Âşıklık tradition is a multi faceted art form which includes the oral tradition, music and narrative telling. Performers of this art go through a years-long apprenticeship under the guidance of master âşıks. Âşıks have formed a distinguished style in Turkish Literature through the numerous literary works both in verse and prose; which has come to be acknowledged as the tradition “Âşık Style”. This tradition encompasses saz playing, âşık tunes, improvisations, repartee, and narrative telling with love as its main theme. Although there are various views about the origin and the formation of Âşıklık Tradition, it is widely accepted that the roots of the tradition lie in pre-Islamic and early Islamic Turkish epic narrators which are called “Ozan” or “Baksı”. Âşıklık Tradition emerged as a result of the changing political, social, cultural and economic conditions in the 16th century. Most renowned representatives of the tradition are Karacaoğlan, Köroğlu, Kazak Abdal, Pir Sultan Abdal, Ercişli Emrah, Gevheri, Âşık Ömer, Levni, Kul Himmet, Dadaloğlu, Dertli, Ruhsati, Bayburtlu Zihni, Âşık Şenlik, Âşık Sümmani, Âşık Mahsunî Şerif, Âşık Veysel, Davut Sulari, Âşık Murat Çobanoğlu ve Âşık Yaşar Reyhanî. Âşıklık tradition is transmitted from masters to apprentices through training and education similar to other oral, auditory, visual and material-based fields of Turkish culture. This transmission is completely actualized through oral channels. Âşıklık Tradition has a social side to it, in the sense some of the motifs of the poems and tales told by Âşıks are the problems of the society and âşıks themselves are perceived as enlightening and guiding figures. Poems of this tradition are written in syllabic meter, blending into a unified meaning in quatrains and gaining rhythm with rhymes. Works of Âşıks are combinations of music and poetry. Saz is an integral part of the tradition. Saz instruments played by âşıks are made of chestnut and mulberry trees. They generally have six, eight or twelve strings. Saz is usually played with a kind of plectrum called “tezene”. Âşıks of our times perform their arts in festivals, festivities, weddings, âşık coffee houses and Cem rituals. In traditional weddings, as important performing venues for âşıks, they not only entertain the public but also fulfill their teaching and guiding roles through anecdotes and tales. Âşıklık tradition is still very much alive in cities like Kars, Erzurum and Kayseri, where âşıks also perform in âşık coffee houses. Alevi-Bektaşi rituals are other gatherings where âşıks, known as “zakirs”, recite poems reflecting the beliefs and world-views of Alevi-Bektaşi philosophy. In addition to their usual performing venues, various activities and festivals organized by NGOs and local governments are emerging as new occasions for âşıks to perform their arts. Some of the most essential concepts in Âşıklık Tradition are mentioned below. Master/Apprentice Discipline: Âşıklık tradition is not only based on singing, reciting or playing an instrument but it is also a training-based tradition. The âşıks are, in general, trained by a master grasping the know-how of his master’s art, utterances and poems. Once they become masters in their arts, they start training apprentices on their own and thus the tradition is preserved. Drinking Bade: A youth destined to be an âşık would have a dream in which he is offered with a goblet of bade by a wise spiritual leader (Pir) or by his beloved. From that moment on, the young man wakes up divinely inspired to make verses, sing songs and recite poems. Choosing The Mâhlas (Pseudonym): Mâhlas is the pseudonym which the poet uses instead of his real name. The âşıks utter their pseudonyms in the final quatrain, which the âşıks call “introducing oneself” or “recognition”. Riddle: Riddle is a poetry genre in which the name of a person, being or thing is concealed. The tradition of singing the favorite riddles and unraveling those has been preserved up to date among the âşıks as a masterly skill. If there is no response for the riddle, the âşık himself unravels it. Repartee/Improvisation: Repartee is acknowledged as a cultural value, a figure of speech and pun as regards to oral tradition. This art has a function of teach and delight. During the challenging performance between the âşıks, beginning with a verbal dueling part, they compete with each other on the aptness, humor and beauty of the poetry and improvisation using alternating lines and improvising witty jibes in front of an audience. Leb-değmez: Verses with a needle between the lips: This is a style of reciting poems avoiding the consonants like “B, P, M, V, F”, pronounced by teeth and lips, to perform the masterly skills of the âşıks. The âşıks put a needle between their lips in that style of reciting poems. Folk Tales: Developed and preserved thanks to the master/apprentice discipline of the âşıks, also known as “narrators”, “Folk Tale” is a genre encompassing narrative style, poetry and music.

