Art Council of Mongolia, Culture Naadam Project

Dembee is a form of entertainment closely associated with the airag (mare’s fermented milk) culture of nomadic Mongols. Dembee is a type of a game to guess the total number of fingers of two people through its own established phrase of verses, rhyming and distinct melody. The tradition of dembeedekh is an example of how deeply the music is involved in the livelihood of Mongols.

Tholpavakoothu is a form of shadow puppetry unique to central Kerala, in southern India . It is performed in permanent temple theatres as a form of ritual primarily honouring the Goddess of Bhadrakali. It enacts the hindu epic Ramayana in a version based on the Tamil Ramayana of Kambar. A highly flexible narrative allows a typical cycle of Tholpavakoothu to extend between seven and twenty one nights, depending on the performance commissioned and sponsored locally. After remaining largely unknown to the West, until the twentieth century, recent scholarship has established its ancient beginnings, while also highlighting the absence of a detailed account of the Art in performance over centuries of its existence. Long ago the creator Bhrahma blessed a demons and as a result of his blessing she gave birth to a son named Darika. When this Demon boy grew up, he became so strong that he turned out to be a threat and a constant source of harassment to the gods. sages and hermits .They approached Lord Shiva for help .In order to kill Darika shiva created the goddess Bhadrakali from the kaalakooda poison lodged in his throat . A fierce fight ensued between Darika and Bhadrakali ,lasting several days. Finally Bhadrakali killed Darika. While Bhadrakali was engaged in fighting Darika,Rama was fighting Ravana.So Bhadrakali was not able to see Rama and Ravana fight. That is why the Ramayana story is enacted in her presence through Tholpavakoothu. Theme and LyricsnThe theme of tholpavakoothu is Ramayana story extending from birth of Rama to his coronation, presented in 21 parts over 21 days. The story of Ramayana is written in 21 parts especially for pavakoothu . This composition which is a mixture of prose and verse is called adalpattu. Adal is acting and pattu is relating to . Since the composition is related to the enactment of Ramayana story it is called adalpattu.\nn The verse of this composition is collectively called koothukavikal; kavikal means verse or poems. Many of this verses are from Kamba Ramayana ,the Ramayana in Tamil by the poet Kambar .But tholpavakoothu performers have changed many of Kambar’s verses and in some places had added their own to meet the purpose of ritual. Scholars differ about the date. Kambar wrote Ramayana in Tamil because Valmilki Ramayana was not accepted among common people .He lived in 9th century A.D. Some say it is 13th century AD. But common opinion is that he lived at Tanjavur during the period of Chola dynasty in the 12th c AD.\n Kambar’s Ramayana is based on Valmiki’s epic, but his presentation and style of narration are most dramatic. This long epic poem containing 20,000 verses is divided into six sections: Balakanda, Ayodhyakanda, Aryakanda, krishkindhakanda, and Yuddhakanda. In addition to verse borrowed from the Kamba Ramayana the performers have added their own verses. A few verses are in Sanskrit and some area mixture of Tamil and Sankrit. Tholpavakoothu, performed every year in the temples of Bhadhrakali ,is regarded as the part of ritualistic worship of goddess. The Arayankavu Temple near Shornur is famous for its Tholpavakoothu because of the attendant ceremonies. The administration of this temple was completely under the control of Kavalapara Muppil Nair . The family attached much importance to pavakoothu and regarded the annual performance at the temple as solemn religious duty. There was a reason for this. At a point of time there were no children in Kavalappara family, and there was a danger that the danger that the family would die out for want to heirs. The family they conducted Tholpavakoothu in the temple as an offering to the goddess and children were born. Since then the family has conducted pavakoothu in the temple every on a grand scale showing the whole of Ramayana from Rama’s birth to his coronation. Ganapathi Iravi Maharajan, who was then the head of the Kavalappara family ,firmly established this tradition of presenting every year at Aryankavu Temple. nTholpavakoothu puppets are made of deer skin. The figures are drawn on the skin by cut out and embellished with dots, lines and holes. The skin is first stretched taut on a smooth board, nailed at the corners to keep it stretched and in position. It is then smeared and rubbed with ash, a process which leaves a thin layer of ash on the skin, and exposed to the sun till dry. When the skin is completely dehumidified all the hair on it is removed by scraping with a sharp edged piece of bamboo. nThen the puppet figure is drawn clearly on it and cut with a fine chisel. The eyes, nose and lips are also drawn on the puppet and cut out. Ornaments and dress are drawn by drilling different kinds of holes in the skin for which special pointed chisel are used. When the puppet is ready it has the same thickness as the original piece of leather.