Recent Event Highlights: Urtin Duu Trailer mongolian movie film, Chengdu Intangible Cultural Heritage Festival Parade, Gesar epic tradition, Registration of Cantonese Opera (Yueju) to the UNESCO's List of Intangible Cultural Heritage., The Royal Ancestral Ritual in the Jongmyo Shrine and its Music, Urtiin Duu - Traditional Folk Long Song, and 34 more...
Created by dipity on Aug 21, 2010
Last updated: 08/23/10 at 03:18 AM
Urtin Duu is a film by Hasichaolu, a mongolian filmmaker in China. He has received numerous awards for his films. In this movie he shows the loss of the mongolian culture in inner mongolia in a very poetic sense. mongol duu mongol film mongol music mongol tradition Urtin duu in English "long song" is a traditional mongolian way of singing. The vocals are stretched so that one song can contain only 10 words but dure 5 minutes. As a ritual form of expression associated with important celebrations and festivities, Urtiin duu plays a distinct and honoured role in Mongolian society. It is performed at weddings, the inauguration of a new home, the birth of a child, the branding of foals and other social events celebrated by Mongolias nomadic communities.The Urtiin duu can also be heard at the naadam, a festivity featuring wrestling, archery and horseracing competitions. In 2005 the Urtin duu was declared to the Intangible Cultural Heritage by the UNESCO.
UNESCO: Representative List (2009) URL: www.unesco.org Description: The ethnic Tibetan, Mongolian and Tu communities in western and northern China share the story of the ancient hero King Gesar, sent to heaven to vanquish monsters, depose the powerful, and aid the weak while unifying disparate tribes. The singers and storytellers who preserve the Gesar epic tradition perform episodes of the vast oral narrative (known as beads on a string) in alternating passages of prose and verse with numerous regional differences. Tibetan masters carry bronze mirrors and use facial expressions, sound effects and gestures to enhance their singing, while Mongolian performers are accompanied by fiddles and intersperse improvised, melodic singing with musical storytelling and oral narrative. Epic performances, often accompanied by rituals such as offerings and meditation, are embedded in the religious and daily lives of the community. For example, when a child is born, passages about King Gesars descent into the world are sung. The hundreds of myths, folktales, ballads and proverbs handed down as part of the tradition not only serve as a form of major entertainment in rural communities but also educate listeners in history, religion, custom, morality and science. A continuing inspiration for ''thangka'' painting, Tibetan opera and other art forms, the Gesar epic imbues audiences both young and old with a sense of cultural identity and historical continuity. Country(ies): China © 2008 by IEL ...
Registration of Cantonese Opera (Yueju) to the UNESCO's List of Intangible Cultural Heritage. October 2009 - Hong Kong.
UNESCO: Representative List (2008) URL: www.unesco.org Description: The Jongmyo Shrine in Seoul is the setting for a Confucian ritual dedicated to the ancestors of the Joseon dynasty (14th to the 19th century) that encompasses song, dance and music. The ritual is practised once a year on the first Sunday in May and is organized by the descendants of the royal family. It offers a unique example of a Confucian ritual, which is no longer celebrated in China. The tradition is inspired by classical Chinese texts concerning the cult of ancestors and the notion of filial piety. It also includes a prayer for the eternal peace of the ancestors spirits in a shrine conceived as their spiritual resting place. The order of the ceremony was defined in the fifteenth century and most elements have remained unchanged until today. During the rite, the priests, dressed in ritual costume with a crown for the king and diadems for the others, make offerings of food and wine in ritual vessels. The Jongmyo Jerye is music played to accompany the rituals and is performed on traditional instruments, such as gongs, bells, lutes, zithers and flutes. The dances are performed by 64 dancers in 8 lines representing the opposing yet complementary forces of Yin and Yang as set out in the Confucian texts.The Munmu dance, accompanied by the harmonious and soothing Botaepyong music, is characterized by a first step to the left. While the Munmu dance symbolizes the force of the Yang, the Mumu dance ...
UNESCO: Representative List (2008) URL: www.unesco.org Description: The Urtiin duu or long song is one of the two major forms of Mongolian songs, the other being the short song (bogino duu). As a ritual form of expression associated with important celebrations and festivities, Urtiin duu plays a distinct and honoured role in Mongolian society. It is performed at weddings, the inauguration of a new home, the birth of a child, the branding of foals and other social events celebrated by Mongolias nomadic communities.The Urtiin duu can also be heard at the naadam, a festivity featuring wrestling, archery and horseracing competitions. The Urtiin duu is a lyrical chant, which is characterized by an abundance of ornamentation, falsetto, an extremely wide vocal range and a free compositional form. The rising melody is slow and steady while the falling melody is often intercepted with a lively rhythm. Performances and compositions of Urtiin duu are closely linked to the pastoral way of life of the Mongolian nomads on their ancestral grasslands. Widely believed to have originated 2000 years ago, the Urtiin duu has been recorded in literary works since the thirteenth century. A rich variety of regional styles has been preserved until today, and performances as well as contemporary compositions still play a major role in the social and cultural life of nomads living in Mongolia and in the Inner Mongolia Autonomous Republic, located in the northern part of the Peoples Republic of ...
