Suri Jagek, literally translated to ‘observing the Sun’ is the traditional Kalasha meteorological and astronomical knowledge system and practice based on the observation of the Sun, Moon, Stars and Shadows with respect to the local topography. The practice of Suri Jagek demonstrates the relationship of the Kalasha people with their surroundings and the capacity of their immediate geographical context to sustain their way of life. Suri Jagek is a knowledge system which connects a long history of “events” to topographical locations. The system is a complex structure of empirically observed accumulated knowledge and is repeatedly referenced to allow the Kalasha people to predict the appropriate time for the sowing of seed, animal husbandry and natural calamities. It is also used to govern the Kalasha calendar by determining dates of important social events, festivals, feasts and religious ceremonies. It draws greatly from the rich cultural heritage and social practices of the people, therefore functioning in the capacity of a repository of the history of the people and the region at large. Visual cues existing within the periphery of the topography are used to mark the specific positions of the rising and setting Sun, and hence the collective markings are used to record the positions of the Sun throughout the year. Observatories called ‘Suri Jagaekein’, are chosen in each village to observe the rising Sun, and a separate location is assigned to observe its setting. The specific positions on which the sun casts its shadows are also marked in some people’s houses on walls or poles etc. Individual localities have their own specific knowledge, generated using the common processes of marking the positions of the Sun. Qazis, who are authorities on matters pertaining to religion, history and indigenous models of conflict resolution, farmers, some shepherds and a few village elders are the knowledge bearers of Suri Jagek and the observations at the Suri Jagaekein made by various community members are shared in communal gatherings. A general consensus is reached in a Jirga (communal forum); however, presently this is only practiced in the Rukmu valley on the 16th of December. Knowledge related to the constellations of stars, meanings of various types of rainbows and the study of clouds as well as shadows are all in the wider ambit of Suri Jagaek. The Libra constellation known as Tarazu is considered particularly important during the Spring period coinciding with the month of Amaal Mastruk. When the constellation is observed in its clarity during the month, it is indicative of the ground softening the next morning; a time considered vital for the planting of crops.

Pakistan 2018

Whistled language is the name given to a method of communication that uses whistles, a sound made with the help of the fingers, tongue, teeth, lips and cheeks, to simulate and articulate words. Whistled language is a variety of shrill sounds, which are created by forming the tongue into specific shapes in the mouth and using the vocal chords to articulate a wide range of phonemes. Based on a variety of syllables, the language is produced by combining different sounds or tones that emanate from the vocal chords. Words in any spoken language can be articulated using this whistling technique. The challenging and mountainous terrain, which create a tough environment in Turkey’s Eastern Black Sea Region, has resulted in cultural practices that are very different from other parts of the country. One of these practices, most of which relate to nature and the environment, is the whistled language. The steep mountains and rugged topography of the region have resulted in houses being built that are remote and inaccessible from one another, giving rise to the local population finding an alternative way to carry out daily communication through the use of high pitched, loud sounds, which are created by whistling across the large distances. How this obstacle to face to face communication has been resolved is a strong indicator of human creativity. Whistled language, which can also be seen in various other regions of the world, is an environmentally friendly form of communication that not only makes life easier and more harmonious but also reinforces social bonds for the people living in the region. Whistled language has a melodious and rhythmic pattern that is formed by combining many distinctive sounds that are established by consensus. With these patterns of sound, it can be possible to simulate, morphemes used in daily life, such as “Okay”, “come” and “go”; to exchange short dialogues for warning and SOS or calling for help, such as “There is a forest fire!” and “Would you like to join us tomorrow to harvest hazelnuts?”. Although the determining factor in the use of this language is the emulation and recognition of fixed phrases expressed using the whistled language technique, new words and phrases that are entering the modern lexicon can also be incorporated. In other words, the cultural life of the element is constantly being renewed with the introduction of up to date expressions. Given the possible negative impact of modern technology on the natural environment and aspects of human health, one can see that not only is this element environmentally friendly, it also appears to contribute to environmental sustainability. The bearers of this linguistic legacy are now trying to broaden its use in their region by focusing on the element’s environmentally friendly characteristics. The whistled language is used as a cultural means of expression by all segments of society, with no distinction in terms of age, gender, young and old. The practitioners of the element are mainly agricultural communities who spend most of their lives outdoors. In addition, governorates, district authorities, municipalities, universities, and mukhtars (village representative) all play an active role in safeguarding the whistled language with administrative and financial contributions, while the Community Education Center in the Çanakçı District contributes with educational programs and the Bird Language Sustenance Culture and Tourism Association contributes with projects and various social events and activities. Used to meet daily communication needs with its melodious and rhythmic pattern, whistled language is therefore not only a functional indicator of human creativity, it also has an aesthetic quality. Whistled language is an apparent part of the users’ cultural identities and the concerned communities consider that the reflection of their cultural identity is one of the reinforcing elements of interpersonal communication and social solidarity. In this context, naming the village that has been sustaining this cultural indicator, as “Kuşköy” (meaning: bird village), shows that they perceive it as an element of their cultural identity. Moreover, in Kuşköy Village, the whistled language is also called as “bird language”. These days, with the increasing use of mass media, interpersonal communication is weakening and social divides are deepening. Particularly during a time such as this, whistled language, as a natural communication tool, supports not only mutual understanding, respect and solidarity, but also the environment, in terms of sustainable development.

