Le Tuuli mongol, épopée mongole

Inscrit en 2009 (4.COM) sur la Liste du patrimoine immatériel nécessitant une sauvegarde urgente

Le Tuuli mongol est une tradition orale composée d’épopées héroïques qui font entre plusieurs centaines et plusieurs milliers de vers et combinent bénédictions, panégyriques, formules magiques, expressions idiomatiques, contes de fées, mythes et chants traditionnels. Il est considéré comme une encyclopédie vivante des traditions mongoles orales et immortalise l’histoire héroïque du peuple mongol. Les chanteurs épiques se distinguent par une mémoire et des talents artistiques prodigieux, associant chant, improvisations vocales et composition musicale, le tout mêlé d’éléments appartenant au théâtre. Les chants épiques sont interprétés avec l’accompagnement musical d’instruments tels que le morin khuur (violon à tête de cheval) et le tovshuur (luth). Les épopées sont interprétées à l’occasion de nombreux événements sociaux et publics, notamment les affaires d’État, les mariages, la première fois que l’on coupe les cheveux à un enfant, le naadam (compétitions de lutte et de tir à l’arc et courses de chevaux) et le culte des sites sacrés. Ces épopées, qui ont évolué au fil des siècles, sont le reflet des modes de vie nomades, des comportements sociaux, de la religion, des mentalités et de l’imagination du peuple. Les artistes exécutants cultivent les traditions épiques de génération en génération, apprenant, exécutant et transmettant les techniques au sein du cercle familial, de père en fils. À travers les épopées, les Mongols transmettent leurs connaissances historiques et leurs valeurs aux jeunes générations, renforçant le sentiment d’identité nationale, la fierté et l’unité. Or, le nombre de formateurs et d’apprentis est en train de diminuer. Avec cette disparition progressive de l’épopée mongole, c’est tout le système de transmission des connaissances historiques et culturelles qui se dégrade.

: © 2008 by Duurenjargal.A

: © 2008 by Duurenjargal.A

: © 2008 by Duurenjargal.A

: © 2008 by Duurenjargal.A

: © 2008 by Duurenjargal.A

: © 2008 by Duurenjargal.A

: © 2008 by Duurenjargal.A

: © 2008 by Bayasgalan.T

: © 2008 by Bayasgalan.T

: © 2008 by Bayasgalan.T

Rapport périodique

2014

Rapport périodique (USL)

Page de couverture

État partie

Nom de l'État partie

Mongolie

Date du dépôt de l'instrument de ratification, d'acceptation, d'approbation ou d'adhésion

Elle peut être consultée en ligne.

29-06-2005

Élément inscrit sur la Liste de sauvegarde urgente qui fait l'objet du présent rapport

Nom de l'élément

Mongol Tuuli, Mongolian epic

Inscrit en

2009

Période considérée dans le présent rapport

Veuillez indiquer la période couverte par le présent rapport.

2009 -

Autres éléments inscrits sur la Liste de sauvegarde urgente, le cas échéant

Veuillez établir une liste de tous les autres éléments présents sur le territoire de votre pays qui sont inscrits sur la Liste de sauvegarde urgente et indiquer en quelle année ils y ont été inscrits ; pour ce qui est des éléments multinationaux, veuillez indiquer quels autres États sont concernés.

La calligraphie mongole (2011)
La calligraphie mongole (2013)
La danse traditionnelle Tsam de Mongolie (2011)
La musique traditionnelle pour flûte tsuur (2009)
La technique d’interprétation du chant long des joueurs de flûte limbe – la respiration circulaire (2011)
Le Biyelgee mongol, danse populaire traditionnelle mongole (2009)
Le chant de l’épopée mongole de Jangar (2011)
Le rituel pour amadouer les chamelles (2015)
Le rituel pour amadouer les chamelons (2011)
Le Tuuli mongol, épopée mongole (2009)
Les pratiques traditionnelles mongoles de vénération de sites sacrés (2011)
Les pratiques traditionnelles mongoles de vénération de sites sacrés (2017)

Synthèse du rapport

Veuillez fournir une synthèse du rapport, qui permette au grand public de comprendre l'état actuel de l'élément, mentionne toute incidence positive ou négative de son inscription et fasse état des mesures de sauvegarde mises en œuvre pendant la période considérée et leur possible mise à jour les années suivantes.

