ALL
sewing
ICH Elements 41
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Traditional craftsmanship of the Mongol Ger and its associated customs
For thousands of years, nomadic herders of Mongolia roamed across the country-side from season to season. Dry, windy areas close to rivers are best for summers while areas away from river-bank wind and close to mountains or hills are best for winter stays. In the country where pasture always was and still is a public domain, the herders moved freely to the best locations for the season. With this lifestyle of freedom of movement and pastoral animal husbandry was invented the national dwelling called the ‘Mongol ger’. It is a round structure of easily dismantle-able walls, polls and a round ceiling covered with canvas and felt, tightened with ropes. The ger was designed to be light enough for Mongolian nomads to carry, flexible enough to fold-up, pack and assemble, sturdy enough for multiple dismantling and assembling as well as easy for regulating temperatures within. Over many centuries the mongol ger was modified into a perfectly aerodynamic structure which can withstand Mongolia's fierce spring winds ranging up to 18-20 meter/sec. It can be dismantled in half an hour and assembled in an hour by a small family with 2-3 adults. The Mongol ger has many varieties. The most common “5-wall ger” consists of five lattice segments forming a circular wall, a door, a toono (round window ceiling), two bagana (columns that hold the toono), and 88 uni(long poles that connect wall lattices and toono which forms the roof of the ger). There are also several accessories attached to the ger.
Mongolia 2013
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Kazakh traditional yurt (nomadic dwelling)
Yurt (kaz. 'kigiz uy', 'kiiz uy') - portable housing with dismountable wooden circular frame with felt covering. Its origins date back to the era of ancient Turkic nomads. For modern population of Kazakhstan yurt is not only housing, and the model of the universe; it is also a symbol of their national identity. A yurt is a round folding wooden frame covered with felt and rope weaving. The frame of the yurt consisting of four parts: •\tkerege - ready-sliding base •\t'uyk' ('uyq') - dome poles, roof (modern) •\tshanyrak ('shanyrak') - circular top, a chimney and a window (modern) •\tyessyk ('esik') - double doors (modern) Tent can be easily assembled and disassembled in a short period of time. Yurt is mainly characterized as easily transportable, compact, ecological and practical home. The yurt used as livestock housing in their daily life and urban residents as a gazebo, which reinforces the sense of the continuity of the traditions of their ancestors.
Kazakhstan 2014
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MAHSIDUZI
Mahsi is a kind of leather sock, which old people usully wear in cold seasons. Foreleg part of the mahsi is sewed from leather of ship and down part of that with the leather of cow.
Tajikistan -
Costume Decoration Art of the Xá Phó
Costume Decoration Art is associated with Xá Phó women's costumes such as square head scarves, shirts, and skirts. According to traditional beliefs, Xá Phó women must know how to grow cotton, weave fabric, dye indigo, cut, piece, sew, and embroider costumes. The patterns shown on the costumes are mainly embroidered and beaded. The main color of Xá Phó's clothes is black indigo. They use red, blue, yellow, and white colors to dye thread to embroider patterns on costumes and accessories. In the overall indigo color of the entire outfit, Xá Phó women have chosen and coordinated the following colors: white, red, green, and bright yellow are the main colors of the square head scarf; The upper part of the shirt is white, red and has vertical patterns; The middle shirt is mainly red, mixed with a little white with horizontal patterns; The hem of the shirt is darker red than the middle part of the shirt; The sleeves are indigo, indigo mixed with white, and light red; indigo skirt waistband; The skirt body is structured with red, white - indigo - red, white - indigo patterned strips and the skirt part is a brilliant red patterned strip. Thus, it can be seen that symmetry is an important and dominant principle in the art of color mixing of the Xá Phó people. Creating patterns of the Xá Phó people includes realistic patterns (geometric-filled shapes, skewed U shapes, rectangles, triangles, etc) and stylized patterns (sun, pine trees, mountain fruits, flowers, leaves, birds, water flow). A highlight in the decorative art of the Xá Phó people is beading. The front of the shirt has 5 vertical rows of beads attached and around it is a rosette pattern (four-petaled flower).
Viet Nam
ICH Materials 166
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Kalpak Dignifies the Man
This film is dedicated to kalpak—a traditional male felt hat. Knowledgeable people (a teacher, a journalist, an activist, and craftswomen) talk about the social functions and spiritual meanings behind kalpak. The film shows traditional and modern methods of making kalpak.
Kyrgyzstan 2017 -
Kyrgyzstan Komuz&Kalpak Dignifies the Man (Highlight)
The film is dedicated to the Kyrgyz folk instrument komuz. An expert on making and playing komuz shares an komuz origin story. The film shows the interconnectedness between the models and melodies of komuz. Outstanding komuz makers and players as well as komuz beginners present some classical komuz melodies in the film. \nThis film is dedicated to kalpak—a traditional male felt hat. Knowledgeable people (a teacher, a journalist, an activist, and craftswomen) talk about the social functions and spiritual meanings behind kalpak. The film shows traditional and modern methods of making kalpak.
Kyrgyzstan 2017
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Intangible Cultural Heritage Elements of Ferghana Valley_Alla (Katta Ashuka)
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.\n\nKatta Ashula songs were performed professionally and further developed by famous Khofizes such as Erkaqori Karimov, Turdiali Ergashev, Matbuva Sattorov, Jo'rakhon Sultonov, Mamurjon Uzoqov, Boltaboy Rajabov, Orif Alimakhsumov, Fattohkhon Mamadaliev, Jo' rakhon Yusupov, and Khamroqulqory To'raqulov. Today, Katta Ashula is masterfully performed by experienced singers with the highest skill, such as Khalima Nosirova, Munojot Yo'lchieva, Ismoil and Isroil Vakhobovs, and Mahmud Tojiboev.
