Mongolians revere certain parts of bones of their domestic livestock animals and use them in their religious rites, plays and traditional games. One such popular team-based game is knucklebone shooting. Players flick thirty domino-like marble tablets on a smooth wooden surface towards a target of sheep knuckle-bones, aiming to knock them into a target zone. Each shooter possesses their own (arrow, chair, etc.) adjusted shooting tools and instruments especially made by hand and wear costumes embossed with distinguished characteristics depending on their rank and merits. All the equipment is made by traditional craftsmen. Its technique demands high levels of endurance and accuracy. Singers communicate their opinions to the shooters by singing traditional Knucklebone Shooting melodies and songs. Each competition's opening and closing ceremony has several specific rituals. National competitions tournaments involve 400-600 shooters; there are 30 or more competitions per year. Shooters build their own communities depending on their interest and affinity. This community is recognized as part of the cultural heritage. According to established rules teams consist of six to eight men, among which one or two have to be youngsters. Team members are tied by unbreakable internal bonds and follow clear ethical rules of mutual respect and dignity. A senior member who possesses well ethical and traditional knowledge and experiences will become the team leader. The Association is the principle representatives of bearers, preserving and promoting this heritage and ensuring continuous training and transmission of knowledge from senior to younger shooters.

Mongolia 2014

Songket is a traditional Malaysian handwoven fabric. It is woven on two-pedal floor looms by the Malay women In Malay Peninsula (West Malaysia) and in Sarawak (East Malaysia). The term Songket is derived from the technique employed to make it: inserting gold or silver thread in between the weft and warp threads. Songket is woven using the Malay weaving loom called 'kek'. Songket is woven as the supplementary weft method, a decorative weaving technique in which extra threads "float" across a colourful woven ground to create ornamental effect. The delicate piece of Songket is the result of many months of skilled handloom weaving by expert craftsmen who learn the art from their ancestors. The identity is traced by its design patterns that use geometry and elements of nature such as flowers, birds and insects. The motifs of tampuk manggis (mangosteen calyx), tampuk kesemak (persimmon), bunga pecah lapan (eight-petal flower), bunga bintang (star-patterned flower), pucuk rebung (bamboo shoots) and awan larat (trailing clouds) are among the most frequently used. These traditional patterns continue to be used, especially in aspects of separation and placing the various parts of the cloth such as the centerfield, main panel and end borders. Unlike the old days, Songket is only worn by royalty and their families. But todays, it is mostly worn as traditional Malay ceremonial costumes during royal installations, wedding, birth, Malay festive occasions and formal state functions.

Malaysia 2021

Blacksmith business is one of the oldest folk crafts in Uzbekistan. For many centuries, the country has been one of the largest centers of craft production, including the art of metalworking. In Bukhara, Samarkand, Tashkent, Kokand, Margilan and other places there are unique workshops where knowledge is transferred from generation to generation, from master to student. Thus, ancient traditions are preserved, and the family of hereditary masters continues. At the blacksmith’s shop, the oven, qura, supa, ura, chupkunda; and instruments sandons, bosqon, hammers, bulls, eaves, mills, and others are used. Hammersmiths make various things such as hoes, mowers, tesha and other household items, doors, gratings etc.

Beautiful rite of 'Betashar' (kaz. 'open face') symbolizes inclusion of a bride into a groom’s family clan. First bride’s mother arranges Kazakh traditional headwear “Saukele” on her daughter’s head covering her face with veil called “jelek”. The groom’s eldest sisters-in-law (“jenge”) bring the bride under their arms to the guests. Then the bride puts her feet on a white carpet with an image of Tengrian calendar embodying the Universe or lamb fleece – the symbols of fertility. Masters of improvised music poetry Akyns start the ritual by singing a bridal song “Betashar jyr” to the accompaniment of Dombyra. The song praises groom’s family ancestors, parents and all relatives in dedicated couplets. In return the bride with her sisters-in-law bow to every relative and family listed, thus giving her respect and greeting – “Salem beru”. The relatives, whom the bride has just bowed, reward Akyn with money for his performance. After introducing all the relatives and expressing good wishes, Akyn lifts the bride’s veil with the neck of his Dombyra, thus revelaing the bride’s face to everybody. Mother-in-law (“Ene”) takes off the veil, kisses and welcomes new member of the family. Then the groom takes the bride by the hand showing her to all guests. At this moment elder relatives shower the newlyweds with sweets and coins (“Shashu” ritual), wishing them happiness and abundances. In some regions Betashar includes: bride’s stepping over the fire, fumigation of bride with harmala (“adiraspan”) smoke and pouring oil on fire to endear the Spirit of fire.

