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ICH Elements 152
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Vanuatu sand drawings
Situated in the South Pacific, the Vanuatu archipelago has preserved a unique and complex tradition of sand drawing. This multifunctional “writing” is more than an indigenous artistic expression and it occurs in a wide range of ritual, contemplative and communicative contexts. The drawings are produced directly on the ground, in sand, volcanic ash or clay. Using one finger, the drawer traces a continuous meandering line on an imagined grid to produce a graceful, often symmetrical, composition of geometric patterns. This rich and dynamic graphic tradition has developed as a means of communication among the members of some 80 different language groups inhabiting the central and northern islands of Vanuatu. The drawings also function as mnemonic devices to record and transmit rituals, mythological lore and a wealth of oral information about local histories, cosmologies, kinship systems, song cycles, farming techniques, architectural and craft design, and choreographic patterns.
Vanuatu 2008 -
Suri Jagek (observing the sun), traditional meteorological and astronomical practice based on the observation of the sun, moon and stars in reference to the local topography
Suri Jagek, literally translated to ‘observing the Sun’ is the traditional Kalasha meteorological and astronomical knowledge system and practice based on the observation of the Sun, Moon, Stars and Shadows with respect to the local topography. The practice of Suri Jagek demonstrates the relationship of the Kalasha people with their surroundings and the capacity of their immediate geographical context to sustain their way of life. Suri Jagek is a knowledge system which connects a long history of “events” to topographical locations. The system is a complex structure of empirically observed accumulated knowledge and is repeatedly referenced to allow the Kalasha people to predict the appropriate time for the sowing of seed, animal husbandry and natural calamities. It is also used to govern the Kalasha calendar by determining dates of important social events, festivals, feasts and religious ceremonies. It draws greatly from the rich cultural heritage and social practices of the people, therefore functioning in the capacity of a repository of the history of the people and the region at large. Visual cues existing within the periphery of the topography are used to mark the specific positions of the rising and setting Sun, and hence the collective markings are used to record the positions of the Sun throughout the year. Observatories called ‘Suri Jagaekein’, are chosen in each village to observe the rising Sun, and a separate location is assigned to observe its setting. The specific positions on which the sun casts its shadows are also marked in some people’s houses on walls or poles etc. Individual localities have their own specific knowledge, generated using the common processes of marking the positions of the Sun. Qazis, who are authorities on matters pertaining to religion, history and indigenous models of conflict resolution, farmers, some shepherds and a few village elders are the knowledge bearers of Suri Jagek and the observations at the Suri Jagaekein made by various community members are shared in communal gatherings. A general consensus is reached in a Jirga (communal forum); however, presently this is only practiced in the Rukmu valley on the 16th of December. Knowledge related to the constellations of stars, meanings of various types of rainbows and the study of clouds as well as shadows are all in the wider ambit of Suri Jagaek. The Libra constellation known as Tarazu is considered particularly important during the Spring period coinciding with the month of Amaal Mastruk. When the constellation is observed in its clarity during the month, it is indicative of the ground softening the next morning; a time considered vital for the planting of crops.
Pakistan 2018 -
Epic art of Gorogly
The entire epos includes a historical range of the legendary achievements of the ancient national hero of Gorogly and his 40 cavalrymen by recording all major events of traditional lifespan of the Turkmen people. The aspiration of the Turkmen nation for a happy life, unification, freedom and justice as well as their features such as bravery, honesty, partiotism, freindship, tolerance and fairness have been reflected in the epos. The element is a combined genre of oral traditions and performing art incorporating narrating, singing, vocal improvisation and musical composition, where a prose and poetry are alternated in its perforamnce. Its bearers and practitioners are epic performers-dessanchy bagshy specialized in the Gorogly epic. It is by tradition performed by one dessanchy bagshy playing the dutar (a two stringed, long-necked lute) in a sitting position, while narrating prose and reciting poetry in a way to deliver the characters' feelings and emotions to the accompaniment to the traditional musical instruments such as dutar and gyjak (a fiddle-like Turkmen musical instrument). It is traditionally performed at social gatherings, celebrations, national ceremonies, life rituals, national festivals and special "Folklore Festivals". The element provides related communities with a sense of social and cultural identity and it is considered as a main symbol of Turkmen people to sustain their cultural identity being as an oral encyclopedia and it remains the inexhaustible fountain-head to nurture their cultural psychology, national character, mentality, creative capacity and artistic skills.
