Haktuir Ai-Knanoik

An oral game, Tsangmo or Tsam-mo is short and melodious poetry normally sung for entertainment by people of all ages in all the regions. It is also considered as one of the ornaments of speech. There are several very similar names for the game, with each having its own meaning and definition, according to the elderly village people; Tsam is a short poem either composed on the spot or learnt from elders or friends, which is recited to a melodious tune. Mo means divination or test. Therefore, it is a song sung to test the feelings of another person. In another version, it is also a song sung by individuals in a group, to make the same divination of feelings as above by a stick (Tsang) pointing to the personal items already collected from each of the participants, guided by the rhythms of the song.

#bhutan #bhutantravel #bhutanculture #유네스코아태무형유산센터 #유네스코 \n\nYig-par koni is an adverb that means engraving of scripts which is the art of Xylography, one of the indigenous craftsmanship art of Bhutan. Script engraving is done using special wood locally called Tag-pa shing (Birch: Betula utilis) that flourishes at altitudes varying from 3000 to 4200 meters above sea level. Tag-pa shing can be easily identified by its bark that has a mix red and pink and brown colours alternatively across the trunk like that of a tiger’s skin thus got its name. The art is considered as one of the religious craftsmanship since its significance, production and usage are all connected to spiritualistic believes and purpose.\n\nIn Bhutan, the presence of skills for making woodblock prints are seen in temples, monasteries and Dzongs (fortress) every part of the country in the form of biographies, excellent teachings of the Buddha printed from woodblocks. The earliest biography is that of Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521), as prophesied by Guru Padmasambava, the epitome of the Secret Teachings of Tantric Buddhism. Terton Pema Lingpa was the last reincarnate of Princess Pema Sal (?), daughter of King Thrisong Deutsan of Tibet. Owing to the propensity of his previous lives, the Terton knew craft works without training, and dedicating his skills to ensure the continuity of the Buddha’s teachings, had made uncountable number woodblocks, available in the monasteries established by the Terton himself and by his sons as well as in the house of a number of his patrons that can be seen even today.\n\nMoreover, Thugse Dawa Gyaltshan (1499-1586), the son of Pema Lingpa, had also engraved as many as 614 woodblocks for the collected works and autobiography in memory of his father which is still preserved at the sacred place of Kunzang Drag, Bumthang Dzongkhag (district). After Terton Pema Lingpa and his heart son Thugse Dawa Gyaltshen had started the tradition of woodblock print, Choje Ngagwang Tenzin (1522-1590), the reincarnate of Gartoen who was the son of Phajo Drugom Zhigpo, engraved the biography of Phajo Drugom in about 1570 (C.E). Then, in the 17th century Zhabdrung Ngawang Namgyal, having satisfactorily completed all the activities related to the dual system and before he went into the final retreat (i.e. parinirvana), initiated a project to engrave the collected works of the omniscient Pema Karpo (1527-1592) and all the essential ones and its prints are distributed them to all the monasteries and sangha communities as dharma donations.\n\nHe created of the seat of Je Khenpo as the overall head of sangha monasteries and ecclesiastical affairs and that of Desi, who functioned as the secular head of the country. He had also appointed officials to fit these high-ranking positions. The successive Je Khenpo and Desis ensured the practice, manage and spread of the teachings and the good system of administration, by engraving unlimited number of woodblocks prints in their respective areas which can be seen still today in all the historical monuments. However, due to the advancement of printing technologies, the National Library & Archives of Bhutan is the only institution that is upholding the xylography art in the country while the practice is turned its form to an oral account.\n\nFor more information \nhttps://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874508750347675141

In the rugged landscapes of Timor-Leste, where dry seasons can stretch long and food insecurity remains a reality for many, the people have long relied on their deep knowledge of wild, resilient crops. Among them is Koto-Tisi—a hard, dark wild bean that offers vital sustenance but must be carefully prepared to remove its natural toxins. What might appear at first glance to be just another seed is, in fact, a symbol of survival, ecological wisdom, and ancestral resilience.\n\nThe bean is typically found growing on hardy, thorny shrubs or climbing vines in semi-wild areas. It is gathered primarily by women, who know when the pods are ready to be picked and how to handle them safely. The challenge lies not in harvesting but in transforming Koto-Tisi into something edible—an intricate cooking process that has been passed down through generations.\n\nPreparation begins with repeated boiling and rinsing, sometimes up to five or six times. Each round helps to leach out the toxic compounds present in the bean. The water must be discarded each time, and the beans carefully watched to ensure that they soften without disintegrating. After boiling, the beans are often sun-dried and stored for later use, to be boiled again before eating or ground into a starchy paste.\n\nThe process is labor-intensive and demands both patience and precision. Elders in the community emphasize that the knowledge of how to process Koto-Tisi is not written in books—it lives in memory, movement, and the rhythms of daily life. To rush the process or ignore the sequence could lead to poisoning. For this reason, children are taught to observe closely, assisting their mothers or grandmothers and gradually learning the delicate balance between danger and nourishment.\n\nIn times of drought, scarcity, or natural disaster, Koto-Tisi becomes a lifeline. Its ability to grow in harsh conditions, with little water or care, makes it a dependable fallback when cultivated crops fail. But it is more than a survival food—it is also a testament to how culture and ecology intertwine. The knowledge required to use it safely reflects a deep respect for the land, a skillset honed through centuries of careful experimentation and oral transmission.\n\nToday, as dietary patterns change and imported food becomes more available, the practice of preparing Koto-Tisi is fading in some areas. But in others, it remains a respected tradition—especially among elders who see it not only as food but as a story, a ritual, and a reminder of community strength in the face of adversity.

