The yurt is a nomadic dwelling used Kyrgyz people. It has a wooden circular frame covered with felt and braided with ropes, and can be easily assembled and dismantled within a short period of time. The bearers of yurt-making knowledge are craftspeople, both men and women, who produce yurts and their interior decorations. Yurts are made from natural and renewable raw materials. Men and their apprentices make the wooden frames by hand, along with wooden, leather, bone and metal details. Women make the interior decorations and exterior coverings, ornamented with traditional zoomorphic, vegetative or geometric patterns. All festivities, ceremonies, births, weddings and funeral rituals are held in a yurt.

Kyrgyzstan 2014

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

Sing-si is a type of oil/ghee produced manually. It is purely made with locally available materials and doesn’t mix any imported ingredients unlike the oil which are available in the market today. The main ingredient used is the Se-lung- a black small oily seed. Its scientific name is Parasassafras Confertiflora. The Se-lung tree is either wild or domesticated. Usually, in bygone days, it is believed that almost many villages had a trend of processing Sing-si, however, the trend wasn’t famous unlike Thongsa village under Chongshing Gewog (block) in Pemagatshel. According to grandma Nimdaza who is seventy-four years old, processing of Sing-si was part and parcel of their lives and members from every household were engaged in performing chores of Singsi production. Further she says that the labor contribution was also done depending upon the number of members present in the household. More than one worker was engaged from the household which had more family members. The materials needed were –Tsir (a small bamboo basket), Mar-kang (wooden block), plank, stones, Neetong-ma (pestle), frying pan, Luu (pounding stone). The Sing-si was used mainly for offering butter lamps. Other secondary uses were for human and animal consumption. Humans consumed it as there weren't imported oils available those days in the shops.

Yoga is a time honoured Indian holistic system of personal, physical, mental and spiritual wellness focused on all-round unification of body, mind and soul. Traditionally handed down over the centuries from teacher –Guru to disciple –Shishya, who after attaining mastery become a Guru to teach others. While Indian mythology traces the origin of yoga to the God Shiva as the first teacher its presence is well documented in Indian textual tradition from the Rigveda dated between c. 1500–1200 BCE to Satapatha Brahmana texts of 300 BCE to the philosophical treatises of the Upanishads – Mundaka and the Bhagvad Gita dated before fifth or fourth century BCE. The sage Patanjali systematised the text in his treatise -Yogasutras dated 400 CE while many other great sages and Yoga masters contributed to the furtherance of the system and its practice through their writings. The practice of Yoga leads to the union of individual consciousness with universal consciousness to attain harmony between the elements. The aim of Yoga is to realize the inner self, to mitigate all kinds of sufferings and to pave way for attaining the state of liberation. Yoga practices include Yama or five abstentions, Niyama-five observances, Asana –postures, Pranayama -Suspending Breath, Pratyahara –Abstraction, Dharana –Concentration, Dhyana –Meditation, Samadhi - Full integrated consciousness, Bandhas –Lock, Mudras – Gestures, Shat-karmas - Cleansing practices, Yukta-ahara - Holistic food, Yukta Karma -Right Action and MantraJapa -Chanting sacred words. Yogic practices have helped many millions learn to maintain a balanced way of life.

India 2016

Meddahlik was a Turkish theatre form performed by a single storyteller called a meddah and practised throughout Turkey and Turkishspeaking countries. Through the ages, similar narrative genres have flourished due to interaction among the peoples of Asia, the Caucasus and the Middle East within this wide geographical area. Historically, meddahs were expected to illuminate, educate, and entertain. Performing in caravanserais, markets, coffeehouses, mosques and churches, these storytellers transmitted values and ideas among a predominantly illiterate population. Their social and political criticism regularly provoked lively discussions about contemporary issues. The term meddah, borrowed from Arabic maddah “to praise”, can be translated as “storyteller”. The meddah selects songs and comic tales from a repertory of popular romances, legends and epics and adapts his material according to the specific venue and audience. However, the quality of the performance largely depends on the atmosphere created between storyteller and spectators, as well as the meddah’s ability to integrate imitations, jokes and improvisation often relating to contemporary events. This art, which places great value on the mastery of rhetoric, is highly regarded in Turkey.

