موسيقى "التسور" التقليدية

    

مسجل في 2009 (4.COM) على قائمة التراث الثقافي غير المادي الذي يحتاج إلى صون عاجل

© 2009 by National Centre for the Intangible Cultural Heritage

تستند موسيق ناي الـ’تسور’ إلى تقنية تقوم على الآلة والصوت معاً: مزيج من الأصوات التي تصدرها على نحو متزامن الآلة الموسيقية وحنجرة الموسيقي. وموسيقى ناي الـ’تسور’ وثيقة العرى بالسكان الـ’أوريانخاي’ المنغوليين في منطقة ‘ألطايي’، وهي تبقى إلى يومنا هذا جزءاً لا يتجزأ من حياتهم اليومية. وتعود جذور هذه الموسيقى إلى الممارسات القديمة لعبادة الطبيعة والأرواح الحارسة لها، وهي الممارسات التي كانت تتمثل في تقليد الأصوات الطبيعية. ويتمثل ناي الـ’تسور’ في آلة هوائية من الخشب على هيئة أنبوب أفقي به ثلاثة ثقوب للأصابع. ويؤدي الضغط بالأسنان على فم الناي متزامناً مع استخدام الحنجرة إلى إصدار رنين فريد يجمع بين صوت صافٍ وناعم مصحوباً بناقوس. وكان العزف على ناي الـ’تسور’ تقليدياً بمثابة ابتهال من أجل الصيد الحسن أو طلب الجو اللطيف، أو كتبرك يرمي إلى إبعاد الخطر أثناء السفر، كما يقترن بحفلات الزفاف وغيرها من الاحتفالات. إن الموسيقى التي تُعد أيضاً فناً تأويلياً تترجم أيضاً المشاعر الحميمة للمسافر الوحيد وتربط بين الإنسان والطبيعة. ويتواصل ضياع تقليد ناي الـ’تسور’ منذ عدة عقود بفعل الإهمال والعداء للأعراف الشعبية والإيمان الديني، وهو الأمر الذي أدى إلى ترك أماكن عديدة دون عازفي تسور أو أسر تحوز ناي الـ’تسور’. أما الآلات الأربعون المعروفة التي صانها المنغوليون ـ’أوريانخاي’، فإنها تنتقل فقط بفضل ذاكرة الأجيال المتلاحقة، وهو ما يجعل هذا الفن عرضة للغاية لخطر الاختفاء.

التقارير الدورية

Periodic Report (USL)

Cover sheet

State Party

Name of State Party

Mongolia

Date of deposit of the instrument of ratification, acceptance, approval or accession

This information is available online.

29-06-2005

Element inscribed on the Urgent Safeguarding List that is the subject of this report

Name of element

Traditional music of the Tsuur

Inscribed in

2009

Reporting period covered by this report

Please indicate the period covered by this report.

2009 - 2013

Other elements inscribed on the Urgent Safeguarding List, if any

Please list all other elements from your country inscribed on the Urgent Safeguarding List, together with the year of inscription; for multinational elements, please indicate the other States concerned.

Coaxing ritual for camel calves (2011)
Coaxing ritual for camels (2015)
Folk long song performance technique of Limbe performances - circular breathing (2011)
Mongol Biyelgee, Mongolian traditional folk dance (2009)
Mongol Tuuli, Mongolian epic (2009)
Mongolian calligraphy (2011)
Mongolian calligraphy (2013)
Mongolian traditional Cham dance (2011)
Mongolian Traditional Cham Dance (-)
Mongolian traditional practices of the worshipping of sacred sites (2011)
Mongolian traditional practices of worshipping the sacred sites (2017)
Performance of the Mongolian epic of Jangar (2011)
The art of steel carving (backlog)
Traditional music of the Tsuur (2009)

Executive summary of the report

Please provide an executive summary of the report that will allow general readers to understand the current status of the element, any positive or negative impacts of inscription, the implementation of safeguarding measures during the reporting period and their possible update for the following years.

