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competition
ICH Elements 73
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Epic art of Gorogly
The entire epos includes a historical range of the legendary achievements of the ancient national hero of Gorogly and his 40 cavalrymen by recording all major events of traditional lifespan of the Turkmen people. The aspiration of the Turkmen nation for a happy life, unification, freedom and justice as well as their features such as bravery, honesty, partiotism, freindship, tolerance and fairness have been reflected in the epos. The element is a combined genre of oral traditions and performing art incorporating narrating, singing, vocal improvisation and musical composition, where a prose and poetry are alternated in its perforamnce. Its bearers and practitioners are epic performers-dessanchy bagshy specialized in the Gorogly epic. It is by tradition performed by one dessanchy bagshy playing the dutar (a two stringed, long-necked lute) in a sitting position, while narrating prose and reciting poetry in a way to deliver the characters' feelings and emotions to the accompaniment to the traditional musical instruments such as dutar and gyjak (a fiddle-like Turkmen musical instrument). It is traditionally performed at social gatherings, celebrations, national ceremonies, life rituals, national festivals and special "Folklore Festivals". The element provides related communities with a sense of social and cultural identity and it is considered as a main symbol of Turkmen people to sustain their cultural identity being as an oral encyclopedia and it remains the inexhaustible fountain-head to nurture their cultural psychology, national character, mentality, creative capacity and artistic skills.
Turkmenistan 2015 -
Chakan, embroidery art in the Republic of Tajikistan
The art of chakan embroidery is a kind of sewing ornaments, image of flowers and symbolic drawings with colorful threads on cotton or silk fabrics. Chakan embroidery is used to decorate women’s shirts, pillows, bed spreads, head scarves, towels, curtains and coverlets for cradles. In the chakan embroidery art, there are symbolic depictions and mythological images related to the surrounded nature and cosmos, which express people’s wishes and hopes. Each ornament has special name and meaning, for example, pomegranate flower, willow leaves, almond, tulip, cockscomb, nightingale, peacock’s tail, moon, star, sun, cloud and so on. Process of chakan embroidery consists of selection of textile and threads, drawing ornaments, doing the needlepoint images, and sewing clothes. The threads were prepared in the past from cotton and silk fibers, and colored them with natural paints prepared with some kinds of plants and minerals. Now, chakan dress makers use fabric threads for needlework. In the Khatlon region chakan shirt is an important dress of brides. Every bride should have chakan embroidered curtain and pillows as well. Grooms during wedding ceremony will put on tāqi – the national skulp-cap with chakan embroidery. In houses of the Khatlon are hang chakan embroidered needlework curtains. During the traditional festival and holy days Tajik women and girls wear chakan dress. Musical folklore groups and dancing ensembles of Tajikistan widely use chakan embroidered dress in the scene. Annualy in Tajikistan are held festivals and competitions of traditional costumes titled "Jilvai chakan".
Tajikistan 2018 -
Royal ballet of Cambodia
Renowned for its graceful hand gestures and stunning costumes, the Royal Ballet of Cambodia, also known as Khmer Classical Dance, has been closely associated with the Khmer court for over one thousand years. Performances would traditionally accompany royal ceremonies and observances such as coronations, marriages, funerals or Khmer holidays. This art form, which narrowly escaped annihilation in the 1970s, is cherished by many Cambodians. Infused with a sacred and symbolic role, the dance embodies the traditional values of refinement, respect and spirituality. Its repertory perpetuates the legends associated with the origins of the Khmer people. Consequently, Cambodians have long esteemed this tradition as the emblem of Khmer culture. Four distinct character types exist in the classical repertory: Neang the woman, Neayrong the man, Yeak the giant, and Sva the monkey. Each possesses distinctive colours, costumes, makeup and masks. The gestures and poses, mastered by the dancers only after years of intensive training, evoke the gamut of human emotions, from fear and rage to love and joy. An orchestra accompanies the dance, and a female chorus provides a running commentary on the plot, highlighting the emotions mimed by the dancers, who were considered the kings’ messengers to the gods and to the ancestors.
Cambodia 2008 -
Kazakh Kuresi – Traditional wrestling
Kazakh Kuresi represents ancient form and style of Kazakh traditional wrestling, essential element of all festive events, celebrations and integral part of modern Kazakhstani national identity. Since ancient times, the beauty of this sports and strength of the hero-wrestlers “Baluans” have been reflected in folk epics, fairy legends, Kazakh literature like the poem of Iliyas Zhansugurov “Kulager” and Gabit Musrepov’s novel “Ulpan”, and archaeological findings. Wrestling of two opponents is performed on 12m.x 12m. sized mat. The opponents are matched according to their weight category ranging from 60 kg and above 90 kg. All techniques are performed above the waist – wrestlers must fight on foot, making it more difficult. Wrestling on the ground is prohibited. The purpose is to lay the opponent on shoulders. Duration of the match is 5 minutes with extra time of 3 minutes which is offered in case of even number of points. Evaluation of matches is counted by: a) “Buk” – if the opponent touches the mat with abdomen, knee or both knees; b) “Zhambas” is given for three “Buks” or when the opponent touches the mat with one side of pelvis or both; b) “Zhartylay zhenis” is awarded for the technique when the opponent touches the mat with both shoulders.