Turkey 2008

By the beginning of the 1970s the number of Kandakar masters and centers of engraving sharply reduced. Production of engraved items suspended in many centers of Uzbekistan. At present, however, centers of engraving are being revived and the system of apprenticeship is being re-introduced. Nowadays, the masters of traditional engraving work in such cities as Tashkent, Shakhrisabz, Qoqand, Ferghana, Bukhara and Khiva. Also a new phenomenon emerged, i.e. masters of engraving began to participate in designing the interiors of religious buildings (mosques, madrasahs), cafes and teahouses (which are usually designed in a traditional style). Changes are observed in the ornamental designing as well. For example, engravers try to improve further the designs of the items produced by them, by including new patterns and by applying the technique of incrustation with semi-precious stones. Within the framework of measures to create new jobs, develop tourism, promote small business and craft production, the state also pays attention to the development of this type of craft and art. This is manifested in tax preferences, the provision of free conditions and other innovations.

The murals in the Ubosot of Wat Thong Thammachat are works of art dating from the reign of King Rama III of the Chakri Dynasty. The paintings are executed in a style that was popular in the early Rattanakosin period, and they depict episodes of the Buddha's life. This particular mural stands out among others found in Bangkok for being one of the best preserved early Rattanakosin period wall paintings. The front wall is painted with the picture of a demon, while the back wall depicts the so-called Tribhum world shape, a representation of Buddhist cosmology. Another unique feature of this wall mural are the further depictions of large groups of buildings that are shown at the bottom of the Tribhum picture. This picture depicts not only architecture, but also the way of life of Thai society as it existed during the reign of Rama III. The overall color tone of this mural painting is quite dark, which is in line with the popular style of the early Rattanakosin art and sets it apart from the late Ayutthaya period where vivid colors were used. The other noteworthy elements of the picture are the use of golden decorations on the painting as well as the use of the color red as a background. Both of these are stylistic devices for accentuating important elements such as the Tribhum cosmology picture.

The 'ie Samoa is a special finely hand-woven mat that is fastened at the hem with 2 rows of green and red feathers on each end, and a loose fringe on one end. Traditionally woven with fine strippings of the pandanus plant, the final product is silk-like in nature. Its shiny coppery color adds to its value as it is a testament to its age and the natural bleaching process it undergoes from the sun and seawater. The length of 'ie Samoa is traditionally 12x9 aga or handspans of the weaver. This demonstrates its high level of intricacy as each woven strand measures as little as one milimeter in width. Therefore, the production of a single 'ie Samoa can take up to several months and even years depending on the length of the fine mat. Nevertheless, the 'ie Samoa is more than a cultural product of exceptional skills, its true value is demonstrated in its use as an exchange valuable in traditional ceremonies and rituals that serve to reaffirm kinship ties and strengthen community wellbeing. More colloquially known as 'ie toga, the 'ie Samoa is displayed and exchanged at festive celebrations or important gatherings such as weddings, funerals, or religious ordinations. The giving and receiving of the 'ie Samoa contributes profoundly to the maintenance of social structure and is an integral part of the Samoan culture. As objects of the highest cultural value, this traditional art form lies at the foundation of Samoa's rich intangible cultural heritage.

Samoa 2019

The Saman dance is cultural heritage of the Gayo people traceable to the 13th century, developed later by Syeh Saman incorporating religious messages. Saman is performed by boys and young men, always in odd numbers, sitting on their heels or kneeling in tight rows. The players wear black costumes embroidered with colourful Gayo motifs, symbolizing nature and noble values. The trainer or leader, called penangkat sits in the middle of the line and leads singing of verses containing messages about tradition, development, religion, advice, sarcasm, humor and even romance. Players clap their hands, slap their chests, thighs and the ground, click their fingers, sway and twist their bodies and heads forward and backward, left and right, synchronizing with the rhythm, sometimes slow, sometimes fast and energetic, in unison or with alternate dancers making opposite moves. Saman movements symbolize nature, the environment, and daily lives of Gayo people. Villages invite each other for Saman competitions to build friendly relationships. Saman is performed to celebrate national and religious holidays, and is a game among village children, who learn it informally. The frequency of Saman performances and transmission are decreasing, despite community and government efforts. Therefore safeguarding is urgently needed. A Saman performance consists of 7 parts, called: Rengum, Salam, Dering, Uluni Lagu, Lagu, Anak ni Lagu, and Lagu Penutup (closing song). According to other sources, there are 9 parts: Keketar (introduction), Rengum, Salam, Gerakan Tari, Anak ni Lagu, Saur, Syair, Guncang and Penutup, or only 4 parts.

