Arirang is a lyrical singing genre, which has been handed down orally for centuries and which never has lost its popularity among the Koreans. Arirang was sung by the people in the northwestern part of the Korean peninsula as early as in the late 14th century. Today Arirang is sung in its traditional form by people all over the country, while it is also performed in symphonic arrangements and in dance music. Arirang typically contains a gentle and lyrical melody in five scales, and the refrain: Arirang, arirang, arariyon Over the Arirang hill you go. Arirang songs speak about leaving and reunion, sorrow, joy, and happiness. There are various categories of Arirang songs that can be classified by the lyrics or the melody used, and by place of origin. Currently 36 versions of Arirang are known. Most typical versions are Sodo Arirang, Phyongan Provincial Arirang, Jonchon Arirang, Haeju Arirang, Kangwon Provincial Arirang, Kosong Arirang, Onsong Arirang, Tanchon Arirang, Thongchon Arirang, Musan Arirang, Ku Arirang and Kosan Arirang, Arirang, as living heritage, up till the present day has undergone continuous developments, always reflecting the history of the Korean people. Under Japanese colonial rule, for instance, Arirang was widely sung as it reflected the distress about national ruin and the people’s spirit of resistance. In recent days such modern versions as “Arirang of Reunification” and “Arirang of Great Prosperity” have been produced reflecting the realities of our time.

North 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

The Chinese tradition of Yueju opera combines Mandarin operatic traditions and Cantonese dialect. Rooted in the Cantonese-speaking provinces of Guangdong and Guangxi in south-eastern China, Yueju opera is characterized by a combination of string and percussion instruments, with elaborate costumes and face painting. It also incorporates stunts and fights using real weapons and drawing on the Shaolin martial arts, as illustrated by the central Wenwusheng role that demands proficiency in both singing and fighting. It has developed a rich repertoire of stories ranging from historical epics to more realistic descriptions of daily life.

China 2009

Nomadic Mongols created variety forms of music instruments, developed performance techniques and a rich repertoire over a long span of historic period. In terms of sound, Mongolian national music instruments fall into the categories of strings, wind and percussion. Bowed and plucked stringed instruments include khuur (fiddle), ekil (two-stringed wooden fiddle), khuuchir (four-stringed instrument), bivleg, tovshuur (two-stringed lute), yatga (zither), yanchir or yochin (dulcimer), shudarga (three-stringed lute) and biba (lute). Wind instruments include limbe (side-blown flute), tsoor (panpipe flute), tsuur (three-holed vertical flute), bishgüür (shawm) and ever büree (horn-trumpet). Brass instruments, which are often used in celebrations and for calling and cheering, include the ikh büree (the long trumpet) and tsordon büree (small trumpet). A variety of percussion instruments, such as khengereg (big drum), tsan (cymbals), bömbör (drum), kharanga (gong), denshig (miniature cymbals), khonkh (bells), damar (double-headed hourglass drum) and duudaram (gong-chimes), were used during wars and hunting as well as during shamanic and Buddhist rituals and practices.

Cultural space of Baysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of Humanity of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Baysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Baysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

Uzbekistan 2008

Zhetygen (kaz "zhe-igeen" - "seven strings") - is an ancient Kazakh and Turkish polychord musical instrument with soft and melodious sound, resembling a harp or reclined Gusli. Musical instrument’s name comes from its original form, which had seven strings. The origin of zhetygen associated with its legendary foundation. The essence of the legend associated with the tragic situation in the family of old nomad who lost seven sons due to the jute ('dzut' - a massive loss of livestock from starvation). Improvised music and sounds made during the play on zhetygen resembled images of children and reflected the grief of the father, alternately deceased sons. Since zhetygen became a symbol of the powerlessness of man in front of the elements of nature and the chaos of the universe. Zhetygen contributed to the emergence of instrumental kuy plays, the first of which is considered 'Zhetigenning zheteui' ('Seven kuys of zhetygen'). The most ancient type of zhetygen was an oblong box, carved from a piece of wood strung with seven strings. There was no upper sounding board, but there were pegs made of assyk (kaz. "assyq" - talus bone of a sheep and less frequently other small cattle) on this type of zhetygen. The strings are stretched by hand from the outside of the tool. Later zhetygen’s upper part was covered with a wooden deck. Under each string are substituted assyks on both sides acting as pegs. Moving them, you can set the string.

