ࡱ> _ $ bjbjڿڿ ?-b-bPP%%%%%%%%8&Ld'%y*$,(D,D,D,x-B.L.(Ԓ֒֒֒֒֒֒$m#*9%.x-x-..%%D,D,43UUU.%D,%D,ԒU.ԒUUxD,͝/bG.I0yBM8N&MX M% ..U.....^P>...y....M.........PB $: CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE INTERGOVERNMENTAL COMMITTEE FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE Thirteenth session Port-Louis, Republic of Mauritius 26November to 1December2018 Nomination file No. 001385 for inscription in 2018 on the Representative List of the Intangible Cultural Heritage of Humanity A. State(s) Party(ies) For multi-national nominations, States Parties should be listed in the order on which they have mutually agreed.ThailandB. Name of the elementB.1. Name of the element in English or French Indicate the official name of the element that will appear in published material. Not to exceed 200 charactersKhon, masked dance drama in ThailandB.2. Name of the element in the language and script of the community concerned, if applicable Indicate the official name of the element in the vernacular language corresponding to the official name in English or French (point B.1). Not to exceed 200 charactersB B.3. Other name(s) of the element, if any In addition to the official name(s) of the element (point B.1) mention alternate name(s), if any, by which the element is known.Traditional Thai Masked Dance DramaC. Name of the communities, groups or, if applicable, individuals concernedIdentify clearly one or several communities, groups or, if applicable, individuals concerned with the nominated element. Not to exceed 150 wordsThe majority of the population generally regard Khon as a national heritage. Khon communities consist of different categories of people. Firstly, there are the professional artists who perform and teach, including the National Artists and dance masters, artists in private companies, and independent artists. Secondly, there are the dance teachers who train professional and amateur dancers in the Bunditpattanasilp Institute (state colleges of dramatic arts), schools, universities, and other cultural institutions. Thirdly, there are related artists and highly-skilled artisans, such as traditional musicians, mask makers, costume makers, jewellery makers, designers, and technicians involved in production. Fourthly, patrons and sponsors who range from business corporations, cultural foundations, to individual sponsors. Khon tradition is also sustained by the spectators from all walks of life, local and visitors, who enjoy performances in theatres, festivals, ceremonies, public and private events in all parts of the country.D. Geographical location and range of the elementProvide information on the distribution of the element within the territory(ies) of the submitting State(s), indicating if possible the location(s) in which it is centred. Nominations should concentrate on the situation of the element within the territories of the submitting States, while acknowledging the existence of same or similar elements outside their territories, and submitting States should not refer to the viability of such intangible cultural heritage outside their territories or characterize the safeguarding efforts of other States. Not to exceed 150 wordsAll over Thailand, Khon is well-known and recognised as a sophisticated dramatic genre. The centre, in terms of training, performance and artistic excellence, is Bangkok. This is because the tradition evolved as part of the court culture in the capital cities of Ayutthaya, and later in Bangkok, where Khon dancers were trained in the royal court and the households of the noble class, and performed in royal ceremonies. Outside Bangkok, Khon is currently taught and performed in formal and informal educational institutions in many provinces throughout Thailand. The 12 regional Colleges of Dramatic Arts are responsible for teaching a common curriculum which aims to maintain the high standard of training and performance. In addition, there are no fewer than 50 universities, schools, government and private spaces that provide Khon training and performance. Some Khon masters also give private training to students in different parts of the country.E. Contact person for correspondenceE.1. Designated contact person Provide the name, address and other contact information of a single person responsible for all correspondence concerning the nomination. For multi-national nominations provide complete contact information for one person designated by the States Parties as the main contact person for all correspondence relating to the nomination.Title (Ms/Mr, etc.): Ms. Family name: Watthanavarangkul Given name: Pimravee Institution/position: Director-General of the Department of Cultural Promotion, Ministry of Culture Address: 14 Tiam Ruam Mit Road, HuiKhwang, Bangkok 10310, Thailand Telephone number: +6622470013 ext. 1312,4201 E-mail address: safeguard.ich@gmail.com, pimravee@hotmail.com E.2. Other contact persons (for multi-national files only) Provide below complete contact information for one person in each submitting State, other than the primary contact person identified above.---1. Identification and definition of the elementFor Criterion R.1, the States shall demonstrate that the element constitutes intangible cultural heritage as defined in Article 2 of the Convention.Tick one or more boxes to identify the domain(s) of intangible cultural heritage manifested by the element, which might include one or more of the domains identified in Article 2.2 of the Convention. If you tick other(s), specify the domain(s) in brackets. oral traditions and expressions, including language as a vehicle of the intangible cultural heritage performing arts social practices, rituals and festive events knowledge and practices concerning nature and the universe traditional craftsmanship other(s) (..)This section should address all the significant features of the element as it exists at present, and should include: an explanation of its social functions and cultural meanings today, within and for its community, the characteristics of the bearers and practitioners of the element, any specific roles, including gender or categories of persons with special responsibilities towards the element, the current modes of transmission of the knowledge and skills related to the element. The Committee should receive sufficient information to determine: that the element is among the practices, representations, expressions, knowledge, skills as well as the instruments, objects, artefacts and cultural spaces associated therewith ; that communities, groups and, in some cases, individuals recognize [it] as part of their cultural heritage; that it is being transmitted from generation to generation, [and] is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history; that it provides communities and groups involved with a sense of identity and continuity; and that it is not