Turkmenistan 2015 -
Traditional Ainu dance
The title ‘Traditional Ainu Dance’ is defined as dances and songs transmitted among the Ainu people of distinctive cultures in Hokkaido located in the northern area of Japan. Those dances and songs are derived from the life and religion of the Ainu people; some are performed at ceremonies and banquets in local communities, and others privately performed in daily lives. Neither of them is accompanied with musical instruments. They are performed along with songs and handclaps of dancers and participants on site. The Ainu people used to live in a vast area including Hokkaido, the northern part of Honshu, the Kuril Islands and Sakhalin. Currently, however, most of them live mainly in Hokkaido, and its population is estimated at approximately twenty-four thousand. The Traditional Ainu Dance is transmitted by the seventeen preserving associations established in fifteen cities and towns where the Ainu people live. Allegedly the Ainu culture of today’s style was formed up approximately in the twelfth or thirteenth century. People at that time lived by fishing, hunting and gathering, and they also traded with other areas. In this way of life, the Ainu people have developed such a creed as they believe in deities which are omnipresent at anything related to their lives, namely the nature (the sun, rain, water, fire etc.) including animals and plants. Thus, they often conducted prayers and ceremonies in their daily life. The Traditional Ainu Dance can be performed at these prayers and ceremonies or banquets. ‘Iyomante,’ for example, is the biggest ceremony with the Traditional Ainu Dance for sending a deity disguised as a bear back to heaven. The Ainu people believe that a deity comes down to the human world in disguise of an animal or a plant which is a gift from the deity to be eaten by the human beings. Once people have physically eaten it up, they thank the remaining spirit of this invisible deity for its gift and hold a ceremony to send it back to heaven. During the ceremony people sing and dance. One of the features found in the Ainu performing arts is the imitation of calls and movements of animals and birds. During the ceremony of ‘Iyomante’ people repeatedly imitate calls and sounds accompanied with its movements of a bear, and words are inserted in such repetitions. On the other hand, performing arts which are privately performed in an Ainu daily life contain lullabies, improvisatory lyrical songs, incantations with melodies, and songs accompanied with movements of labours by several persons in a daily life. As mentioned above, the Traditional Ainu Dance is performed at important ceremonies and banquets to the Ainu people and also in their daily life, through which the Ainu people reconfirm the identity and deepen a sense of continuity. Currently, in addition to such ceremonies as mentioned above, the Traditional Ainu Dance is demonstrated at newly projected festivals and events. It is one element of the intangible cultural heritage transmitted from generations to generations and is continuously developed and reproduced according to the situations of each era. The traditional style of the Ainu dances is a big circle of many participants, proceeding right-handed with some fixed movements and singing together. They sing the same song together or in turns, otherwise they sing in a responding way between a chorus leader and the others. Some of those traditional songs are polyphonic; several women sit on a floor in a circle in surrounding a lid of a wooden container, make a rhythm in beating the lid, and sing the same melody with one sound successively delayed. Because there are currently many opportunities to perform it apart from a daily life, some dances and songs have been formed up as independent repertoires in paying due attention to the traditional performing style. As overviewed, they are (i) the imitation of calls and movements of animal, namely ‘crane dance’, ‘fox dance’ and ‘swallow dance’: (ii) the imitation of insects, namely ‘grasshopper dance’: (iii) the ritual one, namely ‘sword dance’ and ‘bow dance’: (iv) the entertaining one: (v) the improvisatory one. Thus, the Traditional Ainu Dance is simple and naive, and often retains the primordial quality inside. In this sense it can illustrate the origin of performing arts.