The epic is a living oral expression that is crucial for the cultural identity of the Mongolian people and for the historical continuity of their nomadic lifestyle. The Mongolian epic plays an important role in the traditional education of younger people living in the communities where it is performed. Mongolian epic performers continue to attach great importance to performing the epic within traditional contexts and in sacred settings, and endeavor to transmit performing techniques to the younger generation in the manner learned from their ancestors.
Therefore National safeguarding plan of the Mongolian epic was developed from a careful analysis of urgent needs and long-term goals, emphasizes training young performers in order to sustain intergenerational transmission, while strengthening the status accorded to epics and their performers and revitalizing the traditional ritual contexts of performance.
Under the support of this Plan the coherent set of safeguarding measures are implemented with aims to revitalize and safeguard the epic, ensure its viability and sustainability, such as conducting traditional apprenticeship-training courses, organizing various public events such as exhibitions, festivals or seminars.
During the report period following protection activities accomplished by the Government body, local government body and NGOs:
1. Between 2011-2012 we have organized local and nationwide competitions among the storytellers and bearers. Also evaluated their ability and repertory and granted and glorified them as disseminating their work.
2. 2011-2012 we accomplished the project of training apprentices based on traditional manner of senior singers experiences in order to strengthen and encourage the epic performance and inherit the epic knowledge and talent into the future generations.
3. 2009-2012 we published several research based books which included study of epics, biography of famous epic story tellers and the epics that they used to tell, in order to study the art of epics in scientific way.
4. In 2011 we have organized a conference on epic study and biography of famous epic story tellers.
5. We organized some activities for "Apprentice training" which aimed to get financial support in order to increase social value of epic storytellers, to grant them, and to make them popular.
6. We made documentary movie, television programs, published CD, photo exhibition about this topic through media in order to propagate, popularize and disseminate art of epic in the society.
In results of these projects implementation:
1. Social knowledge about art of epic has improved and their participation of safeguarding epic has increased.
2. Number of the researchers and amateurs on art of epic increased. There were total 7 to 8 people registered in Mongolia as a epic story tellers in 2009, by the time when we were making research to get register “Mongolian Epic” in UNESCO’s Intangible cultural heritage in need of urgent safeguarding list. But now there are more than 20 talented people who got that official title “Epic Storyteller” and they are inheriting this scarce and precious heritage. They all represent the tribes called Urianhai, Bayad, Durvud and Khalha
3. Epic storytellers started to have more pride on what they inherited till today and they became more initiative to improve their ability and add on in their repertory.
4. Value of social view on art of epic has improved and number of the participants on local and national competitions about epic art has dramatically increased.

Personne à contacter pour la correspondance

Donnez le nom, l'adresse et les coordonnées d'une personne à qui toute correspondance concernant le rapport doit être adressée.

Titre (Mme/M., etc.)

Nom de famille

Jargalsaikhan

Prénom

Tsoodol

Institution/fonction

Head of the ICH division

Adresse

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

Numéro de téléphone

+976-11-312735

Numéro de fax

Adresse électronique

tsjargalsaikhan@monheritage.mn; ichfr@monheritage.mn

Autres informations pertinentes

B. État de l'élément inscrit sur la Liste de sauvegarde urgente

Veuillez vous référer au dossier de candidature ou aux précédents rapports, le cas échéant, pour savoir quand établir un rapport sur l'état actuel de l'élément et ne rendez compte que des changements pertinents survenus depuis la date de son inscription sur la Liste ou depuis le précédent rapport. Les dossiers de candidature, les calendriers spécifiques et les précédents rapports, le cas échéant, sont disponibles à l'adresse suivante : https://ich.unesco.org ou peuvent être demandés au Secrétariat.

L'État partie s'efforce de prêter une attention particulière au rôle du genre et d'assurer la plus large participation possible des communautés, des groupes et, le cas échéant, des individus concernés ainsi que des organisations non gouvernementales pertinentes pendant le processus de préparation de ce rapport ; il lui est demandé au point D ci-dessous de décrire de quelle manière il y est parvenu.

B.1. Fonctions sociales et culturelles

Expliquez les fonctions, les significations sociales et culturelles de l'élément aujourd'hui, au sein et pour ces communautés, les caractéristiques de ses détenteurs et de ses praticiens et décrivez, entre autres, toute catégorie de personnes exerçant un rôle ou des responsabilités spécifiques vis-à-vis de l'élément. Une attention particulière devrait être accordée à tout changement pertinent susceptible d'avoir des répercussions sur le critère d’inscription U.1 (« L’élément est constitutif du patrimoine culturel immatériel tel que défini à l'article 2 de la Convention »).