incompatible with existing international human rights instruments as well as with the requirements of mutual respect among communities, groups and individuals, and of sustainable development. Overly technical descriptions should be avoided and submitting States should keep in mind that this section must explain the element to readers who have no prior knowledge or direct experience of it. Nomination files need not address in detail the history of the element, or its origin or antiquity.Provide a brief summary description of the element that can introduce it to readers who have never seen or experienced it. Not fewer than 150 or more than 250 wordsKhon is a highly-refined performing art that combines multiple artistic elements: musical, vocal, literary, dance, ritual and handicraft. It may have combined features of ancient genres: court ritual, martial art, and the shadow play. It tells the story of Ramakien the localized Thai version of the Ramayana epic. Its many episodes depict the life of Rama, his journey in the forest, his love for his wife Sita, his army of monkeys, the fights with the army of Thosakan (Ravana), king of the giants, and his final victory. The dancers wear elaborately embroidered costumes. The giants and monkeys all wear masks that cover their entire head. The colours and shape of each mask are unique to each character. The drama is enacted through dancing, accompanied by a piphat classical xylophone ensemble, singing, and narration. Each major type of characters has a distinct mode of dance expression. The dance postures and movements, the music, and the repertoire have been handed down from generations since the 15th century. The masked dance performances form part of social practices such as royal cremation, cremation of high-ranking persons or revered monks, and celebration of sacred sites and temples. Dancers, musicians, craftsmen and other members of Khon community annually perform a ceremony to honour Khon masters of the past, teachers, and deities. During this ceremony, new members are initiated into the community. Khon performance is continually evolving with new interpretations, and the adoption of modern technology for stagecraft, whilst retaining its traditional intensive dance training and ritual.Who are the bearers and practitioners of the element? Are there any specific roles, including gender or categories of persons with special responsibilities for the practice and transmission of the element? If yes, who are they and what are their responsibilities? Not fewer than 150 or more than 250 wordsThe main practitioners are dancers who are both men and women. The men dance male characters, giants, and monkeys, while the women dance the female humans and deities. Dancers and musicians are from different regions and social backgrounds. The majority of them have been trained in dance colleges. Some are members of the Fine Arts Department, or government dance colleges. Their role is to perform in major venues: national theatres, cultural centres, important public ceremonies and events. They also perform in cremation rituals, temple celebrations, or private events. They train younger dancers to perform specialised roles in specific episodes. In addition, trained dancers work as teachers in universities, colleges, and schools. They teach classical dance, traditional music, singing, and performance techniques as part of the education curriculum, or in school and college dance and music clubs. They also teach in dance classes organised by cultural institutions or communities. Some practitioners form private troupes and perform for cultural events, restaurants, tourist spaces, or experimental theatres. Most are trained institutionally, but some informally within the troupes. Craft specialists who make ornamented headdresses, and masks, finely embroidered costumes, musical instruments, and make-up artists, are more informally trained, and work as independent specialists. Young apprentices are trained in the workshops, or households of the master craft specialists, or on the job. All artists and craft specialists related to Khon perform ceremonies to honour their deities and past masters, and rituals to receive new pupils, or mark the transmission of new knowledge and skills.How are the knowledge and skills related to the element transmitted today? Not fewer than 150 or more than 250 wordsTraditionally Khon was transmitted in the royal or princely courts, and households of dance masters. The transmission today takes place mostly in education institutions. However the actual transmission of knowledge adheres largely to traditional methods. Boys and girls begin training when they are about eleven years old. They are then selected to specialise in the roles of males, females, giants, and monkeys based on their physique. They first learn the fundamental postures, stances, gestures and movements by imitating the masters and practice strenuous exercises to build strength and agility. The masters closely watch, and carefully correct the positions and movements, as if to mould the bodies to attain ideal grace. It takes eight years of full-time training to master the corpus of dance repertoire, and to become a fully - qualified dancer. In addition to regular classes, students participate in Khon production. It is during the preparation that masters train students to perform roles, aesthetically and dramatically, on an intensive, one-on-one basis. The transmission of the classical Piphat xylophone music and singing is mostly institutionalised, but there are more informal, local troupes that may train their own musicians in households of the masters, and gain experience during performances. Khon dance and musical knowledge is imbued with sacred meaning, and acquisition of significant or sacred knowledge is marked by relevant rituals. For the related craft specialists, the transmission may take place in formal education institutions, or private workshops and households, as dramatic craft specialists can train and work more independently than classical dancers.What social functions and cultural meanings does the element have today for its community? Not fewer than 150 or more than 250 wordsKhon is proudly recognized as the pinnacle of refined dramatic art in Thailand. It is a sophisticated form of cultural communication using the media of graceful dance movements, instrumental and vocal renditions, and glittering costumes. On one level, it represents high art cultivated by the Siamese/Thai courts over many centuries. At another level, as a dramatic performance, it offers a range of actions: magical transformation, reviewing the troops, and battles, that can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function. Its plots and relationships among characters in each episode exemplify and reinforce the respect for those of higher age and status, mutual