Turkey 2017

A kind of man dance which is distributed in mountainous districts of the country. Dancer during his dancing uses a stick.

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

Sybyzgy (kaz. "syb" - whisper, whispering, "yz" - buzzing, rattling, "gy" - the end of the word, the term, meaning hissing sound) is one of the most ancient and fascinating with specific magical sounding wind instrument of traditional musical life. Popularity of sybyzgy among folk musicians explained by the simplicity of the forms and the availability of the material from which it is made - the hollow stem of the umbrella plant -kurai (“qurai”). Name of the musical instrument comes from the specific of pronunciation of the Kazakh coloristic tembroideal sound ө which arises from the sensitivity of auditory perception overtones. However, the pure sound of sybyzgy related to timbre coloring and the sounds it produces something trembling, resembling high flute. Therefore, the people say: “Sybyzgynyng bezildegen uni” (“sad, crying sound of sybyzgy”). Sybyzgy is made from cane, as well as of wood and copper. From three to five holes were made in the hollow cane. Technique of playing on sybyzgy is difficult, despite the primitive nature of the instrument. However, this kind of design can give a deep, “natural” tone and rich overtones sounds. Three holes in the tool allow you to use more than two octaves. Masters performers on sybyzgy noted three method to extract the sound: the sound of the instrument, the sound resonates from the sound hole and the throat.

Although the origin of yak breeding in Nubri is not known, it can be stated that it has been practiced there for a very long time. The villagers get almost all their needs from the yaks. Milk is the most important product obtained from the yaks. It is consumed either raw or boiled. Raw milk is also used to make tea, and it is also sold or bartered. Milk can also be used to make butter, which fetches a good price. There are two types of butter production: churning and machine processing. In churning, butter is traditionally made in a wooden vessel. In machine production, modern technology, a milk separator, is used to extract butter. Cheese and hard cheeses are also a good source of income for livestock farmers. Then the whey is used. Of all the products obtained from yak, Phe-lu is another unique traditional dish. Phe-lu is a sticky substance that tastes like aged cheese and is specially made from the milk of Bjim (female yaks). There are two types of Phe-lu: one made from milk and the other from curd. Phe-lu made from milk is considered better because cheese made from curd can easily turn into zoedey (fermented cheese). For a kilogram of milk Phe-lu, one gets about 800 to 1000 Ngultrum (Bhutanese currency), and for a kilogram of curd Phe-lu, slightly less, about 600 Ngultrum. It is usually produced in the highland areas where people depend mainly on livestock and dairy products. Phe-lu is a remarkable representation of nomadic life. It shows how nomads subsist only on milk, but in different ways, either by selling it or consuming it directly. In Paro Dzongkhag, Tsento Gewog is located in a highland area where yaks are raised and dairy products are either sold or bartered. Phe-lu, which is made from yak milk, is produced in Tsento Gewog. Phe-lu is mostly made in the 5th, 6th, 7th and 8th months of the Bhutanese calendar.

Skills of beaking a kind of bread called as “Bread of shepherd”.

A kind of traditional children game. Participants play the role of shepherd, wolf and sheeps.

Shepherd dance. Man dance is performed during the wedding, celebrations and traditional holidays. Dancer keeps a stick in his hand and imitates the actions of shepherd.