A wide range of festivals are held in Uzbekistan to generate public interest in intangible cultural heritage. This includes the recent International Bakhshi Art Festival, which was held for a week from 5 April in the ancient city of Termez. Bakhshi is a multi-genre art form that brings together singers, musicians, and performers of Doston, a Central Asian oral epic. Teams from seventy-five countries took part in this festival, which featured not only a wide range of performances but also an enlightening international conference.

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.

The Gangneung Danoje Festival has maintained typical elements of ancient festivals that were held in May (seedtime) and in October (harvest time) during the Samhan period (around 300 CE). In the fifth lunar month, which includes Dano day, local people perform rituals for driving away evil spirits and welcoming the fortune and participate in traditional games and activities. The main deities of the festival are the mountain god, Kim Yusin, who was the general of Shilla and the United Three Kingdoms, and the royal tutor tutelary deity, Beomil, who was a Shilla monk. The first documented record of Dano folklore appears in the Samguksagi (A History of the Three Kingdoms). Other records indicate that Dano has commonly been referred to as ‘Suri’ in local dialects.

With stupefying landscapes to explore, marked by the remnants of ancient tribes and Silk Road travelers, Kyrgyzstan is the perfect place to let one’s person and imagination roam wild.\n\nThe stunning Eurasian mountain country of Kyrgyzstan is renowned for its splendid natural panoramas and vast landscapes that, although isolated, belong to a unique cultural context. Human traces—Paleolithic petroglyphs, Saka burial mounds, Silk Road caravanserai, and Soviet-era monuments, to name a few—punctuate the mountains and valleys once roamed by the vagabonds and villagers of past centuries.\n\nTo the present day, the complex natural and historical Kyrgyz terrain elicits curiosity and wonder among those who attempt to navigate it. Furthermore, the interpretations by later ancestors of ancient remnants are interesting keystones in the development of culture. Over the decades and centuries, the distant, obscured past tends to remain a source of imagination, superstition, and inevitably, storytelling. While this reception of the past is not unique to the Kyrgyz culture, its history is characterized by many waves of migration, and thus the people who have traversed its mountains and valleys were at times vastly different to their predecessors.\n\nIt may be possible that as a result of their roaming, the ancient settlers of Kyrgyzstan felt a need to establish a sense of place within the overwhelming land they occupied, a desire to understand it and know what it had witnessed before they arrived. This attempt to fabricate a connection to the land and earlier peoples might account for the legends of Kyrgyz folklore that seek to explain the etiology of various monuments and natural phenomena, their reasons for being.\n\nCholpon-Ata\nCholpon-Ata, now a popular resort destination on the north shores of Lake Issyk-Kul, takes its compound name from the maiden of the origin myth of the lake. Legend has it that long ago lived Cholpon, a beautiful blue-eyed Kyrgyz girl who lived with her tribe near the mountains. The amoured Ulan and Santash fought and injured one another for her affections, their rivalry expanding to two groups of allied kin. In the face of a choice which would result in the detriment of one of the dijigits (horseback warriors), Cholpon tore her own heart from her chest, rendering it unattainable to either, and died on the sunrise-facing hill that commemorates her. The mourning Kyrgyz, who remained divided from the feud, filled the valley between the mountains with their tears and created Lake Issyk-Kul, which separated the bitter tribes. The two groups thus name the northern and southern banks, Kungey and Terskey while the Ulan and Santash dijigits blow as the east and west winds, occasionally grappling with one another in the form of a storm above the lake.\n\nJeti-Ögüz\nThe photogenic ridge of seven red sandstone peaks known as Jeti-Ögüz are also the setting of Kyrgyz myths. The formation’s name, meaning Seven Bulls, may reference a folktale in which the eponymous animals were petrified by the gods to protect human inhabitants of the region from their wild rampage. In another legend, a Kyrgyz khan seeks to avenge the theft of his wife by another man and is advised by an elder to do so by killing the wife as punishment. His plan is hatched at a funeral feast, when, after the sacrificing of seven bulls, he similarly stabs and kills his stolen wife. Her bleeding heart flooded the valley, the blood carrying the slaughtered bulls with it to the current position of the red rocks.\n\nTengrism and the Tien Shan\nSome of the vast mountains which Kyrgyzstan is known for belong to the Tien Shan range, also shared with China and Kazakhstan. These majestic snow-capped peaks cast upon those who face them the impression of a force that was mighty, powerful, and divine. Such mountains are held sacred in the Central Eurasian religion of Tengrism, rooted in the ancient Mongol and Turkic tradition that worshipped the god Tengri personified by the sky, whose name attests to the religious and legendary significance of the mountains. The Kyrgyz ‘Tengri’ and Chinese tian are linguistically linked, both meaning sky as well as god; the Tian Shan can thus be translated to mean ‘Sky Mountain’ in honor of the god.\n\nRecounting these ancient legends are only a small sample group of the rich folkloric tradition woven into Kyrgyzstan’s vast landscape and varied population. We can only assume there to be infinite variations to the stories that are continually told, and far more strands of the oral tradition that may survive either sparsely or not at all. But there is a timelessness about these tales of the origin of natural phenomena that continue to punctuate Kyrgyz land and something in their phrasing and rhythm that longs to be shared aloud, repeated, and remembered.\n\nPhoto : Kyrgyz Landscape

