Instrumental performance is not only an important component of the musical culture of the people, but also the centuries-old practice of the existence of musical instruments in folklore - the art of the auditory unwritten tradition. A number of properties of folk instrumental music, such as tradition, collectivity and non-written contact form of transmission of tradition, make it akin to folklore. Folk instrumental music is an integral part of the spiritual culture of the people. It is closely connected with his way of life, national traditions, history, holistic concept of beauty, the system of symbols of good and evil, love and hate, etc. It developed in close contact with other types of folk art, which were reflected in the entire complex of existence and development of folk art.

Inscribed in 2010 (5.COM) on the Representative List of the Intangible Cultural Heritage of Humanity In Korean music, jeongga (translated as ‘right song’) refers to vocal music that falls under jeongak (translated as ‘right music’). Gagok, gasa, and sijo are examples of jeongga, which were sung by the members of the high society for character development. Unlike other forms of jeongga, gagok is sung to the accompaniment of orchestral instruments, such as geomungo (six-string zither), daegeum (large transverse bamboo flute), gayageum (twelve-string zither), and piri (small double-reed instrument). Gagok is highly esteemed for its musical and artistic perfection. Gagok complies with the definition of the intangible cultural heritage within the Convention for the Safeguarding of the Intangible Cultural Heritage, as ‘practices,representations, expressions, knowledge and skills… that communities, groups, and… individuals recognize as part of their cultural heritage’. Gagok fits within the domain of ‘performing arts’. Traditional gagok is an original art form that has been sung by the Korean people for a long time, and is distinct from Western vocal music. Gagok is vocal music that was popular in the high society of the Joseon Dynasty (A.D. 1392-1897). Gagok is composed of twenty-six namchang, or songs for men, and fifteen yeochang, or songs for women. Thus, gagok features both masculine and feminine qualities. All notes in namchang are sung in geotsori, a strong voice resonating within the body. On the other hand, yeochang uses geotsori and soksori, a highpitched, thin voice. Gagok is composed in ujo, a key that is solemn and peaceful, or gyemyeonjo, which is melancholy. Gagok is played in either 16-beat or 10-beat rhythm. Accompaniment is typically comprised of orchestral instruments such as geomungo (six-string zither), gayageum (12-string zither), sepiri (small double-reed instrument), daegeum (transverse flute), haegeum (fiddle-like instrument), and janggu (hourglass drum). Yanggeum (hammered dulcimer) and danso (bamboo flute) are sometimes included in the accompaniment. Gagok has been preserved without transmutation for a long time, and it continues to be transmitted through the hands of master musicians. Gagok is intangible cultural heritage of great historical and artistic value.

South Korea 2010

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.

Proverbs and sayings are also genres of Uzbek oral folk art. A proverb is often in the form of grammatically completed sentence in which folk wisdom is expressed in instructive form. It is a wise adage, which is short, figurative and grammatically and logically complete, a phrase with a deep meaning. Proverbs, which have certain, steady and widely used rhythmic formula, emerged on the basis of people's centuries-long experience. In proverbs found its reflection people's life-related observations, their attitudes to the society, their history, spiritual state, ethical and aesthetic feelings and positive qualities. Having been preserved by the people throughout centuries, they acquired concise and simple poetic form. A saying is a phrase that reflects a phenomenon of life, one of the small genres of folklore. Often has a humorous character. Saying, unlike the proverb, does not contain a generalizing meaning and is not a complete sentence. Sayings are beautiful examples of figurative thinking, which decorate our speech. Although they emerge relatively slow, they remain in use for several years. Sayings bear some similarities to folk proverbs. At the same time they differ from the latter with their peculiar features. These are the following: while proverbs are used as single complete conclusion in a speech, sayings act only as parts of that conclusion; while proverbs have a wide range of themes, sayings have exact themes and their exact functional purposes; while proverbs have their established form structures, sayings do not have such form structures; while proverbs are used sometimes in a figurative sense (or sometimes in a literal sense), sayings are used only in a figurative sense.