UNESCO: Representative List (2008) URL: www.unesco.org Description: Nôgaku theatre had its heyday in the fourteenth and fifteenth centuries, but actually originated in the eighth century when the Sangaku was transmitted from China to Japan. At the time, the term Sangaku referred to various types of performance featuring acrobats, song and dance as well as comic sketches. Its subsequent adaption to Japanese society led to its assimilation of other traditional art forms. Today, Nôgaku is the principal form of Japanese theatre and has influenced the puppet theatre as well as Kabuki. Often based on tales from traditional literature, Nôgaku theatre integrates masks, costumes and various props in a dance-based performance. Moreover, this theatre requires highly trained actors and musicians. Nôgaku encompasses two types of theatre: Noh and Kyôgen, which are performed in the same space. The stage projects into the audience and is linked by a walkway to a hall of mirrors backstage. In Noh, emotions are represented by stylised conventional gestures. The hero is often a supernatural being who takes on human form to narrate a story. The distinctive masks for which Noh is renowned are used for the roles of ghosts, women, children and old people. Kyôgen, on the other hand, relies less on the use of masks and is derived from the humorous plays of the Sangaku, as reflected in its comic dialogue. The text is written in ancient language and vividly describes the ordinary people of the ...
UNESCO: Representative List (2008) URL: www.unesco.org Description: Kun Qu Opera developed under the Ming dynasty (fourteenth to seventeenth centuries) in the city of Kunshan, situated in the region of Suzhou in southeast China. With its roots in popular theatre, the repertory of songs evolved into a major theatrical form. Kun Qu is one of the oldest forms of Chinese opera still performed today. It is characterized by its dynamic structure and melody (kunqiang) and classic pieces such as the Peony Pavilion and the Hall of Longevity. It combines song and recital as well as a complex system of choreographic techniques, acrobatics and symbolic gestures. The opera features a young male lead, a female lead, an old man and various comic roles, all dressed in traditional costumes. Kun Qu songs are accompanied by a bamboo flute, a small drum, wooden clappers, gongs and cymbals, all used to punctuate actions and emotions on stage. Renowned for the virtuosity of its rhythmic patterns (changqiang), Kun Qu opera has had a considerable influence or more recent forms of Chinese opera, such as the Sichuan or Beijing opera. The opera has suffered a gradual decline since the eighteenth century because of the high-level technical knowledge it also requires from its audience. Of the 400 arias regularly sung in opera performances in the mid-twentieth century, only a few dozen continue to be performed. The Kun Qu opera survived through the efforts of dedicated connoisseurs and various ...
UNESCO: Representative List (2009) URL: www.unesco.org Description: The ethnic Tibetan, Mongolian and Tu communities in western and northern China share the story of the ancient hero King Gesar, sent to heaven to vanquish monsters, depose the powerful, and aid the weak while unifying disparate tribes. The singers and storytellers who preserve the Gesar epic tradition perform episodes of the vast oral narrative (known as beads on a string) in alternating passages of prose and verse with numerous regional differences. Tibetan masters carry bronze mirrors and use facial expressions, sound effects and gestures to enhance their singing, while Mongolian performers are accompanied by fiddles and intersperse improvised, melodic singing with musical storytelling and oral narrative. Epic performances, often accompanied by rituals such as offerings and meditation, are embedded in the religious and daily lives of the community. For example, when a child is born, passages about King Gesars descent into the world are sung. The hundreds of myths, folktales, ballads and proverbs handed down as part of the tradition not only serve as a form of major entertainment in rural communities but also educate listeners in history, religion, custom, morality and science. A continuing inspiration for ''thangka'' painting, Tibetan opera and other art forms, the Gesar epic imbues audiences both young and old with a sense of cultural identity and historical continuity. Country(ies): China © 2008 by IEL ...
UNESCO: Urgent Safeguarding List (2009) URL: www.unesco.org Description: The Mongol Biyelgee Mongolian Traditional Folk Dance is performed by dancers from different ethnic groups in the Khovd and Uvs provinces of Mongolia. Regarded as the original forebear of Mongolian national dances, Biyelgee dances embody and originate from the nomadic way of life. Biyelgee dances are typically confined to the small space inside the ger (nomadic dwelling) and are performed while half sitting or cross-legged. Hand, shoulder and leg movements express aspects of Mongol lifestyle including household labour, customs and traditions, as well as spiritual characteristics tied to different ethnic groups. Biyelgee dancers wear clothing and accessories featuring colour combinations, artistic patterns, embroidery, knitting, quilting and leather techniques, and gold and silver jewellery specific to their ethnic group and community. The dances play a significant role in family and community events such as feasts, celebrations, weddings and labour-related practices, simultaneously expressing distinct ethnic identities and promoting family unity and mutual understanding among different Mongolian ethnic groups. Traditionally, Mongol Biyelgee is transmitted to younger generations through apprenticeships or home-tutoring within the family, clan or neighbourhood. Today, the majority of transmitters of Biyelgee dance are elderly, and their numbers are decreasing. The inherent diversity of Mongol Biyelgee ...
UNESCO: Urgent Safeguarding List (2009) URL: www.unesco.org Description: The Qiang New Year Festival, held on the first day of the tenth lunar month, is an occasion for the Qiang people of Chinas Sichuan Province to offer thanks and worship to heaven for prosperity, reaffirm their harmonious and respectful relationship with nature, and promote social and family harmony. The solemn ritual sacrifice of a goat to the mountain is performed by villagers clad in their finest ceremonial dress, under the careful direction of a shibi (priest). This is followed by the communal sheepskin-drum and salang dances, led by the shibi. The ensuing festivities combine merrymaking with the chanting of traditional Qiang epics by the shibi, singing and the drinking of wine. At the end of the day the heads of families preside over family worship during which sacrifices and offerings are made. Through the festival, Qiang traditions distilling history and cultural information are renewed and diffused, and social behaviours are reinforced, the community expressing respect and worship towards all creatures, the motherland and their ancestors. Participation in the festival has declined in recent years due to migration, declining interest in Qiang heritage among the young and the impact of outside cultures, but the 2008 Sichuan earthquake that destroyed many of the Qiang villages and devastated the region put the New Year festival at grave risk. Country(ies): China © 2009 Culture Department of ...
