The Telling Tradition of Nasreddin Hodja/Molla Nesreddin/Molla Ependi/Apendi/Afendi Kozhanasyr/Nasriddin Afandi Anecdotes is an intangible cultural heritage element on social practices and festivals related to the tradition of telling anecdotes. It is transmitted orally among generations and is shaped around Nasreddin who became a symbol of humor and wisdom. Although there are slight differences about images, names and anecdotes of Nasreddin in communities, the main features of the element have been shared as a common heritage in the Submitting States. Communities acknowledge that he was a wise person who analyzed the society well and gathered shared intelligence, thought and life experience of people in his own personality. The anecdotes of him are short and intensive narrations transmitted through oral tradition and written sources, attributed to Nasreddin whose reputation spread to the wide geographical area. Some of the anecdotes have become classic, and the epigrams of these anecdotes have turned into idioms and proverbs in time. His anecdotes are intensely practiced in the printed and visual media as well as in the oral tradition and especially in the programs prepared for children. In the anecdotes of Nasreddin, the components of wisdom, repartee, witticism, common sense, absurdity and surprise merged firm and these are distinguishing features of the anecdotes. Nasreddin breaks very often accepted norms and concepts, while finding an extraordinary way out of the situation, where he is always the winner, by the power of word. Anecdotes call for humor, satire, sarcasm, and cynicism, to reveal the negative traits of people. However, the anecdotes is a genre with an instructive, entertaining function, a profound meaning that ends with moral, intellectual, and logical results. His anecdotes include relations of different people and their behaviors in various situations. Through his anecdotes, all kinds of unpleasant behaviors are being criticized and judged through humor. Communities in the Submitting States enrich conversations with his anecdotes and support speeches with his witticism. His anecdotes are narrated easily by everyone to strengthen any thought by giving examples in the dailylife, to convince other people or to explain a situation. In some Submitting States, although there is no specific narrator or teller of these anecdotes, the artists of traditional theatre use the element to enrich their narratives and to entertain people. On the other hand, there are specific tellers of the anecdotes in some Submitting States (Tajikistan, Turkmenistan, Uzbekistan). The anecdote tellers select words and perform with great care. In this sense, it mostly depends on knowledge, understanding, thinking, performance culture and skill of the performer to tell anecdotes in meaningful, impressive and funny way. It is important for performer to know various life situations, possess an impressive culture of speech, and make use effectively and skillfully his face, eye, hand, and body movements. In Submitting States, local administrations, municipalities, universities and NGOs which play significant roles in transmission of the element, organize various activities and festivals periodically for commemoration of Nasreddin at local, national and international levels. Public participation in these festivals and activities is considerably high.

Azerbaijan,Kyrgyzstan,Kazakhstan,Tajikistan,Turkmenistan,Turkey,Uzbekistan 2022

The practice of Bon traditions was widespread in Bhutan long before the arrival of Buddhism, and it retains influence in Tshapey village. Previously people practiced animal sacrifice and had faith in nature. With the advent of Buddhism in the country, many elements of Bon dissipated even as Bon rituals continued. Taking on a fusion of Buddhism and aspects of Bon, this became known as Bo-kar, white Bon. This especially allowed Bon rituals to be performed without sacrificing human lives. Den-zha, a local festival in the village of Tshapey, is one of many such Bo-kar practices. This festival is about appeasing Ke-lha the deity of birth, or the local deity known as Nyep Dangnap, who is commonly worshipped as the protector of the Tshapey community. The deity's dark appearance is said to have given her the name Dang-nap, which is further exemplified by the deity's black mask that can be seen in the Lhakhang, temple, today. The Lhakhang, locally known as Haa Goenpa, or monastery. It is believed that the Goenpa was built on the spot where a dove miraculously landed. The dove is considered to be the Nob Denshap, heart emanation, of the Jowo image of Buddha Shakyamuni of Lhasa, Tibet. It is located about seven kilometers from the road. The most important Nangten, or relic, at the Lhakhang is a large statue of the Jowo Shakyamuni. It is said that any wishes or prayers made before the Jowo will come true. In earlier times, the Tshapey community took care of the Lhakhang, but in 1998 it was given to the Zhung Dratshang Central Monastic Body. It was severely damaged by an earthquake and renovated in 1992. Currently, eight people live in and around the Lhakhang - five Tshampa meditators, one Kunyer caretaker, and one Lopen or Lam the spiritual master. On this occasion, the members of the Tshapey community, including those who have moved away to other places, gather at the village Lhakhang to make Nyen-dhar monetary offerings. If they cannot come, they must come and make Shag-pa confession immediately after the festival period.

