Report on the status of an element inscribed on the list of intangible cultural heritage in need of urgent safeguarding
A. Cover sheet
A.1.
State Party
Name of State Party
Mongolia
A.2.
Date of deposit of the instrument of ratification, acceptance, approval or accession
This information is available online.
Date of deposit of the instrument of ratification, acceptance, approval or accession
2005-06-29
A.3.
Element inscribed on the Urgent Safeguarding List that is the subject of this report
Name of element
Mongol Biyelgee, Mongolian traditional folk dance
Inscribed in
2009
A.4.
Reporting period covered by this report
Please indicate the period covered by this report.
Reporting period covered by this report
2013 - 2017
A.5.
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.
Other elements inscribed on the Urgent Safeguarding List, if any
Coaxing ritual for camels (2015)
A.6.
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.
Executive summary of the report
The implementation of safeguarding measures within the timeframe of the report can be divided into triple connections as research, training and artistic works. Additionally, the positive and negative impacts to the heritage element have examined. As for including:
One. Research
- Present situation, changes and transformation of Bii Biyelgee dance of western Mongolian ethnic groups as Bayad, Durvud, Zahchin, Uriankhai, Torguud, Khoton in Khovd and Uvs provinces,
- Series studies have done on the “Savardan” bii biyelgee of Torguud, Tsahar, and Uuld ethnic groups in place Bayangol, Bor tal, Khovog sair known as Mongol provinces, on “Andai” dance in Khuree khoushuu of Jirem province, dances from Barga, Buriad, Ewenki and Orchoon ethnics in Khulunbuir province, dance of Khukh Nuur Mongolians in Inner Mongolian Autonomous region in People’s Republic of China, for making the comparative studies with Bii Biyelgee traditional dance of Mongol nation.
Two. Training
- As a result of expanding the formal and informal training in the local area, the number of Bii practitioner increased. Skill and repertoire of Bii Biyelgee practitioners have increased as a result of organized contests, competitions, and festivals in local, regional and national level.
Three. Promotion
- Social value and status of Bii Biyelgee practitioners have increased as a result of dedicated promoting and familiarizing works. An aspiration to learn and practice the Bii Biyelgee have increased among young generations, and the activities of NGOs and associations works for purpose of Bii Biyelgee safeguarding have expanded. The Bii Biyelgee is being disseminated as a result of inclusion in the interesting and popular performance to the daily life of Mongolians, stage performance, foreign and domestic tourists, researchers, and broadcasts.
Four. Present status:
Compared to the other ICH in Mongolia, the safeguarding measures are taken more on the Bii Biyelgee after the inscription of this element into the UNESCO's List of Intangible Cultural Heritage in Need of Urgent Safeguarding, and it is being one of the proofs that providing the long-life of Bii Biyelgee.
A.7.
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.)
Ms
Family name
Arslan
Given name
Saruul
Institution/position
Division of Intangible Cultural Heritage Center for Cultural Heritage
Address
Central Palace of Culture B
Sukhbaatar square 3
Ulaanbaatar 210620a
1st khooro
P.B.-269
Ulaanbaatar 210648
Telephone number
+976 99099842; +976 99030405
E-mail address
ichfr@monheritage.mn
Other relevant information
Ms
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’).
Social and cultural functions
The role and significance of the dance Bii Biyelgee in the present society and culture are being stabilized and improved by the books, documentaries and TV programs created on this element by the governmental and non-governmental organizations, scholars, and practitioners who are working for safeguard this element.
Bii Biyelgee practitioners have own specifics that reflected from
1. Environmental effects from nature and geography where they are living
2. Origin of their family/clan
3. Social and historical lived experience of history.
The traditional folk dance Bii Biyelgee is inherited from one to another generation of people live in western provinces as Khovd, Uvs, and Bayan-Olgii. Bii Biyelgee is not only belonged to performance art, but also covers a wide range of knowledge associated with the universe, traditional custom, festivities, religion, and traditional craftsmanship of Mongolians, therefore its practitioner is not the only performer of dance but also the bearer of diverse culture and knowledge. As a result of the research study, total 54 including 44 unrepeatable variations of Bii Biyelgee have identified, and as practitioners of Bii Biyelgee, they obliged to transmit their skill, knowledge, story, and narratives associated with Bii Biyelgee to another generation as its original version. When practitioners perform the Bii Biyelgee, they do use traditional costumes and accessories that express each ethnic group. Cultural and intellectual specifics of each ethnic group have featured on those implements and expressed by its design, color, ornaments, decorations, embroideries, weaves, stitches, leader, hide, golden and silver and so on.
