▶ Play Video 7. The T’boli A People Who Live with Art\nThis episode was first aired on Filipino television on September 19, 1996. This episode has been modified from its original format.\n\nThe T’boli (Tagabili, Tiboli), together with the B’laan to the east and Teduray to the north, are in a single language group distinct from the remaining language groups of Mindanao. The T’boli traditionally live in scattered ettlements in the highlands of southwestern Mindanao, in the province of South Cotabato. The cultural communities surround the complex of highland lakes—Lake Sebu, Lake Selutan, and Lake Lahit. Settlements are composed of family clusters of fifteen or more households. Clusters are at elevations averaging 3,000 feet above sea level. Recently, these settlements have grown to comprise thirty or more households. Each settlement has a ceremonial house called a gono bong (big house). Members of such communities are usually related by kinship.\n\nThe T’boli practice swidden farming, cultivating highland rice (teneba), the staple food, potato, sugar cane, taro, and sweet potato. Corn and coffee are considered cash crops. Owning a horse is an indicator of economic status. Forests function as the main source of food, and the main source of protein is lake fish.\n\nThe T’boli are noted for their backstrap loom textile, t’nalak, which is woven from tie-dyed abaca fiber. Personal ornaments made of multicolored beads and embroidered blouses and hats are other notable features of the T’boli. Small household metal industries use the lost-wax process to manufacture cast brass bolo handles, figurines and betel-nut containers, and other ornaments.\n\nWhile the kinship system is bilateral, there is a strong male dominance. The father leads the household, and the oldest male leads joint and extended families. The oldest male child takes over this dominance upon the death of the father. If there is no son, lomolo is practiced, whereby the father’s eldest brother assumes the wealth of the deceased and claims the latter’s wife as his own.\n\nThe communities are also linked through a recognized leader, the datu, who does not officially command but whose word is respected because of his status, economic means, reputed courage, skill in settling disputes, and wisdom in the interpretation of custom laws. The position is achieved through community validation. He traditionally acquires rights over a person for whom he has paid an unsettled debt.\n\nA major social ritual of the T’boli is the mo-ninum, which is usually celebrated for a marriage and includes a multilateral exchange of articles of wealth (kimu). After six ceremonial feasts, for which the families take turns being hosts (moken) and guests (mulu), the ceremony climaxes with the marriage itself. The whole cycle may take many years to complete and sometimes results in the construction of a gono mo-ninum, a huge house that can accommodate more than two hundred people.\n\nMaguindanaoMandayaKalingaSubanonTagalogManobo

This is a story about an indigenous Fijian musical instrument from the ancient past. This is the nose flute known in the indigenous language as dulali or bitu ceguvi. \n\nThis performing art has disappeared altogether from Fiji, save for a village in Tailevu province, one of the 14 provinces in Fiji. Tailevu is located on mainland eastern Vitilevu and the village we are visiting where this art form is kept alive is located at the norther part of the province. The village is called Nananu. \n\nWe are visiting a 73 year old man at the time of the shot (2011). Kaveni is the only person who has kept alive the art of playing the nose flute, an art that dates back in the mists of time to the days of its legendary ancestor Ramacake. Ramacake was Pan in the local mythology specializing in the pan flute. Its melodious strains was an irresistible charm on maidens who pined over it every morning. \n\nKaveni ekes out a simple living as an ordinary villager.\n\nThe art of playing the nose flute surprisingly never ever dawned on Kaven (Nose Flautist) as a child.\n\nhttps://m.facebook.com/pacificheritagehub/photos/fijis-last-remaining-nose-flautist-mr-kaveni-tamani-of-nananu-in-the-tailevu-pro/191764000971689/\n

Mongol Tuuli is an oral tradition comprising heroic epics that run from hundreds to thousands of lines and combine benedictions, eulogies, spells, idiomatic phrases, fairy tales, myths and folk songs. They are regarded as a living encyclopedia of Mongolian oral traditions and immortalize the heroic history of the Mongols. Epic performers are distinguished by their prodigious memory and skills, combining singing, vocal improvisation and musical composition coupled with theatrical elements. Epic lyrics are performed to musical accompaniment on instruments such as morin khuur and tovshuur. Epics are performed during social and public events, including state affairs, weddings, a child’s first haircut, naadam and worship of sacred sites. Epics evolved over many centuries, and reflect nomadic lifestyles, social behaviors, religion, mentalities and imagination. Epic performers cultivate epic traditions from generation to generation, learning, performing and transmitting techniques within kinship circles, from fathers to sons.

Urtiin Duu is a traditional form of musical expression of the nomadic Mongols. As the slow pace, wide-ranging melody and poetic, philosophical text of the songs express values instilled by the vast, peaceful natural landscape where the nomads live, the Urtiin Duu can be considered as a manifestation of the nomadic spirit, while its composition and performance are directly associated with cycles of the nomadic lifestyles. It serves as a variety of cultural functions, in occasions for social gathering, entertainment and artistic production, community rituals such as weddings, new ger warming feasts, birth of a child, the completion of felt-making, the production of the first airag (fermented mare’s milk). Mongolian long songs are classified in three major styles: Aizam urtiin duu (rhythmic long song), Jiriin urtiin duu (typical long song) and Besreg urtiin duu (short long song). Urtiin Duu-Traditional Folk Long Song was inscribed on the UNESCO Representative List of Intangible Cultural Heritage in 2008.

