PI00007786

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. It is a rectangular embroidered shawl/sash worn around the body draping from the left shoulder to the opposing right hip and back up. At the back body, another fringe of the shawl hangs from the left shoulder down to mid-thigh level. This shawl matches the Sampot.

PI00007787

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. It is a rectangular embroidered shawl/sash worn around the body draping from the left shoulder to the opposing right hip and back up. At the back body, another fringe of the shawl hangs from the left shoulder down to mid-thigh level. This shawl matches the Sampot.

PI00007783

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. This undershirt has just one left short sleeve. The undershirt is worn under the embroidered shawl. So it makes the undershirt visible on the left side.

PI00007784

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. This undershirt has just one left short sleeve. The undershirt is worn under the embroidered shawl. So it makes the undershirt visible on the left side.

PI00007781

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Collar embroidered ornament is worn around the neck and covers both sides of shoulders. It is put on the embroidered shawl.

PI00007782

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Collar embroidered ornament is worn around the neck and covers both sides of shoulders. It is put on the embroidered shawl.

PI00007779

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007780

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007776

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007777

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007778

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007774

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.

PI00007775

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.

PI00007770

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ear ornament

PI00007771

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ear ornament

PI00007772

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ear ornament

PI00007741

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.

PI00007619

The certificate of the Lkhon Khol Wat Svay Andet in the UNESCO List of ICH in Need of Urgent Safeguarding.

PI00007589

Hanuman (Monkey General in the Reamker), called Lok Ta Kamhaeng, become the local deity for worship.

PI00007797

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Tossakanth (Ravana) is the demon king of Lanka. In Thai Khon performance, Tossakanth masked is identified by his multiple tiered faces and normally in green color. However, the golden mask of Tossakanth is specifically used for only one special scene in the whole story when he cheerfully visits Sida (Sita) in his captivity asking her for love.

PI00007559

Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

PI00001707

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007812

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Wristbands made from special velvet cloth with jewellery decorations with shiny sides.

PI00007759

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.

PI00007727

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman’s attribute

PI00007604

Performance to celebrate the Life Prolonging Ceremony of a Head Monk of another monastery.

PI00007574

The male roles, Preah Ream and Preah Leak, who wear mask, the troupe of Cambodian Youth for Lkhon Khol.

PI00007628

Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.

PI00007698

Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of Wak Nujum. It is painted in red and white.

PI00005939

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00004211

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007760

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.

PI00007725

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ravana’s attribute

PI00007603

Lkhon Khol performance to mark the Meak Bochea, a Buddhist ceremony.

PI00007573

Pin Peat orchestra and narrator accompany the Lkhon Khol performance.

PI00007627

Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.

PI00007699

Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of Wak Nujum. It is painted in red and white.

PI00005940

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00004210

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007773

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ear ornament

PI00007736

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007618

The MCFA research team surveyed and discussed how importance of nomination of Lkhon Khol in the UNESCO List of ICH with dance masters, manager, head monk and local authorities.

PI00007588

Hanuman (Monkey General in the Reamker), called Lok Ta Kamhaeng, become the local deity for worship.

PI00007798

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Tossakanth (Ravana) is the demon king of Lanka. In Thai Khon performance, Tossakanth masked is identified by his multiple tiered faces and normally in green color. However, the golden mask of Tossakanth is specifically used for only one special scene in the whole story when he cheerfully visits Sida (Sita) in his captivity asking her for love.

PI00007560

Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

PI00001708

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007811

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Decorated fine colorful beads used around the shoulder and neck.

PI00007767

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007737

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007617

The dance stage built by UNESCO Phnom Penh Office in 2000 is now occupied by the villagers, who have no land to live.

PI00007587

The mediums are possessed by spirit getting on the performance stage to oversee the ceremony and bless the performers and spectators

PI00007799

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Tossakanth (Ravana) is the demon king of Lanka. In Thai Khon performance, Tossakanth masked is identified by his multiple tiered faces and normally in green color. However, the golden mask of Tossakanth is specifically used for only one special scene in the whole story when he cheerfully visits Sida (Sita) in his captivity asking her for love.

PI00007561

Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

PI00001709

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007808

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bengkung or belt, is a wide strip of cloth used to wrap the stomach, usually worn with Mak Yong clothing as part of the accessories. Pending is Malay silver/ gold Belt Buckle with hand carvings worn together with the bengkung.

PI00007751

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Neck pendant is worn around the neck over the collar embroidered ornament and embroidered shawl.

PI00007720

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ravana’s attribute

PI00007602

Lkhon Khol dance is also offer to the spirit in the ritual.

