Woman craft of sewing kamzul – woman outerwear. Kamzul is sewed with different silk and cotton fabrics.

Woman craft of sewing kamzul – woman outerwear. Kamzul is sewed with different silk and cotton fabrics.

Due to the countless reasons affect the intangible cultural heritage of Mongolia, number of heritage elements are on the very brim of extinction. Therefore, establishing concrete and inclusive system for the safeguarding of the ICH is crucial in Mongolia.\nOne of the measures taken by various stakeholders for the protection of ICH as well as development of overall safeguarding capacity of ICH was the Mongolian-Korean Joint Cooperation Project ‘Establishing a Safeguarding System for ICH in Mongolia’. This project was launched in 2008 by Mongolian National Commission for UNESCO. By the implementation of the first-phase activities under the framework of the Project, a number of meetings were held among the Project partners, implementers and coordinators.\n\nWithin the framework of the second-phase of the Project:\n- Continuation of field surveys in other regions, including Central, Eastern and Gobi aimags\n- Organization of the symposium and workshop on the issues of intangible cultural heritage and safeguarding thereof\n- Elaboration of tentative list of ICH and its bearers\n- Text preparation of guidebook of ICH in Mongolia were planned to be implemented respectively

Due to the countless reasons affect the intangible cultural heritage of Mongolia, number of heritage elements are on the very brim of extinction. Therefore, establishing concrete and inclusive system for the safeguarding of the ICH is crucial in Mongolia.\nOne of the measures taken by various stakeholders for the protection of ICH as well as development of overall safeguarding capacity of ICH was the Mongolian-Korean Joint Cooperation Project ‘Establishing a Safeguarding System for ICH in Mongolia’. This project was launched in 2008 by Mongolian National Commission for UNESCO. By the implementation of the first-phase activities under the framework of the Project, a number of meetings were held among the Project partners, implementers and coordinators.\n\nWithin the framework of the second-phase of the Project:\n- Continuation of field surveys in other regions, including Central, Eastern and Gobi aimags\n- Organization of the symposium and workshop on the issues of intangible cultural heritage and safeguarding thereof\n- Elaboration of tentative list of ICH and its bearers\n- Text preparation of guidebook of ICH in Mongolia were planned to be implemented respectively

Mongolians do believe that their traditional costumes represent and express the essence of the state existence. According to the symbolic meaning, we do say as the hat represents the rising state, the deel represents the harmonic state, the belt represents succeeded state, the boot represents the support of stay. The traditional costumes, accessories and decorations of various ethnic groups of Mongolia illustrate their origins and historic background, specific features of culture, practices and aesthetic manners. The distinct characteristics of different ethnic groups can be seen through their hats, men’s deel (traditional garment) and their accessories or cuffs, lapel, shoulder of women’s deel, hair dressings, decorations and boots.

Mongolian nomads have come to now and still producing various felt crafts such as ger canvas, felt-door of ger, floor cover, mat, saddle-cloth, saddle-rug, winter and summer socks, stockings, bag for new born lambs, bag for summoning prosperity, bag for cup, felt-boots, and so on. It is vital and practical in that the felt is used as a covering for the ger which can withstand the harsh weather conditions of Mongolia’s landscape and as material for devjee (mattress) olbog (cushions) or gifts for guests. Nowadays, various felt-made household needs, traditional felt crafts and souvenirs are being produced widely and becoming popular among foreign tourists.

Mongolian nomads have come to now and still producing various felt crafts such as ger canvas, felt-door of ger, floor cover, mat, saddle-cloth, saddle-rug, winter and summer socks, stockings, bag for new born lambs, bag for summoning prosperity, bag for cup, felt-boots, and so on. It is vital and practical in that the felt is used as a covering for the ger which can withstand the harsh weather conditions of Mongolia’s landscape and as material for devjee (mattress) olbog (cushions) or gifts for guests. Nowadays, various felt-made household needs, traditional felt crafts and souvenirs are being produced widely and becoming popular among foreign tourists.

The Shinjé Yabyum dance is a display of Yamāntaka, performed by two dancers wearing red bull masks, silk robes, vajra shoulder covers, and traditional Bhutanese leather boots. They each hold a sword symbolizing the wisdom that cuts through ignorance. The dance is accompanied by a musical orchestra constituted of a cymbal and long horns. During the entry and the exit chapters, oboes are also played. \n\nVajrayāna rituals including sacred cham require the stage to be cleansed of negative forces. Thus, the female and male wrathful forms of Mañjuśrī chase evil forces and bless the ground as sacred space. This action of delimiting the ground is called sachag, or establishing the ground. The dance is also performed as a piece during the dance tests, which the dancers perform without wearing masks. The dance is often performed by the dancers who are next to the two chief dancers, these being the first and the last dancers.\n\nDuring this dance, the master clown often appears to make fun of the two bull-masked figures, pretending they are bullocks and he is a ploughman. The movement of the dance, like most other cham, alternate between slow and peaceful motions and fast violent movements. \n\nNote : The text above is an excerpt from the collection of essays from the Bhutan Cultural Library (https://schopheltrashigangpa.wordpress.com/) and adapted with the information provided from the National Library and Archives of Bhutan.

Traditional craft of making shoes and boots. Master has different tools and forms for preparation of skin for shoes.

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu