The epic culture, folk tales and music of Korkyt Ata are based on twelve heroic legends, stories and tales and thirteen traditional musical compositions shared and transmitted across the generations through oral expressions, performing arts, cultural codes and musical compositions. Korkyt Ata appears in each story as a legendary figure and wise individual, a sage of minstrels whose words, music and expressions of wisdom relate to traditions of birth, marriage and death. In the musical compositions, the main intonations are reproduced using a musical instrument called the Kobyz through the sounds of nature, and imitation soundscapes are characteristic of this medium (such as the imitation of a wolf’s howl or a swan’s note). The musical compositions are all interconnected by the epic stories that accompany them. The element encompasses social, cultural and moral values such as heroism, dialogue, physical and spiritual wellness and unity as well as respect for nature, and contains profound knowledge about the history and culture of Turkic-speaking communities. It is practiced and sustained by the community concerned on a wide variety of occasions – from family events to national and international festivals – and is therefore well-rooted in society, serving as a connecting thread between generations.

Kazakhstan 2018

The epic, folk and musical heritage of Dede Qorqud/ Korkyt Ata/ Dede Korkut is based on twelve heroic legends, stories and tales and 13 traditional musical compositions (in Kazakhstan, Kuys of Korkyt Ata) that have been shared and transmitted from generations to generations, through oral expressions, performing arts, cultural codes and musical compositions. The element contains social, cultural, moral values such as heroism, dialogue, physical and spiritual wellness and unity as well as respect to nature that are still maintained by all parts of society Dede Qorqud /Korkyt Ata/ Dede Korkut appears in each story as a legendary character and is a wise person, a sage of minstrels whose words, music and expressions of wisdom are related to traditions of birth, marriage and death. In Korkyt's musical compositions, the main intonations are reproduced on Kobyz (musical instrument), through the sounds of nature, and imitations of soundscapes are characteristic for this medium, e.g. imitation of the howl of a wolf, a swan's note, a horse's run, the whoosh of an arrow, a dog's yawl, a baby's cry, a lullaby, etc. The feature of Korkyt's musical compositions is their interconnection with each other through the epic stories which accompany each musical composition. The element was safeguarded due to its bearers – community of epic and tale narrators and music performers. Today, the element is transmitted in two ways: informal – within the family or community, and formal - in various educational institutions. From family events to national and international festivities the element is sustained and practiced during a wide variety of occasions in various cultural spaces and therefore it is well rooted in society. For the Turkic speaking communities, the element is the connecting thread of generations and unites them today.

Azerbaijan,Kazakhstan,Turkey 2018

Uzbek tales, legends and stories, like those of other peoples, are part of the oral folk art. The tale is based on traditional plot and refers to prose folklore. A legend is often about any historical events or personalities, and stories are genre of folklore non-fairytale prose, passed down from generation to generation and developing historical themes in its folk interpretation. Tale is one of the most ancient and mass genres of Uzbek oral folk art. Oral stories, which are constructed based on fantastic ideas and artistic fiction, and which bear didactic idea and purpose, are called "tale" (in Uzbek – "ertak"). While representing an example of intangible cultural heritage, tales reflect, to a certain degree, worldview, national character, lifestyle and thinking of the people. Important role in the emergence of tales occupy ancient myths, traditions, rituals and customs. Although in Uzbek folklore studies the term "ertak" is used to denote a tale, in various regions of Uzbekistan this genre is commonly known as "matal", "ushuq", "varsaqi" and "chopchak". Legend is a verbal story, which is transmitted from generation to generation and is mixed with magic, sorcery and dreams. It is one of the examples of intangible cultural heritage. Legend, being one of the most ancient genres of oral folk art of Uzbeks, narrates about events and occurrences, in which notions aimed at understanding and perceiving reality based on artistic storyline, are embodied. For this reason, in legend it is possible to find brief information about social life, people's worldviews, traditions and customs and historical events. Story is a narration, which is done verbally. In terms of origin and historical roots it is considered one of the examples of ancient folklore and as such represents an element of intangible cultural heritage. It is a work of small size without commonly established form, which describes certain historical occurrence (that took place in the past) or past event by means of artistic fiction.

Chapei Dang Veng (hereafter Chapei) is a popular musical tradition found in Cambodian society. The singing of Chapei is accompanied by a long necked lute Chapei from which the tradition takes its name. Chapei is closely interwoven with the life, traditional customs and beliefs of the Cambodian people. The instrument itself is used in two eminent ancient ensembles,'Pleng Araek' (Spirit Music) and 'Pleng Kar Boran' (Traditional Wedding Music) both of which are endangered forms themselves. Chapei performers are generally male, although there are no restrictions regarding gender or social class. Chapei players are not only musically adept, but also witty, intelligent, and quick to adapt and improvise. They should be well-versed in language, literature, and poetry, and a good story teller. From 1975 to 1979, the Khmer Rouge regime systematically annihilated and destroyed any form of intellectual activity including traditional arts. As a result many traditions such as Chapei disappeared from the scene together with the people performing them. Only two grand masters of Chapei survived this gruesome period and together with some other masters and their students are trying to revive the art form today.