\n The puppets are painted in different colours. The original method of making red dye was by boiling the bark of chappanga tree, black by mixing gum from neem and soot from a coconut oil lamp and blue from boiling neeli leaves in water. The shadows of the puppet on the screen are black, but these become very attractive when shades of other colours merge in them. To prevent the puppet from bending, a thin strip of smoothened bamboo is fastened vertically along the middle on either side. The arms of the puppet are provided with movable joints. There are usually three joints on an arm.\n Puppets are usually made showing them in sitting, walking and fighting postures. In puppets in sitting and moving postures only one arm is movable; both arms are movable in puppets in fighting posture. There are puppets of birds, animals, trees and even for the sea, The puppets of deer and snake are provided with joints that enable them to bend and move their bodies. nThe expression on faces of the puppets indicates their characters. When the shadows of puppets are seen on the screen in the light of oil lamps, they resemble the sculptures in the temples.\nThe puppets have to make gestures and movement in conformity with the narration or dialogue. The puppeteers manipulate their puppets in this way: with one hand they hold the puppet by the lower end of the bamboo strip fastened to the puppet and with a stick in the other hand they make the puppet perform the required movements. The stick they use is usually a thin strip of bamboo some 50 cm long. At the end of the stick, tied to it with a string, is a very thin strip of wood not more than 3cm long. nThis thin end piece is inserted in a hole in the puppets hand when a hand movement is required. The movable arms and fingers are uniform in shape in almost all puppets. The most common hand gesture is the chidmudra- which represents peace, by joining the tips of thumb and first finger, keeping other fingers stretched.\nAfter the ritualistic ceremonies the nandi-shlokha, a hymn in praise of Ganapati is sung. At this the puppet of Ganapati is shown on the screen. The Brahmin characters called pattar pavas are shown on the next. These Brahmin are known by such names as-Moothapattar holding an umbrella, Malleesapattar holding a veeshari, Gangayaadipattar holding a theerthakudam, and Somayajipattar holding a kaavadi. They come from the four regions- north, south, east and westnAs they appear on the screen, the Brahmin’s sung the glories of mahavishnu and explains the greatness and importance of their yagas for the welfare of the mankind. They also praise the other gods and afterwards are supposed to praise the gurus of Tholpavakoothu; but as these guru’s are shudras, the Brahmins cannot praise them. So they leave the stage saying that the function of praising the gurus must be performed by the puppeteers themselves. This is done by the puppeteers. After this the pattar pavas appear again on the screen and sing hymns in praise of Ganapati, Saraswathi, Mahavishnu and Parameshwara.\nThis is followed by a ceremony called sadyavazhthkal- which is the praise of families which have played host to members of puppet troupe that day and offered them hospitality. While praising these families, the puppeteers give a detailed description of the feast offered by them. When the sadyavazhthal is over, a performer summarizes the part of the story to be shown that day. This is followed by paramparamala, where the puppeteers sing hymns in praise of Subrahmanya, Ganapati, Shiva and Krishna, touching the lamps behind the screen as a sign of devotion. Then they begin the koothu. These ritualistic observances such as kalarichintu and paramparamala are performed every day before the koothu commences. It is performed in 7,14,21,41, or 71 days depending upon the custom practiced in the templenIn the course of performance, the performers give explanations and interpretations of the verses, depending on the context. Often they have to bring out the depth and range of the meaning of the words. Where a verse contains allusions or some inner significance, the explanation may continue for as much as an hour.