dependence between leaders and followers, men and women, bravery and honour of rulers, and the triumph of good over evil. Khon performances depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. This theme underlines the cultural and moral significance of the monarchy as the unifying force of society. Rituals and ceremonies associated with Khon are vital in maintaining the sense of continuity with the past. It is an unbroken tradition to stage Khon performances as part of royal cremation. In annual ceremonies of Wai khru, Khon artists and related craft specialists gather to make offerings to spirits of past masters. Their sense of unity and community is forged during the ceremony.Is there any part of the element that is not compatible with existing international human rights instruments or with the requirement of mutual respect among communities, groups and individuals, or with sustainable development? Not fewer than 150 or more than 250 wordsAll aspects of Khon are compatible with existing international human rights instruments. Khon used to be regarded as a male genre in which men danced both the male and female roles. In modern time women began to be trained in institutions, and participate more by dancing the roles of female characters, and deities. Recently there are attempts to revitalize the little-known genre of all-female Khon to create visibility for women artists. Today Khon community of performers and craft specialists are both male and female. There is no restriction on gender or age. Students are encouraged to join Khon clubs. People of all ages can learn in dance classes offered by cultural institutions, or privately. Access to other related art forms and crafts are open to all as well. Nowadays there are more spaces and occasions for Khon than in the past. Different styles and interpretations have developed. The inscription should raise awareness of the richness of the tradition, and encourage mutual appreciation of different interpretative styles. None of the materials used in the production of costumes, musical instruments, and set causes environmental depletion.2. Contribution to ensuring visibility and awareness and to encouraging dialogueFor Criterion R.2, the States shall demonstrate that Inscription of the element will contribute to ensuring visibility and awareness of the significance of the intangible cultural heritage and to encouraging dialogue, thus reflecting cultural diversity worldwide and testifying to human creativity. This criterion will only be considered to be satisfied if the nomination demonstrates how the possible inscription will contribute to ensuring visibility and awareness of the significance of the intangible cultural heritage in general, and not only of the inscribed element itself, and to encouraging dialogue which respects cultural diversity.How can inscription of the element on the Representative List contribute to the visibility of the intangible cultural heritage in general and raise awareness of its importance at the local, national and international levels? Not fewer than 100 or more than 150 wordsThe inscription will contribute to the general knowledge of how humans have created multiple devices to represent and reflect about themselves. The use of masks is a distinctive one in Southeast Asia. While this form is shared among many cultures, each has to be understood within its cultural context. Khon masks are not only theatrical props, but devices to transform human dancers into other planes of existence. They embody potent forces, and have to be treated with awe and respect. At the national and local levels, the inscription will confer pride and prestige on Khon artists and craft specialists. The global acknowledgement will strengthen their efforts to preserve, enhance, and transmit their tradition. It will also facilitate their efforts in mobilizing resources and supports from the government and funding institutions. The inscription will help inspiring the public to learn more about Khon, and put more efforts into safeguarding it.How can inscription encourage dialogue among communities, groups and individuals? Not fewer than 100 or more than 150 wordsThe inscription can encourage dialogue among artists who belong to different schools, lineages of masters, or styles of interpretation. The exchange and sharing will enrich the tradition as a whole. It will stimulate curiosity among the younger generation to engage positively with Khon, and make it relevant to their modern life. The surge of interest may open up new partnership between Khon artists and art critics, modern dramatists, designers, dancers, and musicians from other fields. It may lead to fruitful results such as creating or enhancing scripts, music, costumes, set, or innovative production. There are many aspects of Khon that need in-depth research. This can be encouraged by the inscription.How can inscription promote respect for cultural diversity and human creativity? Not fewer than 100 or more than 150 wordsAll Khon performances are based on the story of Rama, but over the centuries there have developed diverse styles of depicting the same theme. The full, extended style can take several hours dancing, singing, narrating, to tell a small section of the story. In contrast the abbreviated style abridges episodes, focuses on dancing only. Others may focus on the life history of each major charater. There is also a major difference between the traditionalist, and the contemporary style of Khon. The latter experiments by creating new masks, and daring choreography.The inscription can stimulate interests in different styles of Khon, and appreciation of cultural diversity. Humans dance to display themselves stylistically, and communicate cultural meanings imaginatively. Khon dancing attests to this aspect of human creativity by using the bodies to experience and express dynamics of movement, balance, stamina, emotion, and collective memory.3. Safeguarding measuresFor Criterion R.3, the States shall demonstrate that safeguarding measures are elaborated that may protect and promote the element.3.a. Past and current efforts to safeguard the elementHow is the viability of the element being ensured by the communities, groups or, if applicable, individuals concerned? What past and current initiatives have they taken in this regard? Not fewer than 150 or more than 250 wordsThere have been efforts by communities, groups, and individuals to ensure the continuity of Khon as a distinctive form of cultural heritage In 1971, the first non-official Khon club was established at Thammasat University in Bangkok. It aimed to promote Khon training, and performance among university students. After that, other Khon training and performance clubs were set up in many universities and schools. These clubs have helped Khon to reach out to young people. It creates public