Inscribed in 2013 (8.COM) on the Representative List of the Intangible Cultural Heritage of Humanity As the temperature falls in late autumn, the topic of choice for most Koreans is kimjang, making a large quantity of kimchi to sustain them through the country’s long and harsh winter. Kimchi, a categorical name for Korean-style preserved vegetables seasoned with local spices and fermented seafood, was recorded as part of Korean diet as early as 760 years ago. Kimchi has been an essential part of Korean meal across class and regional differences. The most humble meal consists of cooked rice and kimchi, but even the most luxurious banquet is not complete without kimchi. Kimjang incorporates Koreans' understanding of their natural environment, and closely reflects their regional ecosystems. Over time, Koreans have developed methods that best fit their specific natural conditions. Kimjang is thus deeply rooted in the natural milieu of Korean habitats. Preparation for kimjang follows a yearly seasonal cycle. In spring, households secure shrimp, anchovy, and other seafood for salting and fermenting. In summer, they purchase sea salt to be stored for up to two or three years, to let the bitter taste of brine out. In late summer, red chili peppers are dried and ground into powder. In late autumn housewives carefully monitor weather forecasts to determine the optimal date for kimjang: it is important to choose the right temperature for the kimchi to acquire the best taste through storing it in cool and stable conditions. In the custom of exchanging kimchi among households after kimjang, innovative skills and creative ideas are shared and accumulated.

South Korea 2013

The art of wood carving in Uzbekistan is part of the Central Asian artistic heritage and its origins date back to ancient times. In the traditional architecture and life of the peoples of Uzbekistan for a long time, carved wood was very popular. In architecture, it was used as important architectural details and structures such as columns, cornices, doors, ceilings, and gratings. The use of carved wood in everyday life, or as it is also called household carving, absorbed a wide range of objects from furniture to small household utensils. Local wood species were used as a material: plane tree, elm, walnut, juniper, here, apricot, poplar, tal, pear, quince, cida, which differ in a variety of texture and pattern. When decorating various household items, furniture and musical instruments, the craftsmen used ornamental carving, painting and inlay. The main centers of woodcarving art are Khiva, Urgench, Bukhara, Samarkand, Tashkent, Qoqand, Margilan, Andijan, Fergana, Shahrisyabz etc.

Lazgi is the most popular Khoresm dance, which is energetic and full of passion. It is performed equally by both male and female dancers. "Lazgi" dance was usually accompanied by instrumental and dancy melodies. Although song versions of "lazgi" (which use various poetic texts) became widespread later on, the nature and character of melody remained the same. There are several versions of "lazgi" dance. These are: dance on a tray, dance on a brick, solo as well as group dance. In these, refined dance movements are replaced consequently by passionate and accelerated dance. The dance starts from steady movements of fingers of one hand and then another. Then simultaneously and slowly includes entire torso. The tempo gets accelerated and dancers snap fingers in time with dance with the help of stone castanets. In a group dance each participant dances in his or her own style.