Mongolian traditional folk dance “Bii Biyelgee” is an outstanding form among traditional performing arts of Mongolia, and unique and distinguished art expression which has embodied and originated from the nomadic living style of Mongols. Bii Biyelgee expresses the customs, traditions and spiritual practices through dancing elements, and its movements are typically confided to small space inside the Nomad’s dwelling-ger. Biyelgee is performed while half sitting or cross-legged sitting, coupled with fist and hand opening and waving, stiff and swift movements of chest and shoulders, shrugging and shaking them, crossing legs, steps and walks, as well as flexible body movements involved in prevalence. In doing so, biyelgee performers imitate the expressions of their lifestyle, household activities, courage, love, prides and livestock to the accompaniment of morin khuur, ikel khuur, tovshuur, tsuur, coupled with ethnic costumes.

Mongolia 2009

Keste - traditional Kazakh hand-made embroidery with colored thread and needles or hooks (biz/ilgek/ilme) and hoop (kergish). A Kazakh word keste means 'a scheme or painting'. Direct analogues of colored woolen threads embroidery are found in artifacts of the Berel burial in East Kazakhstan, dating from the IV. BC. The embroidery is often made on velvet, plush, cloth, felt, velveteen, cotton and silk with woolen, cotton, silky, golden, silver threads and spun gold. Gimp, beads, coral, pearl beads, silver details are frequently applied. There are about 40 kinds of complex and simple Kazakh embroidery: biz keste - tambour embroidery created with a thin awl-hook; tizbek tigis, shyrash tigis, tyshkan iz, kұs izi (a “bird” seam) shynzhyr, shym keste (tight cover seam without gaps), koykusak, kigash, albyr keste (distichous seam) are the names and versions of tambour embroidery with needle; oraypek/oraypa is a kind of albyr keste; kebeke is a seam similar to Russian embroidery on canvas; zhorme, zhormeme, orys keste, aykas tigis is a cross-stitch embroidery; kereghe bas tigis is a “goat” seam. Baspa is a couched hemstitch technique and shyralzhyn is a simple one. A satin stitch with bedding bedel keste creates relief forms. A columnar seam zhormeu makes zigzag weave. The techniques can be used in combination. Embroidered products are made for domestic purposes and various ceremonies, which led to the species diversity. In festive men's and women's clothing: shapans, dresses koylek, flared skirts beldemshe, sleeveless jackets beshpet, hats, scarves oramal; in interior items: tablecloths, korzhyn etc.