recognition and pride in the collaborative art form. Private art organizations such as the Sala Chalermkrung Foundation schedule weekly Khon performances with English subtitles for foreign audiences. These and other activities have open new space for new, young Khon artists to work in cultural spaces every weekend. In recent years, Khon has become more widely known after Her Majesty Queen Sirikit began to sponsor a revival of the highly refined style of Khon, and its related arts. It creates a venue for old masters to train young dancers and musicians to perfection. Khon performances under the SUPPORT Foundation premiered in 2007 and scheduled to have more than 50 shows annually. These performances foster greater interest and public support for Khon. The Queens Khon has inspired more young people to become part of the Khon community.Tick one or more boxes to identify the safeguarding measures that have been and are currently being taken by the communities, groups or individuals concerned: transmission, particularly through formal and non-formal education identification, documentation, research preservation, protection promotion, enhancement revitalizationHow have the States Parties concerned safeguarded the element? Specify external or internal constraints, such as limited resources. What are its past and current efforts in this regard? Not fewer than 150 or more than 250 wordsSince 1941 a state dance college was established, and tasked to train professional Khon and classical dancers. The college, and subsidiary colleges, stage regular Khon performances for the public at the National Theaters in Bangkok, and in the provinces The Ministry of Education has a policy to support the establishment of Thai performing arts and music clubs in educational institutes. No fewer than two governmental education institutes now regularly provide Khon training in their curriculum. The initiative has greatly helped to recruit amateur dancers, and knowledgeable spectators. The Tourism Authority of Thailand often sponsors Khon tour abroad. Performing Khon outside the country has been an effective means of promoting tourism, and introducing Thai culture in foreign countries. These occasional performances are attempts to preserve, and make Khon accessible to wider audience. Bangkok Youth Centers also provide cultural learning in Khon-related handicrafts, dance, music and ensembles, which are central to the production of Khon performance. The government has introduced the National Artist Programme to honour distinguished artists and craft specialists. Many Khon artists have been awared this prestigious status. National artists are provided with stipend, and health care for the rest of their life. However, the scheme is expensive. If more resources can be secured, more Khon artists can enjoy this benefit. These measures help to keep Khon alive. However, more measures are needed in the future to ensure that Khon continue to be transmitted, and its meanings relevant to the contemporary life.Tick one or more boxes to identify the safeguarding measures that have been and are currently being taken by the State(s) Party(ies) with regard to the element: transmission, particularly through formal and non-formal education identification, documentation, research preservation, protection promotion, enhancement revitalization3.b. Safeguarding measures proposed This section should identify and describe safeguarding measures that will be implemented, especially those intended to protect and promote the element. The safeguarding measures should be described in terms of concrete engagements of the States Parties and communities and not only in terms of possibilities and potentialities.What measures are proposed to help to ensure that the elements viability is not jeopardized in the future, especially as an unintended result of inscription and the resulting visibility and public attention? Not fewer than 500 or more than 750 wordsTo ensure the continuity and maintain the significance of Khon as an ICH element, the following measures are proposed. Legislative Measures The Ministry of Culture is in the process of establishing a department specifically tasked to safeguard intangible cultural heritage in Thailand, following the guideline in the Promotion and Preservation of Intangible Cultural Heritage Act, B.E. 2559 (2016). The new department will collaborate with relevant government and private agencies to safeguard ICH elements, of which Khon is a distinctive one. Budgetary Measures The Ministry of Culture is committed to set aside a budget to support the transmission of Khon, with funding to meet the high cost of production so as to stage regular performances. The Ministry will initiate some tax rebate scheme to attract donations from the private sector. The fund will also be used for supporting and expanding the National Artist Programme. Research and Documentation Measures Throughout history, the transmission of Khon has been carried out orally. Recently there are more research works and dissertations written on the historical and descriptive aspects of Khon, largely by dance scholars. There is a need now to compile these findings to identify gaps in the body of knowledge, and support further research, possibly some new directions using a multi-disciplinary approach. One major line of inquiry should be on identifying good safeguarding practices that can be successfully applied to different aspects of Khon tradition. In addition, exiting wealth of information on Khon - research papers, original manuscripts, illustrations, paintings, exhibits, music sheets, programs of Khon exhibitions, negatives, slides and motion pictures, list of Khon artists from past to present, and others should be amalgamated, and made available to researchers, students, and the public in the form of digital archive or resource centre. Empowering Community-based Transmission of Khon For the past eight decades, the traditional transmission of Khon has increasingly been transformed from informal household-based, and community-based, to formal institution training. However, there remain networks of practioners and Khon lovers who form as informal groups where transmission of knowledge and practice takes place. Some of them carry on Khon tradition belonging to lineages of old masters, some are newly formed from membership of Khon clubs in schools, or colleges. To enhance and enrich Khon tradition as a whole, the knowledge and practice of these small informal groups should be researched and documented. More action researches can be carried out to identify safeguarding and revitalising measures to support them. Public Education Measures As Khon has moved from an exclusive court performance into the public sphere, the public especially the younger generation are quick to interprete and adapt aspects of Khon for their own use. The