The materials and techniques used to produce high-quality, lightweight ramie textiles known as Ojiya-chijimi and Echigo-jofu, has been developed under its distinctive climatic conditions and transmitted from generations to generations in the long history of the community. After World War II, under the influence of a rapidly-changing society, it fell into a decline. With a strong determination to protect their own cultural heritage, however, the people concerned with textiles and weavings joined forces and reconstructed its base for the conservation and transmission of this intangible cultural heritage themselves. It has been rooted in the community as its cultural identity. In 1955 “Ojiya-chijimi, Echigo-jofu” was designated as an Important Intangible Cultural Property, and “Association for the conservation of techniques for Echigo-jofu, Ojiya-chijimi-fu,” founded by the community, was recognized as the Holding Group of this technique. This Association strongly recognizes “Ojiya-chijimi, Echigo-jofu” as its own cultural heritage and makes every effort to preserve and transmit them. Ojiya-chijimi and Echigo-jofu has a long history. Ramie weaving began in ancient times around Uonuma region in Niigata Prefecture, and we have a remains presumably dated back to the eighth century. In the seventeenth century it was dedicated to Tokugawa Shogunate. As suitable to the hot and humid summer of Japan, clothes made of ramie weaving have been a favourite of many people in various classes for centuries. Thus, those textiles have been constantly produced as a cultural pride for the people of the community, and its producing technique has been transmitted from generations to generations until today. The production area is such a heavy snowfall area as closed by snow during a half of a year, and hence its production technique makes a good use of its distinctive nature and climate. The yukizarashi method is well-known as a unique part of the production process, in which the woven textile is spread on the snow, and bleached by the ozone released as the snow evaporates. The traditional ikat (kasuri) designs are made from threads that were tied before dyeing. They feature various colours in geometric patterns or abstract patterns of plants, or combinations of these. These traditional patterns are still being used by people today, who bring a contemporary sense to the traditional designs. Thus, the community has inherited the traditional producing technique of “Ojiya-chijimi, Echigo-jofu” and constantly recreated this intangible cultural heritage by production with the specific technique. Sophisticated manufacturing of those textiles, process with traditional tools and distinctive utilization of snow are required for the designation as important intangible cultural heritage in this case. It is needless to say that the people of this Association shall fully understand the meaning of their own intangible cultural heritage, cooperate each other and respect mutual skills. Because they are determined to transmit to the next generation what they have inherited from the ancestors, they make every effort to widely disseminate it and hold a workshop for it. The community has constantly recreated a sense of identity and continuity through the conservation and transmission of this important intangible cultural property. The making of “Ojiya-chijimi, Echigo-jofu” is a complex, detailed process. The process must meet specific conditions in order to qualify for Important Intangible Cultural Property status. These conditions have been carried on and transmitted by the Association and the people involved up to the present. ▶Conditions of Designation -TEUMI (Hand-twisted ramie thread) Ramie fibers are split by fingernail and shredded into very fine threads. Further manipulated and moistened by the hands and mouths of threadmakers, the ends of each strand are twisted together to form a continuous thread. An additional tight twisting of the weft threads gives Ojiya-chijimi its characteristic crepe texture. This work takes place during cold winter months when the humidity from snow keeps the ramie threads pliable. -TEKUBIRI (Hand-tied ikat (kasuri) threads) Skeins of ramie thread are bound with cotton thread in a predetermined pattern before being immersed in a dye vat. This method of hand-tying is known as tekubiri. The bound areas resist the dye. When untied, placed on a loom, and woven into a fabric, the kasuri pattern emerges. -IZARIBATA (Use of a body-tension loom) Utilizing a simple body-tension loom (izaribata), the weaver sits on a wooden plank raised slightly off the floor with her legs outstretched underneath the loom. Her foot is slipped into a sling that manipulates a bent, wood lever attached to string heddles. A cloth beam (chimaki) is then placed against the weaver’s abdomen and secured by a strap that is brought around the small of the back. In this position the loom becomes an integrated extension of the weaver’s body. She can achieve subtle adjustments to warp tension by simply shifting her weight. An extremely high degree of skill is required to weave ramie thread as fine as human hair without the thread breaking. -YUMOMI, ASHIBUMI (The SHIBOTORI finishing method) The woven cloth is soaked in hot water and rubbed to remove any starch (yumomi). Afterwards, the cloth is soaked again in hot water and washed by trampling or massaging it with one’s feet (ashibumi). This process softens out the creases in jofu cloth and gives chijimi cloth its beautiful crepe-like texture. -YUKIZARASHI (Snow bleached) Wet lengths of ramie cloth are placed on top of snow-covered fields. For ten to twenty days the textiles are exposed to the bleaching properties of sunlight, which is intensified by the white snow. The cloth is further lightened by the penetration of ozone ions from the melting snow.

