The flint gun, a true witness of the skill and expertise of Mongol craftsmen, wittedness and sharpness of Mongol hunters, is a primary form of the practice of firearms used through XVI-XIX centuries. Parts comprising the flint gun include flint, breechblock, main barrel, ramrod and the accessories include gunpowder, bullets, and the wooden bucket to contain the accessories. The mechanism of the flint gun is based on shooting with bullet through ignition of gunpowder caused by the spark emitted from the flint.

The tradition of domestication of falcon, hawk and eagles, and train them to the hunting has transmitted in world countries from the ancient time until today. The tradition to hunt with eagles is widely practiced among Kazakh ethnic groups of Mongolia. The custom of hunting with eagles is not only the daily necessity of life, but a great contribution to the development of a sport, competitions and festivals. Hunters develop a strong relationship and spiritual bond with their birds, and strong commitment and care is required to train, handle and fly the eagles. Traditional equipments such as hood, bewit, jess (short strap around the leg of an eagle), gauntlet (gloves), immovable seat, fork supporter on a horse, feeding bag and cup are used for the falconry.

Falconry or traditional hunting with birds of prey has been long popularized among people who lived in vast steppe and mountainous areas - the habitat of the birds of prey. Kazakh people tamed different species of falcons, eagles and other birds of prey like Burkyts (golden eagles) and various falco representatives. Every species has been accustomed to certain region and climatic environment - northern regions, mountains of Zhungar and Zaili Alatau, bold mountains or mountains with forested and rocky slopes, plains and steppes with scarce vegetation, desserts and etc. Falconry is the traditional art and practice of training and flying falcons to take quarry in its natural state, and has been practised for more than 4000 years. It is one of the oldest relationships between human and bird. It probably evolved in the steppes of Asia, and spread via cultural and trade links to other countries, first to Europe, North Africa and East Asia and later in the 16th century to the rest of the world. The practice of falconry in early and medieval periods of history is documented in many parts of the world. Falconry as intangible cultural heritage is integrated into communities as a social recreational practice and a means of connecting with nature. It is perceived by the communities as cultural heritage, a social tradition of respect for nature and the environment. Originally a way of obtaining food, falconry has acquired other values over the centuries, and is identified with camaraderie, sharing, and expressions of freedom.

Kazakhstan 2016

This is a complex of rite to use the benefits from the hunting properly in the daily life and social needs, and the tradition to protect the wild animals. Within the long periods of history these melodies concerning the tradition of hunting has created and developed. There is a tradition that hunters from Khangai, Khentii and Khüvsgül mountain ranges hunt deer during their mating season by calling them with similar sounds made from uram (wooden instrument for calling deer). Around the Altai and Gobi-Altai mountain ranges, the argali (wild sheep) and ugalz (ibex) are also hunted during their mating season by hunters calling them imitating the same sound as the one made from their colliding with each other. Other than these, there are unique hunting methods to call by imitating the howling to hunt for wolves, making a sound by shovshuur (instrument to call foxes) to hunt for foxes and whistling to hunt for chipmunks.

Wood turned utensils and dishes were present in Bhutan since ancient times. Communities from different parts of Bhutan have a similar type of craft as cups and plates are necessary for all household meals. However, the labour-intensive wood turned lacquer wares from Yangtse earned a considerable reputation in the kingdom. About a century-old traditional woodturning art (Shag-zo) in Yangtse is still a vibrant and popular means of family business and occupation. The present young artisans in Yangtse who are in their 20s and early 30s are the fifth-generation descendants of Lobazang from Kham in Tibet. Like other crafts of Bhutan, Shagzo demands a long process. The extracted wood knots and burls have to be dried; soaked in water; roughly shaped (first turned); roughly turned bowls are boiled; dried again; final turned bowls are smoothened with sandpapers and dried leaves of Trema politoria (locally known as Sog sogpa-shing). After colouring them yellow or red, it becomes ready for the next step – lacquering. Lacquering is another time-consuming process. Traditionally, lacquerers mostly use an urushiol-based lacquer common in East Asia derived primarily from toxic wax trees known as Sey Shing in Yangtse. These wooden bowls are an integral part of both the Bhutanese and Tibetan lifestyles and this explains the high demand for these products in Tibet. In the medieval period, people from Yangtse and Bumdeling traded wooden plates (not Dhapas) and bowls (cups) to Assam (India) and Go-phors (wooden bowl with lid), Lha-phor (bowl with lid used by monks), Dra-phor (bigger than other Phobs originally used by Tibetan Drapas), and Bay-phor (used by Tibetans, and has a deeper interior than Bhutanese hobs) to people of Tibet. Other than products historically exported to Assam and Tibet, Shagzopas make varieties of wood-turned products.

