ALL
Asia
ICH Elements 4
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Portuguese Eurasian Music and Dance
The music and dance of the Portuguese-Eurasian community of Malacca is characteristically cheerful and vivacious, using instruments such as guitars and tambourine, accordion, tambour or the Malay rebana. Couples dance in colourful costumes similar to the folk costumes of Portugal — the men wear black bolero jackets and hats while the women wear colourful embroidered skirts. The main songs and dances include the branyo, tianika, maliao and farapeira. One of the most emblematic melodies of the Portuguese-Eurasian community of Malacca is the Jingkli Nona. In Malacca, some songs of the Portuguese-Eurasian community are sung in old Portuguese that has been passed down orally by master singers. Others are sung in Kristang — the local creole language derived from old Portuguese mixed with Malay words and grammatical structure. The main styles of the music and dance of the Gente Kristang are branyo and mata-kantiga. The lively branyo is derived from the Portuguese folk dance known as corridinho, found in the Algarve region of Portugal. Since the early 16th Century, branyo has been performed in Malacca as part of the Portuguese festival of Introdu or Shrove Sunday, before the holy month of Lent. To this day branyo is still played during weddings and festivities such as Festa Senjuan (Saint John’s Feast) and Festa San Pedro (Saint Peter’s Feast). The four main rhythms of branyo are jingkli nona, kanji-pape, sarampeh or serampang laut and chorte forte. These branyo rhythms have greatly influenced Malay joget music, so much so that Malay musicians often refer to branyo tunes as joget and Malay joget songs are referred to as branyo when performed at the Portuguese Settlement.
Malaysia -
‘Nooruz’ celebration
Nooruz is the New Year by solar calendar in Central, South and SouthWest Asia countries. March 21 marks the start of the year in Kyrgyzstan. Nooruz meaning ‘new day’ when a variety of rituals, ceremonies and other cultural events take place. An important tradition practiced during this time is the gathering around ‘the Table’, decorated with objects that symbolize purity, brightness, livelihood and wealth, to enjoy a special meal with loved ones. New clothes are worn and visits given to relatives, particularly the elderly and neighbors. Gifts are exchanged, especially for children, featuring objects made by artisans. There are also street performances of music and dance, public rituals involving water and fire, traditional sports and the making of handicrafts. These practices support cultural diversity and tolerance and contribute to building community solidarity and peace.
Kyrgyzstan 2016 -
CHOVANDOZI buzkashi
Horse game, goatsnatching. A kind of traditional sport which popular in Central Asia.
Tajikistan -
Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz
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. In 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.
Afghanistan,Azerbaijan,India,Iraq,Iran,Kyrgyzstan,Kazakhstan,Pakistan,Tajikistan,Turkmenistan,Turkey,Uzbekistan 2016
ICH Materials 114
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Navruz
Navruz is an ancient and widespread holiday in Tajikistan, and it is celebrated on the vernal equinox, the beginning of the solar year and the new year according to the Iranian calendar, as well as calendars of several other nationalities. Navruz traditionally celebrates the awakening of nature and the beginning of agricultural work.
Tajikistan -
Nooruz
The Nooruz holiday symbolizes the celebration of the New Year according to the solar calendar, on the vernal equinox (March 21). It marks the arrival of something new in people's lives, their hope for a happy and prosperous year. This is one of the most important holidays in Kyrgyzstan, bringing together everyone, regardless of age and ethnicity.
Kyrgyzstan
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(Russian)Silk Roads ICH Survey Report – Festivals/Доклад по исследованию нематериального культурного наследия Шелкового пути - фестивали
Title:\n(English) Silk Roads ICH Survey Report – Festivals\n(Korean) 실크로드 무형유산 설문조사 보고서 – 축제\n(Russian) Доклад по исследованию нематериального культурного наследия Шелкового пути – фестивали\n\nLanguage: English/Korean, Russian/English\nType: Survey Report\n\nThis survey report was conducted as part of the effort to identify the status of ICH festivals across the Silk Road region and further identify the challenges that should be resolved with regard to each festive event. This report presents the findings of the survey concerning ICH festivals, which was carried out in 2020 on the governments and cultural institutions across Silk Road countries, including the Republic of Korea. The valid sample, consisting of 347 respondents from nine countries, were statistically analyzed and described herein
Central Asia 2021 -
(KOR)Silk Roads ICH Survey Report – Festivals/실크로드 무형유산 설문조사 보고서 – 축제
제목\n(English) Silk Roads ICH Survey Report – Festivals\n(Korean) 실크로드 무형유산 설문조사 보고서 – 축제\n(Russian) Доклад по исследованию нематериального культурного наследия Шелкового пути – фестивали\n\n언어: 한국어, 영어, 러시아어\n\n이 보고서는 실크로드 지역의 무형유산 축제에 관한 현황을 살펴보고 정보공유 및 가시성을 높이기 위한 시도로서, 한국을 포함한 실크로드 관련 국가들의 정부와 문화기관을 대상으로 시행하였으며, 2021년 총 9개국에서 접수한 347개의 유효응답을 통계 분석하여 수록하였다.
