Denoting ""carpet-washing ceremony"" (qāli""carpet""-šuyān""washing ceremony""), Qālišuyān manifests as a huge gathering in Ardehāl, at a 800m-long site, between Emāmzāde Soltān Ali ebn Mohammad Bāqer Mausoleum (abbreviated as Soltān Ali) and the holy stream beside Šāhzāde Hoseyn Mausoleum yard, where a holy carpet is washed as part of a live ritualistic procedure. Unlike the majority of Iranian rituals that follow a rotating lunar calendar, Qālišuyān is attended according to a fixed solar-agricultural calendar, requiring it around the nearest Friday to the 17th day of the month of Mehr (October 8th), called Jom'e-ye Qāli (""carpet Friday""). Thousands of people of Fin and Xāve constitute the practitioners; a greater crowd attends as witnesses. On Jom'e-ye Qāli morning, the people of Xāve gather at Soltān Ali to sprinkle rose-flower on a donated carpet they select. Having done the wrapping rituals, they, then, deliver it to the people of Fin outside. Holding neatly cut and beautifully decorated wooden sticks, the people of Fin run to take the lead in getting a grasp of the carpet, and carrying it to the running water, cleaned of pollutions and mixed with rose-water. A corner of the carpet is rinsed; the rest is covered with drops sprinkled with the sticks. The carpet is, then, returned to the mausoleum and delivered to the servants inside. The rituals are to express love and loyalty toward Soltān Ali, who is claimed to have been martyred in the same place and carried to his resting place on a carpet, instead of a shroud. Asserted, mainly, through oral history, Soltān Ali enjoyed a holy stance among the people of Kāšān and Fin of 1,300 years ago, who depended on his spiritual guidance. He was, finally, murdered by jealous governors. The story continues that the corpse was found, three days later, by the people of Fin who carried it in a carpet to the stream of Šāhzāde Hoseyn Mausoleum, Ardehāl, where the people of Xāve joined in washing and burying him. The present-day carpet-washing rituals are to commemorate the sad burial. A number of peripheral activities have emerged alongside Qālišuyān, too: - J ār: Oral proclamation of the ""carpet-Friday"" date by an elder; - Donated food: Distributed by witnessing people - Ta'ziye and other ritualistic performing arts: Performed peripheral to the main rituals; - Gatherings of people on the site, which last for several days.

Iran 2012

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 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2003) Pansori is a genre of musical storytelling performed by a vocalist and a drummer.This popular tradition, characterized by expressive singing, stylized speech, a repertory of narratives and gesture, embraces both elite and folk culture. During performances lasting up to eight hours, a male or female singer, accompanied by a single barrel drum, improvises on texts that combine rural and erudite literary expressions. The term Pansori is derived from the Korean words pan, meaning “a place where many people gather”, and sori meaning “song”. Pansori originated in south-west Korea in the seventeenth century, probably as a new expression of the narrative songs of shamans. It remained an oral tradition among the common people until the late nineteenth century, by which time it acquired more sophisticated literary content and enjoyed considerable popularity among the urban elite. The settings, characters and situations that make up the Pansori universe are rooted in the Korea of the Joseon period (1392-1910). Pansori singers undergo long and rigorous training to master the wide range of distinct vocal timbres and to memorize the complex repertories. Many virtuosos have developed personal interpretive styles and are renowned for their particular manner of performing specific episodes.

South Korea 2003

Art of oratory - ‘Chechendik onour’ represents a type of the oral art, which is distinguished by keenness and originality of the poetic text. Well-known masters of the word ‘chechens’ have always been treated with respect; their performances have been preserved in the popular memory, transmitted from one generation to another, growing into legends. ‘Chechendik onour’ is one of the main parts of ‘aitysh’, a poetic competition, which determines its structure built on a question-answer, on the use of riddles as well as on a rhythmic structure of the text. In the art of oratory, all types of oral folk art are used. Oratory speech exploits proverbs and sayings, intoned words, catch phrases and expressions. In some oratory poetry contests, only proverbs and sayings were used. Only the best of the best who believed in their abilities could participate in such competitions. In the manner of performance of the chechens, facial expressions, posture, turn of phrase, play with intonations, the use of riddles, tongue twisters, fables, and other expressive means of verbalising thoughts play a predominant role. They were very versed in their skills of eloquence and allegory, built their own conclusions, actively used elements of satire and humour. The speaker must be able to think deeply and have a good knowledge of folk philosophy. Through becoming a role model and by combining educational goals, their main purpose is to solve such problems as the establishment of international relations and the resolution of small strifes and conflicts. There were also many talented women-chechens among the Kyrgyz people.

Askiya (in Arabic – “azkiya”, literally means “witty”, “resourceful”) is an original genre of folk-spectacular art, and oral folk creativity, which evolved and became widespread in the Ferghana Valley and Tashkent region. As a result of continuous evolution it achieved the level of art. Askiya is an original eloquence and witticism contest organized between two or more people around particular topic or theme (which is called by askiya performers as payrov). In so doing, askiya performers use simple words in different meanings and for different purposes. They joke open-heartedly and in a friendly manner, laugh at some unusual situations and flaws observed or run across in the daily life of their contemporaries. Not to offend his rival the performer (askiyachi or askiyaboz) has to use carefully and skillfully each word and phrase during askiya. At present more than thirty forms of askiya are known. These include payrov, qofiya, radif, bakhribayt, tutal, okhshatdim, afsona, rabbiya, safsata, chiston, laqab, gulmisiz, bulasizmi, shirinkor and terma. Although, each of the above-mentioned forms conform to common requirements peculiar to askiya art genre, still each has its own distinguishing features.

