Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity The Yeongsanjae is performed to help all beings and spirits enter into the world of truth, by worshipping and admiring the Buddha, Buddha’s law and monks. It is the highest and biggest ritual utilized by Korean Buddhists to represent the world of Buddha here and now and is based on the philosophy of the Lotus Sutra. It is also a means for meditation and training. The order of a Yeongsanjae performance is as follows: 1. Reception Ritual (siryeon): The purpose here is to receive all the saints and spirits of heaven and earth with the guidance of the Soul-Guiding Bodhisattva so that the ritual can be performed in a holy way. 2. Spirit Reception (daeryeong): The masters of the ritual are the spirits, dead and alive, i.e., all people. Dead spirits are invited to the ritual, while those present at the ritual are told why it is being performed and given the directions they should follow, based on the Buddha’s Law. Families of the deceased dedicate food and liquor as an expression of their love and respect for the dead. 3. Cleansing of the Dirt (gwanyok): This is the ritual to cleanse the three karmas of the spirits that have accepted invitation so as to facilitate the achievement of serenity. 4. Donation of Money (Jojeon Jeoman): “Jojeon” means money that can be used in the nether world, and “jeoman” means to endow money with value. The necessity of money is to awaken us to the fact that our life is maintained by material blessings from the outside. 5. Tea Donation (Sinjung Jakbeop): A tea ceremony is dedicated to all the saintly spirits invited with the hope that the ritual will be performed well. 6. Reception of Buddha (Gwaebul Iun): Sakyamuni Buddha, the master of the ritual and who will preach on the Lotus Sutra, and all the Buddhas and Bodhisattvas are received according to the Law of Buddhism. 7. Dedication of Rice Meal (Sangdan Gwongong): With the Buddhas and Bodhisattvas invited, a rice meal is dedicated. In this ritual, wishes are made that, with the merciful help of the Buddhas and Bodhisattvas, all beings will obtain happiness and that the light of truth lit by Buddha will shine over the world of suffering. 8. Sermon (Beopmun): A monk in place of Buddha reconfirms the purpose of the ceremony, presenting concrete ways to realize that purpose. The monk delivers a sermon in which the audience is invited to the door of truth. 9. Meal Ritual (Sikdang Jakbeop): This ritual meal is intended not for the Buddhas and Bodhisattvas, but for the monks attending the ceremony. However, symbolically, it is for all beings in this universe, and through this service a foundation is laid for becoming a Buddha. 10. Blessing Ritual (Jungdan Gwongong): All of the saintly beings attending the ritual are asked to help ensure a good performance of the ritual. It also asks for blessings on all those present at the ritual. 11. Meal for the Dead Ritual (Sisik): Since the attendees are fortunate to be listening to the words of Buddha and since all rejoice that the dead have all gone to heaven, a happy rather than sorrowful ritual is performed for the departed to celebrate and congratulate themselves on going to heaven. 12. Farewell Ritual (Bongsong & Sodae Baesong): At the opening of the ritual, all beings were politely received with chants, so likewise, they should be given a proper farewell. The farewell is the final step in affecting the deceased’s final destination. Since Yeongsanjae was designated an Important Intangible Cultural Heritage by the state in 1973, it has been under national protection. In 1987, when the Yeongsanjae Preservation Association was officially established, it started to perform activities to ensure its transmission. The Yeongsanjae has been transmitted by the Taego Order, a Korean Buddhist order. Based at Bongwonsa Temple, the Taego Order maintains the tradition of Buddhist rituals and as such, most of the transmitters are monks of the Taego Order. Currently, Monk Kim In-sik (Buddhist name: Guhae) is the primary Yeongsanjae expert in terms of Buddhist music, following the ranks of Jigwang, Byeokeung, Songam, and Ileung. Assisting Kim are Ma Myeong-chan, Lee Su-gil, Oh Chan-yeong, Lee Byeong-u, Lee Jo-won and Han Hui-ja, who are all trainers in Buddhist music and dance or making the ornamental paper flowers for the ritual. A total of 240 transmitters are leading the Yeongsanjae Preservation Association. Until 2006, Bongwonsa Temple held a Yeongsanjae ritual for the public on the fifth day of the fifth lunar month. In order to encourage more people to participate in the ritual, it is now held on Memorial Day, a national holiday which falls on June 6.

