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

Mongol deel is a long gown with diagonal or square lapels that can be affixed on both sides. It is the main costume of the Mongol nations and it has lost neither its fundamental design nor style even after centuries of use. The ancientness of the design of the deel is suggested by the appearance of pre-historic people wearing sheep skin coats in ancient petroglyphs. The deel has developed to be compatible with the health, physiological characteristics, and daily life of the pastoral nomads of Mongolia. This garment is also uniquely suited to the harsh weather condition to which the Mongolian lifestyle has adapted. The accessories to the deel also serve many purposes: the long cuff at the end of the sleeves can be used as a glove or liner and the wide belt worn with the deel is designed for protection against kidney disease and back aches, while also serving as a blanket or pillow on long journeys.

Ornaments are a very important part of the Mongolian decorative arts. They represent traditional artistic expressions that depict the origin, essence, and meaning of various things and phenomena of our life and the universe. Mongolians describe ornamental figures in three different ways: animal-ornamental patterns with geometric motifs are called khee (pattern), ornamental patterns with round curved grooves are called ugalz (scrolls), and ornamental patterns with dualistic features are called arga bilig (spiral patterns). For their purpose and placement, the ornamental patterns are classified as central ornaments, corner ornaments, angle ornaments, and fringe ornaments. Mongolian ornaments may be classified plant ornament, animal ornament, natural phenomena ornament, geometric ornament and banner ornament.

Literally meaning a “play ground”, Gầu Tào is often hosted by three families of the same blood line or by marriage. The festival takes place at the Gầu Tào hill from the 2nd to the 4th days in the first lunar month. A ritual master will be invited by the families to help carry out the ritual ceremonies. Some of the important rituals are cutting a bamboo tree and erecting it as the ritual pole. After cutting the bamboo, the ritual master ties two black and one red pieces of hemp fabric onto the tree’s top as a symbol for communal solidarity and invitation of ancestors to the festival. He will also attach one wine container made from gourd fruit and three small bundles of rice flower as symbol for fortune and luck, and a bunch of sưi fern plant as fecundity before erecting the pole, facing East for the three-day festival. The ritual master will do chanting, while making offerings before erecting the ritual pole. Members of the family will sing traditional ritual songs during these rituals. During the festival, there are games and performances, especially khèn music and dances, which the village members and visitors can take part in. On the last day, ending the festival, the ritual master holds an umbrella walking counterclockwise around the ritual pole while singing khâu dìn sê (descending the ritual pole). The bamboo pole is later used make bed and the linen to make baby clothes as a wish for good luck.

According to tradition, every year the Mother Goddess Festival is held on the 23rd, 24th, 25th, 26th, and 27th days of the 4th lunar month, the main day is the 25th. On the night of the 23rd, the ritual of bathing Mother Goddess is performed (llitting two large candles in front of Mother Goddess statue; the elders chant incense, offer wine and tea; women clean the statue's bones, applied perfume, change her clothes and put on her hat behind a curtain with letters and patterns. colorful). On the afternoon of the 24th, the ceremony invited Thoại Ngọc Hầu from Sơn Mausoleum to Bà Temple. On the night of the 25th and the morning of the 26th, Túc Yết ceremony, offers a live white pig (cleaned of hair, gutted), a tray of raspberries, a tray of thick cakes, a plate of rice, salt, a plate of blood, a bowl of water, a tray of fruit. After the offering ceremony, there is the adoration ceremony (theater troupes perform traditional operas and shadow dances). At 4:00 a.m. on the 26th, the chief worshiping ceremony takes place, with rituals and offerings similar to the Túc Yết ceremony. On the afternoon of the 27th is the ceremony to return Thoại Ngọc Hầu to the mausoleum. The festival part takes place interwoven with the ceremony part, with many folk performances such as lion and dragon dance, tray dance, and plate and cup dance.

Viet Nam 2024

Cultural space of Baysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of Humanity of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Baysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Baysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

Uzbekistan 2008

Nooruz is the New Year by solar calendar in Central, South and SouthWest Asia countries. March 21 marks the start of the year in Kyrgyzstan. Nooruz meaning ‘new day’ when a variety of rituals, ceremonies and other cultural events take place. An important tradition practiced during this time is the gathering around ‘the Table’, decorated with objects that symbolize purity, brightness, livelihood and wealth, to enjoy a special meal with loved ones. New clothes are worn and visits given to relatives, particularly the elderly and neighbors. Gifts are exchanged, especially for children, featuring objects made by artisans. There are also street performances of music and dance, public rituals involving water and fire, traditional sports and the making of handicrafts. These practices support cultural diversity and tolerance and contribute to building community solidarity and peace.

