Farmers’ dance of China’s Korean ethnic group is a performing art danced at seasonal rites and festivals. It is one of the most representative artistic performances of the Korean ethnic group. It is also a symbolic artistic form showing nationality identity. The team leader waves a flag reading “farming, the root of the world”. Players with musical instruments of suona horns, small gongs, bell-shaped gongs, long drums, round drums and hand drums will play the instruments while dancing. They are accompanied by masked or unmasked farcical clowning dancers. Farmers’ dance is usually acted out in villages and fields. Farmers’ dance is closely associated with farming sacrifice ceremony. Before acting out the dance, players will hold a ceremony treading God of Land and sacrificing, to show respect to nature and pray for happiness and luck. Since it is generated in farming activities, farmers’ dance imitates manual labor with shrugging acts and walking field ridges. Farmers’ dance is widely known in the Korean ethnic group. People largely learn basic dancing skills through family influences and neighborhood exchanges. But to master superb dancing skills and music performances, players have to formally acknowledge seniors as teachers. Farmers’ dance art has been inherited under the mouth-heart teaching method. Players of lofty skills are highly respected and enjoy unusual prestige in communities. This plays a crucial role in passing along the art for generations. To date, people of Korean nationality in Wangqing County, Antu County, Helong City, Longjing City, Huichun City, Tumen City and Yanji City under Yanbian Korean Autonomous Prefecture, Wangqing County Farmers’ Dance Protection Development Association, China Korean Nationality Folk Protection Development Association, and 52 spreaders like Jin Mingchun are committing themselves to protecting and passing on farmers’ dance. The art has been handed down for six generations. Players spread from farmers to people of all walks in cities, enterprises and schools. Starting from the Korean Peninsula, farmers’ dance was introduced to China by Korean immigrants at the end of the 19th century. It has been innovated and improved in new environments by means of integrating agricultural production in high latitude areas and multi-ethnic group customs. Influenced by Han ethnic culture, “elephant caps” replace previous black cloth with red silk fabrics. Clustered waving belt is processed into two layers from the original single layer. “Elephant caps” are developed from original two varieties to current short, medium and long ones. Long “elephant cap” color belt is continually extended to amount to maximum 28 meters. Tossing “elephant cap” develops from “flat tossing” and “left-to-right tossing” to “vertical tossing” and “shaking dews”. Players also create “crossing circle skill” and “three-color-belt tossing skill”. As regards music, original four musical instruments are expanded to collaboration of wind instruments and stringed instruments. Women are admitted to play musical instruments, compared with previous whole-colored men players. All these contribute to cultivate Korean ethnic farmers’ dance of striking Chinese characteristics. Farmers’ dance is a product of arduous labor and wisdom of the Korean ethnic group over a long period of time. People of the Korean ethnic communities have realized it is their historic duty to carry forward farmers’ dance. So far, farmers’ dance groups of various sizes have spread all over villages of Korean ethnic groups. Most residential quarters and schools in Yanbian prefecture have also set up all sorts of farmers’ dance performance teams. Farmers’ dance teams, traditionally of 30 people each, will act on folk-custom festivals. One site will accommodate a number of teams at the same time. Farmers’ dance music, dance skills and players have been collected in Complete Works of China Folk Dance. Piao Yongguang, a famous scholar, has bought farmers’ dance into History of Korean Dance, furnishing theoretical basis for studying Korean history and ethnic features.

China 2009

National Intangible Cultural Heritage, Republic of Korea Badi is part of a loom that weaves hemp cloth. Badijang refers to a skill of making badi, or to an artisan with such a skill. A threaded spindle found at a site dating from the Neolithic Period tells us that fabric weaving started as early as that period. Badi is made of bamboo bark. Three to four-year old bamboo is appropriate for making badi due to its solidness and thickness. The types of badi vary, depending on whether the cloth to be woven is hemp cloth, silk fabric, ramie cloth or cotton fabric. Badi made in Andong and Hansan are known for their good quality. Hansan ramie cloth is known all over the world. Badi production has been in decline amid the development of synthetic fibers, but the tradition is stil maintained in Hansan.