UNESCO: Urgent Safeguarding List (2009) URL: www.unesco.org Description: Wooden arch bridges are found in Fujian Province and Zhejiang Province, along Chinas south-east coast. The traditional design and practices for building these bridges combine the use of wood, traditional architectural tools, craftsmanship, the core technologies of beam-weaving and mortise and tenon joints, and an experienced woodworkers understanding of different environments and the necessary structural mechanics. The carpentry is directed by a woodworking master and implemented by other woodworkers. The craftsmanship is passed on orally and through personal demonstration, or from one generation to another by masters teaching apprentices or relatives within a clan in accordance with strict procedures. These clans play an irreplaceable role in building, maintaining and protecting the bridges. As carriers of traditional craftsmanship the arch bridges function as both communication tools and venues. They are important gathering places for local residents to exchange information, entertain, worship and deepen relationships and cultural identity. The cultural space created by traditional Chinese arch bridges has provided an environment for encouraging communication, understanding and respect among human beings. The tradition has declined however in recent years due to rapid urbanization, scarcity of timber and lack of available construction space, all of which combine to threaten its transmission and ...
UNESCO: Urgent Safeguarding List (2009) URL: www.unesco.org Description: The traditional Li textile techniques of spinning, dyeing, weaving and embroidering are employed by women of the Li ethnic group of Hainan Province, China, to make cotton, hemp and other fibres into clothing and other daily necessities. The techniques involved, including warp ikat, double-face embroidery, and single-face jacquard weaving, are passed down from mothers to daughters from early childhood through verbal instruction and personal demonstration. Li women design the textile patterns using only their imagination and knowledge of traditional styles. In the absence of a written language, these patterns record the history and legends of Li culture as well as aspects of worship, taboos, beliefs, traditions and folkways. The patterns also distinguish the five major spoken dialects of Hainan Island. The textiles form an indispensable part of important social and cultural occasions such as religious rituals and festivals, and in particular weddings, for which Li women design their own dresses. As carriers of Li culture, traditional Li textile techniques are an indispensable part of the cultural heritage of the Li ethnic group. However, in recent decades the numbers of women with the weaving and embroidery skills at their command has severely declined to the extent that traditional Li textile techniques are exposed to the risk of extinction and are in urgent need of protection. Country(ies): China ...
UNESCO: Representative List (2008) URL: www.unesco.org Description: The Chinese zither, called guqin, has existed for over 3000 years and represents Chinas foremost solo musical instrument tradition. Described in early literary sources and corroborated by archaeological finds, this ancient instrument is inseparable from Chinese intellectual history. Guqin playing developed as an elite art form, practised by noblemen and scholars in intimate settings, and was therefore never intended for public performance. Furthermore, the guqin was one of the four arts along with calligraphy, painting and an ancient form of chess that Chinese scholars were expected to master. According to tradition, twenty years of training were required to attain proficiency. The guqin has seven strings and thirteen marked pitch positions. By attaching the strings in ten different ways, players can obtain a range of four octaves. The three basic playing techniques are known as san (open string), an (stopped string) and fan (harmonics). San is played with the right hand and involves plucking open strings individually or in groups to produce strong and clear sounds for important notes. To play fan, the fingers of the left hand touch the string lightly at positions determined by the inlaid markers, and the right hand plucks, producing a light floating overtone. An is also played with both hands: while the right hand plucks, a left-hand finger presses the string firmly and may slide to other notes or create ...
UNESCO: Representative List (2008) URL: www.unesco.org Description: The Xinjiang Uyghur Muqam is the general term for a variety of Muqam practices widespread among the Uyghur communities, which form one of the largest ethnic minorities of the Peoples Republic of China. Throughout its history, the Xinjiang region has been marked by a high degree of cultural exchange between East and West, due in particular to its central location along the Silk Road. Xinjiang Uyghur Muqam includes songs, dances, folk and classical music and is characterized by diversity of content, choreography, musical styles and instruments used. The songs vary in rhyme and meter and are performed solo as well as by groups. The lyrics contain not only folk ballads but also poems written by classical Uyghur masters. Thus, the songs reflect a wide range of styles such as poetry, proverbs, and folk narrative, bearing witness to the history and contemporary life of the Uyghur society. In Muqam ensembles, the lead instruments are made from local materials and vary in form (they may be bowed-stringed, plucked or wind instruments). The dancing skills involve unique steps, rhythms and formations as well as figures such as flower-picking-bymouth, bowl-carrying-on-head and imitation of animals in solo dances. The Xinjiang Uyghur Muqam has developed four main regional styles, namely the Twelve Muqam, Dolan Muqam, Turpan Muqam and Hami Muqam. Today, community festivities, such as meshrep and bezme in which everybody ...
