The art of Jamdani weaving is a time-consuming and labour-intensive form of fabric production by hand on a traditional loom built with wood and bamboo and with little use of metal. Jamdani weaving is based on the traditional knowledge and skills dating back to the fourth century BCE. The distinguishing hallmark of Jamdani weaving is that its designs are neither embroidered nor printed but created directly on the loom in the process of weaving. The product from this style of weaving is called Jamdani, a highly designed cotton fabric which owes its origin to Muslin, the finest and most transparent cotton cloth ever woven by human hand. Of classic beauty, Jamdani effectively combines intricacy of design with muted or vibrant colours. Jamdani is also a highly breathable cotton cloth which brings relief to its users in the hot and humid climatic condition of Bangladesh. The Jamdani weavers have remained in the weaving profession from generations to generations as a means of family livelihood. The element represents Bangladesh’s rich textile heritage, contains significant historic value and has been designated as a unique element of the intangible cultural heritage of the country. Jamdani weaving has survived and thrived due to growing popularity of Jamdani fabrics among Bengali women both at home and abroad. Almost the entire production of Jamdani is carried on in the form of sari, the principal dress of Bengali women. Sari is a long flowing piece of cloth, part of it wrapped around the waist, and the remaining climbs and flows over the shoulder. Women wear more charming or elaborately designed Jamdani saris during festivities and on formal occasions.

Bangladesh 2013

The exact origin of the Khöömei art is unknown, but researchers suppose that it could have been developed in connection with argil (a throat timbre) epic telling vocal technique, shamanic calling and the play of the wooden tsuur flute. The history of Mongolian Khöömei dates back hundreds of years. The popularity of Khöömei among Mongolians has arisen as a result of close interaction between natural environment and human culture. Ethnomusicologists studying Khöömei mark it as an integral part in the ancient pastoralism that is still practiced today. This art has developed to mimic and imitate the sounds of animals, nature, wind and water. The wonder of the Khöömei art is its simultaneous melodies-overtone. In this way the Khöömei is a phenomenon which differentiates from other traditional arts based on human vocal organs. This is the reason of calling the Khöömei performer as “Human-Music” (Khun khugjim) which highlights its specificity from a “normal singer”. The meaning of Khöömei for its community is enormous. As the traditional art form, Khöömei is in close cohesion with the daily life of the Mongolian nomads. They perform Khöömei in the variety of social occasions ranged widely, from grand state ceremonies to the household festive events, associated with respective rituals, and customs. Khöömei is not only performed in social events, because Khöömei performance is often found during the herding, and even when lulling the baby, as well as in the evenings in the ger (Mongolian traditional yurt) in domestic context. Hence, Khöömei is an essential part of the identity, pride and continuity of Mongolian society. Therefore, it provides the concerned community with sense of unity and harmony, as well as continuous creativity. One of Khöömei’s social functions is that, it is used as a traditional pedagogic instrument in the social and art education and upbringing. This is because during the Khöömei transmission, a comprehensive knowledge, philosophy and wisdom on the correlation of human life and nature are transmitted at the same time. As an art form created and developed by the Mongolians, Tuvinians and other ethnic groups, and regarded as the classic art of nomadic civilization, Khöömei is one of the core performing arts that shape the Mongolian national arts in today’s Mongolia. Thus, it shows great influence on ensuring the visibility and enhancement of the living art of Mongolia. Khöömei is born by variety of ethnic groups as Khalkh, Bayad, Dörvöd, Uriankhai, Zakhchin, Tuva, Tsaatan in different locations, therefore there are a number of sub-classifications of Khöömei style, reflecting the special features and local flavors. This diversity is what constitutes the richness of Khöömei composition, and thus, each communities concerned are proud of their own unique styles and techniques while expressing themselves with such diversity. The governments of Mongolia, Russian Federation and PR China have been undertaking variety of measures for the effective enhancement and spread of Khöömei tradition, such as holding international meetings, workshops, competitions and performances on Khöömei. This shows the significance of Khöömei for the bearers and their will to safeguard, transmit and develop it in multinational level, which also promotes international interaction, mutual respect and intercultural dialogue. Researchers classify Khöömei’s vocalization into 2 styles: -The Kharkhiraa (deep Khöömei) vocal emission: The singer sings a drone in a normal voice, then he inhales deeply and, simultaneously pressing on his pharynx and abdomen, he produces a deep harmonic sound which vibrates one octave lower than the fundamental note produced. What you hear is in a very low-pitched register. The singer actually vibrates not only his vocal cords but also his arytenoid cartilage. It is this deep harmonic sound that is heard in the foreground and that characterizes the kharkhiraa style, although in some variants a melody of high-pitched harmonics can be heard above the fundamental sound. -The Isgeree Khöömei (whistled Khöömei) emission: Also called Nariin Khöömei, Uyangiin Khöömei, Altain shingen Khöömei. The singer sings a drone in a normal voice, then he inhales deeply and, still pressing simultaneously on his pharynx and abdomen he produces a harmonic sound, which vibrates several octaves above the fundamental sound. A melody of harmonics with a very high-pitched whistle can then be heard. In both cases, the harmonic melody is sung in the same fashion. The singer modulates his mouth cavity by opening and closing his lips or by moving his tongue backwards, sticking its tip on his palate, or else by moving the central part of his tongue from front to back, its tip against his bottom teeth. To this are added techniques aiming to enrich the tone colour and others of ornamental character. Moreover, all these techniques can be combined. Inside more than 20 techniques, we can find the Bagalzuuriin Khöömei (throat Khöömei) Tsuurai Khöömei (echo Khöömei) Khamriin Khöömei (nasal Khöömei) or Dangildakh Khöömei (syllabial Khöömei). The singers use the Shakhaa vocal emission to sing the magtaal praise songs with a throat timbre as well. It is necessary to intensifying and deepening the Khöömei research and studies particularly on the originality and authenticity of the heritage in order to identify and reveal the deeper form, techniques and specifications furthermore.