PI00007572

Lkhon Khol narrator.

PI00007626

Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.

PI00007700

Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of Wak Nujum. It is painted in red and white.

PI00003722

Rejang Renteng Dance performance at Besakih

PI00004209

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007752

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Neck pendant is worn around the neck over the collar embroidered ornament and embroidered shawl.

PI00007718

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ravana’s attribute

PI00007601

Wat Svay Andet’s spirit ritual is also held annually.

PI00007571

Demon and Monkey characters of the Lkhon Khol form.

PI00007625

Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.

PI00007695

Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of hulubalang. It is painted in red and white.

PI00003720

Rejang Renteng Dance performance at Besakih

PI00004208

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007768

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007738

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007616

Costumes and masks were donated by UNESCO Phnom Penh Office in 2000.

PI00007586

The mediums are possessed by spirit getting on the performance stage to oversee the ceremony and bless the performers and spectators.

PI00007794

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.

PI00007562

Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

PI00001710

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007809

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bengkung or belt, is a wide strip of cloth used to wrap the stomach, usually worn with Mak Yong clothing as part of the accessories. Pending is Malay silver/ gold Belt Buckle with hand carvings worn together with the bengkung.

PI00007769

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007739

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007615

Master Im Sruon receives an honorable title as Human Living Treasure for the King in 2023.

PI00007585

In the middle night of the annual performance, the offerings made for spirits on the stage.

PI00007795

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.

PI00007487

Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances – which involve graceful dance movements, instrumental and vocal renditions and glittering costumes – depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters’ households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.

PI00001711

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007810

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bengkung or belt, is a wide strip of cloth used to wrap the stomach, usually worn with Mak Yong clothing as part of the accessories. Pending is Malay silver/ gold Belt Buckle with hand carvings worn together with the bengkung.

PI00007753

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Neck pendant is worn around the neck over the collar embroidered ornament and embroidered shawl.

PI00007719

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Ravana’s attribute

PI00007600

Villagers and dancers’ relative helped dancers in dressing up.

PI00007570

Lkhon Khol Performance by the troupe of Cambodian Youth for Lkhon Khol.

PI00007624

Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.

PI00007696

Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of hulubalang. It is painted in red and white.

PI00003718

Rejang Renteng Dance performance at Besakih

PI00004207

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007754

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Neck pendant is worn around the neck over the collar embroidered ornament and embroidered shawl.

PI00007715

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. The conical headdress are worn by female role dancers, who act as princess, king’s consort or divinity.

PI00007599

Villagers and dancers’ relative helped dancers in dressing up.

PI00007623

Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.

PI00007697

Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit. This mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of hulubalang. It is painted in red and white.

PI00003715

Rejang Dewa Dance performance at Besakih

PI00004206

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007764

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Metal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body draping from the left shoulder to the opposing right hip.

PI00007740

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007614

The new dance stage was built with the financial contribution of MCFA and the community.

PI00007584

The female role (right) of Wat Svay Andet troupe.

PI00007796

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.

PI00007488

Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances – which involve graceful dance movements, instrumental and vocal renditions and glittering costumes – depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters’ households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.

PI00001712

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007806

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. The keris is an asymmetrical dagger with distinctive blade-patterning achieved through alternating laminations of iron and nickelous iron. Keris is used in Mak Yong performances as a symbol of the king's authority over his kingdom.

PI00007765

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Metal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body draping from the left shoulder to the opposing right hip.

PI00007732

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007613

Representatives of MCFA and UNESCO Phnom Penh Office donated money to the Wat Svay Andet troupe

PI00007583

The demon and monkey roles of Wat Svay Andet troupe wear masks as the same as other troupes.

PI00007791

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

PI00007489

Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances – which involve graceful dance movements, instrumental and vocal renditions and glittering costumes – depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters’ households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.

PI00001713

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007807

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. The keris is an asymmetrical dagger with distinctive blade-patterning achieved through alternating laminations of iron and nickelous iron. Keris is used in Mak Yong performances as a symbol of the king's authority over his kingdom.

PI00007748

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.

PI00007716

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. The conical headdress are worn by female role dancers, who act as princess, king’s consort or divinity.

PI00007598

Villagers in the community helped to prepare ritual objects and cook food during the annual ceremony.

PI00007563

Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.

PI00003713

Rejang Dewa Dance performance at Besakih

PI00004205

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007749

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.

PI00007717

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. The conical headdress are worn by female role dancers, who act as princess, king’s consort or divinity.

