Kyrgyz traditional medical knowledge formed and developed from ancient times based on empirical observation and personal experience. Along with other methods and techniques of preventing specific diseases, importance was placed on herbs. A good level of knowledge about the medicinal properties of plants was required. Healers (tamyrchy or tabyp), by feeling the pulse and making observations in other ways, determined the cause and nature of an illness and prescribed certain medicines, where the stems, leaves, roots, grasses, and shrubs played a considerable part.

The Kyrgyz komuz is a national musical instrument. Traditionally, komuz was made from a single piece of wood. The instrument has three strings, which were traditionally made from dried ram innards, but in modern times, fishing lines are often used instead.

An exhibition of beldemchi was launched at the Gapar Aitiev Fine Arts Museum in Bishkek on 7 June 2017. The exhibition is still ongoing through the partnership of the Kiyiz Duino Foundation and the Gapar Aitiev Fine Arts Museum, an institution named after one of the first Soviet Kyrgyz artists who became a national artist of the Kyrgyz Soviet Socialist Republic in 1954. The exhibition displays more than forty items collected from state museums and private collections. It represents all regions of the country and various embroidery styles and techniques. The event is a sign of increasing interest in beldemchi in Kyrgyz society; renowned designers are already coming up with unique beldemchi design.\n\nOne of the Kyrgyz ICH elements, beldemchi is a traditional women’s skirt worn over a dress, gown, and sometimes thin coat. Conventionally, women wear their first beldemchi after a severe stress, e.g. first labor or situations demanding warmth. When worn as postpartum clothing, beldemchi helps women correcting their posture. It also gives physical support. Historically, as Kyrgyz people led a nomadic lifestyle in inland continental climate conditions during pre-Soviet times until 1917, beldemchi was an essential part of Kyrgyz women’s traditional apparel.\n\nBeldemchi may be worn daily and in holidays or festive events. It is made up of velvet and silk adorned with embroidery. The embroidery could cover either the whole skirt or its edges. Viewed as a protective amulet against evil eye, jinxes, and other unpleasant troubles, it is also a determinant of a woman’s age, social status, region, and her artistic skills based on the composition, style, and quality of the embroidery since every woman is supposed to know how to make a beldemchi and its embroidery. The main base of beldemchi is a double-leaved swing skirt with wide and thick belt. Beldemchi has several regional differences. In the north where the winter season is cold and long, it is mainly a wraparound flared skirt from warm fabric with a thick band over the belt. In the south, beldemchi is a buttoned front open cut skirt.\n\nThe presentation of beldemchi at the exhibition displays how the making of traditional clothing for women has gradually turned into a field of rich female creativity. Notwithstanding, beldemchi has started to disappear from Kyrgyz everyday life, which may have been caused by the changing views and lifestyle. During the Soviet modernism in the 1960s, wearing beldemchi was a sign of backwardness and provincialism. Soon in the 1970s, it fell into disuse. However, elderly women in rural areas have kept wearing beldemchi until now.\n\nPhoto : Women wearing Beldemchi © Kyiz Duino Fund

Prevalent in Kyrgyzstan, the horse symbolizes nomadic culture. The country’s folk literature reflects how the Kyrgyz people harmoniously live with the animal. For example, in Manas, the epic poem, the hero was inseparable from his horse, Ak-Kula, in every battle he fought. The deep association of the Kyrgyz with horses is embodied in nomadic horse games.\n\nOccurring in summertime, nomadic horse games are usually played by men. These games are a depiction of spectacular skills and manliness. Men participating in these games demonstrate excellence in horse riding, prompt reaction, agility, and strength. There is a significant number of horse games in Kyrgyzstan collectively perceived as a traditional sport. Among the most important of these games is kok boru. Also known as ulak tartysh, it is a famous nomad horse game historically believed to train young men to be fearless. The game consists of two teams on horseback, where players have to throw a dead animal (ulak or sheep) to the opponent’s goal. The team with the most goals wins the game. Another game, at chabyish, is a long-distance horse-racing competition. Depending on the distance and age of horse, this game as classified as kunan chabysh, zhorgo salysh, or byshty zhorgo. Wrestling is also incorporated in nomadic horse games. Er enish is a good example of this. Requiring great stamina, this game consists of two horsemen who attempt to push each other off each other’s horse. The first to touch the ground loses.\n\nTo preserve and develop these traditional games of nomadic culture, the Republic of Kyrgyzstan initiated the World Nomad Games in 2012. The First World Nomad Games were held in 2014 in the Issyk-Kul Oblast of Kyrgyzstan. Around nineteen countries participated in the nomad games competitions. The Second Nomad Games were held in 2016, where sixty-two countries participated in twenty-six different nomadic sports. The Third World Nomad Games will take place this year, from 2 to 8 September in Cholpon-Ata, Issyk-Kul Oblast, Kyrgyzstan. For this year, around seventy-seven countries are expected to participate. The nomadic horse games mentioned in this article will be included in the program.\n\nPhoto 1 : Man riding a horse© National Commission of the Kyrgyz Republic for UNESCO\nPhoto 2 : Girl riding a horse © Tynchtyk Turdaliev\nPhoto 3 : Riding a horse © Tynchtyk Turdaliev

