Kazakh traditional Assyk games are an ancient tradition in Kazakhstan. Each player has their own set of ‘Assyks’, traditionally made out of the talus bone of a sheep, and a ‘Saka’ dyed in bright colours. Players use their Assyk to knock out other Assyks from the field, and the focus is on the position of the bone. The community concerned comprises most of the population of Kazakhstan, including members of the Federation ‘Assyk Atu’ Game as well as the larger community of practitioners, mainly children aged between four and eighteen. The element is an outdoor activity that helps develop children’s analytical thinking and physical state, fostering friendship and social inclusiveness. It is also a good model for positive collaboration, uniting people regardless of their age, ethnic background or religious affiliation. It is widely practised at festive celebrations and gatherings, and the community plays a key role in safeguarding the practice, as well as in popularizing it among other ethnic groups in Kazakhstan, turning it into a national symbol of childhood. It is transmitted from older boys to younger ones through observation, as well as through radio and TV documentaries aimed at encouraging children to play Assyk and acquainting people with their cultural heritage.

Kazakhstan 2017

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.

Archery is a game that people in Bhutan have been playing since time immemorial. It is played as a tournament, friendly game and recreationally. Archery has become so popular that it was declared the national game of Bhutan in 1971. With few exceptions, the materials used to make bows and arrows are common and standardized, and differ mainly because of their availability. Here in Paro, one of the western dzongkhags (districts), Mr. Rinchen Gyeltshen from the village of Shari in the Tsen-to Gewog (block) explains that archery was practiced in the days of his ancestors and that bow and arrow making never required formal, certified training or a course, but was learned naturally over time. More than 35 years ago, in the interest of the game itself, he began making bows and arrows. Even today, teenage boys can be seen enthusiastically playing archery in dry rice fields in the villages.

It is an indigenous Kazakh performing art that combines theater, music, and puppetry. Some people say orteke is a street theatre, others might claim it is a musical instrument, some would see it as a decorative art, and children perceive it as a toy and use for entertainment. Orteke represents a simultaneous ensemble of music performance on Kazakh traditional two-stringed instrument dombyra and a hopping dance of a wooden puppet. Fixed on a surface of a traditional drum (daulpaz) by a metal rod a flexible wooden figure of teke (a mountain goat) is connected to the fingers of a musician by one or several threads. Flexible head and joints of a puppet are connected to the pulling string. As the musician strikes his/her fingers playing dombyra, the puppet starts hopping in sync with the beat set by an artist. The figure turns alive making amusing dancing movements and tapping a rhythmic beat on a firm skin surface of a drum.Some masters of genre can play with 3 and more puppets at the same time. Sound of dombra, audience public in anticipation, leather surface as flat as the steppe itself, and a small wooden figure of a mountain goat, tied to the puppeteer musician by a single thread, began to beat out the rhythm with its tiny hooves. This action, fascinating with its magical simplicity, is known among the Kazakh people as "Orteke", which is fancied by both children and adults.

Kazakhstan 2022

Kota is a Fijian delicacy that is commonly produced in the maritime islands as well as the coastal areas, and has been passed down the generations. This is simply a fermented product made from grated coconut soaked in seawater for several weeks or even months to get its unique taste. In the picture, women of Qoma island are wrapping grated coconut in banana leaves to be soaked in sea water during high tide.