Tsuur music, a combination of instrumental and vocal performance, is an ancient form of Mongolian music with a unique sound.
Since th Hunnu dynasty, the Uriankhai Mongols of the Altai region in Western Mongolia have related Tsuur music to the spirit of the Altai Mountains, and revered it as a force to ward off evil from a household.
The forty known folk melodies and tunes of the Tsuur repertoire are transmitted by memory and are currently preserved by descendants and apprentices of the ancient nomads, that populated the northern and southern slopes of the Mongolian Altai Mountains. The traditional music of the Tsuur forms an important part of the Uriankhai Mongolian’s relationship with their natural environment and a critical element in assuring their survival within it. It accompanies daily activities and animal herding as well as religious ceremonies and rituals.
Traditionally found among members of the Uriankhai ethnic group of the Altai Region, the Tsuur and its traditions are preserved today largely by the descendant of the late Paarain Narantsogt of the Tsgaan Tug clan, in Duut soum, Khovd province, in westernmost Mongolia.
Many long and short term projects have accomplished in last 4 years in order to identify the ‘Tsuur’ music bearers, register them, study, disseminate and transmit to the next generations. We did several series of works such as restoring ‘Tsuur’ music instrument art and its tradition in Altai Uriankhai tribe where it has originated and to disseminate this art to the other tribe and regions in order to urgent safeguarding the ‘Tsuur’ and its tradition and to create social environment which supports ‘Tsuur’ music and its players. The ‘Tsuur’ art could overcome its danger to vanish and getting stronger to continue exists, as a results of these works.
Bearers, communities and groups’ involvement has a vital responsibility to protect the ‘Tsuur’ music art and these talented people who are the bearers actively working hard to transmit this art for the next generation, disseminate and restore this art at the same time to safeguard the tradition as it was from the beginning. Trainings about transmitting this tradition is conducted by two ways traditional apprenticeship training and classroom training. The trainings of this heritage have conducted in Duut and Jargalant soum in Hovd province, Buyant, Ulgii and Ulaanhus sum in Bayan-Ulgii province, Sumber soum of Gobisumber province, Orkhon province and in the capital city during the report period. These training have led by the famous ‘Tsuur’ player P.Narantsogt’s offspring and his students. There are aroundu, 100 teenagers and young adults who have learnt or leaning how to play this instrument as a result of these trainings. Statistic shows that the number of ‘Tsuur’ players and its trainees have increased 9 times in last four years.
We still need to continue what we are doing and increase the boundaries even there are such good results shown in a work of protecting the ‘Tsuur’ music and its tradition and create sustainability.
Consequently, in January, 2014 the Mongolian Government has decreed a National Safeguarding Plan of the “Traditional music of the Tsuur” and its going to be implemented within 3 years.The aim of the project is to revitalize and safeguard and transmit the Tsuur music.

Contact person for correspondence

Provide the name, address and other contact information of the person responsible for correspondence concerning the report.

Title (Ms/Mr, etc.)

Mr

Family name

Jargalsaikhan

Given name

Tsoodol

Institution/position

Head of the ICH devision

Address

Center for Cultural Heritage, Cultural Palace B, Sukhbaatar square 3, Sukhbaatar District, Ulaanbaatar 210620a, Mongolia

Telephone number

+976-11-312735

Fax number

E-mail address

tsjargalsaikhan@monheritage.mn; ichfr@monheritage.mn

Other relevant information


B. Status of element inscribed on the Urgent Safeguarding List

Refer to the nomination file or to previous reports, if any, as the basis for reporting on the current status of the element, and report only on relevant changes since the date of inscription on the List or since the previous report. Nomination files, specific timetables and earlier reports, if any, are available at https://ich.unesco.org or from the Secretariat, upon request.

The State Party shall pay special attention to the role of gender and shall endeavour to ensure the widest possible participation of the communities, groups and, where applicable, individuals concerned as well as relevant non-governmental organizations during the process of preparing this report, and is asked to describe how it has done so in point D below.

