1.	I ( CF. CRITERION U.1) DENTIFICATION AND DEFINITION OF THE ELEMENT This is the key section of the nomination to satisfy criterion U.1: 'The element constitutes intangible cultural heritage as defined in Article 2 of th e Convention'. A clear and complete explanation is essential to demonstrate that the element meets th e Convention's definition of intangible heritage. this section should address all the significant features of the element as it exists at present, and should include: a. an explanation of its social and cultural functions and meanings today, within and for its community, b. the characteristics of the bearers and practitioners of the element, c. any specific roles or categories of persons with special responsibilities towards the element, d. the current modes of transmission of the knowledge and skills related to the element. The Committee should receive sufficient information to determine: a. that the element is among th e 'practices, representations, expressions, knowledge, skills - as well as the instruments, objects, artefacts and cultural spaces associated therewith -'; b. 'that communities, groups and, in some cases, individuals recognize [it] as part of their cultural heritage'; c. 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 th eir history'; d. that it provides communities and groups involved with 'a sense of identity and continuity'; and e. 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. Not to exceed 1,000 words.
Saman is a traditional performing art of Gayo people in Gayo Lues and some surrounding districts (see C.2 above). the players, always in odd numbers, sit on their heels and kneel in tight Fig.1 lines . The players are lead by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit . The players at the ends of the line are called 2, 6 penupang . The Penangkat leads responsive singing of verses, mainly in Gayo language, with some Arabic, Acehnese and Indonesian. Other players sometimes assist leading the singing. All players perform sychronized moverments including hand clapping, slapping the chest ( tebah ), thighs and the ground, clicking fingers, joining hands, making hand gestures, swaying and twisting their bodies and heads forward and backward, left and right, in time with the complex and attractive rhythms, sometimes slow, sometimes fast and energetic, following the verses and lead of the Penangkat . The movements of the players sitting in odd positions are often the opposite of those sitting in even positions. For example, the odd players hold hands and kneel Fig.2 upright, while the even players hold hands and bow to the ground . 88% (67/76) of respondents said that Saman moverments symbolize the environment, nature and day to day life, eg. leaves swaying in the wind, a buffaloe bathing, digging in a rice paddy, pounding rice, etc.. the verses and movements go on continuously without a break until the performance ends. (H. Ibnu Hasim, Gayo Lues District Head, Interview, 12/02/10). A Saman performance consists of 7 parts, called: Rengum, Salam, Dering, Uluni Lagu, Lagu, 2 Anak ni Lagu, and Lagu Penutup ( closing song ) . According to other sources, there are 9 parts: Keketar ( introduction ), Rengum, Salam, Gerakan Tari, Anak ni Lagu, Saur, Syair, Guncang and