Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Cheoyongmu refers to a court dance performed by five dancers in five directions (west, east, north, south, and center). Hence it is also called Obang (quintet) Cheoyongmu. It is unique in that it is the only form of a court dance performed using human masks. Designated Important Intangible Cultural Heritage on January 8, 1971, Cheoyongmu is a grandiose, mystic dance performed by male dancers. At the end of the Silla Kingdom (57 B.C. – A.D. 935), King Heongang went on an excursion to the seaport of Gaeunpo (present-day Sejuk Village area in Hwangseong-dong) in the southeastern city of Ulsan. On his way back home, the king felt strange about the sky covered with dark clouds and fog and asked his retainers the reason. “As it is caused by the dragon in the east sea, it should be resolved by conducting good deeds,” a court astronomer replied. Therefore, when the king had a temple built for the dragon, the dark clouds disappeared and the dragon, along with his seven sons, emerged from the east sea and danced. One of the dragon’s sons, named Cheoyong, followed King Heongang to the capital, married a beautiful woman and held an official rank. One night, when Cheoyong returned home, he found the spirit of smallpox trying to attack his wife. As Cheoyong sang and danced, the smallpox spirit presented itself and kneeled in apology. Since then, people have attached an image of Cheoyong to the gate to dispel evil spirits and invite auspicious energies. Until the late Goryeo (918-1392) era, Cheoyongmu had been performed by a dancer, while by the reign of King Sejong (r. 1418-1450) of the Joseon Dynasty it was danced by five performers. According to the Akhak Gwebeom, or the Canon of Music, Cheoyongmu was performed twice at the narye ceremony, which was conducted on New Year’s Eve to ward off evil spirits and the god of death of the passing year. The five dancers are clad in white, blue, black, red and yellow, symbolizing the west, east, north, south and center respectively. Based on the theories of Yin and Yang and the Five Elements, Cheoyongmu symbolizes the repelling of misfortune. The stately and vigorous movements reveal a valiant spirit and magnanimity. Cheoyongmu begins with proceeding toward the king to the music of sujecheon (“Long Life as Eternal as the Heavens”), singing the first line of “Cheoyongga” (Song of Cheoyong) with the words “silla seongdae soseongdae” (“Silla, the period of brightness and greatness”) in the lyric song rhythm of eolnak. Then, the dancers bow to the king and move to the center of the stage to the music of hyangdang gyoju (ensemble by Korean and Tang instruments). To the slow tempo music of seryeongsan (“Mt. Seryeongsan”), they form a square to dance sanjak hwamu (“Scattering in the Form of a Flower”) and rotate to the right. As the formation is changed to a cross, the music is also changed to samhyeon dodeuri (slow 6/4 beat music by three strings). After the dances of suyang sumu (“Dangled and Raised Hands Dance”) and mureup dipimu (“Moving Knee to Change Direction”), the dancers change the formation into a circle and rotate to the left. As the formation is changed to a straight line again, they recite a verse from the Song of Cheoyong, saying “sanha cheolniguk” (“To mountains or fields that are far away”) in the lyric song rhythm of pyeonak and then leave the stage, dancing nakhwa yusu (“Falling Petals and Flowing Streams”) to the music of songgu yeojigok (a sort of dodeuri). In light wine color, the Cheoyong mask features white teeth, tin earrings with a lead bead, and a black official hat decorated with two blossoms of peonies and seven peaches. The light wine color and peaches symbolize warding off the evil spirit, while peonies signify inviting auspicious energies.