B.1. Social and cultural functions

Please explain the social and cultural functions and meanings of the element today, within and for its community, the characteristics of the bearers and practitioners, and any specific roles or categories of persons with special responsibilities towards the element, among others. Attention should be given to any relevant changes related to inscription criterion U.1 (‘the element constitutes intangible cultural heritage as defined in Article 2 of the Convention’).

The art of tsuur music is an important part of cultural heritage to the bearers, the family tradition, the communities who practice this art and produce this musical instrument. It has a very high social and cultural functions that bring certain identity and pride among the communities.
Tsuur is one the Mongolian main musical instruments. When a person play tsuur, his throat and bagpipe’s whistle harmonized and make special timbre which distinguishes it from the rest of the music instruments. It also has a significant difference than other wooden wind instruments. This unrepeatable difference of bagpipe art is very special development of performing art of human kind, not only in Mongolia.
Since the inscription of this element on the UNESCO List of Urgent Safeguarding of ICH, the public awareness and understanding has increased nationwide.
The representation of the tsuur music and its custom are conserved in traditional manner during the activities that are organised for safeguarding and transmitting the traditionel art of tsuur.

B.2. Assessment of its viability and current risks

Please describe the current level of viability of the element, particularly the frequency and extent of its practice, the strength of traditional modes of transmission, the demographics of practitioners and audiences and its sustainability. Please also identify and describe the threats, if any, to the element's continued transmission and enactment and describe the severity and immediacy of such threats, giving particular attention to any strengthening or weakening of the element’s viability subsequent to inscription.

Altai Uriankhai is the only tribe which inherited the tradition of bagpipe art among the other tribes. It has noted that the each Uriankhai family had bagpipe at their homes and most of the Uriankhai men used to play bagpipe till the end of last century. Unfortunately this art and heritage came at the edge of vanishing by the end of the twentieth century. The main result was historical dark period which tried to neglect the traditional culture and religion. It treated traditional art and culture as a part of old time and it was government plan to get rid of tradition and art of people.
Last 4 years, the art of ‘Tsuur’ music spread from the bearer community to the regional level where the folk musicians and students play. In order to identify the ‘Tsuur’ music bearers, register them, study, disseminate and transmit to the next generations. We did several series of works such as restoring ‘Tsuur’ music instrument art and its tradition in Altai Uriankhai tribe where it has originated and to disseminate this art to the other tribe and regions in order to urgent safeguarding the ‘Tsuur’ and its tradition and to create social environment which supports ‘Tsuur’ music and its players. Bearers, communities and groups’ involvement has a vital responsibility to protect the ‘Tsuur’ music art and these talented people who are the bearers actively working hard to transmit this art for the next generation, disseminate and restore this art. Trainings about transmitting this tradition is conducted by two ways traditional apprenticeship training and classroom training. Statistic shows that the number of ‘Tsuur’ players and its trainees have increased 9 times in last four years. Its survival capacity and sustainable development are increased, thus may be considered as being far from the danger.
Nevertheless, in January 2014 the Mongolian Government has decreed a National Safeguarding Plan of the “Traditional music of the Tsuur” and its going to be implemented within 3 years. The aim of the project is to revitalize and safeguard and transmit the Tsuur music.
The objectives are to:
• Strengthen the research and establish registration-information database through a field-survey focusing on the current state of traditional music of the Tsuur;
• Improving the viability of the Tsuur by training new generation of performers, while also reviving traditional method of apprenticeship-training;
• Improving the capacity-building of the bearers, concerned NGOs, community-based organizations and professionals by involving in safeguarding measures;
• Raise the awareness among general public through production of media and;
Expected outcomes:
• Database will have created from registration and documentation materials gathered during Filed survey. This database is to be enriched and improved year by year basis even beyond the completion of the Project;
• The traditional apprenticeship method will have restored;
• Through the activities, awareness of the importance and understanding to revitalize and safeguard the element will have raised;
• The Tsuur performers’ skills and talents will have significantly improved, their repertoire enriched and some forgotten tunes and melodies revived;
• Awareness will have increased at the all level

B.3. Implementation of safeguarding measures

Please report on the safeguarding measures described in the nomination file, and previous report, if any. Describe how they have been implemented and how they have substantially contributed to the safeguarding of the element during the reporting period, taking note of external or internal constraints such as limited resources. Include, in particular, information on the measures taken to ensure the viability of the element by enabling the community to continue to practise and transmit it. Include the following detailed information concerning the implementation of the set of safeguarding measures or safeguarding plan:

B.3.a. Objectives and results

Indicate what primary objective(s) were addressed and what concrete results were attained during the reporting period.

