There are over 120 different types of knucklebone games are played in Mongolia, and the “knucklebone shooting” is the most common spread one among the general public. The Knucklebone shooting is a traditional game that contains the traditional custom and culture in complex way. Shooting tablets are flicked towards 30 pieces of ''Khasaa'', a target laid on a zurkhai (wooden surface) in a given order depending on the current game, at a distance of 9 elbows (4.72meters). It is a team game that each team competes by shooting to knock down more of the khasaa than the other. During tournaments, shooters communicate not in words, but by singing ''Knucklebone Shooting'' melodies and tunes such as ''Hail you, friend',' ''Hit the target,'' ''Hail the board'' that sound more or less like ''Long Songs''.

Mongolia 2014

The Hüsn-i hat is the art of writing with Islamic letters of Arabic origin by using reed pen and soot ink in a measured and proportional manner while taking into consideration of the aesthetic values. A special paper glazed with organic substances (aharlı kağıt), reed pen (kamış kalem), pen-knives, a special slab for trimming the reed pen (makta), inkwell (hokka) and pen case (divit) are the most used tools in its practice traditionally. The Hüsn-i hat is written on special paper, leather or other writing materials and it may also be applied on the surfaces of stone, marble, glass, wood, etc. by using specific techniques. Holding the reed pen and its directions on the paper by the hattat ensures the perfection and compound of letters. There are different styles of writing which have been evolved over centuries: Thuluth, jali, naskh, muhaqqaq, raykhāni, tawqi, riqā’, kufic, ta’liq, nasta’liq, siyaqat, diwani, riq’a, gubari are among the commonly preferred styles. These writing styles, using the tools and traditional craftsmanship related to the element have been transmitted through master-apprentice relation from generation to generation. The Quran, hadiths (statements of the Prophet Muhammad), Turkish laconic and poetical couplets are written with hüsn-i hat. Therefore, hattats have applied Sufistic rituals while writing hüsn-i hat. Apart from the sacred and literal works, the element also practised in state correspondences such as imperial edicts, warrants and religious and public buildings in Seljuk and Ottoman period. Today, the element is still practised in sacred and literal works and religious buildings in Turkey.

Turkey 2021

Bibaha/Vivah has been in practice for hundreds of years with its first documentation in one of the Hindu epics. As per the epic, the first official marriage was celebrated between Lord Ram and Sita (Hindhu gods). It was also practiced by RISHIS, the great saints who existed in the Ganges valley civilization, before it reached down to the common people. This practice came down in line through religious texts and personals, in the eight different types mentioned above. The Bibaha/Vivah system then spread into other parts of the world with migrating people.

Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana. Lkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.

Cambodia 2018

The art of crafting and playing with Kamantcheh/kamancha (“little bow”), a bowed string instrument, has exsited for more than 1,000 years. In Iran and Azerbaijan, types of this art constitute major elements of classical and folkloric Music. Classical Iranian Music refers to the urban music with “Radif” repertoir; the Folkloric Kamantcheh Music refers to the mainly rural musical traditions of Azarbayjan, Lorestan, and Torkaman Sahra. In both countries, contemporary practitioners mainly make and use four string Kamantcheh/kamancha composed of a body (chamber, neck and pegs) and a bow with horse-hair. Some Folkloric variants with two or three strings are also popular in Lorestan, Azarbayjan, or Torkaman Sahra, Iran(also, cf.D). Craftsmanship starts with choosing wood material. Craftspeople use walnut and/or mulberry for the body, and cornel for the bow. In Azerbaijan, only ball-shaped resonating chambers are crafted. Iranian communities produce the following resonating chambers/sound-boxes: 1-Pošt-baste(""closed in the back""):A hollow oval with sheep-skin; 2-Pošt-bāz(""open in the back""):A half-cone, with sheep-skin on one end. Craftspeople create a bowl and a round fingerboard, and unite them with an iron billow that ends up with a base shaft at the bottom. The chamber’s open side is covered with sturgeon, catfish, sheep or bovine bubble skin. They very often inlay the body with mother-of-pearl or other materials to express and mark different motifs and add their personal touch to the external decoration. In Iran, calligraphy, wood carvings, or inlayed jewels and shells are also practiced. The instrument rests on the base shaft and stands vertically on performer's lap or beside them; performers move the bow horizentally on the strings, and pivote Kamantcheh round the shaft to facilitate transfers on the strings. Kamantcheh/kamancha produces strong and subtle sounds, close to human voice with the sound diapason ranging from small octave ‘A’ to the third octave ‘A’. Players perform large works and etudes using various performing techniques, individually or as part folk orchestras. Generations of performers have left invaluable heritage of Kamantcheh/kamancha works, which are reproduced by young performers, adding their own playing dynamics and colouring. Transmitted from generations to generations at professional and amateur levels, within families or professional education institutions, this art brings together a large community of Kamantcheh/kamancha music lovers and listeners and continues to be a marker of cultural belonging.