The Mewang, or Fire Blessing, is believed to ward off diseases and other negative forces. Thangbi Mewang takes place on the first day of the four-day long festival, which is known as Thangbi Mani. ‘Thangbi Mani’ references the temple’s original consecration ceremony which was conducted in part by reciting the mani mantra. The festival is also occasionally referred to as Thangbi Drub, as some maintain the events mark the temple’s consecration ceremony. The origins of Thangbi Mewang are unknown, and no definitive records survive. Some attribute it to the 4th Zhamar Choedrak Yeshe whereas others trace it to the 8th Zhamarpa Pelchen Choekyi Dondrub. Whichever master it was, the liturgical practices and types of mask dances performed are closely related to those performed at Tshurphu in Tibet. Festival preparations begin from the 3rd day of the eighth lunar month, when mask dancers gather in the lhakhang around 3 p.m. to offer serkyem (wine libation) in the gonkhang (scared shrine of dieties). After chak dang hu (shouting Tae hu hu) the leftover wine is served to the mask dancers, who begin practicing the dances for two hours daily between 3–5 p.m. Preliminary dance practices are held for two weeks before the final rehearsal or chamjug is held on the afternoon of the 13th day. The chamjug is not a full-dress rehearsal and does not include costumes or hand implements with the exception of the Nga Cham (Drum Dance) rehearsal, which uses the drum and drumsticks. Previously, the drapas (servants) of Tamzhing Choeje performed the mask dances, though of late this role has transitioned to the five drapa households living around Thangbi village. Amongst the three villages, the mask dances have been performed only by male members from Thangbi village because they are the drapas of Karmapa, whereas the threlpa or the tax-paying households of Goleng and Kharsath act as the sponsors of the mask dance performances. a. Day One (14th Day of the Eighth Lunar Month): The 14th day of the eighth lunar month marks the first day of the festival. The main mask dance performance starts after a dinner break, the champas and monks return to the gonkhang to offer serkyem. After this, the costumed dancers carry the masks downstairs to the chamkhang (dance preparation hall). The evening’s programme is performed in the following sequential order: - Drelcham (Dance of Suppression); - Yoeluema or Zhauli (Dance of Malevolent Spirits); - Gonpo Bercham (Dance of Protective Deity Gonpo Bernag); - Jinsek (Fire Offering); - Shazam Dance (Dance of the Stag); - Gektre (Ritual to Expelling Evil); b. Day Two (15th Day of the Eighth Lunar Month): Mewang, the Fire Blessing The second day, the 15th day of the eighth lunar month, begins with the champon and champas singing a song called “Gya yul ley thon pai dardzoe dang ney-nga”. While the lama and gomchens (lay monk) perform lhabsang (cleansing ritual) in the gonkhang, the gondhar (Maha kala's flag) is once again erected in the courtyard. After lhabsang, ritual prayers dedicated to Gonpo Bernag are performed and concludes in the late morning. The remainder of the day’s programme is held as follows: - Mewang (Fire Blessing); - Zhana Cham (Black Hat Dance); - Tshog Cham (Feast Offering Dance); - Yoeluema; - Gonpo Bercham; - Nga Cham (Drum Dance); - Pholey Moley; - Atsara Dance ; - Shawa gang ley Phabpa, the episode of chasing the stag down the mountain). c. Day Three (16th Day of the Eighth Lunar Month): Tenwang (Blessing form the sacred objects) The same song is sung to mark the start of the 16th day of the eighth lunar month, followed by the ritual prayers. A tshechu is then performed in the Jowo Lhakhang. All participants gather in the lhakhang at around 6 a.m. during tshegug (ritual of longevity). After ritual prayers conclude around 8:30 a.m., the day’s events continue as follows: - Shazam (Dance of the Stags); - Dri Cham (Sword Dance); - Shawa Shakhyi (the episode of driving the stag out of low-lying jungle)14; - Jachung Jichung gi cham; - Atsara’s Choga (ritual performance by Atsaras); - Tenwang (Blessing of