This article lists the practices listed in UNESCO intangible cultural heritage in Mongolia.
Understand
The country has seven practices on the "representative list of intangible cultural heritage "Of UNESCO and six practices are reproduced on the"emergency backup list ».
No additional practice is included in the "register of best practices for safeguarding culture »
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Urtiin Duu, traditional folk long songs Note Mongolia shares this practice with China. | Urtiin duu or "long song" is one of the two major forms of Mongolian song, the other being "short song" (Bogino duu). It holds a special place in Mongolian society and is the subject of true reverence as a ritual form of expression associated with important celebrations and festivals. Urtiin duu is performed on various occasions: weddings, inauguration of a new habitat, birth of a child, branding of a foal and other events celebrated by nomadic Mongolian communities. These long songs can also be performed during naadam, a celebration organized around archery, wrestling and horse racing competitions. Urtiin duu is a lyrical song distinguished by the abundance of its ornamentation, the use of the falsetto, a very wide vocal range and a free-form composition. The ascending melody is slow and steady, while the descending melody is often interspersed with catchy rhythms. The interpretation and content of Urtiin duu are closely linked to the ancestral way of life of Mongolian nomads in their grasslands. While Urtiin duu is generally considered to have arisen there 2,000 years, the first literary works in which it is mentioned date from the thirteenth century. Several regional styles have been preserved to this day. Current performances and compositions continue to play a major role in the social and cultural life of nomads in Mongolia and the Autonomous Republic of Inner Mongolia, in the north of the People's Republic of China. Since the 1950s, urbanization and industrialization have taken precedence over nomadism, leading to the disappearance of traditional practices and expressions. A part of the meadows where the practitioners lived as nomads has been the victim of desertification, forcing many families to opt for a sedentary lifestyle where certain classic themes of the Urtiin duu, such as the praise of the virtues and nomadic knowledge, lose all their meaning. |  | ||
| The traditional music of Morin Khuur | The two-string violin called morin khuur occupies a special place in Mongolian nomadic culture. Written sources dating from the Mongol Empire of the thirteenth and fourteenth centuries mention stringed instruments with the necks decorated with a horse's head. The importance of this violin goes far beyond its function as a musical instrument, as it was traditionally an integral part of the rituals and daily life of Mongolian nomads. The unique conception of the morin khuur is closely linked to the cult of the horse, dear to these people. The instrument's hollow, trapezoidal body has a long fret-less neck, surmounted by a horse's head at its end. Just below the head, two pegs protrude like ears on either side of the handle. The sound box is covered with animal skin, the strings and the bow are made of horsehair. The instrument's characteristic sound is produced by rubbing or striking the bow against the two strings. One of the most common playing techniques is the right hand bow push, with various left hand fingerings. It is most often played solo, but can also accompany dances, long songs (urtiin duu), mythical tales, ceremonies and daily tasks related to horses. To this day, the repertoire of the morin khuur has retained some airs (tatlaga) specifically intended to tame animals. The simultaneous presence of the main tone and harmonics has always made it difficult to transcribe it into classical notation. This is why it has been passed down orally from master to apprentice through the generations. For the past 40 years, most Mongols have migrated to urban areas, far from the historical and spiritual context of Morin Khuur. Additionally, the instrument is often tuned to meet the technical requirements of the indoor concert, resulting in higher, louder sounds that overshadow many subtleties of timbre. Fortunately, the pastoral communities that still live in southern Mongolia have managed to preserve many aspects of the art of morin khuur as well as the associated rituals and customs. | | ||
| Mongolian Khöömei traditional art | Performing Arts | Khöömei is a form of song originating in western Mongolia, in the mountains ofAltai. The singer imitates sounds of nature, simultaneously emitting two distinct vocal sounds: a continuous drone overlaid with a melody of harmonics. The Khöömei, which literally means pharynx, is said to have been inspired by birds whose spirits hold a central place in shamanic practices. The countless techniques of Mongolian Khöömei are grouped into two main styles: the kharkhiraa (Deep Khöömei) and theisgeree Khöömei (whistled Khöömei). In the kharkhiraa the singer produces a drone in the throat voice, bringing out the lower harmonic or subharmonic octave below. In L'isgeree Khöömei, it is the upper harmonics of the fundamental that are emphasized, which produces a high-pitched whistle. In both cases, the drone is produced with very tight vocal cords, while the melody is created by modulating the size and shape of the oral cavity, opening and closing the lips, and moving the tongue. Khöömei is performed by Mongolian nomads on a variety of social occasions, ranging from large state ceremonies to festive domestic events. Khöömei is also sung by those who graze the herds and inside the yurt to rock babies. It is traditionally transmitted by the holders to the learners or by the masters to the apprentices. | | |
