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ICH Elements 42
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Epic art of Gorogly
The entire epos includes a historical range of the legendary achievements of the ancient national hero of Gorogly and his 40 cavalrymen by recording all major events of traditional lifespan of the Turkmen people. The aspiration of the Turkmen nation for a happy life, unification, freedom and justice as well as their features such as bravery, honesty, partiotism, freindship, tolerance and fairness have been reflected in the epos. The element is a combined genre of oral traditions and performing art incorporating narrating, singing, vocal improvisation and musical composition, where a prose and poetry are alternated in its perforamnce. Its bearers and practitioners are epic performers-dessanchy bagshy specialized in the Gorogly epic. It is by tradition performed by one dessanchy bagshy playing the dutar (a two stringed, long-necked lute) in a sitting position, while narrating prose and reciting poetry in a way to deliver the characters' feelings and emotions to the accompaniment to the traditional musical instruments such as dutar and gyjak (a fiddle-like Turkmen musical instrument). It is traditionally performed at social gatherings, celebrations, national ceremonies, life rituals, national festivals and special "Folklore Festivals". The element provides related communities with a sense of social and cultural identity and it is considered as a main symbol of Turkmen people to sustain their cultural identity being as an oral encyclopedia and it remains the inexhaustible fountain-head to nurture their cultural psychology, national character, mentality, creative capacity and artistic skills.
Turkmenistan 2015 -
Kazakh traditional art of Dombra Kuy
Traditional Kazakh dombra kuy (kaz 'kuy') - instrumental play performed on dombra - a traditional pear-shaped musical instrument with two strings and a long neck. The true meaning of kuy execution dates back to the sacred relationship with the Creator and the desire to establish the internal harmony of the individual. Kazakhs say 'Kuy - Tanyrdyn sybyry' ('Kuy - a whisper of Tengri'). Dombra had been hung on the wall of each nomad house (yurta) for the play before guests and home owners. The art of DombraKuy refers to a short solo composition performed on a traditional pear-shaped, long-necked, two-stringed, plucked musical instrument known as a dombra. The music aims to connect people to their historic roots and traditions through classical and improvised pieces that engage the audience at a spiritual and emotional level. Public engagement in the performance serves as one of the most important means of social communication between people and contributes to the transfer of knowledge and skills related to Kazakh culture. The music is usually accompanied by narrated stories and legends. It is traditionally performed at social gatherings, holidays and festive celebrations, amid a rich variety of food and musical entertainment. It serves as a vital social and cultural experience, strengthening people’s identity and promoting solidarity and mutual understanding in society. Aspiring and talented musicians are apprenticed to masters from the moment a child demonstrates an interest in the philosophy and virtuosity of traditional music and performance. Amateur musicians then apprentice themselves to other more experienced and talented performers from their region to increase their skills and repertoire.
Kazakhstan 2014 -
Traditional skills of carpet weaving in Fars
Carpet weaving is one of the world's most traditional, conceptual, applied arts. Iranians enjoy a global reputation in carpet weaving and its skills; and carpets of Fars with nomadic and rural characteristics constitute a genuine example. Historically, carpet weaving in Fars province dates back to the seventh century(AH). Carpets of Fars are known as either «Qashqai» or «Khamseh Tribes» carpets. These are the nomads moving between Esfahan and Persian Gulf coasts. Among the tribes of Qashqais, the more prominent are Darre-Shuri, Kashkuli-ye Bozorg, Kashkoli-ye Kuchak, Shesh-Boluki, and Gharache. Due to the immigration requirements, the size of nomadic rugs is usually small; they are, however, beautiful. The stages of Carpet Weaving in Fars Province - Wool cutting The carpets usually utilize wool as the basic material. The men cut the wool of their sheep, skillfully, in spring or autumn. The quality of the wool on each of the eleven sections of the sheep body, and the related colors are different. - Frame(loom) Making The portable frame of nomadic carpets is rectangle in shape, with