Objectives:
-To safeguard and develop this tsuur music art especially in Altaic Urianhai tribe and then to spread to other community and regions.
-To stabilize tsuur music training method/system and supply the follow ups
-To restore method of tsuur music playing, repertory of tsuur music and traditional culture of tsuur music and tsuur related traditions and customs.
-To increase the community and society’s involvement in recovering tsuur music art and create the social environment which supports tsuur players and the tsuur music art.
Results:
- Mongolian tsuur music tradition has restored and certain improvements appeared in the ways of protecting, developing, teaching, studying, researching, disseminating and sustaining the tradition.
-Community and its people’s understanding and awareness improved about tsuur music tradition and its social value has increased dramatically.
- Mongolian tsuur survived the risk of vanishing and good foundation established for tsuur music art to still be an important part of traditional musical instrument and Mongolian traditional intangible cultural heritage.

B.3.b. Safeguarding activities

List the key activities that were carried out during this reporting period in order to achieve these expected results. Please describe the activities in detail and note their effectiveness or any problems encountered in implementing them.

2009-2014 Mongolian Government has implemented successfully a several projects of the "Traditional music of the Tsuur” in the objectives to safeguard, develop, transmit the element to the next generation by training and apprenticeship, emphasize and support the “Tsuur” bearers. During the implementation of these projects relevant state and non-state parties, communities, practitioners have been involved actively and contributed an important role.
Activities
A: Field study and inventorying
- A field survey were undertaken to focus on the current state of Tsuur, its repertoire and associated customs and rituals
B: Safeguarding and Transmission
- The trainings of transmission of the Mongolian ‘Tsuur’ have conducted in Duut and Jargalant soum in Hovd province, Buyant, Ulgii and Ulaanhus sum in Bayan-Ulgii province, Sumber soum of Gobisumber province, Orkhon province and in the capital city between 2009 and 2012. The people who conducted the training were N.Buyandelger, son of famous ‘Tsuur’ player P.Narantsogt, B.Naranbat, the grandson, their relative B.Tseden-Ish, his student N.Sengedorj, N.Damdindorj, kazakh ‘Tsuur’ player A.Enbek and they used traditional apprenticeship training and classroom training methods. There are around 100 teenagers and young adults in nationwide who have learnt or leaning how to play this instrument as a result of these trainings. ‘Tsuur’ music apprenticeship training not only helps students to learn the method to play the ‘Tsuur’ instrument, but also requires students to know how to create ‘Tsuur’ instrument by themselves and gives them practical ‘Tsuur’ making experience.
- “Hunnu Tsuur Union” NGO and “Egshiglen Magnai” music instrument factory started to produce ‘Tsuur’ in a large amount and supplying the growing demand of ‘Tsuur’ music players and learners.
- UNESCO referred the Living Human Treasure program to its member countries. As a beginning of that program in the country, the national list “Talented people who inherited intangible Cultural heritage in high level” has approved by the Ministry of Education, Culture and Science in 2010 as their 546th order. The following 5 bearers; N.Buyandelger, B.Naranbat, N.Sengedorj, A.Enbek and A.Baldandorj have registered in that list as a ‘Tsuur’ bearers and it confirms that the heritage can survive and able to develop. The united budget funded these 5 people by 16 200 000 MNT to do apprenticeship program trainings and following supports were given to them.
- The work of making ‘Tsuur’ instrument as a major in professional art university has started in order to stabilize ‘Tsuur’ reputation in a family of Mongolian Traditional musical instruments. For this reason Cultural Heritage Center, Culture and Art University and Ulaanbaatar’s Music and Dance collage signed on cooperation agreement and started to work all together to supply with training materials and instruments, to plan syllabus and to acknowledge the training methods to the teachers who will teach.
- The Cultural Heritage Center published “Mongolian tsuur” DVD lesson and study books for ‘Tsuur’ music trainings. These training facilities were highly demanded among trainers, teacher, ‘Tsuur’ art bearers, music schools and professional art organizations and artists. It also became fruitful study materials to learn general ‘Tsuur’ music methods and traditional methods, to teach and disseminate.
C: Awareness raising, dissemination and promotion
- A book “Mongolian most rare traditional Intangible cultural Heritages” and “Mongolian Traditional Intangible cultural Heritages” published in Mongolian and English language for the dissemination work of traditional ‘Tsuur’ music in local and foreign countries. These books included ‘Tsuur’ instruments and its players photos, introductions and dissemination and research compositions.
- Many speeches related to Mongolian ‘Tsuur’ have presented in Science and Research meetings about the study of traditional art and culture in the country. Also similar speeches presented in “The V Grassland Culture Forum.2009” in Inner Mongolia of China, “Sounds of EURASIA” in Buriad’s Ulan-Ude in Russian Federation and in VII Congress-Festival.
- In 2013, we have organized a conference on "Tsuur music's actual situation and its difficulties" in Ulaanbaatar to discuss pertaining its future protection, development, art of ‘Tsuur’ making and related customs.
- Traditional Art Festival 2011, Oirad’s Art and Culture “Ikh Hogsuu” festival and “Altan Huree” Uriannhai’s yearly art, culture and sport festival which conducted by Urianhai’s History and Culture supporting Union all had bagpipe playing competitions. Many participants participated in these competitions and they were good encouragement to improve the abilities of the ‘Tsuur’ music players and increased their repertories.
- Mongolian National Broadcaster made television program “Golden Heritage” about Urianhai Tsuur music and its player,
- Eagle television made “Tsuur Heritage”, Ekh Oron television made “Urianhai tsuur tradition” and Mongolian National Radio made “Melody of the tsuur music”. All of these programs were good dissemination in the society. These television and radio dissemination programs were made during the report duration and together with previous art works they had big influence on recovering, supporting and creating good environment for ‘Tsuur’ music art development.
- The previous art works are: “Shuudriin Dusal” tele-program, “Hunnu’s wooden tsuur instrument” and “Melody of tsuur music” documentary movies and “Echo of Mountains and Waters” audio CD.