South Korea 2009

Inscribed in 2014 (9.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nongak is a fusion performing art genre that combines a percussion ensemble (with occasional use of wind instruments), parading, dancing, drama, and acrobatic feats. It has been practiced for various purposes, such as appeasing gods, chasing evil spirits and seeking blessings, praying for a rich harvest in spring, celebrating the harvest at autumn festivals, fund-raising for community projects, and professional entertainment. Any joyful community event was never complete without uproarious music and dance performed by the local band clad in colorful costumes. The resultant ecstatic excitement (sinmyeong) is often defined as a preeminent emotional characteristic of Korean people. The music frequently uses uneven beats of complex structures like simple three-time, compound time, and simple and compound time. Small hand-held gongs and hourglass drums, with their metal and leather sounds, play the main beats, while large gongs and barrel drums create simple rhythmic accents. The small hand-held drum players focus more on dancing than playing music. Dancing includes individual skill demonstrations, choreographic formations, and streamer dances. Actors wearing masks and peculiar outfits perform funny skits. Acrobatics include dish spinning and miming antics by child dancers carried on the shoulders of adult performers. Nongak was most often performed and enjoyed by grassroots people, but there were also professional groups putting on entertainment shows. In recent years, professional repertoires have evolved into the percussion quartet “Samul Nori” and the non-verbal theatrical show “Nanta,” dramatically emphasizing the music element and thereby appealing to broader audiences at home and from abroad.

South Korea 2014

Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nearly every Korean knows and enjoys singing Arirang, which is not just one song but a variety of local versions handed down throughout Korea. Experts estimate the total number of folk songs carrying the title ""Arirang"" at some 3,600 variations belonging to about 60 versions. Arirang is essentially a simple song, consisting of the universal refrain Arirang, arirang, arariyo, and lyrics that have developed differently from region to region. The most typical lines express a universal sentiment: Arirang, arirang, arariyo; Over the Arirang hill you go. (refrain) Leaving me, my love, you'd go lame before three miles. (lyrics) The lyrics were not created by any particular individual, but an outcome of collective contributions made by ordinary Koreans through generations. They convey joys and sorrows of common people arising from love, parting with the beloved, troublesome in-laws, or national struggle against foreign invaders. Affection for Arirang is evident throughout today's ultra-modern Korean culture, well beyond the realm of traditional music. Arirang has been rearranged into modern ballads, rock 'n roll and hip-hop, as well as symphonic pieces, appealing to a wide array of audiences and striking a chord with Koreans; it is often described as their unofficial national anthem. Olympic champion Kim Yu-na skated to an Arirang theme, ""Homage to Korea,"" at the 2011 World Figure Skating Championships. Arirang is also one of the most recognized cultural symbols and is widely used as a theme for movies, dramas and soap operas, and names of commodities, restaurants, and broadcasting companies.

