One of the most entertaining mask dances is the Ging Tsholing Cham, where most of the audience, especially the children, are captivated by the intensifying drum beats and the fighting scene of the Cham ritual dance. The mask dance is also called Tro-ging, a local name, because it provides an entertaining presentation and performance for the audience. Ging represents the wrathful appearance of celestial beings, daka and dakinis; those dances are performed by laymen called Boecham pa. Whereas Tshogling is the emanation of guardian deities of Dharma protectors, including the Four Kings of the cardinal points and the Eight Classes of Gods and Goddesses; these roles are usually performed by Tsun cham pa monks. According to literary sources, the mask dance was introduced by Terton, treasure revealer, Pema Lingpa (1450-1521) after he saw the performance at Zangdok Pelri, the copper-colored mountain and spiritual realm of Guru Padmasambhava. Pema Lingpa, who was one of the fortunate incarnate beings of Guru Padmasambhava, met his enlightened master several times: when he predicted the future, when he gave him the list of treasures to be discovered in disguise, when he guided him to the sites to be discovered, and as he often invited him into his realm during meditation states and in dreams. On one such occasion, in the magnificent palace of Rang-jung Trulpai Phodrang, self-formed palace, he saw the Root Master manifesting in Ja-lue rainbow body or wisdom body, from which millions of his forms emerged, filling the three realms of the universe, which is beyond our imagination. Among the magical representations, the enlightened sages of India and Tibet sit in the right row and the scholars sit in the left row. In between them sit the 108 treasure discoverers, who are incarnations of Guru Padmasambhava and his 25 chief disciples. A cloud of gods and goddesses transformed into one hundred Dampa Rigja Protective Deities– forty-two peaceful forms, and fifty-eight in Ging wrathful appearance–they made various sensuous offerings, including the performance of Dorji-lugar Vajra Dances, dancing upon the air, rejoicing in the participation in the preaching of the coinage doctrine. Outside the entrance gate of the Four Directions are thousands of warriors from the Pho-jued and Mo-jued male and female classes of protecting deities, the Eight Classes of Gods and Goddesses, led by the kings of the Four Directions Tshoglings, who are getting ready to overcome obstacles to the sacred teachings. In the war scene between the Gings and the Tshoglings, the aggressive characters of the Tshoglings, and the drum beats of the Gings arouse a sense of fear in the obstacles and samaya oath breakers, guiding them to follow the righteous path of humanity. A similar performance was originally introduced by Guru Padmasambhava to aid Tibet’s King Thrisong Detsen (c. 755-797 or 804 AD). Padmasambhava used his supernatural powers at the great Samye Monastery in Tibet, he manifested in the form of Ging and Tshogling, producing an immense positive force to fight and subdue the evil spirits that hindered the construction of the monastery. With the obstacles overcome, the site became an important part of establishing the teachings of the Buddha in the region. After seeing the spectacular performance and realizing its benefits for the liberation of sentient beings, Pema Lingpa introduced the sacred mask dance to Jigten me-yul the human world, first at Korphu Temple, one of his seats in Trongsa, central Bhutan. There is still a saying that goes, "If you are not sure about the choreographies of Ging Tsholing or Tro-ging, you should visit Korphu Drub." Korphu Drub is the annual mask dance festival that coincides with the temple's dedication ceremony. Due to the importance of the dance, this mask dance was later introduced in most Tshechu, Rabney, Mewang, Mani, Drub, Drubchen (native names for the annual mask dance festival) of forts, monasteries and temples by Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive spiritual leaders of the Je Khenpo as well as the temporary leaders of the Druk Desi - these spiritual masters and far-sighted monarchs.

