Inscribed in 2011 (6.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Jultagi, or tightrope walking, is a traditional Korean performing art. Tightrope walking refers to the art of not only walking, but singing, dancing or performing acrobatics, while narrating funny stories, on a single thin rope suspended between two points. Tightrope walking, however, is not a one-man show. The rope walker, called jul gwangdae, obviously is the centre of attention but he needs other artists collaborating on the ground, such as the musicians to accompany his acrobatic feats and funny narratives, and a clown to retort to his remarks or answer questions as a dialogue companion. Today, tightrope walking performers are frequently invited to local festivals that take place throughout the country particularly in spring and autumn. It is a good way to get people excited and laughing in festivals. Since almost all the local festivals host tightrope walking performance, it became one of the traditional performing arts the general public can readily access and feel familiar with. As a full-scale show lasts the whole afternoon, it has to be carefully organized with acrobatics, narratives and music to maintain the audience’s interest and stifle yawns. The tightrope walker starts with simpler feats, gradually moving to more difficult acrobatics such as bouncing up and down from the rope, tumbling and somersaulting, and sitting on the rope with his legs crossed. He displays some 40 different rope techniques. Between his feats he cracks jokes and sings songs while the audience catches its breath from the nail-biting manoeuvres. Tightrope walking, in this regard, is not a simple presentation of rope techniques but an age-old form of integrated performing arts and entertainment. The Korean traditional tightrope walking is distinguished from similar arts of other countries in that it is not all about demonstrating a series of rope techniques but proceeds with dialogue between the rope walker and the clown, who constantly interact with the audience. In other words, the Korean tightrope show is not a unilateral presentation of fun and thrill but two-way communication between the performers and spectators, where the participants can adjust the routine to the atmosphere of the show. The show is for the enjoyment of both the performers and spectators. And this is what makes Korean tightrope walking unique and significant.

South Korea 2011

National Intangible Cultural Heritage, Republic of Korea Seungmu (Monk's Dance), a dance performed by a performer in a monk’s robe, is one of the leading folk dances of the country. There are several theories about the origin of Seungmu: one from a Buddhist cultural history perspective, one with a view that it originated in Kim Man-jung’s novel Guunmong (Dream of Cloud Nine), and one saying that it stems from a mask play containing elders’ dance and depraved monks’ agony. It is said to have started to develop among gisaeng (female entertainer). The dance is completely devoid of factors associated with religion, stage play, or play for fun. The dancer’s movements are similar to those of the Salpurichum (Exorcism Dance). The dancer performs to the tune of praying to Buddha, dodeuri rhythm, taryeong (Korean folk song), and gutgeori rhythm, jajinmori rhythm, etc., in white monk’s robe and gasa (ceremonial upper robe), white gokkal (conical hat), and elegantly raised front of beoseon (traditional Korean socks). The dancer displays unique gestures by whirling the sleeves to the accompaniment of piri (flute), daegeum (bamboo flute), haegeum (two-stringed fiddle), janggo (hourglass-shaped drum), and buk (drum). This is a very exquisite form of dance that expresses delicate rhythms and body movements as well as the sublimation of the feeling of joy and sorrow.

Anak Umbang is the main musical instrument in a Saba performance in Terengganu to create the rhythm of the Saba songs. The sound of this instrument is often associated with the droning sound from a type of insect, the specie known as Kumbang or Sri Umbang. Anak Umbang is also similar to Rebab; triple-stringed, bowed and played solo. Now, Anak Umbang is becoming forgotten and only one such person is well-versed in its creation that is Che Wan Norsaidi Binti Che Wan Abdul Rahman (Saba Figure).

Mumtoz ashula (classic song) cycles is a lyrical genre which differs from other song genres with extention of the melody, steady lyric character, emotional and mounful meaning, great range, the complexity of the rhythm method and perfection of the style. The style of singing is solo with own accompaniment on tanbur, dutar and tor. Its genre composition is represented by mumtoz ashula, mumtoz yalla, katta ashula (Ferghana Valley), khalq ashula and muhammas (Bukhara), suvora and naqsh (Khoresm) and lyrical-lengthy songs of religious character (such as munojot, nat, khamd, manzuma, yakkakhonlik, khonaqoi, qalandari, etc.).