sacred objectd) - Khandromai Cham (dance of dakinis) d. Day Four (17th Day of the Eighth Lunar Month): Thruesol and Landab On the last day of the festival, before the thruesol (cleansing ritual), the lama and gomchens once again perform the lhabsang ritual in the lhakhang. After breakfast, thruesol is performed in all the households of Thangbi village. The procession is led by clarinet players and singers performing the lebey song, followed by the lama, champas, patselpas (traditioanl arm forces), and folk dancers. After thruesol is completed, the champas, patselpas, folk dancers and tsawas (sponsors) see off the lama and they escort him to his residence at Shugdrak Gonpa (monastery). After returning to Thangbi Temple, the new kudrung (discipline master) is appointed and the former kudrung is retired. Both the new and old kudrungs are offered khadars (scarfs) by the villagers. This remainder of the morning is filled with dances, singing, and drinking until Thangbi Mewang festival formally concludes with a luncheon.

Jakar Tshechu is a recent introduction, as noted above. It was established in 1994 on the 4th day of the sixth lunar month through the initiative of Dzongdag Dasho Pema Dorje and Thrimpon Dasho Sangay Rinzin. In the beginning, the mask dances were performed by Trongsa Rabdey as the dzong had no permanent monks. The duration of the tshechu was initially only one day long. Later, during the time of Dzongdag Nyima Tshering, it was extended to four days, running through the 8th to 11th days of the ninth lunar month. Given their prominence and importance, usually the annual district tshechu are sponsored and coordinated by the respective District administrations. Similarly, Jakar Tshechu is organized by the Bumthang District Administration in collaboration with the Jakar Rabdey. While at many festivals the local residents provide contributions, at Jakar Tshechu all the expenses are borne by the District Administration rather than by the locals. As the sponsor, the District Administration documents all expenditures for the duration of the tshechu, which includes meals for all participants, mask dancers and folk dancers, as well as their wages. Preparations for the festival are intense and involve significant manpower, financial resources and planning. Preparations begin well in advance, with the lam and dratshang overseeing the preparations for rituals and practice sessions for the mask dances. The dzongkhag takes on administrative responsibilities and plans the budget. A week before the festival, the dzongkhag staff prepare the performance area in the dzong courtyard. The district administration selects around thirty-two mask dancers, between ages of eighteen and forty-two, from the four gewogs. In addition, a troupe of approximately eleven folk dancers is chosen from each gewog to perform in between the mask dances. The troupes rotate each year, with each group performing every four years. The folk dancers and the mask dancers begin practicing about a month before the tshechu. On the 7th day of the ninth lunar month, dancers hold a rehearsal session, which is called chamjug. These rehearsals are held in the courtyard of the dzong where the festival takes place and include the use of musical instruments, such as trumpets and clarinets. The practice continues for much of the day, from around 8:30 a.m. until around 3 p.m. The two chief mask dancers, one from the monastic community and the other from the District Administration, oversee the practice to ensure that everything is perfect. During rehearsal, the dancers don’t wear the costumes or masks and only the main mask dances are rehearsed. a. Day One: (8th Day of the Ninth Lunar Month): The main event begins on the 8th day of the ninth lunar month, when the monks get up around 1:30 a.m. to perform the Lama Gongdue ritual. Before dawn, the ritual pauses at tshog lhagma for breakfast and preparation for the mask dance performances. Around 8 a.m., the dzongkhag staff gathers at the dzong to receive dzongda and drangpon and then they all wait to receive lam. Then the