Aitys (in Kazakh language), Aitysh (in Kyrgyz) is an improvised competition of two akyns, the form of oral poetry performed in a singing manner, poetic contest of improvisations or a poetic duel of wits. The element is performed to the accompaniment of traditional musical instruments: Kazakh dombra or Kyrgyz komuz. Two akyns compete with each other in improvisation of verses on topical themes in a wit-sparkling manner alternating humour and deep philosophic reflections. During the competition two akyns sitting opposite each other develop a song-like dialogue catching up the opponent’s words and performing in turn their improvisations on the spur of the moment. Songs performed during the aitysh-aitys are improvised on whatever topics which come up depending on the wish of the audience. The winner of the competition is the one considered to have demonstrated the most musical skills, rhythm, originality, resourcefulness, wisdom and wit. The element is very popular among people and is considered as a “folk tribune”. In fact, all regions of the countries have bearers and practitioners who often represent their local communities at the poetic competitions raising up topical and urgent problems of social life and criticizing all kinds of vices. The element is practiced at various events from local festivities to nation-wide events. Aitysh/Aitys presents the art of a dialogue participated not only by the performers but by their listeners as well. It is an essential part of life for the communities of tokmo-akyns and aityskers.

Kyrgyzstan,Kazakhstan 2015

Inscribed in 2010 (5.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Mokjang or moksu is a traditional Korean term for artisans who deal with wood. Among the jobs of mokjang, daemok refers specifically to the building of wooden architecture, such as palaces, temples and houses. Woodworkers who engage in daemok are called daemokjang. The term daemokjang also refers to traditional wooden architecture. Daemokjang apply traditional skills and knowledge to construction. Thus, daemokjang complies with the definition of the intangible heritage as ‘knowledge, skills’. In addition, they use traditional materials and techniques. Thus, daemokjang constitutes ‘e) traditional craftsmanship’. Mokjang are divided into somokjang and daemokjang. Somokjang refers to those who make small-scale wooden objects, such as chests, cabinets, desks, dining tray-tables, and wardrobes. Daemokjang are those who build large-scale buildings, such as wooden palaces, temples and houses. Daemokjang are in charge of the entire construction process: planning, design and construction of buildings, and supervision of subordinate carpenters. Thus, the skill of daemokjang cannot be acquired in a short period of time. It takes decades of education and field experience. Wooden architecture has a long history in Korea. Among the best examples are Changdeokgung Palace and Bulguksa Temple, which are inscribed on the UNESCO World Heritage List. These architectural treasures were constructed under the command of daemokjang. In this sense, traditional Korean wooden architecture, built and restored with the skills and knowledge of daemokjang, are appreciated not as mere buildings, but as works of art. The knowledge and skills of daemokjang practitioners are recorded in historical documents, and verified in actual buildings. These practitioners are recognized as successors of the cultural heritage of traditional architecture. Daemokjang skill holders make efforts beyond preserving and transmitting the skills of traditional architecture. Their activities extend to the maintenance, reparation, and reconstruction of historic buildings, ranging from traditional Korean houses to national treasures. Thus, they are recognized as the guardians of traditional Korean architecture. All in all, daemokjang are recognized as successors, symbols, and preservers of the traditional architecture of Korea. This recognition plays a significant role in forming the identity of daemokjang.

South Korea 2010

Fujian Puppetry is an outstanding representative of Chinese performing arts. It consists mainly of string-pulled puppetry and hand puppetry. This performing art started to spread in Quanzhou, Zhangzhou and the surrounding areas in the 10th Century. In the course of its history, it has not only accumulated a considerable amount of traditional plays and changqiang (i.e. arias, vocal music in Chinese opera), but also developed rich and exquisite performing techniques, a unique performing system, as well as marvellous craftsmanship in the modelling of puppets. As a result, Fujian Puppetry has become an art cherished by the people of local communities where it is an integral part of cultural life. Since 1980s, changes in economic production and life style; economic globalisation and a diversified cultural dissemination and, on the other hand, the highly sophisticated performing techniques that require long and painstaking practice are the reasons behind young people’s reluctance to learn and inherit Fujian Puppetry. Given the above-mentioned situation, from 2006 communities, groups and representative bearers concerned formulated the 2008-2020 Strategy for the Training of Coming Generations of Fujian Puppetry Practitioners in order to promote the safeguarding of Fujian Puppetry transmission by focusing on the training of younger practitioners. The key objective of this strategy is to safeguard the transmission of Fujian Puppetry: -\tthrough systematic professional training, bringing up a new generation of puppetry practitioners and raising the self-sustainability of Fujian puppetry; -\tthrough overall safeguarding, educating coming generations of puppetry practitioners and appreciators, and improving the habitat of Fujian Puppetry.