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

Literally the word Ta’azyeh means “mourning”, and figuratively it refers to a kind of ritual and religious theatre based on religious events, historical and mythical stories, and Iranian folk tales, and there are four basic elements in it: poem, music, song and motion. Ta’azyeh is a type of theatre with many different characters, each of which having its own features, differences, colors, clothes, tools and requirements. It is performed in the form of symbols, conventions, codes and signs which are known by Iranian spectators, and on a stage which is placed in the centre without any lighting and decoration. The place where a Ta’azyeh is performed is called Tekyeh. Apart from some feel-good Ta’azyehs, the main subject of most of them is the conflict between “good” and “evil” and the source of Ta’azyeh scripts has often been the event of Karbala where the third Imam of Shiites, Imam Hussein, and his family were killed after a strong resistance in a battle between seventy two members of the “good” and twenty thousand members of the “evil” army in the Moharram month of the year 60 in the lunar Hegira calendar (a Muslim system of dividing the year of 354 days into 12 months and starting to count the years from the Hegira i.e. the migration of Muhammad from Mecca to Medina in AD 622). It is lunar because it is based on the movement of moon around the earth. This calendar is used in Arab countries. There is also a solar type of Hegira calendar based on the movement of earth around the sun which is officially used in Iran). Therefore, this theatre is performed in Moharram more than other months of the year in Tekyehs, streets, and in the garden of houses. Performing Ta’azyeh has a prominent role in the Iranian vulgar culture, literature and art. The concept and the performance style of Ta’azyeh leads to the maintenance of spiritual values, altruism and friendship. It motivates the religious emotions of the masses, purifies the soul, inspires the audience to ethics and a sense of resistance against oppression, and creates cooperation and sympathy among the performers and the spectators. Taazyieh preserves the old traditions, the national culture and the mythology of Iran, and plays a major role in preserving other types of art as well. Its effect on the audience is so great that many of the proverbs of ordinary people are taken from this type of theatre. Moreover, because of its flexibility, it has been able to adjust itself with different cultures of Iranian tribes; therefore, Ta’azyeh has become the common language of different tribes and has been prominent in creating “unity” among them and helping them communicate and share creativities. Ta’azyeh performers are divided into two main groups: agreeing performers (the Good forces) and disagreeing performers (the Evil forces). Agreeing characters wear green, white and blue costumes as a symbol of goodness and peace and sing Iranian folk songs. Disagreeing characters on the other hand wear red, orange and bright colors as a symbol of cruelty and brutality and speak aggressively in a declamatory style. Music is used in two forms: with songs and with musical instruments. Moeen-ol-boka, the director of Ta’azyeh, who has complete knowledge of music, poetry and all the techniques of Ta’azyeh, is actively present on the stage. Women are less involved in Taazyieh and the roles of women are also played by men drawing a veil over their faces. Each Ta’azyeh script has its own subject and requires its own special tools, costumes, conventions, symbols and music. Observing the rules of performance, the audience also cooperates in some scenes by chorusing the song or the poem. There are even some people who have taken vows of food (taking a vow to give food to people, especially poor people is very common in Iran) who serve the spectators during the play and fulfill their vows. Business people and official fraternities and small public groups called “religious groups”, the number of which reaches three thousand, attempt to perform Ta’azyeh in many areas and provide the tools and costumes, and also decorate the area where Ta’azyeh is going to be performed. In general, all the script writers, actors, spectators, and sponsors of this ritual play are from the people in the street who have different jobs during the year and perform this theatre only to reap otherworldly rewards. Taazyieh has also caused many skills to develop. For instance: calligraphy artists by writing Ta’azyeh scripts, musicians by holding classes of singing and playing instruments, painters by painting the events on large curtains, “curtain narrators” by narrating the stories painted on the curtains with a good voice for people, poets by composing new poems for the dirges in the intervals of Ta’azyeh, industrial workshops by making different tools and instruments used in Ta’azyeh, tailoring and handicraft workshops by making different costumes and masks and accessories for Ta’azyeh, cultural institutes by making films of Ta’azyeh and making them readily accessible to the public, documentarists by making documentaries about Ta’azyeh and preparing them to be shown on TV, each help develop a special skill through Ta’azyeh.

Iran 2010

In both Submitting States Turkmen-style needlework is an object of decorative applied art, combining the skills of a certain creative work on different types of fabric. In Turkmenistan, it is the national costumes of women, men, young people, boys, girls, elderly women and men. In Iran, it is mostly the costumes of the Iranian Turkmen enthic group living in the northen parts of Iran but nowadays, it is widely welcomed and used by all Iranians. In both Submitting States, Turkmen-Style needlework begins with the preparation of natural thin silk threads which intertwined together in three (3) layers and twisted into one thread, then straightened with a large needle and the excess is removed. After twisting the three layers separately, the thread itself acquires a kind of shine. The left and right sides are used to create the loops, the dimensions can vary as desired. Piercing the fabric with a thin needle with the right hand, a loop is created, which must be preserved until the next loop is created, held by the thumb of the left hand. Depending on the dominant hand of the Needlewomen, the looping process will happen in the reverse direction. This is the most common needlework style. There are also other Needlework styles that vary depending on the local creativity. Totally, there are seven skills called “Ilme”, “Basma”, “Pugtama”, “Jakhek”, “chekmek”, “El gayma”, “Chigme”. The patterns used, also reveal the territorial identity of the Needlewomen mostly in rural areas. The patterns also symbolise love, freindship, nature, strengnth, etc. Almost all of the needleworkers in both countries are women but in the related jobs such as making the needlework tools, men are also involved. There is no age limits for practicing the element. Traditionally, young girls do it when they are small children learning from their mothers and grandmothers through informal method as a necessary life skill. Its social functions and cultural meaning are wedding dress for bride and groom, used in funerals, cultural events e.g. Nowrouz/Nowruz Celebration, decorative parts of ordinary costumes including: scarfs, manteau, pants, shawls; accessories like headbands, wristbands, necklace, cosmetics bags, women’s wallets/bags/backpacks. Nowadays, this Human-Rights-friendly element is also utilised for contemporary home decorations e.g. table cloth, cushion/pillow sheets, bed covers, wall hangings, & etc.

