Mak Yong Traditional Theatre is normally portrayed as a Malay dance drama that contains acting, dancing and singing. There is a consensus that Mak Yong originated from the ancestry of the Kelantan-Patani Government, and said to have established around 400 years ago at the Malay sultanate palace of Kelantan-Patani. Then it spred to the states of Terengganu and Kedah after which it settled at Serdang Muda, Sumatera and Riau Islands, Indonesia. A Mak Yong traditional performance does not use lots of props, set and background to portray a scene. Its performance structure is permanent and uniform although the storyline is different. A traditional performance in villages is held in an open theatre. The audiences sit on three sides while the fourth side is for musicians. Most characters are acted by women and the storylines are based on traditional folk stories. The Buka Panggung (literally translated as ‘Opening the Theatre’) ceremony starts a performance followed by the story plot and ends with the Tutup Panggung (or ‘Closing the Theatre’) ceremony. In the Buka Panggung ceremony the performance begins with the Mengadap Rebab segment, that is paying homage to the rebab (oud), the main musical instrument regarded as a chaste element in a performance. The actor who plays the Peran Tua character, that is the Elder Joker, pays homage to the oud and places it in the middle of the theatre while Jong Dongdang sings the song ‘San Gendang’. The actors who play the characters of Pak Yong, Mak Yong and Jong Dongdang stand in a circle while the maidens sing the song ‘Sedayung Mak Yong’ or the song ‘Sedara’. At the end of the song Pak Yong instructs the maidens to return to the palace, and this marks the end of the segment. The main characters are Pak Yong, Mak Yong, the King, Queen, Elder Joker and Junior Joker. There are also other characters like the Royal Soothsayer, Ship Captain, Guru, soldiers, genie, ghost and giant, depending on the storyline. The main musical instruments are a three-string oud, two drums and two gongs. There are also additional instruments to increase the degree of the melodious sound like cymbal, small bells and flute. In the year 2005 Mak Yong was recognised and proclaimed as “A Masterpiece of the Oral and Intangible Heritage of Humanity” by the United Nation Education, Scientific and Cultural Organisation (UNESCO). In the year 2008 Mak Yong was proclaimed as A Representative List of the Intangible Cultural Heritage of Humanity.

Mak Yong Traditional Theatre is normally portrayed as a Malay dance drama that contains acting, dancing and singing. There is a consensus that Mak Yong originated from the ancestry of the Kelantan-Patani Government, and said to have established around 400 years ago at the Malay sultanate palace of Kelantan-Patani. Then it spred to the states of Terengganu and Kedah after which it settled at Serdang Muda, Sumatera and Riau Islands, Indonesia. A Mak Yong traditional performance does not use lots of props, set and background to portray a scene. Its performance structure is permanent and uniform although the storyline is different. A traditional performance in villages is held in an open theatre. The audiences sit on three sides while the fourth side is for musicians. Most characters are acted by women and the storylines are based on traditional folk stories. The Buka Panggung (literally translated as ‘Opening the Theatre’) ceremony starts a performance followed by the story plot and ends with the Tutup Panggung (or ‘Closing the Theatre’) ceremony. In the Buka Panggung ceremony the performance begins with the Mengadap Rebab segment, that is paying homage to the rebab (oud), the main musical instrument regarded as a chaste element in a performance. The actor who plays the Peran Tua character, that is the Elder Joker, pays homage to the oud and places it in the middle of the theatre while Jong Dongdang sings the song ‘San Gendang’. The actors who play the characters of Pak Yong, Mak Yong and Jong Dongdang stand in a circle while the maidens sing the song ‘Sedayung Mak Yong’ or the song ‘Sedara’. At the end of the song Pak Yong instructs the maidens to return to the palace, and this marks the end of the segment. The main characters are Pak Yong, Mak Yong, the King, Queen, Elder Joker and Junior Joker. There are also other characters like the Royal Soothsayer, Ship Captain, Guru, soldiers, genie, ghost and giant, depending on the storyline. The main musical instruments are a three-string oud, two drums and two gongs. There are also additional instruments to increase the degree of the melodious sound like cymbal, small bells and flute. In the year 2005 Mak Yong was recognised and proclaimed as “A Masterpiece of the Oral and Intangible Heritage of Humanity” by the United Nation Education, Scientific and Cultural Organisation (UNESCO). In the year 2008 Mak Yong was proclaimed as A Representative List of the Intangible Cultural Heritage of Humanity.