Colorful yurt tent bands (baskur, bau, zhel bau) are made using combination-technique (flat and pile weaving). Yurt bands are an integral part of yurt and easy to produce; they are woven in every region of Kazakhstan. Both the bands and flat-woven carpets are woven on a special narrow loom which is also employed to weave a number of narrow strips that would then be sewn together to create alasha rugs. To achieve the dynamic look of a carpet, alasha were either made from strips of different colors or with designs and pile reliefs. The basic production material is sheep’s wool, goat wool and horse hair, natural cotton and silk fibers. It is also common to add camel or goat wool to warp yarn to add durability. Yurt decorations are best understood starting from the dome or uppermost region of the structure, which was traditionally adorned by patterned baskur and bau bands, and colorful shashak tassels. The baskur strips tied up the roof poles (uyk and kerege) of a yurt and its latticework (kerege) around the perimeter and decorated the joints between the kerege and the dome. The bau bands ran diagonally under the wooden poles and were fastened to outer felt covers. In addition to their functionality, they also served as decoration for the dome of the yurt. The bau and baskur bands were made using a variety of techniques and colors. The shashak tassels were also an important decorative and protective item. Like twinkling stars they shimmered, moved by air entering the yurt through the shanyrak - a circular opening at the top that symbolized the limitless eternal sky. Wall rugs are another significant decorative aspect of Kazakh yurts. These include pile items (tukti kilem, or kaly kilem) and flat-woven textiles (takyr kilem, takta kilem, taz kilem, araby kilem, beskeste kilem, badnas kilem, alasha, and many others). There are also rugs made using chain stitch (loop-type stitches in a continuous row )- tus kilem, biz kilem, and ilme kilem. Carpets adorned the walls of a yurt and served as insulation. They covered its floors and were also used as covers for loaded camels during migration. In addition, they were an indispensable part of a bride's dowry, were given as presents to guests at celebrations, and were used to wrap the dead before burial.

Kazakhstan

The 'ie Samoa is a special finely hand-woven mat that is fastened at the hem with 2 rows of green and red feathers on each end, and a loose fringe on one end. Traditionally woven with fine strippings of the pandanus plant, the final product is silk-like in nature. Its shiny coppery color adds to its value as it is a testament to its age and the natural bleaching process it undergoes from the sun and seawater. The length of 'ie Samoa is traditionally 12x9 aga or handspans of the weaver. This demonstrates its high level of intricacy as each woven strand measures as little as one milimeter in width. Therefore, the production of a single 'ie Samoa can take up to several months and even years depending on the length of the fine mat. Nevertheless, the 'ie Samoa is more than a cultural product of exceptional skills, its true value is demonstrated in its use as an exchange valuable in traditional ceremonies and rituals that serve to reaffirm kinship ties and strengthen community wellbeing. More colloquially known as 'ie toga, the 'ie Samoa is displayed and exchanged at festive celebrations or important gatherings such as weddings, funerals, or religious ordinations. The giving and receiving of the 'ie Samoa contributes profoundly to the maintenance of social structure and is an integral part of the Samoan culture. As objects of the highest cultural value, this traditional art form lies at the foundation of Samoa's rich intangible cultural heritage.

Samoa 2019

Production of folk musical instruments in Uzbekistan and traditions of performance. The history of traditional folk musical instruments of Uzbekistan is incredibly rich and diverse. Rubab is a string bow instrument. It has a wooden convex body (round or oval in shape), a leather deck, 4-6 intestinal, silk or metal strings, usually tuned in quarts, and resonating strings. The most common rubabs are 800-1000 mm long. Sound is extracted usually by plectrum. The Uzbek orchestra of folk instruments includes 3 varieties of rubabs: prima, viola, tenor. Varieties of rubab are found in various peoples of the East: Afghan, Dulan, Kashgar, Pamir and other rubabs. It is also known that the rubab is played in North Africa and in the southern provinces of Spain. It was borrowed to Europe in the XII century under the name of Rebra. In Turkey, there is a three-string rubab. Among the Persians it is called "Rabet Barbitus".