In modern days, these implements including traditional costumes and accessories have inherited to people only within the performance of Bii Biyelgee. It is impossible to picture the Bii Biyelgee without a musical instrument. Bii Biyelgee becomes a complete when practitioner improvised the movements in association with musical instruments including Ikhel, Tovshuur, Tsuur, Tsuur, and Yatga. Nowadays, the traditions to perform the Bii Biyelgee with Ikhel and Tovshuur in Oirad Mongols, with Tsuur and Ikhel in Altai Uriankhains, with Tovshuur /shanz/ in Torguud are being practiced. These are showing that how Bii Biyelgee is being an inseparable part of daily life and fundamental cultural expression of related community besides showing the social and cultural significance and functions.
The traditional folk dance Bii Biyelgee is inseparable connections with the custom, psychology, language and culture of Mongolians, and it supports and creates a pleased and satisfied life, and also being one of the important condition and positive factors in the harmonious life and developing sustainably. Symbolizing the best part of the human relationship to other, is the main objective of the folk dance Bii Biyelgee and it well suits to the main concepts of human right declaration, the concept of respectfulness between humankind, and also the sustainable development goals. The Bii Biyelgee became an originality and model of the Mongol dance within its transmission to today, and is being developed as a living culture and playing important role in the protection of world cultural diversity.
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.
Assessment of its viability and current risks
After the implementation of the National Project “Mongolian traditional folk dance-Bii Biyelgee”, and the inscription on the UNESCO’s List of Intangible Cultural Heritage in Need of Urgent Safeguarding, a number of changes came to transmit, disseminate and to make research for this element, and brought numerous positive influences to the existence capability of the “Bii Biyelgee”.
An aspiration to learn and practice the tradition of Mongolian traditional folk dance Bii Biyelgee is being increased among young generations, and the public support and involvement also improved.
From this point, it is enabled to include the Mongolian traditional folk dance into the safeguarded heritage element, but before this, there are several factors to be taken into consideration. As for including
1. Globalization: Young generations are following the foreign cultures as a result of rapid globalization, and multi-cultural effect /movies, different celebrations and festivities, effects of different religions/; and do believe that traditional cultural elements are outdated; the world and country's socio-cultural environment is being standardized and so on.
2. Migration: Since 1990, the migration from a rural area to urban has been extremely intense, due to this practitioner of Bii Biyelgee have dispersed. Additionally, the traditional setting of Bii Biyelgee has changed.
3. Training: although the transmission of Bii Biyelgee is being done by the training /practitioner and apprentice/ in a certain level, the tradition of this element is still being under the risk of disappearance due to the aging of practitioners and decreases of practitioners from year to year. Although, there are 338 bearers have registered and inventoried on the Registration and Information State Database of intangible cultural heritage, very few of them are practicing the traditional way of performing Bii Biyelgee. There is a high risk of assimilation and standardization can be happened in rhythm, movement, characteristic, symbolism, and other rituals associated with Bii Biyelgee of different ethnic groups.
4. Commercialization: Traditional way of performing Bii Biyelgee is being lost due to the tendency to use this folk dance as form of entertainment to attract tourists rather than to safeguard, and dance training centers are using for their survival. It can be said that the traditional setting of this element has completely transformed from herder’s ger (yurt) to the concert stage over the last 50 years. It is necessary to put back and strengthen its traditional use in the original setting such as various celebrations, rituals associated with nomadic living style besides with on-stage promotion. It is obvious that the changes and developments can happen to the intangible cultural heritage elements in this era of globalization, but the traditions cannot be ignored. In relation to the tradition of Bii Biyelgee, it is necessary to take into consideration following matters. As for including:
- To develop the traditional way of performing Bii Biyelgee in separate from the staged version,
- To safeguard the specific features, performance technique and manners of each ethnic group’s Bii Biyelgee
- To re-develop the research of melody for Bii Biyelgee
- To activate the apprenticeship training,
- To classify the practitioners
In the future:
1. To intensify the comparative studies on Bii Biyelgee /Torguud, Zahchin and Durvud in Khalimag of Russian Federation, Torguud, Oold, Tsahar of Xinjiang Uyghur Autonomous Region in PRC, Darkhads in Ordos, Khoshuud, Khorchin, Barga and Buriad in Khokhnuur/
2. To involve the Bii Biyelgee scholars into this work
3. To improve the formal and informal training /to transmit the original way of performing, stories and narratives associated with Bii Biyelgee/
4. To promote in national and international level /to organize competitions and festivals/
5. To train the trainers who will teach the Bii Biyelgee by policy
6.To revitalize the original melody of Bii Biyelgee in collaboration with the Institute for Culture and Arts Studies
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 and results
Objectives: /between 2014 and 2017/
- To study, safeguard, and develop the Mongolian traditional folk dance Bii Biyelgee
- To expand the traditional apprenticeship training and academic training for transmitting the traditional folk dance Bii Bieylgee
- To identify, familiarize, promote, disseminate and support the Bii Biyelgee practitioners
- To raise awareness of public on knowledge associated with Bii Biyelgee, and increase their involvement in the safeguarding of dance.