Iran,Turkmenistan 2022

The carpets woven in the city of Kashan can be defined as follows. Spreadable hand-woven materials consisting of a basic structure of strings made of cotton or silk interwoven in millimeter scales known as warp (Tar or Toon) on an erected framework known as ‘Dar’, while by means of wool or silk strings, and based on a colored design, appropriate knotting in harmony with the delicacy of the carpet are created on the surface. In the weaving style of Kashan, after each row of knots, cotton strings are extended two times from within the warps in horizontal direction known as ‘woofs’. Woofs are divided in two categories in terms of thickness: thick woof or under-woof is almost of the same thickness of warps, while thin woof or top-woof is as thick as reel strings. These woofs are pressed on woven knots by means of combs and make the carpet more strong and delicate. This style, known as Farsi weaving has a background of four hundred years in Kashan which is the pioneer of this style. The skills and elements involved in the process of production of these hand-woven carpets can be divided in certain categories: Carpeting Tools: 1- Weaving frame: is a wooden or metal framework consisting of two vertical columns and two horizontal beams. In addition, certain wooden accessories are used to reinforce the frame (wedges), while in metal frames, knots and jacks are also used. In order to control and move the strings in the course of weaving, two thin layers of woods are used. 2- Comb: is used for pressing the woofs after each row of weaving to make the carpet stronger and more delicate. 3- Stick: it is a metal belt with the width of 2 centimeters and length of 60 centimeters used to lead the woofs from among the warps. 4- Scissors: for cutting the tips of the woven strings after a number of rows as well as for leveling the surface of the carpet. 5- Bench: as a seat for the weaver, made of wood or metal. Carpeting Materials: 1- Warp: prepared multi-layered cotton or silk strings in proportion to delicacy of the carpet and required by the design will establish the basic structure of the carpet. In Kashan style, the warps are drawn on the ground and mantles on the frame. 2- Khameh: woolen two-layered colored strings in various sizes for knotting to warps in 90 degrees angle which serve as the thickness of carpet in appropriate sizes. 3- Woofs: cotton strings in two thicknesses: thick woofs equal in thickness with the warps, and thin woofs as thick as ordinary reel strings which are led through the warps after each row of weaving and is pressed with comb which strengthens the carpet. In full-silk carpets, silk woofs are applied. Design: in order to prepare the design of the carpet, which is the most artistic activity involved in carpeting, certain rules are followed, the most significant of which can be summarized as follows: A) Drawing is the general form and the first impression of the carpet which makes the basic design of the carpet in the first glance. The procedure that is followed in Kashan is as follows: 1- Lachak-Toranj design: is this design limited by a background cadre and consists of a central oval shape known as Toranj and rectangular surrounding shapes known as Lachak. Each Toranj has four surrounding Lachaks. Sometimes, the Toranj is in circular form, known as Shemeh. Lachaks are normally in harmony with Toranj. 2- Toranjafshan Design: the design consists merely of a Toranj in the middle covered with symmetrical flower and leaf designs, without Lachak. If the surface is without flowers and leaves and other forms, the design is known as simple Lachak-Toranj. 3- Lachakafshan: There is no Toranj in the design, only four Lachaks around. The remaining portion of the design is covered with flowers, leaves, and other symmetrical shapes. 4- Mehrabi Design: The surface is normally without Toranj. Only to Lachaks are located on the top corner, with ornamental religious designs. The surface is simple with an urn or columns around. 5- Overall design: a basic design theme is repeated all over the surface. Single forms such as Botteh-Jegheh, scattered bouquets, frames, flowers, etc are repeated over the surface. 6- Koomeh Design: short scattered trees together with birds and animals. B) Design is the combination of drawings, paintings, flowers, leaves, branches, animals and other forms which enliven the basic drawings by applying colors, each with its respective artistic identity inspired by nature, buildings, historical events, movements of living animals, and background mentalities of the designer and painter. Dyeing: Colors and dyeing materials: natural colors are more popular in Kashan, such as Ronas, walnut skin, pomegranate skin, vine leaves, etc. except for Ronas, other materials are among the waste natural materials. The masters of dyeing create very stable and beautiful color mixtures by using various types of natural pigments. Farsi weaving style also known as asymmetrical knotting is applied with exemplary delicacy in Kashan so that the back side of the carpet is made with equal longitudinal and latitudinal knots.

