ALL
costumes
ICH Elements 14
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KURTADUZI, chevari
Sewing traditional dresses. Seamstresses usually prepare embroidered woman shirts and other dresses. In the past masters sewed dresses with hand, now the sewing machines also are applied.
Tajikistan -
Ak-kalpak craftsmanship, traditional knowledge and skills in making and wearing Kyrgyz men’s headwear
Ak-kalpak is a traditional Kyrgyz felt headwear. Kalpak is appreciated and worn by all men regardless of age and status. Kalpak is one of the most iconic and recognizable elements of the Kyrgyz culture. The word Ak has several connotations in Kyrgyz language. One of the meanings is “sacred”, “pure”. The kalpak’s shape has not changed in centuries because this shape symbolizes the heights of surrounding mountains and the purity of the folk spirit. There are many varieties of kalpak. Based on various techniques of felting, cutting and sewing, there are more than 80 types of kalpak. Almost all kalpaks have embroidery patterns on them. Each pattern has its own sacral meaning and history. Two varieties are most popular at the moment. One has one small cut in front and the other one, called Bakai kalpak, has two cuts on the sides. Bakai kalpak is worn by people of older age. Various colors on kalpak edges are used to symbolize the age of the kalpak owner, although these rules are not set in stone and there are many exceptions to this rule in everyday life. -\tGreen edged kalpaks are for children. Young boys wore those kalpaks. Green is a color of youth and shows that they are at the beginning of their life paths. -\tBlue edge is a color for adolescents. This was the color for men over 20s. The color of sky symbolized maturing. - Brown edged kalpak was worn by men over 30 years old. Brown symbolized that the person already has a family and as a head of the family have accumulated enough life experience and is ready to serve the country. - A beige colored edge was worn by mature men over 40, when they could serve as an example for the younger generation. - Black edged kalpak was born by elderly men over 60. Black edge on a white felt symbolizes wisdom. An elderly widower wore a white kalpak with black felt edge. It meant that his kids allowed him to marry again. - The most honorable completely white kalpak was worn by wise elders. Such kalpak is given to acknowledge his leadership and authority.
Kyrgyzstan 2019 -
Nang-zhey or Ngang bi Zhey
Nang-zhey or Ngang pi Zhey is a native folk dance of a particular chiwog under Chokor Gewog in Bumthang with unique dress, lyrics, melodies and steps performed only by the male artists locally called Pazer-pa (soldiers or guards). The zhey is believed to be a sacred performance composed by their spiritual master Namkha Samdrup aka Tshampai Lama. Namkha Samdrub was born in 1398 on the 14th day of the third lunar month of the 7th Rabjung to Jamyang Drakpa Yoezer, one of the twin sons of the 22nd Sumthrang Choeje Palden Sengge and his partner Bumkyi, who belonged to the lineage of Ngangpai Dung. At the age of four, Namkha Samdrub was recognized as the reincarnation of Zhigpo Trashi Sengge, the 19th successor of Sumthrang Choeje. From the age of six to thirteen, he learned the basic Buddhist teachings and received empowerments and oral transmissions from his uncle Tennyi. He continued to seek further teachings and empowerments from various masters, including Drubwang Montsepa (d.u.), Lama Kunga Palden (d.u.), Gyalwang Choeje (d.u.), 6th Karmapa Thongwa Donden (1416-1453), and Terton (treasure discoverer) Ratna Lingpa (1403-1478). Namkha Samdrub eventually became a high-ranking master of the Drigung Kagyu (one of the Tibetan schools) and spent much of his life in solitude in the area bordering Tibet called Longtoe District, which is why he is sometimes called Longtoe Lama by Tibetans. He later moved to Tshampa on the Bhutanese side, where he took up extensive meditation practices, so he became known as Tshampai Lama. Later, he founded the Ngang Lhakhang (temple) in the Ngang community, which consisted mainly of his followers. After the completion of the temple, the Rabney (consecration ceremony) on the 15th day of the tenth lunar month was conducted by Lama himself. During the Rabney, Lama introduced mask dances as well as Ngang-zhey, which are performed every year on the 15th and 17th days of the tenth lunar month to sanctify the physical space and bestow blessings on the audience, coinciding with the eve of Karma nyadzom (conjunction with the Pleiades constellation). Although zhey is performed, the community faces problem of finding male performers, and since it is an indigenous art, if the trend remains the same every year, there is a high probability that the performance will be discontinued.
