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livestock
ICH Elements 57
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“Sanjyra”
Sanjyra is the oral listing of ancestors on the straight male-line. It was compulsory for everyone to know his ancestors as the Kyrgyz identified themselves through a link with clan and tribe. Sanjyra provided answers to the questions such as: “Who are you?”, “Who were your father, grandfather?”, “From which family are you?”. That is why there is a saying: “Those who do not now their ancestors will become slaves”. The Kyrgyz genealogy consists of three large groups: right wing (on), left wing (sol) and the ichkilik (inner) group. Similar to many genealogies of other nations, it represents a sprawling crown of a tree (tree of life). Intertribal hierarchy was built on the male-line by giving the male names to the titles of tribal clans.
Kyrgyzstan -
Traditional knowledge related to making of meat products (chuchuk, zhorgoom, byzhy, olobo, tash kordo)
One of the main meat delicacies is a horse meat sausage called ‘chuchuk’. It was made out of horse intestine stuffed with horse meat and fat. Sheep meat and internal organs were used to make such delicacies as ‘jorgoom’ (made out of sheep lungs and stomach), ‘byzhy’ (a sausage made out of sheep liver, fat and blood) and ‘olobo’, that is sheep lungs filled with milk and boiled in water. Tash kordo is an ancient Kyrgyz dish. Literally, it means “food prepared on hot stones”. The separated and marinated meat is wrapped into the game skin and prepared in a hole in the ground about 1.5 m long and 70 cm wide, with stones at the bottom and sides hanged over the hot ashes.
Kyrgyzstan -
Knowledge and skills related to cattle breeding
A cattle breeding is one of the ancient activities dealt by Uzbeks. It is the dominant animal husbandry industry specializing in breeding cattle for milk, beef, leather raw materials, as well as as a traction force. Even the holy book of Zoroastrianism, “Avesta”, calls upon careful attitude towards cattle, in particular, in relation to horses, bovine animals, sheep and goats. A cattle breeding was one of the main activities in mountainous, submontane and steppe areas of Uzbekistan. The essence of traditions, knowledge and skills related to cattle breeding and goals pursued by them, were always the same - they were aimed at breeding animals, protecting them from various diseases, predators and thieves, preventing their loss, etc.
Uzbekistan -
Traditional knowledge concerning pilgrimages to the sacred sites
Kyrgyz people worshipped natural objects from antiquity, deeming that it is in the nature the visible and invisible worlds may coexist harmoniously. One of such practices is the Obo ceremony. It is a worshipping practice that was spread in a pre-Islamic period, when people equally worshipped the Sun and the Earth. It was understood that the Sun represents the fatherly beginning, and the Earth represents the motherly one. Sacred sites are visited by people, who need to be treated from illnesses, both physical, and spiritual; or those who want to make a prayer in memory of the dead relatives. Other widely spread practices are zikir chaluu and shamanic ritual korum zikir. In addition, other varieties of spiritual practices include talma bii and oiun. Roles of bakhshi (in Turkic tradition) and dubana (Muslim dervishes) are merged in many ways in Kyrgyz practice. Zikir chaluu represents emotional prayer, which is made because of pragmatic reasons, and as a rule, people ask for prosperity, welfare, healing, fertility or peace. Fire purification ceremony sham is performed often along with zikir chaluu during festive rituals as the Kyrgyz believe that the spiritual and visible worlds are unified in the fire.
Kyrgyzstan -
Bone crafts
It is a very old tradition to use the bones of domesticated and wild animals is directly correlated to the cultural and ethical practices of the nomadic Mongolians. Bone crafts have been practiced since the time that the nomads used various parts of their animals, such as ribs, shins, radiuses, pelvises, kneecaps, ankles, nails, teeth, spines, skulls, and chins, as tools. Later, they started using tusks, canines, and horns, particularly those of strong animals, which had symbolic as well as decorative meaning. With the development of bone crafts, various types of bone games have appeared. Ankle bones, for example, are used for a variety of traditional games and toys.
Mongolia -
Traditional way of moving to a new pasture
Mongols move from place to place throughout four seasons in search for new pastures. In order to use the grass-land properly Mongols move from place to place and this has been an important part of their life and traditions associated with animal husbandry for hundreds of years. There are strict rules to follow for the practices of moving. Mongols have a tradition to move on a clear and cloudless day by observing the sky and weather. The head of the family decides where to encamp. After the loading of the camels or oxen is completed, the old sites of the ger and corral are cleaned. Ashes and rubbish are taken away. The old sites and holes where the tethering line was get leveled. The load leading horse’s main is cut. There is a custom that the lady of the house dressed in her best garment to lead the load on a horseback with fully decorated saddle.
