National Intangible Cultural Heritage, Republic of Korea Iri Hyangje Julpungnyu is a piece of instrumental music handed down in Iksan, Jeollabuk-do, depicting the scene of Shakyamuni preaching of the Lotus Sutra, at Vulture Peak, Gijjhakuta Hill. It has a cousin centered around daepungnyu (wind instruments), which differs from julpungnyu in terms of tone and instrumental composition. Iri Hyangje Julpungnyu, which originated in Iksan in 1958, is played on eight instruments (geomungo (six-stringed zither), gayageum (twelve-stringed zither), yanggeum (dulcimer), piri (flute), daegeum (bamboo flute), haegeum (two-stringed fiddle), danso (vertical notched flute), and janggo (hourglass-shaped drums). It is composed of 15 separate pieces of music.

National Intangible Cultural Heritage, Republic of Korea Gurye Hyangje Julpungnyu refers to a piece of instrumental music depicting the scene of Shakyamuni preaching the Lotus Sutra handed down in Gurye, Jeollanam-do at Vulture Peak, Gijjhakuta Hill. There are two versions of this music, one centered around daepungnyu (wind instruments) and the other around julpungnyu (string instruments). The way julpungnyu is played differs a little between those handed down in Seoul and those handed down in the provinces. The latter are named Hyangje Julpungnyu (julpungnyu of provinces). Originally, this was a piece of vocal music, but it changed to an instrumental and developed into a voluminous suite by adding other instrumental music pieces. It became a leading concerto in the country toward the late Joseon Period (1392 – 1910). It is presumed that it was divided into daepungnyu and julpungnyu in the mid-Joseon Period. Julpungnyu developed as a quiet piece chiefly played indoors. The separation between julpungnyu played in Seoul and those played in the provinces appears to have been made toward the late Joseon Period. Instruments used for julpungnyu are geomungo (six-stringed zither), gayageum (twelve-stringed zither), yanggeum (dulcimer), sepiri (bamboo reed flute), daegeum (bamboo flute), danso (vertical notched flute), and janggo (hourglass-shaped drums). As a quiet piece of music played indoors, julpungnyu is centered around string instruments such as geomungo, gayageum, and yanggeum, with wind instruments making as small a sound as possible. The piece takes about 70 minutes to perform.

