ALL
performing art
ICH Elements 8
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Khorazm dance, Lazgi
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.
Uzbekistan 2019 -
Mumtoz Ashula (Classic Song) cycles
Mumtoz ashula (classic song) cycles is a lyrical genre which differs from other song genres with extention of the melody, steady lyric character, emotional and mounful meaning, great range, the complexity of the rhythm method and perfection of the style. The style of singing is solo with own accompaniment on tanbur, dutar and tor. Its genre composition is represented by mumtoz ashula, mumtoz yalla, katta ashula (Ferghana Valley), khalq ashula and muhammas (Bukhara), suvora and naqsh (Khoresm) and lyrical-lengthy songs of religious character (such as munojot, nat, khamd, manzuma, yakkakhonlik, khonaqoi, qalandari, etc.).
Uzbekistan -
Katta Ashula
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"). Notably, 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.
Uzbekistan 2009 -
Betashar – Kazakh wedding
Beautiful rite of 'Betashar' (kaz. 'open face') symbolizes inclusion of a bride into a groom’s family clan. First bride’s mother arranges Kazakh traditional headwear “Saukele” on her daughter’s head covering her face with veil called “jelek”. The groom’s eldest sisters-in-law (“jenge”) bring the bride under their arms to the guests. Then the bride puts her feet on a white carpet with an image of Tengrian calendar embodying the Universe or lamb fleece – the symbols of fertility. Masters of improvised music poetry Akyns start the ritual by singing a bridal song “Betashar jyr” to the accompaniment of Dombyra. The song praises groom’s family ancestors, parents and all relatives in dedicated couplets. In return the bride with her sisters-in-law bow to every relative and family listed, thus giving her respect and greeting – “Salem beru”. The relatives, whom the bride has just bowed, reward Akyn with money for his performance. After introducing all the relatives and expressing good wishes, Akyn lifts the bride’s veil with the neck of his Dombyra, thus revelaing the bride’s face to everybody. Mother-in-law (“Ene”) takes off the veil, kisses and welcomes new member of the family. Then the groom takes the bride by the hand showing her to all guests. At this moment elder relatives shower the newlyweds with sweets and coins (“Shashu” ritual), wishing them happiness and abundances. In some regions Betashar includes: bride’s stepping over the fire, fumigation of bride with harmala (“adiraspan”) smoke and pouring oil on fire to endear the Spirit of fire.
Kazakhstan
ICH Materials 65
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Betashar – Kazakh wedding
Beautiful rite of 'Betashar' (kaz. 'open face') symbolizes inclusion of a bride into a groom’s family clan.\nFirst bride’s mother arranges Kazakh traditional headwear “Saukele” on her daughter’s head covering her face with veil called “jelek”. The groom’s eldest sisters-in-law (“jenge”) bring the bride under their arms to the guests. Then the bride puts her feet on a white carpet with an image of Tengrian calendar embodying the Universe or lamb fleece – the symbols of fertility.\nMasters of improvised music poetry Akyns start the ritual by singing a bridal song “Betashar jyr” to the accompaniment of Dombyra. The song praises groom’s family ancestors, parents and all relatives in dedicated couplets. In return the bride with her sisters-in-law bow to every relative and family listed, thus giving her respect and greeting – “Salem beru”. The relatives, whom the bride has just bowed, reward Akyn with money for his performance.\nAfter introducing all the relatives and expressing good wishes, Akyn lifts the bride’s veil with the neck of his Dombyra, thus revelaing the bride’s face to everybody. Mother-in-law (“Ene”) takes off the veil, kisses and welcomes new member of the family. Then the groom takes the bride by the hand showing her to all guests. At this moment elder relatives shower the newlyweds with sweets and coins (“Shashu” ritual), wishing them happiness and abundances.\nIn some regions Betashar includes: bride’s stepping over the fire, fumigation of bride with harmala (“adiraspan”) smoke and pouring oil on fire to endear the Spirit of fire.
Kazakhstan -
Betashar – Kazakh wedding
Beautiful rite of 'Betashar' (kaz. 'open face') symbolizes inclusion of a bride into a groom’s family clan.\nFirst bride’s mother arranges Kazakh traditional headwear “Saukele” on her daughter’s head covering her face with veil called “jelek”. The groom’s eldest sisters-in-law (“jenge”) bring the bride under their arms to the guests. Then the bride puts her feet on a white carpet with an image of Tengrian calendar embodying the Universe or lamb fleece – the symbols of fertility.\nMasters of improvised music poetry Akyns start the ritual by singing a bridal song “Betashar jyr” to the accompaniment of Dombyra. The song praises groom’s family ancestors, parents and all relatives in dedicated couplets. In return the bride with her sisters-in-law bow to every relative and family listed, thus giving her respect and greeting – “Salem beru”. The relatives, whom the bride has just bowed, reward Akyn with money for his performance.\nAfter introducing all the relatives and expressing good wishes, Akyn lifts the bride’s veil with the neck of his Dombyra, thus revelaing the bride’s face to everybody. Mother-in-law (“Ene”) takes off the veil, kisses and welcomes new member of the family. Then the groom takes the bride by the hand showing her to all guests. At this moment elder relatives shower the newlyweds with sweets and coins (“Shashu” ritual), wishing them happiness and abundances.\nIn some regions Betashar includes: bride’s stepping over the fire, fumigation of bride with harmala (“adiraspan”) smoke and pouring oil on fire to endear the Spirit of fire.