Japan 2009 -
Chinese paper-cut
Chinese paper-cut, a traditional handiwork created by cutting patterns on paper via scissors or graver, has been a time-honoured folk art piece for decorating purpose on festivals or coordinating with various folk custom activities. As a folk art form adored and practiced by Chinese folks, Chinese paper-cut has been developed for more than 1,500 years with its fabrication skills and sculpts being preserved to these days. Chinese paper-cut comprises two classifications including “paper-cutting” and “paper-engraving”. The former relies on manual cutting and often produces one art piece in one process; the latter relies on engraving with graver and often produces multiple art pieces in one process. The Chinese paper-cut art pieces have unified color or multiple colors. Besides, mosaic or setting-off skills are adopted to enrich the color effect of Chinese paper-cut art pieces. For many centuries, Chinese paper-cut art pieces have been extensively applied to people’s daily life and on various folk custom activities such as fete, festivals and etiquettes. They have diverse patterns including: the paper-cut art pieces on window, lintel, bed and ceiling for the purpose of interior decoration; the paper-cut art pieces on occasions of wedding ceremony, birthday party, lantern festival and dragon boat festival; the paper-cut art pieces that are taken as the sample for embroidering pillow, shoe and bellyband; the paper-cut art pieces for the purpose of praying for rain, dispelling the evil and ushering in the auspice. Among numerous patterns of Chinese paper-cut, each one symbolizes certain conventionalized meanings, i.e. pomegranate symbolizes multiplied offspring while dragon and phoenix signifies love. Usually, Chinese paper-cut artists create paper-cut works off the cuff and the themes of paper-cut art pieces relate to a wide range of scope including folk belief, myths, historical stories, daily labor activities, universe and nature. The bold and vivid sculpt in Chinese paper-cut sufficiently signifies the romantic thinking and wild imagination of Chinese people. Due to the vast territory and great difference of folk customs in the northern and southern regions of China, there are diversified styles in Chinese paper-cut. Comparatively speaking, the paper-cut art pieces in North China are characterized with bold and crude artistic styles while those in South China are fine and delicate.
China 2009 -
Chinese calligraphy
Chinese calligraphy is an artistic practice that, while fulfilling the practical function of information exchange through writing Chinese characters with brushes, ink, and paper as the main tools and materials, conveys human contemplation of nature, society and life and thus reflects the unique character, spirit, temperament, interest, and philosophy of the Chinese people through special graphic symbols and writing rhythms. Along with the appearance and evolution of Chinese characters, Chinese calligraphy has developed for more than 3,000 years and become a symbol of Chinese culture. In its development, calligraphy has developed a complete set of theories and skills. The art has enjoyed orderly propagation and continuous development through personal instruction and documented records, and presented distinct features in correspondence the change of time and alteration of tools and materials. Chinese history has produced a large number of prestigious calligraphers, such as Wang Xizhi (303-361 A.D.), Yan Zhenqing (709-785 A.D.), and Su Shi (1037-1101 A.D.).
China 2009 -
China engraved block printing technique
As one of the conventional skills, China Engraved Block Printing Technique includes a series of processes: cutting tools are applied to the engraving of characters or patterns on wooden blocks, ink and paper are utilized for printing purpose and the printed book pages are bound into books. Historical cultural relics show the application of engraved block printing technique dates back to the end of the 6th century and early 7th century. The invention and application of engraved block printing technique in China has made tremendous contributions to the progress and development of human civilization thanks to its functions typical of recording and transmitting thoughts, knowledge and experience of human society.
China 2009 -
Art of Chinese seal engraving
In China, the art of seal engraving is recognized as one of the finest examples of traditional arts and crafts and is of immeasurable cultural value with a history of over 3,000 years. In ancient China, seals served as the personal signature of their owners, and, more significantly, also served as a symbol of legitimacy for a ruler or an entire government. Seal engraving represents the harmonious combination of calligraphic aesthetics with the precise skills of engraving and meticulous attention to detail. The seal must use what is often a very limited space in order to convey the unique character traits of its purpose or the personality of its owner. For thousands of years, it has had both a purely functional use as well as attaining the highest levels of artistic and cultural aesthetics. Seal engravers preserve artistic traditions while also reaching out in new directions and revealing fascinatingly different styles: exaggerating the thinness or thickness of a character, elaborately curving or angling a stroke, or even deliberately re-forming traditional ideograms for artistic effect. Indeed, the work of master seal engravers is no less important than the work of well-known painters or calligraphers in Chinese history. The engraving process is unique. The tools used for seal engraving include the knife, seal holder, seal ink, writing brush, and xuan paper. A design is made on paper—when engraved, the characters have to be written on stone surface opposite to what they will look like. After the engraving is completed, press the seal in the seal ink to make an impression on xuan paper. Additional text is often engraved on the side of the seals, from which rubbings can be made. Seal engraving has the following unique characteristics: 1.The artists use engraved characters to show the aesthetics of traditional Chinese culture through the harmony of positive and negative and the balance of abstract and concrete forms. 2.The artists use seals to express their accumulated ideas, artistic sensibilities, and engraving skills in a very small space. 3.The creation of seals is an integration of man and nature through the engraving process. 4.Seals display the quality of the stone and the style of the calligraphy. The art of seal engraving embodies important cultural and social functions. It is the expression of the artists’ own imagination, as well as a way of personal cultivation and the blending of art, literature, aesthetics, and language. Seals also serve as a means of communication and have been used by scholars and art collectors as a means of personal identification, a claim of ownership, or for social interaction. The art of seal engraving also reached other parts of East and Southeast Asia as part of the exchanges of culture and art among different nations. Today the art form enjoys worldwide appeal among historians, art lovers, and collectors.