The Mongolian Tuuli – oral tradition recounts heroic epics from Mongolian history. Evolving over a span of many centuries to eulogize and immortalize Mongolian heroes, these epics constitute an oral encyclopedia of national histories, myths, legends and folk songs. Epics are learnt by rote and transmitted from fathers to sons within kinship circle. Currently there are only about ten epic performers living in the remote western region of Mongolia who maintain and transmit these Tuuli performing traditions. Today, they survive only in the western region and the capital city, Ulaanbaatar.
The Mongolian epic stories could be divided into several traditional ways depends on its way of telling and rules. These are; Tradition of Jilker’s family’s Urianhai epic storytellers, Urianhai’s epic storyteller S.Choisuren’s tradition, Dorvod’s epic storyteller Zodov’s tradition, Bayad’s epic storyteller Sh.Nyamaa’s tradition and Khalha’s tradition. More than a half of the epic story inheritors are from Urianhai tribe and this information is giving us a hope of successful inheritance of Urianhai epic story telling tradition. There is only one or two storytellers are left in some traditions and it is bringing us fear. For example: The last inheritor of Zakhchin epic story, T.Enkhbalsan died in 2006. Since then that tradition hasn’t inherited to the next generation and it might get lost forever.
Epic singers are renowned for their remarkable memory, imagination and commitment. Professional singers traditionally perform specific epics during social and public events, such as state affairs, wedding ceremonies, the Naadam festival, a child’s first haircut, hunting expeditions and the worship of sacred sites. In ordinary households, epics are traditionally performed at night-time. Mongolian heroic epics can last several hours and some are performed over several nights.
As for a nomadic people who are not typically all mastered in reading and writing due to their mobile lifestyle, the heroic epic was an irreplaceable oral tradition which allows them learn and transmit their rich cultural heritage and immortalize heroic history of Mongolian people.
We can learn many details of traditions of ancient Mongolians from the epic stories such as; wedding, marriage, brotherhood, celebrations, war and battles, hunting and herding. Also we can learn their religion and worships, their life views and art of caring, comforting and pleasing the nature.
The Mongolian epic is one of forms of traditional folk oral expressions which consist from hundreds to thousands of lines. The epic is not only an oral expression but it is a phenomenon which combine different poetic narrative techniques and vocal improvisation.
Epic stories are great research material of linguistics since it keeps special oral dialects of tribes. That’s why 50 to 60 percent of international researchers and scientists study about Mongolian epic and art of epic stories.
Epic has a great goal of representing the most beautiful communication which is suitable as a goal of mutual-understanding and sustainable development of Declaration of Human Rights. Mongol epic united with Mongolian tradition, psychology and language which became the foundation of collectivity, social group and tribes furthermore it is an inseparable part of daily life, really important factor of peaceful living.

B.2. Analyse de sa viabilité et risques auxquels il est actuellement exposé

Décrivez le degré actuel de viabilité de l'élément, en particulier la fréquence et l'étendue de sa pratique, la vigueur des modes de transmission traditionnels, la composition démographique des praticiens et des publics, et sa durabilité. Veuillez aussi identifier et décrire les facteurs qui, le cas échéant, constituent une menace pour la pérennité de la transmission et de la représentation de l'élément et indiquez le degré de gravité et de proximité de tels facteurs, en accordant une attention particulière à tout renforcement ou affaiblissement de la viabilité de l'élément suite à son inscription.