Mongolia -
Traditional music of the Morin khuur
Mongols have traditionally shown a great respect for the horse, honoring it in their national standards and symbols (flags and emblems) and in their folk songs. Morin khuur clearly belongs to this symbolic tradition. Morin khuur, so named for the ornamental horse-head carving at the top of its neck, is a unique two-stringed musical instrument developed by the nomadic Mongols. The strings of both the bow and fiddle are made from the hair of a horse’s tail. Most significantly, there is a tradition of playing the morin khuur at all ritual and ceremonial events. No discussion of the morin khuur would be complete without having considered the folk ‘long song’, for which it provides the principal accompaniment. Besides Bii Biylgee and folk long song, many other folk artistic forms such as Ülger (tales), Tuuli (epic), Yörööl (benediction), Magtaal (ode) and others can always be performed with morin khuur.
Mongolia 2008 -
Mongolian traditional short songs
Short song is one of the popular forms of folk songs, closest to the daily lives of people, richest in terms of repertory and sang with wide popularity with multitude versions. In terms of composition, short song has mostly 3-5 verses, each imply similar meanings with lyrical rhymes that prove, emphasize and conclude it from all facets. Melody of the Mongolian short song is mellifluous, easily imprinted in mind, and lyric of short songs is laconic, definite and poetically expressed. The theme of the Mongolian short songs are classified as, short song about lifestyle, love, philosophical or morality, wedding, ritual, humorous, historical, lullaby and respectful.
Mongolia -
Coaxing ritual for camel calves
The coaxing ritual is used by herders to save newborn camel calves orphaned or rejected by their mothers, and to avoid the loss of vital camel milk. A camel mare is coaxed into accepting an orphaned or estranged calf by the singing of a melody accompanied by the morin khuur horse-head fiddle. This handling technique helps the survival of newborn calves and maintains the mother’s lactation. The renowned Russian poet Sergei Yesenin once said that “It is indeed undoubted that Mongols could make the camel cry with the melody of khuur (fiddle)”.
Mongolia 2015 -
Sang: A-shey Lhamo
A unique female-dominated performance held only on the 8th and 9th day of the 7th lunar month in the two communities of Ura-ma-krong (main village of Ura) and Shingkhar, the farthest settlement under Ura gewog (block) in Bumthang Dzongkhag (district). In Ura dialect, Intangible Cultural Heritage (ICH) is usually called Saang (smoke offering). It is said that in the old days, when there were yak herders who usually came from their village to raise the yaks at Purshey la (one of the mountains overlooking Ura village), they welcomed the female performers by burning sang at Korgang (the place believed to be the place where the deity descends or dwells and where the female performers circumambulate the stupa). Hence, community members refer to the festival as Sang or Sang na gai-sang (on the way to the Sang offering). Another interpretation states that the female participants begin their offering by making various medicinal herbs and other fresh offerings go up in smoke while appeasing the main female deity named A-shey Lhamo and her entourage, namely Gawa Lhamo, Kiba Lhamo, Champa Lhamo, and Dropa Lhamo. However, in addition to the aforementioned attendant goddesses, Shingkhar A-zhi (pronounced locally) Lhamo has Lam-dron Lhamo forming five attendant goddesses. Therefore, the festival and performance were called Sang from the first offering. The other name of the festival, A-shey Lhamo, is interpreted literally by outsiders and some learned community members as the lyrics of the religious song sung and danced in honor of the deity A-shey Lhamo. Colloquially, the term A-shey is addressed to either the queen or the elder sisters, and Lhamo is a general term for the divine goddess. The origin of Sang or A-shey Lhamo is that during the Dung Lhawang Rabgay (local ruler), not long before the emergence of the Dung caste system in Bhutan around the 10th-11th century, there was a misfortune of Shey-ned (diarrheal infection) that spread among the children of the Ura community. People sought the advice of their ruler as there was no tradition of performing rituals or treatments. Thus, Dung Lhawang introduced Drakpa, who had a divine bloodline, to appease the female local deity by performing dances. He composed the lyrics in the typical Ura dialect and ordered that they be performed by female members of the community. The Lord also determined the place: Pur-shey la (written Pur-gyal la) along with the things to be sacrificed and also the steps. Following the advice, the women performed the dance, which gradually helped the children recover from the epidemic. After that, the performance of A-shey Lhamo was practiced. According to the origin, A-shey Lhamo and the goddesses accompanying her are both the deities of the place and deities of the Bon khar tradition. Perhaps they are the other form of Tshering chey nga (the five sisters of longevity) who appeared in the Bon tradition before they were introduced by Guru Padsambava as the tutelary deity of Buddhism, just as many Bonpo deities were later transformed as protectors of the sacred teachings of the Buddha. In the poetry of A-shey Lhamo, it is mentioned that they reside in the high mountains Gang-toed thoen po. The road to their citadel is like a mule track, filled with the sweet fragrance of Ba-loo (Rhododendron ciliatum) and Su-loo (Rhododendron setosum). She delights in the first share of Mar-chang Ara (locally brewed wine) and Kara and Buram (honey and brown sugar) and sits down on the white sheepskin mat. She resides gracefully in a palace of precious gems with golden columns and silver windows. Apart from the above description of her residence, there is no text describing her appearance, only the names of her sisters and the goddess herself. This ICh element is still alive in Ura and Singkhar communities. However, there are some changes: The sang is now prepared and offered by themselves since there are no more highlanders at Pur-shey la, and the other is that, according to tradition, the sang is generally performed on the 8th and 9th day of the lunar month but, the community members decided to either coordinate the festival on 15th day if the time and weather is not favourable.