| Naadam, a traditional Mongolian festival | Social practices, rituals and events festive | Naadam is a national festival that takes place every year from 11 to 13 July throughout Mongolia; it revolves around three traditional games: horse racing, wrestling and archery. Mongolian Naadam is intimately linked to the nomadic way of life of the Mongols who have long practiced pastoralism in the vast steppes of Central Asia. Oral traditions, performing arts, national dishes, crafts and cultural forms such as long singing, Khöömei overtone singing, Bie biyelgee dance and the violin called morin khuur are also major components of Naadam. Mongolians follow specific rituals and practices during the festival, including wearing special costumes and using special tools and sporting goods. The participants revere the athletes, men, women and children, who take part in the competitions and the winners are awarded titles as a reward for their achievements. The songs of prayers and ritual poems are dedicated to the candidates in the events. Anyone is allowed and encouraged to participate in Naadam, which promotes community participation and cohesion. The three sports practiced are directly linked to the Mongolian way and conditions of life, and their transmission is traditionally carried out by family members as part of learning within the home, although more formal modes of training are recently appeared for wrestling and archery. The rituals and customs of Naadam also emphasize respect for nature and the environment. |  | |
| Falconry, a living human heritage Note Mongolia shares this practice withGermany, the'Saudi Arabia, the'Austria, the Belgium, the United Arab Emirates, the'Spain, the France, the Hungary, the'Italy, the Kazakhstan, the Morocco, the Pakistan, the Portugal, the Qatar, the Syria, the South Korea and the Czechia. | social practices, rituals and festive events | Falconry is the traditional activity of conserving and training falcons and other raptors to catch game in their natural environment. Originally used as a means of obtaining food, falconry is identified today with the spirit of camaraderie and sharing more than with subsistence. It is mainly found along migration routes and corridors and is practiced by amateurs and professionals of all ages, men and women. Falconers develop a strong relationship and spiritual bond with their birds; strong involvement is needed to breed, train, train and fly falcons. Falconry is passed down as a cultural tradition through means as varied as mentoring, learning within the family, or more formal training in clubs. In hot countries, falconers take their children to the desert and teach them how to control the bird and build a trusting relationship with it. While falconers come from very diverse origins, they share common values, traditions and practices, including bird training methods and how to care for them, the equipment used and the emotional bond between the falconer and the bird. Falconry is the bedrock of a wider cultural heritage, which includes traditional costumes, food, songs, music, poetry and dances, all customs nurtured by the communities and clubs that practice it. | .jpg/150px-Berkut_tears_into_the_bunny_carcass._(3968892224).jpg) | |
| Mongolian ger traditional craftsmanship and associated customs | Social practices, rituals and festive events Know-how related to traditional craftsmanship | Mongolian Ger Crafts are a traditional business requiring the participation of a family or community where men carve wood, while women and men paint, sew and make felt. The ger is a round structure made up of walls, poles and a round ceiling covered with canvas and felt and secured with ropes. It is light enough to be carried by nomads, flexible enough to be folded and packed, strong enough to be regularly assembled and disassembled. The round ger can withstand the strong winds of Mongolian spring. Its main features are the same throughout the country: wooden structures painted and adorned with traditional Mongolian decorations, blankets in white felt and white canvas, ropes made from animal hair, floor coverings and felt rugs sewn together. handmade, furniture. Mongolian Ger Crafts are taught to younger generations mainly by older artisans in the form of mentoring. Disassembling and assembling the ger are always family activities that children learn by watching their elders. Shearing and preparing sheep's wool, making felt, making canvas and preparing woodwork are generally community activities. Traditional habitat, the Mongolian ger plays an important social and cultural role for nomadic families. The artisans who make them are highly respected within their community. |  | |
| Mongolian knucklebone shooting | Oral traditions and expressions, including language as a vehicle of intangible cultural heritage Social practices, rituals and festive events Know-how related to traditional craftsmanship | The Mongols worship parts of the bones of their cattle which they use for their religious rites, hobbies and traditional games. One of these popular games, which is played in teams, is knucklebone shooting. The teams are made up of six to eight players who send thirty small marble tablets resembling dominoes on a smooth wooden surface, towards a target of sheep bones, trying to knock them down in a given area. They play while singing traditional melodies and songs specific to knucklebone shooting. Each player has their own tools and shooting instruments, and wears a costume decorated with specific ornaments according to their rank and merit. Team members are united by close bonds and follow ethical rules of mutual respect and dignity. The rituals, knowledge, know-how, techniques and expertise associated with knucklebone shooting, as well as the techniques for making tools, accessories and equipment, are passed on from teacher to student. Knucklebone shooting provides a supportive environment in which each member contributes to team success, social well-being and individual development by supporting and learning from each other. This tradition brings together team members from different backgrounds, encourages their interaction and respect for elders, and strengthens mutual respect and social cohesion. | |
Register of Best Safeguarding Practices
Malaysia does not have a practice listed in the Best Safeguarding Practices Register.