China 2009 -
Watertight-bulkhead technology of Chinese junks
The Watertight-Bulkhead Technology of Chinese Junks is an age-old craft for the construction of ocean-going vessels with watertight compartments in South China’s Fujian Province. The vessels are made mainly of camphor, pine and fir timber, and assembled through use of traditional carpenters’ tools. They are built by applying the key technologies of rabbet-jointing planks together and caulking the seams between the planks with ramie, lime and tung oil. A master craftsman designs and directs the whole process. A large number of craftsmen work in close coordination to build solidly rabbeted ocean-going vessels consisting of multiple independently watertight cabins. The core technology for building such vessels is called The Watertight-Bulkhead Technology of Chinese Junks. Watertight bulkheads are the most important step in building Chinese junks. To start with, the craftsmen build an integral hull by joining the vessel’s bilge and sides. The hull is then divided into cabins according to the function and size of the ship. The whole process is manual. Planks are rabbet-jointed together. And then interlocked to the bilge and on to frames or held with crampons. Ramie fibber, lime and tung oil are mixed in the proper proportion to wedge into any gaps between planks and make the cabins waterproof. The tools are largely those used by traditional Chinese carpenters, such as axes, carpenter’s ink markers, hand drills, rulers, maces, pit saws, chisels and planers. Chinese junks are subdivided into multiple watertight cabins. If in the course of navigation one or two cabins are accidentally damaged, seawater will not flood other cabins. The vessel will not sink, but remain afloat. This greatly improves navigation safety. This technology has been widely used over the centuries in fishing vessels, cargo ships, warships, and diplomatic vessels. In particular, Fujian’s ocean-going cargo ships sailing along the Maritime Silk Road during the Song and Yuan dynasties, and the fleets commanded by Ming Dynasty navigator Zheng He in his seven voyages to the West, fully adopted this technology. The technology has served as a bridge and unifier in the exchange between Eastern and Western civilizations. In the late 18th century this technology was finally adopted in the West. Since then Watertight bulkheads have become an important structural element in modern ship design, remain so today and have greatly enhanced navigation safety.
China 2010 -
Peking opera
Integrating singing, reciting, dancing and martial arts performing, Peking Opera is a comprehensive performing art of traditional opera. In mid 19th Century, having incorporated elements of various opera forms from both northern and southern China, Peking Opera came into being. It was first created by civilians. Its development was then greatly promoted by the royal family, and reached its peak in the capital city of Beijing. Peking Opera is the most widespread and influential among over 300 opera forms in China. Hence it is also called the “National Opera”. Beijing dialect is used in the singing and reciting of Peking Opera where rhyme is of great importance. There is also a strict set of rules and forms of libretto composition. Peking Opera is based on Xipi tune and Erhuang tune. Xipi tune is applied to express passion, joy and ecstasy, whereas Erhuang tune is used to depict sadness and grief. Music (singing) plays a key role in setting the pace of the show, creating a proper atmosphere, shaping the characters, and smoothing the progress of the story. Traditional musical instruments are used in Peking Opera shows, where the drummer plays the role of a conductor and the “Jinghu” player acts as the first violinist in an orchestra. Strings and pipes, such as Jinghu, Yueqin and Sanxian, are known for their tender and melodious sounds, which are called “Wen Yue”, or civilian music. Whereas percussions including Bangu and Daluo make brisk and powerful beats, which are called “Wu Yue”, or military music. Singing and dancing are equally important to the performance of Peking Opera, which is characterized by its formularized and symbolic style. Performers have to follow the established format of movements of hands, eyes, body, and feet. Peking Opera only requires simple stage settings and props, following the principle of abstract presentation of big items (for example houses and walls are not necessary on stage) and specific presentation of small items (tables, chairs, cups and saucers, for instance, are used as props on stage). The exquisite and skilful acting of the performers can also help to unfold a virtual yet vivid stage setting to the audience. The costume and headdress in Peking Opera are flamboyant. The facial make-up is exaggerative and delicate. The lively opera face shows the character’s personality and social identity with concise symbols, colours and patterns, expressing the traditional Chinese aesthetic ideals. The storylines of Peking Opera originate from history, anecdotes and folk legends. About 100 of