popularization of Khon is to be encouraged, as it shows that Khon continues to be relevant to the contemporary way of life. Nevertheless efforts should be made to prevent misuse or misappropriation of the tradition for commercialization or misinformed application. Some programme for public education via the social media, or conventional mass media, or via innovative spaces where traditionalist and contemporary approaches can be exchanged, are to be explored. Khon Learning Centre The SUPPORT Foundation under the patronage of Her Majesty Queen Sirikit is establishing the National Khon Museum, where costumes and relevant Khon artefacts such as the masks, the headdresses, the garments, the performing instruments, stage sceneries, would be preserved, and displayed. The new museum will function as a learning centre for the public.How will the States Parties concerned support the implementation of the proposed safeguarding measures? Not fewer than 150 or more than 250 wordsThe government will support the safeguarding measures by 1. cooperating with relevant organizations and departments to participate in planning a Khon safeguarding scheme 2. providing a budget for communities, groups, individuals related to Khon, and to bearers and practitioners of Khon 3. supporting more research and studies on Khon, such as studying technological developments in Khon performance, studying reused or recycled materials in headdress and costume making 4. providing more communication channels to propagate Khon information to practitioners and the public Under the Ministry of Cultures Department of Cultural Promotion, which is responsible for safeguarding the national cultural heritage, establishing intangible cultural heritage policies and strategies has led to inscribing Khon and related forms as items of national cultural heritage in 2009 and provided a budget to preserve Khon. The Office of the Performing Arts, the Fine Arts Department is responsible for staging cultural performances with its permanent performers. The Bunditpattanasilp Institute and the 12 Dramatic Arts Colleges provide Khon training from secondary education to undergraduate degrees. These government offices will ensure and implement the proposed safeguarding measures through an allocation given by the Ministry of Finance.How have communities, groups or individuals been involved in planning the proposed safeguarding measures, including in terms of gender roles, and how will they be involved in their implementation? Not fewer than 150 or more than 250 wordsRelevant communities, groups, individuals, including artists, practitioners, researchers, and other stakeholders have participated in a series of discussion in order to plan the proposed safeguarding plans. 1. From November 2013 to March 2015, there has been a documentation study on the factors that endangered the continued vitality of Khon, and how to ensure its transmission. The study obtained interviews with performance directors, National Artists, Khon masters, professional artists, young performers, employers, Khon teachers in educational institutes, martial artists used in Khon, directors of the Dramatic Arts College, and the executive producer of the Royal Khon performance. The study provides basic information on the current situation of Khon. 2. An academic forum was held on June 3rd, 2014, and attended by teachers, scholars, researchers, students, interested members of the public. Opinions of the 132 participants drawn from the forum were systematically compiled. 3. An plenary forum on safeguarding Khon was held on August 15th, 2016, with 30 participants of private groups that promote Khon, and Khon practitioners. The suggestions emerging from the forum were to develop curriculums and materials on Khon for students in formal and informal education tied to Khon. Other suggestions included adopting relevant measures on safeguarding Khon with legislative support if necessary, providing more educational and performance spaces, more research and funds, and honouring persons who dedicate themselves to safeguarding Khon.3.c. Competent body(ies) involved in safeguarding Provide the name, address and other contact information of the competent body(ies), and if applicable, the name and title of the contact person(s), with responsibility for the local management and safeguarding of the element.Name of the body: Department of Cultural Promotion Name and title of the contact person: Director-General of the Department of Cultural Promotion Address: 14 Department of Cultural Promotion, Tiam Ruam Mit Road, HuiKhwang District, Bangkok 10310 Telephone number: +6622470013 ext. 1312-4 E-mail address: safeguard.ich@gmail.com Name of the body: Bunditpattanasilpa Institute Name and title of the contact person: Institute President Address: 2 Soi Rachini, Phraborommaharachawang, Phranakorn District, Bangkok 10200 Telephone number: +6622444704 E-mail address:  HYPERLINK "mailto:bpi@hotmail.com" bpi@hotmail.com Name of the body: Fine Arts Department Name and title of the contact person: Director-General of the Fine Arts Department Address: Na PhraThat Road, Phranakorn District, Bangkok 10200 Telephone number: +6622217811, +6622230976, +6622225265, +6626236450 E-mail address: icts@finearts.go.th 4. Community participation and consent in the nomination processFor Criterion R.4, the States shall demonstrate that the element has been nominated following the widest possible participation of the community, group or, if applicable, individuals concerned and with their free, prior and informed consent.4.a. Participation of communities, groups and individuals concerned in the nomination process Describe how the community, group or, if applicable, individuals concerned have participated actively in preparing and elaborating the nomination at all stages, including the role of gender. States Parties are encouraged to prepare nominations with the participation of a wide variety of all parties concerned, including where appropriate local and regional governments, communities, NGOs, research institutes, centres of expertise and others. States Parties are reminded that the communities, groups and, in some cases, individuals whose intangible cultural heritage is concerned are essential participants throughout the conception and elaboration of nominations, proposals and requests, as well as the planning and implementation of safeguarding measures, and are invited to devise creative measures to ensure that their widest possible participation is built in at every stage, as required by Article 15 of the Convention. Not fewer than 300 or more than 500 wordsResearchers, scholars, artists, and relevant groups have attempted to bring Khon to national and international awareness and recognition. In 2009, data was compiled and prepared to nominate the inscription of Khon at the Ministry of Culture. Later, the preparation for the inscription of Khon on the Representative List of the Intangible Cultural Heritage of Humanity was planned with communities, individuals, groups, organizations, and educational institutes. Surveys and studies were conducted, including filming and interviewing. The following public forums were held for comments, opinions, and suggestions. 