The Art of Calligraphy and writing is not only the fundamental need of academic knowledge but it is also an essential skill required preserving and promoting religious teachings. It not only requires academic intellects but most important the hand-skill of calligraphy. The origin of the calligraphy as per Lam (Spiritual master) Ugyen Tenzin Yoezer, popularly known as Lopen Nado, who was then the Advisor to the Department of Education on Dzongkha Development in Bhutan says that, there was a natural system of using words and phrases in oral communications such as conversations, discussions, and official announcements, consistent with the general practice. Development of the system of communication through the writing of letters and documentation had not been widespread. During the second visit of Guru Padmasambhava to Bumthang was in the 8th century, he was accompanied by one of his 25 principal disciples’ names Denmang Tsemang. At that time Guru Padmasambava gave the sacred teachings of the Secret Mantra to the King Sindhu Raja, but it was said that there was no system of writing in the country that time. So, it was Denma Tsemang who transcribed the transmitted teachings for the King’s practices and thus the beginning of the tradition of writing in Bhutan.

“The Swan Rings: A Story of Eternal Love” is a captivating journey into Mongolia’s rich oral heritage, retelling the 500-year-old love story of Donoi the Rich and Tsagaankhuvi—a tale passed down through generations and revived today through storytelling, singing, and sand art.\n\nSet in the breathtaking landscapes of present-day Aldarkhaan soum in Zavkhan province, this story of devotion and harmony pays tribute to two legendary figures who helped sustain their community through horse herding and deep compassion. Honored and remembered as Ongods—ancestral spirits—Donoi and Tsagaankhuvi's story is a cherished legacy that continues to inspire.\n\nThis video reintroduces Mongolia’s storytelling traditions, blending folktale narration with epic singing and visual storytelling through sand drawing. At its heart are three handcrafted portraits depicting the main characters in their original attire, and a symbolic pair of silver swan rings—representing eternal love and unity.\n\nTo bring this tale to life, the creators conducted extensive research—consulting Ongods, visiting sacred sites, and collaborating with master storytellers such as N. Lantuu, B. Bayarmagnai, and G. Buuveibaatar. The team also drew inspiration from the natural beauty of Ganga Lake’s swan gatherings and the horse festivals of Agtana Khureet.\n\nNarrated by Merited Artist S. Otgon and sung by tradition bearer S. Dansran, this multimedia work features sand art by B. Sodnomdarjaa, original music by B. Erdenebat, and performances by S. Dansran and E. Enkhjin. The project was conceptualized by Agula Ulaach, revised by Agaruu UdGun, technically edited by B. Bilguun, and beautifully translated by B. Mandakhnar.\n\n“The Swan Rings” is the first in a trilogy exploring the theme “How Swans Became the Symbol of Love,” an artistic tribute to Mongolia’s timeless traditions of storytelling, love, and the spirit of community.

The Babadok is a traditional percussion instrument of Timor-Leste, central to the soundscape of communal dance, ritual, and celebration. With its deep, resonant rhythm, the babadok doesn’t just keep time—it sets the emotional pulse of an event, weaving together the steps of dancers, the cadence of songs, and the energy of the gathered community.\n\nTypically made from a hollowed-out log or wooden tube covered at both ends with animal skin—often goat or cowhide—the babadok is lightweight and portable. Struck with the hands or sometimes with short wooden sticks, it produces a sharp, dry beat that is both grounding and expressive. The drumheads are stretched tightly and tied securely with natural fiber ropes, sometimes decorated with paint or carved patterns. Over time, each instrument develops its own distinct tone, shaped by use, climate, and craftsmanship.\n\nIn traditional ceremonies, particularly dances like tebe-tebe or tebe-lilin, the babadok is the heartbeat of the performance. It provides tempo, signals changes in movement, and helps dancers synchronize their steps. More than a musical tool, the babadok becomes a channel through which emotions—joy, sorrow, gratitude—are communicated and shared. During ritual gatherings, it may accompany singing, recitation of oral histories, or moments of spiritual invocation.\n\nThe instrument is most often played by women, though in some regions both men and women participate. Its accessibility is part of its charm—anyone with rhythm, respect, and a sense of the tradition can learn to play. Children often grow up hearing the babadok played at family ceremonies or village festivals, absorbing its patterns and rhythms before they ever try it themselves.\n\nCrafting a babadok is itself an act of cultural care. The choice of wood, the drying and stretching of the skins, and the tying of the drum all follow methods passed down through generations. Elders often guide young artisans in this process, emphasizing not just the technique but the responsibility that comes with creating something used in sacred and social spaces.\n\nDespite its enduring importance, the babadok—like many traditional instruments—faces challenges in modern times. Mass-produced drums and changing musical preferences mean that fewer young people are learning to make or play it. Still, efforts are being made to preserve the tradition, with community performances, school programs, and cultural events placing the instrument back at the center of public life.\n\nIn the rhythm of the babadok, one can hear more than music: it is the sound of continuity, of people moving together, of ancestors remembered and futures imagined. Whether echoing across a dusty dance circle or softly beating in a sacred house, the babadok remains a powerful symbol of Timor-Leste’s living heritage.