Every year, during the months of September to April, the festivals of Tshechu, Rabney, Mani, Me-wang, Choed-pa, Due-choed, Yak-choed, Drub and Drub-chen are conducted simultaneously at various heritage sites; Dzongs (fortresses), monasteries and temples in Bhutan. This event transforms the sites into decorated places filled with offerings in the shrines and the surroundings filled with the resonance of religious musical instruments. It also brings together monks and local communities to jointly perform propitiation and affirmation rituals for the patron deities, along with the presentation of various sacred mask dances. People gather with most enchanting dresses to receive the blessings, say prayers and enjoy the much-awaited festive event. \n\nThese sensational dances are generally called Gar-chham which derived from Buddhist terminology. The term gar-chham is composed of two verbs: gar and chham. The various gestures exhibited by the hands are called Gar, whereas the manner of the legs is called Chham. Gar\u0002chham is considered one of the means of liberation called thong-drol (liberation through seeing), as it helps to mature and realize the primordial Buddha-nature, and reminds one to engage in wholesome activities. In the 8th century, Guru Padmasambava, a great Buddhist tantric master introduced the Gar-chham concept in Bhutan and also into the Buddhist tradition in 737 AD. This concept was further popularized by Terton (The Treasurer Revealer) Pema Lingpa (1450-1521) by introducing many sacred mask dances, mostly performed by laymen (community members). These performances are called Boe-chham. Zhabdrung Ngawang Namgyal (1594-1651) also placed more emphasis on the importance of these dances and included them in the curricula of the central monastery under the title Gar-thig-yang-sum (Mask Dances, Proportions Mandala Drawing and Ritual Intonation) to embed them in the realm of cultural heritage. The gar-chhams performed by monks are called Tsun-chham. \n\nWhether Tsun-chham or Boe-chham, gar-chhams are generally divided into three broad categories: Trul-pai zu-thrul gi gar-chham (manifested mask dances), Ka-ter dag-nang gi gar-chham (visualized mask dances), and Nam-thar zhi-chol gi gar-chham (biography-based mask dances). The subjugation of evil spirits and the liberation of their impure soul into the realm of Buddhahood through manifestation into pacifying, enriching, magnetizing, and wrathful forms are called trul-pai zu-thrul gi gar-chham. An example of this dance is the dance of the Eight Manifestations of Guru Padmasambava. Similarly, ka-ter dag-nang gi gar-chham are the profound performances of the guardian deities witnessed during the intermediate state of all the sentient beings. Some examples of such performances are the mask dances introduced by Terton Pema Lingpa. Finally, Nam-thar zhi-chol gi gar-chham are performances identical to plays based on well-known biographies. These performances convey the righteous human values that lead to a harmonious life. One of the most popular plays is the mask dance of the Intermediate State after death.\n\nTsun-chham or Boe-chham can be easily distinguished from the masked dance costumes. The Tsun-chham usually wears a brocade tunic with long and wide sleeves, while the boe-chham performers wear more colorful garments made of brocade and silk. In addition to the central monastic institutions, there are indigenous gar-chhams in communities and private temples and monasteries throughout the country, where community members are usually involved in organizing the event, performing the mask dance and presenting folk dances to safeguard their \ntradition.\n

