The Ferghana Valley is a cradle of ancient Uzbek cultural traditions. In this area, creative folk arts, such as dancing, music, applied art, performances, and national games are highly developed and interconnected as are customs, traditions, and events. Uzbeks, Tajiks, Uyghurs, Kyrgyzs, Turks, Russians, and people of other national and ethnic backgrounds live in the Ferghana Valley. While they maintain and hold their own folk traditions, customs, and festivities, they also engage in Navruz and Mehrjon holidays with each other.\n\n1. Guli Arghuvon Festival\nThe expedition team to Ferghana Valley video-taped the Guli Arghuvon Festival that takes place every spring in the Do‘sti Khudo Graveyard in the Oltiariq District. The holiday is connected with the blossoming of the arghuvon plants (cercis siliquastrum) that grow in front of the graveyard’s mausoleum and stay in bloom for three days. While this particular event is not celebrated elsewhere, similar events, such as Qizil Gul or Guli Surkh (Red Flower), Lola Sayli (Tulip Festivity), Sunbul Sayli (Hyacinth Festivity), and Gunafsha Sayli (Viola Festivity), have found their way onto traditional calendars in different regions. Due to the historically agrarian Uzbek culture, many of its traditions, such as the Guli Arghuvon Festival and the others mentioned, are related to praising plant life and nature itself. Ancient faiths saw the eternity of nature with death coming in autumn when the trees lose their leaves and life returning when plants blossom in early spring. This point of view is the basis for many beliefs and events in agrarian cultures. The Guli Arghuvon Festival is based on ancient calendar events that unite agrarian beliefs and culture with ideas relating to harvests. Holding the event in a graveyard connects the idea that nature undergoes death and birth in the circle of seasonal change.

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.

Katta ashula is a vocal direction, a song genre typical for the Ferghana Valley, in which peculiar style and manner of singing is observed. It is performed by two or more singers in turns and without accompaniment of musical instruments. Katta Ashula is characterized by laconism (in means of expression), expressiveness (in music language), dynamism (in melodic development) and bright emotionality. Its figurative structure (or style) is closely connected to the traditional (classical) poetry of lyrical and philosophical nature. And ghazals of Navoi, Lutfi, Mashrab, Khazini, Muqimi, Furqat, Zavqi, Miskin serve as main poetic texts in this genre. Though, since the XX century the poems of contemporary Uzbek poets (such as Sobir Abdulla, Charkhi, Chusti, Akmal Polat, Khabibi, and others) as well as examples of folk poetry have been widely used. In terms of subject matter katta ashula songs can be divided into love-lyrical, didactic, religious and contemporary ones. The origins of katta ashula genre should be looked for in ancient folk-ritual chants, songs of "praise" (such as marsiya, navkha, ayolgu), agriculture- and labor-related songs with their original combination of recitative-declamatory beginning and chanting; and in distiches of ghazals (ghazalkhonlik), written in aruz prosody. Performance with high-pitched voice, existence of culmination parts, clarity of words for and their impact to the listeners – all these are features of this type of song. Katta ashula has several genres, such as “Yovvoi maqom” (“Yovvoi Ushshoq”, “Yovvoi Chorgoh”),"Yovvoyi asula" ("Yovvoyi Tanovar", "Yovvoyi Munojat"), "Yakkahonlik" ("Ohkim, gulzorim qani topmadim").\nNotably, the emergence and development of Katta ashula genre is closely linked with existence of corresponding performance schools, which stand out with their style of interpretation, manner of singing and bearers. From among katta ashula performance schools it is possible to mention Qoqand, Margilan, Andijan, Namangan and Tashkent performance schools.