The genre Ru tends to perform within the familial environment, with a hypnotising nature that tends to be use to lull children.

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

The traditional art of Chèo singing in Ninh Bình province has been known for a long time, associated with a legend of the origin of Chèo singing and its creator Lady Phạm Thị Trân. Up to now, more than one hundred ancient Chèo tunes have been preserved in Ninh Bình province. There are 64 clubs of Chèo in Yên Khánh district, most of them have preserved ancient Chèo tunes and also composed new ones the lyrics of which based on ancient tunes to reflect the actual life of the people.

Tien Cong Temple (also known as Thap Cuu Tien Cong Temple) is located in Cam Thanh Village, Cam La Commune, about 5km from the center of Quang Yen Town, worshiping 17 "Thap That Tien Cong". According to the stele and genealogy, from about 1434 to 1500, there were 17 Tien Cong from Kim Hoa Ward (now Kim Lien Ward), Tho Xuong District, Hoai Duc Prefecture, Thang Long Citadel (Hanoi) and their families following the Red River to the Bach Dang River mouth to find a way to make a living, reclaim land, establish villages and hamlets. These are the people who made the first contributions to the cause of building dykes to reclaim land from the sea and rivers to establish the Ha Nam island area, including Cam La Commune. The Tien Cong Festival (also known as the "Procession" ceremony festival) is a unique festival and is held on a large scale in Quang Yen town. The festival takes place from the 5th to the 7th day of the first lunar month to commemorate the Tien Cong who had the merit of reclaiming and establishing the islands of Ha Nam and Quang Yen. The Tien Cong Festival in the Ha Nam island region (Quang Yen town) has been preserved and promoted by the people for more than 300 years. The festival space takes place in Phong Coc, Phong Hai, Yen Hai wards and Cam La commune. The festival center is at the Tien Cong temple relic (Cam La commune) and at the Tien Cong family temples. From the ancestral shrines, each family and clan brings offerings, welcoming the elderly (80, 90, 100 years old or older) to the Tien Cong temple to worship their ancestors. Representatives of the clans offer offerings and make offerings on the Tien Cong stele. The opening of the Tien Cong Festival is the “Ra cỗ họ” ceremony, also known as the “Lễ tế Tổ” ceremony. The “Ancestor” ceremony is held by the Tien Cong clans on the 4th day of the first lunar month every year. This is the biggest ceremony in the ancestral temples of the year. The “Ra cỗ họ” ceremony is a ceremony to pray for the ancestors and ancestors to bless their grandchildren and children with a prosperous new year; it is a ceremony to send off the ancestors and ancestors in the ancestral temple according to the local people’s fine customs and is also a festival of the clan. After the ancestral ceremony, many cultural activities and folk games are organized such as: wrestling, swinging, cockfighting, human chess, tom diem, dum singing, tug of war, volleyball, building dikes... In particular, the ceremony of the elders building dikes and wrestling opens the festival, creating a joyful and exciting atmosphere. On the 5th day of the first lunar month, the children and grandchildren in the family whose parents have reached the age of longevity prepare to decorate the family yard according to the traditional longevity celebration ceremony. On the 6th of January, families of the same clan and village organize a procession to carry the ancestors in a peach hammock to the Tien Cong temple to worship their ancestors, called the "Rước Thọ" or "Rước Người" ceremony, along with the preparation of offerings and ceremonial objects, costumes, ceremonial music team, and peach hammock palanquins for the procession, which are prepared months before the festival takes place. The most joyful and splendid Tien Cong festival is on the main festival day (the 7th of January) with the most unique "Rước Người" ceremony in the whole country, expressing admiration and honor for the ancestors, imbued with the cultural identity of the residents of the Bach Dang estuary. At noon on the main festival day, the sacrificial group representing the Four Communes organizes the "Tế giã" ceremony, ending the festival. Tien Cong Festival is a traditional cultural beauty that evokes the morality of “When drinking water, remember its source”, “Respect the elderly and live long” and promotes the solidarity of clans and villages, and has become an intangible cultural heritage that has a wide influence on the community and tourists. In 2017, Tien Cong Festival was honored as a National Intangible Cultural Heritage. The annual organization of Tien Cong Festival has become a unique tourism product of Quang Yen town, Quang Ninh province.