Kishuthara (The Silken Kira (Bhutanese women dress)), is a native intricate patterned silk textile particularly Khoma Gewog (block) under Lhuentse Dzongkhag (district) where it become the production hotspot of the Bhutanese woven textile in the country. Kishuthara adhere its origin from the Tibetan king Songsten Gampo’s (Reign: c. 618 – 650) wife, Ashi Jaza (Bhrikuti) who introduced the backstrap loom and weaving traditional wear in Bhutan. According to oral source, the design of Kishuthara was tweeted by the bird called Tsheringmo when Azhi Jaza was wondering about motif. The bird tweeted; “chi tu nee nun, nee thu sum nun” (pick one left two, pick two and left three”) Kishuthara- tema design was thus born. Thus, hereafter Azhi Jaza taught her weavers the procedure of weaving loom textile. Later, Khoma women were able to incooperate the patterns of Kishuthara while they were trading with Tibetan merchant. Additionally, in the eight century, during the visit of Guru Rinpoche and his consort Khandro Yeshey Tshogyel at Khoma, Khandro also blessed the progress of Kishuthara as villager’s livelihood and primary source of income. When Tibet was officially incorporated into the territory of China’s Yuan Dynasty during mid- 13th century, some Tibetan fled to Bhutan. Some steeled at Khoma and from there, villagers learnt the patterns of Kishuthara in full swing. Another source traces back to Azhi Jaza’s merchant Tshonpon Norbu Zangpo, the most influential trader around the world, once reached at Khoma for trading purpose. While staying at Khoma, he had fallen in love with one Khomapa girl and as a token of fidelity, he presented kushung to her. Kushung is the name of patterning technique in their local dialects and thara in tshangla dialect means kira. Then girl learnt the motif by looking at kushung and some believe that motif was taught by the same bird Tsheringmo to the girl. Kushung is later called as Kushuthara due to mispronunciation. On contrary, according to the textile Arts of Bhutan, by Susan S. Beans and Diana K Myers, kushuthara was flourishing as early as the 17th century, local noblewomen commissioned more elaborately kiras until kushuthara become a distinct regional fashion. Today Khoma people are depending mainly on Kishuthara as their livelihood because Kishuthara is the primary source for income generation thus, weaving the patterns of their life. Past few decades, people were engaged in farming and when agriculture season is over, women in group set up their backstrap looms in the harvested paddy field and sheltered by bamboo canopies. However, at present few household are engaged in faming activities while rest of the women are busy with Kishuthara throughout the year.

