Then a ritual practice indispensable in Tày, Nùng and Thái ethnic groups' spiritual life, reflects concepts about human beings, natural world and the universe (the Earth realm, the 3-layer Heaven realm). Then ceremonies describe a journey in which Then Master (Male/Female) controls ghost soldiers travelling from the Earth realm to the Heaven realm, the residing place of the gods, to offer worshipping items and show their praying requests for peace, bad luck relief, illness treatment, good crops, new house inauguration, initiation/title-conferring ritual (cấp sắc), blessings and happy new year. Then Masters start the journey by singing and plucking the tính lute (two or three-string lute). Depending on worshipping purposes, Then Masters will arrange worshipping trays to pray different native Gods, among whom Ngoc Hoang is the highest God. Then Masters often use a summoning tablet, a seal, a demon-expelling sword, a yin and yang rod, a bell, a fan and items such as pork, chicken, wine, rice, fruits and votive papers to perform Then ceremonies in the believer’s house, outdoor or at Then altar of the Master’s house. While practising, Then Master wears ceremonial dress, sings the language of his ethnic group and plays the tính lute, shakes the chùm xóc nhạc (rattle-bells), waves a fan. In some ceremonies, a female dancing group will accompany. Then rituals performances express Tày, Nùng and Thái’s cultural identities, from customs to musical instruments, dance and music. Then is always transmitted orally while its rituals are being conducted, reflecting the succession between generations.

Viet Nam 2019

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

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.

Kompang Jidor traditionally encompasses twelve interlocking kompang beats that create composite rhythms. It is usually performed with vocal accompaniment of selawat based on the Kitab Barzanji, a book of praises to the Prophet Muhammad composed in the 18th century. The selawat, sung in Arabic, is structured into verses (rawi) and refrains (jawapan). The twelve beats of the Kompang Jidor are: jidor, babon, banggen, nelon, ngelimo, ngorapati, anak babon, paron, ngapati, ngentong, nyalahi, nyelangi. Kompang Jidor is performed by a group of kompang (Malay frame drum) players and a single player who strikes the jidor (large double-headed barrel drum). Once a tradition that flourished throughout Johor, this older form of kompang is becoming increasingly rare. Because of its complex rhythms, the art of the twelve-beat Kompang Jidor takes more time to learn and master than the more common four-beat Kompang Melayu.