Cambodia 2016

As the most influential goddess of the sea in China, Mazu is at the centre of a host of beliefs and customs, including oral traditions, religious ceremonies and folk practices, throughout the country’s coastal areas. Mazu is believed to have lived in the tenth century on Meizhou Island, where she dedicated herself to helping her fellow townspeople, and died attempting to rescue the survivors of a shipwreck. Local residents built a temple in her honour and began to venerate her as a goddess. She is celebrated twice each year in formal temple fairs, when Meizhou residents, farmers and fisherfolk temporarily suspend their work to sacrifice marine animals, venerate statues of Mazu and enjoy a variety of dances and other performances. Smaller worship ceremonies take place throughout the year in the other 5,000 Mazu temples around the world and in private homes; these may involve floral tributes; candles, incense and firecrackers; and evening processions of residents bearing ‘Mazu lanterns’.

China 2009

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 Teochew Puppetry tradition of Penang is a distinct and increasingly rare form of puppetry that narrates folk tales and legends through a skillful play of marionette puppets. It is a more traditional and challenging form of opera, requiring fast and fluid animation of puppets to imitate human-like gestures. Traditionally, puppetry troupes consist of nine members divided into groups of three to handle puppets, sing and play musical instruments. The orchestra comprises of gongs, drums, er hu and cymbals. Each puppet takes about two to three weeks to make and are hand-crafted from wood, clay and paper, weighing several kilograms each. Older puppets are made of tightly-packed bundles of hay. The puppets are controlled by iron-rods attached to the back and limbs. Each character would have its own newly-made costume, richly detailed, just like those of a regular Chinese opera performer.

Awang Batil is a story-teller only found in the state of Perlis. Originally he was known with the name ‘Awang Belanga’ because he used the ‘belanga’ or cooking pot as his music accompaniment. As cooking pot is covered with charcoal, it was then replaced with ‘batil’ that is copper water container. Thus the story-teller is called ‘Awang Batil’. The storyteller also plays other instruments such as the violin, serunai, rebana and gendang terinai. In yesteryears, Awang Batil travelled village to village and from house to house, especially houses that held wedding feasts, to tell his stories. Awang Batil inherits lots of folk stories. A story is in series and with continuities that drags to many evenings. Comedy elements are inserted in his story-telling while beating the copper water container with his fingers. The most commonly told stories of the Awang Batil are Raja Dewa Lok, Raja Bersiung, Raja Berdarah Putih, Anak Lang Pak Belang, Jabat Jabit, Abu Nawas, Cerita Angan-Angan and Awang Ada Duit Semua Jadi. At certain Acts Awang Batil wears a mask to relate the character of a ‘Hulubalang’ (Soldier) and the ‘Wak Nujum’ (Fortune Teller). Both are used when suitable characters appear in the stories to attract the audiences’ attention. The mask is made of wood and usually painted red and white. At a house that holds wedding feast Awang Batil performs in a small hut with a height of three to four meters. The audiences sit encircling the hut listening to his stories with laughter.

Kobyz (kaz. 'qobyz', 'qyl-qobyz') - is an ancient Kazakh bow two-stringed musical instrument and an essential attribute of rites conducted voodoo ('baqsy', 'qam') - a shaman. Kobyz belongs to the class of chordophones. It is manufactured by the special manufacturing technology from a single piece of wood - juniper (arsha, archa), maple, pine or birch. Kobyz id subdivided into three functional parts: 'bas' - a head, upper part, middle part; 'Keude' (base) - a middle part - is made in the form of an open cup, extended downward. Inside the cup is attached mirror. The bottom part - ayak (legs) part of the tool is tightened with camel skin ('deka'). The support (tiek) is based on the bottom part. Sounds of kobyz, removed by rubbing with a bow-string. The bow has an arcade shape and resembles a bow weapon: the bun of horsehair is tied to both ends of the bent branch and fixed by the strong thread of camel wool. Strings for kobyz are made of a bundle of 30-60 non-woven horsehair ('qyl'), which give a very dense timbre rich in overtones. General instrument construction and its decoration detail were combined into an integral system that reflected the inner world and the philosophy of the Kazakhs. The tradition of making kobyz and playing of kobyz music was very specific for traditional environment and professional communities.

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

Folktale, the epic folklore text. There are mainly three kinds of Tajik folktales: magic or fairy tales, folktales about animals or fables, and novelistic folktales.