Every nation has its comfort and social foods. Dishes play an influential role as a social object that interacts with people at the table. These recipes are more than just something to eat.\n\nAbgoosht or dizi is a unique, national, and comfort course in Persia. Relatively new, but shows the best of the culinary art in this land. In a word, abgoosht means meat and stock and is the general name for the mixture of meat, legumes, vegetables, and herbs with its own traditional eating habits, tools, side dishes, drinks, and even special dessert. It’s Persian folklore eating habits and a meal prescribed to cure illness.\n\nAbgoosht is a new dish in the Persian kitchen, but it descends from the mighty Safavid kitchen. Cooking a fine cut of lamb with spices between four to six and even ten hours is a subtle oriental cooking technique. The key to a good abgoosht is not losing any water during cooking so, chefs use many methods to keep the moisture locked into the pot. There are around eighty well-known types of this food in Persia, and the ingredients vary from region to region. Ingredients vary, even seasonal, and it follows today guidelines of sustainable food eating habits, and the meat can be substituted with the goat, veal, mutton, chicken, duck, etc.\n\nThis existing dish also has a special custom and tricky habit that would make this recipe even more interesting to try. First of all, you must strain the solid parts of the dish into a bowl and mash them with a mortar until it turns into a soft texture. The name of this part is Goosht-Koubideh eaten with warm oriental bread, herbs, and raw onion; the liquid portion is eaten with cracked and soaked bread like a soup. Abgoosht well developed after the Persian famines to not lose even one calorie of ingredients. So, when the “Goosht-Koubideh” is leftover, some cooks mixed it with eggs and fried the dough in a shallow pan to preserve the food even longer.\n\nSome unique Persian side dishes make the taste unforgettable, side dishes like torshi (pickled vegetables), fresh herbs (mostly reddish and basil), strained yogurt with shallots, etc. Dizi, is accompanied with a drink, a fermented savory yogurt-based beverage usually mixed with dried herbs like thyme or mint. And as the last course of the meal, it’s tradition to have a cup of hot black tea served with rock candy or some other Persian sweets to make the pleasure of trying a rich and nutritious Persian meal.\n\nAbgoosht is one of the most famous Persian dishes among the people, and it is enjoyed on busy days for lunch or after work. There are places around the bazaars in big cities that only serve dizi; these establishments are called dizi-sara (the house of dizi). People get together on big social tables, the floor, or even on beds in restaurants to enjoy this hearty meal.\n\nIn the past, four or even eight people shared a big pot of dizi without knowing each other, and that was a fun way to talk about politics, society, and work. Dizi is also served in ghahve-khane (coffee house) as a lunch that ends with two or three cups of tea with hookah for smoking as a dessert and listening to some ancient folklore narrations from the famous Shahnameh.\n\nThe name of ‘dizi’ itself reflects the pot that the food is cooked in. In Khorasan, artisans make dizi pots from unique stones that keep the heat long and effectively, which is it is one of the best pots for making dizi. The food is traditionally eaten on holiday lunches with the whole family gathered in elders’ houses. It is a social recipe that brings family members together around the table.\n\nYou can have dizi in many other countries around Persia, as culinary cultures with varied recipes have inherited it. Dizi traveled to many neighboring countries and mixed with their own kitchen. Piti is a kind of abgoosht famous in south Caucasian countries like Azerbaijan and parts of Georgia. Also, Iraqi people enjoy tashreeb, the same cooking pattern of dizi making and eating that assimilated in Iraqi culinary traditions.\n\nPhoto : Dizi feast © Mohammad Shirkavand

The horse, a special animal that, ever since the beginning of civilization, has been tamed by humans. The creature has accompanied humans, from carrying loads to partaking in ceremonies. There’s not much information available on how exactly this animal was tamed, but historical evidence such as paintings discovered on the walls of caves and the pottery found in the very first human’s accommodations confirms that it was domesticated first by the Aryans and brought to the plateau of Persia. A place in which this creature has gone through many ups and downs, taken from carrying stuff for humans to becoming a playmate for him in such an ancient game like polo (chogan) with a significant role. And the presence of Turkmen horses, which are considered one of the best breeds in the world, has not been ineffective in advancing these events.