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ICH Elements 53
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Kymyz muryndyk ('initiation of koumiss') Traditional spring festive rites of the Kazakh horse breeders
Kazakh spring horse-breeding rites mark the end of the old and the beginning of the new yearly horse-breeding cycle. Rooted in the traditional knowledge of nature and in the millennia-aged close relations between man and horse, these rites involve skills inherited from the nomadic ancestors and adapted to the present-day reality. The main constituents of the element are: 1.‘Biye baylau’ (literally, ‘tethering mares’), the ancient 'first milking'; rite encompassing the separation of mares and foals from herds, tethering them, greasing ropes and pegs, milking mares, greasing and smoking vessels for koumiss, fermenting the first-day milk, and celebrating with songs, dances and games. 2. ‘Ayghyr kosu’ (figuratively, ‘stallion’s marriage’) is a rite for adjoining stallions in herds. taking place on the same day. This rite is considered as a recent one that emerged in response to shifting from nomadic life to settling. 3. ‘Kymyz muryndyk’ (metaphorically, ‘initiation of koumiss’) is the 'first koumiss sharing'; rite, opening a season of its making and drinking. The above rite names are equally used also for their scope. The preparations go all year round (cutting wool and horse hair, getting good stallions for herds, weaving ropes and foal slips, repairing ware, cutting juniper for smoking vessels, cooking ritual food). Blessed by the elders, the ‘first milking’ day comes in early May, when mares have foaled and grass grown. In total the rites take about 3 weeks until the koumiss sharing ceremonies, taking place in every house of the village, are over.
Kazakhstan 2018 -
Akiu no Taue Odori
“Akiu no Taue Odori” is a folk performing art, expressed mainly by the dance which reminds of the rice cropping, with background music of drums and other instruments. The music for this rice cropping dance is played with big and small drums, flutes, and songs. The dancers are two or four males, depending on a case, as facilitators, and currently about ten females. Females are well dressed up with colorful and fashionable kimono and wear a headdress decorated with artificial flowers. Dances are performed outdoors by females aligning in a line, or sometimes in two lines depending on the space and the number of dancers. The repertoires transmitted to-day are six to ten depending on communities. Each repertoire begins with blessing terms by facilitators who appear from both ends of a line. Dancers perform to the music, alternatively holding fans or sticks with bells on it according to a repertoire. The choreography of these dances reminds people there of the rice cropping. During dances they pray for the best harvest, believing that thus celebrating an abundant harvest in advance may make it true in that autumn; the dance is to bless people. The performance is characterized with facilitators’ progressing and its quite beautiful dances. “Akiu no Taue Odori” is cultural heritage transmitted to-day with its dances begun in the late seventeenth century in the region, wishing for an abundant harvest of the rice cropping. Designated as Important Intangible Folk Cultural Property in 1976, it is currently recognized as such an element of important cultural heritage as widely indicates the transition of Japanese life style. The rice is a principal foodstuff to Japanese since old time. Therefore, its abundant harvest was a really serious wish to them, quite differently from today’s circumstances. The weather immeasurably affects the rice cropping or agriculture in general. As affect of the weather is unavoidable, they prayed for a good harvest by simulating an annual process of the rice cropping before actual cultivation. In an entire process of the rice cropping, taue, i.e. transplanting of seedlings, is especially important; they first seed rice plant in a small section, and when seedlings grow a little, they transplant seedlings onto a wider rice field filled with water. Such transplantation is a traditional knowledge for the prevention of pests and the alleviation of temperature changes. “Akiu no Taue Odori” is a simulation dance for an abundant harvest in order to pray for it, believing that a previous celebration of a possibly abundant harvest of the year may secure an actual good harvest in autumn. The people has sophisticated the dance and developed it to a more spectacular performing art. Becoming a spectacular performing art, it has been transmitted from generations to generations by the people in the communities. Until the early twentieth century, it was performed on every January 15th in each community. Because of such an entertaining element as a beautiful appearance in addition to praying for an abundant harvest, they were often invited by other neighboring communities to perform there. The number of dancers at that time allegedly transcended fifty. Later, the opportunity of invited performance of “Akiu no Taue Odori” declined in number, the season of performance shifted from a severe winter to April or May or to autumn, and the number of dancers dropped to approximately ten. However, it has continued to be performed every year up to-day. The transmitters’, or practitioners’, groups of the performance and the people living in those communities are proud of it before other communities’ groups or societies, and they consider it to be one of their own distinctive cultures. The transmission and the performance of “Akiu no Taue Odori” in front of the public would reconfirm the identity of the transmitting groups and communities, and thus contribute to the continuity of those groups and communities. “Akiu no Taue Odori” is a folk performing art transmitted by ordinary local people for a long time and still performed to-day. Its music and dances reflect Japanese sentiment on performing arts. The background of the transmission and the performance of “Akiu no Taue Odori” indicates the Japanese concept on an agricultural life and the nature. As mentioned above, “Akiu no Taue Odori” has a significant meaning in today’s Japanese society and culture. The transmitters as well as practitioners of the performance are eager to transmit what they have inherited to the future generations.