China 2012

Askiya (in Arabic – “azkiya”, literally means “witty”, “resourceful”) is an original genre of folk-spectacular art, and oral folk creativity, which evolved and became widespread in the Ferghana Valley and Tashkent region. As a result of continuous evolution it achieved the level of art. Askiya is an original eloquence and witticism contest organized between two or more people around particular topic or theme (which is called by askiya performers as payrov). In so doing, askiya performers use simple words in different meanings and for different purposes. They joke open-heartedly and in a friendly manner, laugh at some unusual situations and flaws observed or run across in the daily life of their contemporaries. Not to offend his rival the performer (askiyachi or askiyaboz) has to use carefully and skillfully each word and phrase during askiya. At present more than thirty forms of askiya are known. These include payrov, qofiya, radif, bakhribayt, tutal, okhshatdim, afsona, rabbiya, safsata, chiston, laqab, gulmisiz, bulasizmi, shirinkor and terma. Although, each of the above-mentioned forms conform to common requirements peculiar to askiya art genre, still each has its own distinguishing features.

Uzbekistan 2014

Miniature - in fine art, a small picture of careful and elegant decoration, with a thin overlay of colors. A special type of miniature is painting with varnish, oil or tempera on the surface of small varnish products. In the art of miniature, there are various schools and directions. In the ХV–ХVII centuries portrait genre and the description of historical events became consistent and basic theme in art schools of Central Asia. Coming exactly to this century, such creative schools as “Samarkand school of miniature”, “Gerat School of miniature”, “Baburids’ school of miniature” has been formed.

Azerbaijan,Iran,Turkey,Uzbekistan 2020

Thai society in its way of life as well as in the commodities of its trade has been an agricultural one since in the ancient times. As a consequence of centuries of practice, farmers and orchardists have developed localized forms of wisdom and know-how on the cultivation of a variety of crops. A crucial element of this know-how lies in the mastery of irrigation methods used to maximize the productivity of the fields and orchards. The management of the water supplied by the Chaophraya river and the strong seasonal rainfalls was crucial to convert the plentiful sunlight provided by the tropical climate into rich harvests. Among the techniques that the farmers and orchardists developed, the most important way in which the flow of the Chaophraya’s nutrient-rich water to the fields was regulated was by the digging of irrigation ditches. The traditional ditch that was used most widely had its origin in southern China, from where significant numbers of Chinese immigrated to Siam during the Ayutthaya period. This technique can be used both as a way to prepare soil for cultivation and to sustainably regulate water supply to the plants. In the particular case of Bangkok, with its proximity to the sea, it is also a water management process through which the gardener can maintain the balance between fresh water, salt water and brackish water. The gardener will work to regulate the proportions of these three sources of water within their garden by purposefully designing the ditch channels without harming their crops. The wisdom behind the raised garden with a ditch and dike system consists of many small connecting canals dug by the farmers within the turf soil to fertilize the trees. The trees are planted in an elevated plot to prevent flooding during the rainy season. This knowledge of making high-ridge agricultural plots where the soil is dug in lanes is called “Oak Rong” and “Thong Rong”. Besides, the gardens’ water systems were connected to rivers and streams of the public water system.

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’. ‘Kymyz muryndyk’ (metaphorically, ‘initiation of koumiss’) is the 'first koumiss sharing' rite, opening a season of its making and drinking. 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