more than 3,000 Peking Opera shows are still being performed frequently today, such as “The Twin Bliss of Dragon and Phoenix”, “The Tipsy Imperial Concubine”, and “The Orphan of Zhao”. Over the process of its transmission, over 30 schools of Peking Opera with different singing characteristics have been gradually developed. The most famous schools include the Mei School (founded by Mei Lanfang) and the Tan School (created by Tan Xinpei). The Mei School, a performance system named after Mei Lanfang, is regarded as a representative of China’s opera performance systems, and one of the three major opera performance systems of the world. Nowadays, it is mostly the practitioners of professional and amateur troupes who shoulder the mission of passing down Peking Opera. Beijing Peking Opera House, Tianjin Peking Opera House, and Shanghai Peking Opera House play the most significant role in the transmission and development of Peking Opera. Prestigious Peking Opera artists, such as Wang Jinlu, Tan Yuanshou, Mei Baojiu, Li Changchun, Zhao Baoxiu, not only inherit their respective schools in a creative way, but also shoulder the responsibility of training performers of a younger generation. The traditional performing art of Peking Opera is still well received by the public. In Beijing alone it attracts over one million audiences every year. Some Peking Opera fans can not only appreciate it, but also practice it. They are also making a special contribution to the survival and development of Peking Opera. Opera towers and guild halls dedicated to staging Peking Opera shows, such as Huguang Guild Hall in Beijing and Tianchan Yifu Stage in Shanghai, are important cultural venues for relative communities and their “spiritual wonderland”. The major mode of transmission of Peking Opera is to “conduct oral teaching and inspire true understanding of the trainee”. In the past, the master of an opera troupe applied such a method to train his disciples. Even today, this mode is still being extensively used in opera trainings. As an inheritor and practitioner, each Peking Opera performer has to go through a series of rigorous and systematic training at a young age. A trainee will gradually master basic skills including reciting, singing, dancing, and martial arts performing through taking oral instructions from the master, and observing the master’s behaviour. A performing artist of Peking Opera will need to constantly improve his or her artistic attainments through a long-term practice, so as to enrich and solidify the heritage. The representative bearers of Peking Opera typically have mastery of various forms of traditional Chinese culture, such as calligraphy and history, and they are very respected by the public. Peking Opera is unique in its perfect, romantic and abstract way of performing. It is the practitioners’ special expression of their feelings and aesthetic ideals. It is also an important symbol of Chinese cultural identity.
China 2010 -
Meshrep
Meshrep, which in modern Uygur language means ‘get-together’ or ‘venue,’ is the developed version of the Uygur sacrificial offerings, blessings and ceremonial events of antiquity. Early records of Meshrep appear in the Chinese source The Biography of Gao Che in the Book of Wei (553 AD) and in the Arabic classic The Grand Dictionary of Turkic Language (1073 AD). The Meshrep is an organized folkloric event that follows certain procedures and is often held in a spacious outdoor venue on seasonal and traditional holidays, or according to the needs of the people’s life and work. There are mainly three types of participants: a) the host of Meshrep, viz, the yigetbixi who, elected by the local people, has to preside over the rituals, ballads and dances, games, mock court proceedings and other events taking place in the Meshrep; usually he is aided by several assistants that ensure the orderly progress of the activities; b) the folk artists invited to perform and c) the general public. The event is normally attended by hundreds of people and all of them participate in the activities. Meshrep contains a rich collection of traditions. A complete Meshrep event includes performances like the Uygur muqam, folk songs and dances, story-singing and drama, as well as other activities such as oral literature, tournaments and games, which people enjoy and actively take part in. Meshrep has both relation and difference with Uygur muqam. Usually, some songs and dance music from it will be sung, played in Meshrep event, for the public to enjoy it and dance by self-entertainment with the rhythm of the songs and dance music. In the Uygur “twelve muqam”, each set of muqam has such songs and dance music in its third part, therefore this part is also called “Meshrep”. Uygur muqam is the large comprehensive art form integrating song, dance and entertainment, while Meshrep is just one of the cultural space of Uygur Muqam. Meshrep is rather like a big stage for various arts or a carnival party, with the public freely participating in various activities, who are not only auditors, also players, even the