Emergency backup list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Traditional music for tsuur flute | Popular performing arts Customs, rites and festivals | The music for the tsuur flute is based on both an instrumental and a vocal technique: a mixture of sounds produced simultaneously by the instrument and by the throat of the musician. Music for the tsuur flute is inseparable from the Mongolian Uriankhai people of the Altai region and is still an integral part of their daily life today. It has its roots in the ancient practice of worshiping nature and its guardian spirits, which consisted in imitating natural sounds. The tsuur flute is a vertical pipe-shaped wooden wind instrument with three finger holes. The pressure of the front teeth on the mouthpiece of the flute and the simultaneous use of the throat produces a unique timbre composed of a clear, smooth sound and a drone. The tsuur flute is traditionally played as an invocation for a good hunt or for good weather, as a blessing to ward off danger while traveling or for weddings and other festivities. Music, which is also an art of performance, conveys the intimate feelings of the lone traveler and connects man to nature. The tradition of the tsuur flute has been lost in recent decades, through neglect and animosity towards popular customs and religious faith, leaving many places without a tsuur player and families with a tsuur flute. The forty known instruments preserved within the group of Uriankhai Mongols are transmitted exclusively thanks to the memory of successive generations: this characteristic makes this art extremely vulnerable to the risk of disappearance. |  | |
| Mongolian Biyelgee, traditional Mongolian folk dance | Performing art
Know-how related to traditional craftsmanship | The Biyelgee: Mongolian traditional folk dance is performed by dancers of different ethnic groups from the Mongolian provinces of Khovd and Uvs. Considered the original ancestor of Mongolian national dances, Biyelgee dances embody the nomadic way of life in which they draw their roots. They are normally performed in the restricted space of the interior of the ger (the yurt, the nomadic dwelling) and are performed half-seated or cross-legged. The movements of the hands, shoulders and legs evoke various aspects of Mongolian daily life, including household chores, customs and traditions, as well as spiritual characteristics associated with different ethnic groups. The dancers of Biyelgee wear clothing and accessories that combine various color combinations, artistic patterns, embroidery, knitting, quilting and leatherworking techniques, as well as gold and silver jewelry specific to the ethnic group and of the community to which they belong. Dances play a major role in family and community events, such as holidays, celebrations, weddings, and work-related practices, expressing distinct ethnic identities, while upholding family unity and mutual understanding between Mongolian ethnic groups. Mongolian Biyelgee is traditionally passed on to younger generations through learning or lessons within the family, clan or neighborhood. Currently, the majority of the transmitters of the Biyelgee dance are elderly people whose numbers are decreasing. The inherent diversity of the Mongolian Biyelgee is also threatened because there are very few representatives of the forms of Biyelgee specific to different ethnic groups. | | |
| Mongolian Tuuli, Mongolian epic | Performing art
Know-how related to traditional craftsmanship | Mongolian Tuuli is an oral tradition made up of heroic epics that span from several hundred to several thousand verses and combine blessings, eulogies, magic formulas, idioms, fairy tales, myths and traditional songs. It is considered a living encyclopedia of Mongolian oral traditions and immortalizes the heroic history of the Mongolian people. The epic singers are distinguished by a prodigious memory and artistic talent, combining singing, vocal improvisations and musical composition, all mixed with elements belonging to the theater. The epic songs are performed with the musical accompaniment of instruments such as the morin khuur (horse-head violin) and tovshuur (lute). Epics are performed on the occasion of many social and public events, including state affairs, weddings, the first time a child's hair is cut, the naadam (wrestling and shooting competitions 'bow and horse racing) and the worship of sacred sites. These epics, which have evolved over the centuries, reflect the nomadic lifestyles, social behaviors, religion, mentalities and imagination of the people. Performing artists cultivate epic traditions from generation to generation, learning, performing and passing on the techniques within the family circle, from father to son. Through epics, Mongols pass on their historical knowledge and values to younger generations, strengthening a sense of national identity, pride and unity. However, the number of trainers and apprentices is decreasing. With this gradual disappearance of the Mongolian epic, the entire system of transmission of historical and cultural knowledge is deteriorating. | | |