Performed in villages and closely attached to water rice agriculture, water puppetry is a unique performing art and is the intangible cultural heritage of the Viet people in the Northern Delta region of Vietnam. Created in the tenth century, the first historical record on water puppetry was inscribed in an ancient stele in 1121 called the Sung Dien Dien Linh in the Long Dọi Buddhist Temple of Ha Nam Province. The inscription reads that water puppetry was performed to entertain the king on the occasion of his longevity ceremony.

In Hungduan, Ifugao, three communities—Hapao, Baang, and Nungulunan—observe three post-harvest rituals, collectively known as huowah. Punnuk, an intense tugging match in the Hapao River, is the last of the three rituals.

The Festival of Colors adorns the season of spring in north, east, and west India, and Nepal. While it is generally called Holi, and is a public holiday, it is celebrated as Basanta Utsav, or Dol, in the eastern Indian state of West Bengal. This is the biggest festival in the entire Indian sub-continent, transcending castes, communities, and religions to celebrate friendship and harmony. Incidentally, Mughal Emperor Akbar (1542 to 1605 CE) was the first Muslim ruler of India to play Holi with his Hindu subjects, striking a deep bond of faith and friendship with them.\n\nPeople smear each other, even strangers, with different colors and sprinkle colored water, with pink, red, green, and yellow being the favorites. This results in villages, towns, and whole cities turning into a canvas of bright colors during the festivities. In many parts of north India, the celebrations, including religious rituals, begin a week ahead of the first full moon in the Hindu calendar month of Phalgun. The main festival, though, is on the full moon day.\n\nBasanta Utsav has its own unique traditional charm with songs and dances playing a key role. It is one of the two main festivals celebrated at Visva Bharati University in Santiniketan, founded by poet-philosopher-educationist Rabindranath Tagore, India’s first Nobel laureate. During spring, with red Palash flowers in full bloom, the entire plateau landscape of Purulia acquires a bright red hue, casting an earthy romantic spell all around. The local communities traditionally celebrate the full moon night of Holi with songs and dance.\n\nPhoto : A scene during the Festival of Colours Celebrating Harmony © Banglanatak dot com