- To start the preparation work for transferring the Bii Biyelgee to the UNESCO’s Representative List of Intangible Cultural Heritage of Humanity
Results:
- In 2014, 2015, 2016 and 2017 the School of Dance Arts have organized the fieldwork for research studies of Bii Biylegee and made audio and video documentation.
- Fundamental academic training for Bii Biyelgee is being developed successfully at the School of Dance Art in Mongolian State University of Culture and Arts /MSUAC/.
- Documentation have done for basic melody of Bii Biyelgee, 4 picking of Ikhel, 12 strokes of Tovshuur.
- “Mongol dance” summer school is being organized at domestically and internationally since 2014.
As a result of the formal and informal training for transmitting the Bii Biyelgee, the number of practitioners and apprentices reached to 338 as of 2017.
- Registration and information database of Bii Biyelgee; and integrated list of Bii Biyelgee practitioners; and catalog have done
- The skill and repertoire of people who are practicing the Bii Biyelgee have improved and increased as a result of the competitions and festivals organized in local, regional, and national level. The “State first contest for Bii Biyelgee” have successfully organized in 1-3rd of July 2017 by the Local Administration of Khovd Province. Over 500 people including Dorvod, Zahchin, Torguud, Myangad, Oold, Uriankhai and Tuva practitioners have attended in the competition. On the one hand, this was a big initiative taken to the transmission and safeguarding of Bii Biyelgee by the local administration. Additionally, it was appreciable that the scientific conference for the studies of Bii Biyelgee has organized.
The analysis on the form filled by participants in the contest shows that: 90% of participants proved that traditional way of performing Bii Biyelgee is existing in the Western Mongolian 6 ethnic groups (Bayad, Dorvod, Khoton, Torguud, Zakhchin, Uriankhai) and it needs to be examined and documented.
- 6 series of TV program have done by media in relation to the story, history and symbolic narratives of Bii Biyelgee between 2014 and 2016
- The initiative and involvement of the community, local administration, public, and government organizations have increased the safeguarding of Bii Biyelgee, and its transmission to the young generations.
The social value and status of the Bii Biyelgee practitioners have increased as a result of the promotion and familiarization works to the public. On the one hand, these results have shown that the traditional folk dance Bii Biyelgee is being safeguarded and on the way to overcame the risk of disappearance. On the other hand, it is necessary to take into consideration the risks mentioned in the B2 section and take the necessary measures.
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.
Safeguarding activities
The Government of Mongolia has implemented the National Project “Mongolian traditional folk dance Bii Biyelgee” in between 2009 and 2014 for expanding the formal and informal training, identifying and familiarizing practitioners of this element. Although the National Project implementation has finished, those works related to the safeguarding of this element is now being continued. Aiming to safeguard, develop and transmit the Mongolian folk dance Bii Biyelgee to the young generations, following systematic activities have done as including research studies – training - artistic work- promotion.
Within the frame of the objectives for studying, safeguarding, and developing the Mongolian traditional folk dance Bii Biyelgee:
Between 2014 and 2017, the School of Dance Arts in MSUAC has done research studies inside and outside of Mongolia for studying the dances belong to Mongol nation. Indeed, this research studies brought a chance to make comparative studies on the Bii Biyelgee of different ethnic groups with same origin as Mongol, and collected a huge data and materials on Bii Biyelgee studies. For instance:
- In 2014, research studies on Bii Biyelgee of Zahchin ethnic in Jargalant, Mankhan soum (county), Dorvod ethnic in Dorgon, Torguud ethnic in Bulgan soum, Uriankhai ethnic in Duut soum in Khovd province, Dorvod in Olgii, Omnogovi soums, Bayad in Malchin soum, Khoton in Tarialan soum of Uvs province,
- In 2014, research studies on Dichkemdeg, Tavshluur and Chicherdee Bii in Republic of Khalimag in Russian Federation, and in 2015, research studies on Bii Biyelgee of Mongol ethnics in place Bayangol, Bor tal, Khovogsair and Urumqi in Xinjiang Uighur Autonomous Region of PRC,
- In 2016, research studies on Andai dance in Khuree Khoshuu in collaboration with National University of Inner Mongolian Autonomous Region, and research studies on Bii Biyelgee and related culture of Upper Mongols or Khoshuud Mongols in Ju Khokh Nuur Tibet Autonomous Region in PRC,
- In 2017, research studies on Bii dance of Barga, Buriad, Ewenki, Orchoon ethnics in Khulunbuir in PRC. As a result of these studies total 71 hours audio and video documentation have done. The “Center for Studies of Mongol dance and Innovation” with international membership has established under the Institute for the Culture and Arts in MSUAC for expanding this research studies.
