Kushtdepdi rite of singing and dancing is a performing art combining the genres of creative poetizing focused on good feelings and wishes, its singing with vocal improvisation and dancing with movements of hands, gestures and footsteps in accordance with the tune of the song. The element serves as a tool and a medium for conveying good wishes for happiness, mutual respect, solidarity, social cohesion to the wide public and youth. The element is considered as an inseparable part of child birth ceremonies, wedding ceremonies and national celebrations. Its introductory part starts with singing poetic words of best wishes for well-being, happiness and sermon for the youth to keep close ties with elders that is performed by a seated group of respected women dressed in traditional costumes. Its next stage continues with inviting performers to start the rite and then the performance is led by singing of a couple of poetry singers (traditionally a woman and a man) with dances to the accompaniment of songs in a semi-closed or closed circles. Dancing movements start with three steps on right foot and then simultaneously tramping and clapping which are intended to drive maleficence and misfortune away from the future life. The element is performed at the end of events concluding in a positive note as a prayer to the nature for fertility, procreation, solidarity and peace.

Turkmenistan 2017

There are various types of performed singing genres. Love songs is the most spread mass genre of singing art of the Kyrgyz. Love songs reflect not only moral and aesthetic worldview of the people, but love of native land as well. Their lyrics are often built on comparisons of images of nature and a loved one. They praise the beauty of surrounding world and motherland. Edification-songs represent other genre of the Kyrgyz folk singing. They reflect philosophical views about human character, family relations, society and peace, and contain catchwords and conclusions about natural phenomena. They are often sung during celebrations of important life events. Lyrical songs may be performed without accompaniment or with accompaniment of komuz or accordion. They sound more often without accompaniment during traditional and family celebrations of so called oturush, and sherine, as well as during folk song contests such as sarmerden and yr kese (singing chalice). No repertoire of folk singers (yrchy) is complete without lyrical songs. Ceremonial songs of the Kyrgyz, first of all, are connected with celebrations of various events. They have a solemn character and are performed with musical accompaniment. So, for example, toi bashtar (wedding song or feast song) marks the beginning of a wedding celebration or jubilee celebration, and jar-jar is the song of a greeting of groom and bride. There are ceremonial songs that are performed without musical accompaniment. It concerns the lamentation song performed by the bride’s mother at a dramatic moment of the wedding, when the bride leaves her parents’ house; or the lullabies that are performed during of the ceremony of encradling the newborn child. A vivid expression of the epic beginning of Kyrgyz folklore is demonstrated in lamentation songs performed at funerals. Songs of bakhshi and dervishes are other well preserved song genres of the Kyrgyz. They are performed in the form of melodic recitatives at praising and appealing to the God, and at purification rituals. Contemplation song is one of the genres of lyrical traditions of the Kyrgyz. They are built on folk philosophy, teaching, and artistic representation of the reality, which are transmitted from generation to generation. They comprise moral principles and ethno- pedagogical views of the nation in them. Similar to the other folk song traditions, contemplation songs are presented in rhythmic and poetic form.

Yurt (kaz. 'kigiz uy', 'kiiz uy') - portable housing with dismountable wooden circular frame with felt covering. Its origins date back to the era of ancient Turkic nomads. For modern population of Kazakhstan yurt is not only housing, and the model of the universe; it is also a symbol of their national identity. A yurt is a round folding wooden frame covered with felt and rope weaving. The frame of the yurt consisting of four parts: •\tkerege - ready-sliding base •\t'uyk' ('uyq') - dome poles, roof (modern) •\tshanyrak ('shanyrak') - circular top, a chimney and a window (modern) •\tyessyk ('esik') - double doors (modern) Tent can be easily assembled and disassembled in a short period of time. Yurt is mainly characterized as easily transportable, compact, ecological and practical home. The yurt used as livestock housing in their daily life and urban residents as a gazebo, which reinforces the sense of the continuity of the traditions of their ancestors.

