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. Tsuur music is based on a blending of sounds created simultaneously by both the musical instrument and the human throat. As mentioned in the report, by the time of its inscription, the Tsuur tradition had faded as a consequence of neglect and an antagonism towards folk customs, leaving many localities with no Tsuur performers and no families possessing a Tsuur. The art’s continuing high level of vulnerability is compounded by the fact that the forty known pieces preserved among the Uriankhai Mongolians are transmitted exclusively through oral tradition. The State reports that the impacts of urban living and the consequent loss of cultural contexts for its practice and transmission also render the element vulnerable.

Effectiveness of the safeguarding activities

In the report submitted by the State Party, it is mentioned that the safeguarding measures undertaken are managing to bring Tsuur music back from endangerment and to restore it, including the tradition of making the instruments, training, studying, promoting its music and providing a sustainable framework. According to the reporting State, community understanding and awareness of the Tsuur music tradition have been improved and its social value has increased. It explains that a three-year National Safeguarding Plan of the Traditional Music of the Tsuur was adopted only in January 2014 with the aim of revitalizing, safeguarding and transmitting Tsuur music. A traditional apprenticeship method has been established and a database created from materials gathered during a field survey, to be enriched and improved annually, even beyond the completion of the Safeguarding Plan. Mongolia states that a significant improvement was achieved in Tsuur performers’ skills, their repertoire has been enriched and some forgotten tunes and melodies revived. It is recognized by the reporting State that important challenges remain in terms of the limited number of active practitioners as well as human and financial resources for safeguarding actions, given that the budget was reported to be insufficient to accomplish all the planned activities.

Community participation

In its report, Mongolia mentions that safeguarding measures were elaborated with participation of the Tsuur performers and associations and their recommendations have been reflected in the Safeguarding Plan. The ‘Hunnu tsuur players’ Union’, consisting of active members of the Uriankhai tribe, traditional musical instrument researchers, music teachers, academics and cultural leaders has played an important role in protecting the Tsuur music repertory. A few craftspeople of Tsuur musical instruments and teenagers who are learning to play the instrument have joined the community and in the report this is considered to favour future development of this component.

Mongolia explains that a commission comprising governmental and non-governmental organizations, community, practitioners, bearers and individuals was established in 2012 to work on the national activity reports for the different measures taking by Mongolia to safeguard and protect the element. During the process of preparation of the report, the community, practitioners and individuals assisted and provided information about their contribution to safeguarding the element. A number of bearers, groups and NGOs were actively involved in preparing the report.

Viability and current risks

The Altai Uriankhai Tsuur music came to the edge of vanishing by the end of the twentieth century. In the report it is stated that Tsuur music started to attract popular attention after its inscription on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding and the number of the people who practise, inherit and study this musical tradition has increased each year since inscription. Over the last four years, Tsuur music has spread out from the bearer community to the regional level where folk musicians and students now play it, promoting its sustainability and future viability. However, recovering the tradition of wooden Tsuur requires both time and effort. In addition, Mongolia points out that since playing Tsuur demands the dual action of vocal chords and a particular blowing technique, not everyone can learn it and this requires hard study with a teacher’s instruction.

The Mongol Biyelgee is performed by dancers from different ethnic groups in two provinces of Mongolia, embodying the nomadic way of life. Typically confined to the small space inside the ger (nomadic dwelling), dances are performed while half sitting or cross-legged with hand, shoulder and leg movements. The State reports that, although this folk dance was almost extinct at the time of inscription, the urgent safeguarding measures taken have succeeded in preventing its disappearance and there is now a much better awareness of it, demonstrated by the fact that even younger people have been attracted to study and practise this art. Despite this, according to Mongolia, it is not yet fully viable and the advanced ages of bearers, urbanization, its environmental context and poorly adapted apprenticeship systems all pose challenges to its sustainability.

Effectiveness of the safeguarding activities

In the report it is explained that a National Safeguarding Plan of the ‘Traditional folk dance: Biyelgee’ (2009-2014) was implemented and included: a field survey focused on the current state of the dance, its repertoire and associated customs and rituals; organized training and apprenticeship programmes; the establishment of several organizations that have as main objectives to develop and safeguard the local specificity of Biyelgee and offer legal protection to practitioners; and the production and publication of promotional materials such as a documentary film, a catalogue and several books. A national competition and a ‘talents workshop’ were organized by local NGOs. Since 2009, 31 professional dancers have graduated with degrees in Biyelgee from higher education institutions. The report mentions that a body connected to traditional knowledge including traditional costume-making and the craftsmanship of musical instruments has been also established.

According to Mongolia, there is now better awareness and younger people have been attracted to study and practise this art. The involvement, initiative and participation of local government, the public and State organizations in protection and transmission activities are increasing. The Biyelgee is now developing alongside other related aspects of heritage such as embroidery, craft skills, and music etc. Professional and apprentice training and the number of practitioners have greatly increased, as highlighted in the report.