South Korea 2012

The title ‘Traditional Ainu Dance’ is defined as dances and songs transmitted among the Ainu people of distinctive cultures in Hokkaido located in the northern area of Japan. Those dances and songs are derived from the life and religion of the Ainu people; some are performed at ceremonies and banquets in local communities, and others privately performed in daily lives. Neither of them is accompanied with musical instruments. They are performed along with songs and handclaps of dancers and participants on site. The Ainu people used to live in a vast area including Hokkaido, the northern part of Honshu, the Kuril Islands and Sakhalin. Currently, however, most of them live mainly in Hokkaido, and its population is estimated at approximately twenty-four thousand. The Traditional Ainu Dance is transmitted by the seventeen preserving associations established in fifteen cities and towns where the Ainu people live. Allegedly the Ainu culture of today’s style was formed up approximately in the twelfth or thirteenth century. People at that time lived by fishing, hunting and gathering, and they also traded with other areas. In this way of life, the Ainu people have developed such a creed as they believe in deities which are omnipresent at anything related to their lives, namely the nature (the sun, rain, water, fire etc.) including animals and plants. Thus, they often conducted prayers and ceremonies in their daily life. The Traditional Ainu Dance can be performed at these prayers and ceremonies or banquets. ‘Iyomante,’ for example, is the biggest ceremony with the Traditional Ainu Dance for sending a deity disguised as a bear back to heaven. The Ainu people believe that a deity comes down to the human world in disguise of an animal or a plant which is a gift from the deity to be eaten by the human beings. Once people have physically eaten it up, they thank the remaining spirit of this invisible deity for its gift and hold a ceremony to send it back to heaven. During the ceremony people sing and dance. One of the features found in the Ainu performing arts is the imitation of calls and movements of animals and birds. During the ceremony of ‘Iyomante’ people repeatedly imitate calls and sounds accompanied with its movements of a bear, and words are inserted in such repetitions. On the other hand, performing arts which are privately performed in an Ainu daily life contain lullabies, improvisatory lyrical songs, incantations with melodies, and songs accompanied with movements of labours by several persons in a daily life. As mentioned above, the Traditional Ainu Dance is performed at important ceremonies and banquets to the Ainu people and also in their daily life, through which the Ainu people reconfirm the identity and deepen a sense of continuity. Currently, in addition to such ceremonies as mentioned above, the Traditional Ainu Dance is demonstrated at newly projected festivals and events. It is one element of the intangible cultural heritage transmitted from generations to generations and is continuously developed and reproduced according to the situations of each era. The traditional style of the Ainu dances is a big circle of many participants, proceeding right-handed with some fixed movements and singing together. They sing the same song together or in turns, otherwise they sing in a responding way between a chorus leader and the others. Some of those traditional songs are polyphonic; several women sit on a floor in a circle in surrounding a lid of a wooden container, make a rhythm in beating the lid, and sing the same melody with one sound successively delayed. Because there are currently many opportunities to perform it apart from a daily life, some dances and songs have been formed up as independent repertoires in paying due attention to the traditional performing style. As overviewed, they are (i) the imitation of calls and movements of animal, namely ‘crane dance’, ‘fox dance’ and ‘swallow dance’: (ii) the imitation of insects, namely ‘grasshopper dance’: (iii) the ritual one, namely ‘sword dance’ and ‘bow dance’: (iv) the entertaining one: (v) the improvisatory one. Thus, the Traditional Ainu Dance is simple and naive, and often retains the primordial quality inside. In this sense it can illustrate the origin of performing arts.