a) Traditional handicraft techniques The old art of manufacturing the traditional Iranian floating vessel, called Lenj, has remained relatively unchanged. Lenjes are, mostly, made for their large cargo capacity. The Lenj-Bum was, once, the best ship for the Iranian sailors and navigators. Even now, it is still competing with rivals. But the gradual decrease in the number of the long voyages is limiting the popularity of the vessel. Lenj-Bum is capable of tolerating the storms. Originally, Lenjes were used in commercial travels to distant destinations, including India and Africa. Lenjes are composed of various parts, each made of special types of wood, depending on their function. Contemporarily, Lenjes are used, solely, for short journeys, fishing and pearl hunting. Older Lenjes were capable of travelling for, even, one year. The Persian sailors used to launch their commercial ships from the three ports of Loft, Kong and Lian, in Bushehr. The marine routes were, however, more varified, and would include travels to Basra in Iraq, or to the southern coasts of the Persian Gulf. Their main trades included dates, wood of Chandal, pottery, coconut and fruits. b) Knowledge and practices concerning the nature and the universe Before the introduction into the tradition of modern positioning systems, Iranian navigators could locate the ship according to the positions of the sun, the moon and the stars. An individual, called Moallem (“teacher; guide”), was responsible for the positioning jobs on the Lenj. Looking at the sun and the stars with his means, including the Persian astrolabe and sextant, at 6 AM and 6 PM, he could locate the Lenj on the sea. Navigation at night was the captain’s duty. He would order a Sokkāni (“helmsman”) to lead the ship into the direction of a specified star till the moment of sunrise. Compasses brougth more convenience for the navigators. They could define the routes more delicately, by utilizing a combination of astronomy and the newly introduced compass technology. The sailors started to record the stars’ specifications on the compasses. Using this combined method, they would define the route at night. The number of stars used as reference points was 17; they would be repeated in both northern abd southen directions round the compasses. The navigational knowledge and legacy is still passed on from fathers to sons. The Iranian navigators also had special formulae to measure the latitudes and longitudes, as well as the water depth. Sailors needed the wind in favour in their travels to the south; they would arrange for their voyages according to the seasonal winds that would blow every 6 months from north to south. They also attended to the particular winds of Persian Gulf to find a forecast for weather. Each wind had a native regional name. Knowing the wind route was not enough to trace the time of a pending storm; they also attended to the color of waters, the wave heights, or the nature of the blowing wind. c and d) Performing arts, Social practices and festivity events The majority of the Iranian inhabitants of the region earn their livelihood from the sea; consequently, the Persian Gulf continues to receive their respect. A number of traditional ceremonies and customs about Lenjes and the sea show their rooted symbiosis with nature. Nowruz-e-Sāyyad (Fisherman’s New Year) is one example. The celebration occurs late in the month of Tir (June 22nd), as a surviving traditional ceremony from the distant years. No fishing, no trades, and no sea journeys are allowed on this day. In the morning, the children colour animal foreheads, with red clay; and by sunset, all villagers gather on the seashore to play music or perform the proceedings of Shushî, an old traditional performing art, showing the sailors’ respect for the nature. Some people wear special clothes and masks, and try to represent sea-gulls. When the native music band plays Rezif (the sailors’ traditional music), suddenly, a number of men with fearful appearances come out of the sea, and pretend to attack the people. They are Shushi’s, the old demons who were asleep, and now the new years’ eve has awakend them. Interestingly, the people enter dialogues with these demons, and encourage them to join in the feast. Bādebān-Keshi (“setting the sail”) is another surviving ceremony. Long ago, when the ships were about to leave for long voyages, by the time the sailors were setting the sails, the music would accompany from the shore. The sailor’s families would bid farewell. Specific music and rhythms constitute inseparable parts of sailing on the Persian Gulf. In the past, the sailors sang special songs while they were working. In Hormozgan province, three such musical traditions are, still, attended by the locals: Livā, Rezif and Azvā. The singers describe a marine travel in their songs. Traditional bagpipes, named Neyanbān, accompany. The ritualistic performances are reminiscent of the jobs on the Lenjes. The movements resemble hoisting the ropes, rowing, holding in the fishing nets, and also separating and classifying the fish. e) Oral traditions and expressions, including languages as a vehicle of the intangible cultural heritage There are traditional sailing terminologies, stories and poems (Sharve) related to the nominated element in modern Iranian languages and dialects of the region. These linguistic varieties are representable as: 1.Lārestanî :(Aradi,Evazi,Bastaki,Banāruye-yi,Bikhe-yi,Khonji,Fedāghi,Fishvari,Gerāshi and Lāri) 2.Bashākerdî/Bashkardî :(Bandar-Abbāsi,Rudāni,Minābi and Hormozi) 3.Kumzārî :(Lāraki, …)

Iran 2011

Then a ritual practice indispensable in Tày, Nùng and Thái ethnic groups' spiritual life, reflects concepts about human beings, natural world and the universe (the Earth realm, the 3-layer Heaven realm). Then ceremonies describe a journey in which Then Master (Male/Female) controls ghost soldiers travelling from the Earth realm to the Heaven realm, the residing place of the gods, to offer worshipping items and show their praying requests for peace, bad luck relief, illness treatment, good crops, new house inauguration, initiation/title-conferring ritual (cấp sắc), blessings and happy new year. Then Masters start the journey by singing and plucking the tính lute (two or three-string lute). Depending on worshipping purposes, Then Masters will arrange worshipping trays to pray different native Gods, among whom Ngoc Hoang is the highest God. Then Masters often use a summoning tablet, a seal, a demon-expelling sword, a yin and yang rod, a bell, a fan and items such as pork, chicken, wine, rice, fruits and votive papers to perform Then ceremonies in the believer’s house, outdoor or at Then altar of the Master’s house. While practising, Then Master wears ceremonial dress, sings the language of his ethnic group and plays the tính lute, shakes the chùm xóc nhạc (rattle-bells), waves a fan. In some ceremonies, a female dancing group will accompany. Then rituals performances express Tày, Nùng and Thái’s cultural identities, from customs to musical instruments, dance and music. Then is always transmitted orally while its rituals are being conducted, reflecting the succession between generations.