- Documentation have done for basic melody of Bii Biyelgee, 4 picking of Ikhel, 12 strokes of Tovshuur.
Within the frame of objective to expand the traditional apprenticeship training, and academic training for transmitting the Bii Biyelgee to the young generations:
- Between 2014 and 2017, several NGOs have established, and are carrying out the activities in national and international level, as a result of the policy taken by the Government of Mongolia for supporting the joint voluntary between artists and practitioners to let them bring an effective cultural activities. The national level Associations and NGOs are organizing the informal training of Bii Biyelgee based on the facility of cultural organizations, high schools, and kindergartens in soums and provinces. Talented youths who have aspiration to learn Bii Biyelgee are voluntarily being taught by highly skilled senior practitioners of Bii Biyelgee in this training.
- Basic academic training of Bii Biyelgee is successfully developing in the School of Dance Arts in MSUAC in accordance with practice and experience of Bii Biyelgee scholar, professor and State Honored Artist D.Nanjid. Additionally, those people graduated from this university are successfully transmitting their knowledge and skills relate to Bii Biyelgee to the other people.
- Since 2014, the School of Dance Arts in MSUAC has been organizing the summer course as “Mongol dance”, in domestic and international level. Bii Biyelgee practitioners and instructors of other Mongol dances are teaching dance classes in this course. In particular, teaching the dance Bii Biyelgee in its original space of the Mongolian traditional Ger was efficient.
In the frame of the formal training:
- Since 2016, the formal training for Mongol dance based on the Bii Biyelgee movements, is being organized at the School of Dance Arts in MSUCA, and the Dance and Music College in Zavkhan province. For instance: total 180 students graduated from the School of Dance Arts since its establishment in 2014. Aiming to improve and develop the curriculum, the School of Dance Arts in MSUAC is pursuing the policy to include the Mongol nation’s dances as Savardan Bii, Khalimag Bii and Andai into the academic training on the basis of the research study, and to transmit these dances to the younger generation in its original way of performing.
In the frame of the informal training:
- Total 1916 people from high schools and kindergartens in Ulaanbaatar city and provinces including teachers, pupils and kindergarten children have involved in the non-formal training, and started performing in front of the colleagues in the school for reporting what they have learnt. In the performance, they do use the traditional clothes and accessories that expresses the specific of each ethnic group.
- Practitioners of ICH are carrying out the apprenticeship trainings as charged service. For instance: Between 2014-2017, Ms. Bayartai daughter of the Mr. Genden who was a well-known practitioner of Bayad Bii has organized the optional training in accordance with contract. She has taught the Bii Biyelgee for 1544 people including teachers and pupils. For instance: 80 teachers and 500 pupils from 28th High School in Bayangol district, 100 teachers and 500 pupils from 61st High School in Chingeltei district, 14 teachers and 104 children from 89th kindergarten in Bayangol district, 8 teachers from private kindergarten
“Dalai Bagachuud” in Chingeltei district, 14 teachers from 62nd kindergarten in Bayanzurkh district, and 224 dance specialized people involved in the summer course “Mongol dance” organized from the School of Dance Arts in MSUAC. In addition, Ms. Sh.Otgonbayar a practitioner of the Zahchin Bii Biyelgee has taught to 224 people including 60 pupils from 35th High School, and 224 dance specialized people involved in the summer course “Mongol dance” organized from the School of Dance Arts in MSUAC. Additionally, Mr. B.Zolbayar a son of Banzai who was well-known practitioner of Zahchin Bii Biyelgee has taught Zahchin Bii Biyelgee to 88 pupils from 33rd High school.
- Within the framework of the national project implemented on the Bii Biyelgee, total 12200 people have involved in the formal and informal, apprenticeship training organized at the cultural centers, cultural palaces, and high schools in soums (county) and districts.