Historically, Margilan was the centre for making atlas and adras – vivid and fine traditional fabrics. Due to the acute need to revive and safeguard traditions at risk of disappearing, the local community came up with an initiative to launch the Crafts Development Centre (CDC) in 2007. The CDC’s goal is to safeguard, develop and promote the method of Uzbek traditional atlas and adras making through innovative training sessions, exhibitions and craft fairs, traditional textile festivals, and the publication of safeguarding materials and manuals. The CDC also promotes the use of natural materials, and supports the transmission of knowledge and skills about nature and the universe and their role in ensuring people’s health and wellbeing.

Lazgi is the most popular Khoresm dance, which is energetic and full of passion. It is performed equally by both male and female dancers. "Lazgi" dance was usually accompanied by instrumental and dancy melodies. Although song versions of "lazgi" (which use various poetic texts) became widespread later on, the nature and character of melody remained the same. There are several versions of "lazgi" dance. These are: dance on a tray, dance on a brick, solo as well as group dance. In these, refined dance movements are replaced consequently by passionate and accelerated dance. The dance starts from steady movements of fingers of one hand and then another. Then simultaneously and slowly includes entire torso. The tempo gets accelerated and dancers snap fingers in time with dance with the help of stone castanets. In a group dance each participant dances in his or her own style. In ensemble.

Askiya (in Arabic – “azkiya”, literally means “witty”, “resourceful”) is an original genre of folk-spectacular art, and oral folk creativity, which evolved and became widespread in the Ferghana Valley and Tashkent region. As a result of continuous evolution it achieved the level of art. Askiya is an original eloquence and witticism contest organized between two or more people around particular topic or theme (which is called by askiya performers as payrov). In so doing, askiya performers use simple words in different meanings and for different purposes. They joke open-heartedly and in a friendly manner, laugh at some unusual situations and flaws observed or run across in the daily life of their contemporaries. Not to offend his rival the performer (askiyachi or askiyaboz) has to use carefully and skillfully each word and phrase during askiya. At present more than thirty forms of askiya are known. These include payrov, qofiya, radif, bakhribayt, tutal, okhshatdim, afsona, rabbiya, safsata, chiston, laqab, gulmisiz, bulasizmi, shirinkor and terma. Although, each of the above-mentioned forms conform to common requirements peculiar to askiya art genre, still each has its own distinguishing features.

Bakhshi - is an epic creator. The Bakhshi art is one of the specific genres of folk performing art. Bakhshi is a master and improvisator of words and stories, a skillful musician (skillfully plays on certain musical instrument) and singer (possesses the skills of traditional singing), who can accompany his performance with mimicry and plastique. He should be familiar with the life of his nation, with its culture and history. Moreover, he should have a rich vocabulary and masterly use popular language, be able to play with words, use their diverse forms. And all these features are connected with the art of bakhshi (bakhshichilik), which has centuries-long history. The repertoire of Uzbek storytellers and narrators includes heroic, historical and romantic dostons, which incorporated ancient cultural traditions, memory of the nation, its spiritual world and historical destiny, its civic, moral and aesthetic ideals. In dostons it is possible to find the ideas of patriotism and humanism, commitment and love, friendship and brotherhood. At the same time, freedom of fantasy, which is observed among bakhshis, makes possible artistic realization of folk ideals. It should be noted that doston is not about verbal performance only. It is also the work of art which is prosaic, poetic and musical. Indeed, bakhshi does not read doston but sings it. The singing is accompanied by playing on dombra or by instrumental ensemble. The whole artistic composition, all figurative means and expressions of doston are aimed at improving the perception of listeners.

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.

