| Description |
In both Submitting States
Turkmen-style needlework is an object of decorative applied art, combining the skills of a certain creative work on different types of fabric. In Turkmenistan, it is the national costumes of women, men, young people, boys, girls, elderly women and men. In Iran, it is mostly the costumes of the Iranian Turkmen enthic group living in the northen parts of Iran but nowadays, it is widely welcomed and used by all Iranians.
In both Submitting States, Turkmen-Style needlework begins with the preparation of natural thin silk threads which intertwined together in three (3) layers and twisted into one thread, then straightened with a large needle and the excess is removed. After twisting the three layers separately, the thread itself acquires a kind of shine. The left and right sides are used to create the loops, the dimensions can vary as desired. Piercing the fabric with a thin needle with the right hand, a loop is created, which must be preserved until the next loop is created, held by the thumb of the left hand. Depending on the dominant hand of the Needlewomen, the looping process will happen in the reverse direction. This is the most common needlework style. There are also other Needlework styles that vary depending on the local creativity. Totally, there are seven skills called “Ilme”, “Basma”, “Pugtama”, “Jakhek”, “chekmek”, “El gayma”, “Chigme”. The patterns used, also reveal the territorial identity of the Needlewomen mostly in rural areas. The patterns also symbolise love, freindship, nature, strengnth, etc.
Almost all of the needleworkers in both countries are women but in the related jobs such as making the needlework tools, men are also involved. There is no age limits for practicing the element. Traditionally, young girls do it when they are small children learning from their mothers and grandmothers through informal method as a necessary life skill.
Its social functions and cultural meaning are wedding dress for bride and groom, used in funerals, cultural events e.g. Nowrouz/Nowruz Celebration, decorative parts of ordinary costumes including: scarfs, manteau, pants, shawls; accessories like headbands, wristbands, necklace, cosmetics bags, women’s wallets/bags/backpacks. Nowadays, this Human-Rights-friendly element is also utilised for contemporary home decorations e.g. table cloth, cushion/pillow sheets, bed covers, wall hangings, & etc.
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| Social and cultural significance |
In both submitting states
Each needlework serves as a kind of symbol that captures the spirit of the communities concerned and all other stakeholders with their history, traditions, nature and soul. Over the centuries, the needlewomen have been able to safeguard the needleworking art such as patterns and designs. They also created contemporary and modern designes for the needs of the time. In both countries, the element can be seen in the following social and cultural functions and roles: weddings, funerals, social gatherings, and etc.
There are a number of other modern applications for the element: for example many accessories such as costumes for both genders, bundles, women’s slippers, hair ties, men’s ties, shoes decoration, mobile pouches, cosmetics bags, headbands, men’s hats, wrestbends, scarfs, women’s wallets, bagpacks.
As an attractive art, nowadays, it is also used for home decorations such as table sheet, coushion or pillow covers, wall hangings, mirror holders and etc. So, it means that this element is much alive and applicable in daily life of all people in both countries. |
| Transmission method |
In both submitting states, knowledge, techniques and skills related to needlework skills are transmitted through informal and formal learning.
1. Informal Transmission: practical communication between the older female generation and the younger. The training of promising needlewomen is combined with oral explanations from an adult mentor and step-by-step execution of a certain part of the pattern in compliance with aesthetic norms and techniques of execution. Apprentices, in our case, who are children or grandchildren of the mentor, listen and repeat the skills of the master, revealing her abilities and honing her skills. Master needlewomen teach the element to students, while explaining the content, concepts, moral and aesthetic norms of the selected designs or patterns. With the help of narrative stories about ancestors and history, legends about love, kindness and peace, the skills of movements, techniques are demonstrated and the strict sequence of the chosen plot for needlework is explained. Then apprentices repeat movements several times over a period of time under the guidance and independently in accordance with these recommendations. The process of forming and developing, improving the needlewoman varies depending on the abilities and hard work of every single apprentice.
Traditionally, informal and formal learning and the transfer of knowledge, techniques and skills associated with an element from master to student occurs on a daily basis.
2. Formal Transmission:
2.1 Additional information about the element is available in the published scientific publications of the scientific journals in both countries.
2.2 Methodological literature is available in both countries’ libraries with a step-by-step explanation of the material and illustrations.
2.3 Video materials about the needlework decorations is often broadcasting on the state TV channels.
2.4 The State Institute of Culture and the State Academy of Arts of Turkmenistan study national handicrafts at the level of curricula of the Ministry of Education,
2.5 State museums both countries, art schools, main regional houses of culture also contribute to the development of handicraft skills by demonstrating visual aids.
During the festivals and other events on occasion of national holidays, the item gets more popular as men, women and children wear costumes needle worked with silk-on-silk fabrics.
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| Community |
Turkmenistan
In Turkmenistan, groups and individuals concerned with the element consist of representatives from various strata of the Turkmen society regardless of gender, age or professional restrictions, including tutors, amateurs and researchers.
- Consent letters of the Societies of Needleworkers from Akhal, Balkan, Dashoguz, Lebap, Mary Provinces;
- Needleworkers of the House of Models, Ministry of Textile Industry;
- Group of Sericulturists from Akhal Province;
- Master Ms. Aygul Garajayeva, from Akhal Province;
- Master Ms. Yazgul Meredova, from Akhal Province;
- Master Ms. Yyldyz Rustamova, from Lebap Province;
- Master Ms. Gurbansoltan Hojanazarowa, from Balkan Province;
- Master Ms. Hayytgul Atayeva, from Dashoguz Province.
Iran
Specialised institutions and cultural training centres throughout the country help spread the knowledge of traditional sewing methods and patterns, including the Turkmen-style needlework. Moreover, some universities in Tehran, Isfahan, Mashhad, Yazd, Tabriz and other cities also promote the art of Turkmen-style needlework in the framework of different majors including: “fabric design”, “fashion design”, “handicrafts” and “weaving”. In addition to formal education, the element is also spread by means of informal and private education and training.
- Ms Zahra Koushani Fard, Director at Zahra Koushani Cultural Institute
- Dr Seyed Abdul Majid Sharifzadeh, Director at Research Centre for Traditional Art
- Ms Mahpareh Akbari, Turkmen-Style Needleworking Master
- Ms Esmat Majidi, Needleworker
- Dushli Boroun Islamic Council
- Naghshe- Souzan-e Golestan Cooperative Company. |
| Type of UNESCO List |
Representative List of the Intangible Cultural Heritage of Humanity |
| Incribed year in UNESCO List |
2022 |