\n\nHorse Background\nThe connection between humans and horses dates back to the Neolithic Era, and ever since men tamed horses, the essence of the value of these creatures has penetrated into the beliefs of the ancient people of Persia. Horses included in such a place that they would be sacrificed to the gods of ancient Persia and India. This value could be seen in the Zoroastrian’s book of Avesta, the epics, mythos, and legends in Shahnameh, and the poetry book of Ferdowsi, the great Persian poet. Names mentioned in the book of Avesta generally mean “the owner of the horse.” Horses were so sacred that they were said to carry the chariots of the gods of ancient Persia and India.\n\nHorseback Riding\nWith the technology in the hands of the ancient people, many things would not have been possible without the presence of animals such as horses, cows, or camels. In the meantime, on the one hand, because of horses’ value, and on the other hand, for its agility, strength, high speed, and loyalty, the horse could be a human helper. As history says: The Parthians did not separate their bows and horses only in their dreams, and among the Achaemenids, the horse has been their friend and helper since childhood. As the historical evidence confirms, the first Persian people to have an army on horseback were the Achaemenids, who were called Arteshtaran, the aristocrats who had been trained since childhood.\n\nIn the Parthians period, horseback riding was the favorite sport of the royal families. During the Sassanid period, they sided with the farmers and the traders. During the Samanid period, horses were sold in the bazaar of Khorasan as an intelligent animal, which its use in military units, Chaparkhaneh (in terms of posting offices), and carriages increased significantly.\n\nUsage of Horses\nIn ancient Persia, due to the power and speed of these animals, they could be used in many places to send messages and letters, they were used as Chapar’s horses who would only take messages and bring back the response. On the battlefield, they accompanied the cavalry and were used at banquets and military ceremonies. With all that, one question is left to answer:\n\nWhy was the role of horses in playing chogan as necessary as humans were?\n\nChogan (polo), as an aristocratic game played in the Safavid court, was a way for the Safavid kings to communicate with the people. The sport was popular among the people, and people used every opportunity to hold this game. To answer the question of why the horse’s role in chogan is as prominent as the role of man, it can be said that it is due to the picture of this animal captured in the minds of people and kings for centuries.\n\nThe superiority of the Turkmen horse breeding, on the one hand, and on the other hand, its role in the religious beliefs, and the powerful reality of this animal in traveling distances, and accepting the fact that it has been with man throughout history, could be a reason for humans, to share it in wars and travels, and now to share it in entertainment and joy so that he could once again meet his need for a sense of constant companionship.\n\nPhoto : Chogan in painting

Nestled in the southeastern mountains of Uzbekistan, Boysun developed into a cultural hub over centuries, since the age of the ancient Silk Road. Given its long history and outside influence through the famed trade route, the region’s cultural heritage evolved to become as diverse as the flora and fauna that inhabit the region. As a way of celebrating the diverse cultural heritage that dates back to the pre-Islamic days, the Boysun Bahori Festival was first developed as an annual spring festival in the early 2000s, with some interruptions on certain years.\n\nUNESCO officially listed Boysun culture as a Masterpiece of Oral and Intangible Cultural Heritage, and in the following year, the first festival was held. April was chosen as the optimal time for the festival as Boysun is unusually pleasant at that time, with flowering fields and green mountains creating a perfect backdrop for a festive environment.\n\nThe locals set up a yurt camp that includes workshops and stages for ensembles to perform. In addition, they set up makeshift arenas for traditional sports like wrestling, horse-related sports, and other activities, such as tightrope walking and acrobatics.\n\nIn April 2019, with the support of the Uzbek Ministry of Culture to explain well-known cultural spaces that I wanted to visit for a long time, I went to Boysun to interview some of the locals. During these interviews, some interesting insights about cultural heritage in the Boysun area were uncovered. According to the local community, much of the younger generation, both male and female, have tendencies to pursue careers or education in larger cities. However, in spite of decreasing number of young generation, community people expressed their satisfaction with living in the heritage city. They appear proud of the many rituals and traditional games that have remained a part of daily life.\n\nSuch customary knowledge is in traditional carpet weaving, craftsmanship, games, and rituals, which are still a part of Boysun communities. Some youth activities include stick-tossing games that are similar to jachigi, a Korean children’s game and commonly played throughout the world. In Boysun, I interestingly noticed that some practices have been influenced more by Zoroastrianism than Islam.