The exact origin of the Khöömei art is unknown, but researchers suppose that it could have been developed in connection with argil (a throat timbre) epic telling vocal technique, shamanic calling and the play of the wooden tsuur flute. The history of Mongolian Khöömei dates back hundreds of years. The popularity of Khöömei among Mongolians has arisen as a result of close interaction between natural environment and human culture. Ethnomusicologists studying Khöömei mark it as an integral part in the ancient pastoralism that is still practiced today. This art has developed to mimic and imitate the sounds of animals, nature, wind and water. The wonder of the Khöömei art is its simultaneous melodies-overtone. In this way the Khöömei is a phenomenon which differentiates from other traditional arts based on human vocal organs. This is the reason of calling the Khöömei performer as “Human-Music” (Khun khugjim) which highlights its specificity from a “normal singer”. The meaning of Khöömei for its community is enormous. As the traditional art form, Khöömei is in close cohesion with the daily life of the Mongolian nomads. They perform Khöömei in the variety of social occasions ranged widely, from grand state ceremonies to the household festive events, associated with respective rituals, and customs. Khöömei is not only performed in social events, because Khöömei performance is often found during the herding, and even when lulling the baby, as well as in the evenings in the ger (Mongolian traditional yurt) in domestic context. Hence, Khöömei is an essential part of the identity, pride and continuity of Mongolian society. Therefore, it provides the concerned community with sense of unity and harmony, as well as continuous creativity. One of Khöömei’s social functions is that, it is used as a traditional pedagogic instrument in the social and art education and upbringing. This is because during the Khöömei transmission, a comprehensive knowledge, philosophy and wisdom on the correlation of human life and nature are transmitted at the same time. As an art form created and developed by the Mongolians, Tuvinians and other ethnic groups, and regarded as the classic art of nomadic civilization, Khöömei is one of the core performing arts that shape the Mongolian national arts in today’s Mongolia. Thus, it shows great influence on ensuring the visibility and enhancement of the living art of Mongolia. Khöömei is born by variety of ethnic groups as Khalkh, Bayad, Dörvöd, Uriankhai, Zakhchin, Tuva, Tsaatan in different locations, therefore there are a number of sub-classifications of Khöömei style, reflecting the special features and local flavors. This diversity is what constitutes the richness of Khöömei composition, and thus, each communities concerned are proud of their own unique styles and techniques while expressing themselves with such diversity. The governments of Mongolia, Russian Federation and PR China have been undertaking variety of measures for the effective enhancement and spread of Khöömei tradition, such as holding international meetings, workshops, competitions and performances on Khöömei. This shows the significance of Khöömei for the bearers and their will to safeguard, transmit and develop it in multinational level, which also promotes international interaction, mutual respect and intercultural dialogue. Researchers classify Khöömei’s vocalization into 2 styles: -The Kharkhiraa (deep Khöömei) vocal emission: The singer sings a drone in a normal voice, then he inhales deeply and, simultaneously pressing on his pharynx and abdomen, he produces a deep harmonic sound which vibrates one octave lower than the fundamental note produced. What you hear is in a very low-pitched register. The singer actually vibrates not only his vocal cords but also his arytenoid cartilage. It is this deep harmonic sound that is heard in the foreground and that characterizes the kharkhiraa style, although in some variants a melody of high-pitched harmonics can be heard above the fundamental sound. -The Isgeree Khöömei (whistled Khöömei) emission: Also called Nariin Khöömei, Uyangiin Khöömei, Altain shingen Khöömei. The singer sings a drone in a normal voice, then he inhales deeply and, still pressing simultaneously on his pharynx and abdomen he produces a harmonic sound, which vibrates several octaves above the fundamental sound. A melody of harmonics with a very high-pitched whistle can then be heard. In both cases, the harmonic melody is sung in the same fashion. The singer modulates his mouth cavity by opening and closing his lips or by moving his tongue backwards, sticking its tip on his palate, or else by moving the central part of his tongue from front to back, its tip against his bottom teeth. To this are added techniques aiming to enrich the tone colour and others of ornamental character. Moreover, all these techniques can be combined. Inside more than 20 techniques, we can find the Bagalzuuriin Khöömei (throat Khöömei) Tsuurai Khöömei (echo Khöömei) Khamriin Khöömei (nasal Khöömei) or Dangildakh Khöömei (syllabial Khöömei). The singers use the Shakhaa vocal emission to sing the magtaal praise songs with a throat timbre as well. It is necessary to intensifying and deepening the Khöömei research and studies particularly on the originality and authenticity of the heritage in order to identify and reveal the deeper form, techniques and specifications furthermore.