1. The first Khon forum for the intangible cultural heritage involvers was held on October 2nd, 2015 at Sriburapha Auditorium, Thammasat University, Tha Prachan Campus, with 158 participants consisting of 1) teachers, artists, students of Dramatic Arts College and the Bunditpattanasilp Institute related to Khon (39 attendants) 2) people from cultural centers of institutes or universities or other relevant groups related to Khon (48 attendants) 3) governmental organizations related to Khon (52 attendants) 4) private and other related sectors related to Khon (15 attendants) 5) researchers, National Artists, supporters, etc. on Khon (14 attendants) 2. The second Khon forum on intangible cultural heritage involvers was held on November 9th, 2015 in the 4th floor auditorium of the Film Censorship Office in the Department of Cultural Promotion, with 80 participants consisting of 1) teachers, artists, students of Dramatic Arts College and the Bunditpattanasilp Institute related to Khon (49 attendants) 2) people from cultural centers of institutes or universities or other relevant groups related to Khon (11 attendants) 3) governmental organizations related to Khon (9 attendants) 4) private and other related sectors related to Khon (6 attendants) 5) researchers, National Artists, supporters, etc. related to Khon (5 attendants) The participants of both forums provided opinions and suggestions, and offered to cooperate in documentation and visualized media for the nomination process. 3. Participation in the safeguarding measures plan The Department of Cultural Promotion held an integral forum on safeguarding measures for the national intangible cultural heritage of Khon on August 15th, 2016 in the auditorium of the Department of Cultural Promotion. It was attended by 12 groups of Khon representatives of the government, non-government, and local communities.4.b. Free, prior and informed consent to the nomination The free, prior and informed consent to the nomination of the element from the community, group or, if applicable, individuals concerned may be demonstrated through written or recorded concurrence, or through other means, according to the legal regimens of the State Party and the infinite variety of communities and groups concerned. The Committee will welcome a broad range of demonstrations or attestations of community consent in preference to standard or uniform declarations. Evidence of free, prior and informed consent shall be provided in one of the working languages of the Committee (English or French), as well as the language of the community concerned if its members use languages other than English or French. Attach to the nomination form information showing such consent and indicate below what documents you are providing, how they were obtained and what form they take. Indicate also the gender of the people providing their consent. Not fewer than 150 or more than 250 wordsThe consent to the nomination has been done by explaining the objectives, procedures, advantages of enlisting Khon on the Representative List of the ICH to communities, groups, and relevant persons. There have been individual interviews and two forums, once held on October 2nd, 2015 at Thammasat University, and once held on November 9th, 2015 at the Department of Cultural Promotion. Participants at those forums included people from government and private organizations, and professional people who have learned Khon, such as artists, students, teachers, scholars, researchers, and artisans in related fields. Consent certificate forms were distributed to participants during the public forums. Some participants took the forms back to those who did not attend the forums and returned the signed statements of those not in attendance to the organizers of the forums. The statements in Thai were translated into English for the compilation. Official letters from government organizations, public organizations, and foundations were issued with consent to the nomination and signed by the heads of the organization, including one which was issued by Her Majesty the Queens Deputy Private Secretary on the behalf of the Executive Producer of the Royal Khon Performance.4.c. Respect for customary practices governing access to the element Access to certain specific aspects of intangible cultural heritage or to information about it is sometimes restricted by customary practices enacted and conducted by the communities in order, for example, to maintain the secrecy of certain knowledge. If such practices exist, demonstrate that inscription of the element and implementation of the safeguarding measures would fully respect such customary practices governing access to specific aspects of such heritage (cf. Article 13 of the Convention). Describe any specific measures that might need to be taken to ensure such respect. If no such practices exist, please provide a clear statement that there are no customary practices governing access to the element in at least 50 words. Not fewer than 50 or more than 250 wordsThere is no customary restriction on anyone wishing to learn the basic knowledge of Khon. However, to become a fully-qualified Khon practitioner, a person has to go through a long period of training, and attend relevant rituals. There are basically three types of rituals. First, there is the annua. Wai Khru, or the ceremony to honour the masters, attended by practitioners of dance, music, and crafts. The second type is the Khrop Khru, or the acceptance of the protection from the masters. This is held when student progress from the basic level to the intermediate level. It is done to strengthen the students spiritually and symbolically to receive more sacred dance knowledge. The third one is the Rap Mop ritual. This is done when students pass the advanced level, become proficient enough technically and spiritually, and authorized by the masters to transmit their knowledge the younger generation. The transmission of each stage of knowledge has to be technically and ritually approved. The access to own or use Khon related articles, especially the masks and headdresses, is governed by an ethical code. They should be handled with respect, and not treated as commodities for financial gain. 4.d. Community organization(s) or representative(s) concerned Provide detailed contact information for each community organization or representative, or other non-governmental organization, that is concerned with the element such as associations, organizations, clubs, guilds, steering