verses always contain positive messages, including verses which encourage conservation of the environment (Drs. Bungkes Habsyah, ibid) .
2.	NEED ( CF. CRITERION U.2) FOR URGENT SAFEGUARDING Items 2.a. and 2.b. are the key section of the nomination to justify why an element should be inscribed on the Urgent Safeguarding List. the nomination should reply to the relevant paragraph of Criterion U.2, that is, 'The element is in urgent need of safeguarding because its viability is at risk despite the efforts of th e community, group or, if applicable, individuals and State(s) Party(ies) concerned'.
2.a.	Viability assessment Describe the current level of viability of the element, particularly the frequency and extent of its practice, the strength of traditional modes of transmission, the demographics of practitioners and audiences and its sustainability. Not to exceed 500 words.
Aceh culture expert Asli Kesuma (72 yrs.), who has been observing Saman culture since 1972, noted that the frequency of Saman performances has been decreasing, especially since 2002. th Saman is performed at celebrations of Indonesia's Independence Day (17 August), and the religious holidays of Idul Fitri and Idul Adha , which means 3 times in a year, and to entertain Fig.3,4,20 honoured guests. Saman competitions still go on, but with decreasing frequency, hardly 1-3 times annually. Informal Saman as a children's game is also becoming rarer. 75% of respondents (56/75) said that Saman is transmitted to younger generations informally in Fig.6 villages, underneath the Mersah , a dormitory where boys and young men used to live together while being instructed in customs, traditions and religion, including Saman. Now boys Fig.14 no longer stay at the Mersah , but at home with their parents. Mersah are empty or have changed function. Few of the 122 Mersah in the district teaches Saman School age children are busy with formal education which does not include Saman, religious recitations and doing Fig.12 homework. The role of Saman as entertainment is being replaced by TV and video. Parents are busy. Thus informal and formal transmission of Saman is weak. 81% of respondents (61/77) explained that boys, young men, and male adults perform Saman. The demographics of Saman practitioners are given in Section 1 above. Girls or ladies never perform Saman, because of traditional customs and for anatomic reasons, as Saman players must slap their chests quite hard. There is another dance, the equivalent of Saman, called Bines , performed by girls who dance in a circle while clapping their hands and singing Fig.19 verses (Fatimah Syam, Interview, Blangkejeren, 18/02/10). Saman is watched by all segments of society. There are no rules limiting who may watch. 95% of respondents (71/75) said that access to knowledge of Saman is not restricted. Many of the younger generation move to towns, cities or other districts and provinces to further their education. At the same time, urban Fig.11,12 culture is penetrating the villages through TV and video CDs . Gayo people wherever they reside may form a Saman group. However, in Gayo Lues itself, the frequency of Saman performances are decreasing. 96% (67/70) of respondents report that there are community efforts to safeguard Saman, including documenting, supporting and guiding Saman groups, festivals, self-financed competitions, and inter-village Saman competitions for building friendship. 87% (59/68) of respondents report efforts by the government to safeguard Saman, including forming a Saman group under the guidance of the district government, organizing competitions and festivals of Fig.20 Saman, supporting Saman groups , etc.. However, only 53% of respondents (39/73) felt that these efforts were enough to guarantee safeguarding of Saman, while 98% (79/81) felt that Saman is in need of help for its safeguarding. Only 20% of respondents considered that Saman culture was developing. 47% considered that Saman was maintaining, 19% considered Saman was fading out, and 14% considered Saman