Kazakhstan 2016 -
Art of crafting and playing with Kamantcheh/Kamancha, a bowed string musical instrument
The art of crafting and playing with Kamantcheh/kamancha (“little bow”), a bowed string instrument, has exsited for more than 1,000 years. In Iran and Azerbaijan, types of this art constitute major elements of classical and folkloric Music. Classical Iranian Music refers to the urban music with “Radif” repertoir; the Folkloric Kamantcheh Music refers to the mainly rural musical traditions of Azarbayjan, Lorestan, and Torkaman Sahra. In both countries, contemporary practitioners mainly make and use four string Kamantcheh/kamancha composed of a body (chamber, neck and pegs) and a bow with horse-hair. Some Folkloric variants with two or three strings are also popular in Lorestan, Azarbayjan, or Torkaman Sahra, Iran(also, cf.D). Craftsmanship starts with choosing wood material. Craftspeople use walnut and/or mulberry for the body, and cornel for the bow. In Azerbaijan, only ball-shaped resonating chambers are crafted. Iranian communities produce the following resonating chambers/sound-boxes: 1-Pošt-baste(""closed in the back""):A hollow oval with sheep-skin; 2-Pošt-bāz(""open in the back""):A half-cone, with sheep-skin on one end. Craftspeople create a bowl and a round fingerboard, and unite them with an iron billow that ends up with a base shaft at the bottom. The chamber’s open side is covered with sturgeon, catfish, sheep or bovine bubble skin. They very often inlay the body with mother-of-pearl or other materials to express and mark different motifs and add their personal touch to the external decoration. In Iran, calligraphy, wood carvings, or inlayed jewels and shells are also practiced. The instrument rests on the base shaft and stands vertically on performer's lap or beside them; performers move the bow horizentally on the strings, and pivote Kamantcheh round the shaft to facilitate transfers on the strings. Kamantcheh/kamancha produces strong and subtle sounds, close to human voice with the sound diapason ranging from small octave ‘A’ to the third octave ‘A’. Players perform large works and etudes using various performing techniques, individually or as part folk orchestras. Generations of performers have left invaluable heritage of Kamantcheh/kamancha works, which are reproduced by young performers, adding their own playing dynamics and colouring. Transmitted from generations to generations at professional and amateur levels, within families or professional education institutions, this art brings together a large community of Kamantcheh/kamancha music lovers and listeners and continues to be a marker of cultural belonging.
Azerbaijan,Iran 2017 -
Chinese Zhusuan, knowledge and practices of mathematical calculation through the abacus
With the abacus as a tool, mathematical algorithms as a theoretical facility, Chinese Zhusuan is figure-based knowledge and practices through moving beads on an abacus according to the defined formulas. The abacus is made of bamboo or wood in the shape of a rectangle, divided horizontally into two decks with a string of five beads (one in the upper deck and four in the lower) or a string of seven beads (two in the upper deck and five in the lower). Each bead in the upper deck has a value of 5 while each in the lower has a value of 1. Atypical abacus has 13 to 19 rods connecting the beads. Zhusuan practitioners can perform mathematical calculations including addition, subtraction, multiplication, division, exponential multiplication, root, equations of higher degree, thus demonstrating the wonderful wisdom and creativity of the Chinese people. This time-honoured tradition has played a vital role in giving impetus to mathematical studies, promoting algorithmic practices, and nourishing intelligence. Zhusuan oral formulas have easy-to-learn rhymes that represent the specific calculation rules and summarize the arithmetic operations. Beginners can make quick calculations after moderate trainings, while proficient practitioners usually develop an agile mind. Through oral teaching and bodily practice, Chinese has maintained and transmitted Zhusuan for generations. With a scientific theoretical system and a simple operation method, Zhusuan has long been popular in various aspects of Chinese living and production. As an important legacy of mathematics and cultural tradition, Zhusuan has become a national symbol of cultural identity.
