The Pang A Peace Begging Ritual of the La Ha is a ritual to pray for peace, to thank the gods, and to thank the shaman for those who have been cured of illness (adopted children). The ceremony is held annually, in March of the solar calendar, when the Ban flowers and rice flowers are in full bloom, the rain has fallen and the bitter bamboo shoots have grown, or when the poinsettia flowers are in full bloom. In the Pang A Peace Begging Ritual, the Xang Bok tree is an indispensable decorative element, made from the hook tree and wild banana, placed in the middle of the house. The hook tree (lam la) symbolizes the black buffalo, the hook tree dies and turns into a black buffalo, the wild banana tree (lam toc) symbolizes the white buffalo, which are friends of farmers. On this occasion, adopted children from all over come to offer offerings to the gods, to repay the efforts of their adoptive fathers, to have fun together, and to exchange feelings. Depending on the family's conditions, the severity of the illness being cured, whether they are long-time or new adoptees, the adopted children prepare appropriate offerings. The scale of the Pang A Festival depends on each shaman. If the shaman is skilled, has many years of practice, and has many adopted children, the scale of the festival will be large. The rituals include: ancestral worship, worship for the homeowner's soul, worship to invite the gods to attend, worship to send the ancestors' souls to heaven, performing a performance describing a cured illness, plowing and harrowing... When the shaman finishes, his adopted children take turns placing the products they brought on the table for him to worship and invite the gods to come and receive blessings and bless his descendants with good health, good crops, and the growth of buffaloes, cows, pigs, chickens... Around the Xang Bok tree, there are scarf dances, sword dances, tang bu dances, rain-praying drum dances, penis dances (horns), con throwing competitions... The props for the dance include bu (bamboo tubes), cloth scarves, plows, harrows, swords, shields made of wood, bamboo... When the sound of the drums and gongs sounds, each person holds a piece of bamboo and starts dancing tang bu around the wooden board, they follow the rhythm of the drums, gongs and the rhythm of the bamboo tubes. After about 3-4 rounds, they howl together and then return, like that, the dance lasts about 1 hour. In the afternoon, the master continues to pray for his adopted children who come from far away and drink rice wine. The Pang A Peace Begging Ritual contains great humanistic values, with high educational value in the La Ha community in Muong La, Quynh Nhai, Thuan Chau districts, Son La province. The festival reminds descendants to remember the merits of the doctors who cured them of their illnesses, and reminds descendants to remember their roots.

Kulapheach is a daily used item such as pots, clay pots, made of baked clay. Archaeological excavations in Cambodia have uncovered many Kulapheach kilns and Kulapheach at some archeological sites such as Angkor Mean Tani kiln, Anlong Thom kiln, Torb Chey kiln, Sorsey kiln, Bangkong kiln. In Phnom Penh, there is Choeung Ek station. According to the research evidence, the oldest Pheach is found at La Ang Spean (the cave bridge) station dating to 4,000 BC. Today, despite modern technology for the production of consumer goods, traditional Kulapheach production is still available in some provinces, such as Kampong Chhnang (Andong Russey village), Kandal province (Russey Chuk village, Kaom village or Chroy Metre), Kampot province, Takeo, Prey Veng and Kampong Speu province. There are three main stages in the production of traditional Kulapheach: preparation of soil and firing; Clay soil used for Kulapheach production is from silt, or soil from a hill. First, they dry the soil and finely grind and sift only the mines. Then mix the soil with water so that it can be used to make a Pheach. There are five stages in molding Pheach and those are Pen, Reas, Bamporng, Berk, and Veay Bat. ‘Pen’ is the process of kneading the wet soil then piling it up and continuing kneading on a flat board until it has no air left in the soil. Sprinkling dried clay soil to make the kneaded soil not sticky. Next, knead the clay into long rounded pieces and continue to knead each one to form a desired shape. The second step is called ‘Reas’ or to shine which means taking the kneaded soil in Pheach shape to shine and smooth with a tool made of palm branch called ‘Tro Naes’ some called ‘Lakor’ by placing one hand claps around the Pheach and the other hand holds the inside. This method is to make the Pheach melt together, no longer see the link and no air on the surface. After that, the Pheach is ready to make a neck and mouth. The Pheach makers use their two fingers, pushing from the outside and holding the thumb from the inside, pulling it one and a half around round. In order to make the neck and mouth of the pot look more beautiful, they can use "Chea leaf” or some areas called" Chroy leaf "or" Guava leaf ", to drag the neck and mouth around. The third stage is called ‘Bamporng or inflated’ people use a tool called “Tro Naes” and “Khleong” to inflat the Pheach by hitting it gently until it gets bigger and more rounded except the edge of the Pheach mouth, the neck remains the same size. The fourth stage is called "Bourk or Opening", that is, people use “Cher Bet ka eng” if the or called "Cher Dek Khnot") drag on the shape of the Pheach to get it pleated then use a tattoo stick to draw various decoration. The final step is to ‘close the bottom.’ To center the bottom of Pheach, hold it from the inside and use Tro Naes ot hit gently from the outside around the bottom of the Pheach until the bottom stick together. To make Pheach smoother, a damp cloth is used to wipe it, except where there are pleaded spots or decorations. After the Pheach is ready, it is dried (in the shade) so that the pot hardens and it does not explode or crack during cooking. After drying, the Pheach will be baked and there are two ways to bake it: "bake on the field" and " bake in the kiln". The Pheach used to bake in the kiln are usually small Pheach, while the Pheach baked in the open air are usually large pots such as pots, pans, stoves and so on. To bake in the kiln, you need to sort the Pheach in order and it takes only half a day to bake, because the oven is closed, the heat is good, making the Pheach perfectly hard. For baking on the field, first, use firewood to lay the ground. Then arrange the Pheach on top of the firewood, cover the Pheach with straw and sprinkle a little water on the straw to make the fire last longer. In order for the fire to burn around them, small pieces of wood and straw were added between the Pheach. When baking Pheach, keep the fire burning by adding firewood and straw until the Pheach is completely baked. Baking in the open air takes a whole day. However, whether baking in the kiln or on the field, people don’t remove the Pheach immediately after it is done, they let it cool first. Nowadays, the traditional Pheach production in some areas is facing actual loss, as in the village of Kam, there are only a few families who still make Kulapheach, compared to before, when almost all the villagers earn a living through it. Nowadays, the subject of Kulapheach making is also included in the curriculum of the School of Fine Arts.