UNESCO: Representative List (2009) URL: www.unesco.org Description: The traditional China engraved block printing technique requires the collaboration of half a dozen craftspeople possessed of printing expertise, dexterity and team spirit. The blocks themselves, made from the fine-grained wood of pear or jujube trees, are cut to a thickness of two centimetres and polished with sandpaper to prepare them for engraving. Drafts of the desired images are brushed onto extremely thin paper and scrutinized for errors before they are transferred onto blocks. The inked designs provide a guide for the artisan who cuts the picture or design into the wood, producing raised characters that will eventually apply ink to paper. First, though, the blocks are tested with red and then blue ink and corrections are made to the carving. Finally, when the block is ready to be used, it is covered with ink and pressed by hand onto paper to print the final image. Block engraving may be used to print books in a variety of traditional styles, to create modern books with conventional binding, or to reproduce ancient Chinese books. A number of printing workshops continue this handicraft today thanks to the knowledge and skills of the expert artisans. Country(ies): China © 2008 by YZYQ
UNESCO: Representative List (2009) URL: www.unesco.org Description: As the most influential goddess of the sea in China, Mazu is at the centre of a host of beliefs and customs, including oral traditions, religious ceremonies and folk practices, throughout the countrys coastal areas. Mazu is believed to have lived in the tenth century on Meizhou Island, where she dedicated herself to helping her fellow townspeople, and died attempting to rescue the survivors of a shipwreck. Local residents built a temple in her honour and began to venerate her as a goddess. She is celebrated twice each year in formal temple fairs, when Meizhou residents, farmers and fisherfolk temporarily suspend their work to sacrifice marine animals, venerate statues of Mazu and enjoy a variety of dances and other performances. Smaller worship ceremonies take place throughout the year in the other 5000 Mazu temples around the world and in private homes; these may involve floral tributes; candles, incense and firecrackers; and evening processions of residents bearing Mazu lanterns. Followers may implore the god for pregnancy, peace, the solution to a problem or general well-being. Deeply integrated into the lives of coastal Chinese and their descendants, belief in and commemoration of Mazu is an important cultural bond that promotes family harmony, social concord, and the social identity of these communities. Country(ies): China © 2008 First Mazu Temple of Meizhou
UNESCO: Representative List (2009) URL: www.unesco.org Description: Beginning on the fifth day of the fifth lunar month, people of several ethnic groups throughout China and the world celebrate the Dragon Boat festival, especially in the middle and lower reaches of the Yangtze River. The festivities vary from region to region, but they usually share several features. A memorial ceremony offering sacrifices to a local hero is combined with sporting events such as dragon races, dragon boating and willow shooting; feasts of rice dumplings, eggs and ruby sulphur wine; and folk entertainments including opera, song and unicorn dances. The hero who is celebrated varies by region: the romantic poet Qu Yuan is venerated in Hubei and Hunan Provinces, Wu Zixu (an old man said to have died while slaying a dragon in Guizhou Province) in South China, and Yan Hongwo in Yunnan Province among the Dai community. Participants also ward off evil during the festival by bathing in flower-scented water, wearing five-colour silk, hanging plants such as moxa and calamus over their doors, and pasting paper cut-outs in their windows. The Dragon Boat festival strengthens bonds within families and establishes a harmonious relationship between humanity and nature. It also encourages the expression of imagination and creativity, contributing to a vivid sense of cultural identity. Country(ies): China © 2008 Beijing Music Floated Culture Communication Limited
UNESCO: Representative List (2009) URL: www.unesco.org Description: Standing as distinctive symbols of Chinese architectural culture, timber-framed structures are found throughout the country. The wooden components such as the columns, beams, purlins, lintel and bracket sets are connected by tenon joints in a flexible, earthquake-resistant way. The surprisingly strong frames can be installed quickly at the building site by assembling components manufactured in advanced. In addition to this structural carpentry, the architectural craft also encompasses decorative woodworking, tile roofing, stonework, decorative painting and other arts passed down from masters to apprentices through verbal and practical instruction. Each phase of the construction procedure demonstrates its unique and systematic methods and skills. Employed today mainly in the construction of structures in the traditional style and in restoring ancient timber-framed buildings, Chinese traditional architectural craftsmanship for timber-framed structures embodies a heritage of wisdom and craftsmanship and reflects an inherited understanding of nature and interpersonal relationships in traditional Chinese society. For the carpenters and artisans who preserve this architectural style, and for the people who have lived in and among the spaces defined by it for generations, it has become a central visual component of Chinese identity and an important representative of Asian architecture. Country(ies): China © 2008 ...
UNESCO: Representative List (2009) URL: www.unesco.org Description: Present throughout China and in various ethnic groups, paper-cut is a popular art integral to everyday lives. A predominantly female pursuit, it is transmitted from mother to daughter over a long period of time, beginning in childhood, and is particularly common in rural areas. It earns the most skilful artists respect and admiration. Many techniques are used: the paper can be cut or engraved with a chisel, coloured or left blank. Increasingly, modern technologies are used. Motifs, which vary greatly and are often devised by the artist, depend on the region of origin (for example, in southern China fine and delicate motifs predominate) and the purpose of the product, which might be used for interior decor (windows, beds and ceilings), festivities (weddings, birthdays and ceremonies), or prayers (invoking the rain, warding off the devil, and so on). As a key part of Chinese social life in all ethnic groups, paper-cut expresses the moral principles, philosophies and aesthetic ideals of its exponents. It continues to provide an outlet for emotion and is experiencing an unprecedented revival. Country(ies): China © 2008 Shaanxi culture Department