Mongolia 2010

For thousands of years, nomadic herders of Mongolia roamed across the country-side from season to season. Dry, windy areas close to rivers are best for summers while areas away from river-bank wind and close to mountains or hills are best for winter stays. In the country where pasture always was and still is a public domain, the herders moved freely to the best locations for the season. With this lifestyle of freedom of movement and pastoral animal husbandry was invented the national dwelling called the ‘Mongol ger’. It is a round structure of easily dismantle-able walls, polls and a round ceiling covered with canvas and felt, tightened with ropes. The ger was designed to be light enough for Mongolian nomads to carry, flexible enough to fold-up, pack and assemble, sturdy enough for multiple dismantling and assembling as well as easy for regulating temperatures within. Over many centuries the mongol ger was modified into a perfectly aerodynamic structure which can withstand Mongolia's fierce spring winds ranging up to 18-20 meter/sec. It can be dismantled in half an hour and assembled in an hour by a small family with 2-3 adults. The Mongol ger has many varieties. The most common “5-wall ger” consists of five lattice segments forming a circular wall, a door, a toono (round window ceiling), two bagana (columns that hold the toono), and 88 uni(long poles that connect wall lattices and toono which forms the roof of the ger). There are also several accessories attached to the ger.

Mongolia 2013

Âşıklık tradition is a multi faceted art form which includes the oral tradition, music and narrative telling. Performers of this art go through a years-long apprenticeship under the guidance of master âşıks. Âşıks have formed a distinguished style in Turkish Literature through the numerous literary works both in verse and prose; which has come to be acknowledged as the tradition “Âşık Style”. This tradition encompasses saz playing, âşık tunes, improvisations, repartee, and narrative telling with love as its main theme. Although there are various views about the origin and the formation of Âşıklık Tradition, it is widely accepted that the roots of the tradition lie in pre-Islamic and early Islamic Turkish epic narrators which are called “Ozan” or “Baksı”. Âşıklık Tradition emerged as a result of the changing political, social, cultural and economic conditions in the 16th century. Most renowned representatives of the tradition are Karacaoğlan, Köroğlu, Kazak Abdal, Pir Sultan Abdal, Ercişli Emrah, Gevheri, Âşık Ömer, Levni, Kul Himmet, Dadaloğlu, Dertli, Ruhsati, Bayburtlu Zihni, Âşık Şenlik, Âşık Sümmani, Âşık Mahsunî Şerif, Âşık Veysel, Davut Sulari, Âşık Murat Çobanoğlu ve Âşık Yaşar Reyhanî. Âşıklık tradition is transmitted from masters to apprentices through training and education similar to other oral, auditory, visual and material-based fields of Turkish culture. This transmission is completely actualized through oral channels. Âşıklık Tradition has a social side to it, in the sense some of the motifs of the poems and tales told by Âşıks are the problems of the society and âşıks themselves are perceived as enlightening and guiding figures. Poems of this tradition are written in syllabic meter, blending into a unified meaning in quatrains and gaining rhythm with rhymes. Works of Âşıks are combinations of music and poetry. Saz is an integral part of the tradition. Saz instruments played by âşıks are made of chestnut and mulberry trees. They generally have six, eight or twelve strings. Saz is usually played with a kind of plectrum called “tezene”. Âşıks of our times perform their arts in festivals, festivities, weddings, âşık coffee houses and Cem rituals. In traditional weddings, as important performing venues for âşıks, they not only entertain the public but also fulfill their teaching and guiding roles through anecdotes and tales. Âşıklık tradition is still very much alive in cities like Kars, Erzurum and Kayseri, where âşıks also perform in âşık coffee houses. Alevi-Bektaşi rituals are other gatherings where âşıks, known as “zakirs”, recite poems reflecting the beliefs and world-views of Alevi-Bektaşi philosophy. In addition to their usual performing venues, various activities and festivals organized by NGOs and local governments are emerging as new occasions for âşıks to perform their arts. Some of the most essential concepts in Âşıklık Tradition are mentioned below. Master/Apprentice Discipline: Âşıklık tradition is not only based on singing, reciting or playing an instrument but it is also a training-based tradition. The âşıks are, in general, trained by a master grasping the know-how of his master’s art, utterances and poems. Once they become masters in their arts, they start training apprentices on their own and thus the tradition is preserved. Drinking Bade: A youth destined to be an âşık would have a dream in which he is offered with a goblet of bade by a wise spiritual leader (Pir) or by his beloved. From that moment on, the young man wakes up divinely inspired to make verses, sing songs and recite poems. Choosing The Mâhlas (Pseudonym): Mâhlas is the pseudonym which the poet uses instead of his real name. The âşıks utter their pseudonyms in the final quatrain, which the âşıks call “introducing oneself” or “recognition”. Riddle: Riddle is a poetry genre in which the name of a person, being or thing is concealed. The tradition of singing the favorite riddles and unraveling those has been preserved up to date among the âşıks as a masterly skill. If there is no response for the riddle, the âşık himself unravels it. Repartee/Improvisation: Repartee is acknowledged as a cultural value, a figure of speech and pun as regards to oral tradition. This art has a function of teach and delight. During the challenging performance between the âşıks, beginning with a verbal dueling part, they compete with each other on the aptness, humor and beauty of the poetry and improvisation using alternating lines and improvising witty jibes in front of an audience. Leb-değmez: Verses with a needle between the lips: This is a style of reciting poems avoiding the consonants like “B, P, M, V, F”, pronounced by teeth and lips, to perform the masterly skills of the âşıks. The âşıks put a needle between their lips in that style of reciting poems. Folk Tales: Developed and preserved thanks to the master/apprentice discipline of the âşıks, also known as “narrators”, “Folk Tale” is a genre encompassing narrative style, poetry and music.

Turkey 2009

Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nearly every Korean knows and enjoys singing Arirang, which is not just one song but a variety of local versions handed down throughout Korea. Experts estimate the total number of folk songs carrying the title ""Arirang"" at some 3,600 variations belonging to about 60 versions. Arirang is essentially a simple song, consisting of the universal refrain Arirang, arirang, arariyo, and lyrics that have developed differently from region to region. The most typical lines express a universal sentiment: Arirang, arirang, arariyo; Over the Arirang hill you go. (refrain) Leaving me, my love, you'd go lame before three miles. (lyrics) The lyrics were not created by any particular individual, but an outcome of collective contributions made by ordinary Koreans through generations. They convey joys and sorrows of common people arising from love, parting with the beloved, troublesome in-laws, or national struggle against foreign invaders. Affection for Arirang is evident throughout today's ultra-modern Korean culture, well beyond the realm of traditional music. Arirang has been rearranged into modern ballads, rock 'n roll and hip-hop, as well as symphonic pieces, appealing to a wide array of audiences and striking a chord with Koreans; it is often described as their unofficial national anthem. Olympic champion Kim Yu-na skated to an Arirang theme, ""Homage to Korea,"" at the 2011 World Figure Skating Championships. Arirang is also one of the most recognized cultural symbols and is widely used as a theme for movies, dramas and soap operas, and names of commodities, restaurants, and broadcasting companies.