Mongolia 2010

For thousands of years, nomadic herders of Mongolia roamed across the country-side from season to season. Dry, windy areas close to rivers are best for summers while areas away from river-bank wind and close to mountains or hills are best for winter stays. In the country where pasture always was and still is a public domain, the herders moved freely to the best locations for the season. With this lifestyle of freedom of movement and pastoral animal husbandry was invented the national dwelling called the ‘Mongol ger’. It is a round structure of easily dismantle-able walls, polls and a round ceiling covered with canvas and felt, tightened with ropes. The ger was designed to be light enough for Mongolian nomads to carry, flexible enough to fold-up, pack and assemble, sturdy enough for multiple dismantling and assembling as well as easy for regulating temperatures within. Over many centuries the mongol ger was modified into a perfectly aerodynamic structure which can withstand Mongolia's fierce spring winds ranging up to 18-20 meter/sec. It can be dismantled in half an hour and assembled in an hour by a small family with 2-3 adults. The Mongol ger has many varieties. The most common “5-wall ger” consists of five lattice segments forming a circular wall, a door, a toono (round window ceiling), two bagana (columns that hold the toono), and 88 uni(long poles that connect wall lattices and toono which forms the roof of the ger). There are also several accessories attached to the ger.

Mongolia 2013

Airag is the fermented beverage from mare’s milk. This element includes a traditional method of making airag, its related equipment and objects such as khokhuur (cowhide vessel), buluur (paddle) and khovoo (kibble), and associated therewith social customs and rituals. The milking season for horses runs from mid June to early October. Daily milk yield of mares varies from 3 to 6 liters. The basic technique of making airag consists of milking mares and cooling fresh milked milk, and repeatedly churning milk in a khokhuur with starter left inside to assist its fermentation. The liquid must be churned 5000 and more times to make good fermented blend of airag. Mare’s milk undergoes fermentation by lactobacilli and lactic acid streptococci, producing ethanol, lactic acids and carbon dioxide. The airag - mildly alcoholic white beverage emits a delicious smell and its pleasant taste can make your mouth watery. For making the khokhuur, first, the cowhide is soaked and hide’s filament is removed, then it is dehydrated in the wind and fumigated. In such process, the cowhide turns to a white flexible leather. The khokhuur is made from this white leather and consists of mouth neck, corner, body and cords. The buluur is long-handled wooden paddle which is used for churning airag in khokhuur and furnished with bored blade of board at the end. Khokhuur can hold 40 to 100 liters of airag. Airag is used and served as a main and holy drink during various fests and in making offerings and ritual blessings.

Mongolia 2019

Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nearly every Korean knows and enjoys singing Arirang, which is not just one song but a variety of local versions handed down throughout Korea. Experts estimate the total number of folk songs carrying the title ""Arirang"" at some 3,600 variations belonging to about 60 versions. Arirang is essentially a simple song, consisting of the universal refrain Arirang, arirang, arariyo, and lyrics that have developed differently from region to region. The most typical lines express a universal sentiment: Arirang, arirang, arariyo; Over the Arirang hill you go. (refrain) Leaving me, my love, you'd go lame before three miles. (lyrics) The lyrics were not created by any particular individual, but an outcome of collective contributions made by ordinary Koreans through generations. They convey joys and sorrows of common people arising from love, parting with the beloved, troublesome in-laws, or national struggle against foreign invaders. Affection for Arirang is evident throughout today's ultra-modern Korean culture, well beyond the realm of traditional music. Arirang has been rearranged into modern ballads, rock 'n roll and hip-hop, as well as symphonic pieces, appealing to a wide array of audiences and striking a chord with Koreans; it is often described as their unofficial national anthem. Olympic champion Kim Yu-na skated to an Arirang theme, ""Homage to Korea,"" at the 2011 World Figure Skating Championships. Arirang is also one of the most recognized cultural symbols and is widely used as a theme for movies, dramas and soap operas, and names of commodities, restaurants, and broadcasting companies.

South Korea 2012