UNESCO: Representative List (2009) URL: www.unesco.org Description: The art of seal engraving is a cornerstone of Chinese fine arts. The seal was originally used as a signature or sign of authority, but it came to be used by all social classes and in much of Asia. The Seal Engravers Society of Xiling in Zhejiang Province, central China, which was founded a century ago, preserves the art of seal engraving along with approximately a hundred other specialized institutions. The design is first sketched on paper, and then engraved on stone, in reverse, with a knife. In addition to mastery of traditional calligraphy, the art of engraving requires a high degree of virtuosity, since the artist works on a tiny surface area where every curve, every thickness of line counts. The very diverse motifs are the fruit of the artists imagination and culture. As an instrument of calligraphy and painting, the seal is a work of art in itself. It expresses an entire cultures ideas about humankind and nature. Today, seals continue to be used in official documents and private correspondence. Even though those understanding the complex characters are ever fewer, the art of seal engraving is still practised by both professionals and amateurs. Country(ies): China © 2008 骆芃芃(LUO Peng Peng)
UNESCO: Representative List (2009) URL: www.unesco.org Description: Chinese calligraphy has always been more than simply a tool for communication, incorporating as it does the element of artistry for which the practice is still valued in an age of ballpoint pens and computers. Indeed, calligraphy is no longer the basic tool of intellectuals and officials but has become the preserve of professional artisans and amateur enthusiasts. Whether they are recording information or simply creating beautiful forms, calligraphers brushes are used to ink five different styles of script, known as seal, official, cursive, running and regular. The art may appear on any writing surface even the rocky walls of cliffs but it is especially common on letters, scrolls, works of literature and fan coverings. Today, in addition to traditional master-apprentice instruction, calligraphy is also taught at school. Many ceremonies that mark national celebrations and religious rituals incorporate the practice and calligraphy has itself proved influential on modern art, architecture and design. In its distinctive Chinese form, calligraphy offers an important channel for the appreciation of traditional culture and for arts education. It is also a source of pride and pleasure for the Chinese people and embodies important aspects of the countrys intellectual and artistic heritage. Country(ies): China
UNESCO: Representative List (2009) URL: www.unesco.org Description: Gathering in fields or villages during community festivals, members of the Korean ethnic group in Jilin and other provinces in north-eastern China offer a traditional sacrifice to the God of the Land to pay homage to nature and pray for good fortune and a plentiful harvest. This is the beginning of the farmers dance of Chinas Korean ethnic group, a popular folk practice passed on by senior members of a community to younger generations. Musicians play oboe-like ''suona,'' bell-shaped gongs and a variety of drums, while masked or unmasked dancers move farcically to the accompaniment. The dance is inspired by the motions of farming, which it imitates through gestures such as walking the field ridges. Spreading from its agricultural origins to Korean people of all walks of life in both urban and rural areas, the dance has evolved considerably since it was brought to China at the end of the nineteenth century. For example, the musical ensemble has been expanded to include wind instruments and the dancers costumes have been influenced by the clothes of other Chinese ethnic groups. As the product of accumulated labour and wisdom, the farmers dance remains an important expression of the cultural heritage of Chinas Korean ethnic group. Country(ies): China © 2008 Yanbian Culture & Art
UNESCO: Representative List (2009) URL: www.unesco.org Description: Xian wind and percussion ensemble, which has been played for more than a millennium in Chinas ancient capital of Xian, in Shaanxi Province, is a type of music integrating drums and wind instruments, sometimes with a male chorus. The content of the verses is mostly related to local life and religious belief and the music is mainly played on religious occasions such as temple fairs or funerals. The music can be divided into two categories, sitting music and walking music, with the latter also including the singing of the chorus. Marching drum music used to be performed on the emperors trips, but has now become the province of farmers and is played only in open fields in the countryside. The drum music band is composed of thirty to fifty members, including peasants, teachers, retired workers, students and others. The music has been transmitted from generation to generation through a strict master-apprentice mechanism. Scores of the music are recorded using an ancient notation system dating from the Tang and Song dynasties (seventh to thirteenth centuries). Approximately three thousand musical pieces are documented and about one hundred fifty volumes of handwritten scores are preserved and still in use. Country(ies): China © 2008 Shaanxi Art Research Institute
UNESCO: Representative List (2009) URL: www.unesco.org Description: In Gansu and Qinghai Provinces and throughout north-central China, people of nine different ethnic groups share a music tradition known as Huaer. The music is drawn from an extensive traditional repertoire named after ethnicities, towns or flowers (Tu Peoples ''ling,'' White Peony ''ling''), and lyrics are improvised in keeping with certain rules for example, verses have three, four, five or six lines, each made up of seven syllables. Songs may tell of young love, the hard work and weariness of the farming life, the foibles of men and women or the joy of singing. The songs are also a vivid oral record of recent social developments in China as singers comment on the changes they observe around them. Huaer singers may have little schooling, but the most successful and widely respected singers today have become household names, performing widely and even creating their own institutes to pass on their art to apprentices. Whether it is being sung spontaneously by rural people working in the field or travelling or performed more formally at one of more than a hundred traditional Huaer festivals held annually in these provinces, Huaer is an important vehicle for expressing personal feelings in a social setting and cultural exchange across ethnicities, as well as a popular rural entertainment. Country(ies): China © 2008 Department of Culture of Gansu Province
UNESCO: Representative List (2009) URL: www.unesco.org Description: The Mongolian art of singing: Khoomei, or Hooliin Chor (throat harmony), is a style of singing in which a single performer produces a diversified harmony of multiple voice parts, including a continued bass element produced in the throat. These singers may perform alone or in groups. Khoomei is practised today among Mongolian communities in several countries, especially in Inner Mongolia in northern China, western Mongolia and the Tuva Republic of Russia. Traditionally performed on the occasion of ritual ceremonies, songs express respect and praise for the natural world, for the ancestors of the Mongolian people and for great heroes. The form is reserved for special events and group activities such as horse races, archery and wrestling tournaments, large banquets and sacrificial rituals. The timing and order of songs is often strictly regulated. Khoomei has long been regarded as a central element representing Mongolian culture and remains a strong symbol of national or ethnic identity. As a window into the philosophy and aesthetic values of the Mongol people, it has served as a kind of cultural emissary promoting understanding and friendship among China, Mongolia and Russia, and has attracted attention around the world as a unique form of musical expression. Country(ies): China © 2008 IMARI