\n\nDuring my visit, many of community members were absent in the village to visit Termez to participate and observe the International Bakhshi Art Festival, which was held for first time in Uzbekistan. Nonetheless through my visit to this unique cultural place, I felt deep aspiration of the people for safeguarding their own culture and heritage inherited through generations.\n\nPhoto 1 : Boysun entrance ⓒ ICHCAP\nPhoto 2 : Local people in Boysun District ⓒ ICHCAP\nPhoto 3 : Interviewing locals in Boysun ⓒ ICHCAP\nPhoto 4 : Prayer hall in the trunk of a tree that is hundreds of years old ⓒ ICHCAP\nPhoto 5 : Overview of Boysun District (seen from the entrance hill) ⓒ ICHCAP

Introduction\nA voice that revived traditional Persian music and played a role like ferdowsi (a poet who preserved the Persian language for 900 years) in literature for the music world. A hero to the world of art who interlaced the world of literature with sounds and melodies and blew with his voice in the existence of this country and gave it life again.\n\nMohammad Reza Shajarian, the artist whose voice resonates beyond the memories of Persians of his generation and the younger generations after him. A voice that is the phonetic embodiment of Persian music culture, and if anyone mentions traditional Persian music, the voice of Rabbana of Mohammad Reza Shajarian, which is registered as ICH by the Ministry of Tourism, will resonate in their minds.\n\nBiography\nBorn on 1 October 1941, into a family of art, culture, and literature, Shajarian began singing at an early age. When he entered school in 1326 AH, he started reciting the Qur’an with his father. He continued it very well so that by the age of 10, he could recite the Qur’an in political ceremonies and gatherings. His first high school whispers began with the help of his uncle and Mr. Young (a teacher). In 1331, the voice of young Mohammad Reza Shajarian was broadcast for the first time on Khorasan Radio.\n\nInternational Titles\nShajarian was so prominent that the largest organizations and art centers of the world would bequeath him with great titles; the website of the Asian Association has mentioned Shajarian as the most famous Persian of original music art. The National Public Radio has named him as one of the top fifty voices in the world, and the Vancouver Sun titled him as the most important music artist in the world.\n\nShajarian Awards\nShajarian was a great master of traditional Persian music and worked hard to spread the music of his land and introduce its culture and art beyond borders and became a label of music of his country. He did a great service to patriotic music, such as the Picasso Prize, the UNESCO Honorary Diploma, the Beta from Stanford University, the UNESCO Mozart Prize, the National Knight of the French Embassy, the High Prize for Art for Peace, and the Aga Khan Foundation Award as Lord of Music to Enrich Human Musical Heritage. He was perhaps the only artist to inject the essence of Persian music into the hearts of the world with his voice.\n\nShajarian Performances\nShajarian founded Del Avaz Company in 1977, and in 1978, he won first place in Quran recitation competitions all over the country. During the sixties, Shajarian began an extensive collaboration with Parviz Meshkatian, which resulted in the albums Mahour, Bidad, Nova, Dastan, and so on. In the same years, he performed concerts outside Persia with the Aref group.\n\nDuring his professional life, Shajarian held numerous performances around the world. Since 1968, he has been performing in the United States and Europe with the Pirniakan and Andalibi groups. Shajarian received the UNESCO Honorary Award (Picasso Award) in 1978, and his book, The Secret of Mana, was published in 1979.\n\nShajarian Family\nShajarian married Miss Farkhondeh Golafshan in Quchan which resulted in the beginning of a thirty-year life and three daughters and a son, Homayoun, who is also an artist as great as his father. They have published great performances and works together.\n\nShajarian Works\nThis beloved artist, who is not only in the hearts of the Persian people but also in the hearts of the people of the world, has released more than seventy albums during his professional life. The best of which are Yad Ayam (Memory of the Days), Del Majnoon (The Heart Insanity), Janan Province, Bidad, Dastan, Nova, Bi To Besar Nemishavad (It cannot be without you), Faryad (scream), Dar Khial (in imagination), and Night, Silence, Desert.\n\nTraditions are so important as the cultural lifeblood of a country. Some of have been transmitted to us through audio recordings, which has naturally formulated laws for itself that ultimately define the hearing culture, the essence of which is perpetuated by humans. A culture where part of it is playing music, and part of it is singing, and he was the perpetuator of that culture.\n\nPhoto : Shajarian London Concert CCBY Wikimedia/ Khashayar Karimi