Azerbaijan,Iran 2017

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

The Lum Medicinal Bathing of Sowa Rigpa (Tibetan Medicine) has been developed by the Tibetan people within a life view based on Jungwa-nga (five elements) – i.e., Sa (earth), Chu (water), Me (fire), Lung (wind) and Namkha (space) – and a view about health and illness based on Nyepa-sum (three dynamics) – i.e., Lung, Tripa and Pekan. In Tibetan, “Lum” indicates the traditional knowledge and practices of bathing in natural hot springs, herbal water or steam to adjust the balance of mind and body, to ensure health and treat illnesses. Influenced by the Bon religion and Tibetan Buddhism, Lum embodies folk experiences in illness prevention and treatment, and reflects the transmission and development of traditional knowledge represented by the treatise Gyud zhi (the Four Tantras) in present-day health practice. Lum is practiced under the guidance of a Manpa (traditional physician) in two ways. One is bathing in Five Types of Hot Springs containing different minerals. The other, bathing with Five Medicinal Nectars, includes three methods: immersion, steam-bathing and applications with sachets. In this process, Manpa, in collaboration with Lum Jorkhan (pharmacist) and Manyok (Lum assistant), conducts symptom differentiation based on observation, questions and pulse palpation. Then preparation of medicines includes herb compound, boiling, fermentation and addition of extra herbs. The element has been transmitted over generations through daily life, religious rituals, folkloric activities and medical practices on account of its safety and accessibility. While providing Tibetans with a sense of identity and continuity, the element reflects cultural diversity and human creativity.

China 2018

The Viet Belief in Mother Goddesses of the Three Realms is a form of worshiping the Mother Goddesses of the realms of the universe: sky, water, mountains and forests. From the 16th century, this belief became a religious and cultural activity that had a profound effect on the social life of the people. The Princess Liễu Hạnh and other Mother Goddesses governing the sky, water, mountains and forests, together with historical and legendary figures have been worshiped by communities. Daily worship rites are performed by custodians at the temples. Practices related to the Việt belief in the Mother Goddesses of Three Realms, known as lên đồng spirit mediumship, in particular at Phủ Dầy temple (Kim Thái commune, Vụ Bản district, Nam Định province) where Princess Liễu Hạnh, a leading figure in the Mother Goddess cult, is venerated. It takes place from the 3rd day to the 10th day of the third lunar month with special folk performances such as arranging letters, procession of Buddhist scriptures. Traditional cultural costumes, music, dance, folk performances of lên đồng spirit mediumship clearly show the unique cultural identity of the Viet people.