UNESCO: Representative List (2009) URL: www.unesco.org Description: The Kirgiz ethnic minority in China, concentrated in the Xinjiang region in the west, pride themselves on their descent from the hero Manas, whose life and progeny are celebrated in one of the best-known elements of their oral tradition: the Manas epic. Traditionally sung by a Manaschi without musical accompaniment, epic performances takes place at social gatherings, community celebrations, ceremonies such as weddings and funerals and dedicated concerts. Regional variations abound, but all are characterized by pithy lyrics with phrases that now permeate the everyday language of the people, melodies adapted to the story and characters, and lively parables. The long epic records all the major historic events of greatest importance for the Kirgiz people and crystallizes their traditions and beliefs. The Kirgiz in China and the neighbouring Central Asian countries of Kyrgyzstan, Kazakhstan and Tajikistan regard the Manas as a key symbol of their cultural identity and the most important cultural form for public entertainment, the preservation of history, the transmission of knowledge to the young and the summoning of good fortune. One of the three major epics of China, it is both an outstanding artistic creation and an oral encyclopaedia of the Kirgiz people. Country(ies): China © 2008 Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage
UNESCO: Representative List (2009) URL: www.unesco.org Description: Tibetan opera, the most popular traditional opera of minority ethnic groups in China, is a comprehensive art combining folk song, dance, storytelling, chant, acrobatics and religious performance. Most popular in the Qinghai-Tibetan Plateau in western China, the performance begins with a prayer ceremony, including the cleansing of the stage by hunters and blessings by the elder, and concludes with another blessing. The heart of the opera is a drama narrated by a single speaker and enacted by performers supported by groups of singers, dancers and acrobats. Actors wear traditional masks of a variety of shapes and colours that contrast with their simple makeup. Performances may take place in public squares or temples (or, today, on stage), with the centre of the space marked by a tree placed on the ground, wrapped in colourful paper and surrounded by purified water and theatrical props. Rooted in Buddhist teachings, the stories told in Tibetan opera recount the triumph of good and the punishment of evil and therefore serve a social teaching function for the community. This multifaceted representative of Tibetan art and cultural heritage also acts as a bridge among Tibetans in different parts of the country, promoting ethnic unity and pride. Country(ies): China © 2008 by the Culture Dept. in Tibet Autonomous Antonomous Region of PRof Region of China
UNESCO: Representative List (2009) URL: www.unesco.org Description: In monasteries and villages along the Longwu River basin in Qinghai Province in western China, Buddhist monks and folk artists of the Tibetan and Tu ethnicity carry on the plastic arts of painting ''thangka'' and murals, crafting patchwork ''barbola'' and sculpting known collectively as the Regong arts. Their influence extends to nearby provinces and beyond to South-East Asian countries. Thangka, the art of painting religious scrolls used to venerate Buddha, uses a special brush to apply natural dyes to cloth prepared with patterns sketched in charcoal; barbola employs plant and animal forms cut from silk fabric to create soft relief art for veils and column ornaments; and wood, clay, stone or brick Regong sculpture decorates rafters, wall panels, tea tables and cabinets in both temples and homes. The technique is mainly passed from fathers to children or from masters to apprentices strictly following ancient Buddhist painting books that provide instruction on line and figure drawing, colour matching and pattern design. Characterized by a distinctively Tibetan Buddhist religion style and unique regional features, the Regong arts embody the spiritual history and traditional culture of the region and remain an integral part of the artistic life of people there today Country(ies): China © 2008 Qinghai Regong Art Society of China
UNESCO: Representative List (2009) URL: www.unesco.org Description: The city of Longquan in the coastal Chinese province of Zhejian is known for its celadon pottery and the traditional firing technology that imparts its distinctive glaze. Compounded from violet-golden clay and a mixture of burnt feldspar, limestone, quartz and plant ash, the glaze is prepared from recipes that have often been handed down for generations by teachers or within families. The glaze is applied to a fired stoneware vessel, which is then fired again in a repeated cycle of six stages of heating and cooling where precise temperatures matter a great deal: either over- or under-firing will spoil the effect. Experienced celadon artists carefully control each stage with a thermometer and by observing the colour of the flame, which reaches temperatures as high as 1310º C. The final product may take either of two styles: elder brother celadon has a black finish with a crackle effect, while the younger brother variety has a thick, lavender-grey and plum-green finish. With its underlying jade-like green colour, celadon fired by the family-oriented businesses of Longquan is prized as masterwork-quality art that can also serve as household ware. It is a proud symbol of the cultural heritage of the craftspeople, their city and the nation. Country(ies): China © 2008 by Longquan Celadon Industry Association
UNESCO: Representative List (2009) URL: www.unesco.org Description: The Chinese tradition of Yueju opera combines Mandarin operatic traditions and Cantonese dialect. Rooted in the Cantonese-speaking provinces of Guangdong and Guangxi in south-eastern China, Yueju opera is characterized by a combination of string and percussion instruments, with elaborate costumes and face painting. It also incorporates stunts and fights using real weapons and drawing on the Shaolin martial arts, as illustrated by the central Wenwusheng role that demands proficiency in both singing and fighting. It has developed a rich repertoire of stories ranging from historical epics to more realistic descriptions of daily life. An important form of recreation, the opera is also, in some rural communities, combined with ceremonial, religious and sacrificial elements into a spiritual amalgam of art and custom known as Shengongxi. Yueju opera is popular throughout China and provides a cultural bond among Cantonese speakers in the country and abroad. They view its success around the world as a point of pride, regarding the opera as an important means by which foreigners come to understand their culture. Today, the tradition is passed to new artists through both drama schools and apprenticeship programmes. Country(ies): China © 2008 Culture bureau of Guangzhou Municipality