Hunting with eagles (kaz. "burkit", lat. Aguila Shrysaetus - “Golden Eagle”) is an ancient practice of social and cultural heritage of traditional Kazakh people of hunters - kusbegi ("qusbegi"), eagle ("burkitshi") who tamed and trained eagles for hunting. Originally training eagles for hunting was predominantly the hobby of ordinary people and was a kind of craft for them. This type of hunting has supported nomad budget. Therefore, Kazakhstan has always been traditionally a place, above all, catching the birds and training them in order to use for hunting in the future. Birds were tamed in two ways: adults caught on bait, or raise the chicks out of the nest. Kazakhs believe that the best hunters are obtained from adult birds that hunt with a special zeal, once accustomed to the owner. Hunting always passes on horses usually together with the Kazakh national dog - a hound "tazy". Kazakhs divide the hunting with birds of prey to specific hunting with eagles and falcons, hawks, merlin. Golden Eagles are used primarily for the purpose of making a job. They were used for hunting wolves, foxes, karsaks and mountain goats. Merlins used mainly for sports and recreational purposes, as it was a favorite pastime of the nobility. Falcons assisted in hunting for small wildfowl, and hawks let geese, bustards.

Salburyn is a festive event and an important component of Kazakh equestrian hunting with falcons and tazy greyhounds. It is a traditional ritual of transmitting hunting knowledge from skilled hunters to beginners and apprentice participants. Salburyn lasts 5-7 days, it is held in the winter hunting season. It is conducted at a large open space where the participants establish a camp of Kazakh yurts and tents as common areas. During the initial 2-3 days the experienced hunters share their knowledge and hunting methodology with young hunters. The hunting commences in the early morning after the elders give their blessing (bata). First part is compiled of pathfinders (yz kesushi) who read the game traces and establish the hunting ways. Participants split into the groups compiled of both more and less experienced hunters. Golden eagle hunters (berkutchi) detect the target and throw the eagle vectoring their flight trajectory with the hand movement. The tazy greyhounds are used in pairs. Some hunters are employing both eagles and tazy together. The triumphal celebration is organized for the hunters returning back, where elder women shower them with sweets. The hunters then bestow the pray to the elders hunters.

A kind of traditional team game played with ball. A group in the field will be hunters and other group – ducks. Hunters with ball hunt the ducks.

"Ayai" is a popular art form that entertains audiences through dancing, singing and joke. Most Ayai singers have been ordained (Buddhist monks) or well-rounded individuals. They are eloquent with words, have a good sense of humor, fast learners who can memorize a long storyline and are flexible. They have to unexpectedly create lyrics to suit the context of the ceremony or event. There are two types of Ayai: Ayai Chhlang Chler and Ayai Reoung. Ayai Chhlang Chler performed as duel, a man and a woman pitching their wits against each other through singing, and dancing humorously. The lyrics can be sung according to the knowledge and talent of the artist in education, social issues, poems, legends, fairy tales and other stories. Whereas Ayai Reoung is a type of performance which performers follow a storyline, long or short. The story that is brought to perform, whether it is a fairy tale or a modern written story, is mostly a funny one. The performance also includes dancing, singing, and challenging with or to their performance partner, just like Ayai Chhlang Chler. The accompaniment of Ayay is called "Ayay ensemble", which includes instruments such as: Tro Ou, Tro Duong Toch (or Troso), Khim, Krapeu (Tak Ke or Tak), flute, ching and rounded earth drum. There are around 15 music used in this Ayay orchestra and those are: Hom Rong, Kanseng Krahom, Ayay worship song, Bampey klay song, Tan Chao song, Dil La song, Soy Sangvar song, Sen Sranoh song, Chab Chhay song, Yil Yog song, Teka Mong song, bird walking on the ground song and hunter Prey or Chao Phim song.