In the frame of objective to identify, familiarize, promote, support the ICH practitioners:
There was 436 Bii Biyelgee practitioners registered on the Registration and Information State Database of intangible cultural heritage in 2014, and as of 2017, this number decreased to 338. Indeed, this decrease shows that most of the practitioners involved in the “National Project for Mongol Bii Biyelgee” were elders. Therefore, it is now demanding to familiarize, promote these few number of Bii Biyelgee practitioners, and to give support on transmission of their knowledge and skills associated with Bii Biyelgee to the young generations.
For promoting the Bii Biyelgee to the public, following activities have done:
- Results of activities done by the School of Dance Art in MSUAC between 2014 and 2017.
- “Motherland of the Epic” 53 minutes documentary film was made, as a result of research studies done on Savardan Bii of Xinjian Mongols, and dance related story and rituals.
- “A sun rises everyday" documentary shows the culture related with wedding ritual of Bayad ethnic group starts with “Elhendeg” Bii and finishes with “Joroo mori”.
- “A land close to sun” 30 minutes documentary; The theme of the documentary is showing the variation of Khoshuud Mongolian’s Bii Biyelgee dance with game.
- “From the Cultural Heritage of Oirad” 35 minutes documentary film has done for promoting the tradition and culture associated with Bii Biyelgee of Bayad, Dorvod, Khoton ethnic groups in Uvs province.
- “ A Mongol dance” documentary film from summer course; main theme of this documentary was to show how Bii Biyelgee is performed inside the ger (the dance space), and relationship between nature and human, relationship between human.
- “A Mongol dance”12 series of TV program have done and disseminated to the public
- The biennial contest for State Honored Artist D.Nanjid has organized by the School of Dance Arts in MSUAC in two categories as staged Mongol dance and traditional way of performing Bii Biyelgee. Total 150 students have performed in the contest as category of solo, duet, triple, and group.
- The dancers from the National Ensemble of Music and Dance of Mongolia have successfully attended in the dance festival organized in Italy in 2015, and the international folk-dance festival “One Asia in dance” organized in Korea in 2016.
- In 2017, the School of Dance Arts in MSUAC have successfully attended in the international festival ATEC organized by Asia Theatre Education Centre in PRC, with its 40 minutes performance that based on the Bii Biyelgee, and promoted the Bii Biyelgee.
- Total 320 Bii Biyelgee practitioners and apprentices from Mongolia, the Buryat Republic and Tuva Republic of Russian Federation, and Inner Mongolian Autonomous Region of PRC have attended in the “International dance festival for Mongol nation” organized in 2014.
- The folk performing group “Altai” has attended to the national spring dance festival “Ysyha” organized at the Sakha Republic of Russian Federation in 2014, and promoted the Bii Biyelgee
- The Music and Dance Theatre of Khovsgol province has attended to the international dance festival organized at France in 2014.
- Bii Biyelgee practitioners are teaching in the summer school “Mongol dance” by MSUAC, is being one way to promote them to the international level.
The skill and repertoire of Bii Biyelgee practitioners have increased as a result of local, regional and national level festivals and competitions organized within the involvement and initiatives of local community, local people, and governmental organizations for safeguarding and transmission of Bii Biyelgee to the next generations. As for including:
- Between 2009 and 2013, the Bii Biyelgee and folk-dance contests and festivals have organized in Ulaanbaatar city, Dornogovi, Uvs, Omnogobi, Darkhan-Uul provinces by the initiatives of local government, and total 2500 young people have attended.
- In 2013, the dance contest “We love dance -1000” has organized by Khogsuu ensemble in Ovorkhangai province, and 1000 people have involved.
- In 2013, first time 5000 people have performed and promoted the traditional folk dance Bii Biyelgee in the opening and closing ceremony of the Naadam, Mongolian Traditional Festival /92nd Anniversary of the People’s Revolution.
- In 2013, the folk ensemble “Khogsuu” has organized apprenticeship training and concert for showing the demonstration of Bii Biyelgee performance, and total 15195 people in 21 provinces of Mongolia and 9 districts of Ulaanbaatar city have involved including new apprentices, Bii Biyelgee practitioners and ordinary people in age between 3 and 85.
- In 2014, first time the “Dance festival of Western Region” has organized in Uliastai city of Zavkhan province for celebrating the World Day of Dance, and 540 people who practicing the Bii Biyelgee have attended from Bayan-Olgii, Khovd, Govi-Altai, Uvs provinces. Within the framework of this festival, the scientific conference and dance concert organized.
- Total 500 practitioners and apprentices in age between 3 and 85 have involved in the “First state contest of Bii Biyelgee”, organized in Khovd province in 2017.