Zhetygen (kaz "zhe-igeen" - "seven strings") - is an ancient Kazakh and Turkish polychord musical instrument with soft and melodious sound, resembling a harp or reclined Gusli. Musical instrument’s name comes from its original form, which had seven strings. The origin of zhetygen associated with its legendary foundation. The essence of the legend associated with the tragic situation in the family of old nomad who lost seven sons due to the jute ('dzut' - a massive loss of livestock from starvation). Improvised music and sounds made during the play on zhetygen resembled images of children and reflected the grief of the father, alternately deceased sons. Since zhetygen became a symbol of the powerlessness of man in front of the elements of nature and the chaos of the universe. Zhetygen contributed to the emergence of instrumental kuy plays, the first of which is considered 'Zhetigenning zheteui' ('Seven kuys of zhetygen'). The most ancient type of zhetygen was an oblong box, carved from a piece of wood strung with seven strings. There was no upper sounding board, but there were pegs made of assyk (kaz. "assyq" - talus bone of a sheep and less frequently other small cattle) on this type of zhetygen. The strings are stretched by hand from the outside of the tool. Later zhetygen’s upper part was covered with a wooden deck. Under each string are substituted assyks on both sides acting as pegs. Moving them, you can set the string.

Mangala/Göçürme is a traditional game which can be played on special boards or improvised ones such as pits on the ground. The game can be played with pellets made of stone, wood, metal and bone, nuts, or seeds, which are distributed across the pits; the player who gathers the most pellets wins the game. There are several variations of the game. For example, the board can have two, three, four, six or nine pits arranged in order according to the number of players, and the duration varies according to the number of players.

Kyrgyzstan,Kazakhstan,Turkey 2020

It is a combined genre consisting of a dutar making craftsmanship with creative abilities including a composing of music and performing of dutar’s music sat down accompanying by singing. A dutar is a two-stringed, long necked lute consisting of a pear-shaped resonator (body) covered by thin wooden sounding board. The turkmen dutar’s resonator and soundboard are made from mulberry wood prepared from dried bole of the tree no less than 50 years old and the neck of apricot wood. Most melody’ notes are played on the upper of the dutar’s two strings with the four fingers of the left hand. The dutar is an inseparable part of culture of the turkmen people where it is found in all of the main genres of turkmen music and singing. Performers of the turkmen dutar‘s music and singers are divided into 2 groups. A dutar player named as a dutarchy is performing only dutar’s music. A bagshy is a peformer of dutar’s music accompanying by singing of the different genres of poetry which also subdivided into 3 types according to their performing styles and repertiores. A yanamachy bagshy is only a singer accompanied by music performed by dutarchy. A tirmechi bagshy is a performer of different genres of the turkmen music accompanying by singing. A dessanchy bagshy is an epic perfomer incorporating narrating, singing, vocal improvisation which in its performances a prose and poetry are alternated.