Iran 2010

"Trud" Dance is originated in rural communities and is now only found in Siem Reap and some villages of Battambang adjacent to Siem Reap. "Trud" in Sanskrit means “The act of cutting, detachment) The locals play this dance only during the Khmer New Year, in the sense of cutting off the old year to move on to the new year, as well as expelling evil spirits in order to get good fortune. However, during the dry season, this dance is also performed to pray for rainfall. In addition, the importance of playing this dance is to raise funds to build and repair communal infrastructures in the community, especially in the pagoda, which is not for personal gain. This dance can be joined by more or fewer dancers according to the preferences of the village or the number of volunteers. The equipment also depends on the number of dancers. The equipment is also doubled as the props and accompaniment to the dance. The complete Trud Dance can consist of instruments such as: Kanh Chhe (bamboo mast with bells on top), Changkrang Dombe, ChangKrang Rong, Sko Arak (hand drum), Bei Pok (flute), Tro Ou, Tro Sor (bowed strings) and Dang Santuch or Dang Doy (pulling bar of an ox cart) attached with an open bag for retrieving the donations. The main accessories for the Trud Dance are clown masks and crowns made of paper mache and lacquer, real deer and banteng antlers or artificial antlers made of paper mache, peacock feathers,s and fake long nails made of rattan. When performing, there are two or three priests leading the group and holding a fundraising bowl, and giving blessings to those who Donate. If it is played in rain asking ritual, the priest who leads the ceremony is called “Dangkhao”. The lyrics are not the same, it depends on the preference of the group or the village because some lyrics can be created immediately according to the actual situation in order to convince the donor to give more donations. But the interesting thing is that most of the "songs" contain 4 syllables in each line. 6 The following are some excerpts from the lyrics in the document of Samdech Preah Vanroth Iv Tuot, Chief of Monk from Battambang Province: Lyrics on arrival at the ceremonial ground I arrive outside your gate, calling out to you. My respected master Can I come inside? (Vocalizing) oh na neang na Can I come inside? Permit or not, Please let us know. We can come in or not, Please quickly tell us. (Vocalizing) oh na neang na Please quickly tell us. Fellow team! Fellow team! That the fire is lit Means that we are welcomed. (Vocalizing) oh na neang na Means that we are welcomed. Lyrics when asking for alms This Trud is not from here. This Trud is not from here. The master ordered us That we came here to play. (Vocalizing) oh na neang na That we came here to play. Big house with sculptures Stair steps made of silver Suiting his wealth (Vocalizing) oh na neang na sa ra mom bong. Lyrics when collecting the scattered alms Some hide, some throw, Some scoop up, Don’t talk, lads! Catch the money quietly (Vocalizing) Yeur chhai nao nao neang nan a na oun euy. Lyrics to bless the givers Fellow team! His silk and thread He gave us all We shall bless him. To have a son She weaves silk to bless regularly Officials He gave us all To get a mouthful for a daughter Soup for money. We bless him. Children as well. Sculpture land. Before performing, people prepare an offering for Lord Vishvakarman and the spirits of the land and nature. Then the priest ties holy thread to the wrists of the dancers and puts on the masks and horns for the performers. Mr. Pol Sam Oeun researched this dance in Battambang province and choreographed it as a performance on stage and performed for the first time by Mr. Meas Kok, who was the first singer to hold the Dang Santuch, and the following performers: Mr. Ros Lon, Mr. Meas Sam El, Ms. Mom Hoy, Mrs. Sieng Sivhun, Mrs. Kaing Steng, Mrs. Ok Leung, Mr. Hing Tim, Mr. Moeung Chandara, Mr. Kong Samith, Mr. Pen Lon, Mr. Put Lon, Mr. Suon Sareth, Mr. Eam Sean, Mr. Pen Yet. The dance ceased to be performed in 1975 and resumed in December 1979. Today, Trud Dance is very popular because during the period before the New Year. It is performed in government institutions, companies, or private houses to ward off evil spirits and bring prosperity.

The kris or keris is a distinctive, asymmetrical dagger from Indonesia. Both weapon and spiritual object, the kris is considered to possess magical powers. The earliest known kris go back to the tenth century and most probably spread from the island of Java throughout South-East Asia. Kris blades are usually narrow with a wide, asymmetrical base. The e 40 variants), the pamor (the pattern of metal alloy decoration on the blade, with approximately 120 variants), and tangguh referring to the age and origin of a kris. A bladesmith, or empu, makes the blade in layers of different iron ores and meteorite nickel. In high quality kris blades, the metal is folded dozens or hundreds of times and handled with the utmost precision. Empus are highly respected craftsmen with additional knowledge in literature, history and occult sciences. Kris were worn everyday and at special ceremonies, and heirloom blades are handed down through successive generations. Both men and women wear them. A rich spirituality and mythology developed around this dagger. Kris are used for display, as talismans with magical powers, weapons, sanctified heirlooms, auxiliary equipment for court soldiers, accessories for ceremonial dress, an indicator of social status, a symbol of heroism, etc.

Indonesia 2008