Uzbekistan 2019

Chhau is a major dance tradition of eastern India. It enacts episodes from epics Mahabharata, Ramayana, Puranas, traditional folklore,local legends and abstract themes through the idiom of dance and a music ensembles that consists primarily of indigenous drums. It is seen in its distinct styles in Seraikella, Mayurbhanj and Purulia that are neighbouring areas of the states of Jharkhand, Orissa and West Bengal respectively. Chhau of Seraikella uses masks. Its technique and its repertoire was developed by the erstwhile nobility who were both performers and choreographers. Mayurbhanj Chhau is performed without masks and has a technique similar to Seraikella. The Chhau of Purulia retains the spontaneity of folk art. It is also performed with masks. The population is largely agricultural, though with urbanization and an increasing pressure on land, people have come to depend on other means of livelihood, mainly as unskilled labour in small towns. Predominantly Hindus, their religious beliefs, festivals and rituals have been influenced by the pre-existing tribal customs. The Chhau Dance in its traditional context is intimately connected to the festivals and rituals of this region. Important among these is the Chaitra Parva held in the month of April. The month of Chaitra in the Hindu calendar celebrates the advent of spring and the beginning of the harvesting season. Thirteen days of dance-like rituals of Jatra Ghat, Mangla Ghat, Kalika Ghat and Brindabani are dedicated to Shiva and Shakti as the source of all cosmic creation. These culminate in a vibrant festival of dance. Support of the erstwhile rulers made it an important event. In present times, the festival is supported by funding provided by the provincial government. Any paucity in funds is fulfilled by garnering support from local sponsors. All the arrangements for this festival are done by an organizing committee that is constituted by the people themselves and has representation from all sections of the society. Various communities, according to their occupations were responsible for different aspects of the dance. This division, though blurred with time is still to be seen in activities like instrumentmaking, music, mask and headgear-making. While royal patronage was extended to the Chhau of Seraikella and Mayurbhanj, the Chhau of Purulia was sustained and developed by the people themselves. This whole exercise promoted popular participation and fostered a sense of commitment to the art that is still palpable among the people of these regions. Chhau traces its origin to indigenous forms of dance and martial practices. Important among these was the Paika tradition. Paikas were soldiers brought up by the native rulers of Orissa. The Parikhand khela (play of the sword and shield) in Seraikella Chhau and the ruk-mar-naach (meaning the dance of attack and defence) in Mayurbhanj Chhau clearly point to these martial moorings. The basic stances of Chowk and Dharan are common and have an inherent strong martial character. Some of the dancers that excelled in these techniques, for example the Parikhars in the Seraikella tradition were invited to perform at social/religious ceremonies. It is a people’s art as it involves the entire community. Performed by male dancers of families of traditional artists, or those trained under Gurus or Ustads (masters). It traces its origin to indigenous forms of dance and martial practices. Khel (mock combat techniques), chalis and topkas (stylized gaits of birds and animals) and uflis (movements modeled on the daily chores of a village housewife) constitute the fundamental vocabulary of Chhau dance. It is performed in an open space called akhada or asar and lasts through the night. The dancers perform a repertoire that explores a variety of subjects: local legends, folklore and episodes from the epics Ramayana/ Mahabharata and abstract themes. The vibrant music is characterized by the rhythm of indigenous drums like the dhol, dhumsa and kharka and the melody of the mohuri and shehnai. Rhythm is vital to the rendering of Chhau. Some of the rhythms of Chhau are from the repertory of drummers playing at births, deaths and other life-cycle ceremonies in households of this region. The composition of the rhythm is so structured that it is independently capable of expressing the emotive content of the dance.

India 2010

a) Traditional handicraft techniques The old art of manufacturing the traditional Iranian floating vessel, called Lenj, has remained relatively unchanged. Lenjes are, mostly, made for their large cargo capacity. The Lenj-Bum was, once, the best ship for the Iranian sailors and navigators. Even now, it is still competing with rivals. But the gradual decrease in the number of the long voyages is limiting the popularity of the vessel. Lenj-Bum is capable of tolerating the storms. Originally, Lenjes were used in commercial travels to distant destinations, including India and Africa. Lenjes are composed of various parts, each made of special types of wood, depending on their function. Contemporarily, Lenjes are used, solely, for short journeys, fishing and pearl hunting. Older Lenjes were capable of travelling for, even, one year. The Persian sailors used to launch their commercial ships from the three ports of Loft, Kong and Lian, in Bushehr. The marine routes were, however, more varified, and would include travels to Basra in Iraq, or to the southern coasts of the Persian Gulf. Their main trades included dates, wood of Chandal, pottery, coconut and fruits. b) Knowledge and practices concerning the nature and the universe Before the introduction into the tradition of modern positioning systems, Iranian navigators could locate the ship according to the positions of the sun, the moon and the stars. An individual, called Moallem (“teacher; guide”), was responsible for the positioning jobs on the Lenj. Looking at the sun and the stars with his means, including the Persian astrolabe and sextant, at 6 AM and 6 PM, he could locate the Lenj on the sea. Navigation at night was the captain’s duty. He would order a Sokkāni (“helmsman”) to lead the ship into the direction of a specified star till the moment of sunrise. Compasses brougth more convenience for the navigators. They could define the routes more delicately, by utilizing a combination of astronomy and the newly introduced compass technology. The sailors started to record the stars’ specifications on the compasses. Using this combined method, they would define the route at night. The number of stars used as reference points was 17; they would be repeated in both northern abd southen directions round the compasses. The navigational knowledge and legacy is still passed on from fathers to sons. The Iranian navigators also had special formulae to measure the latitudes and longitudes, as well as the water depth. Sailors needed the wind in favour in their travels to the south; they would arrange for their voyages according to the seasonal winds that would blow every 6 months from north to south. They also attended to the particular winds of Persian Gulf to find a forecast for weather. Each wind had a native regional name. Knowing the wind route was not enough to trace the time of a pending storm; they also attended to the color of waters, the wave heights, or the nature of the blowing wind. c and d) Performing arts, Social practices and festivity events The majority of the Iranian inhabitants of the region earn their livelihood from the sea; consequently, the Persian Gulf continues to receive their respect. A number of traditional ceremonies and customs about Lenjes and the sea show their rooted symbiosis with nature. Nowruz-e-Sāyyad (Fisherman’s New Year) is one example. The celebration occurs late in the month of Tir (June 22nd), as a surviving traditional ceremony from the distant years. No fishing, no trades, and no sea journeys are allowed on this day. In the morning, the children colour animal foreheads, with red clay; and by sunset, all villagers gather on the seashore to play music or perform the proceedings of Shushî, an old traditional performing art, showing the sailors’ respect for the nature. Some people wear special clothes and masks, and try to represent sea-gulls. When the native music band plays Rezif (the sailors’ traditional music), suddenly, a number of men with fearful appearances come out of the sea, and pretend to attack the people. They are Shushi’s, the old demons who were asleep, and now the new years’ eve has awakend them. Interestingly, the people enter dialogues with these demons, and encourage them to join in the feast. Bādebān-Keshi (“setting the sail”) is another surviving ceremony. Long ago, when the ships were about to leave for long voyages, by the time the sailors were setting the sails, the music would accompany from the shore. The sailor’s families would bid farewell. Specific music and rhythms constitute inseparable parts of sailing on the Persian Gulf. In the past, the sailors sang special songs while they were working. In Hormozgan province, three such musical traditions are, still, attended by the locals: Livā, Rezif and Azvā. The singers describe a marine travel in their songs. Traditional bagpipes, named Neyanbān, accompany. The ritualistic performances are reminiscent of the jobs on the Lenjes. The movements resemble hoisting the ropes, rowing, holding in the fishing nets, and also separating and classifying the fish. e) Oral traditions and expressions, including languages as a vehicle of the intangible cultural heritage There are traditional sailing terminologies, stories and poems (Sharve) related to the nominated element in modern Iranian languages and dialects of the region. These linguistic varieties are representable as: 1.Lārestanî :(Aradi,Evazi,Bastaki,Banāruye-yi,Bikhe-yi,Khonji,Fedāghi,Fishvari,Gerāshi and Lāri) 2.Bashākerdî/Bashkardî :(Bandar-Abbāsi,Rudāni,Minābi and Hormozi) 3.Kumzārî :(Lāraki, …)

