Buklog is an elaborate thanksgiving ritual system of the Subanen, which has several attendant rituals. It is noted for its elevated structure with a highly flexible platform, which serves as a sacred and social space for rituals and the community dance. It is open for all members of the community, and those outside the community are also welcomed in most of its rituals. The Buklog has mythic origins and is mentioned in age-old epics. Until today, it performs both communal and integrative functions. The Subanen’s economic, social, political, cultural and ritual lives intertwine to constitute a single system, motivated by shared tenets of cultural survival —consulting the spirits, working with nature, and sharing with others. The Buklog is planned by the head of a host family, usually a village chief called ‘timuay,’ to appease and express gratitude to the spirits for many reasons such as a bountiful harvest, recovery from sickness or calamity, or acknowledgement of a new leader. The Subanen’s deep sense of spirituality is affirmed in the Buklog, where a representation of Dwata Magbabaya, the supreme god, as Apu Usog (the great ancestor), joins the community. The attendant rituals ensure harmony among members of a family, clan and the community, as well as among the human, natural, and spirit worlds. Harmony is requisite to the success of the Buklog, an indication of a socially cohesive community. The attendant rituals are the ‘sinulampong,’ which signifies the community’s readiness to hold the Buklog and to ask permission from the spirits to gather materials from the forest; the ‘sangat’, to maintain the balance in the spirit world through coin offerings; the ‘panmalwasan,’ where spirits of the departed are invited to the feast; and the ‘gampang’ and ‘gilet,’ to invoke spirits of the water and land. ‘Giloy,’ chants of praise; music; and dance are performed all throughout the ritual system, functioning not only for entertainment, but to embody the aesthetic aspects of Subanen life and to substantiate their spirituality. The community then starts the construction of an elevated wooden structure called the Buklog, where the system derives its name. At the center of the platform, a single pole called ‘petaw’ is installed to hit a hollowed-out log called ‘dulugan.’ While dancing on the flexible platform, the structure resonates with a sound believed to please the spirits and signify the culmination of the festivity. The ‘dulugan’ is the Buklog’s musical icon and serves as aural embodiment of Subanen’s cosmology. The final ritual of the Buklog, called ‘giti-an,’ is done on the platform, where the rules for the celebration are expressed and the spirits start to commune with the people. This is followed by a community dance called ‘gbat’, a moment marked by joy and excitement resulting from the renewal of spiritual and social relationships within the community. All community members, regardless of age, gender, social status, education, and level of mental and physical capability, are encouraged to join the rituals and festivity, which last for several days. Through the Buklog, the Subanen indigenous secret knowledge is respected, preserved and transmitted. The ritual system remains the most compelling cultural marker of the Subanen’s individual and collective identity and the strongest unifying force of the community.

Philippines 2019

The Saman dance is cultural heritage of the Gayo people traceable to the 13th century, developed later by Syeh Saman incorporating religious messages. Saman is performed by boys and young men, always in odd numbers, sitting on their heels or kneeling in tight rows. The players wear black costumes embroidered with colourful Gayo motifs, symbolizing nature and noble values. The trainer or leader, called penangkat sits in the middle of the line and leads singing of verses containing messages about tradition, development, religion, advice, sarcasm, humor and even romance. Players clap their hands, slap their chests, thighs and the ground, click their fingers, sway and twist their bodies and heads forward and backward, left and right, synchronizing with the rhythm, sometimes slow, sometimes fast and energetic, in unison or with alternate dancers making opposite moves. Saman movements symbolize nature, the environment, and daily lives of Gayo people. Villages invite each other for Saman competitions to build friendly relationships. Saman is performed to celebrate national and religious holidays, and is a game among village children, who learn it informally. The frequency of Saman performances and transmission are decreasing, despite community and government efforts. Therefore safeguarding is urgently needed. A Saman performance consists of 7 parts, called: Rengum, Salam, Dering, Uluni Lagu, Lagu, Anak ni Lagu, and Lagu Penutup (closing song). According to other sources, there are 9 parts: Keketar (introduction), Rengum, Salam, Gerakan Tari, Anak ni Lagu, Saur, Syair, Guncang and Penutup, or only 4 parts.