In Myanmar, ancient chronicles say that harps were being played as early as in the Pyu Period. In February of 802 A.D. Sri Khettra despatched a Pyu music and dance ensemble to Chan-ann the city of the Tang Dynasity of China. Tang Dynasty chronicles say that the Pyu musicians had with them two harps with pheasant’s head shapes, two harps with corcodile’s head shapes, one flat harp in the shape of a dragon’s head, one flat harp in the shape of rain clouds, two flat harps of big gourds, one flat gourd-harp with a single string and one small flat gourd-harp. Among rock relief sculptures found on the walls of the Ananda pagoda built by king Kyansittha in A.D 1084-1113 is a harp which indicates that the harp was in general use in those days.\nThe part where the neck joins the sound box is shaped like a leaf of the saga: (champac) while the stern is shaped like bowl. The tip of the neck is shaped like the leaf of the banyan tree. The neck is made of sha: (acaciacatechu) wood. The sound box is covered with a membrane of deer skin. Holes are perforated along the ridge to hold the ends of the strings. The intervals between the holes need to be of correct proportion, otherwise, the harp tends to be out of tune and also lacks proper form. Hence, the ridge is a critical component of the harp. When playing, the harp player sits cross-legged on the floor and rests the front of the body of the harp in his or her lap, with the arch on the harp player’s left and the rear of the harp’s body angled slightly upwards so that the strings are almost horizontal. The fingers of the left hand are braced against the outside of the arch and moved agilely up and down. A stopped tone is produced when the left thumb nail is pressed against the string from the inside to increase its tension and thus raise its pitch. The thumb and forefinger of the right hand, either separately or together, pluck the strings at their center while the right elbow rests on the top of the rear of the harp body outside of the strings. The left thumb may be used to pluck the bass of the harp figuration while the right thumb and forefinger pluck the melodic pattern. A skilled harpist promote clarity by jumping the string just sounded while sounding the next string. This jumping may be done with the middle finger, the palm of the hand, or the forefinger just after the activation when a staccato note is desired.

Today, we live in a digital age where a single-finger touch leads us to see at a glance the time and memory of the past. The rapid changes in the recording media brought about by this technological development, however, may have degenerated valuable analogue data and information from the previous era into obsolete artifacts. Intangible cultural heritage (ICH) records are no exception. Many of the older ICH analog materials that are not adapted to a highly electronic environment face a serious risk of damage. In line with this, ICHCAP has been implementing a project called “Digitizing ICH Records” that aims to cover important areas of restorative digitization such as understanding the status of analog audio-visual data related to intangible heritage, restoration, management, utilization, and information dissemination.\n\nICHCAP has been promoting and sharing digital audiovisual materials since 2011 through this project. In 2020, ICHCAP, in collaboration with the Kosrae Historic Preservation Office, digitized the analogue ICH date of Micronesia.

The traditional musical instruments of Myanmar were prominent throughout the nation’s history. The instruments were developed as early as the Pyu Era, Bagan Era and many were dominant features of music during the Innwa Era and Konbaung Era.\n\nWhile some of these instruments have been preserved and are used today, others have been lost to history.\nIn an attempt to preserve the traditional musical instruments of Myanmar, the Ministry of Culture displayed traditional instruments and distributed the books about the instruments during an exhibition in 1955. This research shows thirty-three kinds of instruments. Moreover, in a 2003 celebration of traditional instruments, the Ministry of Culture exhibited over two hundred traditional instruments at the national museum.\nWhile the instruments on display were representative of many regions and states, many instruments were not included.\nBecause of this lack of full representativeness, additional research through field studies is required. This project proposal addresses this need.\n\nTo create a preliminary basis towards developing a national ICH inventory of craftsmanship and performing arts of traditional musical instruments in Myanmar. To safeguard ICH related to the craftsmanship and performing arts of traditional musical instruments and to promote cultural diversity among multi- ethnic groups in Myanmar. To raise awareness of the Myanmar public on the importance of ICH. To expand networking and information sharing between Myanmar and Korea.