Japan 2009

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

Kumiodori is a type of musical composed of speech, music and dance, and dance-like movements. It is a comprehensive performing-art based on Okinawa’s traditional music and dance, but elements from mainland Japan like Nogaku or Kabuki and also from China are incorporated. During a performance, songs accompanied mainly by a three-stringed instrument portray events as well as the emotions of the characters. The words used in the story-telling come from the language of ancient Okinawa. The rhythm of the lines is based on traditional poetry, and the distinctive intonation of the Ryukyu scale. Dances and actions are based upon the physical movements of a pythoness at traditional rituals in ancient Okinawa. Male actors perform all the female roles. Traditional techniques and characteristics unique to Okinawa can also be seen in the methods of hair-dressing, costumes, equipment and tools used on stage. Kumiodori has approximately 70 dramas today. The contents are concerned with legends or the history of Okinawa. Kumiodori was first performed in 1719 in the Ryukyu Kingdom to welcome the envoy of the Chinese emperor. It was created and transmitted under the protection of the Ryukyu government and prospered as the official performing art of the Kingdom. Because it was originally created to be performed at official events of the kingdom, its main themes were loyalty and dutifulness. After the Meiji Restoration in the late 19th century, Ryukyu became a prefecture of Japan, and no longer received support from the Ryukyu Kingdom; Kumiodori began to be performed for ordinary citizens, so that the performers could earn a living. Even under difficult times during and after World War II, people in Okinawa managed to transmit Kumiodori, finding relief and mental support in the songs and dances under the harsh conditions of life. In 1972, when Okinawa was returned to Japan from the U.S., Kumiodori was designated by the Government as Important Intangible Cultural Property and the bearers of Kumiodori were given recognition. To avoid unruly changes in the performing art, the following requirements were set upon its designation. Requirements for designation: 1. The majority of the actors and those associated with the performance of Kumiodori must be members of the Traditional Kumiodori Preservation Society. 2. Acting and stage direction must be based on traditional style. a. Words must be based on traditional style. b. Appearance (costumes, wigs, make-up) must be in traditional style c. Actors must play all female roles d. Stage settings and props must be in traditional style When Kumiodori was designated as Important Intangible Cultural Property, the Traditional Kumiodori Preservation Society was formed to secure its transmission. The members of the Society are proud of Kumiodori, eager to transmit it, and maintain the high standards of their skills. The people of Okinawa respect this Society, and recognize Kumiodori as an important cultural heritage created by their ancestors. The Traditional Kumiodori Preservation Society is engaged in the promotion of Kumiodori, the training of successors, and the revival of dramas that were discontinued in the past. New performances with freer themes have been created today while keeping the traditional style of Kumiodori. They have been well received by the audience with a contemporary sensibility. In this way, Kumiodori has adapted to changing times and circumstances, and has continued to be recreated. Today, Kumiodori can be enjoyed all year round. The National Theatre Okinawa was built for the purpose of continuing the transmission of Kumiodori, and through detailed research on the performance history of Kumiodori, it provides the best stage mechanics suitable for its performance. As mentioned above, Kumiodori is a performing art that developed in the history and climate of Okinawa, and serves as a symbol of Okinawa, both socially and culturally. For the people of Okinawa, to see Kumiodori, or to perform in it, strengthens their sense of affiliation to the community. Kumiodori has continued to evolve, incorporating foreign elements from Asia and the Japanese mainland, while surviving many difficult conditions. Because of this, it is an important cultural heritage, indispensable for a deeper understanding of Okinawa. It is also a significant example the study of cultural interrelations between the Japanese mainland, Asian countries and Okinawa. The old language used in Kumiodori is no longer understood, except by the elderly. Kumiodori plays a central role in preserving this extinguishing language, as well as transmitting literature, performing arts, history, and ethical qualities to this day, both in Okinawa and other prefectures of Japan. The members of the Traditional Kumiodori Preservation Society have acquired high performing skills, and are eager to train successors. The Government recognized them as bearers of the arts and skills of Kumiodori. Currently, there are about 60 members. 2 among them have been recognized as supreme bearers, known as Living National Treasures. They have a central role in training successors, and work in collaboration with the national and local governments, schools and the National Theatre of Okinawa to promote Kumiodori. The National Theatre Okinawa conducts workshops in collaboration with the Traditional Kumiodori Preservation Society to train successors for the transmission of the knowledge and skills of Kumiodori. The young successors have a chance to perform throughout the year in order to exhibit the skills they have acquired. For the further promotion of Kumiodori, they work to increase opportunities to enjoy Kumiodori outside Okinawa. It also holds performances aimed for elementary school students in Okinawa.