Viet Nam 2019

Ranking with Nô and Kabuki as one of Japan’s foremost stage arts, the Ningyo Johruri Bunraku puppet theatre is a blend of sung narrative, instrumental accompaniment and puppet drama. This theatrical form emerged during the early Edo period (ca. 1600) when puppetry was coupled with Johruri, a popular fifteenth-century narrative genre. The plots related in this new form of puppet theatre derived from two principal sources: historical plays set in feudal times (Jidaimono) and contemporary dramas exploring the conflict between affairs of the heart and social obligation (Sewamono). Ningyo Johruri had adopted its characteristic staging style by the mid eighteenth century. Three puppeteers, visible to the audience, manipulate large articulated puppets on the stage behind a waist high screen. From a projecting elevated platform (yuka), the narrator (tayu) recounts the action while a musician provides musical accompaniment on the three-stringed spike lute (shamisen). The tayu plays all the characters, both male and female, and uses different voices and intonations to suit each role and situation. Although the tayu “reads” from a scripted text, there is ample room for improvisation. The three puppeteers must carefully co-ordinate their movements to ensure that the puppet’s gestures and attitudes appear realistic. The puppets, replete with elaborate costumes and individualized facial expressions, are handcrafted by master puppet makers. The genre acquired its present full name Ningyo Johruri Bunraku – in the late nineteenth century, a period in which the Bunrakuza was a leading theatre. Today, the pre-eminent venue is the National Bunraku Theatre in Osaka, but its highly reputed troupe also performs in Tokyo and regional theatres. Approximately 160 works out of the 700 plays written during the Edo period have remained in today’s repertory. Performances, once lasting the entire day, have been shortened from the original six to two or three acts. Ningyo Johruri Bunraku was designated Important Intangible Cultural Property in 1955. Nowadays, it attracts numerous young performers, and the aesthetic qualities and dramatic content of the plays continue to appeal to modern audiences.

Japan 2008

Boria is a traditional arts form that is very popular in northern Peninsular Malaysia, linked to the Karbala event that is the killing of Saidina Hussein, the grandson of Prophet Muhammad. Boria, meaning ‘a game of merriment’, was established in Penang Island in the 19th century. There are parties that claim that Boria was brought by the Indian Muslims into Malaya through business activities in the 19th century. Boria is an entertainment channel combining sketches and dances as well as poetic songs led by a singer called ‘Tukang Karang’, literally translated as ‘Storyteller’. A performance has two segments that are sketches and songs. The dialogues for sketches are full of advice and insinuation while comedy elements are considered important. During a performance sometimes the audience can interact with the actors. The musical instruments are not specific; more important is the musicians’ ability to play rhythms that can accompany the Tukang Karang’s song. Among the instruments are violin, oud, drum, accordion, harmonica and guitar, while commonly used props are lamp, flag, kris, umbrella, tall decorative flowers and walking stick. Previously Boria’s costume is resemblance of the Mamak (Indian-Muslim) ethnic; green belt with sarong and fez to maintain ethnic identity. This identity is experiencing evolution since the 1970s with its costume made uniformed using bright colours with sequin to portray merriment. Nowadays, Boria performances are greatly influenced by western, Hindustani and pop rhythms.