Although better known worldwide as a type of martial arts, Pencak Silat is actually an Indonesian tradition that has been transmitted over many generations. In addition to its sporting aspect, the Pencak Silat tradition also encompasses the aspects of mental-spiritual, self-defense, and art. The term Pencak Silat is formed from two words, which are pencak and silat. The term "pencak" is better known in Java, while the term "silat" or "silek" is better known in West Sumatra, to describe a group of martial arts which have many similarities. In addition to using local terms, each region has their own move, style, accompaniment music, and unique supporting equipment. The moves and styles in Pencak Silat are strongly influenced by various elements of art. These moves and styles are a unity of body movement (wiraga), movement feeling (wirasa), and movement fit to the accompaniment music (wirama). The supporting equipment for Pencak Silat includes costumes, music instruments, and traditional weapons. Pencak Silat practitioners are taught to maintain their relationship with God, human beings, and nature. These practitioners are also trained in various techniques to deal with attacks or other dangerous situations based on principles to protect him or herself as well as others, avoid harming the offender, and build comradeships. Pencak Silat is often performed during various ritual ceremonies and celebrations. Men and women of all ages, as well as the disabled, can all practice Pencak Silat. They usually will learn in Pencak Silat schools or academic schools from kindergarten to college.

Indonesia 2019

Type of traditional embroidery which was widely spread in applied design art of Uzbekistan, Gold embroidery was revived at the middle of XXth Century. It's formation goes back to ancient history. At the end of the XIX – beginning of the ХХ century especially Bukhara was the center of crafts associated with gold embroidery. Notably, at that time gold embroidery was mostly dealt by men. But in some cases, when there were more orders than expected, women (who were close relatives of gold embroiderers) could act in the role of assistants. Bukhara gold embroiderers applied several methods of embroidering. These were: 1) "zardozi-zamindozi" – solid embroidering of the background with gold threads 2) "zardozi-guldozi" – embroidering based on design (image), which is cut out from paper 3) "zardozi-guldozi-zamindozi" – a combined method of embroidering, which unites the above-mentioned two methods 4) "zardozi-berishimdozi" –combined embroidering 5) "zardozi-pulakchadozi" –gold embroidering with spangles. Ornamentation in gold embroidery was predominantly of vegetative nature. Geometric patterns were used less often. Main motifs were rosettes, palmettes, bushes, trees, branches, flowerpots with flowers, almonds, pomegranates, cherries and grapes. Usage of certain vegetative motifs, for example, of "guli-chinni" (chrysanthemum), "guli-qashqari" (Kashgar flower), testify to the fact that pictures of Chinese porcelain (since ancient times it was imported to Central Asia and was popular among elites of Bukhara in the XIX – beginning of the XX century), were borrowed and adapted by Bukhara gold embroiderers.

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

The name for this festival brings together two words, Lha means god and Soel means offering or prayer. The tradition in Sangbekha is primarily a Bon practice. Bon was a diverse body of localized ritual practices flourishing in Tibet before Buddhism expanded into the region. According to Sam Van Schaik (2013), Bon or the Bonpo religion, only emerged as a unified body of practices when put in contrast to Buddhist practice as the “othered” alternative to Buddha’s teachings. Following the eleventh century, the diverse practices organized and formalized in conversation with contemporary practices. Scriptures emerged, mainly through Terma hidden treasures, and visions of Tertons who discover the treasures such as Loden Nyingpo. Although Bon Terma contain legends that Bon existed before the introduction of Buddhism to Tibet, Van Shaik notes "the 'old religion' was in fact a new religion." Following these developments and reforms of the practices to eliminate animal sacrifices, some scholars consider Bon to be a distinct sub-school within Tibetan Buddhism. Over time, Buddhism became more popular and Bon practice waned. The Bon tradition also existed in Bhutan before Buddhism took hold. Although the Bon tradition is not as strongly recognized by the people of Bhutan, it still existed in every corner of the country, making this tradition one of the oldest in Bhutan. The Bon tradition takes refuge in the earth, rocks, cliffs, trees, sun, moon, stars, etc. are the protectors, and formerly involved offering animals in sacrifice. The Bon practitioners in Wangdiphodrang Dzongkhag or district, such as the communities of Gaseng Tshogom, Khatoekha and Lhashing Tsawa, performed a common ritual known as Lha-soel every three years. The ritual is organized by one of the Pawo male shamen, and Neljorm or Pamo female shaman, of each village. They alternate hosting the program every three years. The organizer of the year prepares for the rituals, tents are pitched near the organizer's house and the Lha-soel ritual takes two whole days. In an interview with 68-year-old female shaman Aum, elder, Kencho Om has been a Pamo for 25 years in Nakey-kha village in Sangbekha gewog, Haa Dzongkhag a district of eastern Bhutan. She said that the Pamos are the same as Nyeljoms and are common throughout central and eastern Bhutan. They are the female mediums who are possessed by local deities. Their job is to diagnose and cure diseases through divination and rituals. It is believed that the abilities of Pamo continuously persist through the family line. When a practitioner dies, the spirit passes to her daughter. However, it depends on the decision of the deity to choose the legitimate “wife” to inherit the role among the daughters or granddaughters. Aum Kencho has no formal education, but learned the and rituals transmitted through their family line. According to her, Pamo play an important psychological and healing role in a rural society where the supernatural is a part of life. They do what others cannot, such as mediate through the mind. The Bhutanese believe that illnesses are due to an imbalance in the various elements that make up the body, and that they are often caused by one of the numerous vengeful spirits associated with certain symptoms that consist of Tsa energy channels, the Lung wind channel, and the Thig-le seed channel in the human body. When these channels unbalance each other, it causes illness. The Lha-soel is held at the beginning of the 6th month (July) and another in the 12th month (January) according to the Bhutanese calendar. It is performed twice a year (summer and winter). In summer, they perform a shortened ritual (Due-pa) in the evening, while in winter they perform a grand ritual (Gye-pa) that usually lasts from evening to the next morning. Although there is no specific time, the ritual is performed either on the 8th, 10th, 15th, 25th and 30th of the month.