Introduction\nThe vast land of Sistan and Baluchistan, the place with such a rich history associated with legends and narrations of great poets, is known as one of the few main genesis centers of pottery around the world.\n\nKalpuregan is an ancient village South of Sistan and Baluchistan Province with the most enchanting deserts, including the incredible vegetation and magnificent climate, which caused the unique lifestyle of the inhabitants that has penetrated through the veins of the culture recognized on the needlework and pottery of Kalpuregan design.\n\nThe Untold History\nHistory, as a diary of events, has recorded the origins of pottery and needlework in this region. Pottery in Kalpuregan dates to 3000 BCE, and the precise art of needlework of this region is estimated to be from 5000 BCE. In the past, only men did pottery, and women did needlework art. Today, both arts are performed by the hands of Kalpuregan women.\n\nSimilar Design and the Identity Behind\nThe art comes from the heart, and penetrates through the fingers onto the body of subjects, the warp and weft of carpets, and within the yarns of the fabric, to create forms to tell the history and the interaction between the people and their environment, to depict definitions, and identities, as the bones of the culture.\n\nLiving in the severe desert conditions has turned concepts such as alliance, integrity, and protection into the values of Kalpuregan society. The basic forms used in Kalpuregan needlework and pottery are simple geometric forms carrying a deep meaning and value, turning these spectacular arts in this ancient village so special.\n\nCircle: Represents unity and integrity and shows the connection between people and their living environment.\n\nZigzag: Represents how Baluchs stand against natural harshness, which you may not face in other ethnic groups.\n\nTriangle: Giving an offensive sense that in Baluch folk beliefs, it separates enemies and evil spirits because, in ancient beliefs, spirits are intertwined with the existence of Baluch.\n\nThe Pottery Design\nFrom the combination of the basic geometric shapes in the design of pottery, simple designs express the values among the traditional people of Kalpuregan. The values are derived from demanding lifestyles, unique living environments, failures, or wishes. Behind these forms, there are deep semantic concepts that express the depth of Kalpuregan artists’ perception of the environment and the nature of human existence and people’s tendency to self-fulfillment to reach a high level of aesthetics.\n\nThe closer he got to perfection, the more he resorted to his surrounding environment to solve his issues and became more in touch with the atmosphere. Following that, he sought to express his concepts and beliefs in nature. As a result, the combination of designs became more complex. And after combining a few simple shapes, he created more complicated forms to create abstract images of nature on artifacts to evoke the sense of being in nature.\n\nThe Needlework Design\nSince art is the reflex of human emotions and senses he receives from his living environment, it expresses the way it affects people’s thoughts.\n\nEven though they picture the environment, the way the lines and shapes are assembled are born of the artist’s mind. Among the forms created, shapes of flowers are the most used on the fabric.\n\nAlso, figures with sharp angles and triangle-based ones are common among other shapes originating from the nature and history of Sistan and Baluchistan. Especially through the people’s point of view that reminiscent of war scenes. Each line and form are the wage of the cultivation in the artist’s thought to have an abstract expression in the form of the visual structure.\n\nHow Similar but Different\nA comparison of needlework with Kalpuregan pottery shows the close relationship between these motifs. In addition to their structural similarities, in many cases, they also have common semantic domains. These characteristics are influenced by the nature, culture, beliefs, and rare wishes of Kalpuregan people. Women in both fields are the essential creators of these historical arts. Despite being inspired by nature over the centuries, these mothers, who are a symbol of birth and growth, have not limited themselves to imitating the environment and creating new designs. They are very creative. However, the role of animals is less used in both areas.\n\nSimple geometric forms are most present in various combinations due to the changes that occur through the minds of these artists. Visual qualities such as rhythm, repetition, symmetry, balance, and centralism have put both the Kalpuregan pottery and needlework art in order. In the end, the existence of many commonalities in both areas leads to the strengthening of cultural values. And will become the identity of the Baluch people in the Kalpuregan.\n\nPhoto : Kalpuregan designs © Mohammad Shirkavand

Navruz (Nowruz) is not just about the first day of spring, but it is also not just a celebration of the New Year marked by indulging in a feast; it has a much wider historical and cultural context with deep doctrinal significance.