PI00007597

Villagers in the community helped to prepare ritual objects and cook food during the annual ceremony.

PI00007564

Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.

PI00003711

Legong dance at Batubulan

PI00004204

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007766

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Metal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body draping from the left shoulder to the opposing right hip.

PI00007733

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007612

Mr. Poch Phay, Lkhon Khol Troupe Manager.

PI00007582

The male roles, Preah Ream and Preah Leak, of the Wat Svay Andet troupe, who do not wear masks in the performance.

PI00007792

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

PI00007490

Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances – which involve graceful dance movements, instrumental and vocal renditions and glittering costumes – depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters’ households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.

PI00001714

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007803

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bamboo rattan held by Pak Yong(Main character of Mak Yong) is a symbol of power and control upon the people.

PI00007761

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Any variety of a single large flower, a natural or artificial flower, is worn above the right ear of a dancer.

PI00007734

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007611

Venerable Chea Bunthoeun, Monk Chief of Svay Andet Monastery.

PI00007581

The troupe of Lkhon Khol Wat Svay Andet.

PI00007793

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

PI00007486

Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances – which involve graceful dance movements, instrumental and vocal renditions and glittering costumes – depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters’ households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people. Hanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.

PI00001715

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007804

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bamboo rattan held by Pak Yong(Main character of Mak Yong) is a symbol of power and control upon the people.

PI00007750

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.

PI00007712

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. The Ravana mask crown consists of three tiers and it bears nine heads or faces: the lower tier consists of a large demon face (wide mouths with the large fangs of the wild boar on the upper jaw) and the other three small demon faces on the back; the middle tier bears four demon faces and the top tier comprises one human face. The lower and middle tier demon faces have blue (or sometimes gold colors), while the top tier human face has white color. The Ravana mask is used for the Ravana demon role.

PI00007596

Crowded villagers watched the performance during the annual ceremony.

PI00007565

Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.

PI00003710

Baris Gede performance at Pura Besakih

PI00002089

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.

PI00007745

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.

PI00007713

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. The Ravana mask crown consists of three tiers and it bears nine heads or faces: the lower tier consists of a large demon face (wide mouths with the large fangs of the wild boar on the upper jaw) and the other three small demon faces on the back; the middle tier bears four demon faces and the top tier comprises one human face. The lower and middle tier demon faces have blue (or sometimes gold colors), while the top tier human face has white color. The Ravana mask is used for the Ravana demon role.

PI00007595

Crowded villagers watched the performance during the annual ceremony.

PI00007566

Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.

PI00003708

Baris Gede performance at Pura Besakih

PI00002090

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.

PI00007762

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Any variety of a single large flower, a natural or artificial flower, is worn above the right ear of a dancer.

PI00007735

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

PI00007610

Master Heng Sao, is one of the surviving dance masters, who revived the dance troupe after the Khmer Rouge Regime.

PI00007580

Preah Vihear, the main temple of Wat Svay Andet.

PI00007788

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.

PI00007034

Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus. The content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age. Characteristics: · Representative masked dance of Thailand · Performed by male dancers in the palace Performed by Insawang Suphachai Directed by Insawang Suphachai

PI00001716

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007805

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Bamboo rattan held by Pak Yong(Main character of Mak Yong) is a symbol of power and control upon the people.

PI00007763

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Any variety of a single large flower, a natural or artificial flower, is worn above the right ear of a dancer.

PI00007729

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A belt with buckle

PI00007609

Master Im Sruon is one of the surviving dance masters, who revived the Wat Svay Andet dance troupe after the Khmer Rouge Regime.

PI00007579

Villagers watched Lkhon Khol Wat Svay Andet performance.

PI00007789

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.

PI00007033

Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus. The content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age. Characteristics: · Representative masked dance of Thailand · Performed by male dancers in the palace Performed by Insawang Suphachai Directed by Insawang Suphachai

PI00001717

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007800

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Headgear called 'setanjak' crown made from special velvet cloth with jewellery decorations with shiny sides.

PI00007746

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.

PI00007714

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods.

PI00007594

Dance performance in the spirit ritual.

PI00007567

Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.

PI00003707

Balinese Traditional Dance Topeng Sidakarya at Besakih

PI00000027

Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

PI00007747

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Arm bracelet is worn on the left arm.

PI00007709

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman mask is shown in stylized monkey form with white color, opened wide mouth, big nose and big eyes. For the monkey general, there is a golden headband worn around his head. This mask is used for Hanuman role.

PI00007593

The spirit ritual for the annual performance.

PI00007568

Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.