Mangal Shobhajatra is a vibrant procession brought out in Dhaka City on the first day of Bangla New Year . It is a creative innovation to give new social and cultural meanings to the celebration of Bangla New Year, a tradition going back to 1556 CE during the reign of Mughal Emperor Akbar the Great. In 1989, the students and teachers of the Faculty of Fine Arts of Dhaka University organized a colorful procession entitled "Mangal Shobhajatra", literally meaning well-being procession, on the first day of the Bangla New Year. Since then, Mangal Shobhajatra has become a major secular festive event in which people from all walks of life join freely and spontaneously. Pahela Baishakh, the first day of Bangla New Year, coincides with 14 April. Preparation for Mangal Shobhajatra begins a month earlier on 14 March in the campus of the Dhaka University. The students, under the guidance of their teachers, make several large artifacts for display in the procession. Each year at least one stupendous artifact is made to signify the dark forces of evil and iniquity. This one and the other artifacts vary from year to year. The Mangal Shobhajatra of 2013 comprised a monster and a reptile to signify the sinister forces, a dove to symbolize peace, a bull to stand for the revolutionary spirit, a clenched hand to embody vigour and courage, and a wide range of masks for the activists to carry in order to drive away the sinister forces and pave the way for progress.

Bangladesh 2016

The culture of flatbread making and sharing, represented with the names Lavash-Katyrma-Jupka-Yufka, is a set of traditional knowledge, views, skills and rituals related to preparation, baking, storing, using and sharing of traditional thin bread that performs specific cultural and social functions within the related communities in Azerbaijan, Iran, Kazakhstan, Kyrgyzstan and Turkey and is transmitted from generations to generations. Flatbread tradition is a symbol of shared cultural identity and serves expression of mutual respect among communities. The five countries share a number of common features, skills and knowledge related to preparation and use of the flatbread. Tradition bearers usually prepare the flatbread from unleavened or leavened dough based on flour, salt and water, while also adding sometimes milk, butter, sesame and poppy seeds. Communities use different types of crops to prepare the dough, such as wheat and rye. The dough is rolled by hand or using a dough roller into round or oval shape. In Azerbaijan, Iran, Turkey and some communities of Kyrgyzstan, flatbread is baked in earthen or stone ovens called “tandyr” or “tanūr” buried into the ground. Some communities in Azerbaijan, Iran, Kazakhstan and Turkey bake the flatbread (yufka or lavash) on a metal plate known as “sac” (“saj” or “sāj”) over the fire. Communities in Kyrgyzstan and Kazakhstan bake the flatbread by laying out rolled dough in big cauldrons (‘kazan’) heated on fire. As a result of this baking style, practitioners manage to maintain nutritious qualities of the flatbreads and store them for several months without refrigerator. Various methods, techniques, instruments and substances are used by flatbread-preparing practitioners. The preparation of flatbread involves traditional practices based on collective labour and sharing within family and neighbourhood. As expression of social solidarity in rural areas, families prepare and bake flatbread together with their neighbours, especially as a preparation for winter. The flatbread is baked both at homes by family members and flatbread bakers, who learn the practice through a master-apprentice relationship. The flatbread preparation bears a great variety of social and cultural functions for its communities in terms of its usage at special occasions and its relation to transition between seasons. Communities of five countries consider flatbread preparation places sacred. In Kazakhstan, communities believe preparing flatbread at funerals helps the deceased get protection from the burning Sun, while waiting for decision of the God. To wish prosperity and wealth to newly-married couple, in Azerbaijani and Iranian weddings the flatbread lavash is often put on shoulders of the bride, while in Turkish weddings dried flatbread yufka is crumbled over the head of the bride. In Kyrgyzstan, tradition bearers believe that flatbread helps sick people. In some religious ceremonies and traditional weddings in Iran flatbread is served as a component of the sacred offering. During the preparation of flatbread, it is shared with all passers-by as a sign of hospitality. Flatbread culture is expression of belonging to common cultural roots. It reinforces cultural links and serves as marker of hospitality, conviviality and friendliness within the societies of five countries.

Azerbaijan,Iran,Kyrgyzstan,Kazakhstan,Turkey 2016

The culture of flatbread making Jupka is a set of traditional knowledge, views, skills and rituals related to preparation, baking, storing, using and sharing of traditional thin bread. Tradition bearers usually prepare the flatbread from unleavened dough based on flour, salt and water, while also adding sometimes milk, butter. The dough is rolled by hand or using a dough roller into round shape. In some communities of Kyrgyzstan, flatbread is baked in earthen or stone ovens called “tandyr” or in big cauldrons (‘kazan’) heated on fire. As a result of this baking style, practitioners manage to maintain nutritious qualities of the flatbreads and store them for several months without refrigerator. Various methods, techniques, instruments and substances are used by flatbread-preparing practitioners.