Japan 2009 -
Washoku, traditional dietary cultures of the Japanese, notably for the celebration of New Year
WASHOKU is social practice based on a comprehensive set of skills, knowledge, practice and traditions related to the production, processing, preparation and consumption of food. It is associated with an essential spirit of respect for nature closely related to the sustainable use of natural resources. WASHOKU has developed as part of daily life and with a connection to annual events and is constantly recreated in response to changes in human relationship with natural and social environment. Basic knowledge, social and cultural characteristics associated with WASHOKU are typically seen in New Year’s cerebrations when Japanese people immerse themselves in their tradition transmitted from generations to generations, thus reaffirming their identity and continuity. WASHOKU in New Year’s celebrations are regionally rich in diversity, given that each province has its own historical and geographical specificity. People make various preparation to welcome the deities of the incoming year; pounding rice cakes, preparing special meals such as beautifully decorated dishes called Osechi, Zoni and Toso, using fresh locally available ingredients each of which has a symbolic meaning. These dishes are served on special tableware and shared by the family members, or shared collectively by the community members, ensuring peoples’ health and social cohesion. This provides an occasion for elderly persons to teach the meanings contained in this social practice to the children. In daily life, WASHOKU has important social functions for the Japanese to reaffirm identity, to foster familial and community cohesion, and to contribute to healthy life, through sharing traditional and well-balanced meals.
Japan 2013 -
Kazakh traditional yurt (nomadic dwelling)
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 -
Biye baylau (‘tethering mares’) -Traditional spring festive rites of the Kazakh horse breeders
Kazakh spring horse-breeding rites mark the end of the old and the beginning of the new yearly horse-breeding cycle. Rooted in the traditional knowledge of nature and in the millennia-aged close relations between man and horse, these rites involve skills inherited from the nomadic ancestors and adapted to the present day reality. The festive rites compiles of the triade: (1) .‘Biye baylau’; (2) ‘Ayghyr kosu’; and (3) ‘Kymyz muryndyk’. ‘Biye baylau’ (literally, ‘tethering mares’), the ancient 'first milking'; rite encompassing the separation of mares and foals from herds, tethering them, greasing ropes and pegs, milking mares, greasing and smoking vessels for koumiss, fermenting the first-day milk, and celebrating with songs, dances and games. The preparations go all year round (cutting wool and horse hair, getting good stallions for herds, weaving ropes and foal slips, repairing ware, cutting juniper for smoking vessels, cooking ritual food). Blessed by the elders, the ‘first milking’ day comes in early May, when mares have foaled and grass grown. In total the rites take about 3 weeks until the koumiss sharing ceremonies, taking place in every house of the village, are over.
Kazakhstan 2018 -
Khaen music of the Lao people
The khaen is a mouth organ in which each tube has a reed. It looks like panpipes, but with bamboo (previously rice stalks or sometimes other plants) tubes of variable length, each with a metal reed. One blows into it through an air chamber called ‘marqunamdtow’. The sound produced is higher or lower depending on the size of the tube. It is a favourite instrument used in Lao traditional and folk music. Its design and number of tubes have evolved according to the changes in Lao folk melodies and songs. Today there are three kinds: the khaen 6 (12 tubes), the khaen 7 (14 tubes) and the most successful one, the khaen 8 (16 tubes). The khaen is very popular in all regions and communities of Laos due to its music’s richness and abundance, which represents the nation's soul for its population. The instrument is suitable for melodies and harmonic richness since it can produce several sounds simultaneously, like a piano. Its music is customarily part of numerous village festivals, accompanying traditional songs and dances. It symbolizes popular culture and it is customary for all villagers who listen to it to become actors rather than spectators, by participating actively and joyfully in the songs and dances it offers.