Thuen-pa pun-zhi (The Four Noble Friends) is a spiritual tale originating from the Jakarta Tales of Lord Buddha. It is one of the most popular tales, both spoken and depicted in pictures on the walls of dzongs (fortresses), monasteries, temples and individual homes to promote harmony, cohesion, unity and a life of integrity. The fable is narrated as follows: In a dense forest in the country of Kashi once lived a Partridge, a Rabbit, a Monkey and an Elephant, who despite their different sizes and species became incredible friends. The reason is that they have the same feeling of love and kindness for each other. Every day they helped each other find food and wholeheartedly shared everything they found. One day they spoke to each other, "Although we have been friends for so long, we don't know who is the oldest and who is the youngest among us. We should begin to respect our elders and treat our younger friends with kindness, so we must examine ourselves." Amazingly, all the friends agreed to their joint proposal. The next day, everyone gathered near a giant Banyan tree (Ficus benghalensis). For the test, the partridge allowed prompted his friends, "Look at this tree." And asked, "Which of us saw the tree first?" First the elephant answered, "When I was small and lived with my mother's herd, I saw the tree, and it was just as big as I am." The monkey followed his giant friend and said, "I also saw the tree, and it was as big as my body." And the rabbit said, "I saw the tree as a sapling with only two tender leaves, and I licked the dew drops off those freshly grown leaves." After hearing these coincidences, the other friends except the partridge acknowledged the hierarchy of age. But surprisingly, the partridge, though the smallest, said, "I am the one who nibbled the juicy banyan fruit, and it is the tree that grew from the seed I left on the ground." Knowing who was the eldest among them, the elephant paid respect to his three other friends, and similarly the monkey honored the rabbit and the partridge; and the rabbit honored the partridge because he was the oldest and most senior friend. After that, the eldest got the first part of the food they got, and then they maintained the hierarchy. When they went on threatening journeys, the youngest carried the elder, the monkey carried the rabbit, and finally the partridge enjoyed the privilege of reserving the highest seat. On another occasion, the members again discussed why we should not try, besides respecting ourselves, to do at least some virtuous deeds. Partridge voluntarily stood up and suggested, "Until now, we have intentionally or unintentionally fed on the lives of other animals. Being a predator is an unvirtuous act, so let's cultivate being herbivores." Immediately others spoke up, "Although we can avoid taking life, we sometimes feed on what is not really ours. This is an act of possession that is not granted or by permission, so from now on we will not commit ourselves to having anything that is not given or offered." They then agreed not to be possessed of food, sexual misconduct and, untruthfulness, and finally to renounce the consumption of intoxicants, especially alcohol. The four friends committed themselves to the Basic Five Virtuous Law they imposed on each other. One day, the oldest friend, the partridge, asked the rest of his friends, "Let's make other mates besides ourselves abide by our rules, who among us can bring your friends into the Law?" The monkey replied, "I can make all my fellows to abide." Similarly, the rabbit and the elephant also assured their friends to follow the rules. Gradually, all the animals obeyed the fundamental law, which led to the occurrence of favorable weather that not only brought abundant fruits and harvests to the animal world, but also enabled mankind to live in harmony. The king, fascinated by the unusual auspicious signs, called his queens, ministers, young men and merchants to inquire about the cause of this good luck, but unfortunately no one could give an answer. One day the king met a Hermit who lived in the seclusion of the forest and could predict everything, and asked him the same question. The hermit said, "All these auspicious signs are due to the virtuous behavior of the animals that live in your forest." Although the king was surprised by this news and wanted to see the animals, the Hermit urged the king to make his countrymen obey the law of animals; not to kill, not to steal, not to commit misconduct, not to be dishonest, and not to engage in the consumption of intoxicants. As advised, the King got all his citizens to obey the law, which had actually been established by the Four Noble Animal Friends. Finally, the king, the people and the animals experienced an unattainable peace, tranquility and blissful life in the present and enjoyed it even after their deaths as heavenly beings

Indonesian Batik is a traditional hand-crafted textile rich in intangible cultural values, passed down for generations in Java and elsewhere since early 19th Century, made by applying dots and lines in hot wax to cloth using a canthing tulis pen or canthing cap stamp, as a dye-resist. Patterns and motifs have deep symbolism related to social status, local community, nature, history and cultural heritage. The batik community noted the younger generation’s interest in batik is waning, and felt the need to increase efforts to transmit batik cultural heritage to guarantee its safeguarding. Thus, the following is arranged. The program is collaboration between the Batik Museum and elementary, junior, senior, vocational school and polytechnic, to include education in batik cultural values and traditional handcraft in curricula as local content or subject. The project has gone on for 3 years, and continues to expand to Pekalongan District and neighbouring Batang, Pemalang and Tegal districts. Data and interviews with headmasters, teachers and students prove that the programme is popular and successful. The project is a good example of transmission of intangible cultural values to the younger generations by including modules of cultural heritage in the curricula of educational institutions. The main objectives of the programme are: To increase the awareness and appreciation of the cultural heritage of Indonesian batik, including its history, cultural values and traditional skills, among the younger generation at elementary, junior, senior, vocational school and polytechnic educational strata. To increase the awareness of headmasters, teachers, parents and the batik community in Pelaongan, regarding the importance of transmission of batik culture to the younger generations. To involve the management and staff of the Batik Museum in educational activities for students and the general public regarding batik cultural values and training in batik traditional handcraft. The priorities of the programme are: To train staff of the Museum for teaching batik history, cultural values and traditional handcrafts to students. To prepare and distribute proposal invitations to headmasters, so that they would send their students to participate in the programme. To train school teachers to become trainers in batik local content (training of trainers), and/or to place batik craftspersons in schools to give education and training in batik. To organize tests for students participating in the programme, to evaluate the results of the transmission of batik culture