Đing buốt is an aerophonic instruments. It is a vertical flute with reed. The flute has four pressing holes on the body and one blowing hole before the reed. From the hole before the reed to the first pressing hole on the body is a distance of one span. Đing buốt is for only the male and performed solo or to accompany singing. It can be used to play musical pieces with fast tempo and flexibly play finger techniques such as tongue, vibrating, trill, etc. Đing buốt can be played everywhere, in the field, on the road, or in love-exchanges. However, there are also strict taboos on the repertoire; for example the piece “Crying wife” is never performed on weekdays.

The đinh tác ta is an aerophonic instrument made of a hornless bamboo section put through a dry gourd. At the hornless bamboo part inside the gourd, there is a bamboo reed. The rest of the bamboo part has three pressing holes. When playing, the instrumentalist holds the knob of the gourd in his mouth while his left thumb covers or opens the other end. His right thumb, forefinger, and middle finger press the three holes on the section. Đinh tác ta’s timbre is loud and clear. Only men play this instrument in the fields or on the roads; it is rarely performed in the village.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some East and Central Asian countries from 2009 to 2012, this summary provides a brief overview on the ICH situation in Uzbekistan, Tajikistan, Kyrgyzstan, and Kazakhstan . The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. This survey report offers a large sample of the diverse ICH situations in East Asian and Central Asian countries. Although each country has a different background on issue of intangible heritage, depending on its cultural, economic, and socio-political situation, the countries participating in the survey share a commonality: They are post-communist countries that were once under the Soviet system. Moreover, they share a traditional culture shaped by nomadic pastoralism that offers a variety of cultural similarities. For instance, they keep an ancient and rich tradition of epic singing, and they are highly concerned about this oral heritage as it is on the brink of disappearance. In this sense, they have much to exchange and share in regards to safeguarding ICH. The countries participating in the survey are concerned with the threats against their ICH, but most of these nations are in the early process of defining ICH and establishing independent national ICH lists. At the same time, each country expresses a high degree of motivation and encouragement for safeguarding ICH, sharing experiences, and participating in international cooperation programmes. Apart from the main subject, a brief glimpse is taken on the situation of intellectual property in ICH safeguarding in each country. Compared to the Southwest Asian countries that participated in the field survey, the East Asian and Central Asian countries provided little information on intellectual property issues, so it is recommended that ICHCAP undertake the Field Survey on Intellectual Property Issues in the Process of ICH Information Building and Information Sharing in some countries to see their status on this subject.\n\n- Ratified the ICH Convention in 2008; survey conducted in 2009 and updated in 2014.\n- As of March 2018, has 6 ICH elements on the RL, 1 element as GSP, and no accredited NGOs.

Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some South Asian countries (2010–2013), this summary provides a brief overview on the ICH situation in Nepal, Bhutan, Bangladesh, Pakistan, and Sri Lanka . The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. Some information on the ICH safeguarding status of Pakistan is updated, based on Periodic Report No.00794/Pakistan on the implementation of the Convention and on the status of elements inscribed on the RL submitted to UNESCO on December 2012. \n\nThis survey report offers a large sample of the diverse ICH situations in South Asian countries. Each country has a different background on the issue of intangible heritage. Although all the participating countries are concerned about the threats facing ICH, most of the countries participating in the survey haven’t defined the ICH and haven’t established national ICH lists and/or ICH inventories.However, each country expresses a high degree of motivation and encouragement for safeguarding o ICH, sharing experiences, and cooperating internationally. A common point noticed among them is that they tend to pay more attention to traditional performing arts in comparison to other ICH domains. Apart from the main subject, information on the situation of intellectual property related to ICH safeguarding in each country is included. However, this issue is very briefly reflected, so it is necessary to go through the ICHCAP Field Survey on Intellectual Property Issues in the Process of ICH Information Building and Information Sharing (2011–2012) to obtain more comprehensive and concrete information on this topic.\n\n-Ratified the ICH Convention in 2005; conducted survey in 2010.\n-As of April 2013, has one element on the RL of UNESCO and no accredited NGOs.