committees, etc.: Name of the entity Name and title of the contact person Address Telephone number E-mail Other relevant information Governmental organizations: 1. Bunditpatanasilpa Institute, Ministry of Culture Sirichaicharn Fachamroon, Ph.D. President Bunditpatanasilpa Institute 119/19 Moo 3, Salaya Phutthamonthon, Nakhon Pathom 73170 2. The 12 Colleges of Dramatic Arts: - Nakhon Pathom College of Dramatic Arts Bamrung Phattakul, Ph.D. Director of the Nakhon Pathom College of Dramatic Arts 119 Moo 3, Salaya, Phutthamonthon District, Nakhon Pathom, 73170 Tel. 02-482-2170 Ext.1202 Email :  HYPERLINK "mailto:Thong2898@gmail.com" Thong2898@gmail.com - Suphanburi College of Dramatic Arts Mr. Surachart Nukoontam Director of the Suphanburi College of Dramatic Arts 119 Moo 1 , Suphanburi - Chainart Road, Sanam Chai subdistrict, Muang District, Suphanburi, 7200 Tel. 035-222-534, 035-535-247 Email :  HYPERLINK "mailto:Cdasp@bpi.mail.go.th" Cdasp@bpi.mail.go.th - Angthong College Of Dramatic Arts Mr. Vitoon Poonsawat Director of the Angthong College of Dramatic Arts 28 Bang Kaew, Muang Angthong District, Angthong, 10400 Tel. 035-611-548 Email :  HYPERLINK "mailto:Angthong_dramatic@hotmail.com" Angthong_dramatic@hotmail.com - Lopburi College of Dramatic Arts Mr. Chawwanat Pengsook Director of the Lopburi College of Dramatic Arts Ramdecho Rd., Thale Chupson, Muang Lopburi District, Lopburi, 15000 Tel. 036-412-150 Email : KRUFON_looklom@hotmail.com - Chanthaburi College of Dramatic Arts Miss Pongpun Metta Director of the Chanthaburi College of Dramatic Arts Chawana Uthid Road, Watmai, Muang Chanthaburi District, Chanthaburi, 22000 Tel. 039-313-214 Email : punmetta  HYPERLINK "mailto:817@gmail.com" 817@gmail.com - Sukhothai College of Darmatic Arts Mr. Surapol Yongjor Director of the Sukhothai College of Darmatic Arts Charodwithithong Road, Ban Kluai, Muang Sukhothai District, Sukhothai, 64000 Tel. 055-611-820 Email :  HYPERLINK "mailto:cdask@bpi.mail.ac.th" cdask@bpi.mail.ac.th - Chaing Mai College of Dramatic Arts Kasama Prasongcharoen,Ph.D Director of the Chaing Mai College of Dramatic Arts 1 Suriyawong Road, Soi 2, Haiya, Muang Chiang Mai District, Chiang Mai, 50100 Tel. 053-271-596, 053-283-561-2 Email :  HYPERLINK "mailto:wassana.srj@gmail.com" wassana.srj@gmail.com - Nakhon Ratchasima College of Dramatic Arts Mr.Toonthongjai Seungram Director of the Nakhon Ratchasima College of Dramatic Arts 444, Moo 10, Mittrapabandon Road, Khokkruad, Muang Nakhon Ratchasima District, Nakhon Ratchasima, 30180 Tel. 044-465-152 Email :  HYPERLINK "mailto:Toonthongjai2008@hotmail.com" Toonthongjai2008@hotmail.com - Roi Et College of Dramatic Arts Mr. Jirapot Jungbanjerdsak Director of the Roi Et College of Dramatic Arts 25 Kongponsib Road, Naimueng, Muang Roi Et District, Roi Et, 45000 Tel. 043-511-244 Email :  HYPERLINK "mailto:Iss_studio@hotmail.com" Iss_studio@hotmail.com - Kalasin College of Dramatic Arts Theerarat Leelaloedsurakul, Ph.D. Director of the Kalasin College of Dramatic Arts Snambin Road, Muang Kalasin District, Kalasin, 46000 Tel. 043-811-317 Email :  HYPERLINK "mailto:Dr.Katikan@hotmail.com" Dr.Katikan@hotmail.com - Phatthalung College of Dramatic Arts Mr. Anusorn Sakulnee Director of the Phatthalung College of Dramatic Arts 150 Moo 1, Khuan Maphrao, Muang Phatthalung District, Phatthalung, 93000 Tel. 074-840-449 Email :  HYPERLINK "mailto:cdapt@bpi.ac.th" cdapt@bpi.ac.th - Nakorn Si Thammarat College of Dramatic Arts Mr. Siwapong Kangsakul Director of the Nakorn Si Thammarat College of Dramatic Arts 11 Tha Ruea, Muang Nakhon Si Thammarat District, Nakhon Si Thammarat, 80000 Tel. 075-446-154 Email :  HYPERLINK "mailto:wassana.srjp@gmail.com" wassana.srjp@gmail.com 3. Office of Performing Arts Director of the Office of Performing Arts Rachini Road, Phra Nakhon, Bangkok, 10200 Tel. 02-225-9097 Email :  HYPERLINK "mailto:Dramatic_art@finearts.go.th" Dramatic_art@finearts.go.th 4.Chitralada School Chitralada Palace, Rajavithi Road, Suan Chitralada, Dusit, Bangkok 10300 Tel. 02-280-4830-1 Fax. 02-280-3392 Organizations 1. The SUPPORT Foundation Under the Royal Patronage of Her Majesty the Queen Sirikit Chitralada Palace, Rajawithi Road, Suan Chitralada, Dusit, Bangkok 10300 2. The Sala Chalermkrung Royal Theatre 66 Tri Phet Road, Wang Burapha Phirom, Phra Nakhon, Bangkok 10200 Tel. 02-224-4496 3. The Kukrit Institute Phra Rama IV Road., Soi Ngamduplee, Tungmahamak, Bangkok 10120 Tel. 02-286-5385-6 Email :  HYPERLINK "mailto:kukritInstitute@gmail.com" kukritInstitute@gmail.com 4. The Pattani Khon Model Youth Project Cultural Office of Pattani, 4th floor of the city hall building, Makrood Road., Nai Muang District, Pattani 94000 Tel. 073-323-195 Clubs 1. Khon Club of Thammasat University Tha Phrachan 2 Phrachan Road, Phra Borommaharajawang, Phra Nakhon, Bangkok,10200 Tel. 097-042-0143 Email: 2. Khon Club of Ramkhamhaeng University The Faculty of Fine and Applied Arts, 2086 Ramkhamhaeng Road, Bang Kapi, Bangkok 10240 Tel. 02-310-8296 3. Khon Club of the Prasarnmit Demonstration School 174 Sukhumvit Soi 23, Klong Toei Nua, Wattana, Bangkok 10110 Tel. 02-649-5000 Email :  HYPERLINK "mailto:satitprasarnmitschool@hotmail.com" satitprasarnmitschool@hotmail.com Private Organization Khon Club of Assumption College Charoen Krung Road, Soi Chroen Krung 40, Suriyawong, Bang Rak District, Bangkok 10500 Tel. 02-630-7111 Email :  HYPERLINK "mailto:webmaster@assumption.ac.th" webmaster@assumption.ac.th Person Mr.Prasit Pinkaew National Artists (Khon Performing Arts) 2008 Bang Khun Thian, Thon Buri, Bangkok, 10150 Facebook : Prasit Pinkaew 5. Inclusion of the element in an inventory For Criterion R.5, the States shall demonstrate that the element is identified and included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies) in conformity with Articles 11.b and 12 of the Convention. The nominated elements inclusion in an inventory should not in any way imply or require that the inventory(ies) should have been completed prior to nomination. Rather, the submitting State(s) Party(ies) may be in the process of completing or updating one or more inventories, but have already duly included the nominated element on an inventory-in-progress. Provide the following information: Name of the inventory(ies) in which the element is included: The Inventory of Intangible Cultural Heritage in Thailand (ii) Name of the office(s), agency(ies), organization(s) or body(ies) responsible for maintaining and updating that (those) inventory(ies), both in the original language, and in translation when the original language is not English or French: Department of Cultural Promotion, Ministry of Culture (iii) Explain how the inventory(ies) is(are) regularly updated, including information on the periodicity and modality of updating. The updating is understood not only as adding new elements but also as revising