UNESCO: Representative List (2009) URL: www.unesco.org Description: A popular saying among the Dong people in Guizhou Province in southern China has it that rice nourishes the body and songs nourish the soul. Their tradition of passing on culture and knowledge in music is exemplified in the Grand Song of the Dong ethnic group, multi-part singing performed without instrumental accompaniment or a leader. The repertoire includes a range of genres such as ballads, childrens songs, songs of greeting and imitative songs that test performers virtuosity at mimicking the sounds of animals. Taught by masters to choirs of disciples, Grand Songs are performed formally in the drum-tower, the landmark venue for rituals, entertainment and meetings in a Dong village, or more spontaneously in homes or public places. They constitute a Dong encyclopaedia, narrating the peoples history, extolling their belief in the unity of humans and nature, preserving scientific knowledge, expressing feelings of romantic love, and promoting moral values such as respect for ones elders and neighbours. Grand Song is performed widely today, with each village boasting various choirs divided by age and sometimes gender. In addition to disseminating their lifestyle and wisdom, it remains a crucial symbol of Dong ethnic identity and cultural heritage. Country(ies): China © 2008 Ministry of Culture
UNESCO: Representative List (2009) URL: www.unesco.org Description: The unique water quality and mild climate of Jing County in Anhui Province in eastern China are two of the key ingredients in the craft of making Xuan paper that thrives there. Handmade from the tough bark of the Tara Wing-Celtis or Blue Sandalwood tree and rice straw, Xuan paper is known for its strong, smooth surface, its ability to absorb water and moisten ink, and fold repeatedly without breaking. It has been widely used in calligraphy, painting and book printing. The traditional process passed down orally over generations and still followed today proceeds strictly by hand through more than a hundred steps such as steeping, washing, fermenting, bleaching, pulping, sunning and cutting all of which lasts more than two years. The production of the Paper of Ages or King of Papers is a major part of the economy in Jing County, where the industry directly or indirectly employs one in nine locals and the craft is taught in local schools. True mastery of the entire complicated process is won only by a lifetime of dedicated work. Xuan paper has become synonymous with the region, where a score of artisans still keep the craft alive. Country(ies): China © 2008 Jing County, Anhui Province, China
UNESCO: Representative List (2009) URL: www.unesco.org Description: Nanyin is a musical performing art central to the culture of the people of Minnan in southern Fujian Province along Chinas south-eastern coast, and to Minnan populations overseas. The slow, simple and elegant melodies are performed on distinctive instruments such as a bamboo flute called the ''dongxiao'' and a crooked-neck lute played horizontally called the ''pipa,'' as well as more common wind, string and percussion instruments. Of nanyins three components, the first is purely instrumental, the second includes voice, and the third consists of ballads accompanied by the ensemble and sung in Quanzhou dialect, either by a sole singer who also plays clappers or by a group of four who perform in turn. The rich repertoire of songs and scores preserves ancient folk music and poems and has influenced opera, puppet theatre and other performing art traditions. Nanyin is deeply rooted in the social life of the Minnan region. It is performed during spring and autumn ceremonies to worship Meng Chang, the god of music, at weddings and funerals, and during joyful festivities in courtyards, markets and the streets. It is the sound of the motherland for Minnan people in China and throughout South-East Asia. Country(ies): China © 2008 Culture bureau of Quanzhou, Fujian Province
UNESCO: Representative List (2009) URL: www.unesco.org Description: Sericulture and silk craftsmanship of China, based in Zhejiang and Jiangsu Provinces near Shanghai and Chengdu in Sichuan Province, have an ancient history. Traditionally an important role for women in the economy of rural regions, silk-making encompasses planting mulberry, raising silkworms, unreeling silk, making thread, and designing and weaving fabric. It has been handed down within families and through apprenticeship, with techniques often spreading within local groups. The life cycle of the silkworm was seen as representing the life, death and rebirth of human beings. In the ponds that dot the villages, silkworm waste is fed to fishes, while mud from the ponds fertilizes the mulberry trees, and the leaves in turn feed the silkworms. Near the beginning of the lunar year, silkworm farmers invite artisans into their homes to perform the story of the Goddess of the Silkworm, to ward off evil and ensure a bountiful harvest. Every April, female silkworm farmers adorn themselves with colourful flowers made of silk or paper and make harvest offerings as part of the Silkworm Flower festival. Silk touches the lives of rural Chinese in more material ways, too, in the form of the silk clothes, quilts, umbrellas, fans and flowers that punctuate everyday life. Country(ies): China © 2008 by China National Silk Museum
UNESCO: Representative List (2009) URL: www.unesco.org Description: In the Chinese tradition of weaving Nanjing Yunjin brocade, two craftspeople operate the upper and lower parts of a large, complicated loom to produce textiles incorporating fine materials such as silk, gold and peacock feather yarn. The technique was once used to produce royal garments such as the dragon robe and crown costume; today, it is still used to make high-end attire and souvenirs. Preserved primarily in Jiangsu province in eastern China, the method comprises more than a hundred procedures, including manufacturing looms, drafting patterns, the creation of jacquard cards for programming weaving patterns, dressing the loom and the many stages of weaving itself. As they pass the warp and split the weft, the weavers sing mnemonic ballads that remind them of the techniques they employ and enhance the cooperative, artistic atmosphere at the loom. The workers view their craft as part of a historical mission since, in addition to creating fabrics for contemporary use, yunjin is used to replicate ancient silk fabrics for researchers and museums. Named for the cloud-like splendour of the fabrics, yunjin remains popular throughout the country. Country(ies): China © 2008 Nanjing Yunjin Brocade Research Institute Company Limited
The 2nd China Chengdu Intangible Cultural Heritage Festival - June 2009...and a great time was had by all! Bookings through www.hands-on.co.za
Amasiko Afrika performing their cultural magic at one of China's most esteemed temples at the 2nd China Chengdu Intangible Cultural Heritage Festival - June 2009. Another of Hands On Promotions talented African performance groups! Enquiries and bookings -www.hands-on.co.za
Mo Li Hua means Jasmine Flower, performed by Abdul Sattar Khokhar, Zhang Qian, Wu Yu, Sangeeta, Zhang Yao Yue with Salman Adil playing the flute during the closing performance by Pakistan Cultural Troupe Voices and Colours of Pakistan during Second International Intangible Cultural Heritage Festival on 7th June 2009 at Jinsha, Chengdu, China.
