Joroon Joroo depicts couples dancing while riding on horses strolling at a leisurely pace. This dance originates from the Mongolian folk dance Bii Biyelgee. Bii Biyelgee is a dance arising from the nomadic lifestyle, and was traditionally performed in a small confined space within the ger, next to the stove. The choregraphy is primarily performed using the chest, shoulders, head and wrists, to avoid raising dust indoors. The legs are in a half-sitting position or crossed, only acting to support the torso. It is characterized by the raising of the arms and shaking of the shoulders. It is primarily accompanied by the ekil (violin-like traditional instrument) and the choreography is relatively short in length.\n\nThe various ethnic groups of Mongolia each perform their own unique and creative form of Biyelgee, which all go by different names. As Biyelgee is not just a dance but a form of pantomime which involves wit, emotions and expressions, it requires a high level of technical expertise and patience to master. Biyelgee plays an important role in the Mongolian society composed of a wide range of communities, as a cultural asset reflecting the customs and lifestyles of Mongolian nomads, and a common ground connecting the various ethnic communities. The viability of Biyelgee had been under threat in the recent past, due to a continued decline in the number of transmitters and performing communities, the numbers of trainees and transmitters have been showing stable growth with safeguarding efforts by the UNESCO and the Mongolian government.\n\nCharacteristics:\n∙A branch of Biyelgee dance which uses horses as a motif\n∙Biyelgee was inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2009\n\nperformed by Mongolian National Song and Dance Academic Ensemble\ndirected by Tseden-Ish Altangerel\nchoreographed by Davaakhuu Altangerel

Joroon Joroo depicts couples dancing while riding on horses strolling at a leisurely pace. This dance originates from the Mongolian folk dance Bii Biyelgee. Bii Biyelgee is a dance arising from the nomadic lifestyle, and was traditionally performed in a small confined space within the ger, next to the stove. The choregraphy is primarily performed using the chest, shoulders, head and wrists, to avoid raising dust indoors. The legs are in a half-sitting position or crossed, only acting to support the torso. It is characterized by the raising of the arms and shaking of the shoulders. It is primarily accompanied by the ekil (violin-like traditional instrument) and the choreography is relatively short in length.\n\nThe various ethnic groups of Mongolia each perform their own unique and creative form of Biyelgee, which all go by different names. As Biyelgee is not just a dance but a form of pantomime which involves wit, emotions and expressions, it requires a high level of technical expertise and patience to master. Biyelgee plays an important role in the Mongolian society composed of a wide range of communities, as a cultural asset reflecting the customs and lifestyles of Mongolian nomads, and a common ground connecting the various ethnic communities. The viability of Biyelgee had been under threat in the recent past, due to a continued decline in the number of transmitters and performing communities, the numbers of trainees and transmitters have been showing stable growth with safeguarding efforts by the UNESCO and the Mongolian government.\n\nCharacteristics:\n∙A branch of Biyelgee dance which uses horses as a motif\n∙Biyelgee was inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2009\n\nperformed by Mongolian National Song and Dance Academic Ensemble\ndirected by Tseden-Ish Altangerel\nchoreographed by Davaakhuu Altangerel

Joroon Joroo depicts couples dancing while riding on horses strolling at a leisurely pace. This dance originates from the Mongolian folk dance Bii Biyelgee. Bii Biyelgee is a dance arising from the nomadic lifestyle, and was traditionally performed in a small confined space within the ger, next to the stove. The choregraphy is primarily performed using the chest, shoulders, head and wrists, to avoid raising dust indoors. The legs are in a half-sitting position or crossed, only acting to support the torso. It is characterized by the raising of the arms and shaking of the shoulders. It is primarily accompanied by the ekil (violin-like traditional instrument) and the choreography is relatively short in length.\n\nThe various ethnic groups of Mongolia each perform their own unique and creative form of Biyelgee, which all go by different names. As Biyelgee is not just a dance but a form of pantomime which involves wit, emotions and expressions, it requires a high level of technical expertise and patience to master. Biyelgee plays an important role in the Mongolian society composed of a wide range of communities, as a cultural asset reflecting the customs and lifestyles of Mongolian nomads, and a common ground connecting the various ethnic communities. The viability of Biyelgee had been under threat in the recent past, due to a continued decline in the number of transmitters and performing communities, the numbers of trainees and transmitters have been showing stable growth with safeguarding efforts by the UNESCO and the Mongolian government.\n\nCharacteristics:\n∙A branch of Biyelgee dance which uses horses as a motif\n∙Biyelgee was inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2009\n\nperformed by Mongolian National Song and Dance Academic Ensemble\ndirected by Tseden-Ish Altangerel\nchoreographed by Davaakhuu Altangerel

