The element is recognized as one of the main elements of cultural and social identity for the regions in which it is crafted and played. The bearers and practitioners are mostly farmers including men as crafters and players and women as players, and recently a number of them are young researchers of both genders. Its traditional knowledge of crafting and playing is informally transmitted through generations by the master-student method. This element is seen in local, oral and written literature (including local poems, proverbs, chants and lullabies) which constitute a part of nature, history, and background of the bearers. As this element is shared by a number of communities, groups and individuals, it brings mutual respect and understanding amongst the communities concerned. Dotār is a folkloric plucked-string musical instrument that has been played in social and cultural events/spaces such as weddings, parties, celebrations, ritual ceremonies etc. Dotār has a bowl which is pear-shaped and made of dried wood of dead mulberry tree and its neck is made of apricot or walnut wood. It has two strings traditionally made of silk which been replaced with metal wires nowadays. Some believe that one string is male and functions as accord and the other is female which plays the main melody. The crafters also repect nature as they use dead and dried wood for making Dotār. It is not in opposition toward the national and international instruments like Universal Human Rights Declaration, sustainable development , etc.

Iran 2019

The art of wood carving in Uzbekistan is part of the Central Asian artistic heritage and its origins date back to ancient times. In the traditional architecture and life of the peoples of Uzbekistan for a long time, carved wood was very popular. In architecture, it was used as important architectural details and structures such as columns, cornices, doors, ceilings, and gratings. The use of carved wood in everyday life, or as it is also called household carving, absorbed a wide range of objects from furniture to small household utensils. Local wood species were used as a material: plane tree, elm, walnut, juniper, here, apricot, poplar, tal, pear, quince, cida, which differ in a variety of texture and pattern. When decorating various household items, furniture and musical instruments, the craftsmen used ornamental carving, painting and inlay. The main centers of woodcarving art are Khiva, Urgench, Bukhara, Samarkand, Tashkent, Qoqand, Margilan, Andijan, Fergana, Shahrisyabz etc.

It is a combined genre consisting of a dutar making craftsmanship with creative abilities including a composing of music and performing of dutar’s music sat down accompanying by singing. A dutar is a two-stringed, long necked lute consisting of a pear-shaped resonator (body) covered by thin wooden sounding board. The turkmen dutar’s resonator and soundboard are made from mulberry wood prepared from dried bole of the tree no less than 50 years old and the neck of apricot wood. Most melody’ notes are played on the upper of the dutar’s two strings with the four fingers of the left hand. The dutar is an inseparable part of culture of the turkmen people where it is found in all of the main genres of turkmen music and singing. Performers of the turkmen dutar‘s music and singers are divided into 2 groups. A dutar player named as a dutarchy is performing only dutar’s music. A bagshy is a peformer of dutar’s music accompanying by singing of the different genres of poetry which also subdivided into 3 types according to their performing styles and repertiores. A yanamachy bagshy is only a singer accompanied by music performed by dutarchy. A tirmechi bagshy is a performer of different genres of the turkmen music accompanying by singing. A dessanchy bagshy is an epic perfomer incorporating narrating, singing, vocal improvisation which in its performances a prose and poetry are alternated.

Turkmenistan 2021

Tắc Xình Dances is a ritual dance during the Harvest Festival. This dance has 9 movements that simulate daily life and production activities: visiting and clearing the way, making decisions, sharpening knives, beating knives, clearing fields, filling in abutments, taking care of rice, harvesting crops, celebrating the season, and paying ceremony for the gods. Only men are allowed to participate in the Tắc Xình dance under the control of the ceremony master (an experienced and reputable shaman or dancer). Tắc Xình Dances is accompanied by musical instruments such as earthen drums, bells, gongs, cymbals, deep totem horns, po le trumpets, pipes, and bamboo sticks. The two basic dance positions are sitting dance and standing dance. Sitting dance position: the base of the bamboo tree is buried firmly in the ground, and the top has a cluster of leaves facing the sky, bent like a fishing rod, thanks to a rope connected to an old apricot tube. Two people sit facing each other, using both hands to hold a bamboo tube (The bamboo tube is 70 - 80cm long, tied tightly with one end of a forest rope, the other end is tied to a bamboo top) and tap hard on the ground to create a "xịch" sound. , tap two bamboo sticks together to create a continuous, rhythmic "tắc" sound. Standing position: The person tapping stands upright, holding a bamboo pipe (diameter 3.5cm, length 180m) in the left hand, and the right hand holding a small, rectangular bamboo stick (length 30cm) to tap horizontally on the body of the pipe. The person tapping the music with one hand uses an old bamboo stick to tap on the apricot tube to create a "tắc" sound. With the other hand, the person tapping the apricot tube strongly on the ground creates a "xịch" sound and the music sounds continuously, one after another, forming a series of sounds. "tắc -tắc- xình" sound.