| The technique of interpreting the long song of limbus flute players - circular breathing | Performing Arts | The limbe flute is a transverse flute made of hardwood or bamboo traditionally used for Mongolian folk long songs. Using the circular breathing technique, limbo flute players can produce the continuous melodies characteristic of this long song. Musicians breathe in through their noses and simultaneously blow out the air they have stored in their cheeks through their mouths, allowing them to play without stopping. A verse of a popular long song lasts about four or five minutes. A song comprising of three to five verses, this implies playing the flute continuously for twelve to twenty-five minutes. The traditional training methods used to acquire this technique include exercises which consist in blowing as long as possible sometimes on the flame of a candle without extinguishing it, sometimes in a straw immersed in a glass of water. The limbe flute is characterized by the euphonic melodies, melisma and hidden tunes it produces, as well as the deft and delicate movements of the tongue and fingers required for its practice. The drastic decrease in the number of individual and group practitioners means that only a few holders of the element remain - which is worrying. The phenomenon is due in part to the predominance of foreign musical forms and training systems. At present, there are only fourteen limbus players left, making the frequency and radiation of the practice of this traditional element unstable. | | |
| Mongolian calligraphy | Social practices, rituals and festive events Know-how related to traditional craftsmanship | Mongolian calligraphy is a writing technique that vertically connects continuous lines to form words. The Classical Mongolian alphabet consists of ninety letters, formed from six main strokes called "head", "tooth", "stem", "stomach", "bow" and "tail" respectively. This meticulous handwriting is used for official letters and invitations, diplomatic correspondence and love letters; an abbreviated form is used as a method of shorthand; and is used in "folded" form for emblems, logos, coins and stamps. Mentors traditionally select the best students and train them for five to eight years to become calligraphers. Students and teachers bond for life and continue to improve each other's art and talent. The intensification of social transition, urbanization and globalization have led to a significant decline in the number of young calligraphers. Currently, only three mature academics volunteer to form a small community of around 20 young calligraphers. Additionally, with the cost of living rising, mentors can no longer afford to teach another generation without being paid. Therefore, special measures are needed to draw the attention of young people to this traditional art of writing, as well as to safeguard and revitalize the tradition of Mongolian writing and calligraphy. | | |
| The ritual to coax camels | Oral traditions and expressions, including language as a vehicle of intangible cultural heritage Performing Arts Social practices, rituals and festive events Knowledge and practices concerning nature and the universe | This ritual allows Mongolian shepherds to encourage camels to accept their newborn or adopt an orphaned camel. The mother is tied near the little one and a singer gently sings his monotone chant, which he accompanies with gestures and sounds. The softener can adapt the melody according to the reaction of the camel, which can become aggressive, then soften it little by little to make it accept the little one. The ritual begins at nightfall or at dusk and requires a great deal of skill in caring for the camels, as well as a gift for singing or musical skills such as the horse-head violin or the flute. Most shepherdesses apply techniques and methods of coaxing, but professional coaxers can be called upon if no singer or musician is available in the local community. The ritual is a symbolic means of creating and maintaining social bonds within nomadic families and their communities. It is passed on from parents and elders to younger children through home learning. However, changes in the social and cultural landscape threaten its viability. Today motorcycles are preferred over camels as a form of transportation, and increasing migration to urban centers has reduced the number of young shepherds and shepherds. The number of cultural bearers is therefore decreasing rapidly, as the younger generations move away from what has traditionally linked them to pastoral farming. |  |
