Mongolian language belongs to the Altaic language family. It is an ancient and independent language with rich history of thousands of years which has been transmitted through generations to ours. Over 20 ethnic groups in Mongolia are divided in to 2 different language groups, for instance over 90 % of these 20 ethnic groups are speak in Khalkh, Bayad, Barga, Buriad, Dariganga, Darkhad, Dorvod, Zakhchin, Myagngad, Oold, Torguud, Uzemchin, Khamnigan. Kharchin, Khotgoid, Eljigen, Sartuul and Tsakhar dialects of Mongolian langugage group. The Kazakh, Uriankhai, Tuva and Khoton are classified into Turkic language group. The marvel of the Mongolian language is its phonemic, morphological and syntactic harmony, its flexibility, and its unusually rich lexicology. Mongols have created innumerable oral and intangible expressions in Mongolian language which manifested in the forms of folk literature, folklore, traditional performing arts, customs and practices.

Mongolian language belongs to the Altaic language family. It is an ancient and independent language with rich history of thousands of years which has been transmitted through generations to ours. Over 20 ethnic groups in Mongolia are divided in to 2 different language groups, for instance over 90 % of these 20 ethnic groups are speak in Khalkh, Bayad, Barga, Buriad, Dariganga, Darkhad, Dorvod, Zakhchin, Myagngad, Oold, Torguud, Uzemchin, Khamnigan. Kharchin, Khotgoid, Eljigen, Sartuul and Tsakhar dialects of Mongolian langugage group. The Kazakh, Uriankhai, Tuva and Khoton are classified into Turkic language group. The marvel of the Mongolian language is its phonemic, morphological and syntactic harmony, its flexibility, and its unusually rich lexicology. Mongols have created innumerable oral and intangible expressions in Mongolian language which manifested in the forms of folk literature, folklore, traditional performing arts, customs and practices.

Cultural space of Boysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Boysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Boysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

Cultural space of Boysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Boysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Boysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

Cultural space of Boysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Boysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Boysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

Cultural space of Boysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Boysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Boysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

Because of the interaction with epic culture and performing arts of the Central Asian people, the Kyrgyz oral art emulated and developed widely the ‘dastan’ genre. Such genre is a folk refinement of heroic epics, legends, and storylines. Fantastic and adventurous situations with sophisticated plots are described in them. There are various dastans as ‘Ak Moour’, ‘Munduk, Zarlyk’ or ‘Gulgaaky’ which describe some historical events, reveal a heroic theme as well as displays small forms of folklore - blessings, thanksgivings, catchwords and slogans, proverbs and sayings, thus becoming the repository of popular wisdom and epic richness. Numerous works demonstrate that the dastan genre became very popular.

Yalla is a song-dance genre of Uzbek oral art, which is widespread in Uzbekistan. The majority of songs in this genre are associated with love-related themes and lyrics and performed solo (by singer or yalla performer) with accompaniment of instruments.Melodies of yalla are more developed and songful, joyful and dance-suited.Mumtoz yalla differs significantly from widely-spread folklore songs in yalla genre, which use folk poetry and solo-groupnmanner of singing with accompaniment of doira or dutar (among the people “yalla” means “singing with a dance”). The examples include “Yallama yorim”, “Kho-kho yalla”, “Qizgina”, etc.

Yalla is a song-dance genre of Uzbek oral art, which is widespread in Uzbekistan. The majority of songs in this genre are associated with love-related themes and lyrics and performed solo (by singer or yalla performer) with accompaniment of instruments.Melodies of yalla are more developed and songful, joyful and dance-suited.Mumtoz yalla differs significantly from widely-spread folklore songs in yalla genre, which use folk poetry and solo-groupnmanner of singing with accompaniment of doira or dutar (among the people “yalla” means “singing with a dance”). The examples include “Yallama yorim”, “Kho-kho yalla”, “Qizgina”, etc.

Yalla is a song-dance genre of Uzbek oral art, which is widespread in Uzbekistan. The majority of songs in this genre are associated with love-related themes and lyrics and performed solo (by singer or yalla performer) with accompaniment of instruments.Melodies of yalla are more developed and songful, joyful and dance-suited.Mumtoz yalla differs significantly from widely-spread folklore songs in yalla genre, which use folk poetry and solo-groupnmanner of singing with accompaniment of doira or dutar (among the people “yalla” means “singing with a dance”). The examples include “Yallama yorim”, “Kho-kho yalla”, “Qizgina”, etc.

Yalla is a song-dance genre of Uzbek oral art, which is widespread in Uzbekistan. The majority of songs in this genre are associated with love-related themes and lyrics and performed solo (by singer or yalla performer) with accompaniment of instruments.Melodies of yalla are more developed and songful, joyful and dance-suited.Mumtoz yalla differs significantly from widely-spread folklore songs in yalla genre, which use folk poetry and solo-groupnmanner of singing with accompaniment of doira or dutar (among the people “yalla” means “singing with a dance”). The examples include “Yallama yorim”, “Kho-kho yalla”, “Qizgina”, etc.

Aitys is an improvised song and poetry competition of akyns, poet-singers accompanied by a dombra. This is a traditional form of Kazakh oral folklore that includes singsong reading of poetry.\n\nAkyns spontaneously compete with each other by minutely composing poems and mutually answering questions of societal concern. Deep philosophical reflections in a witty, bubbly manner often turn into a form of poetic ridicule and criticism. Akyns compete in their resourcefulness and originality.