Sacred texts representing the spirit, philosophy and teachings of the Buddha are chanted by the monks (Lamas) in the monasteries and villages of the Ladakh region. Buddhism in Ladakh has two sects: Mahayana - that follows the Sutra (treatise) tradition, based on the teachings of Budhha delivered in the form of public discourse; and Vajrayana - that follows a highly esoteric tradition based on the principles espoused by the Tantra practices. There are four major sects of Buddhism in Ladakh namely Nyngma, Kagyud, Shakya and Geluk. Each of these sects has several forms of chanting practised on diverse occasions as annual festivals; agrarian, life cycle healing rituals; for general well being, and to attain Buddhahood. Vajrayana Buddhism stresses the visualisation and recitation of Mantra through the practice of chanting. The chanting of Mantras is an integral part of Buddhist life in Ladakh. Buddhist Chanting is primarily practised in a group, by the monks. It is practised everyday in the monastic assembly hall as a prayer to the deities for world peace, and for personal growth of the practitioner. The villagers also patronise this tradition; they invite the monks to their homes for chanting on various occasions, such as family functions and important days in the agrarian calendar. In fact, on any given day, sounds of chanting can be heard in the villages all over Ladakh. It is a part of Ladakh’s daily life and cultural heritage. Monasteries work as the repository of knowledge and tradition, and as a channel for continuation and preservation of chanting. Buddhist chanting is highly evolved and stylised. The young monks are trained under strict and rigorous supervision of senior monks. Chanting texts are recited frequently till they are committed to memory. Thus chanting as a tradition is passed on from generation to generation as an oral practice and knowledge. The senior monks train young acolytes in the correct use of hand gestures ('mudra') that is an integral part of most chanting traditions. Bells, hand drums, flutes and the trumpets are usually used as accompaniments during chanting. They lend musicality and rhythm to the chanting. The four sects of Vajrayana Buddhism have their own different styles of chanting. Chanting styles can vary from one monastery to another, even if they belong to the same sect. In some sects, chanting is also accompanied with dance ('cham'), which is practised in the monastic courtyard. The Cham chantings of Hemis and Phyang, though they belong to the same sect of Kargyudpa, have entirely different chanting styles. The seven forms of chanting included in the dossier represent the diversity of the tradition practised in the Ladakh region. 1. Shargangrima - It is one of the most popular chanting of Gelukpa Sect. This is a eulogy recited by the Lamas as well as by the lay people in honour of Je Tzongkhapa who founded the Gelukpa sect in the 14th and 15th century. In Sargangrima, the chanters address Je Tzongkhapa as the second Budhha and celebrate him as the Son of the eastern province. 2. Nashthan Phyagzod -This chant uses musical instruments and 'mudras' (hand gestures) during chanting. It is a prayer for the 16 disciples or Arhats of the Budhha. Nashthan Phyagzod is chanted by the Lamas for all sects. The Arhats are the direct successors of the Buddha, the bearers of His teachings. The chant is a prayer to the Arhats to stay eternally on the earth for the sake of Dharma. At the end of each stanza, the chanters play drums, blow on a long flute and beat cymbals, providing a musical rhythm to the chanting. The monks symbolically offer music, dance, incense, flowers, lamps and food through 'mudras.' 3. Kunrig – This chant stresses on the internal visualisations by monks through repetitive chanting and 'mudras.' 4. Rigmachutuk – This chanting is performed by monks who dance in the courtyard of the monastery, wearing copper masks, silk robes and special shoes. It is based on two tantric texts. Rigmachutuk are the 16 fairy maidens or 'dakinis' who escort the titular Guru Padmasambhava in his Dharma missions. It is also performed during the funeral procession of senior monks. 5. Guru Mantra - This Mantra is recited by all followers of Mahayana tradition in Ladakh. This text is seen engraved on stones and metals and inscribed in flags and clothes all over this region. It is believed that this Mantra purifies the human beings of their sins. 6. Chod - It is a secret practice that is usually performed in the cemeteries. Chod requires great concentration and high meditative qualities. In this, the performer visualises that his consciousness has separated from his body, and has transformed into a deity. 7. Guhyasamaj Tantra – This chanting includes 'mudras' through which the monks emulate different missions of the Buddha. These chanting rites are performed all over Ladakh in various monasteries and villages. The nomination contains audio-visual documentation of performances conducted in strict adherence to scriptural guidelines, and under the guidance by the chief Lamas in the following monasteries. Thiksay Monastery Spituk Monastery Matho Monastery Hemis Monastery Phyang Monastery

India 2012

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.