Toktogul Satylganov was a great composer, poet, akyn (singer-improviser), and komuzist (someone who plays komuz, a traditional Kyrgyz musical instrument). Satylganov rendered a great contribution to the Kyrgyz culture. He sang about hardships of the common people, and he is best known for his songs about freedom and independence during the Tsarist Russia’s colonial era. He is one of the founders of Kyrgyz Soviet Literature.\n\nToktogul Satylganov was born in 1864 to a poor family in Toktogul district of the Djalal-Abad region. He never formally learned to write and read, but at the age of 13, he learned to play komuz by himself and started to compose songs about poverty and cruelty of feudalism. In 1898, he was jailed and sentenced to death because of false allegations of him participating in the Andijan rebellion. Eventually, his punishment was reduced to a seven-year imprisonment in Siberia by the mercy of the Tsars. His work at the Siberian labor camp intensified his understanding of social inequality and the inhumanity of feudalism. For that reason, Toktogul Satylganov was the first akyn to welcome the Bolshevik Revolution in 1917, the revolution by the peasants and working people and led by Vladimir Lenin against Tsar Nicholas II.\n\nAccordingly, Toktogul Satylganov is known for his outstanding works that made a great contribution to the Kyrgyz literature. During the Soviet period, his songs played an important role in shaping public opinion. His songs are informative, vividly depicting the life of ordinary people, the beauty of the motherland, and the Communist Party during the Soviet era. He was the first to depict Vladimir Lenin in What Kind of Woman Gave Birth to a Son Like Lenin? that came out in a time now regarded as the beginning of the Kyrgyz Soviet literary history. His songs predicted the end of tsarism, praising laborers’ rights that encouraged many people. Therefore, many Kyrgyz poets and composers were influenced by Toktogul Satylganov and his work has been translated into many languages.\n\nToktogul Satylganov played a significant role in traditional Kyrgyz art. The art of akyn, the predominant form of cultural expression of nomadic Kyrgyz people, was inscribed on the UNESCO Representative List of Intangible Cultural Heritage of Humanity in 2008. Tokotogul Satylganov has been and continues to be honored by a number of poets and in books, scholarly works, movies, and discourse around musical heritage. The Kyrgyz National Philharmonic Building in the center of Bishkek is named after him. In addition, a city, streets, districts, parks, schools, libraries, and even the biggest hydroelectric power station and reservoir are named after him as the great composer, poet, akyn (singer-improviser), komuzist who was the most influential figure in traditional Kyrgyz art and literature.\n\nPhoto : Toktogul Satylganov

Bangladesh Resource Centre for Indigenous Knowledge(BARCIK) is a non-governmental, nonprofit development organization that was established in 1997 in Dhaka, the capital of Bangladesh, by a group of development practitioners, researchers, and social workers. It has been working in the fields of environment, biodiversity conservation, and development since its inception. \n\nMoreover, it engages in exploring and incorporating indigenous knowledge and local practices into contemporary development programs. Throughout these years, it has promoted and presented the significance of local and indigenous knowledge in development initiatives as well as in the empowerment of local and indigenous communities.

Saving Intangible Heritage of the Philippines through Community-led Cultural Advocacy_Save the Ifugao Terraces Movement\n\nSave the Ifugao Terraces Movement (SITMo) is a non-governmental organization dedicated to protecting and preserving the Rice Terraces of the Philippines Cordilleras, a UNESCO World Heritage Site. It was launched in March 2000 under the auspices of the Sustainable Rural District Development Program (SRDDP) undertaken by the Phillippines Rural Reconstruction Movement (PRRM). \n\n\n

ICHCAP published Intangible Cultural Heritage of Kyrgyzstan as part of its ICH and Society series. The newest volume introduces various intangible heritage elements of Kyrgyzstan. It is the eighth book in the series and is the result of a two-year joint project between ICHCAP and the National Commission of the Kyrgyz Republic for UNESCO from 2018 to 2019 to encourage the awareness of Kyrgyzstan’s intangible heritage.\n\nKyrgyzstan’s intangible heritage once faced a cultural disruption crisis during the Soviet system. However, consciousness of the crisis and many efforts to safeguarding ICH in Kyrgyzstan has helped keep many elements alive.\n\nThis book consists of six themes, including traditional crafts, rituals, oral traditions and traditional foods and introduces their cultural roots and identity by explaining around a hundred Kyrgyz ICH elements such as horse breeding, pasture management, rites of passage.

Kyrgyz people's oral tradition has been forming for centuries and is one of the key elements of cultural heritage. All experiences and knowledge has been transmitted orally from generation to generation. Kyrgyz people's oral traditions contributed a great deal to the world's intangible cultural heritage.

Traditional crafts have long been a part of the traditional nomadic culture of the Kyrgyz people, who have historically lived in close connection with nature. For the Kyrgyz people, the natural world was once seen as an inexhaustible source of raw materials and inspiration for the creation of handicrafts.