Uzbekistan 2014

Falak is a traditional folklore music genre of the Tajik people. Falak means «heaven, fortune or universe». The structure of Falak is most often in one section and can form an interlude within a performance. The quatrains or couplet sung by the falak-singers are emotionally expressive and are rich with the philosophy and expressions of destitution of human life.

Tajikistan 2021

In 1995, the Sub-commission on Cultural Communities and Traditional Arts of the National Commission for Culture and the Arts (NCCA) – the lead agency mandated to preserve, promote and develop Philippine culture and the arts – affirmed the need to safeguard traditional knowledge and practices from rapid cultural devaluation brought about by media, tourism, formal education and religion. This paved the way for the creation of The School of Living Traditions (SLT) programme, involving informal, community-managed learning centres where practitioners can transmit their communities’ knowledge, intangible cultural heritage, skills and values to younger generations. The identification of priorities for safeguarding was led by elders, leaders and other members of communities through a series of consultations. In the process, the NCCA provided capacity-building assistance for the mobilization of logistics and other resources needed to establish the learning centres. The SLT programme aims to develop, implement and evaluate community-based measures to safeguard vital traditional cultural knowledge and practices from the potential negative effects of modernization.

Philippines 2021

Gunduri is a straw mat, an agricultural byproduct consisting of the dry stalks of cereal plants after the grain and chaff have been removed. The temporary biodegradable products are made of natural material from the cereal crops such as barley, maize, oats, rice, rye, and wheat. It is used in villages and is locally made by the woman who has the skill to put it in a place. Whereas it is made of rice straw mostly in Tsirang, part of Dagana, Sarpang, and Samtse Dzongkhags. The making of the straw mats is carried out during the autumn season after the harvest of rice. It is also known as Gunduri in Lhotshamkha. The Gunduri making in Semjong gewog under Tsirang dzongkhag is still one of the unique cultures and traditions they have been practicing for so long. They prefer to use Gunduri because of their culture and tradition which have been preserved for so long. Mr. Singh Bir Pradhan, 81 years old from upper Dzomling shared that they had used the Gunduri mat during the involvement of many people like marriage ceremonies, funeral rites, and when there was a celebration in the village. Due to the change in time, the practice of making Gunduri is declining because of available cheap carpets in the market. People prefer to use the Gunduri mat because of its comfortableness and convenient in many ways but it takes time, patience and lots of practice. These days people hardly practice the Gunduri making in Semjong gewog but however they still use the Gunduri mat that are woven aforetime which are in a good condition.

The famous King Drimed Kuenden (previous life of the historical Buddha in the Vassantara Jakata) on exile, known for his altruistic, and compassionate acts that even gave away his own family members, visited Black Mountain (Jowo Durzhing). On the way he gave away his horse to an old man, and hence the name Taktse came into existence. Bhutan is a multilingual country where approximately 19 local dialects are commonly spoken. Mangduep kha is one of the local dialects commonly spoken in Trongsa and some parts of Wangduephodrang. The term Mangdue was derived from the place being able to grow any kind of crops and cereals. The local dialect Magdue kha is still used for communication in 3 gewogs (Nubi, Tangsibji and Drakten) under Trongsa Dzongkhag.

Bibaha/Vivah has been in practice for hundreds of years with its first documentation in one of the Hindu epics. As per the epic, the first official marriage was celebrated between Lord Ram and Sita (Hindhu gods). It was also practiced by RISHIS, the great saints who existed in the Ganges valley civilization, before it reached down to the common people. This practice came down in line through religious texts and personals, in the eight different types mentioned above. The Bibaha/Vivah system then spread into other parts of the world with migrating people.

Indonesian Batik is a traditional hand-crafted textile rich in intangible cultural values, passed down for generations in Java and elsewhere since early 19th Century, made by applying dots and lines in hot wax to cloth using a canthing tulis pen or canthing cap stamp, as a dye-resist. Patterns and motifs have deep symbolism related to social status, local community, nature, history and cultural heritage. The batik community noted the younger generation’s interest in batik is waning, and felt the need to increase efforts to transmit batik cultural heritage to guarantee its safeguarding. Thus, the following is arranged. The program is collaboration between the Batik Museum and elementary, junior, senior, vocational school and polytechnic, to include education in batik cultural values and traditional handcraft in curricula as local content or subject. The project has gone on for 3 years, and continues to expand to Pekalongan District and neighbouring Batang, Pemalang and Tegal districts. Data and interviews with headmasters, teachers and students prove that the programme is popular and successful. The project is a good example of transmission of intangible cultural values to the younger generations by including modules of cultural heritage in the curricula of educational institutions. The main objectives of the programme are: To increase the awareness and appreciation of the cultural heritage of Indonesian batik, including its history, cultural values and traditional skills, among the younger generation at elementary, junior, senior, vocational school and polytechnic educational strata. To increase the awareness of headmasters, teachers, parents and the batik community in Pelaongan, regarding the importance of transmission of batik culture to the younger generations. To involve the management and staff of the Batik Museum in educational activities for students and the general public regarding batik cultural values and training in batik traditional handcraft. The priorities of the programme are: To train staff of the Museum for teaching batik history, cultural values and traditional handcrafts to students. To prepare and distribute proposal invitations to headmasters, so that they would send their students to participate in the programme. To train school teachers to become trainers in batik local content (training of trainers), and/or to place batik craftspersons in schools to give education and training in batik. To organize tests for students participating in the programme, to evaluate the results of the transmission of batik culture

Indonesia 2009

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