By the end of 19th century, there were around 230 Mongolian epic stories were kept as a national heritage, which were studied by local and international researchers.
During the seventy years of the Mongolian People’s Republic, traditional nomadic lifestyle and traditional culture were suppressed. In its aftermath, Mongolia experienced continued rapid urbanization against a backdrop of increasing globalization. As a consequence, the Mongolian epic lost its traditional place in the culture, and interest decreased correspondingly among the general public. The number and distribution of epic performances diminished drastically as a result.
Mongolian epics were once found across Mongolia. In today’s Mongolia, traditional nomadic lifestyles continue to face pressure from increased internal migration and industrialization. Trained professional epic masters have decreased in number and the repertory of existing performers has diminished, with the few remaining epic performers increasingly performing only parts of epics, largely on specific social and ceremonial occasions. The skills and talents of existing Tuuli performers are diminished compared to the singers of the past. And the epic is today at severe risk because of its shrinking social sphere, changing socio-economic conditions and the increasing popularity of mass entertainment media among youth.
To endure these risks, we need to stabilize and improve the today’s activities about epic story heritage and find sustainable financial support for them.
Nowadays the Government has a strategy to develop and recover epic art and increase the number of apprentice in our nation, especially the places where the epic has inherited well. In result numbers of the people who interest epic art and who practice epic storyteller have increased:
- Urianhai epic storyteller N.Damdindorj from Hovd aimag’s Duut soum, Seseer from Jargalant soum, Dorvod epic storyteller Punsantsogvoo from Uvs province Sagil soum and Khalha epic teller D.Olzii are highly involved in the project of heritage transmission by contributing their traditional knowledge.
- Urianhai epic storyteller E.Baatarjav, A.Baldandorj and B.Bayarmagnai are promoting the Mongolian epic in the country and to the overseas audiences. Above mentioned epic community has also involved in the research field, participated in the 2013 International "Central Asian Epics" II Symposium and Festival. Per Example, Epic singer A. Baldandorj arrived in Ulaanbaatar with his family during the Symposium. With his wife and children.
In 2011 the Government approved the National Safeguarding Plan of the Mongolian Epic. We also need international aid and support in order to protect Mongolian Epic story heritage and to inherit to the future generation, to study and to disseminate, therefore Mongolia has sent an “Application ICH-04” in 2011-2012 and thus request has been approved in 2013 .

B.3. Mise en œuvre des mesures de sauvegarde

Veuillez rendre compte des mesures de sauvegardes qui ont été décrites dans le dossier de candidature et dans un précédent rapport, le cas échéant. Décrivez de quelle manière elles ont été mises en œuvre et ont contribué de façon substantielle à la sauvegarde de l'élément au cours de la période considérée, en tenant compte des contraintes externes ou internes telles que des ressources limitées. Incluez en particulier des informations sur les mesures prises afin d'assurer la viabilité de l'élément en permettant à la communauté d'en poursuivre la pratique et la transmission. Fournissez les renseignements suivants en ce qui concerne la mise en œuvre de l’ensemble des mesures de sauvegarde ou du plan de sauvegarde :

B.3.a. Objectifs et résultats

Indiquez quels objectifs principaux ont été atteints et quels résultats concrets ont été obtenus pendant la période considérée.

The Government set following purposes during the reporting time in order to protect and keep the Epic story traditions. These are:
- To improve the ability and repertory of the epic story tellers.
- To increase epic story and its tellers’ value in the society and glorify them
- To inherit art of epic to the next generation and to increase the number of its audience and epic story tellers
- To study the art of epic, to advertise and disseminate them in the society and help to improve social knowledge about this art.
Outcomes
1. The Government with support of related NGO’s organized local and nationwide competitions among the storytellers and inheritors. Also evaluated their ability and repertory and granted and glorified them as disseminating their work. These competitions had a positive impact to study and disseminate epic stories and encouraged the ones on the field and helped them to be proud of the special heritage that they are inherited. They got more motivated to study more about the storytellers of their previous generations. For example: “National check-up for Epic art repertory” has organized in 2012 and a participant form Hovd province, Mr.Oldoh had participated. He was the oldest son of the famous Urianhai epic storyteller B.Urtnasan. He never interested in his father’s talent and he even never thought about doing such work. As he grew older it became clear for him that his family heritage going to be lost soon it made him feel sad. Then he decided to remember his childhood memories and together with his cousin A.Baldandorj he could recover 2 to 3 epic stories. Unfortunately he has died in 2013.
2. In order to increase epic story and its tellers’ value in the society and glorify them, the Government registered D.Olzii, A.Baldandorj, B.Urtnasan and T.Enkhbalsan in the national list of the talented people who inherited ICH in high level and prized them with money and certificate. Urianhai’s mighty epic storyteller B.Avirmed got government title “Appreciated by the state” in 1990 as the first prize winner of epic storytellers. In modern days D.Olzii got title “Mighty Pioneer of Culture”, B.Bayarmagnai, E.Baatarjav, A.Baldandorj and Z.Chuluunbaatar got title “Best cultural staff” and N.Ankhbayar, B.Bold, E.Mendbayar and H. Seseer got “National talented people” from the government and appreciated by the society.
3. Number of the young researchers has increased lately and many students are getting their degree on study of Epic art. Documentary movie “Mongol Epic”, "Altain Eznii Duudlaga" DVD and "Epic Time" TV series " have been made and several CDs has published which included the "Jangar" Epic storytelling series, 50 CD of B.Bayarmagnai and 7 CD of E.Baatarjav. Also some television programs made on the same topic and many interviews, articles and news about art of Epic published on newspapers, magazines and websites. It was a part of dissemination work and it helped to improve the social awareness and value about the art of epic.

