The turtle game is a folk game which used to be performed in South Gyeonggi-do and Chungcheong-do on Aug 15 on lunar calendar during chuseok. The Icheon turtle game is seen as a highly valuable resource as a traditional Korean game as its procedure and tools utilized have been well preserved.

Joroon Joroo depicts couples dancing while riding on horses strolling at a leisurely pace. This dance originates from the Mongolian folk dance Bii Biyelgee. Bii Biyelgee is a dance arising from the nomadic lifestyle, and was traditionally performed in a small confined space within the ger, next to the stove. The choregraphy is primarily performed using the chest, shoulders, head and wrists, to avoid raising dust indoors. The legs are in a half-sitting position or crossed, only acting to support the torso. It is characterized by the raising of the arms and shaking of the shoulders. It is primarily accompanied by the ekil (violin-like traditional instrument) and the choreography is relatively short in length.\n\nThe various ethnic groups of Mongolia each perform their own unique and creative form of Biyelgee, which all go by different names. As Biyelgee is not just a dance but a form of pantomime which involves wit, emotions and expressions, it requires a high level of technical expertise and patience to master. Biyelgee plays an important role in the Mongolian society composed of a wide range of communities, as a cultural asset reflecting the customs and lifestyles of Mongolian nomads, and a common ground connecting the various ethnic communities. The viability of Biyelgee had been under threat in the recent past, due to a continued decline in the number of transmitters and performing communities, the numbers of trainees and transmitters have been showing stable growth with safeguarding efforts by the UNESCO and the Mongolian government.\n\nCharacteristics:\n∙A branch of Biyelgee dance which uses horses as a motif\n∙Biyelgee was inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2009\n\nperformed by Mongolian National Song and Dance Academic Ensemble\ndirected by Tseden-Ish Altangerel\nchoreographed by Davaakhuu Altangerel

The Eagle Dance is a Mongolian folk dance expressing the movements of a white eagle flying across the sky. Dancers raise one leg and flap their arms, imitating eagles flapping their wings. They also perform powerful movements to dynamic music. The basic move of raising both arms while moving the shoulders up and down originates from the Mongolian Biyelgee dance.\n\nThe white eagle is known to be the totem bird of Genghis Khan, founder of the Mongol Empire. The Eagle Dance represents the bravery of 13th century Mongolian warriors, and is a permanent fixture in the repertoire performed at major national events.\n\nCharacteristics:\n∙Dance mimicking the movements of animals\n\nPerformed by Mongolian National Song and Dance Academic Ensemble\nDirected by Tseden-Ish Altangerel\nChoreopraphed by Davaakhuu Altangerel

The Eagle Dance is a Mongolian folk dance expressing the movements of a white eagle flying across the sky. Dancers raise one leg and flap their arms, imitating eagles flapping their wings. They also perform powerful movements to dynamic music. The basic move of raising both arms while moving the shoulders up and down originates from the Mongolian Biyelgee dance.\n\nThe white eagle is known to be the totem bird of Genghis Khan, founder of the Mongol Empire. The Eagle Dance represents the bravery of 13th century Mongolian warriors, and is a permanent fixture in the repertoire performed at major national events.\n\nCharacteristics:\n∙Dance mimicking the movements of animals\n\nPerformed by Mongolian National Song and Dance Academic Ensemble\nDirected by Tseden-Ish Altangerel\nChoreopraphed by Davaakhuu Altangerel

A version of the traditional Garanuhing adapted for the stage. Garanuhing can be seen in traditional parades to thank the almighty god and is typically performed by female dancers. It is performed to express gratitude and joy at the rice harvest, or at ‘Tolak Bala’ exorcism rituals to pray for the smooth recovery of people suffering from disease.\n\nThe word ‘Garanuhing’ literally means a brass bell or the sound from one. It can be spherical or bell-shaped, about 5 cm wide and hollow inside, containing a small metallic object to produce sounds. These bells are used as accessories worn on the ankles or wrists of dancers in certain regions of Indonesia. Kaliningan, a genre of music played by the Sunda people, indigenous to the west region of Java, is also referred to as Garanuhing.\n\nCharacteristics:\n∙Ritual dance performed to give thanks for the harvest or exorcise evil spirits\n∙Mainly performed by female dancers\n\nPerformed by Marwar Budaya Dance Atelier\nDirected by Maria Sofia Trimawarsanti\nChoreographed by Maria Sofia Trimawarsanti