PI00003706

Balinese Barong Dance Show in Batubulan

PI00000028

Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

PI00007755

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.

PI00007730

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A belt with buckle

PI00007608

Lkhon Khol apprentices, who are school boys, are trained in group at the monastery.

PI00007578

Hermit (left) and comedians’ roles, the troupe of Wat Svay Andet.

PI00007790

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds. Narai or Vishnu is a supreme God in Hindu epic Ramayana. One of his incarnations or avatars is Rama. In Thai Khon performance, Narai mask is in purple. He wears the imperial crown.

PI00007032

Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus. The content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age. Characteristics: · Representative masked dance of Thailand · Performed by male dancers in the palace Performed by Insawang Suphachai Directed by Insawang Suphachai

PI00001718

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007801

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Headgear called 'setanjak' crown made from special velvet cloth with jewellery decorations with shiny sides.

PI00007756

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.

PI00007731

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A belt with buckle

PI00007607

Lkhon Khol apprentices, who are school boys, are trained in group at the monastery.

PI00007577

The monkey role, Hanuman, the troupe of Ministry of Culture and Fine Arts.

PI00007631

Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.

PI00007031

Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus. The content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age. Characteristics: · Representative masked dance of Thailand · Performed by male dancers in the palace Performed by Insawang Suphachai Directed by Insawang Suphachai

PI00001719

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00007802

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life. Headgear called 'setanjak' crown made from special velvet cloth with jewellery decorations with shiny sides.

PI00007742

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.

PI00007710

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman mask is shown in stylized monkey form with white color, opened wide mouth, big nose and big eyes. For the monkey general, there is a golden headband worn around his head. This mask is used for Hanuman role.

PI00007592

On the spiritual ceremony day for the annual performance, the Pin Peat music is performed to invite the Lok Ta Tos Mukh (Ravana mask) to the dance stage at the monastery.

PI00007556

Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

PI00003704

Balinese Barong Dance Show in Batubulan

PI00000029

Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

PI00007743

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.

PI00007711

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman mask is shown in stylized monkey form with white color, opened wide mouth, big nose and big eyes. For the monkey general, there is a golden headband worn around his head. This mask is used for Hanuman role.

PI00007591

The mask of Ravana (King of Demons in the Reamker), called Lok Ta Tos Mukh, is stored in a spiritual house in front of a dancer’s house.

PI00007557

Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

PI00001705

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00000030

Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

PI00007757

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.

PI00007728

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman’s attribute

PI00007606

Master Phka Soy, already passed away, trained Lkhon Khol skill to his apprentice.

PI00007576

The demon role, Krong Reap, the troupe of Ministry of Culture and Fine Arts.

PI00007630

Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.

PI00007030

Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus. The content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age. Characteristics: · Representative masked dance of Thailand · Performed by male dancers in the palace Performed by Insawang Suphachai Directed by Insawang Suphachai

PI00001720

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.

PI00004213

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007758

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Pendant garland is attached to and hung down from the headdress by placing in front of the left ear. This garland is made of Champa (or Michelia Alba/ Magnolia Champaca) alternated with jasmine flowers. The garland can be either natural or artificial flowers.

PI00007726

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. Hanuman’s attribute

PI00007605

Master Rith Ros, already passed away, demonstrate the demon dance movement.

PI00007575

The female roles, Neang Sita, the troupe of Ministry of Culture and Fine Arts.

PI00007629

Phi Ta Khon is a three-day mask festival held every year between March and July in Dan Sai District in Loei Province, Thailand, which includes a ceremony to express respect to the gods and rituals to protect the village and pray for abundant rain during the farming season. Young men wear colorful, fluttering costumes and Phi Ta Khon masks. The mask, representing spirits of the dead, is adorned with a long nose in vibrant primary colors. It consists of three main components: a hat, a face, and a nose. The mask is crafted using a traditional bamboo container known as a Huat, traditionally used for containing boiled glutinous rice.

PI00004212

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007744

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods. A set of each ankle adornment consists of two rings, including Kang Chhouk and Kravil Choeng. The Kang Chhouk ring is worn on top of the Kravil Choeng.

PI00007620

H.E. Audrey Azoulay, Direcor General of the UNESCO, presents the Lkhon Khol Certificate to Samdech Hun Sen, Prime Minister of the Kingdom of Cambodia, during the 25th Anniversary of ICC-Angkor in 2018.

PI00007590

The shrine of Lok Ta Kamhaeng (represented by Hanuman mask) is built for worship in front of the theatre during the annual performance that show how important he is.

PI00007558

Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

PI00001706

Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.