Joroon Joroo depicts couples dancing while riding on horses strolling at a leisurely pace. This dance originates from the Mongolian folk dance Bii Biyelgee. Bii Biyelgee is a dance arising from the nomadic lifestyle, and was traditionally performed in a small confined space within the ger, next to the stove. The choregraphy is primarily performed using the chest, shoulders, head and wrists, to avoid raising dust indoors. The legs are in a half-sitting position or crossed, only acting to support the torso. It is characterized by the raising of the arms and shaking of the shoulders. It is primarily accompanied by the ekil (violin-like traditional instrument) and the choreography is relatively short in length.\n\nThe various ethnic groups of Mongolia each perform their own unique and creative form of Biyelgee, which all go by different names. As Biyelgee is not just a dance but a form of pantomime which involves wit, emotions and expressions, it requires a high level of technical expertise and patience to master. Biyelgee plays an important role in the Mongolian society composed of a wide range of communities, as a cultural asset reflecting the customs and lifestyles of Mongolian nomads, and a common ground connecting the various ethnic communities. The viability of Biyelgee had been under threat in the recent past, due to a continued decline in the number of transmitters and performing communities, the numbers of trainees and transmitters have been showing stable growth with safeguarding efforts by the UNESCO and the Mongolian government.\n\nCharacteristics:\n∙A branch of Biyelgee dance which uses horses as a motif\n∙Biyelgee was inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2009\n\nperformed by Mongolian National Song and Dance Academic Ensemble\ndirected by Tseden-Ish Altangerel\nchoreographed by Davaakhuu Altangerel

Joroon Joroo depicts couples dancing while riding on horses strolling at a leisurely pace. This dance originates from the Mongolian folk dance Bii Biyelgee. Bii Biyelgee is a dance arising from the nomadic lifestyle, and was traditionally performed in a small confined space within the ger, next to the stove. The choregraphy is primarily performed using the chest, shoulders, head and wrists, to avoid raising dust indoors. The legs are in a half-sitting position or crossed, only acting to support the torso. It is characterized by the raising of the arms and shaking of the shoulders. It is primarily accompanied by the ekil (violin-like traditional instrument) and the choreography is relatively short in length.\n\nThe various ethnic groups of Mongolia each perform their own unique and creative form of Biyelgee, which all go by different names. As Biyelgee is not just a dance but a form of pantomime which involves wit, emotions and expressions, it requires a high level of technical expertise and patience to master. Biyelgee plays an important role in the Mongolian society composed of a wide range of communities, as a cultural asset reflecting the customs and lifestyles of Mongolian nomads, and a common ground connecting the various ethnic communities. The viability of Biyelgee had been under threat in the recent past, due to a continued decline in the number of transmitters and performing communities, the numbers of trainees and transmitters have been showing stable growth with safeguarding efforts by the UNESCO and the Mongolian government.\n\nCharacteristics:\n∙A branch of Biyelgee dance which uses horses as a motif\n∙Biyelgee was inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2009\n\nperformed by Mongolian National Song and Dance Academic Ensemble\ndirected by Tseden-Ish Altangerel\nchoreographed by Davaakhuu Altangerel

Naadam', which means game or contest, is a traditional Mongolian festival held every summer. Before and after the state Naadam is held in Ulaanbaatar, every village holds its own Naadam in their local community. The main events of Naadam contain horseracing, wrestling, and archery, which are related to the nomadic culture of Mongolians. Naadam was transmitted from generation to generation and is considered an essential expression of Mongolian cultural identity. Naadam was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2010.

"Kazakhstan is home to many major local festivals, and the vibrant communities that help these festivals come to fruition are part networks that help promote the festivals. As a result, the local festivals have turned into multinational events. As an example, the World Nomadic Games (WNG) is held biennially and has grown considerably, in 2018, 3,000 athletes from 77 countries. The WNG has contributed to science in cultural heritage and transmission of the ICH in general. Traditional game federations have established networks in a number of counties- Salbuurun Federation (seventeen countries), Kök Börü Federation (ten countries), Alysh Federation (sixty-three countries), Kyrgyz Kürösh Federation (twenty-eight countries), Toguz Korgool Federation (thirty-three countries), Er Engish Federation (thirteen countries) and Ordo Federation (six countries). As a result, ICH festivals became one of the main attractions for international tourists in Kyrgyzstan that contribute to the local economy and to the livelihoods and well-being of concerned communities as well."

Traditional Craftsmanship of the Mongolian Ger and Associated Customs (Representative List of the Intangible Cultural Heritage of Humanity, 2013)\nThe Mongolian ger is composed of wooden frames, canvas, and ropes. The wooden frames comprise the crown, roof poles, wall lattices, door, and two pillars; each wooden element is produced by separate, specialized carpenters. The traditional craftsmanship of the Mongol ger reflects the nomadic culture and national identity of Mongolia.

Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.