B.3.b. Activités de sauvegarde

Dressez la liste des principales activités menées au cours de la période considérée pour obtenir ces résultats escomptés. Veuillez décrire les activités en détail en mentionnant leur efficacité et tout problème rencontré dans leur mise en œuvre.

Mongolian government has approved in 2011 decree-357 which is about following the National Safeguarding Plan “Epic art of Mongolia” in order to inherit and keep the Mongolian epic as it is and to support and glorify the epic storytellers. Also to keep the traditions around the art of epic. This Plan includes following works; to disseminate art of epic, recover and study the art, to make society know this art, to support government and non-government organizations involvement. To organize competitions and festivals under the topic, glorify the epic storytellers and to show financial support, etc.
Actions took in order to inherit and protect Mongolian art of epic:
A. Field study and inventorying
- There were total 7 to 8 people registered in Mongolia as an epic story tellers in 2009, by the time when we were making research to get register “Mongolian Epic” in UNESCO’s cultural heritage in need of urgent safeguarding list. But now there are 20 talented people who got that official title “epic storyteller” and they are inheriting this scarce and precious heritage. They all represent the tribes called Urianhai, Bayad, Durvud and Khalha. The epic stories are:
- There are big and small around 30 Epic stories are included in their repertory and there is a positive vision in the future of Epic art and its practices.
B. Safeguarding and Transmission
- In order to recover the tradition of epic storytelling, we chose the method to inherit the oldest inheritors’ knowledge and talent to their children and younger generations. Centre for Cultural Heritage made in 2011 apprentice training contract with epic storyteller N.Damdindorj from Hovd province. He in charge of inheriting the Urianhai epic storytelling to the offspring the main inheritors. There are around 30 children attending in that training and they are learning following epic stories; “Worship of Altai”, “Narankhaan khuu” and “Dovon khar Bukh”.
- Also cooperated with Punsantsovoo from Uvs province in order to keep and protect the Dorvod type of Epic stories. There are 7 to 8 people are attending in his training and they started to learn “Worship of Altai” and “Khangal tashaa har kheer moritoi Khaan tsergiin hovguun”. Storyteller the D.Ulzii has been working actively and initiatively to inherit the Khalha epic stories and his early apprentices became well known artists in the society. Also Khalha storyteller B.Bayarmagnai closely working with both city and countryside high schools. He is demonstrating how to sing/tell the epic stories “Geser” and “Jangar” for secondary and high school students in their schools in order to disseminate this art.
- “National check-up for Epic art repertory” has organized in October 11th till 13th in 2012 in order to keep and protect “Mongolian Epic art”, to increase their repertory, to prepare the inheritors of future generation, to value storytellers’ talent and ability, to give them title and degrees and to glorify them. There were total 17 participants from Ulaanbaatar and Bayan-Ulgii, Uvs, Hovd, Dornogobi provinces were selected for the last performance day. E.Baatarjav got “Bronze Gerege”, N.Ankhbayar got “Silver Gerege” and A.Baldandorj got “Gold Gerege”.
- Ministry of Culture, Sport and Tourism conducts National Art Festival once in every three years and the last one organized in 2011. Uvs province’s Dorvod epic storyteller Sh.Punsantsogvoo and Bayad epic storyteller N.Ankhbayar got “Gold Star” prizes.
- Urianhai’s “Altan Huree” 7th Art and Sport festival organized in March 30-31st in 2012 in Orkhon aimag and 300 participants competed by 17 different art and sport ways. B.Bold got the first prize in the Epic story telling/singing performance.
C. Raising the awareness, dissemination and promotion
- Hovd province is well known by its many tribes. “Horde of heritage and culture” has established on 25th July 2010 in that province. This hall has each tribe’s halls such as; Hall of Zakhchin, Torguud and Urianhai etc. Cultural presentation of each tribe is being performed there and keeps disseminating their heritages. People started to hear epic story’s music and singing/telling in those halls during national celebrations and special days.
- The famous epic storyteller Parchin’s fame display placed in a local museum of Hyargas soum of Uvs province. Visitors can learn about his biography and his inherited heritage.
- In order to encourage and support the epic storytellers who influenced in inheritance and development of Epic art, we registered four epic storytellers in the national list of the talented people who inherited ICH in high level and gave them certificates. In result, general social view and value towards art of epic has improved.
- Epic storytellers started to get invited to perform in famous mountain worshipping ceremonies such as; Munkh hairhan, Otgontenger and Han Hohii etc.
- Science Academy’s Linguistic department’s oral literacy section organized in 2011, international science research meeting for the 100 years anniversary of the birth of famous epic storyteller S.Choisuren.
- Also the Academy published research and dissemination books during the reporting period: “Epics of S.Choisuren”, “Oral literacy of Mongol Urianhai”, “Saved Epics”, “Famous epic storytellers and their epics”, “Story and epics told by Gongor”, “Compared research of the epic of Jangar” and “Jangar”.
- Photo exhibition of the epic storytellers, introduction and related booklets were printed for the National check-up ceremony and all the news were disseminated by media. Also around 40 video materials got kept in Registration and Information Foundation archive. This activity will be held once in every two years in the future.
- "Central Asian Epics" II International symposium and festival has been held in Ulaanbaatar from 5-7th August, 2013. This event has gathered over 100 epic scholars, researchers and epic singers from 9 countries. Participants have discussed and shared their experiences and give their recommendations.