Introduction\nKamancheh could be considered one of the national and novel instruments of Persia with a long history in the Orient. Through the historical pages of Baluchistan, an instrument named ghaychak is found and is similar to ghazhak or ghazh, a Perso-Islamic instrument.\n\nHistorical evidence, such as the great music book of Farabi, the poetry book of Masoud Saad, and the paintings of the Chehel Sotoon hall show the antiquity of using this instrument and its similarity to rabab, and give us this information that at the time of Safavid dynasty, it was common to play Kamancheh in the royal court.\n\nHistory\nKamancheh is filled with a history full of ups and downs from the far East to the West and played in different lands in such a way that it is known as an ancestor of the violin, able to perform all the techniques of that instrument; however, its Persian origin is clearly recorded and mentioned in Egyptian documents from the fifteenth century.\n\nThe paintings in the Chehel Sotoon hall shows that this instrument, initially, included three strings, quoted from Edward Brown the British orientalist at nineteenth century, and at the time of Western influence on our culture, during the Qajar period, the fourth string was added to imitate one of its grandchildren: the violin.\n\nIn the region of Lorestan the instrument includes a rich history in such a way that you can find a Kamancheh in every music lover’s house. In this region, the players are called kamancheh-kesh, whereas in other regions, they are called as kamancheh-zan.\n\nLiterature of Music\nMusical instruments, the way they are played, and the essence of the sound created from them have penetrated in the human soul and has somehow transpired into oral literature. What we are speaking of are the poems written by great Persian poets in which we see the use of literature that has been common among musicians and musicians as a common language of the past. Poems written by poets such as Masoud Saad Salman, an eleventh century poet, who mentioned the name Kamancheh along with the names of other musical instruments in his poems as follows:\n\nFrom canon, cheerfulness, glory, welfare, and play\n\nFrom harp, oud, nay, kamancheh, and party\n\nFarrukhi Sistani is another eleventh century poet who had mentioned Kamancheh in his poems:\n\nEvery day there was glory and welfare\n\nEvery day there was canon and tar played\n\nInstrument Components\nResonant Bowl and Skin\nThe bowl is almost spherical and hollow. The upper surface is open, on which the skin is peeled, and the vault is installed. The outer surface of the bowl is decorated with pieces of oyster or bone. Some of the local fiddles are also open behind their bowls, which makes a louder sound. The skin of the aperture is made from the thin hull of quadrupeds such as deer, goats, and lambs.\n\nHandle\nThe handle of the instrument is like a tube full of wood, which is about 25 cm long and 3 cm in diameter.\n\nVault\nThe fiddle vault is made of wood or bone, which is 4 cm long and 2 cm high. The vault rests on the skin of the bowl with its two small pedestals.\n\nThe Claw\nThe claw is located at the beginning of the handle and is made of wood. Its surface is hollow. Four phones are placed in pairs on their sides. At the top of the head is a straight, crown, or narrow.\n\nEars\nThe Kamancheh includes four ears with several instrument strings and in the form of a wide-headed nail made of wood, which are located on the sides of the toe. The flat part of the phone rotates left and right in the player’s hand to tune. The narrow part is inside the space of the claw head, and one end of the wire is wrapped around it.\n\nPawl\nIt is the thin, not long bone or stick the same size as the width of the handle between the claw and the handle, which the wires pass through its shallow grooves and attach to the ears.\n\nStand\nThis stand is a thin, moving metal bar ten centimeters long, that when played, one end is fastened to the bottom of the bowl with a screw, and the other is placed on the foot or the ground.\n\nPhoto : Kamancheh Player by Ibrahim Jabbar-Beik

For thousands of years, Nowruz has been celebrated by the Persians. This ancient ceremony is celebrated every year on 1 Farvardin (the first month in Persian Calendar), roughly 20 April, to welcome the new year and the spring, which brings life back to Earth for a new beginning. However, preparations begin a few weeks before, and the actions and performances continue for almost two weeks.\n\nPreparing for New Spring\nNowruz preparations begin a few weeks prior to the new year, with a traditional spring cleaning called khaneh yekani. It is also customary to purchase new clothing for the family and maybe new furniture for the home as a way of welcoming the new year and spring.\n\nHaft Seen Table\nWhile preparing for Nowruz, the people create the Haft Seen Table, a special family activity that begins by spreading a special family cloth on a table and setting the table with the seven S (seen) items including:\n\nSumac: The crushed spice of berries for the sunrise and the spice of life\nSenjed: Sweet dry fruit of the lotus tree for love and affection\nSerkeh: Vinegar for patient and age\nSeeb: Apple for health and beauty\nSir: Garlic for good health\nSamanu: wheat pudding for fertility and sweetness of life\nSabzeh: sprouted wheat grass for rebirth and renewal of nature\nBesides these items, other symbolic items go on the Haft Seen Table, depending on the tradition of each family. For example, a mirror symbolizes a reflection on the past year, an orange in a bowl of water symbolizes Earth, colored eggs represent fertility, and coins for prosperity in the new year. Special flowers called Hyacinths symbolize spring, and candles radiate light and happiness. Families also put Qur’an or Shahnameh, an epic Persian story of colorful kings and princes written around 1000 CE by the great Persian poet, Ferdowsi.