South Korea 2012

'Kiyiz' is a valuable felt material used by nomads in everyday life since immemorial time. Felt is manufactured from sheep, camel or goat wool by felting. Felt is made from wool using various methods to compress the wool fibers to form a thick, durable and warm material. Felt processing and products remains as one of the most popular crafts in the decorative art of the Kazakhstan steppes and other Central Asian countries. It was the major craft in Kazakh nomadic life as well as a significant work of women. Felt in Kazakhstan used mainly for flooring as a carpet well as covering a yurt. Nowadays one can get also a Kazakh felt souvenir toy. Warm slippers, vests, scarves and much more. Kazakhs used two basic types of felt, which differ in their method of manufacture and function. Kazakhs used coarse felt to cover the yurt and the dirt floor inside. Felt often decorated ornament. There are different methods of ornamentation: applique, ornamental stitch and many others. Skilled workers typically cover the entire surface of the felt track patterns, using a contrasting color. Kiiz is a simple felt carpet made of white, brown or grey wool, used as a foundation for making other products or to cover various parts of the yurt. Syrmak is a floor carpet, made by designing on a basis (kiiz) ornamental aptterns cut out of think multicolor felt which are then adjusted to the basis and sewed with color lace along the contour of the pattern, Tekemet is the Kazakh felt carpet with inserted color pattern on the top of each other before rolling. Different tribes in Kazakhstan each have their designs. Tuzkiiz ia a wall carpet, made by sewing ornamental compositions on felt or solid color fabric like velvet or silk, and then sewing them to the felt basis.

Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.

Tajikistan,Uzbekistan 2008

Benediction is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Benedictions propitiate people’s future happiness and well-being through skillfully composed and recited poems. It is unique in a way that minstrels sing the benediction completely from memory, and also by adding their own versions of words or improvising totally new verses to fit particular situations or events. By the invitation of people, a person who knows the order of feast and ceremonies well and mastered in the benediction and its melody says the benediction with use of the holly silk scarf, milk in the silver bowl, and Airag in bowl. The benediction is oral poetry which contains a beginning, main part and ending part.

The traditional dance forms of the Malay communities in Singapore are wide-ranging and diverse, and they include zapin, joget, asli and inang, amongst others. Most of these traditional dance forms were already popular in Singapore during the early 20th century. Today, they are performed at festive events, staged as productions, and also taught to the younger generation through performing arts schools.

Although better known worldwide as a type of martial arts, Pencak Silat is actually an Indonesian tradition that has been transmitted over many generations. In addition to its sporting aspect, the Pencak Silat tradition also encompasses the aspects of mental-spiritual, self-defense, and art. The term Pencak Silat is formed from two words, which are pencak and silat. The term "pencak" is better known in Java, while the term "silat" or "silek" is better known in West Sumatra, to describe a group of martial arts which have many similarities. In addition to using local terms, each region has their own move, style, accompaniment music, and unique supporting equipment. The moves and styles in Pencak Silat are strongly influenced by various elements of art. These moves and styles are a unity of body movement (wiraga), movement feeling (wirasa), and movement fit to the accompaniment music (wirama). The supporting equipment for Pencak Silat includes costumes, music instruments, and traditional weapons. Pencak Silat practitioners are taught to maintain their relationship with God, human beings, and nature. These practitioners are also trained in various techniques to deal with attacks or other dangerous situations based on principles to protect him or herself as well as others, avoid harming the offender, and build comradeships. Pencak Silat is often performed during various ritual ceremonies and celebrations. Men and women of all ages, as well as the disabled, can all practice Pencak Silat. They usually will learn in Pencak Silat schools or academic schools from kindergarten to college.