B.3.c. Participation de communautés, de groupes ou d'individus aux activités de sauvegarde

Veuillez décrire de quelle manière les communautés, les groupes ou, le cas échéant, les individus ainsi que les organisations non gouvernementales pertinentes ont participé de façon effective à l'exécution des mesures de sauvegarde, y compris en termes de rôles du genre. Décrivez le rôle joué par l'organisation ou l'organe chargé de l'exécution (dénomination, informations de référence, etc.) et les ressources humaines qui ont été mises à disposition pour la mise en œuvre des activités de sauvegarde.

The safeguarding measures were elaborated with full participation of the ICH bearers, concerned representatives of relevant NGOs, and their opinions and recommendations were freely been reflected in the National Safeguarding Plan of the Mongol Epic.
The main activities under this project for safeguarding the epic, conducting research, advertising and transmitting to the younger generation were implemented with full participation of the epic performers. Actual epic performers - bearers:
N.Ankhbayar /39 years old/,
E.Baatarjav /41 years old, Uriankhai tribe/,
L. Baatarkhuu /25 years old, Uriankhai tribe/,
A.Baldandorj /35, Uriankhai tribe/,
B.Bayarmagnai /57, Khotgoid tribe/,
B.Bold /42, Altain Uriankhai tribe/,
N.Damdindorj /46, Uriankhai tribe/,
E. Mendbayar /23, Altain Uriankhai tribe/,
Sh.Puntsogtsovoo / 51, Durvud tribe /,
Z.Chuluunbaatar /54, Khalkh tribe/,
D.Ulzii /78, Khalkh tribe/,
U.Oldokh /57, Uriankhai tribe/,
Kh.Seseer /61, Uriankhai tribe/
The most of these epic performers are offspring of early epic storytellers and they are the people who are approved by the nation and the ones who are inheriting art of epic in this modern world. They are training their next generation as teaching and they are trying hard to keep the traditional form of Epics as how they were. Also they are very active members and they participate national festivals and competitions often. With the initiative of associations as Oirad’s “Ikh Hogsuu” and Urianhai’s “Altan Huree”, the organization of art and traditional sport festival competitions get bigger and they created Epic art nominees.
Through the local government administrations and Cultural Centres in each region with epics, the “Association of Mongol Tuuli” non-government organization had main responsibility for ensuring the viability of the epic at the local levels. As a consequence, the “Association of Mongol Tuuli” NGO had established the centralized regulatory groundwork for safeguarding the epic and ensuring its viability.

B.3.d. Calendrier et budget

Indiquez, sous forme de calendrier, les dates de mise en œuvre de chacune des activités et quels fonds ont été utilisés à cette fin, en indiquant dans chaque cas l'origine du financement (sources gouvernementales, contributions en nature des communautés locales, etc.).