\n\nChahar Shanbe Suri\nIt is also a tradition to celebrate the last Wednesday of the old year, Chahar Shanbe Suri by lighting small bonfire in the streets and jump over the flame shouting “Zardie to az man, sorkhie man az to” which means “May my sickly pallor be yours and your red glow be mine” with which, the flame symbolically removes all the unpleasant and unwelcomed things of the previous year.\n\nQashoq Zani\nWhile others are jumping over the bonfire, others are busy performing Qashoq Zani, which is very much like Halloween. Children—with some of the adults—wander around the alleys making sounds by tapping a pan or pot to bring out the neighbors. The neighbors open their doors and give the children treats.\n\nFalgoosh\nA group of unmarried woman and teenagers huddled in the corners of dark alleys and stand falgoosh, listening to the conversations of passersby. The content of the first sentence of a conversation is regarded as an omen (fal) or portent for the future. This continues until there is no more wood to burn.\n\nTraditions\nIt is also a custom to make ash (a kind of soup) and serve it after the ceremony to end the Chahar Shanbe Suri program. After ending the ceremony, in a few days, all people around the country wait for the exact time of changing seasons, when the new year comes, the tahvil moment.\n\nThe Moment of Tahvil\nThe exact time of the new year is calculated by astrologists and occurs during the venereal equinox; this is tahvil. Throughout history, people have been informed when they hear “Haji Firooz” being sung. A special person crossing through their neighborhood and the singing and dancing would spread the news of Nowruz. He is dressed in a red satin outfit and has his face painted as a disguise. A few minutes left to tahvil, families and friends gather around the Haft Seen Table.\n\nTo Visit Elderly\nThe joyful moment of tahvil is delightful for people, and they want to share the good feeling with those beloved and close friends and relatives. The priority is to visit with the elderly on the new year, where they serve fruit, sweets, and nuts, and children receive small gifts or an amount of money called eidi from their grandparents. This is why children are so passionate for these visits. These visits continue depending on how busy the adults are or until the last day of the Nowruz holiday.\n\nSizdah Bedar\nOn 13 Farvardin, the last day of the Nowruz holiday, people will leave their places to spend the day in the countryside. It is called sizdah (thirteen) bedar (out) to accompany nature through the change of the seasons. They bring their sabzeh and get to tie grass and make wishes like making a wonderful spouse or wishing for money, and after that they throw it into running water.\n\nPhoto : Celebratory foods for Nowruz © Mohammad Shirkavand

Kutch is the largest district located in the western state of Gujarat, India. It is home to several distinct traditional crafts, communities, and indigenous knowledge systems. It is often known as the melting point of numerous diverse cultures, heritage, and rich traditions.\n\nOne of the most unique pastoral communities found in Kutch is the Fakirani Jats. It is one of the four subgroups of the Jat community found across the region’s grasslands. The other three communities are the Hajiyani Jats, Daneta Jats, and Garasiya Jats. The pastoral communities including Fakirani Jats are commonly referred to as Maldharis (maal refers to cattle and dharis who keep these animals). The Fakirani Jats are a pastoral community by occupation, and they move throughout the year with herds of camels and buffaloes as part of their nomadic lifestyle. However, they are gradually establishing their roots in and around Lakhpat, the last civilian point of Kutch, bordering Pakistan.\n\nThe Fakirani Jats are a camel-breeding community and share a special relationship with camels. The camels are an indigenous breed known as kharai that are found only in Gujarat and 40 percent of them are in Kutch. The kharai camels are a unique breed that feeds on the mangrove forests and swim across the ocean for hours. The men of the community can be seen accompanying the kharai camels to the mangrove forests in the Gulf of Kutch and travel with them for around eight to nine months in a year. The camels feed on a typical vegetation grown in the mangroves called cheriya in the local language. The mangroves play an important role in preserving the ecosystem and are the main source of livelihood for many camel breeders of Kutch.\n\nThe community’s survival largely depends on its camels and buffaloes. The Fakirani Jats worship camels and never believed in the commercialization of camel products. They have traditionally depended on buffalo milk only as the means for sustenance however with changes in their lifestyle, many have also started selling camel milk for their livelihood.\n\nToday, the community faces numerous challenges at every level. The increasing industrialization along the coast has affected the mangroves and the grazing routes. This has impacted the lives of the camels and the Fakkirani Jats. In addition, the decreasing number of camels in Kutch is another issue. According to an article, the number of kharai camels has dwindled from 2,200 camels in 2013 to 1,800 in 2018.1. All these are causes of concern for a huge number of communities dependent on the kharai camels. However, a ray of hope has come from several organizations supporting their communities with livelihood opportunities by creating and strengthening unique initiatives to prioritize the needs of the community and keeping alive the existence of an integrated human culture ecosystem in Kutch.\n\nThe author would like to thank the Fakirani Jat community along with Mustak Mustafa for the valuable information provided by them.\n\nPhoto 1~5 : Fakrirani Jats © Rauf Mutva