South Korea 2009

Inscribed in 2014 (9.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nongak is a fusion performing art genre that combines a percussion ensemble (with occasional use of wind instruments), parading, dancing, drama, and acrobatic feats. It has been practiced for various purposes, such as appeasing gods, chasing evil spirits and seeking blessings, praying for a rich harvest in spring, celebrating the harvest at autumn festivals, fund-raising for community projects, and professional entertainment. Any joyful community event was never complete without uproarious music and dance performed by the local band clad in colorful costumes. The resultant ecstatic excitement (sinmyeong) is often defined as a preeminent emotional characteristic of Korean people. The music frequently uses uneven beats of complex structures like simple three-time, compound time, and simple and compound time. Small hand-held gongs and hourglass drums, with their metal and leather sounds, play the main beats, while large gongs and barrel drums create simple rhythmic accents. The small hand-held drum players focus more on dancing than playing music. Dancing includes individual skill demonstrations, choreographic formations, and streamer dances. Actors wearing masks and peculiar outfits perform funny skits. Acrobatics include dish spinning and miming antics by child dancers carried on the shoulders of adult performers. Nongak was most often performed and enjoyed by grassroots people, but there were also professional groups putting on entertainment shows. In recent years, professional repertoires have evolved into the percussion quartet “Samul Nori” and the non-verbal theatrical show “Nanta,” dramatically emphasizing the music element and thereby appealing to broader audiences at home and from abroad.

South Korea 2014

Aytim (Couplets) is a small form of performing art used mostly by mothers while speaking with babies. Couplets are quite important in bringing up good aesthetic taste in children, introducing them to good, real. This is like appeals to the baby in song form, which he will remember for life. Naturally, Aytim contributes to the formation of hearing, the recognition of sounds and rhythms. It also has a hidden connect with the mother's soul.

Kırkpınar Oil wrestling Festival is a traditional practice which is composed of a set of rituals and can be traced back to middle ages. Emerged in XIVth century Rumelia (Southwestern part of Turkey), Kırkpınar Oil Wrestling is one of the world’s oldest festivals (648 years). 648th Kırkpınar Oil wrestling Festival was organized in Edirne, in 2009. Festival ceremonies last for three days. The festival is launched by the welcoming ceremony of Kırkpınar Aga with 40 davul-zurna bands in front of Edirne Municipality Building. The festival activities then move on ceremonial procession in the city center followed by moment of silence ceremony, singing the Kırkpınar anthem and visiting the ‘Cemetery of Pehlivans’. The “golden belt”, which the Chief Pehlivan (Baş Pehlivan) will be rewarded with, is carried during the ceremonial procession. The festival starts on Friday, which is regarded as holy by the Muslims. The reason for choosing Holy Friday as the first day of the festival is the tradition of reciting mevlid (prayer) for the pehlivans. The “mevlid” is recited in historical Selimiye Mosque by the participation of all pehlivans. The events continue with the wrestling of pehlivans on an arena built exclusively for the festival in the outside of the city centre, Men’s Field (Er Meydanı) is the place where the oil wrestling is held as a customary practice of Pehlivan wrestling. Oiling of pehlivans in the field and Peşrev, which consists of a series harmonized warming up exercises and salutation, are important rituals of the festival. The festival goes on with the introduction of the pehlivans by cazgırs and at the end of the third day, the festival closes with the awarding of Kırkpınar Golden Belt to the winner called Chief Pehlivan. A band of 40 davul-zurna players perform ‘Kırkpınar tunes’ throughout the festival. What distinguishes Kırkpınar from any other wrestling festival is its rich cultural form which preserved its traditional image for centuries. Attracting people from all regions of Turkey, Kırkpınar Oil Wrestling Festival contributes greatly to social peace along with a sense of cultural cohesion. Such a rooted tradition which is sustained by the groups, communities and individuals contributes to dissemination of intangible cultural heritage concept as well. Kırkpınar can be considered as a fair with its authentic objects (red-bottomed candles, kıspets, local traditional clothes, peşgirs, zembils -a kind of tool for carrying the kıspet, tools for oil, davuls and zurnas, golden belt), rituals (praying, mevlid tradition, peşrev and oiling) and cultural identities ( pehlivan figure) (pehlivan, Kırkpınar agası (main sponsor), cazgır). Main Elements of the Festival Pehlivans Wrestlers who oil themselves are called pehlivans. The figure of pehlivan is an important element of cultural identity for Turkish people. Pehlivans are exemplary figures in the society with their attributes like generosity, honesty, adherence to traditions and customs and respectfulness. Therefore, the most chivalrous pehlivans or pehlivans that display the best peşrev are also rewarded. Pehlivans are trained in master-apprentice tradition. All the wrestlers in the festival are called ‘pehlivan’. The ultimate winner of the Kırkpınar Oil Wrestling is called Chief Pehlivan of Turkey and he carries the golden belt for one year’s period. The wrestler, who becomes chief pehlivan for three consecutive years, also becomes the owner of the golden belt. Kırkpınar Aga Concept of aga is one of the most fundamental elements of Kırkpınar Oil-Wrestling. The concept of Aga is regarded as an institutional identity. As pehlivans, agas are also considered as exemplary figures in the society who adhere to traditions. Kırkpınar Aga is officially recognized by the state and thus a car with a red plate (a type of official plate) written Kırkpınar Aga on is specifically allocated to the Aga. This red plate is valid at least for one year during the period of Agalık. Following the festival opening, agalık for next year is announced. The one who offers to make the highest financial contribution to cover the festival costs is designated as Kırkpınar Aga for the next year. This tradition is one of the most important elements as regards to the sustainability of the festival. Kırkpınar Aga is the main sponsor of the festival events. Cazgır Also known as salavatçıs, cazgırs introduce all the pehlivans to the audience citing their names, titles, skills in verse format and through prayers and they start the match. They are also supposed to introduce the opponents to each other after the pairing up, praying and informing both sides about the strong points each opponent has with advices. They need to have a fine strong voice and be able to improvise prayers in verse. Cazgırs strive to maintain unity within the field and bring the pehlivans together in a common spirit. Their talks inspire and excite the people around. They utter prayers called salavat in a musical style which catalyzes the enthusiasm of the participants. Cargırs are acknowledged as a profession and they come from a master-apprentice tradition. Davul - Zurna players As another essential element of oil wrestling festival, davul-zurna players are trained in masterapprentice tradition. Kırkpınar music which is known as pehlivan tunes is played exclusively in this festival. A group of 40 davul-zurna players perform during the festival. In Edirne, three different associations have been established to perform musical pieces for Kırkpınar Festival. During the festival, davul-zurna band performs in traditional dresses. Instruments of Kırkpınar Oil Wrestling ▶Kıspet Kıspet is the basic outfit of a pehlivan. They are a kind of thick trousers made of water buffalo or cow leather. Currently, kıspet is tailored by a limited number of masters in Çanakkale and Samsun provinces. ▶Zembil Zembil, a traditional handcraft, which is a hand-made instrument produced on a special reed workbench. Zembil is only made and used for carrying the kıspet. ▶Red Bottomed Candle This candle is the official symbol of invitation for Kırkpınar. In the past these candles were hung in coffee houses of towns and villages to indicate the townsfolk were invited to the Kırkpınar.