The carpets woven in the city of Kashan can be defined as follows. Spreadable hand-woven materials consisting of a basic structure of strings made of cotton or silk interwoven in millimeter scales known as warp (Tar or Toon) on an erected framework known as ‘Dar’, while by means of wool or silk strings, and based on a colored design, appropriate knotting in harmony with the delicacy of the carpet are created on the surface. In the weaving style of Kashan, after each row of knots, cotton strings are extended two times from within the warps in horizontal direction known as ‘woofs’. Woofs are divided in two categories in terms of thickness: thick woof or under-woof is almost of the same thickness of warps, while thin woof or top-woof is as thick as reel strings. These woofs are pressed on woven knots by means of combs and make the carpet more strong and delicate. This style, known as Farsi weaving has a background of four hundred years in Kashan which is the pioneer of this style. The skills and elements involved in the process of production of these hand-woven carpets can be divided in certain categories: Carpeting Tools: 1- Weaving frame: is a wooden or metal framework consisting of two vertical columns and two horizontal beams. In addition, certain wooden accessories are used to reinforce the frame (wedges), while in metal frames, knots and jacks are also used. In order to control and move the strings in the course of weaving, two thin layers of woods are used. 2- Comb: is used for pressing the woofs after each row of weaving to make the carpet stronger and more delicate. 3- Stick: it is a metal belt with the width of 2 centimeters and length of 60 centimeters used to lead the woofs from among the warps. 4- Scissors: for cutting the tips of the woven strings after a number of rows as well as for leveling the surface of the carpet. 5- Bench: as a seat for the weaver, made of wood or metal. Carpeting Materials: 1- Warp: prepared multi-layered cotton or silk strings in proportion to delicacy of the carpet and required by the design will establish the basic structure of the carpet. In Kashan style, the warps are drawn on the ground and mantles on the frame. 2- Khameh: woolen two-layered colored strings in various sizes for knotting to warps in 90 degrees angle which serve as the thickness of carpet in appropriate sizes. 3- Woofs: cotton strings in two thicknesses: thick woofs equal in thickness with the warps, and thin woofs as thick as ordinary reel strings which are led through the warps after each row of weaving and is pressed with comb which strengthens the carpet. In full-silk carpets, silk woofs are applied. Design: in order to prepare the design of the carpet, which is the most artistic activity involved in carpeting, certain rules are followed, the most significant of which can be summarized as follows: A) Drawing is the general form and the first impression of the carpet which makes the basic design of the carpet in the first glance. The procedure that is followed in Kashan is as follows: 1- Lachak-Toranj design: is this design limited by a background cadre and consists of a central oval shape known as Toranj and rectangular surrounding shapes known as Lachak. Each Toranj has four surrounding Lachaks. Sometimes, the Toranj is in circular form, known as Shemeh. Lachaks are normally in harmony with Toranj. 2- Toranjafshan Design: the design consists merely of a Toranj in the middle covered with symmetrical flower and leaf designs, without Lachak. If the surface is without flowers and leaves and other forms, the design is known as simple Lachak-Toranj. 3- Lachakafshan: There is no Toranj in the design, only four Lachaks around. The remaining portion of the design is covered with flowers, leaves, and other symmetrical shapes. 4- Mehrabi Design: The surface is normally without Toranj. Only to Lachaks are located on the top corner, with ornamental religious designs. The surface is simple with an urn or columns around. 5- Overall design: a basic design theme is repeated all over the surface. Single forms such as Botteh-Jegheh, scattered bouquets, frames, flowers, etc are repeated over the surface. 6- Koomeh Design: short scattered trees together with birds and animals. B) Design is the combination of drawings, paintings, flowers, leaves, branches, animals and other forms which enliven the basic drawings by applying colors, each with its respective artistic identity inspired by nature, buildings, historical events, movements of living animals, and background mentalities of the designer and painter. Dyeing: Colors and dyeing materials: natural colors are more popular in Kashan, such as Ronas, walnut skin, pomegranate skin, vine leaves, etc. except for Ronas, other materials are among the waste natural materials. The masters of dyeing create very stable and beautiful color mixtures by using various types of natural pigments. Farsi weaving style also known as asymmetrical knotting is applied with exemplary delicacy in Kashan so that the back side of the carpet is made with equal longitudinal and latitudinal knots.