Every year, during the months of September to April, the festivals of Tshechu, Rabney, Mani, Me-wang, Choed-pa, Due-choed, Yak-choed, Drub and Drub-chen are conducted simultaneously at various heritage sites; Dzongs (fortresses), monasteries and temples in Bhutan. This event transforms the sites into decorated places filled with offerings in the shrines and the surroundings filled with the resonance of religious musical instruments. It also brings together monks and local communities to jointly perform propitiation and affirmation rituals for the patron deities, along with the presentation of various sacred mask dances. People gather with most enchanting dresses to receive the blessings, say prayers and enjoy the much-awaited festive event. \n\nThese sensational dances are generally called Gar-chham which derived from Buddhist terminology. The term gar-chham is composed of two verbs: gar and chham. The various gestures exhibited by the hands are called Gar, whereas the manner of the legs is called Chham. Gar\u0002chham is considered one of the means of liberation called thong-drol (liberation through seeing), as it helps to mature and realize the primordial Buddha-nature, and reminds one to engage in wholesome activities. In the 8th century, Guru Padmasambava, a great Buddhist tantric master introduced the Gar-chham concept in Bhutan and also into the Buddhist tradition in 737 AD. This concept was further popularized by Terton (The Treasurer Revealer) Pema Lingpa (1450-1521) by introducing many sacred mask dances, mostly performed by laymen (community members). These performances are called Boe-chham. Zhabdrung Ngawang Namgyal (1594-1651) also placed more emphasis on the importance of these dances and included them in the curricula of the central monastery under the title Gar-thig-yang-sum (Mask Dances, Proportions Mandala Drawing and Ritual Intonation) to embed them in the realm of cultural heritage. The gar-chhams performed by monks are called Tsun-chham. \n\nWhether Tsun-chham or Boe-chham, gar-chhams are generally divided into three broad categories: Trul-pai zu-thrul gi gar-chham (manifested mask dances), Ka-ter dag-nang gi gar-chham (visualized mask dances), and Nam-thar zhi-chol gi gar-chham (biography-based mask dances). The subjugation of evil spirits and the liberation of their impure soul into the realm of Buddhahood through manifestation into pacifying, enriching, magnetizing, and wrathful forms are called trul-pai zu-thrul gi gar-chham. An example of this dance is the dance of the Eight Manifestations of Guru Padmasambava. Similarly, ka-ter dag-nang gi gar-chham are the profound performances of the guardian deities visualized in the meditative state of a spiritual being. Some examples of such performances are the mask dances introduced by Terton Pema Lingpa. Finally, Nam-thar zhi-chol gi gar-chham are performances identical to plays based on well-known biographies. These performances convey the righteous human values that lead to a harmonious life. One of the most popular plays is the mask dance of the Intermediate State after death.\n\nTsun-chham or Boe-chham can be easily distinguished from the masked dance costumes. The Tsun-chham usually wears a brocade tunic with long and wide sleeves, while the boe-chham performers wear more colorful garments made of brocade and silk. In addition to the central monastic institutions, there are indigenous gar-chhams in communities and private temples and monasteries throughout the country, where community members are usually involved in organizing the event, performing the mask dance and presenting folk dances to safeguard their \ntradition.

Every year, during the months of September to April, the festivals of Tshechu, Rabney, Mani, Me-wang, Choed-pa, Due-choed, Yak-choed, Drub and Drub-chen are conducted simultaneously at various heritage sites; Dzongs (fortresses), monasteries and temples in Bhutan. This event transforms the sites into decorated places filled with offerings in the shrines and the surroundings filled with the resonance of religious musical instruments. It also brings together monks and local communities to jointly perform propitiation and affirmation rituals for the patron deities, along with the presentation of various sacred mask dances. People gather with most enchanting dresses to receive the blessings, say prayers and enjoy the much-awaited festive event. \n\nThese sensational dances are generally called Gar-chham which derived from Buddhist terminology. The term gar-chham is composed of two verbs: gar and chham. The various gestures exhibited by the hands are called Gar, whereas the manner of the legs is called Chham. Gar\u0002chham is considered one of the means of liberation called thong-drol (liberation through seeing), as it helps to mature and realize the primordial Buddha-nature, and reminds one to engage in wholesome activities. In the 8th century, Guru Padmasambava, a great Buddhist tantric master introduced the Gar-chham concept in Bhutan and also into the Buddhist tradition in 737 AD. This concept was further popularized by Terton (The Treasurer Revealer) Pema Lingpa (1450-1521) by introducing many sacred mask dances, mostly performed by laymen (community members). These performances are called Boe-chham. Zhabdrung Ngawang Namgyal (1594-1651) also placed more emphasis on the importance of these dances and included them in the curricula of the central monastery under the title Gar-thig-yang-sum (Mask Dances, Proportions Mandala Drawing and Ritual Intonation) to embed them in the realm of cultural heritage. The gar-chhams performed by monks are called Tsun-chham. \n\nWhether Tsun-chham or Boe-chham, gar-chhams are generally divided into three broad categories: Trul-pai zu-thrul gi gar-chham (manifested mask dances), Ka-ter dag-nang gi gar-chham (visualized mask dances), and Nam-thar zhi-chol gi gar-chham (biography-based mask dances). The subjugation of evil spirits and the liberation of their impure soul into the realm of Buddhahood through manifestation into pacifying, enriching, magnetizing, and wrathful forms are called trul-pai zu-thrul gi gar-chham. An example of this dance is the dance of the Eight Manifestations of Guru Padmasambava. Similarly, ka-ter dag-nang gi gar-chham are the profound performances of the guardian deities witnessed during the intermediate state of all the sentient beings. Some examples of such performances are the mask dances introduced by Terton Pema Lingpa. Finally, Nam-thar zhi-chol gi gar-chham are performances identical to plays based on well-known biographies. These performances convey the righteous human values that lead to a harmonious life. One of the most popular plays is the mask dance of the Intermediate State after death.\n\nTsun-chham or Boe-chham can be easily distinguished from the masked dance costumes. The Tsun-chham usually wears a brocade tunic with long and wide sleeves, while the boe-chham performers wear more colorful garments made of brocade and silk. In addition to the central monastic institutions, there are indigenous gar-chhams in communities and private temples and monasteries throughout the country, where community members are usually involved in organizing the event, performing the mask dance and presenting folk dances to safeguard their \ntradition.\n