Turkey 2010

Whistled language is the name given to a method of communication that uses whistles, a sound made with the help of the fingers, tongue, teeth, lips and cheeks, to simulate and articulate words. Whistled language is a variety of shrill sounds, which are created by forming the tongue into specific shapes in the mouth and using the vocal chords to articulate a wide range of phonemes. Based on a variety of syllables, the language is produced by combining different sounds or tones that emanate from the vocal chords. Words in any spoken language can be articulated using this whistling technique. The challenging and mountainous terrain, which create a tough environment in Turkey’s Eastern Black Sea Region, has resulted in cultural practices that are very different from other parts of the country. One of these practices, most of which relate to nature and the environment, is the whistled language. The steep mountains and rugged topography of the region have resulted in houses being built that are remote and inaccessible from one another, giving rise to the local population finding an alternative way to carry out daily communication through the use of high pitched, loud sounds, which are created by whistling across the large distances. How this obstacle to face to face communication has been resolved is a strong indicator of human creativity. Whistled language, which can also be seen in various other regions of the world, is an environmentally friendly form of communication that not only makes life easier and more harmonious but also reinforces social bonds for the people living in the region. Whistled language has a melodious and rhythmic pattern that is formed by combining many distinctive sounds that are established by consensus. With these patterns of sound, it can be possible to simulate, morphemes used in daily life, such as “Okay”, “come” and “go”; to exchange short dialogues for warning and SOS or calling for help, such as “There is a forest fire!” and “Would you like to join us tomorrow to harvest hazelnuts?”. Although the determining factor in the use of this language is the emulation and recognition of fixed phrases expressed using the whistled language technique, new words and phrases that are entering the modern lexicon can also be incorporated. In other words, the cultural life of the element is constantly being renewed with the introduction of up to date expressions. Given the possible negative impact of modern technology on the natural environment and aspects of human health, one can see that not only is this element environmentally friendly, it also appears to contribute to environmental sustainability. The bearers of this linguistic legacy are now trying to broaden its use in their region by focusing on the element’s environmentally friendly characteristics. The whistled language is used as a cultural means of expression by all segments of society, with no distinction in terms of age, gender, young and old. The practitioners of the element are mainly agricultural communities who spend most of their lives outdoors. In addition, governorates, district authorities, municipalities, universities, and mukhtars (village representative) all play an active role in safeguarding the whistled language with administrative and financial contributions, while the Community Education Center in the Çanakçı District contributes with educational programs and the Bird Language Sustenance Culture and Tourism Association contributes with projects and various social events and activities. Used to meet daily communication needs with its melodious and rhythmic pattern, whistled language is therefore not only a functional indicator of human creativity, it also has an aesthetic quality. Whistled language is an apparent part of the users’ cultural identities and the concerned communities consider that the reflection of their cultural identity is one of the reinforcing elements of interpersonal communication and social solidarity. In this context, naming the village that has been sustaining this cultural indicator, as “Kuşköy” (meaning: bird village), shows that they perceive it as an element of their cultural identity. Moreover, in Kuşköy Village, the whistled language is also called as “bird language”. These days, with the increasing use of mass media, interpersonal communication is weakening and social divides are deepening. Particularly during a time such as this, whistled language, as a natural communication tool, supports not only mutual understanding, respect and solidarity, but also the environment, in terms of sustainable development.