Japan 2009

Gagaku is one of the Japanese performing arts, which are expressed by playing musical instruments, with long, slow songs and dance-like movements, and performed at ceremonies or banquets at the Imperial Palace or in a theatre, such as the National Theatre in Tokyo. Gagaku consists of (i) Kuniburi no Utamai, (ii) the Japanized dance and music which had been derived from the Continent, and (iii) Utamono. The substances or repertoires have been created in the history and culture of Japan and become distinctive. Kuniburi no Utamai had been formed up around the tenth century with original Japanese songs and dances long before foreign music and instruments were brought into Japan in the fifth century. While the dance and music that came via the continent use only musical instruments, Kuniburi no Utamai is mainly composed of songs and played just partly with a Japanese harp and Kagura flute. The choreography of Kuniburi no Utamai is simple but noble and grave. The Japanized dance and music which had been derived from the Continent consist of an instrumental tune, kangen, which developed from such Asian music and dances that reached Japan via ancient China and the Korean peninsula during the four hundred years from the fifth century through the ninth century, and was shaped by the history and culture of Japan, and (b) bugaku, the ceremonial dance to this tune. The Japanization is the process as follows: (i) the configuration of performance consisting of those derived from China, Central Asia, and India and those from the Korean peninsula: (ii) the selection of foreign music instruments and the formation of the smaller chamber music ensembles. Those used here are wind instruments (Sho, Hichiriki and Fue), strings (Biwa and So), percussion instruments, and others. Utamono is the vocal music that was newly formed around the tenth century in Japan under the influence of music from abroad. Some of its lyrics are Japanese folk songs and some are ancient Chinese poems. As briefly explained above, the history of Gagaku stretches over more than a millennium. Gagaku-ryo, i.e. the department of Gagaku, was set up as a national institution by the enactment of the year 701. The Imperial Court aimed at establishing a centralized State under the rule of written laws and regulations, known as Ritsu-Ryo Kokka. Historians think that Gagaku was incorporated into the national system as an essential part of official ceremonies. In 752, for example, these performing arts were performed at the ceremony to bring the soul into Great Buddha statue in the temple of Todai-ji, which has been a UNESCO World Heritage Site since 1998. In the tenth century the performing arts from the Asian continent were sophisticated and Japanized while new Utamono and new repertoires of Bugaku were composed under the influence of performing arts from abroad; the form of today’s Gagaku was being established. Moreover, the style of acting and the performance space were also being set. The individual members who compose the Music Department of the Imperial Household Agency in charge of the transmission of Gagaku are mainly descendants of specific families who occupied such posts as a family profession. Although the tradition of Gagaku faced difficulties several times because of the decline of the Imperial Court and the aristocracy, who were patrons of Gagaku, and because of political turbulence and conflicts, certain families in Kyoto, Osaka, and Nara have kept the tradition, and do not let it cease. In the latter half of the 18th century, the Musical Department of the Imperial Household Agency was established, incorporating musicians from several localities, and this was the predecessor of the Musical Department of the Imperial Household Agency. As explained above, the Department members recognize Gagaku as part of their precious cultural heritage transmitted from their ancestors. As Gagaku has been designated as an Important Intangible Cultural Property of Japan since 1955, it is recognized as an item of important cultural heritage which has high historical and artistic value for the Japanese people. Gagaku is the oldest tradition among the Japanese traditional performing arts. The Music Department of the Imperial Household Agency is widely recognized as the authentic transmitter of the tradition. The transmitters recognize Gagaku as their own unique culture of which they can be proud before their contemporaries in Japan and throughout the world. The transmission and performance of Gagaku contribute greatly to raising the holding community’s sense of identity and continuity. Thus, Gagaku has been transmitted from generation to generation for a long time, developed corresponding to the politics and the surroundings of each time, and constantly recreated. The history of Gagaku illustrates very well how Japan has transformed culture from abroad and sophisticated them as part of our own culture. The performing arts transmitted to-day varies from those originating in ancient Japan to Japanized, sophisticated and developed ones derived from abroad. In this sense, Gagaku is the crystallization of the culture created by the society and history of Japan. In 1955 Gagaku was recognized as a part of cultural heritage, and designated as an Important Intangible Cultural Property. Therefore, Gagaku functions as one cultural tool to reconfirm the Japanese identity.

Japan 2009

Tanovar is a classical Uzbek national dance that embodies grace, rhythm, and deep emotional expression. Originating in Central Asia, particularly in Bukhara, Samarkand, and Tashkent, Tanovar is one of the most cherished traditional dances of Uzbekistan. Its elegant hand movements, soft footwork, and expressive gestures are performed to melodic music of the same name, often composed in slow 6/8 rhythm. The dance reflects themes of love, dignity, nature, and female beauty, often performed solo by women but also taught and adapted for group or stage performances. Tanovar is recognized for its symbolic gestures that convey inner emotion and storytelling without words. The preservation of Tanovar includes teaching in dance schools, cultural centers, informal community circles, and professional ensembles. It is regularly featured in national festivals, cultural days, and international performances, symbolizing Uzbekistan’s rich heritage and refined artistry.

