ichLinks

The College of Language and Culture Studies (CLCS)
The College of Language and Culture Studies (CLCS) is situated 16 kilometers south of Trongsa town, towards Kuenga Rabten Palace along the Trongsa-Zhemgang highway. Kuenga Rabten used to be the winter residence of the second King, Jigme Wangchuck.\n\nEarlier, the institute was popularly known as the Rigney Lobdra. It came into existence on the 4th day of the 6th month of the Male Iron Ox Year corresponding to the 16th of July 1961 at Wangdi Tse, in Thimphu. It was established under the auspices of the late third King Jigme Dorji Wangchuk. His Holiness the late Dilgo Khentse Rinpoche (1910-91), an accomplished and spiritual leader, was the first principal of the Lobdra (1961-63). The Lobdra started with a total of fifty students. Two months after its establishment, the Lobdra was relocated to Semtokha Dzong. It was housed inside the Dzong until the early eighties. Later the Dzong was taken over by Dratshang Lhentshog and the institute moved out of the Dzong. A separate site was created above the Dzong for the institute to function, and it has been operating in this location for the last two and half decades.\n\nInitially the institute started as a semi-monastic institute. It was only in 1989 that the original curriculum was revised for the first time to include several cultural subjects. The institute was upgraded to Rigzhung College in the same year. Forty-three female students were admitted for the first time, thus breaking the 27 year old tradition of admitting only males. The curriculum, however, remained largely influenced by the monastic system of education.\n\nIn 1997, the institute was formally upgraded to the Institute of Language and Culture Studies and implemented a new curriculum. The first batch of thirty-five ICSE passed students was admitted into the new programme. Of the 35 students, 9 were girls and 26 were boys.\n\n1999 was a landmark year in the history of clcs. The three-year bachelor’s program in ‘Language and Culture’ was introduced for the first time and a batch of nineteen students was admitted. It was, in fact, the first ever homegrown programme developed and executed in Bhutan without any external assistance.\n\nPrior to the establishment of the Royal University of Bhutan (RUB), clcs was under the Ministry of Education. Among the tertiary institutes of RUB, clcs was the first institute to be formally handed over to the RUB by the Ministry of Education on 28th April, 2004. A founding member of the Royal University of Bhutan, today clcs remains a premier institute.\n\nOver the years the institute has managed to maintain the momentum of academic progress. The institute, through the success of its graduates in different fields, has been able to create its own identity in the country. This distinction that clcs holds is reflected in the graduates that constantly feature in the top rankings of the RCSC common examination. The absorption rate of its graduates is currently 100% and the demand is increasing each year. The graduates of clcs have been faring well in their work place as well as in their lives.

Bhutan

Boys with kyrgyz dogs - Taygan breed, Issyk-Kul region,Kyrgyzstan
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#hunting #dog #golden eagles #horse rider #archery

Kyrgyzstan

Jorgo salysh among young boys

#horse #game #sports #flat area #road #hippodrome

Kyrgyzstan

Ancient Kazakh Game Assyk Atu
Kazakh traditional Assyk games are an ancient tradition in Kazakhstan. Each player has their own set of ‘Assyks’, traditionally made out of the talus bone of a sheep, and a ‘Saka’ dyed in bright colours. Players use their Assyk to knock out other Assyks from the field, and the focus is on the position of the bone. \nAssyk refers to the astragalus of the ankle of a sheep or goat. The bones are collected and used for traditional games and fortune-telling throughout Central Asia, and games involving the ankle bones may also be referred to by the name of the bones. Common size assyks may be painted bright colours. Main assyk – saka usually is bigger. Such bones have been used throughout history, and are thought to be the first forms of dice. In English language source assyk may be referred to as "ankle bones", and playing with assyk is sometimes called ankle bone shooting.\n

#sports #games #sheep #talus #boys #traditional games

Kazakhstan 2015

Ancient Kazakh Game Assyk Atu
Kazakh traditional Assyk games are an ancient tradition in Kazakhstan. Each player has their own set of ‘Assyks’, traditionally made out of the talus bone of a sheep, and a ‘Saka’ dyed in bright colours. Players use their Assyk to knock out other Assyks from the field, and the focus is on the position of the bone. \nAssyk refers to the astragalus of the ankle of a sheep or goat. The bones are collected and used for traditional games and fortune-telling throughout Central Asia, and games involving the ankle bones may also be referred to by the name of the bones. Common size assyks may be painted bright colours. Main assyk – saka usually is bigger. Such bones have been used throughout history, and are thought to be the first forms of dice. In English language source assyk may be referred to as "ankle bones", and playing with assyk is sometimes called ankle bone shooting.\n