Indonesia 2011

Karagöz is a form of shadow theatre where human, animal or object figures, known as “tasvir”s, are held in front of a light source and cast their shadows on a camel or ox-hide screen using horizontal rods. Karagöz is a mosaic of various art forms including poetry, narration, music and dance. All the elements of oral literature (tekerlemes (tongue-twister), bilmeces (riddles), supernatural stories, kılıklamas, repartees, exaggerations, puns, and so on) continue throughout the performance. The rhythm in which both dialogue and action proceed creating a form of expression that even those who do not know Turkish can appreciate. Once the play begins, an introductory figure, called “göstermelik” is placed on the screen in order to give the audience an idea as to the major themes of the play. The “göstermelik” can be either related to the play or not. “Scenery göstermelik” is shown till the end of play whereas “main göstermelik” removed just before the prologue. When the play begins, the göstermelik vanishes to the shrill sound of a whistle called “narake”. The characters in Karagöz are played by means of the tasvirs. The main characters are common for each play, yet the new characters are added by cutting new tasvirs. The main characters are Karagöz and Hacivat along with the others as Zenne, Çelebi, Tiryaki, Beberuhi, Laz, Kayserili, Kastamonulu, Rumelili Arap, Kürt, Arnavut, Frenk/Rum, Ermeni, Yahudi, Matiz, Külhanbeyi and some other entertaining characters (çengi –dancer-, köçek –dancer in woman’s garment, kantocu- fin-de-siècle cabaret chanteuse-,hokkabaz –illusionist- and cambaz- acrobat). “Hayali” is the person who actually runs the performance. He is the creative artist who directs and animates the whole proceeding, regulating the entire show on his own. During the play, he may make changes in the play depending on the audience atmosphere, such as updating topics, shortening or prolonging the scenes, adjusting the order of the scenes or completely taking them out. Karagöz artist can have one or more assistants, who are also called “hayali” or “hayalbaz”. “Sandıkkâr” is in charge of the instruments, while “yardak” sings and “dayrezen” plays the tef (tambourine). Karagöz artists come from a master-apprentice discipline. Apprenticeship begins with the actual attachment of rods to tasvirs and lasts until reaching the maturity to run a whole play. “The one who falls behind to be a good “yardak” cannot be a master Karagöz artist” clearly expresses the importance of master-apprentice relation in Karagöz. The comic elements are emphasized in Karagöz plays involving exaggerations, puns, and imitations of the regional accents.

Turkey 2009

While primitive forms of early agriculture on the territory of Uzbekistan emerged in the late Stone Age, the emergence of irrigated agriculture dates back to the beginning of the II millenium B.C., and can be observed on the territory of Bactria (present-day Surkhandarya region). Based on great experience and methods gained through studying the agriculture delicate fenologic observations were discovered. Specific agriculture traditions and ceremonies were also formed. Having passed successfully through frosty days and waited impatiently for warm spring days, farmers, gardeners and cattlebreeders carefully prepared for large-scale agricultural works (i.e. prepared their ploughs, harrows and horses, repaired carts, made tools ready for usage). Thus, for centuries, agricultural knowledge and skills have been accumulated, which is transmitted from generation to generation.

The traditional turkmen carpets and carpet products are the hand-woven woollen textile goods of ornamental art with quadrangular shape in different sizes with dense texture ornamented with characteristic colored patterns pertaining each separately to one of five main turkmen tribes (tekke, yomut, ersary, saryk and salor). Their designs form patterns from clear linear geometric ornaments (dots, lines and figures). Compositional decision of the turkmen carpets has characteristic features: the central field with major patterns ("gels") in octagonal forms is limited with the borders, patterns which differ from that of the central field. The alternation of recurrence of designs represented with combination of the belt and centric ornamental compositions. Reality surrounding a carpet weaver (local flora, fauna and environment) has been reflected in a combination of the threads, pictures and colours creating carpet designs. The turkmen carpets are created on horizontal or vertical looms mainly using different coloured wool threads. Weavers use both types of knotting; double knots with double weft or one-and-a half knot with double weft. Carpets serve both as a floor covering and a wall decoration functions and substitute furniture to satisfy everyday aesthetic needs of turkmen people. There are also special carpets woven for the birth of a child, for wedding ceremonies, for prayers and for mourning rituals. Carpet products such as chuvals (sacks), khorjuns (saddle-bags), torbas (bags) are destined for clothing, transportation of various household paraphernalia and used for decorations of camels, horses, nomad tents, wedding processions etc.

Turkmenistan 2019