a metal or wood support; it is placed on the ground. The act of knitting is performed on it. The men construct the frame, too. - Weaving The women convert the wool into strings on spinning wheels or weaving machines. They, masterfully, take care to obtain the best qualities. The spinning wheel is a wooden tool that resembles a big spin; the wool is turned around it from the hand of the knitter, then weaved. The spindle wheel is a wooden structure with the wool being placed in its middle to turn into strings when the wheel turns. - Painting Colors are mainly natural; the main colors are laquer, painted blue, dark blue, brown and white. The plants from whichthe colors are extracted include Madder, Indigo, lettuce leaf, walnut skin, Jashyr, cherry stem and skin of pomegranate. The pigments, so called, Dandane, are elements which allow color stabilization and imprint on the fibers; the most important modants include Alum (Double Aluminum Sulfate), Green Vitriol (Cut Blue), Double Copper Sulfate, Black Vitriol (Double Iron Sulfate). - Knitting While knitting, the women tie the colored strings on the wool web to cover the frame and give shape to the carpet. Two types of ties are common: The ""Persian tie"", an assymetric tie, usually used in places where Persian Language is spoken, where it is referred to as, so called, Farsi-Baf (done in the Persian style), and the Turkish tie, a symmetric tie, in that the two webs are of the same size and the tie is made in the middle; this second tie is more popular in places where Turkish is in use, so the name Torki-Baf (done in the Turkish style). - Completion Completion refers to the activities done for final furnishing. These include sewing the sides (so called, Dowrduzi: Some products will be sewn on the sides to be used as bags, called ""khorjin's"" or ""chante's"" on the region); burning the extra wool to make the designs vivid and enhance the quality of the product (so called, Porzsuzi); double tied roots, and final cleaning. Nomadic Gilims Wraps of Fars are not painted with painted woofs; both sides of the product can be used. Limited materials have led these products to be more geometric in both texture and margin, mirroring the local culture of the community. The most important characteristic of Fars carpet weaving is the unique method of weaving without any maps. One weaver will not be able to weave two carpets of the same design, especially, if she does not enough time to consider the details. Fars carpets include the following types: Simple Gilim(one sided or two sided): A carpet made through passing the colored wool strings, called ""Pud's"" between the vertical strings, called ""Taar's"", without maps. Rug: A carpet with thinner ""Pud's"" and thicker ""Taar's"". The product is thicker in diameter, compared to Gilim's, and is one-sided. Ghaaliche: A rug of smaller dimensions (measuring to less than three square meters). Jaajim: A product of woolen ""Taar's"" and ""Pud's"", with simple and attractive designs, and a variety of usages, including those of carpets, beds, pillows, etc. Gilim-e Naghsh-barjaste(Goljajimi Gilim): A one sided gilom with its main motifs embossed. Somak (Rendy): A one-sided Gilim, out of which ""Ghali's"" (rugs) are believed to have been evolved. Shishe Derme: A Gilim with a simple pattern; it has no knots and naps, is two sided in a way that the mirror patterns of its face are weaved on its back side. Gabbe: A gross nomadic carpet, vastly verified, and done without any map. There are both colored Gabbe's, and Gabbe's of natural colors. So called, ""Shiri"" Gabbe's of Fars mark nomadic courage for the owner.
Iran 2010 -
Traditional knowledge related to piled carpet technique
Today, piled weaving is vividly demonstrated in the patterned piled carpets that are distinguished by their quality and durability. Sheep, caprine or camel hair is used for base of the carpets. Piled carpets are original and colorful as are other items of the applied and decorative arts of the Kyrgyz. Kyrgyz piled carpets, are weaved on a simple horizontal machine – ‘dyukoun’. Instruments of masters also include wooden comb – ‘tokmok’, which is used to nail picks and piles, a knife – to cut piled threads, and scissors – to trim the piles. Geometrical shapes are prevailing in the Kyrgyz piled carpets. These are: squares with jogged edges or elongated endings – ‘omurtka’, triangles – ‘tumarcha’, cross shaped figures – ‘chaidosh’, simple or stepped rhombs – ‘it taman’, star shaped forms – ‘jyldyz’ as well as various octangulars and etc. Plant and horn shaped motifs are also present in the ornaments such as ‘toguz doubou’ (nine hills), ‘alma kouchout’ (apple pattern) and etc.