Timing and Budget
National program of “Mongolian Epic”
Activities - Implemented organization - Fund /USA $/
1. Organized “National check-up for Epic art repertory” in Ulaanbaatar, Center for Cultural Heritage - 6 165 $
2. Organized apprenticeship training in countryside, Center for Cultural Heritage -2 150 $
3. To glorify epic storytellers and to disseminate art of Epic, Center for Cultural Heritage -2 150$
4. Published books which included Epic storytellers’ biography and introductions, Center for Cultural Heritage, Language and literacy department, Academy of Science - 32 688$
5. Organized science and research meeting by the study of J.Buyan and S.Choisuren, Language and literacy department, Academy of Science - 7 169$
6. Creation of a registration-information database, Center for Cultural Heritage - 4 301$
7.Media and TV promotional production to disseminate epic art world, Ministry of Culture, Sports and Tourism, Center for Cultural Heritage, Department of Language and literacy, Academy of Science - 1 434$
8. “Altain Eznii Duudlaga” DVD, Ministry of Culture, Sports and Tourism, Tuguldur Studio - 17 922$
9. Make an inventorying/study research of potential epic interested or inherited aimag, soum and family in order to give them some support, Center for Cultural Heritage - 2 150$
10. “Altan huree” 7th Art and Sport Festival, Ministry of Culture, Sports and Tourism,
Uriankhai tradition development association - 2 150$
11. Central Asian Epics II, International Symposium and Festival
Ministry of Culture, Sports and Tourism,
NatCom,
Center for Cultural Heritage
Department of Language and literacy, Academy of Science - 40 144$
TOTAL - 118 423 $ /1$ - 1 395 MNT/

B.3.e Efficacité globale des activités de sauvegarde

Procédez à une évaluation globale de l'efficacité des activités menées pour parvenir aux résultats escomptés et de l'utilisation des fonds nécessaires à leur mise en œuvre. Veuillez indiquer de quelles manières les activités ont contribué à l’obtention des résultats et si d'autres activités auraient été mieux adaptées à cette fin. Indiquez aussi si les mêmes résultats auraient pu être obtenus avec de moindres ressources financières, si les ressources humaines disponibles étaient appropriées et si les communautés, groupes et individus concernés auraient pu participer davantage.

The inscription of the Mongolian epic into the UNESCO List of Urgent need of safeguarding of ICH showed big influence in Mongolian people's mind. Also it helped to safeguard, protect and transmit art of epic for the future generation and saved Mongolian people from the danger of losing their epic heritage and being forgotten it. Now the number of researchers and people who has interest and practice of epics got increased. It also created a new discipline in history and cultural fields.
The inscription also allowed to safeguard and develop the epic tradition step by step. For thus Mongolian government prepared and implemented the National Safeguarding Plan of the “Mongol Epic”. This project will run for 3 years and it will help to safeguard, protect, promote, transmit and disseminate the art of epic and to encourage the epic bearer community to participate and contribute their knowledge. Also to develop the public awareness. We started to gather all epic singing bearers throughout Mongolia, their repertory inventorying, competitions and all of them are showing good influence in their art work and ability. It is also very important to organize a national competition in order to encourage the bearers to develop their talent and capacity. In order to transmit the epic and help the new generation to understand and value the tradition of epics, it became a part of the education program in high and secondary school classes. Some schools have specific training for epic interested youth.
The viability of Mongol epic dramatically improved in this order during the report period:
- The repertoire and skills of the current epic singers; increasing the number of the epic heritage bearers and trainers; selecting and training the young learners; formulating the further training system for the transmitting epic performance tradition; and creating socio-cultural environment for the further survival and viability of Mongolian Traditional Epic in current situation will be enriched.
- Number of the epic heritage bearers from four to five folded, restoration and revival of the folk rituals and customs associated to the Mongolian Epic, revitalization and acquirement of some forgotten epics, traditional techniques, methods, skills and rituals relative to the narration of epic, and ensuring the maintenance of inheritable characters of epic increased.
- The number of practitioners increased
- The public awareness had raised,
- The system of identifying, registering and documenting of the epic bearers had established and further be continued constantly.
- The Database of the epic-performers is a subject to be enriched and improved year by year basis.
- The apprenticeship training program in the provinces such as Hovd and Uvs has great influences to nationwide.
This apprenticeship program will help to increase the number of epic singers in the future or thus who studied epics. Which means to increase the number of future audiences which will have interest on it, respect and understand that art. It is more important to create a sustainable financial support which is highly demanded to continue and improve the training activities.