Marking the beginning of spring, Navruz (meaning March equinox) is one of the largest traditional holidays in Central Asia. Located in the heart of Central Asia, Kyrgyzstan has been celebrating Navruz (Nooruz in Kyrgyz) for a long time as its national holiday. When the Navruz holiday comes, Kyrgyz families gather to make holiday desserts: sumolok and boorsok.\n\nIn the old times, sumolok was a ritual dish prepared before the start of spring sowing. Sumolok is a sweet paste made from germinated wheat and stir cooked in a kazan, a large traditional pot in Central Asia. Sumolok has become an important cuisine in Kyrgyz culture since almost all of Kyrgyzstan celebrates the holiday by making it. In villages and towns, families gather around a kazan full of sumolok and take turns to stirring the sumolok. Usually it takes a whole day and night to finish the cuisine, which is why a typical Navruz scene in Kyrgyzstan is pictured as a group of families sitting around a Kazan while singing and stirring sumolok.\n\nBoorsok, on the other hand, is cooked faster than sumolok. Also a traditional sweet in Central Asia, boorsok is a type of fried dough in various shapes. Kyrgyz boorsok is typically shaped like a pressed doughnut.\n\nThis year, Boorsok National Record was held in the Arashan village near the capital city, Bishkek. The event was organized by Ethnographic Complex Kyrgyz Aiyli (meaning Kyrgyz village), successfully attracting an estimated 1,500 local residents and tourists. The main programs included making boorsok, singing songs, and competing in horse riding and other national games. The participants in the boorsok cooking competition used about a ton of flour and made more than 800 kg of boorsok. Later, boxes of boorsok were sent to nearby orphanages and the elderly in Arashan Village.\n\nMarking the beginning of spring, Navruz (meaning March equinox) is one of the largest traditional holidays in Central Asia. Located in the heart of Central Asia, Kyrgyzstan has been celebrating Navruz (Nooruz in Kyrgyz) for a long time as its national holiday. When the Navruz holiday comes, Kyrgyz families gather to make holiday desserts: sumolok and boorsok.\n\nIn the old times, sumolok was a ritual dish prepared before the start of spring sowing. Sumolok is a sweet paste made from germinated wheat and stir cooked in a kazan, a large traditional pot in Central Asia. Sumolok has become an important cuisine in Kyrgyz culture since almost all of Kyrgyzstan celebrates the holiday by making it. In villages and towns, families gather around a kazan full of sumolok and take turns to stirring the sumolok. Usually it takes a whole day and night to finish the cuisine, which is why a typical Navruz scene in Kyrgyzstan is pictured as a group of families sitting around a Kazan while singing and stirring sumolok.\n\nBoorsok, on the other hand, is cooked faster than sumolok. Also a traditional sweet in Central Asia, boorsok is a type of fried dough in various shapes. Kyrgyz boorsok is typically shaped like a pressed doughnut.\n\nThis year, Boorsok National Record was held in the Arashan village near the capital city, Bishkek. The event was organized by Ethnographic Complex Kyrgyz Aiyli (meaning Kyrgyz village), successfully attracting an estimated 1,500 local residents and tourists. The main programs included making boorsok, singing songs, and competing in horse riding and other national games. The participants in the boorsok cooking competition used about a ton of flour and made more than 800 kg of boorsok. Later, boxes of boorsok were sent to nearby orphanages and the elderly in Arashan Village.\n\nMore information about Navruz is available in ICHCAP’s e-Knowledge Center.\n\nWatch Other Navruz Videos\nNavruz is celebrated throughout Central Asia, with each ethnic group having its own take on the holiday. The videos of Tajik and Uzbek celebrations below are from ICHCAP’s Central Asia ICH Collection.