Turkey 2009

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

The three-day pilgrimage to the St. Thaddeus Apostle Monastery is an annual event that marked its 64th anniversary in 2018. The pilgrimage is a community celebration held in July with the participation of the Armenian communities of Iran and Armenia and other countries. The pilgrimage is inclusive for those who wish to attend: clergy, community leaders, regional and local governmental officials, laypeople, artisans, people with disabilities in search of a healing power from the Lord that may be granted to them with mediation through the holy spirit of St. Thaddeus, children and the elderly. The pilgrims gather for religious celebrations and special cultural, folk and educational performances. In Iran, busses and caravans transport individuals from Tehran, Isfahan, Tabriz, Salmas and Urmia to the St. Thaddeus Apostle Monastery. Hundreds of pilgrims attend the event from all over Armenia, including the capital city, Yerevan, other cities and bordering towns and villages to Iran. Hundreds of tents are erected in the countryside for more than 6000 pilgrims who attend the three-day ceremony from Iran, Armenia and overseas. The pilgrimage venerates two prominent Saints: St. Thaddeus, the Apostle of Christ, and St. Santukhd, the first female Christian Martyr. The commemoration ceremony includes special liturgies, processions, prayers, homilies and fasting. It culminates in a divine liturgy (Holy Mass) with Holy Communion and the anointment of the water blessed with Holy oil. Special times are set aside for traditional Armenian folk performances that include special music and songs. Artisans and craftsmen demonstrate their works of art at special stands. Ethnic Armenian dishes and delicacies are served at appointed times during the Pilgrimage.

Armenia,Iran 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.

Communities in the Federated States of Micronesia (FSM) and in particular, communities of the outer islands of Yap state, continue the age-old indigenous traditions of building long distance ocean voyaging sailing canoes from local materials; and of traditional ocean navigation (wayfinding) without maps or instruments. As such, these communities preserve (their local versions of) the technical and intellectual traditions which are the last vestiges of indigenous traditions involving crafts, sustainable materials, design, mathematics and navigational reasoning. These traditions and technologies made possible the settlement of thousands of islands across the entire vast Pacific Ocean. These traditions are now lost in most Pacific nations. It is of note that the much celebrated Polynesian seafaring renaissance, and the history-changing voyages of the Hokule’a, would not have occurred without the involvement of a Micronesian master navigator, Mau Piailug, who taught the Hawaiians navigation skills long lost in their own culture. In addition to celestial navigation, the traditional wayfinders use a huge variety of environmental cues, including: atmospheric phenomena (the gathering of clouds over islands beyond the horizon); the subtle perturbations of swells caused by islands beyond the horizon; the behavior of (long distance flying but land based) seabirds and the occurrence of other air and water species.

Micronesia 2021

Gunduri is a straw mat, an agricultural byproduct consisting of the dry stalks of cereal plants after the grain and chaff have been removed. The temporary biodegradable products are made of natural material from the cereal crops such as barley, maize, oats, rice, rye, and wheat. It is used in villages and is locally made by the woman who has the skill to put it in a place. Whereas it is made of rice straw mostly in Tsirang, part of Dagana, Sarpang, and Samtse Dzongkhags. The making of the straw mats is carried out during the autumn season after the harvest of rice. It is also known as Gunduri in Lhotshamkha. The Gunduri making in Semjong gewog under Tsirang dzongkhag is still one of the unique cultures and traditions they have been practicing for so long. They prefer to use Gunduri because of their culture and tradition which have been preserved for so long. Mr. Singh Bir Pradhan, 81 years old from upper Dzomling shared that they had used the Gunduri mat during the involvement of many people like marriage ceremonies, funeral rites, and when there was a celebration in the village. Due to the change in time, the practice of making Gunduri is declining because of available cheap carpets in the market. People prefer to use the Gunduri mat because of its comfortableness and convenient in many ways but it takes time, patience and lots of practice. These days people hardly practice the Gunduri making in Semjong gewog but however they still use the Gunduri mat that are woven aforetime which are in a good condition.

Abi (Grandma) and Meme (Grandpa) is a native story about the local deity of a Durung Chiwog under Yangnyer Gewog in Trashigang. Durung is one of the farthest chiwog (Community) under the gewog (block) and is a native place and origin of the story. There are different information regarding the origin of Abi and Meme as a local deity of the community. One of source tells that Abi Sangay Lhamo and Meme Gempola were believed to be from Demkhar Village, a village located downhill of gewog centre under Darjeling chewog. Whereas another source states that Meme Gempola was from Demkhar and Abi was from Narang under monger gewog today. However, another oral transmission also states that Meme and Abi were from Zhangzhung, Tibet and they descended to the Durung due to internal conflict with the leader of Zhangzhung. Today, people also believe that the great grandparents of Abi and Meme must have moved and settled from Tibet creating the confusion to these days that Abi and Meme were from Zhangzhung (Tibet). One source emphasize that they had a daughter called Sangay Dema and she went to Woongkhar, a village at Drametse and got married there. Later, Abi and Meme went to her place to attend the death rituals of their late grandchild. Another source also states that Abi and Meme went there to attend death rituals of their relatives. While returning back after attending the rituals, they spend night beneath the cave at Dochurkhaktang near Sengderi, located at downstream between Durung and Narang. At night, the flood washed Abi and Meme from the place killing them on the way. Therefore, it is believed that both are born to Donesphu (large stone) as deity in the place presently below Durung village. It is believed that they protect and have control of land from Boe-Lhasa to Jagar-Dorjiden. Moreover, one of the religious texts (Soelkha text) states that Abi and Meme have control of land and people from Lha (Deity) Wogmay till Jagar Dorjiden.