Mo Li Hua means Jasmine Flower, performed by Abdul Sattar Khokhar, Zhang Qiang, Wu Yu, Sangeeta, Zhang Yao Yue with Salman Adil playing the fluteduring the closing performance by Pakistan Cultural Troupe Voices and Colours of Pakistan during Second International Intangible Cultural Heritage Festival on 7th June 2009 at Jinsha, Chengdu, China.
The first reason was, the difficulty in defending the valley. However, they gradually discovered there were other advantages associated with their choice, and the tradition developed among the ancient Qiang people of living in stone houses located beside mountains. Traditional Qiang villages were often built on a steep mountainside or at the mountains top, instead of on the flood plains beside a river. Because of this, the Qiang Nationality were popularly known as the people above the clouds. Taoping ancient Qiang Village is located on a mountainside. The Zagunao River, the main tributary of the Minjiang, runs eastward across the village. Thanks to its location, the village is protected from the northerly wind in the winter and receives adequate sunshine. More importantly, the broad and gentle terraces mitigate the effects of the major earthquakes that strike the area once every few decades. When seismic waves move forward along the mountain range, the valley and the mountain top receive the impact first. The valley, with its broad expanse of soft and flat land, absorbs the force of the earthquake and deadens its power, which significantly reduces the impact on the mountainside. Even buildings made of reinforced concrete collapsed during the earthquake. So, was there something miraculous about the construction materials used in the Taoping ancient Qiang Village? The Qiang people, like other ancient nationalities, knew how to take advantage of nature to satisfy their need ...
China marks 3rd Cultural Heritage Day WATCH VIDEOSource: CCTV.com 06-15-2008 08:54 Saturday marks China's third annual Cultural Heritage Day. And a series of exhibitions and performances is being held in Beijing as part of the occasion. Since Thursday, dozens of theaters in Beijing have been putting on shows of the country's diversified intangible cultural heritage. And the most popular performances are the local operas with their distinctive characteristics. Over the coming weeks, theatergoers will be able to choose from more than a hundred performances of Chinese operas, including Peking Opera, Kunqu Opera and Sichuan Opera. Among the exhibitions, one of the most riveting is the Exhibition of Chinese Cultural Relics Recovered From Abroad. It features nearly 200 antiques, all of which were recovered in different countries over the past five years. Some of the relics were returned to China as a result of intergovernmental negotiations, some were bought at overseas auctions, while others were donated by Chinese working or living abroad. A series of ceramic sculptures dating back to the Han Dynasty some two thousand years ago is the oldest in the show. Nearly all major exhibition venues in Beijing are hosting shows dedicated to Cultural Heritage Day, which was held for the first time in 2006 and falls on the second Saturday in June.
Judges: Zhentao Zhang, ethinic Han (张振涛): a scholar of musicology, dean of the Institute of Musicology, China Art Academy. Xianping Wang, ethinic Han (王冼平): a television director, producer of "Chinese Folk Songs" program of the Art Division, China Central Television. Dede Ma, ethnic Mongolian (德德玛): a famous mezzo-soprano, national first-class performer in China National Ethnic Song & Dance Ensemble (中央民族歌舞团), council member of the China Ethnic Minority Culture & Art Fund. Dede Ma's representative song: Beautiful Prairie is My Home (美丽的草原我的家) www.1ting.com Tseten Dolma, ethnic Tibetan (才旦卓玛): a famous soprano, vice-president of China Federation of Literary and Art Circles (中国文联), advisor of Chinese Musicians Association, national first-class performer. Tseten Dolma's representative song: Liberated Peasant Slaves Sing Songs (翻身农奴把歌唱) www.tudou.com (Note: Tibetan peasant slave system once exist under Dalai Lama's regime. But, it was abolished in 1949.) Qing Tian, ethinic Han (田青): a scholar of musicology, researcher of Graduate School of China Art Academy, director of Institute of Chinese Intangible Cultural Heritage, proposal reviewer of Department of Art, Committee of Academia, State Council of the People's Republic of China. Yijun Yao, ethinic Han (姚艺君): a scholar of musicology, vice-chairman of Department of Musicology, China Conservatory of Music. Zhe Chen, ethinic Han (陈哲): a famous lyricist, music producer Jianxue Feng ...
黑駿馬組合Black Steed Group - 蒙古族酒歌Mongolian Drinking Song 黑骏马组合(Black Steed Group): a group consisting of four ethnic Mongolian Chinese singers. They use two languages (Chinese and Mogolian) to sing this song. At the begining of the song, they use a Long Song singing technique (Chinese: 长调, Mogolian: Urtiin duu), which is a typical form of Mongolian folk songs. The Long Song, part of Chinese and Mongolian culture, was classified as a Masterpiece of the Oral and Intangible Cultural Heritage of Humanity in 2005 by the United Nations Educational. Many congratulations to the successful application by both China and Mongolia. This is an excellent performance at The FourthNanning International Folk Art Festival 2007. The Nanning International Folk Art Festival comes with the China-ASEAN Businesss & Investment Summit, the China-ASEAN Expo, and the China-ASEAN Forums in Nanning, Guangxi Province of China. 第四届中国—东盟博览会暨南宁国际民歌艺术节大地飞歌2007 第四屆中國—東盟博覽會暨南寧國際民歌藝術節大地飛歌2007
China Central Television
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