Kazakhstan 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

It is a combined genre consisting of a dutar making craftsmanship with creative abilities including a composing of music and performing of dutar’s music sat down accompanying by singing. A dutar is a two-stringed, long necked lute consisting of a pear-shaped resonator (body) covered by thin wooden sounding board. The turkmen dutar’s resonator and soundboard are made from mulberry wood prepared from dried bole of the tree no less than 50 years old and the neck of apricot wood. Most melody’ notes are played on the upper of the dutar’s two strings with the four fingers of the left hand. The dutar is an inseparable part of culture of the turkmen people where it is found in all of the main genres of turkmen music and singing. Performers of the turkmen dutar‘s music and singers are divided into 2 groups. A dutar player named as a dutarchy is performing only dutar’s music. A bagshy is a peformer of dutar’s music accompanying by singing of the different genres of poetry which also subdivided into 3 types according to their performing styles and repertiores. A yanamachy bagshy is only a singer accompanied by music performed by dutarchy. A tirmechi bagshy is a performer of different genres of the turkmen music accompanying by singing. A dessanchy bagshy is an epic perfomer incorporating narrating, singing, vocal improvisation which in its performances a prose and poetry are alternated.

Turkmenistan 2021

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

achi no Dengaku is a performing art expressed by the local people through ritual dancing to flute music and beating drums to wish for an abundant harvest of rice crops. The repertoires, manner of dance and music have been fixed through its long tradition. In 1976 it was designated as an Important Intangible Folk Cultural Property, and is currently recognized as an important cultural heritage that represents trends in Japanese people's way of living. It is performed on a stage of approximately 4m square, temporarily installed during a festival in ""Kumano Nachi Taisha,"" a tutelage shrine in the region. The festival is known nationwide as the Nachi Fire Festival, and Nachi no Dengaku is recognised as an important tradition that is a key component of the festival. Nachi no Dengaku is performed by one flute player, 4 drummers with drums around their waists, 4 players of ""Binzasara,"" a musical instrument that is only used during Dengaku, and 2 others. The flute player performs at the side, while 8 to 10 performers appear on stage and dance in accordance with the drums and Binzasara. They change their formation in various ways, by swapping positions, dancing in a circle or symmetrically. There are 22 repertoires, each performed in 45 minutes. The Binzasara is 8cm by 2cm, 1cm thick and is made by stringing together around 70 wooden plates. The dancer holds each handle of the Binzasara, and dances while making a sound by moving the wooden plates like a wave.

Japan 2012

The Xinjiang Uyghur Muqam is the general term for a variety of Muqam practices widespread among the Uyghur communities, which form one of the largest ethnic minorities of the People’s Republic of China. Throughout its history, the Xinjiang region has been marked by a high degree of cultural exchange between East and West, due in particular to its central location along the Silk Road. In Muqam ensembles, the lead instruments are made from local materials and vary in form (they may be bowed-stringed, plucked or wind instruments). The dancing skills involve unique steps, rhythms and formations as well as figures such as flower-picking-bymouth, bowl-carrying-on-head and imitation of animals in solo dances. The Xinjiang Uyghur Muqam has developed four main regional styles, namely the Twelve Muqam, Dolan Muqam, Turpan Muqam and Hami Muqam.

China 2008

Wood carving and wood product manufacture among the Kyrgyz originated in ancient times. An example is the manufacture of wooden parts of the yurt, komuz, which have become the pinnacle of the handicraft creativity of the people. Modern travelers are very familiar with the Kyrgyz yurt, construction of which is made only of wood by the true masters. Wood items decorated with carvings and paintings have been harmoniously fit into the complex of interior of the yurt. These are chests ‘sandyk’, wooden bases on which felt mats, carpets and bedding items are placed; coffrets for food, cloth and horse gear hangers ‘ala bakan’; boxes for dishes, stirrer for kymyz ‘pishkek’, biler for drinks and other liquids, wooden blocks for lamps – ‘chirak paya’. Woodworks are done by the men named as ‘jygach usta’. Materials used for different woodworks depend on elasticity or firmness of the wooden species: birch, cottonwood, sump-weed, juniper or nut-tree. They are cut easily and flexible enough to get desired shape. Instruments used in woodworks are: saw, adze, single bitted axe, knife, hewing with blade in the form of groove, hatchet with plane, wood auger, strop used to make walls of the yurt.