Kyrgyzstan -
Kara Zhorga - Kazakh folk dance
Kara Zhorga (kaz. 'Kara zhorga','black horse') - is the Kazakh folk dance, when a dancer performs an experienced rider, horseman, prancing on the pacer. Dance promotes horsemanship. Initially, it was considered male kind of dance. Gradually Kara Zhorga was danced by girls too. The Kazakh dance has reflected peculiarities of worldview and material culture of cattle-breeding nomads, embracing different aspects of labor, spiritual activity and way of life in the steppe. For the nation who poeticized everything within its environment any move could be the impetus for creating a dance element. A horseman that rode past at a gallop was compared with a darted arrow. A girl strolling slowly in the steppe was compared with a lonely grass-blade swinging in the wind, or a bird’s flight in the endless blue. The nature of Kazakh dances reflects the depth of a specific world-perception of the nation, which is spilled over into a certain style of performance and expressed in a particularly upright proud bearing of a performer, in certain positions and movements of her/his hands. Kara-Zhorga dance reproduces a picture of a traditional horse competition called bayga. "... The Maman village gathers for a feast (‘toy’). The young joyful horsemen step out from the crowd. The young men, bending their bodies slightly forward and swinging harshly with their whips, eagerly enter the competition. The horsemen, moving in circles, lines and diagonals, outrun each other, demonstrating the agility of a leap or an intricate hop. The imitation of horserace - rhythmically sharp-cut hops from one foot, big leaps with a curved body – have interspersed with dance technique. A sharp-cut, rough and springy folk tune of Kara-Zhorga dance and the movement which coincides with the horserace rhythm, successfully merge into a single image of bold horsemen (‘dzhigits’) who have equestrianism at their finger tips." (Sarynova, 1976: 37) “Kara-Zhorga is a dance that embodies a variety of nuances and technique. Kara Zhorga dance differs by nuances and technique of execution. It combines the 'militancy and buffoonery, softness and mobility, speed and peace' (A. Ismailov). The folk dance has various performance types: as 'a pair of zhorgas' ('qos zhorga') and 'male zhorga' ('erkek zhorga').
Kazakhstan -
Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf
a) Traditional handicraft techniques The old art of manufacturing the traditional Iranian floating vessel, called Lenj, has remained relatively unchanged. Lenjes are, mostly, made for their large cargo capacity. The Lenj-Bum was, once, the best ship for the Iranian sailors and navigators. Even now, it is still competing with rivals. But the gradual decrease in the number of the long voyages is limiting the popularity of the vessel. Lenj-Bum is capable of tolerating the storms. Originally, Lenjes were used in commercial travels to distant destinations, including India and Africa. Lenjes are composed of various parts, each made of special types of wood, depending on their function. Contemporarily, Lenjes are used, solely, for short journeys, fishing and pearl hunting. Older Lenjes were capable of travelling for, even, one year. The Persian sailors used to launch their commercial ships from the three ports of Loft, Kong and Lian, in Bushehr. The marine routes were, however, more varified, and would include travels to Basra in Iraq, or to the southern coasts of the Persian Gulf. Their main trades included dates, wood of Chandal, pottery, coconut and fruits. b) Knowledge and practices concerning the nature and the universe Before the introduction into the tradition of modern positioning systems, Iranian navigators could locate the ship according to the positions of the sun, the moon and the stars. An individual, called Moallem (“teacher; guide”), was responsible for the positioning jobs on the Lenj. Looking at the sun and the stars with his means, including the Persian astrolabe and sextant, at 6 AM and 6 PM, he could locate the Lenj on the sea. Navigation at night was the captain’s duty. He would order a Sokkāni (“helmsman”) to lead the ship into the direction of a specified star till the moment of sunrise. Compasses brougth more convenience for the navigators. They could define the routes more delicately, by utilizing a combination of astronomy and the newly introduced compass technology. The sailors started to record the stars’ specifications on the compasses. Using this combined method, they would define the route at night. The number of stars used as reference points was 17; they would be repeated in both northern abd southen directions round the compasses. The navigational knowledge and legacy is still passed on from fathers to sons. The Iranian navigators also had special formulae to measure the latitudes and longitudes, as well as the water depth. Sailors needed the wind in favour in their travels to the south; they