Jakar Tshechu is a recent introduction, as noted above. It was established in 1994 on the 4th day of the sixth lunar month through the initiative of Dzongdag Dasho Pema Dorje and Thrimpon Dasho Sangay Rinzin. In the beginning, the mask dances were performed by Trongsa Rabdey as the dzong had no permanent monks. The duration of the tshechu was initially only one day long. Later, during the time of Dzongdag Nyima Tshering, it was extended to four days, running through the 8th to 11th days of the ninth lunar month. Given their prominence and importance, usually the annual district tshechu are sponsored and coordinated by the respective District administrations. Similarly, Jakar Tshechu is organized by the Bumthang District Administration in collaboration with the Jakar Rabdey. While at many festivals the local residents provide contributions, at Jakar Tshechu all the expenses are borne by the District Administration rather than by the locals. As the sponsor, the District Administration documents all expenditures for the duration of the tshechu, which includes meals for all participants, mask dancers and folk dancers, as well as their wages. Preparations for the festival are intense and involve significant manpower, financial resources and planning. Preparations begin well in advance, with the lam and dratshang overseeing the preparations for rituals and practice sessions for the mask dances. The dzongkhag takes on administrative responsibilities and plans the budget. A week before the festival, the dzongkhag staff prepare the performance area in the dzong courtyard. The district administration selects around thirty-two mask dancers, between ages of eighteen and forty-two, from the four gewogs. In addition, a troupe of approximately eleven folk dancers is chosen from each gewog to perform in between the mask dances. The troupes rotate each year, with each group performing every four years. The folk dancers and the mask dancers begin practicing about a month before the tshechu. On the 7th day of the ninth lunar month, dancers hold a rehearsal session, which is called chamjug. These rehearsals are held in the courtyard of the dzong where the festival takes place and include the use of musical instruments, such as trumpets and clarinets. The practice continues for much of the day, from around 8:30 a.m. until around 3 p.m. The two chief mask dancers, one from the monastic community and the other from the District Administration, oversee the practice to ensure that everything is perfect. During rehearsal, the dancers don’t wear the costumes or masks and only the main mask dances are rehearsed. a. Day One: (8th Day of the Ninth Lunar Month): The main event begins on the 8th day of the ninth lunar month, when the monks get up around 1:30 a.m. to perform the Lama Gongdue ritual. Before dawn, the ritual pauses at tshog lhagma for breakfast and preparation for the mask dance performances. Around 8 a.m., the dzongkhag staff gathers at the dzong to receive dzongda and drangpon and then they all wait to receive lam. Then the lam accompanied by Dzongkhag Administration officials including dzongdag and drangpon, move in a chibdrel procession to the zigrekhang (spectators’ pavilion) to witness tshechu proceedings. The mask dance performances begin by 8:30 a.m. In 2015, the mask dances were performed in the following order: - Shinje Yab-yum Cham (Yamantaka Father and Mother Dance); - Yoeluema Cham (Dance of the Malevolent Spirit); - Peling Ging Sum (Dance of the Three Gings): Ju Ging Cham (Stick Dance), Dri Ging Cham (Sword Dance) and Nga Ging Cham (Drum Dance); - Kel Cham (Farewell Dance); - Pholey Moley (Dance of the Noblemen and the Charming Ladies); - Shawo Gangley Phap (the first episode of chasing the stag down the mountain). At the conclusion of the mask dances, the lam and the monks resume the feast offering ritual in the lhakhang from where they left off in morning. b. Day Two: (9th Day of the Ninth Lunar Month): The morning’s programme on the 9th day of the ninth lunar month is same as the day prior. The ritual pauses at tshog lhagma for breakfast, and then the day’s mask dances begin around 8:30 a.m. as follows: - Zhana Cham (Black Hat Dance); - Zhana Nga Cham (Black Hat Drum Dance); - Dramitse Nga Cham (Dance of the Drums from Dramitse); - Durdhag Cham (Dance of the Lords of Cremation Grounds); - Ging Tsholing Cham (dance of the wrathful deities and the ging); - Shawa Shakhyi Thaley Tonpa (the second episode driving the stag out of low-lying jungles). As on the previous day, after mask dances, the monks and the lam resume conducting the ritual prayers in the lhakhang, starting from the tshog lhagma intermission and conclude the day’s programme. c. Day Three: (10th Day of the Ninth Lunar Month): The morning programme is same as days one and two. The ritual pauses at tshog lhagma for breakfast before the day’s mask dances begin. The day focuses on the judgment of the dead and depicts the consequences of karma on the afterlife, and people receive blessings from the Lord of Death. The mask dances are performed as follows: - Durdhag Cham (Dance of the Lords of Cremation Grounds); - Tum-ngam Cham (Dance of the Terrifying Deities); - Shazam Cham (dance of the four stags); - Raksha Go Cham (Ox-headed Dance); - Raksha Mang Cham (Intermediate State Dance). As on the previous days, the Lam Neten and monks resume the ritual prayers from the tshog lhagma to conclude the day’s events. d. Day Four: (11th Day of the Ninth Lunar Month): Thongdrol (giant tapestry) and Tenwang (blessing by sacred relics): The 11th day of the ninth lunar month is the last day of the tshechu, during which the thongdrol is unfurled and artefacts are displayed to the public, an act called tenwang. People gather in the dzong as early as 3 a.m. The main statue displayed for public blessing is a small statue of Yidam Thongwa Kundrol that Terton Pema Lingpa is said to have withdrawn from Mebartsho (the Burning Lake). The thongdrol was made in 2005 and shows Guru Tshengyed, the Eight Manifestations of Guru Rinpoche. In front of the hanging thongdrol, mask dances – specifically Pacham, Dram-nyen Choeje, and Zhengzhi Pemi Cham – are performed to pay homage to Guru Rinpoche. The day’s mask dance programme is presented in following order: - Unfurling of Guru Tshengyed Thongdrol; - Zhengzhi Pemi Cham (Dance offering with recitation of prayers to Guru Rinpoche); - Bekor Cham (Ceremonial Dance of the Monks); - Pa Cham (Dance of Heroes); - Guru Tshengyed Cham (Dance of the Eight Manifestations of Guru Rinpoche); - Rigma Chudrug (Dance of the Sixteen Wisdom Consorts); - Acho dang Phento (the story of the conversion of the hunter); - Atsara gi Lochoe (Atsara’s ritual) to mark the conclusion of tshechu. As on prior days, the events finish with the feast offering ritual in the lhakhang, though with additional rituals particular to the last day. Specifically, a torshag (cascading the ritualcakes) ritual followed by ngoedrub langwang (receive blessings) and trashi monlam (auspicious prayers), during which all participants gather and to offer collective dedications and auspicious prayers.