The Kyrgyz Shyrdagy Festival was inaugurally organized in 2010 by felt carpets producers in Kyrgyzstan, after UNESCO inscribed the traditional Kyrgyz felt carpets ala-kiyiz and shyrdak into the List of Intangible Cultural Heritage in Need of Urgent Safeguarding.\n\nThe festival is held every year in June in the mountainous Naryn region, famous for its felt carpets. The festival is managed by the Craft Council of Kyrgyzstan under the auspices of the Ministry of Culture and the Information and Tourism of Kyrgyz Republic with the support of the regional administration and in partnership with the local crafts communities, NGOs, international agencies, and private businesses.\n\nThe goals of the festival are to attract social attention to the necessity of safeguarding the art of traditional Kyrgyz felt carpets, to develop the local market of the felt carpets, and to develop event/cultural tourism, especially in remote mountainous areas of Kyrgyzstan.\n\nThe art of making felt carpets among Kyrgyz has ancient historical roots dating back to the first century BCE. Felt carpets are an important decorative component in the yurt, the traditional nomadic dwelling of Kyrgyz people, which is used by local residents in everyday life.\n\nThe process of making felt carpets is a socializing, unifying factor. It involves all family members and often relatives and neighbors. During the joint work, knowledge and skills are interactively transmitted by the older generation to young people.\n\nIn the past, felt carpets were not intended for sale; they were passed down from generation to generation, playing the sacred role in the family as an ancestral memory of the mother. Therefore, the carpet ornamentation was marked individually by the woman-creator—an imagery of the benevolence or the blessing of the mother to her descendants.\n\nShyrdak felt carpet today is a popular product on the local tourist market and international craft market, providing a significant income for rural women. Being exported to western countries, shyrdak carpets are highly appreciated as handmade eco-friendly products with unique ornamentation.\n\nWith about three hundred crafts artisans and participants, the Kyrgyz Shyrdagy Festival has become a national holiday, recognizing the Kyrgyz people’s cultural values. Residents of neighboring villages go to the festival, dressed in traditional festive clothes. At the festival, attention is given to master classes of the carriers of knowledge of ancient felt-making methods and contests are held for felt carpet producers to better carpet preservation.\n\nIn the past festivals, seventy craftspeople were awarded with diplomas and monetary prizes from state institutions and private foundations. Twenty-five awarded shyrdaks were gifted by organizers to five leading museums in Kyrgyzstan. In 2018, within the framework of the festival, it is planned to hold an international conference on preserving traditional crafts with the participation of the National Commission for UNESCO, museum representatives, and tourism and craft organizations.\n\nThe Kyrgyz Shyrdagy Festival is currently a meeting point for artisans, traders, representatives of travel companies, scientists, and aficionados of felt carpets from Kyrgyzstan and other countries. It promotes the development of the craft market in Kyrgyzstan and other regions, consequently improving the living standards and social status of artisans. The festival also demonstrates the inseparability of cultural ties between generations, stimulating young people to study, preserve, and develop traditional crafts and drawing the attention to preserving Kyrgyz ICH.\n\nPhoto : Shyrdagy festival photo © Photographer Urmat Osmoev CACSARC-kg

Salburuun is a traditional Kyrgyz hunting game with a long history. Traditionally, salburuun comes from the nomadic tradition of protecting herds from wolves. Moreover, Kyrgyz people have a long tradition of hunting with eagles and faithful dogs called taigan. During hunting campaigns, people identify the best hunters, horses, eagles, and taigans. salburrun is not only about the skills of the hunter but also his relationship and courage with eagles or taigan. Therefore, salburuun is a complex hunting game with birds of prey, taigans, and traditional bow shooting. In Kyrgyzstan, different salburrun festivals have been held and is part of the World Nomad Games held every two years in Kyrgyzstan.\n\nThe various salburuun games include burkut salu, dalba, and taigan jarysh. Burkut salu is a complex hunting activity with eagle. Usuallys, the burkut salu team consists of six people with one team leader and other five berkutchi (hunter with an eagle). Participants test their skills two exercises as chyrga and ondok. Dalba is hunting with falcon. In this competition, the speed of the falcon’s flight to lure is tested. Each kushchu (falconer) is given two minutes to test his falcon. During this time, the falcon had to imitate an attack on a lure from the air. Judges note how many times the falcon flies and imitates an attack. Taigan jarysh is another type of traditional hunting game in the form of dog racing. After the judge’s signal, dogs are released simultaneously to chase a fox or hare dummy pulled by the rider or a special apparatus. There are three competitions the initial, semi-final and final races in which each dog’s ability is determined. If a dog tries to bite or hinder another dog during the race, the dog is disqualified.\n\nSalburuun is a unique traditional method of hunting that combines the teamwork of eagles, falcons, and taigan dogs. The games draw attention of thousands of people from all over the world, which is why it is part of the World Nomad Games that are held in Kyrgyzstan. Moreover, there are a number of festivals and competitions hosted to foster salburuun as comprehensive hunting game, which is now also considered an art form as well.\n\nPhoto : Engraving of Kyrgyz traditions, created in 1880