Community participation

It is noted that during the implementation of the national safeguarding plan, relevant non-governmental organizations, communities and practitioners were involved actively. National artists and volunteers gathered together to create sustainable cultural activities and established several associations to this end. From the report it seems that the Biyelgee practising communities are actively involved today in the safeguarding activities for the element. Cultural associations are also reported to be deeply involved, undertaking activities such as restoring some forgotten arts of Biyelgee, transmitting it to the next generation, holding apprenticeship workshops, organizing festivals and Biyelgee performances during the national feast of Naadam, and researching its ethnic diversity, associated customs, vocabulary and method of transmission.

Concerning participation in the preparation of the report, the community, practitioners and individuals assisted and provided information about their contribution to the activity and some communities and associations sent written reports of their local activities. In particular, Mongolia explains that a Commission was set up in 2012 comprising governmental and non-governmental organizations, community members, practitioners, bearers and other individuals to prepare national activity reports on the different measures taken to safeguard and protect this element.

Viability and current risks

Since the inscription of the element on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, bearers and communities are reported to be more sensitive to transmit their knowledge, local and governmental organizations are more involved in its development projects and public participation has increased. However, Mongolia acknowledges that some challenges remain. For example, 50 years ago this cultural heritage was transferred from herders’ households to the concert podium: it would be necessary to revitalize its performance in its original context associated with herder’s customs and traditions. According to the reporting State it would be important to safeguard and develop Biyelgee in both environments. At the same time, the report cites the importance of avoiding that Biyelgee be used in its contemporary forms primarily to entertain tourists and generate revenues.

The Mongol Tuuli is a living oral tradition comprising heroic epics, crucial for the cultural identity of the Mongolian people and for the historical continuity of their nomadic lifestyle. Epics are performed during many social and public events, including state affairs, weddings, a child’s first haircut, the traditional naadam festival and the worship of sacred sites. The Mongolian epic plays an important role in the traditional education of younger people. During the seven decades of the Mongolian People’s Republic (1924-1992), the traditional nomadic lifestyle and traditional culture were suppressed and, following this, Mongolia experienced rapid urbanization against a backdrop of increasing globalization. In the report it is mentioned that due to the aforementioned political, social and demographic factors, the Mongolian epic had lost its traditional place in the culture, and interest decreased correspondingly among the general public. The number and distribution of epic performances diminished drastically as a result.

Effectiveness of the safeguarding activities

It is reported that inscription led to developing a systematic approach to safeguarding through the adoption of the National Safeguarding Plan of the Mongolian Epic (2011). It emphasizes training young performers in order to sustain inter-generational transmission, while strengthening the status accorded to epics and their performers, and revitalizing the traditional ritual contexts of performance. According to Mongolia, the number of people registered at the national level as epic storytellers through a field study and inventorying has risen from 7 in 2009 to 20 in 2013; their repertory includes now around 30 epics (long and short).

The number of practitioners, researchers and people with an interest in and practising epic storytelling has increased as mentioned in the report. Public awareness of the epic art is also increased and storytellers have been encouraged by public recognition and organizing festivals, competitions, etc. Additionally, the report explains that their repertoire and skills have been recorded and assessed. A new academic discipline was created and a database of the epic performers was established and will be updated annually. The reporting State explains that folk rituals and customs associated to the Mongolian epic have been revived, some forgotten epics revitalized and traditional techniques, methods, skills and rituals relative to the narration of epic acquired. However, from the report it seems important to create sustainable financial support in order to continue and improve the training activities.

Community participation

The storytellers are reported to be active in most of the safeguarding activities set out in the safeguarding plan, in particular, in training the next generation by teaching them and in keeping the traditional form of epics. They also participate often in national festivals and competitions. Cultural associations (such as the lkh Hogsuu and Aitan Huree Associations in Oirad and Urianhai, respectively) organize traditional art and sports festival competitions. In the report it is explained that the Mongol Epic NGO has programmes aimed at keeping, protecting and transmitting the tradition. Through the local government administrations and cultural centres in each region, the Mongol Tuuli Association has the main responsibility for ensuring the viability of the epic at the local levels and has established a centralized framework for safeguarding the epic and ensuring its viability.

According to the report, epic performers, relevant State bodies, the Mongolian National Commission for UNESCO and the Mongol Tuuli Association have all had direct involvement and support for the implementation of the National Safeguarding Plan of the Mongolian Epic. The performers and concerned NGOs have played an important role in restoring apprenticeship training and conducting training for trainer-bearers. Mongolia states that a commission was set up in 2012 comprising governmental and non-governmental organizations, community members, practitioners, bearers and other individuals to prepare national activity reports on the different measures taken to safeguard and protect the several Mongolian elements inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding. In particular, the Mongol Tuuli Association and five renowned storytellers were involved in preparing the report submitted.