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

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

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

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

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

Awang Batil is a story-teller only found in the state of Perlis. Originally he was known with the name ‘Awang Belanga’ because he used the ‘belanga’ or cooking pot as his music accompaniment. As cooking pot is covered with charcoal, it was then replaced with ‘batil’ that is copper water container. Thus the story-teller is called ‘Awang Batil’. The storyteller also plays other instruments such as the violin, serunai, rebana and gendang terinai. In yesteryears, Awang Batil travelled village to village and from house to house, especially houses that held wedding feasts, to tell his stories. Awang Batil inherits lots of folk stories. A story is in series and with continuities that drags to many evenings. Comedy elements are inserted in his story-telling while beating the copper water container with his fingers. The most commonly told stories of the Awang Batil are Raja Dewa Lok, Raja Bersiung, Raja Berdarah Putih, Anak Lang Pak Belang, Jabat Jabit, Abu Nawas, Cerita Angan-Angan and Awang Ada Duit Semua Jadi. At certain Acts Awang Batil wears a mask to relate the character of a ‘Hulubalang’ (Soldier) and the ‘Wak Nujum’ (Fortune Teller). Both are used when suitable characters appear in the stories to attract the audiences’ attention. The mask is made of wood and usually painted red and white. At a house that holds wedding feast Awang Batil performs in a small hut with a height of three to four meters. The audiences sit encircling the hut listening to his stories with laughter.

Awang Batil is a story-teller only found in the state of Perlis. Originally he was known with the name ‘Awang Belanga’ because he used the ‘belanga’ or cooking pot as his music accompaniment. As cooking pot is covered with charcoal, it was then replaced with ‘batil’ that is copper water container. Thus the story-teller is called ‘Awang Batil’. The storyteller also plays other instruments such as the violin, serunai, rebana and gendang terinai. In yesteryears, Awang Batil travelled village to village and from house to house, especially houses that held wedding feasts, to tell his stories. Awang Batil inherits lots of folk stories. A story is in series and with continuities that drags to many evenings. Comedy elements are inserted in his story-telling while beating the copper water container with his fingers. The most commonly told stories of the Awang Batil are Raja Dewa Lok, Raja Bersiung, Raja Berdarah Putih, Anak Lang Pak Belang, Jabat Jabit, Abu Nawas, Cerita Angan-Angan and Awang Ada Duit Semua Jadi. At certain Acts Awang Batil wears a mask to relate the character of a ‘Hulubalang’ (Soldier) and the ‘Wak Nujum’ (Fortune Teller). Both are used when suitable characters appear in the stories to attract the audiences’ attention. The mask is made of wood and usually painted red and white. At a house that holds wedding feast Awang Batil performs in a small hut with a height of three to four meters. The audiences sit encircling the hut listening to his stories with laughter.