Kyrgyzstan 2016

Generally Bhutanese Buddhists have several terms for building wealth such as yang, yang-gug or phya-gug. This is a ritual dedicated to the goddesses of wealth- Tshering ma chey-nga, the five sisters of longevity, and Nam-sey (Skt. Kubera), and it also makes tribute to the symbolic precious cow yang-nor who represents the best of the cattle who served one’s ancestors by feeding and providing for them. The ritual is performed alongside an annual ritual locally called Lha-sey which gives thanks to tutelary deities. The people of the Nurbugang community conduct yang rituals mostly dedicated to the Yang-nor. Practices such as displaying the horns of a prosperous cow or ox; and tools from cattle like Wong-ka a blowing tool made of wild buffalo horn, Thang-nang Nam--bu rung large flute, and Sen-za Nam-bu rung common musical instruments including rope and other associated tools and materials. In practice, after the ritual the villages include several unique mundane activities that are not prescribed in the Buddhist texts. These traditional practices fall within religious practice, and it is said there are only few households who organize such ritual in the community. According to the Buddhist terminology, yang-gug is the ritual of wealth enrichment, also known as phya-gug but, depending on the usage and understanding the meaning of the ritual different local terms are given such as; yang and Yang-nor. However, both yang and Yang-nor is the ritual dedicated to deities Tshering ma and Namsey and giving thanks to the Yang-nor or the most prosperous cattle of the family. When witnessing the ritual performance, the prayers are mostly dedicated for the enrichment and prospering cattle and making tribute to the cattle who had served their forefathers to receive the blessing of enrichment. In accordance to Namkhai Norbu (1984) The Necklace of gZhi: A Cultural History of Tibet. The ritual performance of yang was one of the thirteen rituals performed by Bon-po (Bon tradition practitioner) ever since the enthronement of Tibetan King Nya-tri Tsanpo, well before the arrival of Tibetan Buddhism in Tibet. The twelve Bon rituals are as follows; 1.\tGon-shey Lha-bon:\tBon-po who can liberate sentient beings. 2.\tYang-shey Cha-bon:\tBon-po who can accumulate wealth through yang ritual performance. 3.\tdro-shey lud-tong:\tBon-po who can clear the obstacles by performing exorcism . 4.\tdur-shey sid-gshen:\tBon-po who can overcome barriers. 5.\tTsang-shey sel-dep:\tBon-po who conducts purification ritual and overcome obscuration. 6.\tdrol-shey ta-bon:\t Bon-po who can treat horse. 7.\tFen-shey men-che:\tBon-po healer. 8.\tKoe-shey tse-khen:\tBon-po astrologer. 9.\tmra-shey to-gu:\t\tBon-po who can perform nine types of rituals by preparing sacrificial cakes. 10.\tdeng-shey sha-wa:\tBon-po who can make a stag effigy fly. 11.\tful-shey ju-thig:\t\tBon-po who has the capability to make effigies fly in the sky. 12.\tdro-shey thrul-bon:\tBon-po who can triumph over the obstacles by miracle. The tradition of Yang-shey Cha-bon was later reformed and incorporated in the Buddhist tradition of Guru Padmasambhava in late 8th century. The deities Namsey (god of wealth) and Tsheringma (god of longevity), widely revered in Bhutan, were appointed to bring prosperity through the performance of Yang rituals. Many Bhutanese practitioners include these two deities among their tutelary deities Lha-sey (lha-soel). The Yang or Yang-nor ritual is conducted at the final part of other rituals as afterwards the house has to be confined at least for three days to keep the accumulated blessings. Every single thing that belongs to the house owner has to be impounded. It is believed that the blessing of the enrichment rest upon the things of the host thus, anything that is sent away from the house after the Yang ritual is a certain sign the blessing will be broken or lost. Yang-nor displaying things Yang-zey: -\tThe sacrificial cakes that represent the gods of the wealth, Namsay and Tshering ma, are prepared along with the Tormas (ritual cakes) of the family tutelary deities in the alter. -\tAt a corner near the shrine, the most beautiful and expensive clothes are displayed. On the spread clothes, three stacked bowls are filled with different cereals and adorned with precious gems are displayed in accordance to the Lama Nor-jam text of the Terton Pema Lingpa tradition. -\tOther related ritual items are grandly presented in front of the stacked Yang-zey. -\tCattle effigies made of dough and decorated with butter and flower are prepared and displayed on the plate. -\tNear the Yang-zey, various yang things; Yang-do, Yang-bum and the horns of prosperous cattle and associated herding tools like; Wong-ka, Thang-nang Nam-bu rung, Sen-za Nam-bu rung and Yai (churning container) Ta-khur (Churner) and other old things handed over by the forefathers are neatly exhibited in a bowl filled with grains.

