The Telling Tradition of Nasreddin Hodja/Molla Nesreddin/Molla Ependi/Apendi/Afendi Kozhanasyr/Nasriddin Afandi Anecdotes is an intangible cultural heritage element on social practices and festivals related to the tradition of telling anecdotes. It is transmitted orally among generations and is shaped around Nasreddin who became a symbol of humor and wisdom. Although there are slight differences about images, names and anecdotes of Nasreddin in communities, the main features of the element have been shared as a common heritage in the Submitting States. Communities acknowledge that he was a wise person who analyzed the society well and gathered shared intelligence, thought and life experience of people in his own personality. The anecdotes of him are short and intensive narrations transmitted through oral tradition and written sources, attributed to Nasreddin whose reputation spread to the wide geographical area. Some of the anecdotes have become classic, and the epigrams of these anecdotes have turned into idioms and proverbs in time. His anecdotes are intensely practiced in the printed and visual media as well as in the oral tradition and especially in the programs prepared for children. In the anecdotes of Nasreddin, the components of wisdom, repartee, witticism, common sense, absurdity and surprise merged firm and these are distinguishing features of the anecdotes. Nasreddin breaks very often accepted norms and concepts, while finding an extraordinary way out of the situation, where he is always the winner, by the power of word. Anecdotes call for humor, satire, sarcasm, and cynicism, to reveal the negative traits of people. However, the anecdotes is a genre with an instructive, entertaining function, a profound meaning that ends with moral, intellectual, and logical results. His anecdotes include relations of different people and their behaviors in various situations. Through his anecdotes, all kinds of unpleasant behaviors are being criticized and judged through humor. Communities in the Submitting States enrich conversations with his anecdotes and support speeches with his witticism. His anecdotes are narrated easily by everyone to strengthen any thought by giving examples in the dailylife, to convince other people or to explain a situation. In some Submitting States, although there is no specific narrator or teller of these anecdotes, the artists of traditional theatre use the element to enrich their narratives and to entertain people. On the other hand, there are specific tellers of the anecdotes in some Submitting States (Tajikistan, Turkmenistan, Uzbekistan). The anecdote tellers select words and perform with great care. In this sense, it mostly depends on knowledge, understanding, thinking, performance culture and skill of the performer to tell anecdotes in meaningful, impressive and funny way. It is important for performer to know various life situations, possess an impressive culture of speech, and make use effectively and skillfully his face, eye, hand, and body movements. In Submitting States, local administrations, municipalities, universities and NGOs which play significant roles in transmission of the element, organize various activities and festivals periodically for commemoration of Nasreddin at local, national and international levels. Public participation in these festivals and activities is considerably high.

Azerbaijan,Kyrgyzstan,Kazakhstan,Tajikistan,Turkmenistan,Turkey,Uzbekistan 2022

Katta ashula is a vocal direction, a song genre typical for the Ferghana Valley, in which peculiar style and manner of singing is observed. It is performed by two or more singers in turns and without accompaniment of musical instruments. Katta Ashula is characterized by laconism (in means of expression), expressiveness (in music language), dynamism (in melodic development) and bright emotionality. Its figurative structure (or style) is closely connected to the traditional (classical) poetry of lyrical and philosophical nature. And ghazals of Navoi, Lutfi, Mashrab, Khazini, Muqimi, Furqat, Zavqi, Miskin serve as main poetic texts in this genre. Though, since the XX century the poems of contemporary Uzbek poets (such as Sobir Abdulla, Charkhi, Chusti, Akmal Polat, Khabibi, and others) as well as examples of folk poetry have been widely used. In terms of subject matter katta ashula songs can be divided into love-lyrical, didactic, religious and contemporary ones. The origins of katta ashula genre should be looked for in ancient folk-ritual chants, songs of "praise" (such as marsiya, navkha, ayolgu), agriculture- and labor-related songs with their original combination of recitative-declamatory beginning and chanting; and in distiches of ghazals (ghazalkhonlik), written in aruz prosody. Performance with high-pitched voice, existence of culmination parts, clarity of words for and their impact to the listeners – all these are features of this type of song. Katta ashula has several genres, such as “Yovvoi maqom” (“Yovvoi Ushshoq”, “Yovvoi Chorgoh”),"Yovvoyi asula" ("Yovvoyi Tanovar", "Yovvoyi Munojat"), "Yakkahonlik" ("Ohkim, gulzorim qani topmadim"). Notably, the emergence and development of Katta ashula genre is closely linked with existence of corresponding performance schools, which stand out with their style of interpretation, manner of singing and bearers. From among katta ashula performance schools it is possible to mention Qoqand, Margilan, Andijan, Namangan and Tashkent performance schools.

Uzbekistan 2009

Dancing art of Uzbekistan, which unites the traditions of oral folk creativity, songs and dances, has a rich history. This is testified by numerous archaeological findings, artifacts, wall paintings (in the palaces), ossuaries and works of miniature art of the Middle Ages which came down to us from the ancient past. Throughout history various dance styles emerged. From among them it is possible to mention "Katta oyin" (Big dance), which is a multi-part suite that includes the cycle of rhythmical usuls as well as complexes of certain dance movements associated with them, "khona bazm oyin" (indoor dances), "duchava" (dance with two sticks), "dance with teabowls" (dance with a bowl for drinking tea) , "dance with spoons", "dance with daggers", "dance on chest", "teapot dance", "kema oyin" (dance on a boat), "zangbozi", "naghora oyin", "shodi", "zamin bozi", "larzon", "lazgi", "bukhorcha", "tanovar", "Farghona ruboyisi", "Andijon polkasi", etc. From the past dances were divided into those performed by men and women. Even though there are different styles and genres, various performance manners, it is still possible to see some common features, which make up Uzbek dance to look very impressive.

Tanovar is a classical Uzbek national dance that embodies grace, rhythm, and deep emotional expression. Originating in Central Asia, particularly in Bukhara, Samarkand, and Tashkent, Tanovar is one of the most cherished traditional dances of Uzbekistan. Its elegant hand movements, soft footwork, and expressive gestures are performed to melodic music of the same name, often composed in slow 6/8 rhythm. The dance reflects themes of love, dignity, nature, and female beauty, often performed solo by women but also taught and adapted for group or stage performances. Tanovar is recognized for its symbolic gestures that convey inner emotion and storytelling without words. The preservation of Tanovar includes teaching in dance schools, cultural centers, informal community circles, and professional ensembles. It is regularly featured in national festivals, cultural days, and international performances, symbolizing Uzbekistan’s rich heritage and refined artistry.