ICH Video Production in the Asia-Pacific Region : Central Asia\n\nRapid urbanization and westernization are changing the environments in which intangible cultural heritage is rooted. The importance of documentation that traces the effect of social changes on intangible cultural heritage is being emphasized as a safeguarding measure. Quality video documentation is an important resource that enables the conservation and transmission of existing intangible cultural heritage and raises its visibility.\n\nVideo documentation is the best medium to record intangible cultural heritage in the most lifelike manner, using the latest technologies. It is also an effective tool for communicating with the public. However, conditions for video production in the Asia-Pacific remain poor, requiring extensive support for quality video documentation.\n\nICHCAP has been working to build the safeguarding capabilities of Member States and raise the visibility of intangible cultural heritage in the Asia-Pacific by supporting the true-to-life documentation of intangible cultural heritage as this heritage is practiced and cooperating with experts, communities, and NGOs in related fields.\n\nSince 2010, ICHCAP has hosted annual Central Asian sub-regional network meetings with Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan, and Mongolia to support the ICH safeguarding activities of Central Asia. Through their collaboration, ICHCAP has supported projects involving collecting ICH information, producing ICH websites, and constructing ICH video archives.\n\nAt the Sixth Central Asia Sub-regional Network Meeting in Jeonju in 2015, ICHCAP, four Central Asian countries, and Mongolia adopted a second three-year cooperation project plan on producing ICH videos to enhance the visibility of ICH in Central Asia.\n\nICHCAP developed guidelines and training programs for the project and invited video and ICH experts from the participating countries, and held a workshop in November 2015. After the workshop, focal points for the project were designated in each country, and each focal point organization formed an expert meeting and a video production team to produce ICH videos.\n\nInterim reports were submitted to ICHCAP in February 2016, and the first preview screening was held in Dushanbe, Tajikistan, during the Seventh Central Asia Sub-regional Network Meeting in May 2016. Since then, each country has carried out the project according to the project plan. ICHCAP met with each country between October 2016 to February 2017 to check on the project progress.\n\nAfter the final preview screening during the Eighth Central Asia Sub-regional Network Meeting in Bishkek, Kyrgyzstan, in 2017, final editing process took place in each country, and fifty ICH videos were completed by October 2017.\n\nAll photos introduced on this page along with fifty ICH videos are from the exhibition 'Living Heritage: Wisdom of Life' held in the Republic of Kyrgyzstan and the Republic of Korea. Designed for introducing various ICH in the five countries, this exhibition shows photos on representative twenty elements in each country collected during the process of on-site survey and documentation for ICH Video Production Project in Central Asia by experts participated in the ICH video production project.\n\nICHCAP will continue its ICH documentation projects in the Asia-Pacific region for the next ten years by expanding the scope from Central Asia and Mongolia to Southeast Asia, Southwest Asia, and the Pacific.\n\n\nPartners\nMongolian National Commission for UNESCO • National Commission of the Kyrgyz Republic for UNESCO • National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • National Commission of the Republic of Uzbekistan for UNESCO • National Commission of the Republic of Tajikistan for UNESCO • Foundation for the Protection of Natural and Cultural Heritage Mongolia • National Committee for the Safeguarding of the Intangible Cultural Heritage under the National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • School of Fine Art and Technical Design named after Abylkhan Kasteyev • State Institute of Arts and Culture of Uzbekistan • Tajik film • Tajikistan Research Institute of Culture Information • Korea Educational Broadcasting System • Asia Culture Center\n\nSupporters\nUNESCO Almaty and Tashkent Cluster Offices • Cultural Heritage Administration • Panasonic Korea • Turkish Airlines

제목\n(English) Silk Roads ICH Survey Report – Festivals\n(Korean) 실크로드 무형유산 설문조사 보고서 – 축제\n(Russian) Доклад по исследованию нематериального культурного наследия Шелкового пути – фестивали\n\n언어: 한국어, 영어, 러시아어\n\n이 보고서는 실크로드 지역의 무형유산 축제에 관한 현황을 살펴보고 정보공유 및 가시성을 높이기 위한 시도로서, 한국을 포함한 실크로드 관련 국가들의 정부와 문화기관을 대상으로 시행하였으며, 2021년 총 9개국에서 접수한 347개의 유효응답을 통계 분석하여 수록하였다.

ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 42 is 'ICH FESTIVALS ON THE SILK ROAD.'

This book introduces the tug-of-war traditions of Korea and the three Southeast Asian countries mentioned as well as the tugging traditions passed down in Japan, Thailand, and Ukraine. The book presents studies showing various conditions and perceptions of tug-of-war in each country. So, it will be valuable research material for those interested in tug-of-war.

ICHCAP published the book Living Heritage Series – Traditional Musical Instruments in collaboration with the ICH NGO Forum’s #HeritageAlive.\n\nProven from a long history, music shares thoughts and emotions among community members who play the instruments and enjoy it. This book was made with the contributions of fifteen writers from countries across the globe. The authors describe the current status of traditional music and provide insight on how to revitalize these traditions based on the 2003 Convention.