Yurt production includes knowledge and skills in creating a portable dwelling traditionally used by Kazakh and Kyrgyz people. Yurt has a dismountable wooden circular frame covered with felt and braided with ropes. Yurts can be easily set up and dismantled within a short period of time. Yurts are basically characterized as easily transportable, compact, ecological and practical dwellings.\nBearers of yurt-making traditional knowledge are craftspeople (men and women), producing yurts and yurts’ interior decorations.\nMen and their apprentices make yurts’ wooden frames, traditionally by hand using special devices and instruments. Men also make wooden, leather, bone and metal details for yurts and household items. Women make yurt coverings and interior decorations. As a rule, they work in community-based groups supervised by experienced skilled women-artisans. Women-artisans use weaving, spinning, braiding, felting, embroidering, sewing, winding and other traditional handicraft technologies. Women’s work- process is usually accompanied by their singing, joking, telling stories about famous masters of the past and treating traditional meals.

Yurt production includes knowledge and skills in creating a portable dwelling traditionally used by Kazakh and Kyrgyz people. Yurt has a dismountable wooden circular frame covered with felt and braided with ropes. Yurts can be easily set up and dismantled within a short period of time. Yurts are basically characterized as easily transportable, compact, ecological and practical dwellings.\nBearers of yurt-making traditional knowledge are craftspeople (men and women), producing yurts and yurts’ interior decorations.\nMen and their apprentices make yurts’ wooden frames, traditionally by hand using special devices and instruments. Men also make wooden, leather, bone and metal details for yurts and household items.

Yurt production includes knowledge and skills in creating a portable dwelling traditionally used by Kazakh and Kyrgyz people. Yurt has a dismountable wooden circular frame covered with felt and braided with ropes. Yurts can be easily set up and dismantled within a short period of time. Yurts are basically characterized as easily transportable, compact, ecological and practical dwellings.\nBearers of yurt-making traditional knowledge are craftspeople (men and women), producing yurts and yurts’ interior decorations.\nMen and their apprentices make yurts’ wooden frames, traditionally by hand using special devices and instruments. Men also make wooden, leather, bone and metal details for yurts and household items.

Mongolian craftmanship have ancient crafts of ribbon-making such as zoos shiree (circled stitching, khosh (parallel bands, and gyarag bus (weaved sash). All are, however, rarely practiced nowadays. A field research group, studying Mongolian folklore, first discovered ribbon-making in 1982, along with khosh nekhekh-making in Omnogovi province in 1986 and gyarag bus-making in Dundgovi aimag in 1987, and brought them to the attention of the public. Consequently, several artisans have since taken up work on zoos shiree knitting, including D.Batbuyan and S.Khandmaa. Wood engraving artists have also come to specialize in zoos shiree making, such as B.Bayarsaikhan. Zoos shiree knitting is done in a number of different ways, using threads (from 3 to 12,24, and 32 threads at a time) and pieces of ribbon and rope (in groups of 1, 2, and 3). Nomadic artisans create such traditional patterns as khavtgai khee, 61- ziishtiu khee, khanan khee, and tagnai khee.

Mongolian craftmanship have ancient crafts of ribbon-making such as zoos shiree (circled stitching, khosh (parallel bands, and gyarag bus (weaved sash). All are, however, rarely practiced nowadays. A field research group, studying Mongolian folklore, first discovered ribbon-making in 1982, along with khosh nekhekh-making in Omnogovi province in 1986 and gyarag bus-making in Dundgovi aimag in 1987, and brought them to the attention of the public. Consequently, several artisans have since taken up work on zoos shiree knitting, including D.Batbuyan and S.Khandmaa. Wood engraving artists have also come to specialize in zoos shiree making, such as B.Bayarsaikhan. Zoos shiree knitting is done in a number of different ways, using threads (from 3 to 12,24, and 32 threads at a time) and pieces of ribbon and rope (in groups of 1, 2, and 3). Nomadic artisans create such traditional patterns as khavtgai khee, 61- ziishtiu khee, khanan khee, and tagnai khee.

The purpose of the festival is promotion of traditional knowledge on practice. This festival is the only one of its kind throughout the country as devoted to promotion of the traditional knowledge and traditional costume of Kyrgyz people. All participants of the festival are dressed in traditional clothes, mostly made by themselves. Bearers of traditional knowledge from all over the country are invited to the festival to exchange knowledge through master classes. Previously, the festival was organized in Kyzyl Tuu village in the Issyk Kul region, which is well known as the unique village where all families are involved in the manufacturing of yurts (traditional portable houses of nomad people). In 2015-2019 the festival was organized in the format of an authentic nomad camp with 140-150 attendees. The organizers of the festival are planning to create a nomadic camp in the mountain pastures during the festival period.\n

The purpose of the festival is promotion of traditional knowledge on practice. This festival is the only one of its kind throughout the country as devoted to promotion of the traditional knowledge and traditional costume of Kyrgyz people. All participants of the festival are dressed in traditional clothes, mostly made by themselves. Bearers of traditional knowledge from all over the country are invited to the festival to exchange knowledge through master classes. Previously, the festival was organized in Kyzyl Tuu village in the Issyk Kul region, which is well known as the unique village where all families are involved in the manufacturing of yurts (traditional portable houses of nomad people). In 2015-2019 the festival was organized in the format of an authentic nomad camp with 140-150 attendees. The organizers of the festival are planning to create a nomadic camp in the mountain pastures during the festival period.

The purpose of the festival is promotion of traditional knowledge on practice. This festival is the only one of its kind throughout the country as devoted to promotion of the traditional knowledge and traditional costume of Kyrgyz people. All participants of the festival are dressed in traditional clothes, mostly made by themselves. Bearers of traditional knowledge from all over the country are invited to the festival to exchange knowledge through master classes. Previously, the festival was organized in Kyzyl Tuu village in the Issyk Kul region, which is well known as the unique village where all families are involved in the manufacturing of yurts (traditional portable houses of nomad people). In 2015-2019 the festival was organized in the format of an authentic nomad camp with 140-150 attendees. The organizers of the festival are planning to create a nomadic camp in the mountain pastures during the festival period.\n

The purpose of the festival is promotion of traditional knowledge on practice. This festival is the only one of its kind throughout the country as devoted to promotion of the traditional knowledge and traditional costume of Kyrgyz people. All participants of the festival are dressed in traditional clothes, mostly made by themselves. Bearers of traditional knowledge from all over the country are invited to the festival to exchange knowledge through master classes. Previously, the festival was organized in Kyzyl Tuu village in the Issyk Kul region, which is well known as the unique village where all families are involved in the manufacturing of yurts (traditional portable houses of nomad people). In 2015-2019 the festival was organized in the format of an authentic nomad camp with 140-150 attendees. The organizers of the festival are planning to create a nomadic camp in the mountain pastures during the festival period.

The purpose of the festival is promotion of traditional knowledge on practice. This festival is the only one of its kind throughout the country as devoted to promotion of the traditional knowledge and traditional costume of Kyrgyz people. All participants of the festival are dressed in traditional clothes, mostly made by themselves. Bearers of traditional knowledge from all over the country are invited to the festival to exchange knowledge through master classes. Previously, the festival was organized in Kyzyl Tuu village in the Issyk Kul region, which is well known as the unique village where all families are involved in the manufacturing of yurts (traditional portable houses of nomad people). In 2015-2019 the festival was organized in the format of an authentic nomad camp with 140-150 attendees. The organizers of the festival are planning to create a nomadic camp in the mountain pastures during the festival period.

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.

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.