Saman dance UNESCO Marks

Information
ICH Domain Oral traditions and representations, Performing Arts, Social practices, rituals, festive events, Knowledge and practices about nature and the universe, Traditional craft skills, Urgent Safeguarding List
Name of UNESCO List Best reflecting the principles
Type of UNESCO List
Incribed year in UNESCO List
Information
Local Name Saman Jejuntèn, Saman Njik, Saman Ngerje (Umahsara), Bejamu Besaman (Saman Sara Ingi, Saman Roa Lo Roa Ingi), Saman Bale Asam, Saman Pertunjukan
Safeguarding Policy · Article 32 of the 1945 Constitution, which states that the State shall advance Indonesia’s national culture amongst world civilization, guaranteeing freedom of the community to maintain and develop their cultural values; · Act No. 5 of the year 1992 concerning the Cultural Property; · Presidential Regulation of the Republic Indonesia No. 78 of the year 2007 concerning Acceptance of the Convention for the Safeguading of the Intangible Cultural Heritage; · Memorandum of Understanding between the Department of Culture and Tourism and the Department of Justice and Human Rights No. PKS.46/KS.001/MKP/07 and No. M-12.UM.06.07 concerning Safeguarding, Development and Utilization of Intellectual Property of Traditional Cultural expressions of the Indonesian Nationals; and Joint Ministers’ Declaration of the Ministry of Home Affairs and the Ministry of Culture and Tourism No. 42 and No. 40 of the year 2009 concerning Guidelines on the Safeguarding of Culture.

Location (Address) Gayo Lues District,  Aceh Tenggara District, Tamiang Hulu (Aceh Tamiang District), Takengon (Central Aceh District), Lukup Serbejadi (East Aceh District), all in the Province of Aceh, the northernmost province of the Indonesian island of Sumatra.1,2,3, 4,5,6, and other provinces having Gayo communities . It is performed in villages, underneath manah (lumbung building for storing rice), underneath mersah Fig.6 (meunasah traditional dormitory for boys and young men), on the borders of ricefields Fig.13, backs of buffaloesFig.5, the banks of rivers, on festive occasions such as marriages, national or religious holidays, welcoming of guests, or inter-village visits.
Section/Division in Charge · Coordinating Ministry for People’s Welfare (Fokal Point) - Deputy Minister for Coordination in the Fields of Culture, Tourism, Youth and Sports, Assistant Deputy for Cultural Affairs · Ministry of Foreign Affairs - Directorate General for Multilateral Affairs - Directorate for Social and Cultural Afffairs and International Organizations for Developing Countries · Ministry of Culture and Tourism - Directorate General for Cultural Values, Arts and Film - Directorate of Traditions - Directorate of Arts - Direktorate for Belief in the One Supreme God - Technical Executive Units, Offices for Safeguarding of History and Traditional Values - Directorate Jeneral for History and Archeology - Directorate for Historical Values - Resources Development Board for Culture and Tourism - Centre for Research and Development of Culture 
Name of National List Inventory of Intangible Cultural Heritage of Indonesia
Management Organization of National List Cultural Values, Arts and Film of the Department of Culture and Tourism
Summary The Saman dance is cultural heritage of the Gayo people traceable to the 13th century, developed later by Syeh Saman incorporating religious messages. Saman is performed by boys and young men, always in odd numbers, sitting on their heels or kneeling in tight rows. The players wear black costumes embroidered with colourful Gayo motifs, symbolizing nature and noble values. The trainer or leader, called penangkat sits in the middle of the line and leads singing of verses containing messages about tradition, development, religion, advice, sarcasm, humor and even romance. Players clap their hands, slap their chests, thighs and the ground, click their fingers, sway and twist their bodies and heads forward and backward, left and right, synchronizing with the rhythm, sometimes slow, sometimes fast and energetic, in unison or with alternate dancers making opposite moves. Saman movements symbolize nature, the environment, and daily lives of Gayo people. Villages invite each other for Saman competitions to build friendly relationships. Saman is performed to celebrate national and religious holidays, and is a game among village children, who learn it informally. The frequency of Saman performances and transmission are decreasing, despite community and government efforts. Therefore safeguarding is urgently needed.
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