Iran 2011

From the folk dance art of the Tày people, in order to serve the entertainment demands of the upper classes in society, the Tày tribes have established The (Xòe dance) teams, consisting of beautiful, charming women with good figures and talent in dancing and singing. Then, during the process of interacting with French mandarins and intellectuals, the Xòe dance art of the Tay people in Tả Chải added elements of French aristocratic dance art - waltzes, at the end of the 19th century, early 20th century. This has become a unique feature, bringing its own breath of Xòe dance of theTày people here. Xòe Dance Art is performed at festivals such as going to the fields, worshiping the forest, new rice, Lunar New Year, Lantern Festival, etc. The places where Xòe dancing is performed are large, flat yards or beaches. Currently, Xòe dancing of the Tày in Tả Chải has 12 melodies, including 6 Xòe melodies accompanied by drums and gongs and 6 Xòe melodies accompanied by trumpets and drums. Xòe dances accompanied by drums and gongs are a combination of stepping, shoulder tilting, back-slapping, stepping, floor stomping, and rice threshing. Xòe dances with musical accompaniment of trumpets and drums are a combination of two-person dance, four-person dance, fish-finding dance, scarf dance, hat dance, and flag dance. Xòe Then is a unique creation when you sing Then with the Tính instrument. On the full moon day of February, this ceremony is held. Lady Then sat in the front to sing, while the troupe danced in the back. Rhythms such as greeting guests, spreading towels (the scarf), spreading fish (pi à), spreading flags (the cờ), spreading gongs (pa nhăm pa), spreading doubles, spreading fours, dancing around, spreading threshing rice (Phặt khẩu), etc. On the basis of traditional Xòe dancing, nowadays, artisans have created new Xòe dances such as Xòe planting beans, Xòe knitting stars, Xòe picking tea, Xoe serving wine, etc. The birth of new Xòe dances makes the Xòe treasure of art is becoming increasingly richer.