Indonesia 2019

Semah; originated from the Arabic word sema meaning heavens, fortune and hearing. Semahs are the most effective instruments for the transmission of Alevi-Bektaşi tradition. Semah is one of the main twelve services of the cem rituals which are considered as religious practices by Alevi-Bektaşi adherents. It is possible to encounter various kinds of semahs across Turkey with different musical characteristics and rhythmic structures. The fact that there are variations in melodic and lyrical structure of semahs with the same name is an evident sign of the richness in semah culture. Centuries of oral transmission of semahs from generations to generations has enabled a rich diversity among semah culture. One of the main principles on which semahs are conceptualized is the unity with God which happens through a natural cycle. In this cycle man comes from God and goes back to God which resembles the circulation of the celestial bodies in the universe. However, man is the locus of this circulation. God is omnipresent and semah is the way to reach God. Hand and body motions in semahs have symbolical meanings. For instance, the motion in which one palm faces the sky while the other faces the earth is meant to say “You are God, we are the people, I come from You and hold your essence in me, I am not separated from You”. The motion in which palms first face the sky and then turned to the earth is meant to represent the same thought. When semahçıs (semah dancers) face each other just like in Tahtacı Semah it means that God is present in man and people facing each other will witness the divine beauty of God in man’s visage. The motion in which semahçı (semah dancers) turns the palm of his hand to his face represents man seeing his own beauty in the mirror and therefore he also witnesses the divine beauty of God. When both palms facing the sky are pulled towards the heart it is meant “God I am Man, so God is in me” or “God is in Man”. Semahs are categorized into two groups: 1- İçeri (private) semahs / Order semahs 2- Dışarı (public) semahs / Avare semahs İçeri Semahs (Order semahs): They are performed in Cems (considered as religious practices by Alevi-Bektaşi adherents) where 12 services are carried out. It is not desirable to perform içeri semahs in front of those without the faith. They are performed in three phases: - Ağırlama: The prologue with slow movements. - Yürütme: The phase when the semahs gets faster and livelier. - Yeldirme: The last phase when the semah is the fastest and hardest to perform. While this three-phase composition of semahs is very prevalent it is possible to see other kinds of performances as well. In some semahs it is very difficult to distinguish these phases from each other. Dışarı Semahs (Avare semahs, Yoz Semah or Mengis): They are performed independent of 12 services for the purposes of teaching the semah culture to younger generations or simply entertaining. Nevertheless, they are still loyal to semah principles. Dışarı semahs are mostly comprised of two phases; ağırlama and yürütme or ağırlama and yeldirme. Although semah performances vary according to regions, the main characteristics are common: - Semahs are performed by both women and men, - While semahçıs (semah dancers) in içeri semahs are limited in number there is no such restriction for dışarı semahs. - Semahçıs (semah dancers) start the semahs saluting and inviting each other. - While performing semah, semahçıs (semah dancers) are in a circular order or facing each other, without touching or holding. - Bağlama is usually the accompanying instrument to semahs but there are some regions where other rhythm instruments are also played during semahs. - While there is no specific attire to be worn in semahs it is not uncommon to wear traditional clothes in rural cems (considered as religious practices by Alevi-Bektaşi adherents). - When concluding semahs, dedes (spiritual leaders) usually say a prayer. - Transmission of semah occurs through the performance of the tradition. The basic characteristics and universal values reflecting the understanding of tradition bearers of Semah are as follows: -According to followers of Alevi-Bektaşi belief, every human being has a divine essence and they see man in unity with God called as the belief of “En-el Hak” which means “I’m God”. Thus, during the worship they prostrate towards one another. - Seeing man in unity with God, they internalize a humanist philosophy - According to Alevi-Bektaşi belief, sharing is of great importance in social life. “Musahiplik” (a kind of fellowship as regards to Alevi-Bektaşi belief) in which each individual chooses one another as a spiritual brother or sister committing to care for spiritual, emotional, physical and financial needs of each other, for the purpose of creating a type of communion intimately tied. - Alevi-Bektaşi believers object gender discrimination, therefore they pray side by side. - Alevi-Bektaşi followers consider offending human being as equal to offending God; hence, through establishing a kind of judging mechanism called “düşkünlük”, they use a sanction power over the members to prevent them from committing misdeeds. If one commits any of those, s/he is declared as “düşkün” (shunned) and temporarily or permanently excommunicated from the community or society. - The practices, traditional motifs and teachings are orally transmitted rather than written sources and distinct genres of art and literature particular to the tradition, thereby, have been created. - They practice their authentic worship and cultural transmission through expressions like lyrics, music and Semahs.

Turkey 2010

Seasonal customs and rituals circle is a kind of encyclopedia of the life of the people. Uzbekistan also has a number of seasonal rites and holidays. Uzbek seasonal celebrations should be classified as follows: 1) winter parties or circles (gap gastak); 2) spring holidays – Navruz, Shohmoylar (harnessing of bulls in soha, i.e. the beginning of plowing), Holidays of tulips and roses, Loy tutish (clay supply, i.e. the beginning of building a house), etc.; 3) from summer celebrations, the "Qovun saili" (melon festival), "Choi momo" etc; 4) autumn holidays related to harvesting - Mehrgan, "Uzum saili" (grape festival), etc.