Japan 2010

Airag is the fermented beverage from mare’s milk. This element includes a traditional method of making airag, its related equipment and objects such as khokhuur (cowhide vessel), buluur (paddle) and khovoo (kibble), and associated therewith social customs and rituals. The milking season for horses runs from mid June to early October. Daily milk yield of mares varies from 3 to 6 liters. The basic technique of making airag consists of milking mares and cooling fresh milked milk, and repeatedly churning milk in a khokhuur with starter left inside to assist its fermentation. The liquid must be churned 5000 and more times to make good fermented blend of airag. Mare’s milk undergoes fermentation by lactobacilli and lactic acid streptococci, producing ethanol, lactic acids and carbon dioxide. The airag - mildly alcoholic white beverage emits a delicious smell and its pleasant taste can make your mouth watery. For making the khokhuur, first, the cowhide is soaked and hide’s filament is removed, then it is dehydrated in the wind and fumigated. In such process, the cowhide turns to a white flexible leather. The khokhuur is made from this white leather and consists of mouth neck, corner, body and cords. The buluur is long-handled wooden paddle which is used for churning airag in khokhuur and furnished with bored blade of board at the end. Khokhuur can hold 40 to 100 liters of airag. Airag is used and served as a main and holy drink during various fests and in making offerings and ritual blessings.

Mongolia 2019

Inscribed in 2010 (5.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Mokjang or moksu is a traditional Korean term for artisans who deal with wood. Among the jobs of mokjang, daemok refers specifically to the building of wooden architecture, such as palaces, temples and houses. Woodworkers who engage in daemok are called daemokjang. The term daemokjang also refers to traditional wooden architecture. Daemokjang apply traditional skills and knowledge to construction. Thus, daemokjang complies with the definition of the intangible heritage as ‘knowledge, skills’. In addition, they use traditional materials and techniques. Thus, daemokjang constitutes ‘e) traditional craftsmanship’. Mokjang are divided into somokjang and daemokjang. Somokjang refers to those who make small-scale wooden objects, such as chests, cabinets, desks, dining tray-tables, and wardrobes. Daemokjang are those who build large-scale buildings, such as wooden palaces, temples and houses. Daemokjang are in charge of the entire construction process: planning, design and construction of buildings, and supervision of subordinate carpenters. Thus, the skill of daemokjang cannot be acquired in a short period of time. It takes decades of education and field experience. Wooden architecture has a long history in Korea. Among the best examples are Changdeokgung Palace and Bulguksa Temple, which are inscribed on the UNESCO World Heritage List. These architectural treasures were constructed under the command of daemokjang. In this sense, traditional Korean wooden architecture, built and restored with the skills and knowledge of daemokjang, are appreciated not as mere buildings, but as works of art. The knowledge and skills of daemokjang practitioners are recorded in historical documents, and verified in actual buildings. These practitioners are recognized as successors of the cultural heritage of traditional architecture. Daemokjang skill holders make efforts beyond preserving and transmitting the skills of traditional architecture. Their activities extend to the maintenance, reparation, and reconstruction of historic buildings, ranging from traditional Korean houses to national treasures. Thus, they are recognized as the guardians of traditional Korean architecture. All in all, daemokjang are recognized as successors, symbols, and preservers of the traditional architecture of Korea. This recognition plays a significant role in forming the identity of daemokjang.