Traditionally, the beginning day of the dum singing festival is also the day when the girls of Tong Phuc take off the crow-beak scarves that cover their faces throughout the year. Therefore, the spring dum singing festival is also known as the "Opening Face" festival. During these days, the boys and girls of Tong Phuc (formerly, the three communes of Phuc Le, Pha Le and Lap Le of Tong Phuc) often gather to sing dum at Phuc Le communal house, one of the big communal houses. “Đúm” is “Đám”- a type of folk song of love, metaphors and response sing during the early spring festivals. Each dum singing festival consists of 9 singing steps. First, when meeting each other, there are greeting and appointment songs, congratulatory songs, followed by love songs, riddle songs, poems, invitation songs, love songs, soldier songs, open letter songs, wedding songs... and finally the singing to go home. The performance space is associated with the village festival (January 4-10). Đúm Singing in Thuy Nguyen meets the needs of entertainment and wishes for a prosperous and happy life; is associated with village temple festivals and communal houses in Phuc Le, Pha Le and Lap Le communes, and communes where Dum singing is popular such as: Phuc Le pagoda, Thanh Hoang temple, Ben Do temple/Bach Dang temple (Phuc Le commune); Pha Le temple; Do Le temple (Tam Hung commune). Dum singing can also take place on the road, in the fields... Đúm Singing in Thuy Nguyen meets the needs of entertainment and wishes for a prosperous and happy life; singing has a tight content and the following forms: Single singing, row singing, festival singing. The pitch is a 3-tone scale: low, middle and high (La Re-Mi). The melody consists of two basic lines: Opening/Ending and main, narrow range, correct 5th interval. The tone is correct 4th interval. The lyrics are six-eight and six-eight-song-that-six-eight poetry, "singing" in regular and irregular rhythms. Each singing festival consists of 9 steps, without any strict order. When singing, the losing side will have to leave behind a "token". They have strict rules and regulations on selecting people and performing methods. Đúm Singing in Thuy Nguyen meets the needs of entertainment and wishes for a prosperous and happy life; contributes to shaping the cultural identity of the community, enriching the love for the homeland and country. Dum Singing helps listeners understand the glorious history of the nation, the cultural beauty, customs and practices of the land. With many typical values, Đúm Singing in Thuy Nguyen was included in the List of National Intangible Cultural Heritage in 2018 by the Minister of Culture, Sports and Tourism.

In San Diu language, “soong” means to sing, “co” means to sing. Soong co singing of the San Diu people in Vinh Phuc is a unique folk performance that was born in the labor, production and community life of the San Diu people. Soong co singing is mainly about love dialogue and singing at weddings. Soong co is sung according to a book, with a pre-written score. The singer must know the song book by heart, they quote the lyrics in the book to sing riddles, the person answering also quotes appropriate sentences to sing in response to questions. They sing songs about love couple, nature, praise the loyalty of marital loyalty, praise the merits of grandparents and parents, teach people to live virtuously, humanely, and filially... Traditionally, the custom of singing Soong Co often takes place during the off-season, after harvesting crops in November and December of the lunar calendar, or during festivals, New Year's Eve, weddings, love songs, welcoming friends, brothers... Through actual surveys, the Soong Co of the San Diu people has about 1,000 songs. The language in Soong Co has a rustic origin, using onomatopoeia and ideograms quite richly and attractively. The way of addressing in Soong Co clearly shows the method of performing direct response singing, mainly in the first and second person. The basic characteristics of Soong Co music are expressed in melodies with 4 tones, sometimes 5 or 6 tones; The 4-tone scale is closely related to the 5-tone and 6-tone scales, appearing more often and creating a unique feature in the use of scales and singing rhythms. The rhythm in Soong Co singing is stable in duration, often using 2/4, 4/4 rhythm, sometimes free rhythm. Another outstanding feature in Soong Co music is that the pitch is not too large, the intervals are always successive, the high and low pitches are not high. The sounds a, ư, ơ, ơ, ơ... appearing at the beginning or end of the sentence mainly play the role of momentum notes, making the lyrics performed in an improvisational style, further enriching the musicality. With its typical value, Soong Co of the San Diu people in Lap Thach, Tam Dao, Binh Xuyen districts, Phuc Yen city, Vinh Phuc province was recognized by the Ministry of Culture, Sports and Tourism as a national intangible cultural heritage in 2018.

National Intangible Cultural Heritage, Republic of Korea Seungmu (Monk's Dance), a dance performed by a performer in a monk’s robe, is one of the leading folk dances of the country. There are several theories about the origin of Seungmu: one from a Buddhist cultural history perspective, one with a view that it originated in Kim Man-jung’s novel Guunmong (Dream of Cloud Nine), and one saying that it stems from a mask play containing elders’ dance and depraved monks’ agony. It is said to have started to develop among gisaeng (female entertainer). The dance is completely devoid of factors associated with religion, stage play, or play for fun. The dancer’s movements are similar to those of the Salpurichum (Exorcism Dance). The dancer performs to the tune of praying to Buddha, dodeuri rhythm, taryeong (Korean folk song), and gutgeori rhythm, jajinmori rhythm, etc., in white monk’s robe and gasa (ceremonial upper robe), white gokkal (conical hat), and elegantly raised front of beoseon (traditional Korean socks). The dancer displays unique gestures by whirling the sleeves to the accompaniment of piri (flute), daegeum (bamboo flute), haegeum (two-stringed fiddle), janggo (hourglass-shaped drum), and buk (drum). This is a very exquisite form of dance that expresses delicate rhythms and body movements as well as the sublimation of the feeling of joy and sorrow.