participants and judge of the moral forum; there is no boundary between the spectator seats and the stage, while Uygur muqam artists are just a small portion of the mass participants of Meshrep. In conclusion, Uygur muqam is the art for the public to enjoy, while Meshrep is the important space accommodating various traditional cultural expression forms. Therefore, we can say that Meshrep is not only an important ‘moral forum’ and ‘stage’ for folk artists of various kind to display their brilliant skills, but also a ‘court’ where the host mediates conflicts and ensure the preservation of moral standards. Moreover, it is a ‘classroom’ where people learn about their traditional customs, nature, and different experience of economic production. It is a ‘playground’ where to entertain body and soul. Meshrep is the most important cultural venue carrier of Uygur traditions. There are dozen varieties of Meshrep known so far, this is evidence of the diversity of its social and cultural functions. For example: the ‘Kok (Young crops) Meshrep’ is held in Springtime; the ‘Huoxalik (Festivity) Meshrep’ takes place at weddings, adulthood rites, harvest and festivals; the ‘Namakul (Apology) Meshrep’ is held to mediate conflicts or settle disputes; the ‘Keiyet (Disciplinary) Meshrep’ is performed with the aim of criticizing immoral behaviours or educating the public; the ‘Dolan Meshrep’ is meant to show admiration for the hunting life and ravery of the ancestors; and the ‘Ketaphan (storytelling) Meshrep’ serves as a sort of review of literature. Thus, the word put in front of ‘Meshrep’ indicates the social and cultural function it is meant to perform. Meshrep is mainly transmitted and inherited by the hosts who know well its rules, sequence and cultural connotation, and by the virtuoso folk artists who frequently participate in Meshrep. They learn the tradition either from older hosts and skilled folk artists, or by frequently attending the Meshrep events. They become hosts of the Meshrep only after obtaining the appreciation and recognition of the local masses. At the same time, the transmission of Meshrep cannot dispense with the majority of Uygur people who participate in its actual practice. Being a cultural space for the practice of Uygur people’s traditions, Meshrep has already become a part of their culture and folk customs. It provides the Uygur people with abundant knowledge about their traditions and sustains their cultural identity. Hence, it is considered one of the most important cultural heritages of the Uygur nation. To rescue and safeguard Meshrep not only meets the demands for mutual respect among communities, groups and individuals, but it also answers to the need for improving its viabilityand achieving its sustainable development.
China 2010 -
Chinese shadow puppetry
Shadow puppetry is a kind of performing art. It uses music and operatic singing, to accompany silhouette figures made from leather or paper. These figures are manipulated by performers to create the illusion of moving images in front of an illuminated backdrop. The inheritors, props, scripts, and musical instruments decide the survival of shadow play groups. A silhouette figure has from 12 to 24 moveable joints, head, hands and so on, and is controlled by 3 poles or sticks. The music and songs of shadow puppetry have distinctive regional characteristics. There are many unique tunes which have come down from generation to generation. Shadow plays are performed by bigger troupes with 7 to 9 performers and smaller troupes with 2 to 5 performers. And 2-person troupes with one person performing and the other playing the instruments now exist in Shandong, Hubei, and Sichuan provinces. Most performers make a living from shadow plays, which are mainly performed for entertainments or for religious rituals, weddings and funerals and other special occasions. The manufacturing of puppets may require 10 different carving processes, the tools often being home-made. Many shadow puppetry performers can carve the puppets, sing and perform by themselves. And there are two types of scripts, that is, oral-transmitted scripts and written ones. Some shadow puppetry performers are professional, while many play as amateurs during slack farming seasons. The relevant skills are handed down in families, in the troupes, and from master to pupil. Shadow puppetry has been handed down for over one thousand years. With the evolution of history, the plays, puppets, types of lighting and performance, and the related crafts have developed with regular innovation. Shadow puppetry is a traditional folk drama that is created by and for the community and contains a thousand years of cultural deposits, as well as passing on diverse cultural information such as cultural history, social beliefs, folklore, and local customs. It spreads knowledge, improves cultural development, and entertains the community, especially the youth. Chinese Shadow Puppetry has significant historic and cultural importance, and should be protected and set on a footing of sustainable development.
China 2011