The aim of the list from the UN’s heritage body is to help safeguard inherited traditions and living expressions across civilisations around the world, such as Chinese silk farming, Arabic calligraphy and Thailand’s “nora” dance.

References to the lion dance have been found in writings from as early as the fourth century, including the Chinese literary canon Shujing, also known as the Book of Documents. The tradition is widespread across Southeast Asia, carried by communities that historically originated in southern China.

“Both sides celebrate the lion dance as a form of shared history and jointly promote the safeguarding of the shared heritage,” a statement on the joint nomination said.

Chinese ambassador Ouyang Yujing lauded the move as being able to “better preserve and shine this common heritage in the new times”.

It is not the first time the two countries have worked together to protect a culturally important practice: in 2020 the Wangchuan ceremony, which involves rituals to maintain a sustainable connection between people and the ocean, was added to the Unesco list after a joint nomination by China and Malaysia.

“The joint nomination reflects the deep roots of this tradition in both China and Malaysia, as well as the presence of active and vibrant contemporary lion dance communities in both countries,” said Wilcox, who specialises in China’s performing arts and cultural history.

“Joint nominations help to recognise the transnational nature of Chinese cultural heritage and its importance throughout the Southeast Asian region.”

Modern interpretations of the art form – usually presented during festive occasions like weddings, business openings and the Lunar New Year – feature dancers in lion costumes performing culture-soaked acrobatics alongside rhythmic drumming.

Wilcox described the custom as “ritually meaningful”.

“In multicultural Southeast Asian societies, lion dance has at times served as a public expression of Chinese minority identities in the face of pro-assimilationist policies or local bans on Chinese cultural practices,” she said.

Malaysia’s National Culture Policy, introduced in 1970, defines the heart of the country’s identity as being indigenous Malay and Islamic, emphasising an assimilation of the non-Malays into the Malay ethnic group.

“Since the 1990s, Malaysian Chinese have enjoyed increased opportunities for public expression of [their] culture, of which [the] lion dance is an important component … [with] teams forming important social networks in local communities, and helping to sustain the passing down of cultural heritage from one generation to the next,” Wilcox said.

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Heart of the Lion documentary explores lion dances, identity and belonging

Heart of the Lion documentary explores lion dances, identity and belonging

“Such cultural cooperation between China and Malaysia is not due to geopolitical pressures. It reflects the shared values and long historical ties between the two peoples,” Koh said, noting that bilateral relations are not confined to trade and investment.

“Cultural exchange and cooperation promote people-to-people bonding, which is the foundation of strong bilateral relations, particularly in a multicultural society like Malaysia,” he said.

“Lion dance has been accepted by all communities in Malaysia. There are now lion dance teams with members composed mainly of Malays and Indians.”

Malaysia also intends to make a Unesco nomination for the 24 festive drums, a performance that blends drumming with choreography inspired by agricultural workers, Koh said. It references the lunar calendar’s 24 solar terms, created by farmers in ancient China to guide agricultural affairs and farming activities.

“As the performance is rooted in ancient Chinese traditions, it stands a better chance of being incorporated into the list if a submission is made jointly by Malaysia and China,” he said.