Yarney is one of the mainstays of monastic life in Buddhist communities, the tradition descends from the time of Buddha until today. It is observed as one of the most important annual events in Buddhist monasteries and institutions. ‘Yar’ means ‘summer’ and ‘ney’ means ‘to stay or abide’. Varsavasa is the Sanskrit term for Yarney, and like the Chokey term it is rather literal: varsa means ‘rains or rainy season’ and vasa means ‘dwelling or residence.’ The term widely used in Bhutan is Yarney. The origin of Yarney practice can be traced back to the historical Buddha, Siddhartha Gautama, 2600 years ago in India. The first Buddhist monks did not build monasteries and temples; they were mostly homeless and depended solely on alms for their sustenance. However, the summer’s monsoon rains presented a number of obstacles to Lord Buddha and his Sangha Buddhist community to make daily customary alms round from village to village and teaching tours. Not only is it unhealthy and uncomfortable to be unhoused in the rains, but the nurturing rains bring forth insects and worms who inhabit the muddy walkways and small plants and newly planted rice paddies would start budding in the fields. At that time the Tirthikas non-Buddhist critiques of Buddha Gautama would criticize the practice of alms round, reasoning that walking for alms especially during the summer killed several animals and insects. So to keep from crushing insects or young crops in their tender state; and avoid the health hazards of the monsoon rains, flooding, and displaced wildlife, the Buddha established the rainy seasons as a time for retreat. This is codified in the Vinaya rules for the monastic community. Instead, they would remain within the premises of their residences or dwelling places, most often monasteries, each summer or venture to a specific rainy season retreat. For the monasteries, the place Sangha members observe Yarney must be conducive to spiritual and mental development. One of the main objects of observing Yarney is to set aside time to practice meditation outside the schedule of preaching the Dharma to lay devotees or going on alms rounds. The period for the retreat lasts three months by the lunar calendar, usually starting in June or July and would continue until September or October. This established a formal practice of observing Yarney – Buddhist monastics using the summer or the rainy season as an opportunity to take retreat. The Buddha and Sangha would stay and spend days in their residences. This was a period for the Sangha to spend time in quiet and serious meditation, give local Dharma talks and help laypeople and junior Sangha members in spiritual development. It was also opportune time for them to clarify their understanding of every aspect of the Buddha’s teachings through questions and discussions. As the tradition progressed, it became renowned as a productive period in which the sutras were said to have been written down. Thus, during Yarney monastics engage their vows; listen and contemplate lob pa thoe sam; and meditate on teachings pong wa sam tan they received from their Khenpo or abbot. During Buddha’s time, many monks and practitioners were said to have achieved the accomplished state of Arhat, non-returner, and once-returner through this deep study.