- The festival “Oirad tumen” is organized at Uvs province in every July, and it is being an important platform where practitioners, apprentices can meet and share their experiences.
- Total 800 pupils from 9 districts of Ulaanbaatar city and Tov province have involved in the “Bii Biyelgee” annual contest organized by the Cultural Center of Nalaikh district in Ulaanbaatar city between 2014 and 2017, and promoted the Bii Biyelgee of Bayad, Dorvod, Khoton, Uriankhai, Zakhchin and Torguud to the public.
For promoting the Bii Biyelgee practitioners and bearers:
- Between 2014 and 2017, total 16 series of TV program have done on the story, history and symbolic narratives of traditional folk dance Bii Biiyelgee, and disseminated to the public. As a result of this work, the social value and status of practitioners have increased.
- Between 2010 and 2014, the repertoire of 36 elder Bii Biyelgee practitioners from Uriankhai, Zahchin, Torguud, Myangad, Oold ethnic groups in Khovd province, Tuva have documented by audio and video.
- In 2013 and 2014, the DVD “Traditional folk dance Bii Biyelgee” has published for promoting the practitioners of Torguud, Bayad, Zahchin, Khoton, Dorvod, Uriankhai Bii Biyelgee who are practicing the element as its traditional way; and for transmitting this
- “Traditional Bii Biyelgee” DVD has published and distributed in 2013 and 2014, for promoting practitioners bearing the traditional way of performing Bii Biyelgee of Torguud, Bayad, Zakhchin, Khoton, Dorvod and Uriankhai, and to transmit the traditional way of performing Bii Biyelgee to young generations
For raising awareness and involvement of public on dance Bii Biyelgee:
Based on the research and studies of Bii Biyelgee, a new contemporary performances have choreographed and it is showing that the fundament to develop the research-training-artistic performance in triple connections is being built, such as to apply the characteristics of Bii Biyelgee into the stage performance, and to include the Savardan, Khalimag Bii, and Andai dances into the training curriculum, and to choreograph the perfect contemporary performances and so on.
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.
Participation of communities, groups or individuals in the safeguarding activities
“Ikh khogsuu” association was founded in 2010. Main mission of this association is: to safeguard that folk performing arts ready to be forgotten, and to inherit these heritage to the young generations, and to use for further research studies, and to promote worldwide.
“Bii Biyeleg – Mongolian traditional folk dance association” NGO has dance practitioners and bearers from Zahchin, Uriankhai, Bayad, Durvud, Torguud, Khoton ethnic groups, and has been working for researching, promoting, and familiarizing Bii Biyelgee practitioners and protect their rights and interests.
Above mentioned 2 NGO has not organized any activities related to research studies, and training of Bii Biyelgee within the last 3 years.
“Association for transmitting the Mongolian traditional folk dance Bii Biyelgee” NGO has 50 practitioners representing the Bii Biyelgee of the Bayad, Dorvod and Khoton ethnic groups. This NGO carries out the non-formal training for the people in collaboration with cultural organizations and high schools in province and city. Ms. G.Bayartai, a member of this NGO has taught Bii Biyelgee to the 28th High School.
“Heritage Treasure - Association of Bii Biyelgee” NGO carries out the safeguarding measures, research studies and promotion activities for the Bii Biyelgee. This NGO has been working with the School of Dance Arts in MSUAC on following activities, such as to clarify and transmit the distinctive variations of Bii Biyelgee, to identify the terminology related to Bii Biyelgee, to elaborate the training methodology of Bii Biyelgee, and to combine the academic and apprenticeship training and so on.
“The Center for Mongolian dance studies and innovation” is working under the Institute of Culture and Arts Studies of MSUAC with triple purposes as research studies- training- artistic performances. Working frame as follows: research studies; trainings as formal, informal, short term and targeted training; and to create the art performances with member schools of MSUAC based on the research studies. As of today, the center has 5 international members. In 2017, the center has done the research studies for the dances of Barga, Buriad Mongols, and Ewenki (Manchu-Tungus), and Orchoon ethnic groups in Khulunbuir of PRC.
“Nomads authentic cultural heritage center” was established in September of 2017. The main objective of this NGO is to carry out comparative studies on nomadic cultural heritage /Mongol and Turkic/, and make documentation and art performances. This NGO just started the study on the distribution of Bii Biyelgee dance and its related myth and story for people live along to the range of Mongol Altai-Sayan.
“United association for the transmission of Mongolian folk performing arts” was established in October of 2017. Activity framework is: to teach, transmit, study and promote the Bii Biyelgee.
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.).