Kyrgyzstan 2016

Inscribed in 2011 (6.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Taekkyeon is a traditional Korean martial art that makes use of fluid, rhythmic dance-like movements to strike or trip up an opponent. The fluid and curvy movements, wriggling and writhing slowly, would evoke laughter. Some may even wonder whether it is a dance or a martial art. But the inherent energy of the performer can explode with enormous flexibility and strength. Apparently static and dignified but fundamentally dynamic and even fatal, taekkyeon is an indigenous Korean martial art with a history stretching back thousands of years. Taekkyeon is a rare martial art in that it teaches consideration for the opponent to the very moment one gains control. It teaches more skills for defense than offense. A skilled taekkyeon practitioner can rapidly dominate the opponent with a smooth wavy motion, but a true master knows how to make the opponent withdraw without incurring damage. These are unthinkable concepts in a combat sport. But taekkyeon makes all these possible. Taekkyeon is a marvelous sport teaching how to consider the opponent more than oneself, and the group instead of individuals. The motions are gentle and circular rather than straight and rigid, but they have the power to entice the performer slowly but intensively. The graceful movements of a well-trained taekkyeon performer resemble those of a crane, but the elastic offensive skills can be as speedy and powerful as those of a hawk. Taekkyeon has a few distinctive characteristics. First, it is an outwardly gentle but inwardly tough martial art featuring circular motions. Second, it is a natural and spontaneous martial art stressing elegance and dignity. Third, it is a practical and comprehensive martial art harmonizing offense and defense through various locking and kicking techniques. In spite of its gentle impression, taekkyeon is an effective martial art highlighting a broad variety of offensive and defensive skills employing all available fighting methods. The origin of all traditional Korean martial arts, taekkyeon represents confluence and totality, the two outstanding characteristics of Korean culture. Taekkyeon is believed to have been practiced since before the Three Kingdoms period (57 B.C. - A.D. 676). In Joseon (1392-1910), it was practiced among a broader public, including people at the grassroots. The basic spirit of taekkyeon is ‘truth’. The martial art inherits the thought of Joseon scholars who considered upholding integrity and obeying the rules of nature was the utmost virtue. Currently, the Korean Taekkyeon Association is playing a significant role in the transmission and promotion of this traditional martial art. 85 education centres spreading across the country are the main venue for taekkyeon practitioners. Ordinary Koreans have an easy access to the practice of taekkyeon thanks to those education centres.

South Korea 2011

Darshey is a traditional practice where a man holding a khadar (auspicious white scarf ) in his outstretched hands faces the seated crowd, and makes auspicious speeches at a ceremonial function, usually during religious and social occasions. (The origin of the tradition is attributed to Zhabdrung Ngawang Namgyal (1594-1651) when he introduced this practice during the consecration ceremony of Punakha Dzong in 1639.) The tradition, however, may vary slightly from village to village in the use of language and presentation such as making speeches decked with maxims or simply narratives. The worldly tradition of Darshey does not require to be sung like Gurma (Religious songs), Lu or Tsammo (Songs without choreographies) but is expressed more or less like a recitation. Darshey is usually performed during auspicious occasions. Atsara (masked clown) also makes similar speeches during Tshechus (Annual Mask Dance Festivals). Generally, ordinary people perceive Atsara as a comedian that appears during tshechus in the midst of mask dancers wearing a funny mask, usually holding a phallus and a rattle in his hands to entertain the audience. However, the word came from the Sanskrit term achāriya; a title attached to a great spiritual teacher, who can claim his place among the 84 Mahasiddhas, representing all those who have within one lifetime attained direct realisation of the Buddha’s teachings. Their appearance as clowns represents our ignorance through which we fail to see the ultimate truth. That is why our forefathers had regarded the senior atsaras as the embodiment of guardian deities and sublime beings. During such gatherings as tshechu all the dignitaries such as spiritual masters and monks, ministers, secretaries, merchants and the laities give them money as a mark of their appreciation. In return, the atsara also gives auspicious narration in the form of concluding words, which is a unique aspect of Bhutanese culture. Unfortunately, this good aspect of the atsara’s auspicious narration is now on the verge of disappearing.