2003 UNESCO 무형문화유산보호협약(The Convention for the Safeguarding of Intangible Cultural Heritage)에 의하면, ‘무형문화유산’이라 함은 개인, 집단 및 공동체들이 그들의 문화유산의 일부분으로 인식하는 실행, 표출, 표현, 지식 및 기술뿐 아니라 이와 관련된 전달 도구, 사물, 유물 및 문화 공간 모두를 의미한다. 나아가 무형문화유산의 범위와 관련하여 동협약은 ①무형문화유산의 전달수단으로서의 언어를 포함한 구전 전통 및 표현, ②공연 예술, ③사회적 관습·의식 및 제전, ④자연과 우주에 대한 지식 및 관행, ⑤전통공예기술을 예시적으로 나열하고 있다.\n\n이러한, 무형문화유산은 세대를 거쳐 사용·경험에 의하여 전승되어 온 ‘정보’로써, 사용되는 과정에서 개량(innovation)이 추가된다. 이러한 개량은 무형문화유산의 본질을 변화시키지 않는 범위 내에서 그 가치를 증가시키는 행위이고, 전통이라고 하는 본질은 계속 유지된다.4) 따라서 무형문화유산은 전통성과 동시에 날마다 생성된다고 하는 현대성을 갖는다. 이러한 무형문화유산의 특성은 무형문화유산의 지적재산권제도에 의한 보호를 곤란하게 하는 요인이다. 또한 이러한 유산의 대부분은 공유(公有, public domain)에 해당할 것이다.5) 기존 유산을 개량하는 경우, 개량된 부분은 사적영역(private domain)이 되기도 하지만 다시 관행을 통하여 공유가 된다. 무형문화유산은 전통지식(Traditional Knowledge), 전통문화표현물(TCEs/EoF; Traditional Cultural Expressions/Expression of Folklore)과 마찬가지로 인류의 공동유산(common heritage)으로 취급되어 그 “보전”에 초점이 맞추어져 왔다.\n\n전통지식(Traditional Knowledge)은 광의로 사용되는 경우와 협의로 사용되는 경우가 있다. 협의의 전통지식이란 “자연과 밀접한 관계가 있는 것 중에서 집단에 의하여 세대를 거쳐 배양된 농업적 지식, 과학적 지식, 기술적 지식, 생태학적 지식, 의학적 지식 및 생물다양성에 관한 지식의 총체”를 말하며 기술적 측면이 강하다. 현재 WIPO에서는 전통문화표현물의 개념을 포함하는 “광의의 전통지식”의 보호에 대하여 논의되고 있다. 특히, 유전자원과 밀접한 관계가 있는 “협의의 전통지식”은 특허와 관련하여 논의되고 있다. 광의의 전통지식이란 협의의 전통지식에 전통문화표현물의 표현, 언어적 요소(지리적 표시), 심볼, 동산문화재(미술공예품·민속자료·역사적 자료) 등을 추가한 것을 말한다.8) 한편, 최광의 개념으로 사용되는 유산(heritage)은 “광의의 전통지식” 뿐만 아니라 인간의 유전자정보, 성지와 유적·사적지 등과 같은 문화재, 선주민의 생활을 기록한 사진 영화 등을 포함하는 매우 넓은 개념이다. 본래 인류의 공동유산은 자유로이 접근, 이용할 수 있는 것으로 취급되어 왔으나, 최근 선진국가의 기업이 풍부한 경험, 정보 및 자금력을 바탕으로 인류의 공동유산을 소재로 하여 연구개발을 행하고 있으며, 그 연구성과를 지적재산권화하는 사례가 발생하고 있다.

In Japan, etoki, or picture deciphering, is a centuries-old form of performing arts that involves telling stories about Buddhist principles and historic events while using emaki (illustrated scroll) or kakejiku (hanging picture) as a visual reference. Other related performances are called sekkyou, or sermons, and they are distinguished from etoki in that sekkyou includes narration without any visual references. The stories for both arts, which were originally performed by monks and nuns, may explain the history of a shrine or temple, a pilgrimage, a biography of Shakyamuni, Buddhist sutra, or any other related topics. The origins of this heritage element is unclear, but some evidence indicates that it arrived in Japan from Southeast Asia through China and Korea, and historical records do tell us that monks were performing etoki for aristocratic audiences in Japan by the tenth century.

In the Buryat tradition (and in the Mongolian as well), “shamans” were not pure shamans in the classical sense of the word. Those involved with medical affairs were considered mediums between the lower sphere of the Eternal Blue Sky (Khukhe Monke Tengeri) and land inhabitants. Eternal Blue Sky worship was a traditional religious belief of Mongolians. Cross-cultural influences with the neighboring Tunguso-Manchurian people, whose religious traditions may be identified as classical forms of shamanism, introduced the ideas of ‘shaman’ and ‘shamanism’ to the Mongols.

Folkland, International Centre for Folklore and Culture is a nonprofit NGO devoted to promoting folklore and culture. Headquartered in Kerala in south-western India, Folkland has three main centers and several chapters in India and associations with other organizations abroad through MOUs and collab-orative partnerships. Folkland has been affiliated with the UNESCO ICH sector since 2010. Folkland envisions a society that respects cultural heritage by conserving arts and cultural traditions and transmitting them to future generations. As such, Folkland is proudly dedicated to promoting Indian culture and values with a focus on intangible cultural heritage. The center provides access to knowledge and information about intangible cultural heritage and is known for promoting indigenous culture that inspires audiences to explore the cultural and artistic heritage of Kerala. The main domains covered by Folkland are performing arts; oral traditions and expressions; social practices, rituals, and festivals; and traditional crafts. Folkland documents oral traditions and practices and extends training to younger genera-tions to revitalize old and near-extinct traditional art forms. One ICH element of particular interest to Folkland is tolpavakoothu (shadow puppetry).