lam accompanied by Dzongkhag Administration officials including dzongdag and drangpon, move in a chibdrel procession to the zigrekhang (spectators’ pavilion) to witness tshechu proceedings. The mask dance performances begin by 8:30 a.m. In 2015, the mask dances were performed in the following order: - Shinje Yab-yum Cham (Yamantaka Father and Mother Dance); - Yoeluema Cham (Dance of the Malevolent Spirit); - Peling Ging Sum (Dance of the Three Gings): Ju Ging Cham (Stick Dance), Dri Ging Cham (Sword Dance) and Nga Ging Cham (Drum Dance); - Kel Cham (Farewell Dance); - Pholey Moley (Dance of the Noblemen and the Charming Ladies); - Shawo Gangley Phap (the first episode of chasing the stag down the mountain). At the conclusion of the mask dances, the lam and the monks resume the feast offering ritual in the lhakhang from where they left off in morning. b. Day Two: (9th Day of the Ninth Lunar Month): The morning’s programme on the 9th day of the ninth lunar month is same as the day prior. The ritual pauses at tshog lhagma for breakfast, and then the day’s mask dances begin around 8:30 a.m. as follows: - Zhana Cham (Black Hat Dance); - Zhana Nga Cham (Black Hat Drum Dance); - Dramitse Nga Cham (Dance of the Drums from Dramitse); - Durdhag Cham (Dance of the Lords of Cremation Grounds); - Ging Tsholing Cham (dance of the wrathful deities and the ging); - Shawa Shakhyi Thaley Tonpa (the second episode driving the stag out of low-lying jungles). As on the previous day, after mask dances, the monks and the lam resume conducting the ritual prayers in the lhakhang, starting from the tshog lhagma intermission and conclude the day’s programme. c. Day Three: (10th Day of the Ninth Lunar Month): The morning programme is same as days one and two. The ritual pauses at tshog lhagma for breakfast before the day’s mask dances begin. The day focuses on the judgment of the dead and depicts the consequences of karma on the afterlife, and people receive blessings from the Lord of Death. The mask dances are performed as follows: - Durdhag Cham (Dance of the Lords of Cremation Grounds); - Tum-ngam Cham (Dance of the Terrifying Deities); - Shazam Cham (dance of the four stags); - Raksha Go Cham (Ox-headed Dance); - Raksha Mang Cham (Intermediate State Dance). As on the previous days, the Lam Neten and monks resume the ritual prayers from the tshog lhagma to conclude the day’s events. d. Day Four: (11th Day of the Ninth Lunar Month): Thongdrol (giant tapestry) and Tenwang (blessing by sacred relics): The 11th day of the ninth lunar month is the last day of the tshechu, during which the thongdrol is unfurled and artefacts are displayed to the public, an act called tenwang. People gather in the dzong as early as 3 a.m. The main statue displayed for public blessing is a small statue of Yidam Thongwa Kundrol that Terton Pema Lingpa is said to have withdrawn from Mebartsho (the Burning Lake). The thongdrol was made in 2005 and shows Guru Tshengyed, the Eight Manifestations of Guru Rinpoche. In front of the hanging thongdrol, mask dances – specifically Pacham, Dram-nyen Choeje, and Zhengzhi Pemi Cham – are performed to pay homage to Guru Rinpoche. The day’s mask dance programme is presented in following order: - Unfurling of Guru Tshengyed Thongdrol; - Zhengzhi Pemi Cham (Dance offering with recitation of prayers to Guru Rinpoche); - Bekor Cham (Ceremonial Dance of the Monks); - Pa Cham (Dance of Heroes); - Guru Tshengyed Cham (Dance of the Eight Manifestations of Guru Rinpoche); - Rigma Chudrug (Dance of the Sixteen Wisdom Consorts); - Acho dang Phento (the story of the conversion of the hunter); - Atsara gi Lochoe (Atsara’s ritual) to mark the conclusion of tshechu. As on prior days, the events finish with the feast offering ritual in the lhakhang, though with additional rituals particular to the last day. Specifically, a torshag (cascading the ritualcakes) ritual followed by ngoedrub langwang (receive blessings) and trashi monlam (auspicious prayers), during which all participants gather and to offer collective dedications and auspicious prayers.