existing information on the evolving nature of the elements already included therein (Article 12.1 of the Convention) (max. 100 words). From 2009 to 2015, Ministry of Culture had enlisted the inscription of the intangible cultural heritage for 318 lists. Inscription considered with recent studies and evidence of organizations and communities was annually conducted by professional committees in each domain of Intangible cultural heritage. In 2016, there was the Promotion and Preservation of Intangible Cultural Heritage Act, B.E. 2559 (2016) comprising the Criteria for Preliminary Listing of Intangible Cultural Heritage 2017 and authorization of the committees in Bangkok and all provinces (77 provinces) to cooperate with the communities in updating the information every 3 year, and reporting the results to the Department of Cultural Promotion. (iv) Reference number(s) and name(s) of the element in relevant inventory(ies): Khon is listed on 1.1 items, the domain of Performing Arts, in the Inventory of Intangible Cultural Heritage in Thailand. (v) Date of inclusion of the element in the inventory(ies) (this date should precede the submission of this nomination): Khon was inscribed by Ministry of Culture as intangible cultural heritage on September 19th, 2009. It is also contained in the intangible cultural heritage inventory of the Promotion and Preservation of Intangible Cultural Heritage Act, B.E. 2559 (2016) which was announced in the Government Gazette in 2016. (vi) Explain how the element was identified and defined, including how information was collected and processed with the participation of communities, groups and relevant non-governmental organizations (Article 11.b) for the purpose of inventorying, including reference to the roles of gender of participants. Additional information may be provided to demonstrate the participation of research institutes and centres of expertise (max. 200 words). Khon experts in educational institutes have gathered and documented information to propose the inscription of Khon to the intangible cultural heritage committees of the Ministry of Culture in 2009. During the years 2013-2015, a group of researchers at Phra Nakorn Si Ayutthaya Rajabhat University conducted a study that compiled knowledge and information related to Khon, and gathered comments and opinions of the bearers and practitioners National Artists, teachers, performers, heads of relevant organizations and employers on the inscription of the intangible cultural heritage and the nomination of Khon on the Representative List of the Intangible Cultural Heritage of Humanity. The results found that most correspondents approved of the nomination and willingly cooperated in documenting and compiling of related information. (vii) Documentary evidence shall be provided in an annex demonstrating that the nominated element is included in one or more inventories of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11.b and 12 of the Convention. Such evidence shall at least include the name of the element, its description, the name(s) of the communities, groups or, if applicable, individuals concerned, their geographic location and the range of the element. If the inventory is available online, provide hyperlinks (URLs) to pages dedicated to the nominated element (max. 4 hyperlinks in total to be indicated in the box below). Attach to the nomination print-outs (no more than ten standard A4 sheets) of relevant sections of the content of these links. The information should be translated if the language used is not English or French. If the inventory is not available online, attach exact copies of texts (no more than ten standard A4 sheets) concerning the element included in the inventory. These texts should be translated if the language used is not English or French. Indicate the materials provided and if applicable the relevant hyperlinks: Documentation on the registration of the Inventory of Intangible Cultural Heritage 2009 6. Documentation 6.a. Appended documentation (mandatory) The documentation listed below is mandatory and will be used in the process of evaluating and examining the nomination. The photographs and the video will also be helpful for visibility activities if the element is inscribed. Tick the following boxes to confirm that related items are included with the nomination and that they follow the instructions. Additional materials other than those specified below cannot be accepted and will not be returned. documentary evidence of the consent of communities, along with a translation into English or French if the language of community concerned is other than English or French documentary evidence demonstrating that the nominated element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention; such evidence shall include a relevant extract of the inventory(ies) in English or in French, as well as in the original language if different 10 recent photographs in high definition grant(s) of rights corresponding to the photos (Form ICH-07-photo) edited video (from 5 to 10 minutes), subtitled in one of the languages of the Committee (English or French) if the language utilized is other than English or French grant(s) of rights corresponding to the video recording (Form ICH-07-video)6.b. Principal published references (optional) Submitting States may wish to list, using a standard bibliographic format, principal published references providing supplementary information on the element, such as books, articles, audiovisual materials or websites. Such published works should not be sent along with the nomination. Not to exceed one standard page.Soontaranont, Kamron, (2008). Khon Culture : the Change and the Development. Masters Thesis on Thai Studies. Ramkamhaeng University. Sasingh, Jetanipat. (2002). Uses and Gratification of Khon Audience. Masters Thesis on Communication Arts. Durakijpundit University. Sangsitthiwong, Thapanee. (2014). Khon : Thai National Art and Cultural Media in Contemporary Society. PhD Thesis on Arts and Culture Studies. Srinakarinwirot University. Klamjaroen, Amara et. al. (2014). Khon. Department of Cultural Promotion. Ministry of Culture. Bridhyakorn, H.H. Prince Dhaninivat Krommamun and Yupho, Dhanit (2015). The Khon. Bangkok: The Fine Arts Department. Yupho, Dhanit. (2015). The Custom and Rite of Paying Homage to Teachers of Khon, Lakhon and Piphat. Bangkok: The Fine Arts Department. Office of the National Culture Commission. Ministry of Culture. (2009) Intellectual Cultural Heritage. Bangkok: Office of the Public Relations and Information Technology Service.7. Signature(s) on behalf of the State(s) Party(ies)The nomination should conclude with the signature of the official empowered to sign it on behalf of the State Party, together with his or her name, title and the date of submission. 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