Kazakhstan
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Bo‘ston (Garden) by Nughmonjon Akhmedov and Sherali Isoqov
Katta ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, katta ashula is performed in big gatherings, festivities, and party celebrations.
Uzbekistan 2015 -
Vatanim (My Motherland) by Sobirjon Matmusayev and Akromjon Turdiyev
Katta ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, katta ashula is performed in big gatherings, festivities, and party celebrations.
Uzbekistan 2015
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BAKHSHI ART FESTIVAL TO REVIVE SILK ROAD CULTUREA wide range of festivals are held in Uzbekistan to generate public interest in intangible cultural heritage. This includes the recent International Bakhshi Art Festival, which was held for a week from 5 April in the ancient city of Termez. Bakhshi is a multi-genre art form that brings together singers, musicians, and performers of Doston, a Central Asian oral epic. Teams from seventy-five countries took part in this festival, which featured not only a wide range of performances but also an enlightening international conference.Year2019NationSouth Korea
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Kreta Ayer Heritage Gallery: Singapore’s First ICH Community GalleryNestled in the cultural heartland of Singapore’s Chinatown, the Kreta Ayer Heritage Gallery is Singapore’s first community gallery that showcases different aspects of the intangible cultural heritage (ICH) of the Chinese community as well as ICH elements practiced by the arts and cultural groups located in Kreta Ayer.\n\nCovering a gallery space of 1,076 square feet (100 square meters), the Kreta Ayer Heritage Gallery was co-curated by the National Heritage Board in partnership with the Kreta Ayer Community Centre and officially launched on 14 July 2019. The gallery features a total of 123 artifacts, of which 68 are on loan from the community and/or arts and cultural groups operating in Chinatown.\n\nThe gallery is made up of five sections covering five ICH elements comprising Chinese opera, Chinese puppetry, Nanyin music, Chinese calligraphy, and tea appreciation. It introduces visitors to the history of the precinct and showcases the aforementioned ICH elements while tracing their evolution from the days of old Chinatown to contemporary times.\n\nThe first section on Chinese opera traces its popularity as a form of local live entertainment between the late 1800s and the 1930s and showcases the different elements of the form including costumes, music, and characters. It also covers opera houses that used to operate in Chinatown and the characteristics of different types of opera according to dialects.\n\nThe second section on Chinese puppetry explores the roots of the art form and focuses on the common types of puppetry practiced in Singapore, including hokkien glove puppetry, teochew iron-stick puppetry, hainanese rod puppetry, and henghua string puppetry. The section also features a mock-up stage where puppetry performances are given, and visitors can try their hand at operating stringed puppets.\n\nThe third section on nanyin music, meaning “music of the south,” traces the origins of the art form and features nanyin performances, instruments, and musical scores on loan from Siong Leng Musical Association. It also showcases different genres of nanyin music such as Fujian nanyin and Cantonese naam-yam.\n\nThe fourth section on Chinese calligraphy focuses on the roots of Chinese calligraphy and the Chinese calligraphy scene in Singapore. It also features the first generation of calligraphers in Singapore and explores how the cultural art form is still practiced in schools, community centers, and cultural institutions today.\n\nThe final section on tea appreciation explores the long history of Chinese tea, the establishment of tea houses and the act of brewing and drinking tea as a cultural art form. It also looks at the different types of Chinese tea and how they are typically paired with different types of cuisine.\n\nThe gallery also features interactive components that allows visitors to experience the different ICH elements on show. These components include a puppetry stage where visitors can test their skills as puppeteers, multimedia stations that allow visitors to experience playing nanyin instruments, and a Chinese calligraphy station that allows visitors to practice their calligraphy using “invisible ink.”\n\nFollowing its official opening, NHB and Kreta Ayer Community Centre is partnering with various arts and cultural groups in Chinatown to present regular programs, including Chinese opera, Chinese puppetry, and Nanyin music performances and workshops as well as calligraphy and tea appreciation classes for students and members of the public to promote greater awareness of these ICH elements and, where possible, facilitate the transmission of skills.\n\nWith the opening of the Kreta Ayer Heritage Gallery, NHB hopes to showcase the richness and diversity of the Chinese community’s “living” ICH, provide a platform for ICH practitioners and groups to showcase their skills, and create more opportunities to collaborate with community partners to showcase the heritage of specific precincts or estates as well as the history and heritage of different ethnic communities.\n\nPhoto : An interior shot of the new Kreta Ayer Heritage Gallery ⓒ National Heritage Board, SingaporeYear2019NationSingapore