Dondang Sayang is a Malay traditional music and song that is well-known in the State of Malacca and still practised by four communities such as the Malay, Baba Nyonya, Chitty and Portuguese. “Dondang” means ‘to entertain the heart’ which is the same meaning as ‘Dendang’, while “Sayang” means ‘affection’. The combination of the words “Dondang Sayang” means ‘Love Song’ or ‘Song of Affection’. It cannot be ascertained of the establishment date of Dondang Sayang, but much earlier than the establishment of the Malacca Malay Sultanate in the 15th century. Earlier on, Dondang Sayang was only sung without its music arrangement and accompanied by percussion instruments like drums. The arrival of the Portuguese and conquered Malacca in the 16th century was the beginning of the usage of violin for this arts form. The usual instruments used are the rebana or hand-held drum, gong, accordion as well as the violin that has become very important for the song’s melody. The number of musicians is between four to five people. The violin’s rhythm is regarded as the opening and main accompaniment to the singing, while the rebana’s beat alternating with the gong’s complement the song. Dondang Sayang repertoires are usually sung in rhythms such as Asli, Inang, Joget and Mambo. The lyrics are of quatrain verses sung by the singer in one’s own style depending on one’s respective capability and expertise. Among the singing style is ‘hanging’ the song by shortening the word pronunciation in a quatrain or lengthening the pronunciation of the third or fourth words in the quatrain’s first line, as well as dragging the singing of the meaning in the quatrain.The quatrains are of the linked type or binded or thematic with themes of affection, deed or comedy. Based on tradition, Dondang Sayang performances are accompanied by music and sung by two singers of the opposite sex, who sing in quatrains. Typically, Dondang Sayang singers are individuals who are highly competent and skilled in poetry recitation. Dondang Sayang performances are open to all, irrespective of age, occupation, status or religion, and the art is considered as a means of conveying positive messages and sharing feelings of love, joy and sorrow that strengthen community bonding. There are four (4) types of dondang sayang such as dondang sayang Melaka, dondang sayang Baba Peranakan, dondang sayang Tanjung Penyengat and dondang sayang Pulau Pinang. The difference between them is not on the basis and form of a song or musical instrument but in the way of singing. Now Dondang Sayang is made as one of the main performances in government official functions to ensure the continuity of this arts heritage that has become a signature and iconic of Malacca’s cultural arts. Dondang Sayang has received UNESCO’s recognition as a Representative List of The Intangible Cultural Heritage of Humanity on 29th November 2018, during the 13th Meeting of Intergovernmental Committee for The Safeguarding of the Intangible Cultural Heritage (IGC-ICH) at the Swami Vivekananda International Convention Center, Port Louis, Mauritius Republic.

Malaysia 2018

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.

Nora is a lively and acrobatic form of dance drama and improvisational singing in local Southern Thai dialect. It is accompanied by strongly rhythmic music and elaborate costumes which embody a distinctive life force in Southern Thailand. Nora derives from community rituals in Southern Thailand that assemble families who perform Nora to honor their former Nora masters and expel harmful spirits. As central part vital community ritual performance, Nora helps the community to re-connect to its ancestors, to keep strong and to re-constitute itself by initiating new Nora dancers, healing illnesses, reconciling communal disorders and blessing all participants. Performances normally include a long oral invocation, followed by a performance centering on a lead character who dances with vigorous and elaborate movements of legs, arms and fingers. The lead Nora performer sings and dances scenes that are usually based on Buddhist Jataka tales – stories about the former lives of Lord Buddha – or those tied to legendary heroes, Phra Suthon and Manohra. The music ensemble plays highly rhythmic and fast-paced southern music, with the Thai southern oboe providing the melody and strong rhythms produced by drums, gongs, cymbals and wooden clappers. The main Nora performers – whether male or female – wear colorful and decorative costumes, with crowns or ‘Serd’ ornamented headdress, beads, bird-like wings tied around the waist, ornate scarves, and ‘Hang Hong’ or swan tails on the back providing the performers a bird-like appearance. Performers also wear long metallic fingernails that curl out from the fingers.

Thailand 2021