Viet Nam 2016

The Darangen is an ancient epic song that encompasses a wealth of knowledge of the Maranao people who live in the Lake Lanao region of Mindanao. This southernmost island of the Philippine archipelago is the traditional homeland of the Maranao, one of the country’s three main Muslim groups. Comprising 17 cycles and a total of 72,000 lines, the Darangen celebrates episodes from Maranao history and the tribulations of mythical heroes. In addition to having a compelling narrative content, the epic explores the underlying themes of life and death, courtship, love and politics through symbol, metaphor, irony and satire. The Darangen also encodes customary law, standards of social and ethical behaviour, notions of aesthetic beauty, and social values specific to the Maranao. To this day, elders refer to this time-honoured text in the administration of customary law. Meaning literally “to narrate in song”, the Darangen existed before the Islamization of the Philippines in the fourteenth century and is part of a wider epic culture connected to early Sanskrit traditions extending through most of Mindanao. Specialized female and male performers sing the Darangen during wedding celebrations that typically last several nights. Performers must possess a prodigious memory, improvisational skills, poetic imagination, knowledge of customary law and genealogy, a flawless and elegant vocal technique, and the ability to engage an audience during long hours of performance. Music and dance sometimes accompany the chanting.

Philippines 2008

Glazed tile and ceramic household stuffs or wallboards of several colours and motifs made by firing the pulped clay soil are called “çini”. Çini-making means the craftsmanship shaped around traditional Turkish art of çini since 12th century with its own specific production and adornment techniques like “minai”, “luster”, “polishing”, “underglaze”. Çini craftspeople generally have used “underglaze technique” since 16th century in their production pursuant to the prescriptions they prepare with their traditional production knowledge about nature. In this technique clay is pulped. Having shaped, the clay is lined and dried. Next, it is fired in çini ovens smooth surface called “biscuit” appears. Patterns prepared by drilling on the paper with openwork technique are transformed to the surface with coal dust and the outer contours are drawn by hand with black paint and brush. Later, patterns are dyed with dyes prepared according to the prescription. The surface of çini is covered with glaze and after it is fired at 900-940°C the çini-making is completed. Among çini adornments generally geometric shapes, plants and animal figures symbolizing cosmic thoughts and beliefs are used in different colours. Using red, cobalt blue, turquoise and green on white or navy blue background is the characteristic feature of traditional çinis. The basic element that characterizes the art of çini is traditional craftsmanship manifested in the applications and the knowledge transmitted from generations to generations about the supply of the raw material, preparation of dyes, production and usage of the tools, firing process, adornment techniques and aesthetics.

Turkey 2016

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

Falconry is the traditional art and practice of keeping, 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. The falcon and her prey have evolved together over millions of years; their interaction is an age-old drama. The falconer’s task is to bring the actors together on nature’s stage. Falconry as intangible cultural heritage is integrated into communities as a social recreational practice and a means of connecting with nature. Originally a way of obtaining food, falconry has acquired other values over the centuries, and is identified with camaraderie, sharing, and expressions of freedom. Nowadays falconry is practised by people of all ages in local communities in more than eighty countries. Falconry expresses itself in multiple cultural domains, in particular ‘social practices, rituals and festive events’, as well as ‘knowledge and practices concerning nature and the universe’. These include traditional skills, traditional knowledge about the biology and behaviour of birds and the environment, the making of traditional falconry equipment, as well as linguistic and artistic expressions found in idioms, painting, sculpture, poetry, rituals and music. Falconry has its own set of culturally-shaped traditions and ethics; while falconers come from different backgrounds, they share universal values, traditions and practices. Falconry is transmitted from generation to generation as a cultural tradition by a variety of means, such as mentoring, learning within families, or formalized training in clubs and schools. The process of transmitting falconry heritage activates not only the historical memory of the falconry community but also enriches its cultural identity. In recent times falconry has seen a renaissance. Falconry provides modern man with links to nature and strengthens local identities. It is an important cultural symbol in many countries. The modern practice of falconry aims at safeguarding not only falcons, quarry, and habitats but also the practice itself as a living cultural tradition.

United Arab Emirates,Austria,Belgium,Czech Republic,Germany,Spain,France,Hungary,Italy,South Korea,Kazakhstan,Morocco,Mongolia,Pakistan,Portugal,Qatar,Saudi Arabia,Syria 2016