National Intangible Cultural Heritage, Republic of Korea Ogwangdae refers to a form of traditional folk performance developed in the southern part of Korea including Tongyeong, hence the name Tongyeong Ogwangdae. Initially, Tongyeong Ogwangdae was performed on the eve of the Daeboreum (full moon of the 15th day of the first lunar month), but it gradually came to be performed on other festive days in spring and autumn. Some specialists claim that Tongyeong Ogwangdae originated from a form developed in Changwon Ogwangdae (Mask Dance Drama of Changwon) about a century ago - either by a group of local entertainers or Yi Hwa-seon, an Ogwandae player who moved from Changwon to Tongyeong. Each performance of Tongyeong Ogwangdae is composed of five episodes in which a total of 31 players play diverse characters by donning masks intended to represent them, including Leper, Malttugi, First Yangban, Second Yangban, Hongbaek Yangban, Faltering Yangban, Pockmarked Yangban, Black Yangban, Jorijung, Eight Heavenly Maids, Yeongno, Yeongnong Yangban, Halmi, Jeja Gaksi, Sangjwa, Blind Man, Sangju, Hunter, Mongdori, Lion, and Dambi. Each episode is focused on the complicated relationships between commoners and their views on Korean society and the ruling class. The words exchanged between the characters are typically barbed with sharp satire, effectively mocking the absurdity and hypocrisy of Confucian aristocrats and Buddhist monks. Tongyeong Ogwangdae is also famous for some of its dances, and most particularly the Leper’s Dance, which convincingly expresses the bitter life of a leper, and is also the only Ogwangdae troupe to present the Lion Dance during its performance. Tongyeong Ogwangdae is inscribed on Korea’s list of Important Intangible Cultural Heritages.

‘Salbuurun’ is a complex hunting game with golden eagles, ‘taigan’ dogs (the Kyrgyz breed of greyhounds) and bow. In the modern salbuurun, golden eagles participate in two exercises: ‘chyrga’ and ‘ondok’. In the first exercise, each berkutchi (eagle master) lets his eagle flying towards moulage, which is entailed by a galloping rider. The eagle has to reach and grasp it. Here, time and speed of the golden eagle are estimated. The golden eagle is seated at a distance of 200 meters in ‘ondok’ exercise. At the judge’s signal, the hunter holloes his eagle holding bait in his hands. Here, the arrival time of the eagle to his owner’s hand is estimated. ‘Taigan zharysh’ is a race organized for the greyhounds. Dog’s agility is determined by the speed of its run at a distance of 350 meters. Dogs chase the moulages that is entailed by the horse rider. ‘Zhaa atuu’ is shooting with a traditional bow (archery).