Ak-kalpak is a traditional Kyrgyz felt headwear. Kalpak is appreciated and worn by all men regardless of age and status. Kalpak is one of the most iconic and recognizable elements of the Kyrgyz culture. The word Ak has several connotations in Kyrgyz language. One of the meanings is “sacred”, “pure”. The kalpak’s shape has not changed in centuries because this shape symbolizes the heights of surrounding mountains and the purity of the folk spirit. There are many varieties of kalpak. Based on various techniques of felting, cutting and sewing, there are more than 80 types of kalpak. Almost all kalpaks have embroidery patterns on them. Each pattern has its own sacral meaning and history. Two varieties are most popular at the moment. One has one small cut in front and the other one, called Bakai kalpak, has two cuts on the sides. Bakai kalpak is worn by people of older age. Various colors on kalpak edges are used to symbolize the age of the kalpak owner, although these rules are not set in stone and there are many exceptions to this rule in everyday life. -\tGreen edged kalpaks are for children. Young boys wore those kalpaks. Green is a color of youth and shows that they are at the beginning of their life paths. -\tBlue edge is a color for adolescents. This was the color for men over 20s. The color of sky symbolized maturing. - Brown edged kalpak was worn by men over 30 years old. Brown symbolized that the person already has a family and as a head of the family have accumulated enough life experience and is ready to serve the country. - A beige colored edge was worn by mature men over 40, when they could serve as an example for the younger generation. - Black edged kalpak was born by elderly men over 60. Black edge on a white felt symbolizes wisdom. An elderly widower wore a white kalpak with black felt edge. It meant that his kids allowed him to marry again. - The most honorable completely white kalpak was worn by wise elders. Such kalpak is given to acknowledge his leadership and authority.

Kyrgyzstan 2019

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.

The obligatory ritual for all men, marking adulthood, is usually held from the end of winter to the end of January of the following year. If the person dies before the ceremony, the family will do it before the funeral. Usually there are 3 levels: 3, 7 and 12 lights. The shaman presides over the ceremony with an interplay of musical instruments, costumes, and offerings. It includes a lot of rituals according to the process: Presenting ceremony of the person receiving the ceremony, Ceremony of giving and lowering of lamps, Ceremony of naming of Dharma names, Ceremony of delivering the sound of soldiers and rice to feed the army, Ceremony of crossing the bridge, Ceremony of granting worshiping tools, The ceremony of imparting the magic power, the ceremony of worshiping the sun god, the ceremony of red silk, also known as the second wedding ceremony, the ceremony of worshiping the rice souls, the ceremony of visiting heaven or the second birth ceremony, the Ascension Ceremony.

Bài Chòi is a diverse art form combining music, poetry, stage acting, painting and literature. It takes two main forms: "Bài Chòi games" and "Bài Chòi performance". "Bài Chòi games" are played during Lunar New Year by Việt people of Central Việt Nam. To play Bài Chòi, nine or eleven bamboo huts are built in a U-shape within a temple yard or in a vacant ground. The hut placed at the bottom of the U shape is called "main hut" (chòi cái), and the game leaders, who can be either male or female, are called Hiệu artists. The game leader takes a card out of a tube of cards, and then sings for people to guess what the card is. This part is called "Hô Thai". Players buy three cards and wait in the hut. Anyone whose three cards match the cards sung by the Hiệu artists will be declared the winner and given the prize. A new session will then restart. "Bài Chòi performance", male and female Hiệu artists perform on a rattan mat. They either travel from place to place to perform, or otherwise are invited to play for private families, forming rattan-peforming or mobile Bài Chòi styles. A single artist may also perform "solo Bài Chòi". In this case, the artists performs a number of theatrical roles. For some artists, Bài Chòi performances are a mean of earning a living. Musical instruments accompanying Bài Chòi include the two-stringed fiddle, clappers, shawm and war drums.

Viet Nam 2017

Situated in the South Pacific, the Vanuatu archipelago has preserved a unique and complex tradition of sand drawing. This multifunctional “writing” is more than an indigenous artistic expression and it occurs in a wide range of ritual, contemplative and communicative contexts. The drawings are produced directly on the ground, in sand, volcanic ash or clay. Using one finger, the drawer traces a continuous meandering line on an imagined grid to produce a graceful, often symmetrical, composition of geometric patterns. This rich and dynamic graphic tradition has developed as a means of communication among the members of some 80 different language groups inhabiting the central and northern islands of Vanuatu. The drawings also function as mnemonic devices to record and transmit rituals, mythological lore and a wealth of oral information about local histories, cosmologies, kinship systems, song cycles, farming techniques, architectural and craft design, and choreographic patterns.

Vanuatu 2008