Residents of Kathmandu Valley, for the first time, saw temples being closed and even barred from entering the sites due to Covid-19. Most of the festivals were cancelled, which didn’t even happen even after the devastating earthquake of 2015. Only the most important rituals were performed behind closed doors. Many festivals and rituals were limited to just the formality rituals and forgiveness rituals. Instead of huge crowds, there were empty squares and closed temple doors.\n\nFor the cities, towns, and villages within the Valley known for festivals, processions, and rituals throughout the year, Covid-19 proved to be cruel. The prolonged uncertainty has prompted communities and individuals to take alternatives for continuity of ICH with new normality.\n\nThe biggest festival of Patan city, a chariot Karunayama procession, saw a violent clash between locals and police on 3 September 2020. The sight of chariot with God inside was stranded on the roadside for several months and made locals take the decision to start pulling it. After this event, the consultation between local government, chief district officer and community members was held. A few days later, the symbolic procession and forgiveness rituals were performed. The strict measures for security and necessary precautions against Covid-19 were taken. Only limited numbers of people could pull the chariot and play musical instruments with masks and face shields.\n\nMany rituals, which were supposed to take place without the masses attending, continued in many places of Kathmandu Valley. One of the rituals was restoration of important scriptures of Mahayana Buddhism—Pragyaparmita in Buddhist Monastery of Kwa Baha/ Hiranyavarna Mahavihara in Patan. Pragyaparmita translates as “Perfection of Wisdom.” The one in this monastery is written in gold and contains eighty thousand stanzas that were written in 1224 CE. This restoration used to take place for a month every three years, which had one leap year according to the lunar calendar. This year with leap month, the Buddhists priests were seen working on it wearing masks behind the closed door of the monastery.\n\nSimilarly, the annual festival of Pachali Bhairav in Kathmandu was held from 17 to 21 October. The community members took extra steps to adjust to new normal with full precautions against Covid-19. The people who were carrying God Pachali Bhairav in the form of big pot were seen wearing Personal Protective Element. This scene was spectacular.\n\nLikewise, the town of Khokana in Kathmandu Valley also continued with their most important annual event Shikali Jatra from 19 to 23 October. The deities were with their traditional masks and attire, but the communities were with the mask to protect against the virus. This festival used to have huge crowds, but this year, only a limited number of people attended.\n\nAnother city in Bhaktapur also continued their important annual mask dance named Nava Durga that started on 24 October. To avoid the masses, all the rituals and dances were performed only in the square of the ancient Bhaktapur palace where limited people were allowed. Normally, this dance is performed in different places within city of Bhaktapur and nearby villages and towns, which would continue until June. But with pandemic, the continuation in other places is still uncertain.\n\nPeople tend to organize festivals, continue rituals despite the warning from the health professionals and government. Many legends and tales tell the stories of rituals and festivals initiated in ancient time to ward off evil spirits, droughts, and pandemic. Many people still hold on to these beliefs in Kathmandu Valley.\n\nPhoto 1 : Chariot of Machindranath guarded by police to avoid crowds. ©Monalisa Maharjan\nPhoto 2 : Devotees burning butter lamps while wearing masks. ©Monalisa Maharjan

The art of embroidery is one of the ancient traditions of applied and decorative arts in Central Asia. The uniqueness and beauty of Central Asian embroidery, the abundance and diversity of its ornaments and techniques testify to the rich traditions of this art. Embroidery is widespread mainly in trade and handicraft cities and large villages along the Silk Roads in Central Asia. Each existing traditional schools have a unique symbol, style and color balance based on local knowledge and social practices.\n\nEmbroidery is common activity among women in Central Asia. Traditionally, women and girls embroider individually and in groups. Embroidery is passed down from generation to generation, mainly from mother to daughter, in the form of master-apprentice schools. Indigenous population in Central Asia wear embroidered items, it serves as a symbol of their devotion to their homeland and culture. It is especially found at craft fairs, festivals, contests, weddings and social festivities.\n\nNetworking on elaboration of the multinational nomination “The Art of Embroidery” in Central Asia was initiated by the NGO “Living Heritage” of Uzbekistan (“Umrboqiy Meros”) in May 2019. Main objectives of the networking were to strengthen collaboration among scholars and artisans in Central Asia and to promote joint safeguarding activities by inventory of traditional schools on art of embroidery in Central Asia.