Turkmenistan 2021

Hemp textile weaving tools include simple tools for preparing flax fibers such as mortar, rolling board, fiber collection reel and complex weaving tools such as spinning molds, eye molds, and weaving frames ( The frame is made of I-shaped wood; the comb; the loom is made up of 6 parts: the yarn winding shaft; the yarn winding shaft; back tie). The process of creating a Lùng Tám brocade, from growing flax until forming a brocade product, must go through 41 completely manual steps such as choosing fields, preparing land; Drills; taking care of plants; tree cutting; tree classification; drying; Stripping; pounding fibers; fiber splicing; spinning reel; yarn collecting and removing reel; boil fibers; fiber annealing; yarn washing; boil white fibers with beeswax; rolling; remove the white thread, etc. Having good flax thread, the weaver carries out the steps of arranging the warp thread, hooking the thread into the comb, putting the thread into the wooden board, pulling the thread into the frame, weaving the fabric, soaking the newly woven fabric in kitchen ash, washing fabric, drying raw fabric, rolling raw fabric, making dyes, dyeing fabric, washing dyed fabric, drying fabric, rolling fabric, drawing, beeswax printing, dyeing after beeswax painting, drying fabric, dipping fabric in water boiling, cutting fabric, joining fabric, embroidering patterns on products, classifying, packaging and selling products. Techniques such as: Making yarn; Indigo dyeing; Beeswax painting and weaving of the Lùng Tám people have become "treasures" of the Hmong people here. All stages are mainly undertaken by women. Fabric color is natural, from trees, tubers, and forest leaves. They weave using belt looms. They avoid men from coming close when women stretch the thread into the frame because the thread breaks and is threaded wrongly. The main product is brocade from linen. Brocade is then created into products such as costumes, formal wear, and souvenirs. In rituals to relieve drought, protect family, etc they use linen.

Toguz Korgool is a traditional Kyrgyz board game played with nine small pellets. It is an intellectual game which belongs to the family of mangala games. Back in the day, Kyrgyz people played it without a board. Players would make dents on the ground and use dry sheep droppings as pellets, hence the name. Currently, players use small pellets made out of stone, wood or other material. The game enhances logical and analytical thinking as well as counting skills. That is why this game is often referred to as “herders’ algebra”. One game can last up to 4-5 hours. A player use basic four mathematical operations such as addition, subtraction, division and multiplication. The success in the game depends not only on math skills but also on tactics. Back in the day each pellet symbolized a warrior. The board consist of 9 niches for each player as well as two big niches to collect appropriated pellets. There are 162 pellets. To flag the trump niche players use special signs. Two stones of different shape or color can be used as those signs. The board is divided into two parts, namely, the black (dark) and white (light) sides. Modern boards assign numbers to the niches from 1 to 9 from left to right. In a traditional version, each niche has a name (different regions have their own names for those niches): 1 — tail (kuiruk) 2 — horse wouldn't pass over it (at ötpös) 3 — bad house (jaman ui) 4 — shoulder (daly) 5 — lower back (bel) 6 — white armpit (ak koltuk) 7 — double-toothed (eki tishti) 8 — blue neck (kök moyun) 9 — mouth (ooz)

Kyrgyzstan 2020

Disclaimer : ‘Bioscope, A Cinema with Solo Performance’ is not an element officially designated by the government of Bangladesh and thus tentatively named by ichLinks secretariat to introduce the cultural expression with the name indicated above. We welcome your valuable comments and feedback about ‘Bioscope, A Cinema with Solo Performance’ and its information presented on this page. A bioscope is a box made of either wood or corrugated board in which one can load movie films, paintings, and still photographs on twin rotors. The twin rotors are made capable of rotating from the top with the help of a steering handle. Slides are fixed onto a cloth that functions as a screen. The cloth is attached to two sides of the box and hung on the handle. When the handle is turned, the slides appear in the screen one after the other to viewers that watch them through lenses in the bioscope. Bioscopes help to travel through the rural areas of Bangladesh and enjoy its old traditions anytime and anywhere. Bioscopes used to be a popular form of entertainment for rural residents before the radio, television, and computers were introduced to Bangladesh. Everyone enjoyed looking through bioscopes regardless of age. When a bioscope man showed images accompanied by stories, people felt as though they were watching movies. Bioscopes had social and cultural implications in the lives of those living in the rural areas. Gathering around a bioscope operator, people shared their joys and sorrows, building close relationships and confidence among one another. However, due to the development of modern technology as well as the arrival of new means of communication, bioscopes are now on the verge of extinction.

National Intangible Cultural Heritage, Republic of Korea Akgijang refers to the skill of making instruments used to play the country’s traditional music or to an artisan with such a skill. It is presumed on the basis of murals dating from the Goguryeo Period displaying wind, string, and percussion instruments that such artisans existed during the Three Kingdoms Period (57 BC – 668 AD). During the Joseon Period (1392 – 1910), musical instruments required by the government were made at an independent institution named Akgijoseongcheong (the Office of Production of Musical Instruments) within the Royal Court. The number of types of the country’s traditional musical instruments comes to 60 – 70. Gayageum (twelve-stringed zither) and geomungo (six-stringed zither) are the leading ones, followed by ajaeng (seven-stringed zither), daejaeng (fifteen-stringed zither), and hogeum (two-stringed fiddle). Wagonghu (harp), sugonghu (vertical harp), dangbipa (four-stringed Chinese mandolin), hyangbipa (Korean mandolin), yanggeum (dulcimer), geumgwasul are produced, but rarely used. Generally, the sounding board of a string instrument is made of Paulownia wood. The bottom board is made of chestnut and pine wood. The wood of the jujube tree, ebony, and Chinese juniper tree is used to make pieces decorating instruments. Paulownia, in addition to being rot resistant, has good resonance properties and does not crack during drying. Akgijang is protected through designation as important intangible cultural heritage. Buk (drum) making skills were integrated into Akgijang in March 1995.

This game is played by teenagers with simple knife, they throw the knife to a wood board.