#sports #games #sheep #talus #boys #traditional games

Kazakhstan 2015

Kaiui (Traditional Flute)
The Kaiui—also known as fui or be’u in different regions—is a traditional bamboo flute of Timor-Leste, cherished for its gentle, evocative sound that once echoed across rice fields, hilltops, and quiet village evenings. Long associated with solitude, emotional expression, and storytelling, the Kaiui is more than just a musical instrument—it is a vessel of memory and connection.\n\nTraditionally crafted from au-fafulu, a specific type of bamboo, the Kaiui features seven tone holes and is often about the length of a forearm. A key part of its design is the use of a corn cob or similar material to block part of the internal chamber, modifying the flow of air and shaping the distinctive tone. The player blows across the top opening while controlling the pitch with their fingers, producing melodies that are haunting, meditative, and subtly expressive.\n\nFor generations, the Kaiui was used by boys tending livestock in the fields, especially in the early mornings or during midday rest. It was played to pass the time, soothe animals, or simply to ease loneliness. Others used it to express feelings of longing—especially in matters of love, separation, or remembrance. In many communities, the flute is considered a deeply personal instrument, capable of giving voice to emotions that are otherwise difficult to speak.\n\nThe art of playing Kaiui is learned informally, typically by observing and mimicking older siblings, parents, or elders. There is no standard notation; the music lives through imitation, memory, and improvisation. Songs vary from region to region and even from player to player, with some tunes tied to seasonal rhythms or traditional events like sau-batar (harvest ceremonies) or rites of passage.\n\nThe Kaiui also plays a role in certain rituals and ceremonies, where its sound is believed to create a space of calm, welcome ancestral spirits, or accompany reflective moments. Its simple construction and natural materials reflect a worldview grounded in harmony with the environment—a flute made entirely from what the land provides, played under the open sky.\n\nToday, however, the practice of making and playing the Kaiui is increasingly rare. As younger generations turn to electronic music and imported instruments, the quiet music of the bamboo flute is fading from everyday life. In some communities, it survives primarily as a cultural demonstration during festivals or heritage programs.\n\nEfforts to preserve the Kaiui are now underway through workshops, school projects, and intergenerational exchanges. In these spaces, the flute is not only played but celebrated—as a living symbol of Timor-Leste’s musical heritage and a gentle reminder of how sound, memory, and identity are woven together in the simplest of forms.

#kaiui #flute #ritual #ceremony #bamboo #music #festival #school #intergenerational

Timor 2024

Visiting the Boysun District, a Representative Cultural Space

Nestled in the southeastern mountains of Uzbekistan, Boysun developed into a cultural hub over centuries, since the age of the ancient Silk Road. Given its long history and outside influence through the famed trade route, the region’s cultural heritage evolved to become as diverse as the flora and fauna that inhabit the region. As a way of celebrating the diverse cultural heritage that dates back to the pre-Islamic days, the Boysun Bahori Festival was first developed as an annual spring festival in the early 2000s, with some interruptions on certain years.\n\nUNESCO officially listed Boysun culture as a Masterpiece of Oral and Intangible Cultural Heritage, and in the following year, the first festival was held. April was chosen as the optimal time for the festival as Boysun is unusually pleasant at that time, with flowering fields and green mountains creating a perfect backdrop for a festive environment.\n\nThe locals set up a yurt camp that includes workshops and stages for ensembles to perform. In addition, they set up makeshift arenas for traditional sports like wrestling, horse-related sports, and other activities, such as tightrope walking and acrobatics.\n\nIn April 2019, with the support of the Uzbek Ministry of Culture to explain well-known cultural spaces that I wanted to visit for a long time, I went to Boysun to interview some of the locals. During these interviews, some interesting insights about cultural heritage in the Boysun area were uncovered. According to the local community, much of the younger generation, both male and female, have tendencies to pursue careers or education in larger cities. However, in spite of decreasing number of young generation, community people expressed their satisfaction with living in the heritage city. They appear proud of the many rituals and traditional games that have remained a part of daily life.\n\nSuch customary knowledge is in traditional carpet weaving, craftsmanship, games, and rituals, which are still a part of Boysun communities. Some youth activities include stick-tossing games that are similar to jachigi, a Korean children’s game and commonly played throughout the world. In Boysun, I interestingly noticed that some practices have been influenced more by Zoroastrianism than Islam.\n\nDuring my visit, many of community members were absent in the village to visit Termez to participate and observe the International Bakhshi Art Festival, which was held for first time in Uzbekistan. Nonetheless through my visit to this unique cultural place, I felt deep aspiration of the people for safeguarding their own culture and heritage inherited through generations.\n\nPhoto 1 : Boysun entrance ⓒ ICHCAP\nPhoto 2 : Local people in Boysun District ⓒ ICHCAP\nPhoto 3 : Interviewing locals in Boysun ⓒ ICHCAP\nPhoto 4 : Prayer hall in the trunk of a tree that is hundreds of years old ⓒ ICHCAP\nPhoto 5 : Overview of Boysun District (seen from the entrance hill) ⓒ ICHCAP

Year2019

NationUzbekistan

Safeguarding Shamanism in Bhutan: Case Study and Policy Analysis

The paper presents the status of Shamanism practice, in terms of state policy, research status and challenges for the Shaman heritage in Bhutan. The paper is based on field research and policy analysis conducted by the National Library and Archive of Bhutan under a ICHCAP project grant. An overview of shamanism in different regions of Bhutan is presented with a region-wise categorization of Shamanism in Bhutan. This is followed by a brief overview of four shamanism practices prevalent in Bhutan, three in the southern region and one in the western region. The preliminary data show that the Shamanistic practices in Bhutan, as in other parts of the world, has been deeply rooted in religion and supernatural power. The paper also presents future plans and initiatives of the National Library and Archives Division for the documentation and preservation of Shaman heritage. In absence of any written state policy regarding the preservation and promotion of Shaman heritage, the study concludes by proposing some recommendations to the government and local stakeholders for the preservation and promotion of the practice.

Year2013

NationBhutan

The Cultural Space of Boysun
600km away from Tashkent, the capital of Uzbekistan, Boysun is the place surrounded by high canyon and valleys.Either you approach northerly from Termez, the city which is bordering with Afghanistan as the southernmost part of Uzbekistan or you run southward from Tashkent, you have to pass this rough and beautiful wonder.

Namsrai CHINGGIS

Uzbekistan

2017

41MIN

boys