would arrange for their voyages according to the seasonal winds that would blow every 6 months from north to south. They also attended to the particular winds of Persian Gulf to find a forecast for weather. Each wind had a native regional name. Knowing the wind route was not enough to trace the time of a pending storm; they also attended to the color of waters, the wave heights, or the nature of the blowing wind. c and d) Performing arts, Social practices and festivity events The majority of the Iranian inhabitants of the region earn their livelihood from the sea; consequently, the Persian Gulf continues to receive their respect. A number of traditional ceremonies and customs about Lenjes and the sea show their rooted symbiosis with nature. Nowruz-e-Sāyyad (Fisherman’s New Year) is one example. The celebration occurs late in the month of Tir (June 22nd), as a surviving traditional ceremony from the distant years. No fishing, no trades, and no sea journeys are allowed on this day. In the morning, the children colour animal foreheads, with red clay; and by sunset, all villagers gather on the seashore to play music or perform the proceedings of Shushî, an old traditional performing art, showing the sailors’ respect for the nature. Some people wear special clothes and masks, and try to represent sea-gulls. When the native music band plays Rezif (the sailors’ traditional music), suddenly, a number of men with fearful appearances come out of the sea, and pretend to attack the people. They are Shushi’s, the old demons who were asleep, and now the new years’ eve has awakend them. Interestingly, the people enter dialogues with these demons, and encourage them to join in the feast. Bādebān-Keshi (“setting the sail”) is another surviving ceremony. Long ago, when the ships were about to leave for long voyages, by the time the sailors were setting the sails, the music would accompany from the shore. The sailor’s families would bid farewell. Specific music and rhythms constitute inseparable parts of sailing on the Persian Gulf. In the past, the sailors sang special songs while they were working. In Hormozgan province, three such musical traditions are, still, attended by the locals: Livā, Rezif and Azvā. The singers describe a marine travel in their songs. Traditional bagpipes, named Neyanbān, accompany. The ritualistic performances are reminiscent of the jobs on the Lenjes. The movements resemble hoisting the ropes, rowing, holding in the fishing nets, and also separating and classifying the fish. e) Oral traditions and expressions, including languages as a vehicle of the intangible cultural heritage There are traditional sailing terminologies, stories and poems (Sharve) related to the nominated element in modern Iranian languages and dialects of the region. These linguistic varieties are representable as: 1.Lārestanî :(Aradi,Evazi,Bastaki,Banāruye-yi,Bikhe-yi,Khonji,Fedāghi,Fishvari,Gerāshi and Lāri) 2.Bashākerdî/Bashkardî :(Bandar-Abbāsi,Rudāni,Minābi and Hormozi) 3.Kumzārî :(Lāraki, …)
Iran 2011 -
Zardozlik (gold embroidery)
Type of traditional embroidery which was widely spread in applied design art of Uzbekistan, Gold embroidery was revived at the middle of XXth Century. It's formation goes back to ancient history. At the end of the XIX – beginning of the ХХ century especially Bukhara was the center of crafts associated with gold embroidery. Notably, at that time gold embroidery was mostly dealt by men. But in some cases, when there were more orders than expected, women (who were close relatives of gold embroiderers) could act in the role of assistants. Bukhara gold embroiderers applied several methods of embroidering. These were: 1) "zardozi-zamindozi" – solid embroidering of the background with gold threads 2) "zardozi-guldozi" – embroidering based on design (image), which is cut out from paper 3) "zardozi-guldozi-zamindozi" – a combined method of embroidering, which unites the above-mentioned two methods 4) "zardozi-berishimdozi" –combined embroidering 5) "zardozi-pulakchadozi" –gold embroidering with spangles. Ornamentation in gold embroidery was predominantly of vegetative nature. Geometric patterns were used less often. Main motifs were rosettes, palmettes, bushes, trees, branches, flowerpots with flowers, almonds, pomegranates, cherries and grapes. Usage of certain vegetative motifs, for example, of "guli-chinni" (chrysanthemum), "guli-qashqari" (Kashgar flower), testify to the fact that pictures of Chinese porcelain (since ancient times it was imported to Central Asia and was popular among elites of Bukhara in the XIX – beginning of the XX century), were borrowed and adapted by Bukhara gold embroiderers.
Uzbekistan -
Kiyiz basu - the tradition of making felt
'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.
Kazakhstan -
DULMA
A traditional kind of dish cooked with green sweet pepper or cabbage leaves. Inside of sweet peppers will be put forcemeat, onion and rice.