Timetable and budget
The Law on the Protection of Cultural Heritage, Mongolia has amended in 2014 by the State Great Khural, and its amendments brought the possibilities to spend money from local budget for the safeguarding of intangible cultural heritage. For instance:
On the 41st Article, it is mentioned that: activities for the protection of cultural heritage shall be financed by state budget, local budget, assistance, donations and funds provided by Mongolian and foreign citizens, as well as legal entities and international organizations, and other resources. On the 13.1.13th Article, it is mentioned that: the state will finance the measures to be taken related to nominate the cultural heritage to the UNESCO's List, and safeguarding, transmission, dissemination of cultural heritage listed in the UNESCO's List within the annual state budget. The 15th Article of the law is about the common authority given to the Citizen’s Representative Khural of Province, Ulaanbaatar city, soum and district for protection of cultural heritage. For instance, on the Article 15.1.1, it is mentioned that: to provide the implementation of legislations concerning the protection of cultural heritage, to develop plan and programmes for implementation, and to monitor and approve the necessary budget in the implementation. Article 16 is about the authority of Governors of Provinces and Ulaanbaatar city. On the Article 16.1.12 it is mentioned that: to search and identify practitioners of intangible cultural heritage, and to provide publicity, assistance and organize activities of transmission.
Based on the aforementioned Articles of the Law, the Government of Mongolia has paid total 92 million Mongolian tugrik to the national project “Mongolian traditional folk dance Bii Biyelgee” between 2009 and 2014. According to the 15th Article of the Law on the Protection of Cultural Heritage, the Khovd and Uvs provinces have organized safeguarding measures for the Bii Biyelgee in their territory and financed it. In the frame of the project and research work of “Mongolian traditional folk dance Bii Biyelgee”, the MSUAC has spent total 34.700 US dollars.
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.
Overall effectiveness of the safeguarding activities
It was a significant decision to inscribe the “Mongolian traditional folk dance Bii Biyelgee” to the UNESCO's List of Intangible Cultural Heritage in Need of Urgent Safeguarding while the tradition of the element was under the edge of the disappearance. The inscription of the Mongolian traditional folk dance Bii Biyelgee into the UNESCO's List has had a huge effects not only in the mindset of people who respect the traditional art and culture, but also affected to the increase of the range of people who interest and study the Bii Biyelgee, and saved the Bii Biyelgee from the risk of forgotten and lost, and to take systematic measures for further safeguarding. As a result of this inscription, the Government of Mongolia has been implementing the National Project “Mongolian traditional folk dance Bii Biyelgee” for 6 years, and this project is giving a huge contribution to the safeguarding, dissemination, transmission, and promotion of traditional folk dance Bii Biyelgee. Aforementioned activities were organized within the frame of research, promotion, training (formal and informal), and to choreograph new artistic works, and gave outcomes to the transmission and safeguarding of Bii Biyelgee. Further following improvements will increase the outcomes more, for instance: involvement of practitioners in the training, and publishing the book, handouts from the result of training, to make documentary and TV products, and to convert into audio and video version using with modern technology. Due to lack of finance, aforementioned research has not published to the public. If the documentary, CD, DVD, and book was created, the participation and motivation of community people, groups, and individuals could have been broader.
In the future:
1. It is necessary to increase the budget to be used in the further safeguarding activities and measures.
2. To start the preparation work to transfer the Bii Biyelgee from the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding to the Representative List of Intangible Cultural Heritage of Humanity.
Arslan
C. Update of the safeguarding measures
C.1.
Updated safeguarding plan
Please provide an update of the safeguarding plan included in the nomination file or in the previous report. In particular provide detailed information as follows:
- a. What primary objective(s) will be addressed and what concrete results will be expected?
- b. What are the key activities to be carried out in order to achieve these expected results? Describe the activities in detail and in their best sequence, addressing their feasibility.
- c. How will the State(s) Party(ies) concerned support the implementation of the updated safeguarding plan?
Updated safeguarding plan
The Ministry of Education, Culture, Science and Sports has developed the "National Comprehensive Program on Protection of Cultural Heritage 2018-2025" to further safeguard the Mongolian Traditional Dance - Bii Biyelgee. The Program aims to invest in some of the key areas of intangible cultural heritage field, to conduct researches, to organize trainings, to implement projects and to provide a sustainable livelihood. These include:
- Organize the studies on ICH and heritage bearers withal the local history, culture, traditions and conditions.
- Improve the database of registration of the Intangible Cultural Heritage and develop informational activities in accordance with modern technology and make it public.