Lao People's Democratic Republic 2017 -
Traditional Turkish archery
Traditional Turkish Archery is an intangible cultural heritage element, consisting of its principles, rituals and social practices, craftsmanship of traditional equipment, archery disciplines and shooting techniques evolved over centuries, which has been shaped around a sportive activity. In traditional Turkish archery, there are different types of disciplines practiced on foot and on horseback. The archery on foot discipline includes “Menzil” (Long-Distance), “Darp” (Pounding) and “Puta” (Target) shootings. Horseback archery discipline includes “Kıgaç”, “Kabak” and “Tabla” shootings. Bearers and practitioners of the element train individually or collectively to improve their archery skills, carry out individual shootings, and take part in competitions and festive events. Archers learn from masters the traditional shooting techniques and skills which allow them to perform either foot or horseback shootings. In all stages of practice, archers strictly act in accordance with the certain principles, rules and rituals related to the element. Craftsmanship of traditional archery equipment is also important component of the element. These equipments are made by craftspeople who have the skills and knowledge of materials as well as patience and mastery. Making the equipment requires raw materials such as trees grown under certain climatic conditions at high altitudes, organic glues, horns, tendons, silk and leather, and so craftspeople should have an advanced knowledge of nature, including plants, animals and climate. Archery equipment is generally decorated with calligraphy, ornaments and marquetry.
Turkey 2019 -
Mongol Tea
Mongolians make a tea in various ways. We boil the water for tea and add powdered tea to the boiling water and keep it on the soft fire for two minutes. Then we blend the boiling tea with milk and salt. We ladle up and pour back the blended tea in a flurry. We call tea as five dainties. They are water, salt, milk, ghee and tea. We melt ghee or fat of sheep's tail and add millet in the cast-iron pot and fry them. Then we pour hot plain tea without dregs, blend it with milk, put the lid on the pot and keep it for a while. Then we season the boiling with salt and soda. Then we pour it into a kettle. This is called hiitstei tsai or tea with various mixtures. This is thicker and oily tea. It can remove one's fatigue and satisfy one's hunger. Mongolian tea is called as, tiisen tsai (tea in corky tub), bortstoi tsai (tea with pemmican), torguud tea, tea with ravioli, tea with nettle and so on. We have many traditions to make a tea.
Mongolia -
Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz
It is the New Year by solar calendar in Central, South and South-West Asia countries. According to sources, Navruz was one of the biggest festivities among Iranian and Turkic peoples. Mahmud al-Kashgari in his work called "Diwanu l-Lugat al-Turk" mentions about many folk songs, which were dedicated to Navruz. Also, the information about Navruz festivity can be found in such works as "The remaining traces of past centuries" (written by Abu Rayhan al-Biruni), "Navruzname" (by Omar Khayyam), and those written by Alisher Navoi, Zahir-ud-Din Muhammad Babur and other scholars. In the territory of Central Asia Navruz festivity was associated with the beginning of the New Year. As such, the preparations for it began several days ahead. Wheat was germinated and from its sprouts sumalak was cooked, dumplings with greens and samosas with mint were prepared. Also folk games were organized (such as horseracing, uloq, kurash, etc.), promenades were arranged, songs about spring were sung, terma and dostons were performed (by bakhshis). On the first day of Navruz children, living in rural areas, gathered in groups and sang songs dedicated to Navruz before the doors of houses. And the owner of the house, hearing these songs, came out, gave presents to children, and treated them with food. In their turn, children distributed one part of the food among widows and orphans living in the village. All these traditions and customs are still alive.
Afghanistan,Azerbaijan,India,Iraq,Iran,Kyrgyzstan,Kazakhstan,Pakistan,Tajikistan,Turkmenistan,Turkey,Uzbekistan 2016 -
Ayghyr kosu (‘stallion’s marriage’) -Traditional spring festive rites of the Kazakh horse breeders
Kazakh spring horse-breeding rites mark the end of the old and the beginning of the new yearly horse-breeding cycle. Rooted in the traditional knowledge of nature and in the millennia-aged close relations between man and horse, these rites involve skills inherited from the nomadic ancestors and adapted to the present day reality. The festive rites compiles of the triade: (1) .‘Biye baylau’; (2) ‘Ayghyr kosu’; and (3) ‘Kymyz muryndyk’. ‘Ayghyr kosu’ (figuratively, ‘stallion’s marriage’) is a rite for adjoining stallions in herds. taking place on the same day. This rite is considered as a recent one that emerged in response to shifting from nomadic life to settling. The preparations go all year round (cutting wool and horse hair, getting good stallions for herds, weaving ropes and foal slips, repairing ware, cutting juniper for smoking vessels, cooking ritual food). Blessed by the elders, the ‘first milking’ day comes in early May, when mares have foaled and grass grown. In total the rites take about 3 weeks until the koumiss sharing ceremonies, taking place in every house of the village, are over.