Central Asia 2021
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Wall of the Lord: Famed Pilgrimage Temple Branches into ICH PromotionNathdwara is a famed Vaishnavite pilgrimage site in the Aravalli Hills, fifty kilometers northeast of Udaipur, Rajasthan. Hundreds of thousands of devotees annually visit its central Shrinathji Temple to worship a fourteenth century icon of Shrinathji, a beloved child incarnation of Lord Krishna.\n\nBesides Shrinathji’s sanctum, Nathdwara was also widely known for its unique regional arts—the worship-related pichwai paintings that depict Krishna’s life stories for the unlettered and the reverential semiclassical haveli sangeet music that was sung and played directly to Krishna. The area was also famous for delightful terracotta sculptures that portray sacred images from the countryside and touching scenes of village life.\n\nIn recent years, however, haveli sangeet has lost its following, and few young musicians try to learn its demanding dhrupad-based songs. Similarly pichwai painting and local terracotta arts have fallen on hard times. While there is still a bit of tourist interest in these ancient traditions, the impact of western fashion, mass advertising, and globalized culture have driven both out of vogue domestically.\n\nMost of India’s religious institutions confine their efforts to purely spiritual endeavors, but given Shrinathji’s long intimate relations with the town’s cultural life, the temple took notice of its artists’ plight. The Nathdwara Temple Board, Shrinathji’s managing trust, and trustee Sri Vishal Bava suggested providing some kind of innovative platform for artists to showcase their paintings and crafts on the crowded streets outside the temple.\n\nSri Dinesh Kothari, Nathdwara Temple Board CEO, took this concept and designed a project called Wall of the Lord that used a broad empty stretch on the temple’s own outer wall as a public gallery. Approximately 140 pichwai painters have now completed 63 masterful paintings on this 180 meter expanse, in styles ranging from traditional and devotional to expressively modern. Three exquisite large terracotta murals have also been installed there, and together, these exhibits not only beautify the temple but also offer dramatic visibility, hopefully renewing market demand for struggling local ICH artists.\n\nLaunched on 26 January 2017, the novel Wall of the Lord initiative has already started attracting its own audience as a must-see site of the Nathdwara pilgrimage that reminds visiting devotees of the splendor of their heritage and the inseparable nature of creativity and the divine.\n\nPhoto : Nathdwara painters adorning the temple wall © Lokesh PaliwalYear2017NationIndia
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Beldemchi Exhibited: From the Making of Women’s Traditional Clothing into a Field of Female CreativityAn exhibition of beldemchi was launched at the Gapar Aitiev Fine Arts Museum in Bishkek on 7 June 2017. The exhibition is still ongoing through the partnership of the Kiyiz Duino Foundation and the Gapar Aitiev Fine Arts Museum, an institution named after one of the first Soviet Kyrgyz artists who became a national artist of the Kyrgyz Soviet Socialist Republic in 1954. The exhibition displays more than forty items collected from state museums and private collections. It represents all regions of the country and various embroidery styles and techniques. The event is a sign of increasing interest in beldemchi in Kyrgyz society; renowned designers are already coming up with unique beldemchi design.\n\nOne of the Kyrgyz ICH elements, beldemchi is a traditional women’s skirt worn over a dress, gown, and sometimes thin coat. Conventionally, women wear their first beldemchi after a severe stress, e.g. first labor or situations demanding warmth. When worn as postpartum clothing, beldemchi helps women correcting their posture. It also gives physical support. Historically, as Kyrgyz people led a nomadic lifestyle in inland continental climate conditions during pre-Soviet times until 1917, beldemchi was an essential part of Kyrgyz women’s traditional apparel.\n\nBeldemchi may be worn daily and in holidays or festive events. It is made up of velvet and silk adorned with embroidery. The embroidery could cover either the whole skirt or its edges. Viewed as a protective amulet against evil eye, jinxes, and other unpleasant troubles, it is also a determinant of a woman’s age, social status, region, and her artistic skills based on the composition, style, and quality of the embroidery since every woman is supposed to know how to make a beldemchi and its embroidery. The main base of beldemchi is a double-leaved swing skirt with wide and thick belt. Beldemchi has several regional differences. In the north where the winter season is cold and long, it is mainly a wraparound flared skirt from warm fabric with a thick band over the belt. In the south, beldemchi is a buttoned front open cut skirt.\n\nThe presentation of beldemchi at the exhibition displays how the making of traditional clothing for women has gradually turned into a field of rich female creativity. Notwithstanding, beldemchi has started to disappear from Kyrgyz everyday life, which may have been caused by the changing views and lifestyle. During the Soviet modernism in the 1960s, wearing beldemchi was a sign of backwardness and provincialism. Soon in the 1970s, it fell into disuse. However, elderly women in rural areas have kept wearing beldemchi until now.\n\nPhoto : Women wearing Beldemchi © Kyiz Duino FundYear2017NationKyrgyzstan