Bhutan -
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 -
Tseza Bonkor: Bon Ritual of Tseza community
Tseza Bongkor is a native festival of Tseza Gewog (block) in Dagana with unique lyrics and dance steps performed by what we call in local dialect the Boegarps or the Pazaabs (Male participants/warriors). It is celebrated once in every three years in six villages under Tseza Gewog namely in Zamtog, Samey, Trashigang, Jangsagang, Tsanglaykha and Kalizingkha. In every village, the festival is celebrated for three days and it is mandatory for all the households of that particular village to take part in that celebration. At Samey, the festival is always celebrated on the 14th Day of the first Bhutanese month every three years at a place called Zingkha Pangna and only then, it is celebrated at Trashigang. It is because the festival at Trashigang is also presided over by the same Male Shaman (Pawo) and the Female Shaman (Neljorm) who conducts the festival at Samey. On the last day of the Samey Bonkor i.e. on 16th day of the first Bhutanese month, the Shaman and the Yogini heads towards Trashigang for the celebration of the same. The Trashigang Bonkor begins from 16th and ends on the 18th day of the first Bhutanese month. Although the festival is celebrated for three days in all the six villages but the date of celebration differs in all the villages. For instance the date for celebration of the festival is fixed at Samey and Trashigang but in the remaining four villages the dates are not fixed. They celebrates the festival depending upon the auspicious date that is mentioned in the Bhutanese Datho (Almanic calendar). Every household must dispatch at least one or two representatives (depending upon the number of person living in that house) for the celebration. Usually all the households are represented by two members i.e. one male representative who acts as a Boegarp (male dancer) and one female representative as a dancer. If the household has just one member, that particular person has to represent his or her household. If any household fails to send the member representative/s for the festival, they have to send their substitution or else they have to pay fine. Traditionally, the festival used to be presided over by a Male shaman (Pawo) and a Female shaman (Neljorm) but since the demise of the Pawo few years back, he is replaced by one of the village Lama. There are slight differences in the way the festival is celebrated in these six villages mainly in terms of the date of the celebration, materials and the costumes used in the celebration and the persons involved in the festival. The origin of the festival is still unknown but it is believed that the festival was instituted in the region mainly by the Tseza Nyagoes (Boegarps). According to Ap Sangay Dorji, the festival was instituted mainly to appease the Dralha (deities) in order to overcome any sort of obstacles and epidemics in the region. Tseza Bongkor is still vibrantly performed in the community and there is no major transformation in the way the festival is conducted even today. Traditionally every word written in the book Dralha Pangtoed (Ritual text) was dictated upon the Boegarps by the Pawo which is today replaced by the village Lam. Similarly, the house in which the shaman and the Female shaman live during the celebration Lha chim (shrine) was build using the mated bamboo but today it is constructed using the metal sheets, wood and bamboo. According to some oral history, traditionally the people of this region were following the Bon (locally called Ban choe) religion because of which their festival came to be known as Bangkor, the Bon festival of Tseza Gewog. Some oral tradition also says that during Zhabrung's era, The Pazaabs in Punakha performed their dances in circular (kora chap di) group to celebrate their victory over the Tibetan enemies. For the same reason, the Ngagoes (strong man) or the Boegarps of Tseza Gewog also performed the same dances following the same steps. Hence, the festival came to be known as Tseza Bangkor, the dance performed by Boegarps in a circular group. Tseza Gewog is one of the important Gewog under Dagana Dzongkhag (district) since Dagana falls under Tseza gewog and is where the Dzongkhag Administration's Headquarter is located. One of the most famous and special Temple in Dagana, Shathong Lhakhang, founded by the Buddhist Master Dupthob (Siddhi) Shawa Ripa in the 18th century is also located under Tseza Gewog. Shawa Ripa is an ancient Buddhist Master who is said to have lived for over 900 years. Oral History also mentions that there is a big tree at Pele, which is believed to be a walking stick of Zhabdrung Jigme Chogyal (1862-1904) and a house in which the Zhabdrung halt his night on the way and back from Daga Dzong.
Bhutan