Costume Decoration Art is associated with Xá Phó women's costumes such as square head scarves, shirts, and skirts. According to traditional beliefs, Xá Phó women must know how to grow cotton, weave fabric, dye indigo, cut, piece, sew, and embroider costumes. The patterns shown on the costumes are mainly embroidered and beaded. The main color of Xá Phó's clothes is black indigo. They use red, blue, yellow, and white colors to dye thread to embroider patterns on costumes and accessories. In the overall indigo color of the entire outfit, Xá Phó women have chosen and coordinated the following colors: white, red, green, and bright yellow are the main colors of the square head scarf; The upper part of the shirt is white, red and has vertical patterns; The middle shirt is mainly red, mixed with a little white with horizontal patterns; The hem of the shirt is darker red than the middle part of the shirt; The sleeves are indigo, indigo mixed with white, and light red; indigo skirt waistband; The skirt body is structured with red, white - indigo - red, white - indigo patterned strips and the skirt part is a brilliant red patterned strip. Thus, it can be seen that symmetry is an important and dominant principle in the art of color mixing of the Xá Phó people. Creating patterns of the Xá Phó people includes realistic patterns (geometric-filled shapes, skewed U shapes, rectangles, triangles, etc) and stylized patterns (sun, pine trees, mountain fruits, flowers, leaves, birds, water flow). A highlight in the decorative art of the Xá Phó people is beading. The front of the shirt has 5 vertical rows of beads attached and around it is a rosette pattern (four-petaled flower).

The art of chakan embroidery is a kind of sewing ornaments, image of flowers and symbolic drawings with colorful threads on cotton or silk fabrics. Chakan embroidery is used to decorate women’s shirts, pillows, bed spreads, head scarves, towels, curtains and coverlets for cradles. In the chakan embroidery art, there are symbolic depictions and mythological images related to the surrounded nature and cosmos, which express people’s wishes and hopes. Each ornament has special name and meaning, for example, pomegranate flower, willow leaves, almond, tulip, cockscomb, nightingale, peacock’s tail, moon, star, sun, cloud and so on. Process of chakan embroidery consists of selection of textile and threads, drawing ornaments, doing the needlepoint images, and sewing clothes. The threads were prepared in the past from cotton and silk fibers, and colored them with natural paints prepared with some kinds of plants and minerals. Now, chakan dress makers use fabric threads for needlework. In the Khatlon region chakan shirt is an important dress of brides. Every bride should have chakan embroidered curtain and pillows as well. Grooms during wedding ceremony will put on tāqi – the national skulp-cap with chakan embroidery. In houses of the Khatlon are hang chakan embroidered needlework curtains. During the traditional festival and holy days Tajik women and girls wear chakan dress. Musical folklore groups and dancing ensembles of Tajikistan widely use chakan embroidered dress in the scene. Annualy in Tajikistan are held festivals and competitions of traditional costumes titled "Jilvai chakan".

Tajikistan 2018

National Intangible Cultural Heritage, Republic of Korea Nubi is a method of sewing in order to put cotton, fur or mulberry paper between the outer fabric and the lining of cloth, or of broad stitching without putting anything between the outer fabric and lining to strengthen the cloth or to make it warmer. Nubijang refers to this skill or to an artisan with such a skill. The method became a common practice following the introduction of cotton growing. Some monks wore the same robe for tens of years, repairing it with this method. Nubi techniques developed to a point where even ordinary people came to adopt them. Among the things needed for the work of nubi are thread that matches as closely as possible that used on the clothes or bedding, needles, scissors, a heating iron, a push stick, a measuring stick, and a thimble. Regular straight lines are chiefly used for the nubi work on clothes or bedding, but a mixture of straight and curved lines are also used to make a pattern when working on wrapping cloth or pouches. The country’s traditional manual nubi sewing is said to be an artwork similar to embroidery, but it is gradually disappearing, as the work takes time and does not bring much economic benefit.