The epic culture, folk tales and music of Korkyt Ata are based on twelve heroic legends, stories and tales and thirteen traditional musical compositions shared and transmitted across the generations through oral expressions, performing arts, cultural codes and musical compositions. Korkyt Ata appears in each story as a legendary figure and wise individual, a sage of minstrels whose words, music and expressions of wisdom relate to traditions of birth, marriage and death. In the musical compositions, the main intonations are reproduced using a musical instrument called the Kobyz through the sounds of nature, and imitation soundscapes are characteristic of this medium (such as the imitation of a wolf’s howl or a swan’s note). The musical compositions are all interconnected by the epic stories that accompany them. The element encompasses social, cultural and moral values such as heroism, dialogue, physical and spiritual wellness and unity as well as respect for nature, and contains profound knowledge about the history and culture of Turkic-speaking communities. It is practiced and sustained by the community concerned on a wide variety of occasions – from family events to national and international festivals – and is therefore well-rooted in society, serving as a connecting thread between generations.

Kazakhstan 2018

Games are those forms of individual or team competition, played to a decision according to agreed upon rules. They are voluntary and nonproductive and are played outside everyday reality, in their own territories by their own characters. Uzbek folk games, in terms of features, prevalent in them, are classified as follows: • Hunting games (Gang, Jambil, Lappak, Oshiq, Khappak, Chirgizak) • Shepherds' games (Tuptosh, Kotarma tosh, Echki oyin, Chopon va shoqol, Qadama tayoq, Chillik, Podachi, Chanta, Chuv-chuv, etc.) • Games associated with crafts (Dandarak, Charkhpalak, Besh barmoq, Paqilloq, Lanka, Chighiriq, Uzuk soldi, Varrak, Sartarosh, Koz boghlar, etc.) • Games associated with agriculture (Palakhmon, Jon burgam, Somon sepdi, Chanoq oyin, Shaftoli shaker, Qoriqchi, etc.) • Imitation games (Khola-khola, Topaloq, Kim oladi-yo, Ayiq oyin, Khoroz urushtirish, Oqsoq turna, Bosari, Asalari, Ghozlar, etc.) • Action games (Chunka shuvoq, Chim otish, Kim tex, Hurkach, Tufaloq, Chori chambar, Mushuk-sichqon, Yoghoch oyoq, Durra olish, Khalinchak, etc.) • Word games (Kim chaqqon, Bolkon-bolkon, Botmon-botmon, Juftmi-toq, Oq quyonim alomat, Oq terakmi, kok terak, Pirr etdi, etc.) • Games played during get-togethers (Gap-gashtak, Topik oyin, Podsho-vazir, Podsho-oghri, Arshi alo, etc.) • Folk wrestling and the games associated with it (Milliy kurash, Polvonbozlik, Yelkada kurash, Bel olish kurashi, etc.) • Riders' games (Chavgon, Uloq-kopkari, Piyoda poyga, Oltin qoboq, Shoghuloq, Qiz quvish, Eshak mindi, etc.)

The Urtiin duu or “long song” is one of the two major forms of Mongolian songs, the other being the short song” (bogino duu). The Urtiin duu is a lyrical chant, which is characterized by an abundance of ornamentation, falsetto, an extremely wide vocal range and a free compositional form. The rising melody is slow and steady while the falling melody is often intercepted with a lively rhythm. Performances and compositions of Urtiin duu are closely linked to the pastoral way of life of the Mongolian nomads on their ancestral grasslands.

China,Mongolia 2008