Tajikistan -
Cultural space and oral culture of the Semeiskie
The Semeiskie communities are formed by a group of so-called “Old Believers”, a confessional community originating from the time of the Instigation of the Russian Orthodox Church in the seventeenth century.Their history is marked by repression and exile. During the reign of Catherine the Great, believers in the “old system” from various regions of Russia had to move to the Transbaikal region in Siberia, where they still live today. In this remote area, they have preserved elements of their respective culture, forming a distinct group identity. The cultural space of the Semeiskie, east of Lake Baikal, represents a remnant of cultural expressions from pre-seventeenth century Russia. The community, totalling around 200,000 persons, speaks a south Russian dialect featuring borrowings from Bielorussian, Ukrainian and Bouryat. The Semeiskie still practised ancient orthodox rituals and perpetuate everyday activities mainly based on the cult of the family - the term Semeskie refers to “those who live as a family” - and strong moral principles. They are also characterized by their traditional dress, handicrafts, dwellings, paintings, ornaments and food as well as their music. Also noteworthy are their polyphonic choirs, which perform traditional songs at family celebrations and popular festivals. These songs are known as “drawl” singing and are rooted in the Russian liturgical music of the Middle Ages.
Russian Federation 2008 -
Kimjang, making and sharing kimchi in the Republic of Korea
Inscribed in 2013 (8.COM) on the Representative List of the Intangible Cultural Heritage of Humanity As the temperature falls in late autumn, the topic of choice for most Koreans is kimjang, making a large quantity of kimchi to sustain them through the country’s long and harsh winter. Kimchi, a categorical name for Korean-style preserved vegetables seasoned with local spices and fermented seafood, was recorded as part of Korean diet as early as 760 years ago. Kimchi has been an essential part of Korean meal across class and regional differences. The most humble meal consists of cooked rice and kimchi, but even the most luxurious banquet is not complete without kimchi. Kimjang incorporates Koreans' understanding of their natural environment, and closely reflects their regional ecosystems. Over time, Koreans have developed methods that best fit their specific natural conditions. Kimjang is thus deeply rooted in the natural milieu of Korean habitats. Preparation for kimjang follows a yearly seasonal cycle. In spring, households secure shrimp, anchovy, and other seafood for salting and fermenting. In summer, they purchase sea salt to be stored for up to two or three years, to let the bitter taste of brine out. In late summer, red chili peppers are dried and ground into powder. In late autumn housewives carefully monitor weather forecasts to determine the optimal date for kimjang: it is important to choose the right temperature for the kimchi to acquire the best taste through storing it in cool and stable conditions. In the custom of exchanging kimchi among households after kimjang, innovative skills and creative ideas are shared and accumulated.
South Korea 2013 -
Thangka Bonko: Bon Festival
Bonko is a form of Bon tradition. Bon practices existed in Bhutan in pre-Buddhist times, and were rooted in the worship of nature and the spirits or gods that inhabited it. Bonism originated in Tibet and is characteristic of animistic and shamanistic practices. The Thangka bonko is a celebration in memory of Miwo Tenpa Shenrab (Buddha of Bon), who introduced the Bon tradition to their community. The commemoration is celebrated with religious rites dedicated to and invoking the local deity Zamshingpa. Bonko literally means the practice of Bonpo, who roams the villages, teaching Bonism and blessing the people (Bon kor). Long before the arrival of Buddhism, Bon-nag was a practice that involved the sacrifice of animal life. The Bonko Thangka was a Bon-kar. Although it was a Bon practice, it did not involve animal sacrifice. In the 11th century, the first disciple of Terton (treasure discoverer) Rigzin Jatshen Nyingpo (1585–1656), Terton Dorji Lingpa (1346-1405), established Yu-tog Goenpa (monastery) and established Buddhism in the area. Later, he established his seat in the village of Zhingkana. At present, the deity Zamshingpa is pacified in the Buddhist way in Zhingkana nagtshang. And also during the Bonko, the Pazaps receive their Lha-dhar (giant prayer flag) and Tsan-dhar (deity’s flag) from the Nagtshang (manor of an aristocratic family). It is celebrated for four days, from the 13th to the 16th day of the 11th month of the Bhutanese calendar, by the villagers under Shaba Gewog. The main event is held in an open area in Thangka, locally known as Lha-chim (deity’s shrine). On the 8th day of the 11th month of the lunar calendar, the Lholinga and Jishing Bonko is held in Lholinga village. And on the 11th day of the 11th month of the lunar calendar, the Zhelngo Bonko takes place. On the 15th day, the Thangka Bonko is celebrated.
Bhutan