B.3.c. Participation of communities, groups or individuals in the safeguarding activities

Describe how communities, groups or, if appropriate, individuals as well as relevant non-governmental organizations have effectively participated, including in terms of gender roles, in the safeguarding measures. Describe the role of the implementing organization or body (name, background, etc.) and the human resources that were available for implementing safeguarding activities.

The safeguarding measures were elaborated with full participation of the ICH bearers, concerned representatives of relevant NGOs, and their opinions and recommendations were freely been reflected in the projects.
The main activities under this project for safeguarding the epic, conducting research, advertising and transmitting to the younger generation were implemented with full participation of the Tsuur performers and associations established by themselves. These are:
- The relative and offspring of Uriankhai’s Tsagaan Tug clan’s famous tsuur music player Paarai Narantsogt and their students established a community concerned group. This group became the main supporting center to transmit and develop Mongolian tsuur music art and its traditional repertory. This Altaic Urianhai’s tsuur tradition has transmitted well in Paarai Narantsogt’s family who are from the Tsagaan Tug clan of Hovd province’s Duut soum. They are P.Narantsogt’s sons: N.Buyandelger, N.Erdenebaatar, grandsons: B.Naranbat, B.Zagdjav, M.Sukhnasan, B.Nekhjargal, T.Erdenebaatar, B.Munguntsooj, granddaughters: B.Bayartsetseg,B.Battsooj, B.Munkhchimeg, students: N.Sengedorj, Damdinjav, A.Baldandorj and E.Baatarjav. These people are the sole bearers and protecting Mongolian tsuur music's tradition. Also they took the responsibility to develop the tsuur music art with honor and working hard within their strength. “Tsagaan Tug” clan’s tsuur music players are the most active participants to promote it in the society. They have done many disseminations works through art stages, televisions and radios.
- “Hunnu tsuur players’ Union” has been an important part of protecting tsuur music repertory, transmitting, developing and disseminating works. This union consists of the active members of the clan, traditional musical instrument researchers and cultural pioneers.
- Music teacher G.Nyamjantsan, from the music and dance college and music teacher N.Sanjaadorj, from State University of Arts and Culture have included the traditional tsuur music in their educational programs.
- The Cultural Heritage Center published “Mongolian tsuur” DVD lesson and study books for ‘Tsuur’ music trainings. These training facilities were highly demanded among trainers, teacher, ‘Tsuur’ art bearers, music schools and professional art organizations and artists. It also became fruitful study materials to learn general ‘Tsuur’ music methods and traditional methods, to teach and disseminate.
- A book “Mongolian most rare traditional Intangible cultural Heritages” and “Mongolian Traditional Intangible cultural Heritages” published in Mongolian and English language for the dissemination work of traditional ‘Tsuur’ music in local and foreign countries. These books included ‘Tsuur’ instruments and its players photos, introductions and dissemination and research compositions.