Semah; originated from the Arabic word sema meaning heavens, fortune and hearing. Semahs are the most effective instruments for the transmission of Alevi-Bektaşi tradition. Semah is one of the main twelve services of the cem rituals which are considered as religious practices by Alevi-Bektaşi adherents. It is possible to encounter various kinds of semahs across Turkey with different musical characteristics and rhythmic structures. The fact that there are variations in melodic and lyrical structure of semahs with the same name is an evident sign of the richness in semah culture. Centuries of oral transmission of semahs from generations to generations has enabled a rich diversity among semah culture. One of the main principles on which semahs are conceptualized is the unity with God which happens through a natural cycle. In this cycle man comes from God and goes back to God which resembles the circulation of the celestial bodies in the universe. However, man is the locus of this circulation. God is omnipresent and semah is the way to reach God. Hand and body motions in semahs have symbolical meanings. For instance, the motion in which one palm faces the sky while the other faces the earth is meant to say “You are God, we are the people, I come from You and hold your essence in me, I am not separated from You”. The motion in which palms first face the sky and then turned to the earth is meant to represent the same thought. When semahçıs (semah dancers) face each other just like in Tahtacı Semah it means that God is present in man and people facing each other will witness the divine beauty of God in man’s visage. The motion in which semahçı (semah dancers) turns the palm of his hand to his face represents man seeing his own beauty in the mirror and therefore he also witnesses the divine beauty of God. When both palms facing the sky are pulled towards the heart it is meant “God I am Man, so God is in me” or “God is in Man”. Semahs are categorized into two groups: 1- İçeri (private) semahs / Order semahs 2- Dışarı (public) semahs / Avare semahs İçeri Semahs (Order semahs): They are performed in Cems (considered as religious practices by Alevi-Bektaşi adherents) where 12 services are carried out. It is not desirable to perform içeri semahs in front of those without the faith. They are performed in three phases: - Ağırlama: The prologue with slow movements. - Yürütme: The phase when the semahs gets faster and livelier. - Yeldirme: The last phase when the semah is the fastest and hardest to perform. While this three-phase composition of semahs is very prevalent it is possible to see other kinds of performances as well. In some semahs it is very difficult to distinguish these phases from each other. Dışarı Semahs (Avare semahs, Yoz Semah or Mengis): They are performed independent of 12 services for the purposes of teaching the semah culture to younger generations or simply entertaining. Nevertheless, they are still loyal to semah principles. Dışarı semahs are mostly comprised of two phases; ağırlama and yürütme or ağırlama and yeldirme. Although semah performances vary according to regions, the main characteristics are common: - Semahs are performed by both women and men, - While semahçıs (semah dancers) in içeri semahs are limited in number there is no such restriction for dışarı semahs. - Semahçıs (semah dancers) start the semahs saluting and inviting each other. - While performing semah, semahçıs (semah dancers) are in a circular order or facing each other, without touching or holding. - Bağlama is usually the accompanying instrument to semahs but there are some regions where other rhythm instruments are also played during semahs. - While there is no specific attire to be worn in semahs it is not uncommon to wear traditional clothes in rural cems (considered as religious practices by Alevi-Bektaşi adherents). - When concluding semahs, dedes (spiritual leaders) usually say a prayer. - Transmission of semah occurs through the performance of the tradition. The basic characteristics and universal values reflecting the understanding of tradition bearers of Semah are as follows: -According to followers of Alevi-Bektaşi belief, every human being has a divine essence and they see man in unity with God called as the belief of “En-el Hak” which means “I’m God”. Thus, during the worship they prostrate towards one another. - Seeing man in unity with God, they internalize a humanist philosophy - According to Alevi-Bektaşi belief, sharing is of great importance in social life. “Musahiplik” (a kind of fellowship as regards to Alevi-Bektaşi belief) in which each individual chooses one another as a spiritual brother or sister committing to care for spiritual, emotional, physical and financial needs of each other, for the purpose of creating a type of communion intimately tied. - Alevi-Bektaşi believers object gender discrimination, therefore they pray side by side. - Alevi-Bektaşi followers consider offending human being as equal to offending God; hence, through establishing a kind of judging mechanism called “düşkünlük”, they use a sanction power over the members to prevent them from committing misdeeds. If one commits any of those, s/he is declared as “düşkün” (shunned) and temporarily or permanently excommunicated from the community or society. - The practices, traditional motifs and teachings are orally transmitted rather than written sources and distinct genres of art and literature particular to the tradition, thereby, have been created. - They practice their authentic worship and cultural transmission through expressions like lyrics, music and Semahs.