Bhutan -
Maedeupjang (Decorative Knotting)
National Intangible Cultural Heritage, Republic of Korea There are several types of strings used to make decorative knots. Circular strings used in accessories or pouches are called dongdahoe. Wide and flat strings used in waist belts are called gwangdahoe, whereas knots used in attire or ceremonial accessories are called gyeokdap or gyeolja. It is not easy to clarify precisely when and where the knot, a field of Korean traditional crafts, originated. However, it is speculated that Korea's knots and tassel decorations were influenced by China due to frequent exchanges between the two countries. And it is presumed that the knot craft in Korea affected that of Japan. Chinese knots are characterized by their variety and their extravagant style, whereas Japan focused on the functionality of the string rather than the decorativeness of the knot itself. In contrast, Korean traditional knots are characterized by pursuing proportional and rhythmic beauty by forming a shape using monochromatic strings and hanging tassels underneath. In addition, there are many forms and names derived from animals and plants, such as the lotus bud knot, chrysanthemum knot, and dragonfly knot. It can be stated that the Korean knot is not only functional but also plays a decorative role that highlights the subject but is expressed in elegant elegance rather than in extravagance. During the Joseon Period, the government designated knot craftsmen. As for the materials used to make knots, there are threads made of silk, ramie, mulberry, hemp, and woolen yarn. Knot shapes vary depending on the color, thickness, and methods used for tying. The names used to call them differ from region to region. The names were based on household items, flowers, or insects, such as ginger piece, butterfly, dragonfly, chrysanthemum, etc. Tassels were attached to the lower end of the decorative knots used for musical instruments, vehicles, or Buddhist ceremonies. There were diverse types and levels of tassels depending on their use, i.e., whether they were for the Royal Palace or ordinary households.
South Korea
ICH Materials 46
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Zapin
Zapin dance is believed to enter Malaysia via the traders and missionaries from the Arabian Peninsula. During its early days, this dance was performed by a group of six or seven male dancers during religious ceremonies. Zapin is now performed for entertainment purposes and participation of female dancers is allowed. Zapin dance begins with a salutation dance phrase, followed by a medley of dance sequences and ends with variations of skips, turns, low piles standing and squatting positions. The melody of Zapin is carried by a vocalist, with musicians playing the gambus, violin, harmonium, accordion, rebab, marwas (bongos), rebana (drum) and dok.
Malaysia -
Nang-zhey or Ngang bi Zhey
Nang-zhey or Ngang pi Zhey is a native folk dance of a particular chiwog under Chokor Gewog in Bumthang with unique dress, lyrics, melodies and steps performed only by the male artists locally called Pazer-pa (soldiers or guards). \n\nThe zhey is believed to be a sacred performance composed by their spiritual master Namkha Samdrup aka Tshampai Lama. Namkha Samdrub was born in 1398 on the 14th day of the third lunar month of the 7th Rabjung to Jamyang Drakpa Yoezer, one of the twin sons of the 22nd Sumthrang Choeje Palden Sengge and his partner Bumkyi, who belonged to the lineage of Ngangpai Dung.\n\nAt the age of four, Namkha Samdrub was recognized as the reincarnation of Zhigpo Trashi Sengge, the 19th successor of Sumthrang Choeje. From the age of six to thirteen, he learned the basic Buddhist teachings and received empowerments and oral transmissions from his uncle Tennyi. He continued to seek further teachings and empowerments from various masters, including Drubwang Montsepa (d.u.), Lama Kunga Palden (d.u.), Gyalwang Choeje (d.u.), 6th Karmapa Thongwa Donden (1416-1453), and Terton (treasure discoverer) Ratna Lingpa (1403-1478). \n\nNamkha Samdrub eventually became a high-ranking master of the Drigung Kagyu (one of the Tibetan schools) and spent much of his life in solitude in the area bordering Tibet called Longtoe District, which is why he is sometimes called Longtoe Lama by Tibetans. He later moved to Tshampa on the Bhutanese side, where he took up extensive meditation practices, so he became known as Tshampai Lama. Later, he founded the Ngang Lhakhang (temple) in the Ngang community, which consisted mainly of his followers. After the completion of the temple, the Rabney (consecration ceremony) on the 15th day of the tenth lunar month was conducted by Lama himself. During the Rabney, Lama introduced mask dances as well as Ngang-zhey, which are performed every year on the 15th and 17th days of the tenth lunar month to sanctify the physical space and bestow blessings on the audience, coinciding with the eve of Karma nyadzom (conjunction with the Pleiades constellation).
Bhutan
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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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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