Khon is a highly-refined performing art that combines multiple artistic elements: musical, vocal, literary, dance, ritual and handicraft. It may have combined features of ancient genres: court ritual, martial art, and the shadow play. It tells the story of Ramakien – the localized Thai version of the Ramayana epic. Its many episodes depict the life of Rama, his journey in the forest, his love for his wife Sita, his army of monkeys, the fights with the army of Thosakan (Ravana), king of the giants, and his final victory. The dancers wear elaborately embroidered costumes. The giants and monkeys all wear masks that cover their entire head. The colours and shape of each mask are unique to each character. The drama is enacted through dancing, accompanied by a piphat classical xylophone ensemble, singing, and narration. Each major type of characters has a distinct mode of dance expression. The dance postures and movements, the music, and the repertoire have been handed down from generations since the 15th century. The masked dance performances form part of social practices such as royal cremation, cremation of high-ranking persons or revered monks, and celebration of sacred sites and temples. Dancers, musicians, craftsmen and other members of Khon community annually perform a ceremony to honour Khon masters of the past, teachers, and deities. During this ceremony, new members are initiated into the community. Khon performance is continually evolving with new interpretations, and the adoption of modern technology for stagecraft, whilst retaining its traditional intensive dance training and ritual.

Thailand 2018

The art of the ‘tokmo akyns’ is specific type of the Kyrgyz singing art. Unlike performers of other genres, ‘tokmo akyns’ must possess, first of all, a unique poetic talent and improvisation skills. Akyn singing is characterized by improvisation, folksy development of musical and poetic sentiments, intonation and rhythmic freedom and recitative manner of a performance. Simultaneous playing on komuz during performances of ‘tokmo akyns’ very often reproduces and interludes the akyn’s voice. Instrumental ritornello on komuz sounds at the beginning, between couplets, and at the end of a song. Because of the poetic talent and improvisation skills, tokmo akyns enjoy special status among the Kyrgyz people.

The Mevleviye is an ascetic Sufi order founded in 1273 in Konya, from where it gradually spread throughout the Ottoman Empire. Today, the Mevleviye can be found in many Turkish communities throughout the world, but the most active and famous centres of the order’s activity are in Konya and Istanbul. The Mevleviye are renowned for their whirling dances. Following a recommended fast of several hours, the whirlers begin to rotate on their left feet in short twists, using the right foot to drive their bodies around the left foot. The body of the whirler is meant to be supple, with eyes open but unfocused so that images become blurred and flowing. At their dancing ceremonies, or Sema, a particular musical repertoire called ay›n is played. Based on four sections of both vocal and instrumental compositions, it is performed by at least one singer, a flute-player, called neyzen, a kettledrummer and a cymbal player. Dancers used to receive 1,001 days of reclusive training within the mevlevi-houses (mevlevihane), where they learned about ethics, codes of behaviour and beliefs by practising prayer, religious music, poetry and dance. After this training, they remained members of the order but returned to their work and families. As a result of secularization policies, all mevlevihane were closed in 1925.The Turkish government began to allow performances again, though only in public, in the 1950s, restrictions were eased in the 1990s. Some private groups are re-establishing the original spiritual and intimate character of the Sema ceremony. However, over the thirty years the tradition was practised clandestinely, transmission focused rather on music and songs than on spiritual and religious traditions, which has deprived performances of part of their religious significance. Consequently, many sema ceremonies are no longer performed in their traditional context but for tourist audiences, and have been shortened and simplified to meet commercial requirements.

Turkey 2008

Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2003) Pansori is a genre of musical storytelling performed by a vocalist and a drummer.This popular tradition, characterized by expressive singing, stylized speech, a repertory of narratives and gesture, embraces both elite and folk culture. During performances lasting up to eight hours, a male or female singer, accompanied by a single barrel drum, improvises on texts that combine rural and erudite literary expressions. The term Pansori is derived from the Korean words pan, meaning “a place where many people gather”, and sori meaning “song”. Pansori originated in south-west Korea in the seventeenth century, probably as a new expression of the narrative songs of shamans. It remained an oral tradition among the common people until the late nineteenth century, by which time it acquired more sophisticated literary content and enjoyed considerable popularity among the urban elite. The settings, characters and situations that make up the Pansori universe are rooted in the Korea of the Joseon period (1392-1910). Pansori singers undergo long and rigorous training to master the wide range of distinct vocal timbres and to memorize the complex repertories. Many virtuosos have developed personal interpretive styles and are renowned for their particular manner of performing specific episodes.

South Korea 2003