A version of the traditional Garanuhing adapted for the stage. Garanuhing can be seen in traditional parades to thank the almighty god and is typically performed by female dancers. It is performed to express gratitude and joy at the rice harvest, or at ‘Tolak Bala’ exorcism rituals to pray for the smooth recovery of people suffering from disease.\n\nThe word ‘Garanuhing’ literally means a brass bell or the sound from one. It can be spherical or bell-shaped, about 5 cm wide and hollow inside, containing a small metallic object to produce sounds. These bells are used as accessories worn on the ankles or wrists of dancers in certain regions of Indonesia. Kaliningan, a genre of music played by the Sunda people, indigenous to the west region of Java, is also referred to as Garanuhing.\n\nCharacteristics:\n∙Ritual dance performed to give thanks for the harvest or exorcise evil spirits\n∙Mainly performed by female dancers\n\nPerformed by Marwar Budaya Dance Atelier\nDirected by Maria Sofia Trimawarsanti\nChoreographed by Maria Sofia Trimawarsanti

Glipang is the most famous dance in the Probolinggo region of Java Island. The dance is a product of the combination of Islamic dance and Javan dance culture and the name ‘Glipang’ comes from the Islamic word ‘Gholiban’ meaning ‘habit’. Just like the name suggests, the dance depicts the daily lives of people in Probolinggo. The simple and entertaining movements taken from the traditional martial art ‘Silat’ enrich and enliven the dance. Instruments containing beans that make sounds and bamboo sticks are used to add rhythm to the dance. The humorous movements parody their colonial masters while expressing their resistance to colonial rule.\n\nGlipang is now a dance that represents Indonesia, performed all over the country on special and auspicious occasions such as welcoming ceremonies for important guests and harvest festivals.\n\nCharacteristics:\n∙A mixture of Islamic and Javan dance cultures\n∙Performed at welcoming ceremonies or national celebrations\n\nPerformed by Dance Company of Jakarta State University\nDirected by Elindra Eti

Rampai Aceh is a reconstruction of Saman, a traditional performance art of the Gayo tribe of Aceh, Sumatra. The Saman dance which can be traced back to the 13th Century, is a group dance performed by over 10 dancers, who kneel in a row and perform the identical moves in a highly coordinated manner. They clap, slap their chests, thighs, or the floor with their palms, bounce their fingers off each other, gesture with their hands, shaking and twisting their heads from side to side to complex rhythms. The moves express scenes from nature and the daily lives of the Gayo tribe, such as leaves flying in the wind, water buffalo bathing, and ploughing the field.\n\nThe leaders of the performance are called “Penankat”, who sing poetic verses. They are accompanied by drums, rabana and dynamic clapping. The poetic verses sing about a wide range of themes including tradition and development, religion, heroic tales, morals from daily life and love stories, told with wit and satire. Saman represents the communal values of patience, cooperation and helping each other. Saman, which is enjoyed by people of all walks of life, is performed widely at a variety of occasions, including national holidays such Independence Day, religious occasions, welcoming ceremony for honored guests and weddings. However, with rapid urbanization, youth have been leaving for the city, creating problems for the transmission of Saman for the Penankat who are unable to find suitable successors.\n\nCharacteristics:\n∙An original dance based on the Saman dance, inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2011\n\nPerformed by Marwar Budaya Dance Atelier\nDirected by Maria Sofia Trimawarsanti\nPhotographed by Maria Sofia Trimawarsanti