- Conducting formal and informal apprentice trainings on the ICH
- Create a theoretical and practical training base of the ICH (bearers, cultural specialists and other relevant sectors)
- Support the bearers of the ICH and improve their social values
- Improve the legal environment to include and develop the ICH in the context of the creative industry.
- Training, re-training and specialization of the ICH's experts.
As part of this Comprehensive National Program the priority will be to further improve the economic and legal environment for the provision of incentive systems, life insurance, social security for heritage bearers.
The National Program will reflect the initiatives of non-governmental organizations, individuals, communities, groups and academics.
In the budget of the National Program, the Government of Mongolia has allocated a total of 500 million MNT. It is also necessary to obtain assistance from local, international organizations and national producers to implement projects and programs.
During the 2018-2021 period Mongolia is aiming to transfer the Mongolian Traditional Dance - Bii Biyelgee from the UNESCO’s List of Intangible Cultural Heritage in Need of Urgent Safeguarding to the Representative List of Intangible Cultural Heritage of Humanity.
C.2.
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.
00147
Community participation
In the implementation of the National Project of Mongolian traditional folk dance- Bii Biyelgee has been activelly involved the governmental organizations as National Center for Cultural Heritage under the Ministry of Education, Culture, Science and Sports of Mongolia, the School of Dance Arts in MSUAC, the Institute of Culture and Art Studies, and NGOs including as “Heritage Treasure - Association of Bii Biyelgee”, “The Center for Mongolian dance studies and innovation”, “Nomads authentic cultural heritage center”, “United association for the transmission of Mongolian folk performing arts”, and G.Bayartai a practitioner of Dorvod Bii, Sh.Otgonbayar practitioner of Zahchin Bii, R.Samjid practitioner of Uriankhai Bii, J.Khumbaa practitioner of Bayad Bii and player of Ikhel, Balgan a practitioner of Khoton Bii, Buyankhishig a practitioner of Torguud Bii, D.Enkhgerel, M.Munguntsetseg, J.Erdenekhorloo instructors of Mongol dance in the School of Dance Arts in MSUAC. If the related financial problem solved in the future, following tasks will be fulfilled, as including aforementioned practitioners will conduct the training for traditional way of performing the Bii Biyelgee, and the Institute of Culture and Arts Studies will carry out research on history, culture, myths and narratives associated with Bii Biyelgee, and “Nomads authentic cultural heritage center” NGO will carry out the fieldwork for Bii Biyelgee of Mongol nation.
C.3.
Institutional context
Please report on the institutional context for the local management and safeguarding of the element inscribed on the Urgent Safeguarding List, including:
- a. the competent body(ies) involved in its management and/or safeguarding;
- b. the organization(s) of the community or group concerned with the element and its safeguarding.
2005-06-29
Institutional context
a. National Center for Cultural Heritage
Director: Galbadrakh ENKHBAT
??: 210620 a, Sukhbaatar sq3, Sukhbaatar district, Ulaanbaatar, Mongolia
e-mail: cch@monheritage.mn, cch_fund@monheritage.mn
Tel: 976-11-312735,976-11-70110877
Fax: 976-11-312735
Head of the Division for the Protection of ICH : A.Saruul
Tel: + 976-99030405
e-mail: saku_tuntic@yahoo.com
b. Nomads Authentic Cultural Heritage Center NGO
President, PhD, Sh.Erdenetsetseg
??: ??ngolia, Ulaanbaatar Baga toiruu-46, SUIS-I, Room-303
e-mail: Shierdee@yahoo.com
Tel: 976-99108679 (mobile); 976-70137055 (off.);
Fax: 976-70137055
Saruul
D. 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 preparing this report.
Participation of communities in preparing this report
Members in the commission established in March of 2012, for writing the report for taken safeguarding measures for the ICH elements registered on the UNESCO's List of Intangible Cultural Heritage in Need of Urgent Safeguarding have involved, aiming to provide the broad involvement of governmental and non-governmental organizations, Bii Biyelgee practitioners and individuals in this report. In the writing of report, all the parties including state and provincial organizations, community, individuals, and artists have involved, who were working in the activities related to safeguarding, registration, transmission, research, promotion of Bii Biyelgee, and sent their printed reports.
Division of Intangible Cultural Heritage
Center for Cultural Heritage
E. Signature on behalf of the State Party
The report should be signed by an official empowered to do so on behalf of the State, and should include his or her name, title and the date of submission.
Name
Ts.Tsogzolmaa
Title
Minister of Education, Culture, Science and Sports
Date
30-11-2017
Signature
Upload signed version in PDF
Candidature
1373
© 2009 by Mongolian National Commission for UNESCO 
