her fingers playing dombyra, the puppet starts hopping in sync with the beat set by an artist. The figure turns alive making amusing dancing movements and tapping a rhythmic beat on a firm skin surface of a drum.Some masters of genre can play with 3 and more puppets at the same time. Sound of dombra, audience public in anticipation, leather surface as flat as the steppe itself, and a small wooden figure of a mountain goat, tied to the puppeteer musician by a single thread, began to beat out the rhythm with its tiny hooves. This action, fascinating with its magical simplicity, is known among the Kazakh people as "Orteke", which is fancied by both children and adults.

Kazakhstan 2022

Boria is a traditional arts form that is very popular in northern Peninsular Malaysia, linked to the Karbala event that is the killing of Saidina Hussein, the grandson of Prophet Muhammad. Boria, meaning ‘a game of merriment’, was established in Penang Island in the 19th century. There are parties that claim that Boria was brought by the Indian Muslims into Malaya through business activities in the 19th century. Boria is an entertainment channel combining sketches and dances as well as poetic songs led by a singer called ‘Tukang Karang’, literally translated as ‘Storyteller’. A performance has two segments that are sketches and songs. The dialogues for sketches are full of advice and insinuation while comedy elements are considered important. During a performance sometimes the audience can interact with the actors. The musical instruments are not specific; more important is the musicians’ ability to play rhythms that can accompany the Tukang Karang’s song. Among the instruments are violin, oud, drum, accordion, harmonica and guitar, while commonly used props are lamp, flag, kris, umbrella, tall decorative flowers and walking stick. Previously Boria’s costume is resemblance of the Mamak (Indian-Muslim) ethnic; green belt with sarong and fez to maintain ethnic identity. This identity is experiencing evolution since the 1970s with its costume made uniformed using bright colours with sequin to portray merriment. Nowadays, Boria performances are greatly influenced by western, Hindustani and pop rhythms.

National Intangible Cultural Heritage, Republic of Korea Farm music performed when farmers are working while helping each other, by forming a cooperative farming team, in a broad sense, refers to music performed when people march, work, hold ceremonies, and enjoy games while beating small gongs, gongs, hourglass drums, and drums. The performers are called gut, maegu, pungjang, geumgo, or chwigun. All performers play musical instruments while wearing hats. In Pangut (entertainment-oriented performance), the chaesangmo game makes a fine show. On the other hand, paljinhaesikjingut, a military game, looks unique. Its beat is fast, powerful, and exciting. Jinju Samcheonpo Nongak, a successor of pangut, has higher artistic value. In Paljinbeop, Beokku Nori, sangsoe (leader of the farmers’ music troupe), and Mudong Nori (kids sing and dance), individual skills are excellent.

South Korea 2014

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

Traditional Kazakh dombra kuy (kaz 'kuy') - instrumental play performed on dombra - a traditional pear-shaped musical instrument with two strings and a long neck. The true meaning of kuy execution dates back to the sacred relationship with the Creator and the desire to establish the internal harmony of the individual. Kazakhs say 'Kuy - Tanyrdyn sybyry' ('Kuy - a whisper of Tengri'). Dombra had been hung on the wall of each nomad house (yurta) for the play before guests and home owners. The art of DombraKuy refers to a short solo composition performed on a traditional pear-shaped, long-necked, two-stringed, plucked musical instrument known as a dombra. The music aims to connect people to their historic roots and traditions through classical and improvised pieces that engage the audience at a spiritual and emotional level. Public engagement in the performance serves as one of the most important means of social communication between people and contributes to the transfer of knowledge and skills related to Kazakh culture. The music is usually accompanied by narrated stories and legends. It is traditionally performed at social gatherings, holidays and festive celebrations, amid a rich variety of food and musical entertainment. It serves as a vital social and cultural experience, strengthening people’s identity and promoting solidarity and mutual understanding in society. Aspiring and talented musicians are apprenticed to masters from the moment a child demonstrates an interest in the philosophy and virtuosity of traditional music and performance. Amateur musicians then apprentice themselves to other more experienced and talented performers from their region to increase their skills and repertoire.

Kazakhstan 2014