The Aalst Carnival in Belgium, the Peking Opera, Spanish Flamenco, the Wayuu normative system in Colombia, the traditional skills of carpet weaving in Kashan in Iran, and falconry, presented by 11 countries, are among the 46 elements inscribed today on the Representative List of the Intangible Cultural Heritage of Humanity. A UNESCO Intergovernmental Committee, chaired by Jacob Ole Miaron from Kenya and meeting in Nairobi until 19 November 2010, examined and inscribed 46 of the 47 nominations presented.
India - Chhau dance - Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes. Its three distinct styles hail from the regions of Seraikella, Purulia and Mayurbhanj, the first two using masks. Chhau dance is intimately connected to regional festivals, notably the spring festival Chaitra Parva. Its origin is traceable to indigenous forms of dance and martial practices. Its vocabulary of movement includes mock combat techniques, stylized gaits of birds and animals and movements modelled on the chores of village housewives. Chhau is taught to male dancers from families of traditional artists or from local communities. The dance is performed at night in an open space to traditional and folk melodies, played on the reed pipes mohuri and shehnai. The reverberating drumbeats of a variety of drums dominate the accompanying music ensemble. Chhau is an integral part of the culture of these communities. It binds together people from different social strata and ethnic background with diverse social practices, beliefs, professions and languages. However, increasing industrialization, economic pressures and new media are leading to a decrease in collective participation with communities becoming disconnected from their
India - Kalbelia folk songs and dances of Rajasthan - Songs and dances are an expression of the Kalbelia community’s traditional way of life. Once professional snake handlers, Kalbelia today evoke their former occupation in music and dance that is evolving in new and creative ways. Today, women in flowing black skirts dance and swirl, replicating the movements of a serpent, while men accompany them on the khanjari and the poongi, a woodwind instrument traditionally played to capture snakes. The dancers wear traditional tattoo designs, jewellery and garments richly embroidered with small mirrors and silver thread. Kalbelia songs disseminate mythological knowledge through stories, while special traditional dances are performed during Holi, the festival of colours. The songs also demonstrate the poetic acumen of the Kalbelia, who are reputed to compose lyrics spontaneously and improvise songs during performances. Transmitted from generation to generation, the songs and dances form part of an oral tradition for which no texts or training manuals exist. Song and dance are a matter of pride for the Kalbelia community, and a marker of their identity at a time when their traditional travelling lifestyle and role in rural society are diminishing. They demonstrate their community’s attempt to revitalize its cultural heritage and adapt it to changing socioeconomic conditions.
India - Mudiyettu, ritual theatre and dance drama of Kerala - Mudiyettu is a ritual dance drama from Kerala based on the mythological tale of a battle between the goddess Kali and the demon Darika. It is a community ritual in which the entire village participates. After the summer crops have been harvested, the villagers reach the temple in the early morning on an appointed day. Mudiyettu performers purify themselves through fasting and prayer, then draw a huge image of goddess Kali, called as kalam, on the temple floor with coloured powders, wherein the spirit of the goddess is invoked. This prepares the ground for the lively enactment to follow, in which the divine sage Narada importunes Shiva to contain the demon Darika, who is immune to defeat by mortals. Shiva instead commands that Darika will die at the hand of the goddess Kali. Mudiyettu is performed annually in ‘Bhagavati Kavus’, the temples of the goddess, in different villages along the rivers Chalakkudy Puzha, Periyar and Moovattupuzha. Mutual cooperation and collective participation of each caste in the ritual instils and strengthens common identity and mutual bonding in the community. Responsibility for its transmission lies with the elders and senior performers, who engage the younger generation as apprentices during the course of the performance. Mudiyettu serves as an important cultural site for transmission of traditional values, ethics, moral codes and aesthetic norms of the community to the next generation, thereby ensuring its continuity and relevance in present times.