Phuong Do Communal House used to belong to Phuong Do village, La Dinh commune, Phu Binh district, Thai Nguyen province, now belongs to Xuan Phuong commune, Phu Binh district. Phuong Do Communal House Festival is a festival associated with the worship of the talented general - Duc Thanh Duong Tu Minh - a great general in the Ly dynasty (11th - 12th century), who had the merit of repelling the Song invaders, firmly protecting the northern border of Dai Viet. Phuong Do people worship him as the village's tutelary god at the communal house. Every year, Phuong Do Communal House holds many festivals, notably in January, April, and October (Lunar calendar). The biggest festival of the year is held from October 9 to 11, with a palanquin procession to thank the village's tutelary god for blessing the people with a bountiful harvest and to pray for favorable weather, good crops, and peace for every family. The offerings to the tutelary god are local products, quite rich and diverse. The palanquin procession is organized elaborately. The village carries the Saint from the communal house to the communal house, with 2 palanquins. Each palanquin has 4 people carrying it, called "palanquin legs", one palanquin goes up to the Upper Communal House, one palanquin goes down to the Lower Communal House. The two palanquins go one way and the other way, forming a closed circle, the palanquins meet, the two palanquins greet each other by turning the palanquin once, then lowering it onto the palanquin legs, the mandarins burn incense and ask to welcome the Saint back to the communal house. After the ceremony, the palanquin is carried back to the communal house, when it reaches the communal house gate, the village palanquin comes out to welcome it, the village palanquin goes first, the two Saint palanquins go behind. After the palanquins are placed in place, the Great Sacrifice ceremony takes place solemnly in the communal house yard. The ritual is performed by the head of the incense burner and the elders, virtuous and prestigious people elected by the villagers, called the Chief Priest and the mandarins. The Chief Priest is the one with the main responsibility for the Saint's sacrifice. The sacrificial costumes are according to regulations, the Chief Priest wears a red tunic, the mandarins wear blue tunic, wear shoes, and wear a hat with a strip. When entering the ceremony, spread out 4 mats in a vertical row in front of the altar: The first mat is called the "nghinh thần" mat, to perform the ceremony of welcoming the gods, reading the wishes, the master of ceremonies stands here to make offerings. The second mat is called the "thu tộ" mat, where the master of ceremonies goes up to enjoy the blessings bestowed by the gods. The third mat is called the "phuc vị" mat, or the "chủ tế" mat. The fourth mat is called the "Bồi tế" mat. The ceremony of the tutelary god at Phuong Do communal house bears the shadow of a feudal court activity with solemn and standardized court rituals. After three drum beats, gongs, and jubilant music, the ceremony takes place with all the rituals of the initial offering, the secondary offering, the final offering, and the final offering. Festival activities with folk games: lion dance, offering, wrestling, cockfighting, quan ho singing, chess playing... create a joyful and exciting atmosphere. As a unique, large-scale festival in the region that attracts a large number of participants, the festival still preserves sacred elements and traditional rituals with typical cultural features of the Northern midland region. The festival expresses the people's aspirations for a better life, and educates about the tradition of patriotism and the morality of remembering one's roots when drinking water. In 2018, the Minister of Culture, Sports and Tourism decided to include Phuong Do Communal House Festival in the List of National Intangible Cultural Heritage, the type of Traditional Festival.

National Intangible Cultural Heritage, Republic of Korea On the occasion of the event, the village is divided into two sides: those living in the east section of the village and those living in the west. The winning side will reportedly enjoy better harvest in the year. The play used to be performed around the full moon period of January 15 on the lunar calendar; now, however, it is performed along with a tug-of-war competition during the March 1 Cultural Festival, held to commemorate the independence movement carried out with the locals in Yeongsan, which played a leading role during the colonial period. The event is said to have started from the wish to stop the evil power of the two nearby mountains, i.e., Yeongchuksan and Jagyaksan (also called Hambaksan), which look like two bulls confronting each other. With the approach of January 15 on the lunar calendar, villagers flock to a nearby mountain and fell a 10m-tall tree. A pyramid-shaped structure is made using a log and straw rope that people will carry on their shoulder, with the leader of the team, together with two lieutenants, standing at the top of it, giving command to fight the opponent. A wooden carved bull head or a mask is put on the top of the structure. Prior to the commencement of the battle, farmers’ music is played to create a delightful atmosphere. The team that makes the opponent’s bull head fall to the ground wins. Yeongsan Soemeori Daegi is a local folk play performed to pray for good harvest.