Turkey 2017

The epic, folk and musical heritage of Dede Qorqud/ Korkyt Ata/ Dede Korkut is based on twelve heroic legends, stories and tales and 13 traditional musical compositions (in Kazakhstan, Kuys of Korkyt Ata) that have been shared and transmitted from generations to generations, through oral expressions, performing arts, cultural codes and musical compositions. The element contains social, cultural, moral values such as heroism, dialogue, physical and spiritual wellness and unity as well as respect to nature that are still maintained by all parts of society Dede Qorqud /Korkyt Ata/ Dede Korkut appears in each story as a legendary character and is a wise person, a sage of minstrels whose words, music and expressions of wisdom are related to traditions of birth, marriage and death. In Korkyt's musical compositions, the main intonations are reproduced on Kobyz (musical instrument), through the sounds of nature, and imitations of soundscapes are characteristic for this medium, e.g. imitation of the howl of a wolf, a swan's note, a horse's run, the whoosh of an arrow, a dog's yawl, a baby's cry, a lullaby, etc. The feature of Korkyt's musical compositions is their interconnection with each other through the epic stories which accompany each musical composition. The element was safeguarded due to its bearers – community of epic and tale narrators and music performers. Today, the element is transmitted in two ways: informal – within the family or community, and formal - in various educational institutions. From family events to national and international festivities the element is sustained and practiced during a wide variety of occasions in various cultural spaces and therefore it is well rooted in society. For the Turkic speaking communities, the element is the connecting thread of generations and unites them today.

Azerbaijan,Kazakhstan,Turkey 2018

A tongue-twister as a kind of Uzbek oral folklore represents a phrase or a sentence that consists from rhymed words difficult to articulate. It can be a fascinating folk game - to quickly, cleanly and correctly pronounce the most complex combinations of sounds or long words.

The art of wood carving in Uzbekistan is part of the Central Asian artistic heritage and its origins date back to ancient times. In the traditional architecture and life of the peoples of Uzbekistan for a long time, carved wood was very popular. In architecture, it was used as important architectural details and structures such as columns, cornices, doors, ceilings, and gratings. The use of carved wood in everyday life, or as it is also called household carving, absorbed a wide range of objects from furniture to small household utensils. Local wood species were used as a material: plane tree, elm, walnut, juniper, here, apricot, poplar, tal, pear, quince, cida, which differ in a variety of texture and pattern. When decorating various household items, furniture and musical instruments, the craftsmen used ornamental carving, painting and inlay. The main centers of woodcarving art are Khiva, Urgench, Bukhara, Samarkand, Tashkent, Qoqand, Margilan, Andijan, Fergana, Shahrisyabz etc.