Viability and current risks

According to the reporting State, at the time of inscription, the Mongol Tuuli was at severe risk because of its shrinking social sphere, changing socio-economic conditions and the weakening of nomadic practices, the difficulties for younger people in mastering the complex poetic language, and the increasing popularity of mass entertainment. Despite the aforementioned challenges, Mongolian epic performers are reported to continue to attach great importance to performing the epic within traditional contexts and in sacred settings, and endeavour to transmit performing techniques to the younger generation in the manner learned from their ancestors. As underlined in the report, the viability of the Mongolian epic stories depends, in part, on which form they take since they are divided into several traditional genres according to the way of telling and the rules governing this: more than half of all storytellers belong to a single tradition while some other traditions have only a few storytellers and this renders them vulnerable to disappearance.

In the report it is stated that the epic is still at severe risk today also because of the increasing popularity of mass entertainment media among youth. It seems therefore necessary to stabilize and improve current measures for epic storytelling and secure sustainable financial support for them. Although Mongolia reported on concrete achievements as a result of the safeguarding plan, it recognizes that it is important that it receive continued financial support.

The Limbe is an ancient musical wind instrument, mostly made of hardwood and bamboo. Communities in Mongolia have developed the traditional technique known as ‘circular breathing’ to play it. This technique, originally developed by ancient craftspeople (silver- and goldsmiths), is closely linked with traditional folk songs, the nomadic identity of Mongolians and the vast steppe. A family tradition, the technique forms an important part of their cultural heritage. It has significant social and cultural functions and is performed during rituals associated with life events (weddings, festive events, the first cutting of a child’s hair etc.), as well as at the Naadam Festival.
Effectiveness of the safeguarding plan. Safeguarding activities for the element can be divided into four broad categories. The first category consists of a field study that was conducted on the current state of Limbe, its repertoire and associated customs/rituals. A registration-information database has also been created. A second category of safeguarding activities is mainly aimed at transmission: this has included the training of 60 higher education students by nine trainer-performers in a formal education setting, covering the circular breathing technique and the training of 10 students by a master using traditional apprenticeship methods. The third category is focused on scientific meetings and research on the circular breathing technique that occurred during 2012-14 resulting in the distribution of 400 tutorial manuals with DVDs to libraries and higher education institutions. The fourth category of awareness-raising and promotional activities includes the inscription of two bearers on the national Living Human Treasure List, participation of Limbe performers in international and national folk music competitions and overseas concerts, and a public performance by Limbe students.
The report states that the Limbe technique has for now escaped from vanishing completely, which is a major achievement, although further efforts are needed to establish a firm foundation for its future viability. This will include developing an appropriate legal framework and sustainable financial support. Since inscription, bearers and their communities have become more aware of the need to transmit their skills and know-how and this has allowed for a step-by-step approach in the safeguarding strategy development. The results of the safeguarding plan include a two-fold increase in the number of Limbe performers/trainees; improvements in methods of safeguarding (e.g. teaching, studying and researching, and disseminating and sustaining the element); organization of local Limbe competitions; and greater awareness of the element and its significance among the bearer community and general public. The total budget for the activities reported by Mongolia was US$23,650. Budgetary sources include the state budget, local government and the non-governmental sector. It is stressed in the report that the budget available was not sufficient to undertake all the activities planned and some have been postponed as a result.
Community participation. Bearer communities are actively involved in developing safeguarding activities aimed at safeguarding the technique (and its repertoire) and protecting, promoting, teaching and transmitting it. This involvement includes conducting research studies. The safeguarding activities described in the report were also developed in coordination with non-governmental organizations. The Mongolian Association of Limbe Performers (established in 2007) plays a central role, undertaking a range of safeguarding activities (e.g. identification, revitalization, research, transmission, supporting bearers and developing associated crafts skills). The government established a commission for drafting reports on national activities for safeguarding elements inscribed on the Urgent Safeguarding List, which includes members from governmental and non-governmental organizations, communities, performers and individuals. During preparation of the report, the cultural community, practitioners and some individuals have provided their assistance and information about their activities.
Viability and current risks. The element’s survival has been mostly due to the efforts of a few masters and their apprentices, some of whom are the founders of the Mongolian Association of Limbe Performers which plays a central role in the element’s continued transmission and performance. The number of performers/trainees has doubled over the past four years thanks to the efforts of these trainer-performers and the long-term viability of the element has thus been increased. However, several threats to this exist, including increased urbanization, a decrease in the number of traditional folklore groups and performers, changes to the traditional repertoire and the introduction of non-traditional methods into the training system. In the report it is suggested that in order to ensure future viability, a favourable legal and financial framework to protect the bearers is essential, which includes providing a system of incentives.