Iran 2010

Yuki-tsumugi is the production technique for pongee fabric. The fabric of Yuki-tsumugi is warm, comfortable, light and durable and is completed through numerous, intricate processes. Only the finest fabric, made by members of the bearing body of the technique, the Association for the Preservation of Honba Yuki-tsumugi Weaving Technique, following the requirements for designation below can be termed as a work of Important Intangible Cultural Property. The requirement for its designation defines especially distinctive handiwork and the use of traditional tools among the processes. By setting these requirements, the transmission of this tradition is secured. The requirements for the designation: i) A yarn should be spun by hand out of silk floss. A hard twist yarn cannot be used; ii) To make an Ikat (kasuri) pattern, the skein should be tied only by hand before the dyeing process; iii) A back-strap loom should be used; The traditional techniques to produce Yuki-tsumugi have been transmitted by the members of the Association for the Preservation of Honba Yuki-tsumugi Weaving Technique. They have been directly engaged in maintaining the high standards of spinning, dyeing and weaving that have been passed down from generations to generations for a long time within the community. They recognize Yuki-tsumugi as a very important cultural property and strongly believe that it is their vocation to preserve and transmit it to the future. Moreover, they are very proud of ‘Yukitsumugi’. One of the reasons for the continuous refinement of this technique to produce qualified silk pongee fabrics is that the fertile lands in a warm climate of this area, where mulberry trees can grow well, are suited for the sericulture. Some researchers point out that the local mentality is the reason for the persistent observance of the tradition; the people tend to protect their own lands inherited from their ancestors and to succeed to the occupations of their parents. The National Government designated Yuki-tsumugi as Important Intangible Cultural Property in 1956 for its high artistic value, and the precious techniques needed for this art, its significant position in the history of industrial arts, and cultural characteristics of the community. The designation system of Important Intangible Cultural Property under the Japanese Law for the Protection of Cultural Property raises the interest of the Japanese in intangible property, and helps deepen their understandings. Today, most Japanese consider that all designated elements of Important Intangible Cultural Property are priceless heritage of Japan. In modern times, due to the rapid changes and the westernization of Japanese lifestyle, opportunities to wear kimono have decreased. However, there are still many Japanese, especially women, who are very fond of kimono. Kimono can be worn as formal attire at ceremonial occasions, as well as less formal, social events. It can be said that kimono is a traditional Japanese costume. The existence of Yuki-tsumugi can help to continue the customs of this tradition, and pass them down to future generations. Although Yuki-tsumugi had been known as a specialty by the Edo era (1603-1867), even today, the production of pongee fabrics continues to have an important social function of supporting the lives of the people of the community through the sericulture industry. The empty cocoons after the hatch of moths cannot be spun into qualified yarn. Together with the deformed cocoons, they are made into silk floss which is raw material of yarn for Yuki-tsumugi. This recycling process of materials has a socially significant meaning in today’s society. With the introduction of chemical fabrics, and the development of machinery for spinning, those who bear the technique of Yuki-tsumugi have declined in number; hand-made fabrics take a lot of time, but very unprofitable. There were 171 members in the Association for the Preservation of Honba Yuki-tsumugi Weaving Technique in 1976, but at present, the number has decreased to 128. Nevertheless, the members continue with their efforts to preserve this tradition. The Association for the Preservation of Honba Yuki-tsumugi Weaving Technique constantly aims for the preservation and transmission, and through this aim, its unity is strongly identified. The traditional skills are transmitted through their activities of exchanging their skills, training for young generation, demonstration and promotion of the skills, thus leading to their continuity to the future. Such activities have important meaning for the people who transmit Yuki-tsumugi of which they are proud of; they are strongly supported by the local community of Yuki City, Oyama City, and local governments of Ibaraki and Tochigi Prefecture.