China 2013 -
Customs and rituals related to marriage
Soiko saluu Soiko saluu is an engagement ritual when the young man’s parents and relatives pay visit to the young lady’s house to make a proposal. The groom’s family gives engagement earrings to the bride and bride price to her family called kalyn. Bride price is considered as a gratitude to her parents for raising a woman who will become a wife and mother of future husband’s children. The bride’s side prepares dowry, which includes various household items needed for a newly formed family. It includes felt carpets, cushions, matrasses, etc. Kyz uzatuu Kyz uzatuu is a ritual of seeing off a bride when groom’s party comes to take her to the groom’s house. This ritual takes place before the wedding ceremony. This ritual is conducted by bride’s family and friends. There is also a ritual called arkan tartuu. When the groom’s party is coming to take away the bride, bride’s friends pull the rope across the rope, thus, symbolically blocking the way to the bride’s house. The groom’s party gives gifts and money to people holding ropes, thus, earning a right to pass forward. Nike kyiyuu Nike kyiyuu is the main wedding ceremony. A cup of water is prepared for this ritual. Some sugar is added to water and sometimes a silver coin is placed at the bottom of the cup. After reciting verses from Quran, the newly-wed couple drinks water from the cup. The meaning of sharing water is that a couple agrees to live through thick and thin, life’s ups and downs together. When drinking water, the bride and groom make a wish to be pure as water and live long and happily. By adding sugar, they wish to have a sweet life and coin stands for prosperity. Water is a symbol of purity, eternity and sacredness; that is why it is used in a wedding ceremony. Kyrgyz wedding feasts are big. The number of guests vary depending on family’s income. Nowadays, wedding is done in various styles but all of them have abovementioned traditional rituals. Otko kirgizuu According to Kyrgyz traditions, a newly-wed bride cannot go visit houses of grooms neighbors, relatives and friends. That is why the latter invite the newly-wed bride and her husband to their house. This ritual is called otko kirgizuu. The purpose of this ritual is to get acquainted with a new daughter-in-law. A daughter-in-law can go to this ritual with her husband, mother-in-law or other close relatives. When a bride enters the house, she is supposed to bow to the hosts. The newly-wed bride helps pouring tea and serving food as if she was in her house. The hosts give her their blessings and a gift such as dish set, garment, etc. Only after that, a newly-wed bride can freely come to this house and help around during feasts and rituals. After some time after wedding, the newly-wed bride goes to visit her own family. This visit is called torkuloo. She does not go home on her own but rather with her husband and parents-in-law. There are smaller rituals done within this big ritual. This is considered as otko kirgizuu for the newly-wed groom. Despite the changes happening in a modern society, every custom and a ritual reflects the essence of Kyrgyz people and their culture. These rituals highlight the sanctity of family values and transmitted from generation to generation without coming at odds with current worldviews of Kyrgyz people.
Kyrgyzstan -
Traditional horse game – ‘Kyz kuumay’
‘It is one of the most widespread horseback games played at various feasts and festivities. Kyz kuumai is translated as chasing a girl. ‘Kyz kuumay’ was a wedding tradition in the past, in which a groom on a horse had to pursue and catch a racing bride. The game involves several couples in national costumes, which are well acquainted with rules of the game and have perfect horse riding skills. The bride was provided with the best horse; she started the race first. The groom had to catch his bride, thus proving his love and reaffirming his right to marry her. The groom has to catch up with the bride and kiss her or to touch her with his headwear, thus declaring his victory. In case of a failure, the girl chases the young man, striking his back with a whip. Due to the worse horse, the groom often failed to capture the girl. However, this was not a reason for the bride to refuse to marry.
Kyrgyzstan -
Olan (Singing)
Olan is one of the well-preserved types of folk song art in Uzbekistan. The beauty of them lies in the possibilities of improvisation, the simplicity of rhythms, and paying special attention to the text when performing. Aytys available to the brotherly Kazakh and Kyrgyz peoples has a connection with our Olan. Olans are executed without instrumenttal tracking. Olans are alternate singing and the exchange of lines between a guy and a girl. Replicas can also be exchanged between performer groups. Various topics are used, mainly love.
Uzbekistan -
Knucklebone shooting
There are over 120 different types of knucklebone games are played in Mongolia, and the “knucklebone shooting” is the most common spread one among the general public. The Knucklebone shooting is a traditional game that contains the traditional custom and culture in complex way. Shooting tablets are flicked towards 30 pieces of ''Khasaa'', a target laid on a zurkhai (wooden surface) in a given order depending on the current game, at a distance of 9 elbows (4.72meters). It is a team game that each team competes by shooting to knock down more of the khasaa than the other. During tournaments, shooters communicate not in words, but by singing ''Knucklebone Shooting'' melodies and tunes such as ''Hail you, friend',' ''Hit the target,'' ''Hail the board'' that sound more or less like ''Long Songs''.
Mongolia 2014 -
Kurash (Wrestling)
Kurash is a type of national fight traditional among Turkic peoples, which is officially included in the world network of non-Olympic sports and is supported by UNESCO. Kurash is the oldest type of martial arts, the roots of which are located on the territory of modern Uzbekistan. According to the latest scientific research, the age of Kurash is at least three and a half thousand years. Kurash is one of the most ancient types of martial arts known to humanity. Kurash is an Turkic word, in translation means - "achieving the goal in an honest way." In those ancient times, it was martial arts and public physical entertainment at traditional holidays, feasts and weddings. References to it can be found in many ancient literary sources.
Uzbekistan -
Archery
Archery is one of the Three Manly Sports and it has its ancient roots. The distance of the contemporary sport of archery is 45 feet or 75-80 meters. The shooting targets made by weaving leather strips into a tub-shape. There are two forms of shooting targets. One is a walled target, another is an individual target. The wall target is the arrangement of targets in a stack. The individual target is the arrangement of targets in row. The archers can use only blunted arrows. Then two shooting teams alternately shoot and test their skills. During the archery, archers say ‘Khurai, khurai, khurai’, the encouragement of archers to shoot. The winners are awarded with title of Mergen or ‘good marksman’ and an epithet.
Mongolia