Turkey 2010

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Korea and the rest of East Asia, engaged in rice farming for several millennia, have formed a rice culture that can be compared to the wheat culture of Europe. Ganggangsullae is one of the most representative seasonal rituals of Korea’s rice farming culture, which permeates nearly every aspect of life among Koreans. Ganggangsullae gives hints about the origins of recreational music and dance emblematic of the Korean peninsula, as it used to be widely performed in the southwestern coastal region of the peninsula and is closely linked to inland circle dances accompanying music, including Notdari Bapgi (Walking Over a Human Bridge) and Wolwoli Cheongcheong (Moon, Moon, Radiant Moon). A combination of various recreational elements based on the basic form of holding hands to form a circle while singing and dancing, Ganggangsullae has been named as such since the refrain “ganggangsullae,” whose exact meaning is unknown, is repeated with every bar. It was originally performed by unmarried youngsters aged between 15 and 20, and sometimes allowing the participation of recently married youngsters. But, when it was designated as a state cultural heritage the community members, largely women in their 40s or 50s, rendered the performance. Since then, Ganggangsullae has been handed down by middle-aged female members of the community, displaying proficient skills, rather than the creative vividness and dynamics of youngsters when they perform it. Traditionally, Ganggangsullae was performed on Korea’s representative seasonal occasions, including Seol (the lunar New Year), Daeboreum (the first full moon day of the year), Dano (the fifth day of the fifth lunar month), Baekjung (the fifteenth day of the seventh lunar month), Chuseok (the fifteenth day of the eighth lunar month), and Junggu (the ninth day of the ninth lunar month), with the one on Chuseok being the largest. As such, Ganggangsullae has been developed into a performance most commonly conducted on Chuseok (Korea’s Thanksgiving). Under the bright full moon, dozens of young village women hold hands to form a circle and sing and dance. While the sun symbolizes men, and the moon, women, and women’s physical features are represented by a round shape, Ganggangsullae assumes the characteristics of the law of imitation, one of the laws of magic, reflecting primitive aesthetics. Because the dancing is strenuous, only young women are allowed to perform, but it is also their privilege as women of child-bearing age. Ganggangsullae is a ballad dance unique to Korea. The songs are poems written by ordinary people and a lead singer set the pace. Fellow performers follow the lead with the next lines in a song. Besides folklore and folk dance, folk music is also incorporated in the performance as traditional Korean music instruments such as a drum and an hour-glass shaped drum accompany the dance, adding to the entertainment. Ganggangsullae is so exciting and dynamic that participants often lose themselves and end up performing from the early evening when the moon rises until the moon sets. Depending on the tempo set by the lead singer, the music is categorized into gin (slow) Ganggangsullae, jung (middle) Ganggangsullae, and jajeun (quick) Ganggangsullae. The tempo of the dancers’ movement also varies according to the music. During interludes, games reflecting life in farm or fishing village are played. They include imitating the Korean terrapin (one person goes into the circle to dance and the next comes in and imitates her), gathering brackens, tying herrings, treading on roof tiles, rolling and unrolling straw mats, catching a mouse (picking the tail), playing gatekeepers, riding palanquins, and looking for a handkerchief. The archetype of Ganggangsullae is found from agricultural folk customs of Mahan, a Korean state that existed 2,000 years ago, according to ancient Chinese historical texts. In the history of man, it is not common to see an intangible cultural heritage handed down for such a long time. This long transmission of Ganggangsullae implies that expectations for the role of women both in the society and in the family have continued for such a long time as well. Traditional Korean society was male centered, and young women were not allowed to sing aloud or go out at night. On Chuseok, however, women could freely sing and enjoy outdoor amusements under the full moon, venting their long-suppressed emotions through Ganggangsullae. The festival guaranteed women a chance to break away from usual restrictions and enjoy the festive mood. Throughout its history, Ganggangsullae also had other functions. It is said that in 1592, Admiral Lee Sun-sin had women perform Ganggangsullae at night around a fire. The flickering shadows fooled the invading Japanese into overestimating the size of Lee’s forces, who ultimately prevailed. Also, listening carefully to the song verses, one can notice that there are many lines criticizing the society. In particular, the words written under the Japanese colonial rule reflect the Koreans’ resistance to the occupation forces. Ganggangsullae is rarely performed in today’s rural villages since most young women have left for cities. But thanks to its national designation as an Important Intangible Cultural Heritage and state-level cultural and educational policies, Ganggangsullae has spread outside its traditional base in the southwestern region of the Korean peninsula. Today, Ganggangsullae is part of the music curriculum of elementary schools and is performed at many secondary schools and universities as well as public festivals across the country. In recent years, research has been conducted regarding the application of Ganggangsullae in the field of art therapy. Ganggangsullae is expected to help those suffering from psychological problems such as depression. Also, new possibilities are being explored as an alternative therapy to help obese women lose their weight and as a means to enhance the well-being of lonely senior citizens.