Uzbekistan 2015 -
Intangible Cultural Heritage Elements of Ferghana Valley_Alla (Lapar)
Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform Lapar songs composed of four-lined ghazals in two groups. Through Lapar songs, girls and boys express their love for each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing Lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.\n\nLapar songs are mainly composed of four-lined verses and are performed in the form of a dialogue between two parties. If they resemble o'lan songs from these features, they are distinguished by the ideas, literary references, descriptive objects, and the lifestyle that are sung in the lyrics- the level of thought is more highly developed by images. \n\nLapar songs were performed and became increasingly better known through the work of famous Lapar singers, such as Lutfikhonim Sarimsoqova, Tamarakhonim, Lizakhonim Petrosova, Gavkhar Rakhimova, Oykhon Yoqubova, Guishan Otaboyeva, To'khtakhon Nazarova, Qunduzkhon Egamberdiyeva, and others. To pay more attention to Lapar and o'lan songs, to collect them, to support the performers, and to publicise their creative work to the broader community, the Traditional Republican Festival of Lapar and O'lan performers is regularly conducted by the Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan.\n\n\n\n
Uzbekistan 2015
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ICH Courier Vol.8 ICH AND TRADITIONAL KNOWLEDGE AS AN OCCUPATIONAL LIVING
ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 8 is 'ICH AND TRADITIONAL KNOWLEDGE AS AN OCCUPATIONAL LIVING.'
South Korea 2011 -
ICH Courier Vol.18 TRADITIONAL FERMENTED FOOD
ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 18 is 'TRADITIONAL FERMENTED FOOD'.
South Korea 2013
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CENTRAL ASIA CRAFTS SUPPORT ASSOCIATION’S RESOURCE CENTER IN KYRGYZSTAN—KYRGYZ CRAFT HERITAGE SAFEGUARDING: ISSUES AND ACTIVITIESTraditional crafts have long been a part of the traditional nomadic culture of the Kyrgyz people, who have historically lived in close connection with nature. For the Kyrgyz people, the natural world was once seen as an inexhaustible source of raw materials and inspiration for the creation of handicrafts.Year2011NationSouth Korea
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Mongolian Culture and HeritageThe culture of the Central Asian steppes expresses itself vividly in the lifestyle of traditional nomadic practices. Mongolian culture has been in practice in the nomadic life and the traditions surrounding the nomad’s home (ger). And it is present in religious celebrations, national festivals, art and crafts, music and dance, language and literature, which form the backbone of Mongolian intangible cultural heritage of Mongolia. Mongolia is filled with valuable cultural properties and intangible cultural heritage of humanity that have been kept or practiced for thousands of years.\n\nGer, Mongolian Traditional Dwelling\nThe traditional architecture of the Mongols differed strongly from that of the settled peoples of Asia and other continents. Centuries ago, there the ger, also known as a yurt, appeared. It still offers shelter to nomads in particular places in Central Asia. Its development and fundamental principles are determined by the specific features of the way of life of Mongol tribes, which made it necessary to evolve a light and collapsible structure to be used as a dwelling or for public functions.\n\nMongolian Language and Literature\nMongolian is the language of most of the Mongolian population and inner Mongolia. By origin, Mongolian is one of the Altaic family of languages, and the history of the Mongolian language is long and complicated. Significant literary work of early Mongolia includes The Secret History of the Mongols, which was published in 1228).\n\nMongolian Religion and Beliefs\nThe Mongols have practiced several religions, of which Shamanism and Buddhism were the most common. The faith in Mongolia is Buddhism, though the state and religion were separated during the socialist period, but with the transition to the parliamentary republic in the 1990s, there has been a general revival of faiths across the country\n\nMongolian Art and Crafts\nMongolian arts and crafts have been passed down across generations from the Paleolithic times to today, leaving behind deep impressions on all facets of life and conscious, aesthetic, and philosophical thinking. Highly developed Mongolian arts and crafts come from the second millennium BCE. The works included sculptured heads of wild animals with exaggerated features. Other items include knives, daggers, and other items of practical and religious use.\n\nMongolian Music and Dance\nMusic is an integral part of Mongolian culture. Among Mongolia’s unique contributions to the world’s musical culture are the long songs, overtone singing, and morin khuur (the horse-headed fiddle). The music of Mongolia is also rich with varieties related to the various ethnic groups of the country. Among the most popular forms of modern music in Mongolia are Western pop and rock genres and the mass songs written by contemporary authors in the form of folk songs.\n\nHorse Culture of Mongolia\nIt is famously known that horses play a large role in the Mongols’ daily and national lives. Common sayings are, “A Mongol without a horse is like a bird without wings,” and “Mongols are born on horseback” these are arguably true words. Even today, horse-based culture is still practiced by nomadic Mongolians.\n\nVisit https://www.toursmongolia.com/tours for additional information about Mongolian culture.\n\nPhoto 1 : Prairie meadow grass inner Mongolia traditional clothing © Batzaya Choijiljav\nPhoto 2~7 : © Batzaya ChoijiljavYear2020NationMongolia