Folk songs of the Bo Y people in Quyet Tien commune, Quan Ba district, Ha Giang province are lyrics and verses performed in festivals, weddings, longevity celebrations and in daily life: when working in the fields, building houses, when guests come to the house, singing love songs... Folk songs of the Bo Y people have a long history of development. In Bo Y folk songs, there are many popular love songs, expressing the feelings of couples - men and women with many levels of emotions in love. Besides, love songs of the Bo Y people also cleverly use metaphors, comparisons with equal comparisons (like, is). The songs have short and long sentences, one sentence rhymes with a stressed tone, one sentence rhymes with a flat tone at the end of the sentence. The Bo Y people use repetition with high frequency, skillfully, not boring for the listener but always changing, adding new content and words. The song does not have many melodies, rhythms, is sung in a steady beat and is sung in the "voice-pulsing" style. The supporting musical instrument is the Bronze Drum. Folk Songs of the Bố Y with clear and easy-to-understand lyrics and meanings contain educational content towards the origin of the nation, towards truth - goodness - beauty, solidarity, satisfying the entertainment needs of the community, contributing to encouraging and motivating people in labor production. With its typical value, Folk Songs of the Bố Y were included in the List of National Intangible Cultural Heritage by the Minister of Culture, Sports and Tourism under Decision No. 266/QD-BVHTTDL dated January 30, 2018.

Driglam denotes ‘order, conformity and uniformity’ while namzha refers to ‘the principle’. Hence, driglam namzha means abiding by the principle of living in harmony and in pure forms concerning physical, verbal and mental behaviours. Every society has its own code of discipline in order to regulate human conduct, enabling people to live together as civilised human beings. The Bhutanese code of driglam namzha covers a wide range of social norms. These include speaking, eating, drinking, walking, sitting, dressing, relationship, patriotism and gratitude. It is a way of showing gratitude for the benefits one has received from parents, leaders, elders and spiritual teachers. These distinctive social customs have been carefully maintained and preserved over generations by our forefathers. Today, they are deeply rooted in our society and remains as an insignia of our cultural identity. Precisely, driglam namzha involves action, speech and thoughts. Accordingly, it can be described as follows: 1. Physical Etiquette (lueki driglam): It means conducting oneself through the body. This covers the conduct of eating, drinking, walking, sitting, seeing, dressing, showing respect, and physical gestures. 2. Speech Etiquette (ngagi driglam): It means conducting oneself through speech. This covers speaking the truth, speaking gently and politely, speaking in a respectful way, and saying words that are beneficial to others. 3. Mind Etiquette (yiki driglam): It means conducting oneself through the mind. This covers faith in the Three Jewels (Tri Ratna, that is, Buddha, Dharma and Sangha), dedication to work, loyalty to the country, good intentions, showing kindness and gratitude, and trust in the cycle of karma. Among the three aspects of driglam namzha, mind etiquette is the most important of all because the mind influences and controls our actions and speech. It is through intelligence that human values can be analysed, understood, appreciated and followed. Therefore, to rectify our thinking and have the right attitude is most important. Thus, mind etiquette plays a vital role in the person’s maintenance of quality and decency.

Robam Art is a type of classical, folk dance drama with a creative Khmer character, performed in community cultural activities or festivals. Robam Art was born, closely associated with community life, reflecting the reality of the social life of the Khmer people at that time. Therefore, through it, we can also understand part of the social history of the Mekong Delta in general and the Khmer people here in particular. Robam Art is a unique traditional art form of the Khmer people in Tra Vinh, a form of dance, singing combined with acting. Robam uses body language, combining traditional dance, singing and the art of masking to depict "old stories", revolving around myths, legends, history... Besides good characters such as: kings, princes, princesses... and evil characters (wearing masks) typically the ogre, there is also a clown role to create laughter, making the stage more fun. Robam Art with its unique features hidden in dances and masks, often ends with good triumphing over evil, good always triumphing over evil, guiding people to Truth - Goodness - Beauty. Robam Art is the result of intellectual activities, a unique creation of the Khmer people in the South. Robam Art has an indispensable important position in the spiritual life of the Khmer people in the past. It both serves the need for entertainment and has profound philosophical and educational values, thus having a significant impact on the formation and development of personality, soul, national character and cultural behavior of the Khmer community. In 2017, the Robam Art of the Khmer people in Tra Vinh province was recognized by the Ministry of Culture, Sports and Tourism, included in the List of National Intangible Cultural Heritage, belonging to the category of Folk Performing Arts.