Sắc bùa Singing in Phú Lễ commune (Ben Tre province) was born around the mid-late 18th century, is a form of collective folk art activity with agricultural rituals mixed with Taoist magic, mainly taking place on the occasion of Lunar New Year to pray for peace and ward off evil spirits. The art of singing spells in Phu Le combines many forms of folk art, including: singing, dancing and primitive stage performances, the form of performing rituals is suitable for the level of thinking and artistic perception of agricultural residents. This is the oldest form of folk singing in the Mekong Delta region, originating from the South Central region. Musical instruments include the lute, drum, money, and money, and the lyrics are pre-existing poems that are both ritualistic and magical to ward off evil spirits and to bless. The singing team has at least 4 people, with 1 conductor, the singer is both a musician and an actor. The singing team goes and beats drums and plays instruments... to serve families in need. Depending on the occupation of the homeowner, they sing appropriate congratulatory songs. The songs of the spell have similar melodies, are easy to sing, easy to remember and close to the rustic life, and are often composed and memorized. However, depending on the circumstances, the organizers also collect new compositions to adapt into the style of singing the spell. In addition to singing, the ritual of the spell also includes dancing, mainly performed by the artists who play the money. This form has been and is being lost, in many places only the money is played but not the dance. Moreover, the rituals that involve charms and exorcisms are also becoming less and less and have been simplified compared to before. In 2017, the Sắc bùa Singing in Phú Lễ commune was recognized by the Ministry of Culture, Sports and Tourism as a national intangible cultural heritage. Currently, the Sắc bùa Singing in Phú Lễ commune is at risk of being lost due to the demand for enjoyment and the performance environment is no longer suitable. Therefore, local authorities need to have mechanisms and policies to preserve this unique art form.

Shawa Sha-khe/chi Chham (the mask dance of the stag and the hounds) or also called as Acho Phen-to (the Hunter and the servant) by its character is one of the mask dances that falls under the Nam-thar zhi-chol gi gar-chham (biography-based mask dances) category of three broad classifications of mask dances in the Bhutan. This mask dance has a characteristic of theatrical play extracted from the life story of Milarepa (1052-1135) and has various characters and episodes basically conveying the Buddhist principals of compassion, arising faith and human values that lead to a harmonious life. The origin of the mask dance dates back to the 11th century when Jetsun (venerable) Milarepa the great yogi from Tibet, converted Gonpo Dorji, a fierce hunter as his disciple who later listed as became one of his principal followers named as Khe-rawa Gonpo Dorji. In brief, the story goes as follows: While Milarepa was meditating in a cave known as Katya in Nyishangkurta (on the present-day border between the Tibetan autonomous region of China and Nepal), he heard a couple of hounds barking somewhere near to his hermitage. In a short while, a stag glistening with sweat and exhausted bounds into his cave indirectly seeking refuge from the lean and thin meditator Milarepa. Out of great and compassion and pity, Milarepa sangs a song to calm the terrified stag, which eventually laid down peacefully near to the great yogi in the cave. Led by the scent of the stag, two ferocious hounds; a red and a black-coloured appeared in lightning speed, rushed inside the cave in pursuit of the stag. Milarepa also calms them by singing yet another stanza of song dedicating to the hounds which subsides its rage and calmly sits beside Milarepa waggling its tail alike to their owner. Subsequently, the merciless hunter, the owner of the dogs, Gonpo Dorje soon arrives in pursuit of his target, the hounds, and steped into the cave frustrated, drenched in sweats, tired and a bow and arrow ready to release the trigger. The sight of his hounds and the stag calmly sitting together with Milarepa infuriates him, thinking that the yogi has used some kind of black magic on the animals. Dragged by his rage, he shoots an arrow at Milarepa which in-turn slips the arrow from his bowstring. Milarepa then sings the hunter a song to calm his mind and open it to the Dharma, but the hunter remains uncertain whether Milarepa is a great saint or else a black magic practitioner. Gonpo Dorje inspected Milarepa’s cave, and upon noticing nothing in it but an empty bowl surprised him. Overwhelmed by feelings of profound respect for Milarepa, feled deep remorse for all his past sinful actions and thereafter vowed never to commit such acts and became a faithful disciple. The mask dance has various characters such as; Shawa (the Stag), Sha-khi/che (two hounds), Acho (the hunter), Phen-to (servant), Milarepa (the Saint) and a package of Atsa-ra (clowns). The mask dance is performed only during the annual Tshe-chu (Mask Dance Festival) with several episodes portraying different scenes. The element is still vibrant in the country.