National Intangible Cultural Heritage, Republic of Korea In olden days, it was customary for the founder of a kingdom to hold a sacrificial rite for ancestors and then a rite to the deities of earth and grain, praying for a good harvest. Upon founding the Joseon Dynasty, King Taejo built Jongmyo Shrine to the east of Gyeongbokgung Palace and Sajikdan Altar to the west of the palace to pray for the peace of the people and good harvests. He also erected Sajikan Altars in the provinces. At Sajikdan Altar, mortuary tablets were placed at the north, and altars for deities of earth and grain were placed on the east and the west. A sacrificial rite was held regularly in February and August on the lunar calendar. A rite of praying for rain was held when there was a long spell of drought. Nowadays, the sacrificial rite is held in the following order: Jeonpye (offering silk satin as present), Yeongsillye (greeting the spirits), Choheollye (first obeisance), Aheollye (second obeisance), Jongheollye (last obeisance), Eumbongnye (partaking of sacrificial food), Mangye (burning of ritual paper). Sajik Daeje is an event that features a combination of music, dance, food, robes, and ceremonial utensils used in a formal sacrificial rite. By 1894 (the 31st year of King Gojong’s reign), Sajik Daeje was replaced by a rite named Singwanje. In 1908 (the 2nd year of King Sunjong’s reign), Singwanje was brought to an end. In 1988, Sajik Daeje was restored based on testimony made by the late Yi Eun-pyo, who retained the skill needed for carrying out Jongmyo Jerye (Royal Ancestral Ritual in the Jongmyo Shrine). The rite has since been held by the Sajik Daeje Committee within the Jeonju Yi Clan Association.

National Intangible Cultural Heritage, Republic of Korea This is a ritual held to pray that the spirit of the dead may forget all grudges and go to heaven happily and that people still alive may live peacefully. The word ssitgim comes from the Korean verb ssitgida (to wash someone). The ritual, which is deeply associated with Buddhist beliefs, is thought to have started in the Goryeo Period (877 – 1394). Details of the performance depend on what the occasion is, for example, right after a death, the first/second anniversaries of the death, or burying the body after letting it stay on the ground covered with grass or straw for three to ten years. The ritual is carried out in the following order: Anttang (a sacrificial rite for deceased ancestors), Chogamangseok (invoking the spirit of the dead), Cheoolligi (entertaining the spirit), Sonnimgut (entertaining the spirits of friends of the dead), Jeseokgut (a rite for a deity handling matters such as people’s longevity, grains and clothes), Gopuri (consoling the spirit), Iseulteolgi (washing the spirit of the dead and praying that the spirit go to heaven peacefully), Yeonghwa Ssitgimgut (thanking for ancestors’ protection on a congratulatory occasion of the family), Neokgeonjigut (consoling the spirit of a drowned person), Jeoseung Honsagut (a rite for marriage between the spirits of a dead unmarried woman and man). The ritual is performed to the accompaniment of music played on piri (flute), daegeum (large-sized bamboo flute), haegeum (two-stringed fiddle), janggo (hourglass-shaped drum), and jing (large gong). The robe worn by the exorcist looks similar to that of a monk. She dances and sings songs to help the dead forget all their grudges. The dances and music used in the ritual displays high artistic quality. The rite is also a valuable source of material for those studying cultural heritage.

The Neypo ritual is a seasonal offering performed across Bhutan to appease local deities, Ney village in Lhuentse to the northeast is one of many villages to perform this ritual. Neypo literally means "Zhidag", a category of deity who protects the area under their control or certain parts of the valley. The identity of the protector figure varies from region to region, as does the ritual. In Ney village, the Neypo ritual is performed every year on the 15th day of the third lunar month of the Bhutanese calendar. The ritual is performed in their Lhakhang, temple, in order to appease the local deity Zhidag Drakpa Gyalpo with offerings. In return, the community asks for his protection of their farms from wild animals. The Zhidag is believed to dwell below the village in a dense forest on the left side of Kurichu. Zhidag Drakpa Gyalpo has a grim appearance with a black face, dark clothes, and a reindeer mount with ten horns. He has one face and two hands; in his right hand he holds a flaming sword and in his left hand he holds a robe or Zhagpa sling. Within a single second he could cover the distance between any two places. Eighth century tantric master Guru Rinpoche (Skt. Padmasambhava) bound Drakpa Gyalpo by oath and made him the protector of the East Gate of the hidden land Baeyul Khempajong, and sworn to be the Dharma protector in the region. During the Neypo ritual, the entrance to the dense forest is sealed off for people which will last for a whole season, which is called Rigya lungya dam or Ridam. Ridam is a common practice of mountain closure in which the path to the Zhidag Phodrang, deity’s abode, and the surrounding dense forest are closed to human access from spring to autumn until the rice harvest. During this period, people are generally not allowed to enter the area to collect natural resources or visit any place in the area. After performing rituals, no one is allowed to go there unless except for exceptional occasions. This restriction applies to outsiders as well as people from the village.