The epic culture, folk tales and music of Korkyt Ata are based on twelve heroic legends, stories and tales and thirteen traditional musical compositions shared and transmitted across the generations through oral expressions, performing arts, cultural codes and musical compositions. Korkyt Ata appears in each story as a legendary figure and wise individual, a sage of minstrels whose words, music and expressions of wisdom relate to traditions of birth, marriage and death. In the musical compositions, the main intonations are reproduced using a musical instrument called the Kobyz through the sounds of nature, and imitation soundscapes are characteristic of this medium (such as the imitation of a wolf’s howl or a swan’s note). The musical compositions are all interconnected by the epic stories that accompany them. The element encompasses social, cultural and moral values such as heroism, dialogue, physical and spiritual wellness and unity as well as respect for nature, and contains profound knowledge about the history and culture of Turkic-speaking communities. It is practiced and sustained by the community concerned on a wide variety of occasions – from family events to national and international festivals – and is therefore well-rooted in society, serving as a connecting thread between generations.

Kazakhstan 2018

"Xòe" means dancing with movements that symbolize human activities in ritual, culture, life and work. Xòe is performed at rituals, weddings, village festivals and community events. There are three main types of Xòe: ritual Xòe, circle Xòe, and presentational Xòe. Rituals Xòe and presentational Xòe are named after props used during particular dances, such as scarf Xòe, conical hat Xòe, fan Xòe, bamboo pole Xòe, music Xòe, stick Xòe, and flower Xòe. The most popular form is circle Xòe, wherein dancers form a circle in harmony with each other. The basic dance movements of Xòe include raising the hands up, opening the hands, lowering the hands, clasping the hands of the next person following rhythmic footsteps, slightly arching the chest and leaning backwards. The musical instruments of gourd lute (tính tẩu), shawm (kèn loa), mouth organ (khèn bè), drum, gong, cymbals, reed flute (pí pặp), bamboo-tube percussion (bẳng bu) and small round-shaped rattle are used to accompany dance, which follows rhythms in even meters (either 2/4 or 4/4). The typical melodies played on the instruments use the following intervals: major second, major and minor third, perfect fourth and perfect fifth. Dance movements, though simple, symbolize wishes for community members to have a good life and live in solidarity. Gentle dance moves blend with instrumental music, vocals, tight-fitting blouses, the jingling of silver jewelry hanging around the waists of Tai women and creates an art form imbued with the cultural identity of the Tai in the northwestern region of Viet Nam.

Viet Nam 2021

Syair is a form of traditional Malay poetry that is made up of four-line stanzas or quatrains. The syair can be a narrative poem, a didactic poem, a poem used to convey ideas on religion or philosophy, or even one to describe a historical event. The word syair is derived from the Arabic word shi’r, a term that covers all genres of Arabic/Islamic poetry. However, the Malay form which goes by the name syair is somewhat different and not modelled on Arabic poetry or on any of the genres of Perso-Arab poetry. The earliest known record of syair is from the work of Hamzah Fansuri, a famous Malay poet in the 17th century.The most famous syair is a 1847 poem by Raja Pengiran Indera Mahkota Shahbandar: Syair Rakis. It is considered to be the passage to modern Malaysian literature. Many characteristics of the Malay syair have become standard items in handbooks and textbooks concerned with classical Malay literature. These works uniformly agree that the syair consists of a series of quatrains containing an ongoing story. The final syllable of each line (kerat) within a stanza (bait or rangkap or untai) rhymes with every other final syllable of that stanza (aaaa, bbbb, .... ). Furthermore, the line generally consists of four words with a more or less definable caesura (jeda) after the second word. Syair has a continuous story throughout the quatrain and between quatrains.

Chapei Dang Veng (hereafter Chapei) is a popular musical tradition found in Cambodian society. The singing of Chapei is accompanied by a long necked lute Chapei from which the tradition takes its name. Chapei is closely interwoven with the life, traditional customs and beliefs of the Cambodian people. The instrument itself is used in two eminent ancient ensembles,'Pleng Araek' (Spirit Music) and 'Pleng Kar Boran' (Traditional Wedding Music) both of which are endangered forms themselves. Chapei performers are generally male, although there are no restrictions regarding gender or social class. Chapei players are not only musically adept, but also witty, intelligent, and quick to adapt and improvise. They should be well-versed in language, literature, and poetry, and a good story teller. From 1975 to 1979, the Khmer Rouge regime systematically annihilated and destroyed any form of intellectual activity including traditional arts. As a result many traditions such as Chapei disappeared from the scene together with the people performing them. Only two grand masters of Chapei survived this gruesome period and together with some other masters and their students are trying to revive the art form today.

Cambodia 2016