Intangible Cultural Heritage Elements of Ferghana Valley: Traditional Craftsmanship\n\nThe Ferghana Valley is a cradle of ancient Uzbek cultural traditions. In this area, creative folk arts, such as dancing, music, applied art, performances, and national games are highly developed and interconnected as are customs, traditions, and events. Uzbeks, Tajiks, Uyghurs, Kyrgyzs, Turks, Russians, and people of other national and ethnic backgrounds live in the Ferghana Valley. While they maintain and hold their own folk traditions, customs, and festivities, they also engage in Navruz and Mehrjon holidays with each other.\n\n1. Guli Arghuvon Festival\nThe expedition team to Ferghana Valley video-taped the Guli Arghuvon Festival that takes place every spring in the Do‘sti Khudo Graveyard in the Oltiariq District. The holiday is connected with the blossoming of the arghuvon plants (cercis siliquastrum) that grow in front of the graveyard’s mausoleum and stay in bloom for three days. While this particular event is not celebrated elsewhere, similar events, such as Qizil Gul or Guli Surkh (Red Flower), Lola Sayli (Tulip Festivity), Sunbul Sayli (Hyacinth Festivity), and Gunafsha Sayli (Viola Festivity), have found their way onto traditional calendars in different regions. Due to the historically agrarian Uzbek culture, many of its traditions, such as the Guli Arghuvon Festival and the others mentioned, are related to praising plant life and nature itself. Ancient faiths saw the eternity of nature with death coming in autumn when the trees lose their leaves and life returning when plants blossom in early spring. This point of view is the basis for many beliefs and events in agrarian cultures. The Guli Arghuvon Festival is based on ancient calendar events that unite agrarian beliefs and culture with ideas relating to harvests. Holding the event in a graveyard connects the idea that nature undergoes death and birth in the circle of seasonal change.

Miniature - in fine art, a small picture of careful and elegant decoration, with a thin overlay of colors. A special type of miniature is painting with varnish, oil or tempera on the surface of small varnish products. In the art of miniature, there are various schools and directions. In the ХV–ХVII centuries portrait genre and the description of historical events became consistent and basic theme in art schools of Central Asia. Coming exactly to this century, such creative schools as “Samarkand school of miniature”, “Gerat School of miniature”, “Baburids’ school of miniature” has been formed.

It is the New Year by solar calendar in Central, South and South-West Asia countries. According to sources, Navruz was one of the biggest festivities among Iranian and Turkic peoples. Mahmud al-Kashgari in his work called "Diwanu l-Lugat al-Turk" mentions about many folk songs, which were dedicated to Navruz. Also, the information about Navruz festivity can be found in such works as "The remaining traces of past centuries" (written by Abu Rayhan al-Biruni), "Navruzname" (by Omar Khayyam), and those written by Alisher Navoi, Zahir-ud-Din Muhammad Babur and other scholars. \nIn the territory of Central Asia Navruz festivity was associated with the beginning of the New Year. As such, the preparations for it began several days ahead. Wheat was germinated and from its sprouts sumalak was cooked, dumplings with greens and samosas with mint were prepared. Also folk games were organized (such as horseracing, uloq, kurash, etc.), promenades were arranged, songs about spring were sung, terma and dostons were performed (by bakhshis). On the first day of Navruz children, living in rural areas, gathered in groups and sang songs dedicated to Navruz before the doors of houses. And the owner of the house, hearing these songs, came out, gave presents to children, and treated them with food. In their turn, children distributed one part of the food among widows and orphans living in the village. All these traditions and customs are still alive.

Lazgi is the most popular Khoresm dance, which is energetic and full of passion. It is performed equally by both male and female dancers. "Lazgi" dance was usually accompanied by instrumental and dancy melodies. Although song versions of "lazgi" (which use various poetic texts) became widespread later on, the nature and character of melody remained the same. There are several versions of "lazgi" dance. These are: dance on a tray, dance on a brick, solo as well as group dance. In these, refined dance movements are replaced consequently by passionate and accelerated dance. The dance starts from steady movements of fingers of one hand and then another. Then simultaneously and slowly includes entire torso. The tempo gets accelerated and dancers snap fingers in time with dance with the help of stone castanets. In a group dance each participant dances in his or her own style. In ensemble.\n\nThis recording also includes an interview with the dancer, who shares personal insights about the meaning of Lazgi, its cultural significance, and the emotions expressed through its movements. The interview adds a unique perspective to the visual performance.