The Kyrgyz people’s clothes are characterized by many peculiar features typical of the nomads’ clothes. The climate of a high-mountainous country with its sharp fluctuations in the temperature, which is quite severe in some places, leaves a big imprint on the character of the Kyrgyz clothes. This causes the need for various types of warm clothing, which are sometimes even used in the summer season. The perfect example of such clothes is chapan – a long coat similar to a dressing gown, can be both with and without a standing collar, unbuttoned, like most of the Kyrgyz people’s clothes. Chapan is worn by both men and women. Chapan is sewn on a wadding or a camel wool with a cotton lining and is most often quilted. Women's chapans are sewn from the best fabric, which is significantly lighter. They are also often decorated with silver jewellery. There are several variants of this clothing, depending on the region: naigut chapan - a wide tunic-shaped robe, sleeves with a gusset, sewn at a straight angle; kaptama chapan - loose fit, sewn-in sleeves with a rounded armhole; and a straight, narrow chapan with side slits. The hem and sleeves are usually sheathed with a colourful lining. In the south, it is customary to gird the chapan with a large scarf folded diagonally (charchy).

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.

Gelong, monks and Zhung Dratshang, Central monastic body or Geduen lobdra, monastic schools in Bhutan play an important role in religious and cultural life of the different sections of society. In the past, each family enrolled at least one of their sons into the local monastery, so that monks constituted a considerable proportion of the male population. Although this percentage has declined with the passage of time, the roles of the monastic community have increased in recent years. The Head Abbot or Je Khenpo, who is responsible for the nation’s religious affairs, holds a prominent place in the social and cultural life of the people. Five deputies or senior masters assist him in supervision across the kingdom. Below them are the monks of other ranks with specific responsibilities. A boy may be enrolled in the monastery at an early age, on an auspicious day. He starts to wear the maroon robe and his head is shaved. The novice receives ordination step by step, based on the monastic code of conduct specified in the Vinaya. The curriculum begins with the learning of the alphabet, spelling and reading, and advances to the memorisation of prayers and other relevant texts besides observing daily monastic rules of discipline. They also learn various ritual arts, metrical rhymes, trumpet playing, making ritual cakes etc. As they proceed to higher classes, they learn grammar, prosody or literary science, in preparation for pursuing higher Buddhist philosophical studies. After having gained a basic proficiency in religious studies from the monastic schools, the monks graduate to higher Buddhist philosophical studies. Besides emphasising liturgical, doctrinal and esoteric scriptures, monastic education also offers training in the auxiliary sciences and arts such as medicine, astrology, calligraphy, painting and grammar. The novice monk is eligible for full ordination only after the successful completion of a graded nine-year course. The entire period of study encompasses fifteen to twenty years. Needless to say, many whose abilities fail to meet the progressively higher standards settle for the lesser monastic grades, while the select few, in accordance with their accomplishments, rise up the hierarchical ladder. The monk’s education does not end with his gaining proficiency in Buddhist studies alone in the Buddhist colleges. After receiving theoretical teachings, he must undergo retreat for three years to practice meditation, called ‘losum choesum,’ which means three years and three faces of a month (the first face from the 1st day to the 15th day which is known as upper-face, the second face from the 16th to the 30th, known as the lower-face. Choesum means a complete month – upper and lower faces – and the upper face of the following month, which makes one and a half months). Performances of rituals on daily, monthly and annual basis are part of the normal monastic life. The monk must master different types of instruments including the trumpet, drum, clarinet and cymbals. Since almost every important occasion in the life of the average Bhutanese is coloured with religious significance, monks also visit households to perform annual rites for diverse occasions such as birth, marriage, sickness, death, construction of houses, promotion of senior officials, inaugural functions and many other day-to-day needs.