Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practiced on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitys and use the contest to express women’s aspirations and viewpoints. Akyns compete with each other without any preparation, minutely composing poems mutual answers to questions of concern to society. Deep philosophical reflections in the witty, bubbly manner often turn into a form of poetic ridicule and criticism. Akyns compete in their resourcefulness and originality.

Kazakhstan 2015

Dondang Sayang is a Malay traditional music and song that is well-known in the State of Malacca and still practised by four communities such as the Malay, Baba Nyonya, Chitty and Portuguese. “Dondang” means ‘to entertain the heart’ which is the same meaning as ‘Dendang’, while “Sayang” means ‘affection’. The combination of the words “Dondang Sayang” means ‘Love Song’ or ‘Song of Affection’. It cannot be ascertained of the establishment date of Dondang Sayang, but much earlier than the establishment of the Malacca Malay Sultanate in the 15th century. Earlier on, Dondang Sayang was only sung without its music arrangement and accompanied by percussion instruments like drums. The arrival of the Portuguese and conquered Malacca in the 16th century was the beginning of the usage of violin for this arts form. The usual instruments used are the rebana or hand-held drum, gong, accordion as well as the violin that has become very important for the song’s melody. The number of musicians is between four to five people. The violin’s rhythm is regarded as the opening and main accompaniment to the singing, while the rebana’s beat alternating with the gong’s complement the song. Dondang Sayang repertoires are usually sung in rhythms such as Asli, Inang, Joget and Mambo. The lyrics are of quatrain verses sung by the singer in one’s own style depending on one’s respective capability and expertise. Among the singing style is ‘hanging’ the song by shortening the word pronunciation in a quatrain or lengthening the pronunciation of the third or fourth words in the quatrain’s first line, as well as dragging the singing of the meaning in the quatrain.The quatrains are of the linked type or binded or thematic with themes of affection, deed or comedy. Based on tradition, Dondang Sayang performances are accompanied by music and sung by two singers of the opposite sex, who sing in quatrains. Typically, Dondang Sayang singers are individuals who are highly competent and skilled in poetry recitation. Dondang Sayang performances are open to all, irrespective of age, occupation, status or religion, and the art is considered as a means of conveying positive messages and sharing feelings of love, joy and sorrow that strengthen community bonding. There are four (4) types of dondang sayang such as dondang sayang Melaka, dondang sayang Baba Peranakan, dondang sayang Tanjung Penyengat and dondang sayang Pulau Pinang. The difference between them is not on the basis and form of a song or musical instrument but in the way of singing. Now Dondang Sayang is made as one of the main performances in government official functions to ensure the continuity of this arts heritage that has become a signature and iconic of Malacca’s cultural arts. Dondang Sayang has received UNESCO’s recognition as a Representative List of The Intangible Cultural Heritage of Humanity on 29th November 2018, during the 13th Meeting of Intergovernmental Committee for The Safeguarding of the Intangible Cultural Heritage (IGC-ICH) at the Swami Vivekananda International Convention Center, Port Louis, Mauritius Republic.

Malaysia 2018

Terme (kaz. 'Collect') - recitation, musical and poetic genre of folk song creation. There is an expression "terme aitu" - to sing a recitative among the people. As a poetic-melodic speech in a piece of music, terme is very popular among the people. It is like advisory/teaching saying in a form of clearly expressed recitation. They are short and uniform in the rhythm of the melody in the form of a recitative. Poems and songs, recited in this genre, is easily remember to the mass consciousness and retrieved in memory associatively.

Darshey is a traditional practice where a man holding a khadar (auspicious white scarf ) in his outstretched hands faces the seated crowd, and makes auspicious speeches at a ceremonial function, usually during religious and social occasions. (The origin of the tradition is attributed to Zhabdrung Ngawang Namgyal (1594-1651) when he introduced this practice during the consecration ceremony of Punakha Dzong in 1639.) The tradition, however, may vary slightly from village to village in the use of language and presentation such as making speeches decked with maxims or simply narratives. The worldly tradition of Darshey does not require to be sung like Gurma (Religious songs), Lu or Tsammo (Songs without choreographies) but is expressed more or less like a recitation. That is why a person may begin Darshey with the phrase such as ‘wo la so la …’ and end his speech by offering words of good wishes and aspirations such as ‘… let us pray that we see each other’s countenance again and again in future.’ Depending upon the talents and level of education, the performer applies poetic elegance in the speech; Darshey is usually performed during auspicious occasions. Atsara (masked clown) also makes similar speeches during Tshechus (Annual Mask Dance Festivals). Bhutan has a unique tradition of stressing on Tendrel (the independent arising of auspicious events). Any occasion or event has to begin and end on a positive and hopeful note. Whether it is house construction, marriage, promotion, or an important project, a ceremonial inauguration in the beginning and a well-wishing conclusion are very important social values. Thus, Darshey is an important item in any ceremonial programme. Darshey means narration of scarf, especially presented by an eloquent person to the guest of honour adding some melody in order to enhance the auspiciousness of the ceremony. It is an indigenous oral expression practiced all over Bhutan. Depending on the languages, dialects and cultures, Darshey is also called Legshey (elegant saying/narration of auspiciousness), Khashey (art of speech) and sometimes Nangwa drub (verbal approval). Unlike Gurma, Lu and Tsammo, Darshey has no complex melody, rather, it all depends on the tone and rhythm of the recitation. Regarding the lyrics, the reciter uses appropriate words to meet the occasion, mostly decorating these with similes and other literary flourishes. There are no specific lyrics for Darshey, and the elegance of the recitation depends on the literary and musical talents of the reciter. Moreover, there is great cultural diversity in Darshey, as the length, flow and rhythm of individual Darshey vary from village to village and dialect to dialect. However, Darshey normally starts right after the ceremonial ritual. When it is time to offer khadar to the guest of honour, presiding guest, or whoever else is being honoured, an eloquent speaker holds a silken scarf and begins the Darshey by saying “wo la so la” and concludes with well-wishing prayers and aspirations to the guest of honour and everyone gathered. Sadly, Darshey is slowly disappearing from our cultural landscape these days.