Cultural space of Baysun 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 Baysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Baysun, 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.

Pua Kumbu is, to date, the sole weaving technique transmit\u0002ted by the Iban people in Sarawak, Malaysia. It embodies a centuries-long history and tradition. A variety of natural mate\u0002rials from the country’s tropical rainforests are used to create diverse motifs that symbolize the identity of the Iban people. As its designs typically originate from ideas that come to seasoned craftsmen in dreams, Pua Kumbu is based on the creator’s imagination, although some designs are inspired by cosmology or oral history. This video shows the ritual offering to avoid misfortune prior to weaving the textile, as well as multiple stages of weaving.

#유네스코아태무형유산센터 #bhutanculture #bhutan #ichcap \n\nThe Art of Calligraphy and writing is not only the fundamental need of academic knowledge but it is also an essential skill required preserving and promoting religious teachings. It not only requires academic intellects but most important the hand-skill of calligraphy. The origin of the calligraphy as per Lam (Spiritual master) Ugyen Tenzin Yoezer, popularly known as Lopen Nado, who was then the Advisor to the Department of Education on Dzongkha Development in Bhutan says that, there was a natural system of using words and phrases in oral communications such as conversations, discussions, and official announcements, consistent with the general practice. Development of the system of communication through the writing of letters and documentation had not been widespread. During the second visit of Guru Padmasambhava to Bumthang was in the 8th century, he was accompanied by one of his 25 principal disciples’ names Denmang Tsemang. At that time Guru Padmasambava gave the sacred teachings of the Secret Mantra to the King Sindhu Raja, but it was said that there was no system of writing in the country that time. So, it was Denma Tsemang who transcribed the transmitted teachings for the King’s practices and thus the beginning of the tradition of writing in Bhutan.\n\nThereafter in the 15th century, Terton Pema Lingpa (1450-5121) transmitted the writing tradition to his heirs until the dawn of 17th century when Zhabdrung Ngawang Namgyal (1594-1651) established the State Government by initiating the Monastic Body where the Calligraphy section (Yig-zoi-de) was particularly set for the monks to impart and learn art of calligraphy. It was necessary not only or writing and learning for oneself but, for the woodblock engraving projects that was thriving in Punakha Dzong initiated mainly for the flourishment of the Buddhist teaching in the country. Later, the art was perpetuated and practiced by the successive Je Khenpos (chief abbot) and Druk Desis (temporal secular rulers) and Monarchs until now.\n\nGenerally, there are five types of calligraphy writing; U-chen (Block script), U-mey (Headless script), Len-tsa (Rajana script), War-tu (a type of Indian script) and finally the Jog-yig (the typical Bhutanese script). Amongst these scripts, Len-tsa and War-tu scripts are mainly used as decorative scripts, while U-chen is more common in writing Buddhist canons, ritual scripts and even for the formal corresponding letters and Jog-yig script is just for writing formal records and corresponding letters. Regarding U-mey script, though it is rare to its usage bring a Tibetan script but there are some calligraphers knowing how to write.\n\nHowever, the tradition of writing i.e. Calligraphy has been greatly hampered and left on the verge of dying tradition due to the emergence of computer technology and available fonts in the country. Yet, there are still well known and skilled calligraphers which are mostly used by His Majesty’s Kangyur Project for writing Golden Scriptures of Buddhist Canon and even by some individual Spiritual masters which have helped in reviving and revitalizing the art in the country.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?nation=BT&page=1&urlAnchor=txt&elementsUid=13874511097589678075&mode=grid&searchText=Calligraphy&orderCd=B&countrys=BT

Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.

The people of Drangmaling-Nangar village in Tsamang Gewog, Mongar Dzongkhag in the eastern district gather every two years to perform Khar-phued. Literally, dairy product; milk, curd, cheese, butter, etc. were used as offerings. In other words, Kar means "wheat", Phued means "offering" - it is the offering of the first wheat harvest. \n\nKharphu is a Bon ritual festival used to pay homage to local deities and ensure the well-being of the community, its households, livestock and crops. Kharphu is celebrated from the 26th day of the fourth month to the 2nd day of the fifth month according to the Bhutanese calendar. \n\nThe village elders trace the origin of this ancient festival to the days of the creation of earth and sky (sachag namchag), as they do not know the exact century of origin or when it was held. The program and its components have been entirely preserved and passed down through oral tradition. This includes the ritual nightly exchange of songs that extends throughout the week. Apparently, this festival is in great danger of being lost in the modern cultural landscape.