- Many speeches related to Mongolian ‘Tsuur’ have presented in Science and Research meetings about the study of traditional art and culture in the country. Also similar speeches presented in “The V Grassland Culture Forum.2009” in Inner Mongolia of China, “Sounds of EURASIA” in Buriad’s Ulan-Ude in Russian Federation and in VII Congress-Festival.
-Traditional Art Festival 2011, Oirad’s Art and Culture “Ikh Hogsuu” festival and “Altan Huree” Uriannhai’s yearly art, culture and sport festival which conducted by Urianhai’s History and Culture supporting Union all had bagpipe playing competitions. Many participants participated in these competitions and they were good encouragement to improve the abilities of the ‘Tsuur’ music players and increased their repertories.

B.3.d. Timetable and budget

Indicate in a timetable when each activity was implemented and the funds that were used for its implementation, identifying the source of funding for each (governmental sources, in-kind community inputs, etc.).

Name of activity - Implementing body – Timeline - Fund(USD)
1. To hold “Ceremony to take Certificate of the Traditional music of the Tsuur” and photo exhibition, Ministry of Education, Culture and Science, NatCom, Center for Cultural Heritage,
“Hunnu Tsuur players’ Union” - 2010; USD 1.500
2. To organize Western region Workshop (apprenticeship and classroom trainings), Center for Cultural Heritage, “Hunnu Tsuur players’ Union” - 2010-2012 ; USD 4.000
3. To organize Central region Workshop (apprenticeship and classroom trainings), Center for Cultural Heritage, “Hunnu Tsuur players’ Union” - 2010-2012 ; USD 4.000
4. The work of making ‘Tsuur’ instrument as an optional major in Professional Art University; Ministry of Culture, Sports and Tourism, Cultural Heritage Center, Culture and Art University and Ulaanbaatar’s Music and Dance collage – 2012; USD 6.000
5. Creation of a registration-information database at local and national level, Center for Cultural Heritage, Local Government Administrations - 2009-2011; USD 4.500
6. To publish DVD lessons, study books for Tsuur music trainings; Center for Cultural Heritage, “Tsagaan Tug” clan’s Tsuur players - 2010-2011; USD 6.500
7.To produce a serial documentaries and media production on the customs and rituals related to the Tsuur aims to further raise the awareness; Center for Cultural Heritage, “Tsagaan Tug” clan’s Tsuur players, “Hunnu Tsuur players’ Union” - 2010-2012; USD 9.500
8. To conduct scientific meeting on the “Traditional music of the Tsuur”: Ministry of Education, Culture and Science, NatCom, Center for Cultural Heritage – 2011; USD5.000
9. To deepen the study and researches on the “Traditional music of the Tsuur”: Center for Cultural Heritage, “Hunnu Tsuur players’ Union” - 2010-2014; USD 4.800
TOTAL USD45.800

B.3.e Overall effectiveness of the safeguarding activities

Provide an overall assessment of the effectiveness of the activities undertaken to achieve the expected results and of the efficiency of the use of funds for implementing the activities. Please indicate how the activities contributed to achieving the results and whether other activities could have contributed better to achieving the same results. Also indicate whether the same results could have been achieved with less funding, whether the human resources available were appropriate and whether communities, groups and individuals could have been better involved.