\n\nAd hoc working group has been created, which consisted of representatives from ICH stakeholders (governmental and non-governmental organizations, artisans and scholars) from Kazakhstan, Tajikistan and Uzbekistan. Offline and online meetings of the working group were organized from May 2019 to March 2020 on the monthly basis. In every meeting experts exchanged views on current status, development perspectives and safeguarding challenges of the art of embroidery in their countries.\n\nIt has been observed that element is practiced and transmitted almost in all the regions of three countries: Uzbekistan (especially in the centers of artistic embroidery such as Djizak, Fergana, Namangan, Nukus, Nurata, Bukhara, Samarkand, Shakhrisabz, Urgut, Tashkent, as well as other rural areas), Tajikistan(mostly in Dushanbe, Khujand, Kulob, Istaravshan, Bokhtar, Panjakent, Hisar, Gharm, Darvaz, Khorogh, as well as other cities and regional centres) and Kazakhstan (Eastern/Altay, South-Eastern/Almaty and Nothern/Mangystau and since last century in Western parts of the country). Annually, traditional textile festivals in Central Asia are being organized in Kazakhstan (“Korpefest”, “Kazakhstan oneri”, “Altyn sapa”), Uzbekistan (“Atlas Bayrami”, “Silk and Spices”, “Altin Kul”, “Raks Sekhri”, “Boysun Bahori”) and Tajikistan (“Diyori husn”, “Taronai Chakan”, “Idi Atlas”), where many masters from these countries and also from various regions of Central Asia participate and display their handmade art products. This kind of cultural events are proper places for exchanging knowledge and establishing dialogue among societies, groups and individual masters.\n\nThe multinational nomination “Traditional embroidery of Central Asia” was successfully completed and submitted to the UNESCO Headquarters in Paris in March 2020 by the National Commission of Uzbekistan for UNESCO. The nomination will be examined by the ICH Intergovernmental Committee in 2022.\n\nAs follow up activity, following institutional members of the working group became coordinators for ICHCAP/IICAS Survey Project on Silk Roads Handicrafts Workshops, which was started in July 2021: Kazakhstan National Committee for the Safeguarding of the ICH, Institute of Culture and Information of the Ministry of Culture of the Republic of Tajikistan and NGO “Living Heritage” of Uzbekistan.\n\nphoto : © Lutfiya Mirzaeva

The Qalishuyan is the 1,000-year-old ritual of Mashhad Ardehal is the only religious ceremony in Persia that history is according to the solar-agricultural calendar. This ritual is known as “Qali (Carpet) Friday”. This is a symbolic ritual of martyrdom, the burial of Imamzadeh Sultan Ali, a holy figure among the people of Kashan and Fin. The symbolic coffin is a carpet that is carried to a stream and washed, then returned by the people of Fin and Khave with respect and ritual details.\n\nThe Qalishuyan has their own set of rituals. Starting the Qalishuyan takes place a few days before the major ceremonial date.\n\nJar Friday, the Friday before Qalishuyan, is the day when individuals in Mashhad Ardehal are invited to the Qalishuyan. Jarchi is a person who walks Fin village, Kashan’s Bazaar neighborhood, and Khaveh village and announcing the Qalishuyan’s arrival and the pilgrimage week to Imamzadeh Sultan Ali.\n\nThe most important thing about the Qalishuyan is that it is a public ceremony and people hold it, so the Kashani families always prepare a few days before the ceremony so that they can perform the Qalishuyan well and participate in it.\n\nIt is usual to recite the Qur’an aloud at the entrance and in the courtyard of Imamzadeh Sultan Ali on the night before Qalishuyan.\n\nThe people of Kashan believe that the presence and observance of the Qalishuyan ritual is one of their religious duties. Participants gather in the courtyard of the Safa in Sultan Ali’s shrine with special etiquette. In the morning of the ceremony, the people of Khaveh gather at the tomb and sprinkle rose water on the carpet, then collect the carpet and wrap it with green threads and deliver it to the Finns to respectfully carry it to the stream. And wash with spring water. Those carrying the carpet must move quickly and agitatedly so that the soil rises from the ground and they move their sticks in the air towards the Imamzadeh. Fighting the Imamzadeh killer and helping him is symbolized by moving the sticks. The carpet is transported with incredible enthusiasm from the Safa courtyard to Prince Hussein’s historical spring. After arriving at the spring, the carpet is placed on the ground and bathed with a few drops of water. They put the carpet back on their shoulders with dignity and respect after bathing it and carried it to the shrine with the same enthusiasm as before. After these steps, a mourning ceremony is held at the tomb of Sultan Ali and several people who were involved in Imam Sultan Ali’s martyrdom will be cursed during this ritual.\n\nAnd on Friday next week, the people of Nashlaj will hold their ceremony.\n\nThe Mashhad Ardahal Qalishuyan rituals are registered on the list of cultural and intangible heritage by UNESCO and are performed every year on the second Friday of the month of Mehr, according to the solar-agricultural calendar. Many people travel to Mashhad Ardahal to watch the ceremony.\n\nIn the Qalishuyan ritual, people do not wash the carpet, they purify the carpet. They want to rid themselves of lies and slanders, then remove the shame of this happening.\n\nPhoto Provided by Mohammad Shirkavand