Japan 2010

In all submitting states, sericulture and traditional production of silk for weaving includes series of practices traditional knowledge, skills and crafts of the communities concerned related to growing mulberry trees, breeding silkworms, producing silk threads, for weaving and other purposes. Farmers grow mulberry trees that provide leaves upon which the worms feed, then produce silkworm eggs and ensure care of the silkworm (feeding with mulberry leaves) from the egg stage until the completion of the cocoon (turning matured silkworms to cocoons). Communities then produce silk by reeling from the silk threads, weave silk fabrics and use the fabrics in crafts. Craftspeople of both genders produce raw silk by means of raising larvae, particularly those of the domesticated silkworm to form the cocoon within which the larvae develop. The silkworm builds its cocoon by surrounding itself with a long fibre or filament. Fed by fresh mulberry leaves, silkworms start to spin their silken cocoons after 26-28 days. The whole process begins in March to September depending on the climate. The cocoons are collected before pupa pierces its cocoon and then those collected cocoons are dried. Silk containing sericin is called “raw silk”. The gummy substance is usually retained until the yarn or fabric stage and is removed by boiling the silk in soap and water. Communities then bathe cocoons which then soften and allow for the peak of the thread to be obtained. In order to obtain raw silk, several cocoons that gave the threads are put on reeling process at the same time. In order to clean up and to dry, obtained raw silk is taken from reel and hanged on the reed. In the preparation for the weaving process, people twist threads and unwind warps. After drawing-in and wimple is made ready, the weaving process begins. In order to remove cerasine fabrics, woven with raw silk yarn, people boil the fabrics in water containing soap. After boiling process, communities color and trace the fabrics by using various traditional methods. Craftspeople use the silk threads to create various types of craft products, such as fabrics, carpets. The products of silk are very much appreciated within the communities, who use them at various social and cultural occasions, including weddings, funerals and family gatherings. Deeply rooted in the traditions of the Great Silk Road, sericulture and traditional production of silk for weaving are an expression of cultural identity, centuries-old traditions and a symbol of social cohesion. While the silk trade has been carried out throughout the centuries, it has allowed spreading the silk culture, health and science among communities of the submitting states. In all submitting states silk functions as the symbol of splendor, elegance and spring. In all submitting states, silk producers are mostly villagers and they work cooperatively and they have special ceremonies for silk when it is produced.

Afghanistan,Azerbaijan,Iran,Tajikistan,Turkmenistan,Turkey,Uzbekistan 2022

Sericulture and Silk Craftsmanship refers to the craftsmanship applied in traditional sericulture, silk dyeing and weaving process, which has been handed down from generation to generation, and relevant folk-customs derived thereby. China’s sericulture and silk craftsmanship boasts a history of 5000 years. The silk fragments, preliminary loom and potteries decorated with silkworm patterns excavated from sites dating 4000 years ago in the Taihu Lake area; demonstrate the time-honoured history of the sericulture and silk production in the region. Alongside the historical process, traditional manufacturing craftsmanship develops, and the main elements include: Mulberry planting: including cultivation of mulberry seedling, mulberry trimming, and various methods of engraftment; Silkworm production: including the selection, hybridization, and breeding of silkworm eggs, incubation, instruments for silkworm rearing, control of the temperature and humidity, and frame mounting methods; Silk reeling: including sorting and stripping of cocoons, ways for preserving the cocoons such as drying and salting, temperature control and process for boiling the cocoons, facilities and techniques for silk reeling, etc; Silk floss making: including techniques of water rinsing and tearing; Weaving tools: including various looms such as treadle looms, multi-shaft and multi-treadle patterning looms, lesser draw looms, greater draw looms, etc, and arrangement of heddle drafts and programming of patterns on draw looms; Design and weaving of fabrics: including the design and weaving of various structures and patterns, such as the Shuanglin silk damask which is calendared by stamp rocks, the Hang gauze with warps crossed, the Shu silk with warp-faced patterns, the Song-style silk in lampas weave, and Kesi woven in tapestry structures.

China 2009

Sericulture, the traditional art of silk production, holds a significant place in Uzbekistan’s cultural and economic heritage. This tradition encompasses the cultivation of mulberry trees, rearing of silkworms, harvesting cocoons, and spinning silk threads, which are then woven into exquisite textiles. Uzbek sericulture is deeply intertwined with community life and seasonal cycles. Knowledge and skills have been transmitted through generations, often within families and artisan guilds, preserving ancient techniques alongside innovations. The process is accompanied by rituals and ceremonies that express respect for nature and the silk-producing creatures. Silk products from Uzbekistan are celebrated not only for their beauty but also as symbols of craftsmanship, social status, and cultural identity. Sericulture traditions continue to thrive in regions historically known for silk production, contributing to local economies and cultural tourism.

Uzbekistan 2022