B.4. Participation des communautés

Veuillez décrire comment les communautés, groupes et individus ainsi que les organisations non gouvernementales pertinentes ont été impliqués, y compris en termes de rôles liés aux genres, dans la mise à jour du plan de sauvegarde et comment ils seront impliqués dans sa mise en œuvre.

The epic singing communities are actively involved in the traditional “Mongol Epic” development activities in order to safeguard, protect, restore, develop, disseminate, transmit, inherit, teach and promote it through media, publication and radio.
- Epic performers, relevant State bodies, Mongolian National Commission for UNESCO, “Association of Mongol Tuuli” non-government organization in collaboration with other relevant NGOs, as well as stakeholders had direct involvement and support for the implementation of the National Safeguarding Plan of the Mongolian Epic.
- The epic performers and concerned NGOs with dominant role in the project for restoring the apprenticeship method of epic and conduct training for the trainers-bearers under relevant program. The trainers-performers had directly involved in the coherent and serial set of training programs.
- Raised the public awareness at the local and national levels through TV shows, programs, publications, festivals, symposium and seminar.

B.5. Contexte institutionnel

Veuillez indiquer quelles institutions sont en charge de la gestion locale et de la sauvegarde de l'élément inscrit sur la Liste de sauvegarde urgente, notamment :

le(les) organisme(s) compétent(s) impliqué(s) dans sa gestion et/ou sa sauvegarde ;
la(les) organisation(s) de la communauté ou du groupe concernée(s) par l'élément et sa sauvegarde.

Ms Ts.Tsendsuren
Head of the Cultural Heritage Departement,
Ministry of Culture, Sports and Tourism
Government building X, Place Barilgachid, Chingeltei District,
Ulaanbaatar, Mongolia
Tel: +976-9312-4367
Fax: +976-11-310466
email: tsendsuren0525@yahoo.com
Department is responsible for the method and planning of safeguarding the cultural heritage.
Centre for Cultural Heritage
This is a professional and certificated organization and its ICH section established in 2008 in order to protect both tangible and intangible cultural heritage. Organization works in worldwide to safeguard and protect documents and videos, research on ICH bearers, inventorying transmission program for future generations and central archive for registration and information.
Address: Mongolia, 21 06 20 a, Ulaanbaatar, Sukhbaatar district, Sukhbaatar square 3, Jamiyang’s street, B section of Central Cultural palace
POBox: Ulaanbaatar 210628, Mongolia
Director: G.Enkhbat
Tel Phone: + 976-11-312-735
+ 976-70110877
Fax: + 976-11-312735
E-mail: enkhbat@mongolheritage.mn
Web: www.monheritage.mn
“Mongol Epic” NGO
/ Head: A.Baldandorj. NGO which runs activities to epic bearers for transmission, teach and promote/
Address: Bayanzurkh district, 23rd horoo, Surguuliin A-5-60
Tel: + 976-94900904
+ 976- 99242363
Fax: 976-70154576
E-mail: baldaa_04@monheritage.mn

B.6. Participation des communautés a l'etablissement du présent rapport

Décrivez les mesures qui ont été prises pour assurer la plus large participation possible des communautés, des groupes et, le cas échéant, des individus ainsi que des organisations non gouvernementales pertinentes concernés pendant la préparation du présent rapport.

Following organizations and individuals cooperated together to make this report done:
- Cultural Heritage department of the Ministry of Culture, Sport and Tourism, leaded the reporting process
- Science Academy, Department of Language and Literacy.
- “Mongol Epic” NGO, Epic-bearers N.Damdindorj, A.Baldandorj, Punsantsogvoo, Seseer and Bayarmagnai .
In March 2012 the Government have established a commission to work on the national activity reports for the different measures taking by Mongolia to safeguard and protect the elements inscribed on UNESCO List of Urgent Safeguarding of ICH. This commission is represented by governmental and non governmental organizations, community, practitioners, bearers and individuals. Above mentioned members of the commission were approved. And during the process of preparation of this report, the community, practitioners and individuals have assisted and give information about their contribution to the activity depending their field and some community and association have sent an written report of their local activity.

C. Signature au nom de l'état partie

Le rapport doit se terminer par la signature du fonctionnaire compétent pour la signer au nom de l'État, accompagnée de son nom, de son titre et de la date de soumission.

Nom

M.Tumenjargal

Titre

Vice-Minister of Culture, Sports and Tourism of Mongolia

Date

30-01-2014