Rampai Aceh is a reconstruction of Saman, a traditional performance art of the Gayo tribe of Aceh, Sumatra. The Saman dance which can be traced back to the 13th Century, is a group dance performed by over 10 dancers, who kneel in a row and perform the identical moves in a highly coordinated manner. They clap, slap their chests, thighs, or the floor with their palms, bounce their fingers off each other, gesture with their hands, shaking and twisting their heads from side to side to complex rhythms. The moves express scenes from nature and the daily lives of the Gayo tribe, such as leaves flying in the wind, water buffalo bathing, and ploughing the field.\n\nThe leaders of the performance are called “Penankat”, who sing poetic verses. They are accompanied by drums, rabana and dynamic clapping. The poetic verses sing about a wide range of themes including tradition and development, religion, heroic tales, morals from daily life and love stories, told with wit and satire. Saman represents the communal values of patience, cooperation and helping each other. Saman, which is enjoyed by people of all walks of life, is performed widely at a variety of occasions, including national holidays such Independence Day, religious occasions, welcoming ceremony for honored guests and weddings. However, with rapid urbanization, youth have been leaving for the city, creating problems for the transmission of Saman for the Penankat who are unable to find suitable successors.\n\nCharacteristics:\n∙An original dance based on the Saman dance, inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2011\n\nPerformed by Marwar Budaya Dance Atelier\nDirected by Maria Sofia Trimawarsanti\nPhotographed by Maria Sofia Trimawarsanti

This is an original dance created in the 2000s, based on the popular Indonesian dance of 'Jaipongan' created by Bandung-born choreographer Gugum Gumbia Tritasonjaya in the 70s, which was in turn inspired by the Ketuk Tilu folk dance of the Sunda tribe in West Java. It is typically performed by a group of 4 to 8 young young women, characterized by dynamic movements of the hips, arms, shoulders, head and hands, accompanied by steps. The dancers wear brightly colored traditional Sunda attire called ‘kebaya’, specially designed to reveal their figures, and use scarves and fans as accessories. The Bajidor Kahot is an interesting example of the ups and downs of a local folk dance, once discounted in comparison to so-called aristocratic dances in the colonial era, being revived and developed into a dance of nationwide popularity, bringing all generations and groups of people together.\n\nCharacteristics:\n∙Composed of 4 to 8 female dancers\n∙Makes use of fan as accessory\n\nPerformed by Marwar Budaya Dance Atelier\nDirected by Maria Sofia Trimawarsanti\nChoreographed by Maria Sofia Trimawarsanti

This is an original dance created in the 2000s, based on the popular Indonesian dance of 'Jaipongan' created by Bandung-born choreographer Gugum Gumbia Tritasonjaya in the 70s, which was in turn inspired by the Ketuk Tilu folk dance of the Sunda tribe in West Java. It is typically performed by a group of 4 to 8 young young women, characterized by dynamic movements of the hips, arms, shoulders, head and hands, accompanied by steps. The dancers wear brightly colored traditional Sunda attire called ‘kebaya’, specially designed to reveal their figures, and use scarves and fans as accessories. The Bajidor Kahot is an interesting example of the ups and downs of a local folk dance, once discounted in comparison to so-called aristocratic dances in the colonial era, being revived and developed into a dance of nationwide popularity, bringing all generations and groups of people together.\n\nCharacteristics:\n∙Composed of 4 to 8 female dancers\n∙Makes use of fan as accessory\n\nPerformed by Marwar Budaya Dance Atelier\nDirected by Artistic directorMaria Sofia Trimawarsanti\nChoreographed by Maria Sofia Trimawarsanti

This is an original dance reconstructed based on traditional dances of Bali. To the Balinese, dance is a form of religious ritual performed according to the Balinese calendar. The traditional dances of Bali are inspired by nature and represent traditions, customs and religious value. The Balinese believe that the movements of traditional dances express the views of nature, while the mudra (hand movements) are related to their daily lives, laws, faith and customs. Traditional Balinese dances can be performed by both male and female dancers, who wear elaborate traditional costumes of bright colors, imprinted with flora and fauna patterns in gold foil, and decorated with accessories adorned by golden leaves and jewelry. The dance moves are very complex and precisely detailed. Dancers are required to possess not just skill, but also inner beauty (taksu), charisma, modesty and restraint, along with special spiritual power to bring the dances to life.\n\nDances performed in the many communities of Bali are typically transmitted through unofficial channels from elders to children in the traditional sekaa groups. The traditional dances of Bali are cultural heritage containing the customs and culture of the Balinese, and an important part of the identity of a community. The three genres of traditional Balinese dances were inscribed to the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2015.\n\nCharacteristics:\n∙An original dance reconstructed from the three genres of traditional dance in Bali inscribed to the Representative List of the Intangible Cultural Heritage of Humanity in 2015.\n\nPerformed by Dance Company of Jakarta State University\nDirected by Ida Bagus Ketut Sudiasa