South Korea 2010

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

Traditional Ahlat Stonework is the knowledge, methods, skills and aesthetic understanding, transmitted from generation to generation for centuries and based on the extraction of volcanic Ahlat stone from the quarries around Ahlat by the stone miners, shaping and ornamenting of the Ahlat stone by stone carvers, and constructing structure and creating artefacts by the practitioners of the element. Ahlat Stone is a volcanic stone extracted by traditional methods from the foothills of the Mountain Nemrut located near to Ahlat, district of Bitlis province. Stones are extracted from quarries through the "nailing technique" which has been used for centuries. In this technique, the iron wedges are hammered into the rock mass in a straight line and the rock mass is extracted in the desired size and removed as a block. Folk calendar and traditional knowledge of nature have important roles in the extraction of the stone by the stone miners. The extracted stone is cut and shaped then ornamented by stone carvers with hand-tools. The ornamentation on Ahlat stone is formed by scraping, relief and carving techniques. They are generally used vegetal, geometric and calligraphic shapes that reveal a certain aesthetic understanding transmitted from generation to generation. Building a structure by using Ahlat stone requires special technique and knowledge. The construction of the buildings starts and ends in periods determined according to the traditional folk calendar. Besides the architectural works such as houses, mosques, mausoleums and bridges; the stones are also used in tombstones, inscriptions, fountains and today in various artefacts.

Turkey 2022

Mongols process the animal raw skin and hide (raw skin of cattle). Through long undergone observance and experiments, they were able to elaborate and develop the indigenous traditional technique to process the skin and hide to produce various leather crafts and products. The skin and hide are processed by salting, stripping off, tanning or smoking. For instance, the processed materials from sheep skin can be used to make a deel (traditional garment). The processed materials from hide can be used to produce necessities and equipments such as airag-skin, hide-flask or animal harnesses such as bridle, halter, lasso, tri-hobble, tethering-line, girth and strap of a saddle, and so on. Nowadays, the leather products and crafts made of animal skin and hide are considered as valuable asset in demand for tourist attractions.

The largest from the tools and equipments for animal husbandry crafted by Mongols is a cart with wheels. Our predecessors have produced the cart with wheels from the old ages. As stated in the “Secret History of Mongols”, Mongols have produced and used a variety of carts such as mukhlag tereg (cart with booth), khagaatai tereg, öljigtei tereg, tömör tereg (metal cart), tsuurgatai tereg (cart with socket) and tenkhlegtei tereg (cart with axle). Only a handful of skilled master artisans crafted these varieties of carts in different sizes.

Mongolian traditional food is adjusted to the condition of the nomadic way of life. It is divided into milk or white products, meat or red products, and vegetable or green products. During summer and autumns, Mongols prefer to consume various different dairy products from milk of five livestock animals. Dairy products are generally produced by boiling, fermenting, distilling, brewing, extracting, separating or drying. Traditional food is dairy products, meat and green food or grain. Mongols do “Airag” from the mare’s milk, and do milk skim, youghurt, aaruul (oblong), with and orange eezgii, tsagaan tos (derived from the skim), tsorom by milk from sheep, goat and khoormog and aaruul from camel milk. Additionally, smoking, drying and preserving the meat from goat, cow and camel for making borts and shuuz. In addition, khorkhog, boodog, buuz and khuushuur and various different meals are made from sheep, goat and meat from hunting.

Mongolians make a tea in various ways. We boil the water for tea and add powdered tea to the boiling water and keep it on the soft fire for two minutes. Then we blend the boiling tea with milk and salt. We ladle up and pour back the blended tea in a flurry. We call tea as five dainties. They are water, salt, milk, ghee and tea. We melt ghee or fat of sheep's tail and add millet in the cast-iron pot and fry them. Then we pour hot plain tea without dregs, blend it with milk, put the lid on the pot and keep it for a while. Then we season the boiling with salt and soda. Then we pour it into a kettle. This is called hiitstei tsai or tea with various mixtures. This is thicker and oily tea. It can remove one's fatigue and satisfy one's hunger. Mongolian tea is called as, tiisen tsai (tea in corky tub), bortstoi tsai (tea with pemmican), torguud tea, tea with ravioli, tea with nettle and so on. We have many traditions to make a tea.

Hát bội (or can go with the name “tuồng”) is a traditional performance art form in Vietnam, it has a rich historical foundation. The oldest manuscript about Hát bội can be found back in the 18th century. However, Hát bội is believed to appear earlier than that and has become a dominating theatre practice, especially in the Inner Lands/Đàng Trong (a part of South Central area and Southern Vietnam). Just like any traditional art form, the stage of Hát bội also consists of aesthetic values of the Viet people, reflecting the life, stories, and aspirations of the common Viet people. Hát bội has charmed the audience not only for its humane storyline, but also for the sophisticated visual of face-painting, costuming, choreography, staging, and symbolic gestures. In recent times, Hát bội has slowly lost its place in public perception and became more of a spiritual performance to serve communal temples instead.