South Korea 2009

Aitys (in Kazakh language), Aitysh (in Kyrgyz) is an improvised competition of two akyns, the form of oral poetry performed in a singing manner, poetic contest of improvisations or a poetic duel of wits. The element is performed to the accompaniment of traditional musical instruments: Kazakh dombra or Kyrgyz komuz. Two akyns compete with each other in improvisation of verses on topical themes in a wit-sparkling manner alternating humour and deep philosophic reflections. During the competition two akyns sitting opposite each other develop a song-like dialogue catching up the opponent’s words and performing in turn their improvisations on the spur of the moment. Songs performed during the aitysh-aitys are improvised on whatever topics which come up depending on the wish of the audience. The winner of the competition is the one considered to have demonstrated the most musical skills, rhythm, originality, resourcefulness, wisdom and wit. The element is very popular among people and is considered as a “folk tribune”. In fact, all regions of the countries have bearers and practitioners who often represent their local communities at the poetic competitions raising up topical and urgent problems of social life and criticizing all kinds of vices. The element is practiced at various events from local festivities to nation-wide events. Aitysh/Aitys presents the art of a dialogue participated not only by the performers but by their listeners as well. It is an essential part of life for the communities of tokmo-akyns and aityskers.

Kyrgyzstan,Kazakhstan 2015

Originally Dabus wasn’t a dance but a form of self-defence. Dabus’s concept is warriorism. Hence, the Dabus dance demands aptness, speed, heroism and happiness in dancing it. Dabus is one of the traditional dances in Perak that manages to withstand since more than 200 years ago. This art form combines the elements of music, songs, dance as well as bravery, and normally performed in festivities events. There are three dance movements in the Bagan Datoh Dabus that are Hayun Tajak, Helang Sewah and Susun Sireh. Helang Sewah and Hayun Tajak are performed by male dancers while Susun Tari by female dancers. These dance movements are accompanied by the beating of the dabus hand-held drum and religious songs. The uniqueness of these dances is that using a pair of sharp instrument named ‘anak dabus’ literally translated as ‘dabus child’. In this performance with ritual essence the dancers pierce the instruments into their arms until bleeding. Then a religious person functions to lessen the pain due to the piercing by performing incantation, washing and tapping on the injury with remedied water. The performance is usually presided over by a ‘Khalifah’. Dabus is defensive and heroic in nature and iInitially only presented by male dancers. This is in relation to the ancient social order that discouraged girls from going out at night that invites disapproval from the community. Since the sixties women began participating in the dance. Dabus was recognised as a National Heritage in 2012.

"Kuda Pasu" dance is a traditional dance that has been passed down through the ages and still practiced today. This dance is originally from Bajau ethnic from Kota Belud Sabah. "Kuda Pasu" dance symbolize riding a horse movement, originally "Kuda Pasu" dance is for wedding ceremony and use to welcome the groom. Now it can be performing at any event or ceremony. The movement of this dance is related to martial art move becouse apart from horse movement there is "Silat" too. Music of this dance called "Tigad-Tigad". It is a main bit of song that play by some musical instrument like "gong", "kulintangan", "gendang" and "babamdil".

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