Indonesia 2009

Ebru is the traditional art of creating colorful patterns by sprinkling and brushing color pigments on a pan of oily water and then transforming this pattern to a special paper. It has been a traditional art of book enriching calligraphy and binding books for many centuries. In the 13th century, the first forms of Ebru emerged in Central Asia and spread to Anatolia through Iran. During the Ottoman period, Turkish calligraphers and artists created new forms and perfected techniques. Ebru is an art which consists in the production of certain patterns and effects, by means of color containing a few drops of ox-gall (kind of natural acid helping the colors sprinkle on the gum) so prepared as to float upon a preparation of condensed liquid with the use of kitre (kind of herbal gum), possessing certain properties to the colors prepared for the purpose and which color floated and formed into patterns upon the surface of the liquid, are taken off by laying on a sheet of paper. Several patterns such as gelgit, tarakli, hatip, bülbül yuvasi, çiçekli evolved over centuries. The colored effects of Ebru are achieved through patterns; that is by employing stereotype designs. The colors are natural pigments acquired by natural methods and most popularly employed colors are bright, fresh green, red and yellow. In other words, the designs or motifs indicate their common pattern. The most frequently seen designs are flowers, foliage, ornamental, latticework, mosque, first quarter moon and other images.

Turkey 2014

Raiho-shin rituals take place annually in various regions of Japan on days that mark the year’s beginning or days when seasons change. Such rituals stem from folk beliefs that deities from the outer world—Raiho-shin—visit communities and usher in the new year or new season with happiness and good luck. Local people dressed as deities in outlandish costumes and frightening masks visit houses, admonishing the lazy and teaching children to behave well. The head of the household treats the deities to a special meal to conclude the visit. In some communities, the rituals are held in the streets. Because the rituals have developed in regions with different social and historical contexts, they are diverse in form. For example, Suneka of Yoshihama have abalone shells dangling from their hips, whereas Kasedori of Mishima wear bamboo hats. The various appearances reflect different regional characteristics. The people who play a role as Raiho-shin also vary regionally. In some communities, men of a certain age become Raiho-shin, and in others, women play such roles. By performing the rituals, local people—notably children—have their identities molded; they develop a sense of affiliation to the community and strengthen ties among themselves. In accordance with their ancestors’ teachings, community members share responsibilities and cooperate in preparing and performing the rituals. Some prepare masks and costumes, some play a role as Raiho-shin, and others welcome Raiho-shin into their houses. Only when this ritual is over can community members look forward to a year free from misfortune.

Japan 2018

With the abacus as a tool, mathematical algorithms as a theoretical facility, Chinese Zhusuan is figure-based knowledge and practices through moving beads on an abacus according to the defined formulas. The abacus is made of bamboo or wood in the shape of a rectangle, divided horizontally into two decks with a string of five beads (one in the upper deck and four in the lower) or a string of seven beads (two in the upper deck and five in the lower). Each bead in the upper deck has a value of 5 while each in the lower has a value of 1. Atypical abacus has 13 to 19 rods connecting the beads. Zhusuan practitioners can perform mathematical calculations including addition, subtraction, multiplication, division, exponential multiplication, root, equations of higher degree, thus demonstrating the wonderful wisdom and creativity of the Chinese people. This time-honoured tradition has played a vital role in giving impetus to mathematical studies, promoting algorithmic practices, and nourishing intelligence. Zhusuan oral formulas have easy-to-learn rhymes that represent the specific calculation rules and summarize the arithmetic operations. Beginners can make quick calculations after moderate trainings, while proficient practitioners usually develop an agile mind. Through oral teaching and bodily practice, Chinese has maintained and transmitted Zhusuan for generations. With a scientific theoretical system and a simple operation method, Zhusuan has long been popular in various aspects of Chinese living and production. As an important legacy of mathematics and cultural tradition, Zhusuan has become a national symbol of cultural identity.

China 2013