Tsuur music’s ability to coexistance improved in the result of the series of tsuur music safeguarding activities which are mentioned above. We accomplished to restore the traditional Mongolian tsuur music which includes tradition of playing the tsuur, developing, training, studing, promoting, and providing in sustainable framework.
The main result was historical dark period which tried to neglect the traditional culture and religion. It treated traditional art and culture as a part of old time and it was government plan to get rid of tradition and art of people.
In order to identify the ‘Tsuur’ music bearers, register them, study, disseminate and transmit to the next generations Mongolian tsuur music tradition has restored and certain improvements appeared in the ways of protecting, developing, teaching, studying, researching, disseminating and sustaining the tradition. Community and its people’s understanding and awareness improved about tsuur music tradition and its social value has increased dramatically.
Mongolian tsuur survived the risk of vanishing and good foundation established for tsuur music art to still be an important part of traditional musical instrument and Mongolian traditional intangible cultural heritage.
We are working on to combine traditional "apprenticeship training" method with modern teaching principles and need to find effective teaching structure for formal and informal training systems in order to inherit the bagpipe to the next generations. Art of tsuur has spread well and developed out from Altai Mountain and Uriankhai tribe`s area and number of tsuur players has increased. Also it is not sufficient to focus on increasing the number of players who know how to make a sound of tsuur in order to safeguarding the Mongolian traditional tsuur music.
But we didn’t have not enough budget to accomplish the activities that we planned. We need to develop good legal and financial environment in order to guarantee the life of bearers and the need of setting good motivation system.
We couldn’t accpomlish the following two plans: Organizing Mongolian traditional Tsuur music Festival and Reporting Performance of the tsuur music trainings. So we postponed to accomplish them in 2014. Also we don’t have enough human resource to conduct all the trainings. Recovering the tradition of wooden tsuur requires long time and effort. Because playing tsuur demands dual action of vocal cords and extraordinary technique. Therefore not everybody learns playing tsuur as well as they need rehearsals with teacher`s instruction and hard studying.
The art of playing Mongolian tsuur is a wide concept which requires to acquire the richest repertory imagination`s developed by bearers to heirs of generations. Currently there are around 40 folk pieces of Mongol Altaic Uriankhai tribe`s inherited repertory notified they represent nature, mountains, water draws, animal sound, relationship between humankind and nature, human feelings. Those tunes transmitted by hearing and memory through generations instead of music notes, which means it is in a danger of vanishing with the players who practice.
As time goes by the traditional tsuur is coming closer to the edge of vanishing and we insure that the safeguarding work of transmission to the next generation, studying and spreading will continue sustainably.

B.4. Community participation

Please describe how communities, groups and individuals, as well as relevant non-governmental organizations have been involved, including in terms of gender roles, in updating the safeguarding plan, and how they will be involved in its implementation.