Kazakhstan 2018 -
Kharphu: The White God Ritual
Kharphu (The White God Ritual) is celebrated every year on fourth month of Bhutanese calendar. Though meaning of Kharphu cannot be stated clearly but village older bearer believes Kharphu means “white god ritual” where no animal sacrifices are made. There are two types of Kharphu namely Gudpa (Extended) and Chunku (Abridged) which are observed consecutively every year. During a larger kharphu, dish called pan is prepared and served, and is observed for 3 days, while in smaller Kharphu pan (Wild betel leave fried) serving is skipped and is observed for two days. The origin of Kharphu and its story is has been transmitted verbally from generation to generation. Ex.Tshogpa Lhalungla is a descendent of one of the host family, he shared that as per the story he received from the older people of village that when the people settled in Chali as per their karmic action, during those days no matter how much they work, the grains and cereals were not enough to feed their family, food they eat didn’t contain nutrition, cloth they wear don’t provide the warmth, even they can’t sleep soundly. Then people gathered to discuss over it. During meeting one the villager pointed out that we don’t have a god to guide and protect us, and this may be the reason we have been suffering. Then all the villagers agreed that then need a god. Among them there was a man named Sherub, who is farsighted, knowledgeable and reliable man. Then villagers insisted him to go and receive god. He denied, saying he is incapable for this task. He said this task can be only accomplished by Gomchen phawang (Bat). Then sherub went in all the direction in search of bat but met with gods of four directions but couldn’t find bat. Then one of the god from four direction prophesied that bet is inside their village only, inside a cave call Asi-kaure draphy (cave) which shadow falls in water and water splashes on the walls of cave. And this place is believed to be located at the bottom of Kongla bra (Kongla cliff) at the end of Chali and still there are many bats in it. Bat was brought to the village and at first, bat also denied the villagers request but towards end of the day bat accepted but he said gift has to be taken for sons and daughters of god. For sons they arranged three armful of arrows and for daughters three Urka (Lether sack) full of Bakur (square shaped bamboo container). Then, bat made his journey towards north. After a long journey bat reached Tsampa, place believed to be located in Tibet, where god Gung-Lha-Lhapsang Gyelpo resides. Finally he could meet the god and shared his reason for visit. God criticize him about his face, legs and wings, so, he can return him alone, but he changed every criticism in positive way by saying “my rat like face is to sing a song for god father and mother, my skinny leg is to perform dance in front of god father and mother, my lathery wings is to fan your god father and mother. Bad couldn’t send back with all the means and strategies of god, finally promised to send one of his children. Gunglha lhapsang Gelpo has four daughter and four sons. He told to send one the daughter to god mother and she said to god to send one of his son. God father and mother had a very hot discussion over it. And they decided to roll a die, and god father lose the game and had to send his son along with bat to bless Chalipas (Residents of Chali). Here at Chali goat was received by Sherub along with the villagers. Since then Sherub was known as Bonpo pa Sherub, since it was a Bon Lha (God of Bon religion).And his descendent has to perform Bonpo Wanboo (Shaman). And Bonpodpa Sherub became host along with another rich household. And currently there is four household descendent holding as host during Kharphu. But, with passing time and generation Bonpodpa Sherub’s descendent couldn’t shoulder the responsibilities of Wanbu and is appointed one of the interested and capable people from their village. There is no as such rule to appoint Wanbu. There is unique lyric and tune from journey of god’s son of including all the places where till Chali, different household visiting household lyrics and blessing, farewell lyric and unique tones.
Bhutan -
Foods of Lhop Communities
Just like any other communities, the livelihood of Lhops also started with hunting and gathering activities. In the past, Lhops gathered wild edible plants like Burr (Kochu or Colocasia) or Lohbol (Tapoica), and hunted as well as fished. With the recent developments in the community, Lhops have adopted agriculture as their source of food and nutrition, and with the passage of time, agriculture has become a way of life for subsistence and commercial means.
Bhutan