‘Chuko atmay’ is played with ‘alchiks’ (dices). Participants draw a circle with a diameter of 3-5 meters. Alchiks are placed in the middle of the circle. Order of the game is determined by throwing of ‘saka’. Two shot lines are drawn one meter away from the circle from two sides. If an alchik is beaten out of the line after the first successful shot, other shots are carried out from the circle’s line. In case of unsuccessful shot, other player takes a turn. The player, which shots out the largest number of alchiks, wins. ‘Ordo’ is one of the most spread games of the Kyrgyz. The word ‘ordo’ itself means ‘khan’s bid’. The game reproduces a battle for the capture of bid and represents some kind of a military map. A circle drawn on the ground means the enemy territory, and opponents frame a plan of the battle. Skills of leading the right interior policy are in the basis of this game as well. Ordo is played by two teams (6-10 people at each team). Playing order of the game goes in the round or by using elimination principle. Duration of the game is about two hours. The essence of the game is to strike the khan’s ordo placed in the center of a circle (16 meters in diameter) with the abalak (bat), as well as to push khan himself and voivodes (generals) out of the circle. The team, which strikes the largest number of voivodes out of the circle, wins. ‘Kan talamay, Upai’ is a traditional game with dices of ovine knee joints ‘chuko’. Players are divided into two teams consisting of 2, 4 or more. The number of dices needed for the game vary from 13-37 or more. The purpose of the game is to collect as much upais as possible. The largest dice is determined as ‘khan’ and dyed into a vivid color. Starting player takes all dices in his joint palms, placing khan in the center, and scatters them all onto the carpet. The first player tries to strike the khan. If the target is hit, the player continues to play, and in case of a failure – the next player enters into the game. Shots are done by the dices with equal position. There are also special regulations

Salburyn is a festive event and an important component of Kazakh equestrian hunting with falcons and tazy greyhounds. It is a traditional ritual of transmitting hunting knowledge from skilled hunters to beginners and apprentice participants. Salburyn lasts 5-7 days, it is held in the winter hunting season. It is conducted at a large open space where the participants establish a camp of Kazakh yurts and tents as common areas. During the initial 2-3 days the experienced hunters share their knowledge and hunting methodology with young hunters. The hunting commences in the early morning after the elders give their blessing (bata). First part is compiled of pathfinders (yz kesushi) who read the game traces and establish the hunting ways. Participants split into the groups compiled of both more and less experienced hunters. Golden eagle hunters (berkutchi) detect the target and throw the eagle vectoring their flight trajectory with the hand movement. The tazy greyhounds are used in pairs. Some hunters are employing both eagles and tazy together. The triumphal celebration is organized for the hunters returning back, where elder women shower them with sweets. The hunters then bestow the pray to the elders hunters.

Trò Trám Festival (also known as “Linh tinh tinh phoc” Festival) takes place annually on January 11 in Tứ Xã commune, Lâm Thao district, Phú Thọ province. The festival includes games of plowing, planting, fishing, casting traps, weaving silk, bows, carpentry, buying and selling spring and teaching performed at Trò temple yard. In addition, Tứ Xã people also participate in the performance of “Tứ dân chi nghiệp” depicting in the most rustic way the professions in ancient society. After the solemn and respectful ritual is the “Lễ Mật” with the love phoc ritual taking place at Trò temple. Two men and women selected in advance hold “nõ, nường” (meaning the genitals of men and women) to perform sexual intercourse activities. If they hit the target 3 times, they will have a good harvest; if they hit it twice, they will have a good harvest; if they hit it once, they will have a bad business. Trò Trám Festival is a unique festival of Tứ Xã commune people to honor the fertility beliefs of agricultural residents, which is respected and preserved by the people here.

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

Falakhmon is a simple tool for throwing small stones. Boys are engaged in this game, to contest in far throwing stones and also focusing to a target.