Uriankhai’s “Tsagaan Tug” clan’s traditional tsuur music player P.Narantsogt’s students and offspring had biggest roles in the task of safeguarding the Tsuur music tradition and heritage. They are P.Narantsogt’s sons: N.Buyandelger, N.Erdenebaatar, grandsons: B.Naranbat, B.Zagdjav, M.Sukhnasan, B.Nekhjargal, T.Erdenebaatar, B.Munguntsooj, granddaughters: B.Bayartsetseg,B.Battsooj, B.Munkhchimeg, students: N.Sengedorj, Damdinjav, A.Baldandorj and E.Baatarjav. These people are the sole bearers and protecting Mongolian tsuur music's tradition. This group, community of bearers have 15 active members and the group has both elder and young members. They conducted trainings using the traditional apprenticeship training and classroom training method. Besides, they contributed in development of the training and dissemination activities such as a guidebook, DVD, CD. Also were actively involved in the activities in order to safeguard, protect, restore, develop, disseminate, transmit, inherit, teach and promote it through media, publication and radio.
Safeguarding the tradition and heritage of tsuur music is very important and matter of reputation affecting responsibility for the members of “Tsagaan Tug” clan. Also there's few craftsmen who makes tsuur musical instrument and teenagers who are learning to play tsuur music joined the community and it guarantees that the art of traditional tsuur music’s development in the future. These bearers are specialized by their heritage Altaic Urianhai’s tsuur playing method, traditions, repertory and tsuur musical instrument hand making techniques in the same place where this art is originated.

B.5. Institutional context

Please report on the institutional context for the local management and safeguarding of the element inscribed on the Urgent Safeguarding List, including:

  1. the competent body(ies) involved in its management and/or safeguarding;
  2. the organization(s) of the community or group concerned with the element and its safeguarding.

1. Ms Ts.Tsendsuren
Head of the Cultural Heritage Departement,
Ministry of Culture, Sports and Tourism
Government building X, Place Barilgachid, Chingeltei District,
Ulaanbaatar, Mongolia
Tel: +976-9312-4367
Fax: +976-11-310466
email: tsendsuren0525@yahoo.com
Department is responsible for the method and planning of safeguarding the cultural heritage
2. Cultural Heritage Center
This is a professional and certificated organization and its ICH section established in 2008 in order to protect both tangible and intangible cultural heritage. Organization works in worldwide to safeguard and protect documents and videos, research on ICH bearers, inventorying transmission program for future generations and central archive for registration and information.
Address: Mongolia, 21 06 20 a, Ulaanbaatar, Sukhbaatar district, Sukhbaatar square 3, Jamiyang’s street, B section of Central Cultural palace
POBox: Ulaanbaatar 210628, Mongolia
Director: G.Enkhbat
Tel Phone: + 976-11-312-735
+ 976-70110877
Fax: + 976-11-312735
E-mail: enkhbat@mongolheritage.mn
Web: www.monheritage.mn
Head of ICH division: Mr S.Yundenbat
Tel: + 976-88000239.
E-mail: yundenbat@monheritage.mn
3.“Hunnu tsuur players union” NGO
Headman: B.Naranbat
Address: Bayanzurkh district, 23th subdistrict , School А-5-60
Tel: + 976-9490 0904
+ 976-9924 2363
Fax: 976-7015 4576
E-mail: baldaa_04@monheritage.mn

B.6. Participation of communities in preparing this report

Describe the measures taken to ensure the widest possible participation of the communities, groups and, where applicable, individuals concerned as well as relevant non-governmental organizations during the process of preparation of this report.

The following bearers, groups and NGOs sent their reports and their representatives and community has actively involved in this report. They are:
The relative and offspring of Urianhai’s Tsagaan Tug clan, Hovd Province, Duut soum’s famous traditional tsuur music player Paarai Narantsogt and their students’ community concerned group, “Hunnu tsuur players’ Union”, Oirad’s art and culture “Ikh Hogsuu” movement, “Union to support Uriankhai’s history and culture”.
In March 2012 the Government have established a commission to work on the national activity reports for the different measures taking by Mongolia to safeguard and protect the elements inscribed on UNESCO List of Urgent Safeguarding of ICH. This commission is represented by governmental and non governmental organizations, community, practitioners, bearers and individuals. Above mentioned members of the commission were approved. And during the process of preparation of this report, the community, practitioners and individuals have assisted and give information about their contribution to the activity depending their field and some community and association have sent an written report of their local activity.

C. Signature on behalf of the state party

The report should conclude with the original signature of the official empowered to sign it on behalf of the State, together with his or her name, title and the date of submission.

Name

M.Tumenjargal

Title

Vice- Minister of Culture, Sports and Tourism

Date

30-01-2014

Signature


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