"Ordination” is a part of rite of passage, meaning a transition of a teenage boy to a man "adolescence." In a traditional society, women and men are separated when they are in puberty. Young women are in rite of passage called Chol Mlub while men are in pagodas ordinated as monks. Women role is to take care of household chores and men explore or trade, so they can have enough basic knowledge. Therefore, in Khmer language, people say “Buos Rean” meaning to send boys to learn lifelong skills as well. Ordination ceremony are seen in many districts and regions across the country, and here are examples of locals who perform the ordination ceremony at Wat Athvar, Wat Angkor Mol and Wat Svay Leu in the Angkor area of Siem Reap province. Ordination ceremony at the Angkor area is celebrated by retaining many ancient traditions, and it is very solemn, as many villagers attend, sometimes in dozens, and with the participation of many close relatives. In that ceremony, there are accessories for the venerable person, and the main accessories that cannot be missed are srey ban rice, rice soul, Angkor Reab. Tver tmenh tools, Popil, monk bowl, coconut slator and monk robe. Apart from this, there must be Chum for maker, musician and Khgner. Ordination can be divided into two stages. In the early stages, all the young men put on make-up and costumes in a way that they are monk nor ordinary men; men nor women and not even called them as human but a dragon (Neak in Khmer language), that is why the ceremony is called dragon ordination or (Buos Neak). During the make-up, people use turmeric powder, powder and jewelry, to transform young men to girls. In some areas, the make-up is done at the ceremony house before going to the pagoda, but in other places, such as the locals around Athvar pagoda, Angkor area, Siem Reap province, they do make up and put on costumes at pagoda. From the evening of the first day, a priest (Achar in Khmer language) and the relatives of the dragon perform a blessing ceremony to worship the Preah Ratanatray - the next task is to summon the dragon's soul and tie hand for dragon. At this point, the Achar opens a sutra called "Dragon's Soul" to read (in some areas, the dragon's soul summon ends at dawn, along with the "Sucking the dragon’s soul”. The end of this task is to rotate Popil for the dragon. Then the Achar performed Angkor Reab, measuring the flat rice using the traditional scale, with a clock, a ship, and letting all the dragons lie on the flat rice prepared by the Acha. In the early morning, the dragon has to search the flat rice which he slept on. Then the Achar prepares for teeth cleaning ceremony for the dragon. At around 7 or 8 in the morning, they started the dragon procession by leaving the pagoda and passing through the town before returning to the pagoda. Sometimes they come together and pay homage to Angkor Wat three times before going to the pagoda. During this procession (except during the procession in AngkorWat) Dragons highly praised because all people, young and old, all travel on foot, and dragons usually ride horses or even elephants. If there is a shortage of horses, the dragon is allowed to sit on a bicycle with his grandmother or sister walking in front of him. For villagers who live far from pagoda, as in the case of Svay Leu villagers, the dragon procession is carried by a bullock cart decorated with colorful flowers, and the locals can ride a bullock cart. A dragon, however, the seat of the dragon is still supreme. The procession is accompanied by Pin Peat or Chai Yam music. Before entering the pagoda, all the dragons have to do the work of “worshiping the sun at the gate of the pagoda. At Angkor Mol pagoda, the sun worship is done in front of the temple. At the end of the task, they offered three rounds of prayers to the temple. What is interesting at Angkor Mol pagoda is that when marching to the temple, the dragon rides his brother or sister. At the end of the procession, the dragon enters the temple to perform the last important task called "Oub Bacheer” which is the transition from a dragon to a monk. A monk who performs this task is called "Oub Bacheer” is a monk who has been ordinated for at least 10 years and has a deep dharma discipline. During the task, Neak has to memorize some dharma in order to reply to the monk. Last of all, is “Teak Kor Neak” it is when the dragon had to change his clothes and take off his jewelry and take over the robe of Chipor, and leave his life in this world and his home to start a monkhood in a pagoda. As already mentioned above, ordination at this time is a stage to practice self-discipline and learn various skills before living in society and starting a family. Therefore, the Cambodian society values man who was ordinated as a monk and they want him to be their son-in-law because they understand that the man is educated and skillful.