Palav culture and traditions have been included into the Representative List of Intangible Cultural Heritage of Humanity in 2016. Palov (or Osh) is the most beloved and highly regarded food among Uzbeks. It is spread in all regions of Uzbekistan. Palov accompanies Uzbeks throughout their lives. It is prepared on different occasions. These are: on the occasion of the birth of the first child (aqiqa); on the occasion of circumcision ceremony (sunnat toyi); on the occasion of engagement ceremony (fotiha oshi); on the occasion of seeing off a bride to the house of a groom (qiz oshi); in connection with wedding, for men only (nikah oshi); in connection with wedding, for women only (khotin oshi); after wedding, only for friends of a groom (kuyav oshi); on the occasion of child’s birth and carrying out “ beshikkasolish” ritual (beshik toyi oshi); on the occasion of commemoration of the deceased (ehsan oshi); on the occasion of anniversary of death day (yiloshi). Thus it serves to unite people for different events.

This film is about rituals related to children. Included are kyrkyn chygaruu, a ritual celebrating the fortieth day after a child’s birth; beshike saluu, a ritual of placing baby in the cradle; tushoo kesuu, a ritual of cutting rope tied around a baby’s ankles; and bata, a blessing ritual. Knowledge holders talk about the significance of each ritual in a child’s life cycle. The film shows how these rituals are conducted now and how they have evolved over time.

Traditional Rituals Related to Childhood\nMongolians consider childbirth a good omen. Mongols give the child ablutions to honor the one who has adopted the human form and born as a little citizen of the state. During the ablution ceremony, the lifelong name is given to the newborn as well. There are other rituals and customs related to raising children in Mongolia, including customs related to the child’s first haircut.

Highly traditional nomadic rites, such as the tusau kesu, have been preserved among the Kazakhs, but the people’s understanding of the rites has been transformed. For Kazakh forbearers, rituals like tusau kesu (cutting the rope) or ashamayga mingyzu (landing on a horse) were rituals for beginning a journey, the journey through life and the exploration of the space around them. Many Kazakh families believe that the tusau kesu rite helps accelerate the child’s physical development so that the child can walk confidently, but if the child walks weakly, the rite can be repeated. The rite also symbolizes the discovery of a life path. The rite transfers spiritual and physical qualities to the child from a respected person elected by the parents. A grandmother, for example, shows the techniques of fetter weaving to her granddaughter.

There is a tradition to celebrate the customary event for cutting the child’s hair for the first time, and it is called differently such as “urevleg urgeeh”. Mongols do cut the boy’s hair in his 3 and 5 years old and girl’s hair in her 2 and 4 years old. The most respected (with compatible year sign) person or guest touches the child’s hair first with wooden knife. Accordingly, a bundle of hair is cut off with scissors with honorary scarf tied to its handle. A cup of milk is given to a child for taste, a bit of milk is applied to the child’s forehead and the well-wishing words of benediction are chanted. While the child goes around the guests from right to left, the guests cut off pieces of hair. Every one of them gives well-wishing words and presents.

Intangible Cultural Heritage Elements of Ferghana Valley_Collection on Intangible Cultural Heritage Elements of Ferghana Valley\n\n1. Yalla\nYalla, a widespread folklore song genre, is made up of words that come from poems by classic and modern poets. The songs are accompanied by dancing. Yalla is sung by one, two, or more people with the accompaniment of doira music or a musical ensemble. Most yalla songs are about love and affection, and they possess an attractive, charming, and jolly character.\n\n2. Alla\nAlla (lullaby) is an oral form of ICH sung by one person, usually a mother who is putting her baby to sleep. Alla, popular among Uzbek, Uyghur, and Tajik people, is important in raising a child. Alla is highly emotive in that it allows a child to perceive not only motherly affection but also her spiritual sufferings.\n\n3. O‘lan\nO‘lan is a genre of people’s oral creation. Mainly, it is performed by women with or without doira accompaniment. At Uzbek parties and celebrations, the o‘lan is sung by a girls’ team on one side and a boys’ team on the other side, or it is sung by two people who take sides opposing each so they may perform as though they are having a dialogue. Through the o‘lan genre, people express their hopes, dreams, sorrows, and joy, and the theme of love is at the core of its content.\n\n4. Yor-Yor\nYor-yor is a folk song performed at wedding celebrations. In ancient times, it was widely spread among Uzbek, Tajik, Uyghur, and Turkmen people. Yor-yor consists of two or four lines, at the end or in the middle of each line are the words yor-yor, aylanaman (my beloved one, I am enchanted). Usually, yor-yor is accompanied by doira music performed by women. The high effect of yor-yor is that it simultaneously harmonises sadness with a merry melody and tone and the mood of holiday joys. In yor-yor songs, the bride is congratulated and is praised for her features, wishes, and cherished dreams.