Indonesia 2011

Carpet weaving is one of the world's most traditional, conceptual, applied arts. Iranians enjoy a global reputation in carpet weaving and its skills; and carpets of Fars with nomadic and rural characteristics constitute a genuine example. Historically, carpet weaving in Fars province dates back to the seventh century(AH). Carpets of Fars are known as either «Qashqai» or «Khamseh Tribes» carpets. These are the nomads moving between Esfahan and Persian Gulf coasts. Among the tribes of Qashqais, the more prominent are Darre-Shuri, Kashkuli-ye Bozorg, Kashkoli-ye Kuchak, Shesh-Boluki, and Gharache. Due to the immigration requirements, the size of nomadic rugs is usually small; they are, however, beautiful. The stages of Carpet Weaving in Fars Province - Wool cutting The carpets usually utilize wool as the basic material. The men cut the wool of their sheep, skillfully, in spring or autumn. The quality of the wool on each of the eleven sections of the sheep body, and the related colors are different. - Frame(loom) Making The portable frame of nomadic carpets is rectangle in shape, with a metal or wood support; it is placed on the ground. The act of knitting is performed on it. The men construct the frame, too. - Weaving The women convert the wool into strings on spinning wheels or weaving machines. They, masterfully, take care to obtain the best qualities. The spinning wheel is a wooden tool that resembles a big spin; the wool is turned around it from the hand of the knitter, then weaved. The spindle wheel is a wooden structure with the wool being placed in its middle to turn into strings when the wheel turns. - Painting Colors are mainly natural; the main colors are laquer, painted blue, dark blue, brown and white. The plants from whichthe colors are extracted include Madder, Indigo, lettuce leaf, walnut skin, Jashyr, cherry stem and skin of pomegranate. The pigments, so called, Dandane, are elements which allow color stabilization and imprint on the fibers; the most important modants include Alum (Double Aluminum Sulfate), Green Vitriol (Cut Blue), Double Copper Sulfate, Black Vitriol (Double Iron Sulfate). - Knitting While knitting, the women tie the colored strings on the wool web to cover the frame and give shape to the carpet. Two types of ties are common: The ""Persian tie"", an assymetric tie, usually used in places where Persian Language is spoken, where it is referred to as, so called, Farsi-Baf (done in the Persian style), and the Turkish tie, a symmetric tie, in that the two webs are of the same size and the tie is made in the middle; this second tie is more popular in places where Turkish is in use, so the name Torki-Baf (done in the Turkish style). - Completion Completion refers to the activities done for final furnishing. These include sewing the sides (so called, Dowrduzi: Some products will be sewn on the sides to be used as bags, called ""khorjin's"" or ""chante's"" on the region); burning the extra wool to make the designs vivid and enhance the quality of the product (so called, Porzsuzi); double tied roots, and final cleaning. Nomadic Gilims Wraps of Fars are not painted with painted woofs; both sides of the product can be used. Limited materials have led these products to be more geometric in both texture and margin, mirroring the local culture of the community. The most important characteristic of Fars carpet weaving is the unique method of weaving without any maps. One weaver will not be able to weave two carpets of the same design, especially, if she does not enough time to consider the details. Fars carpets include the following types: Simple Gilim(one sided or two sided): A carpet made through passing the colored wool strings, called ""Pud's"" between the vertical strings, called ""Taar's"", without maps. Rug: A carpet with thinner ""Pud's"" and thicker ""Taar's"". The product is thicker in diameter, compared to Gilim's, and is one-sided. Ghaaliche: A rug of smaller dimensions (measuring to less than three square meters). Jaajim: A product of woolen ""Taar's"" and ""Pud's"", with simple and attractive designs, and a variety of usages, including those of carpets, beds, pillows, etc. Gilim-e Naghsh-barjaste(Goljajimi Gilim): A one sided gilom with its main motifs embossed. Somak (Rendy): A one-sided Gilim, out of which ""Ghali's"" (rugs) are believed to have been evolved. Shishe Derme: A Gilim with a simple pattern; it has no knots and naps, is two sided in a way that the mirror patterns of its face are weaved on its back side. Gabbe: A gross nomadic carpet, vastly verified, and done without any map. There are both colored Gabbe's, and Gabbe's of natural colors. So called, ""Shiri"" Gabbe's of Fars mark nomadic courage for the owner.

Iran 2010

Whistled language is the name given to a method of communication that uses whistles, a sound made with the help of the fingers, tongue, teeth, lips and cheeks, to simulate and articulate words. Whistled language is a variety of shrill sounds, which are created by forming the tongue into specific shapes in the mouth and using the vocal chords to articulate a wide range of phonemes. Based on a variety of syllables, the language is produced by combining different sounds or tones that emanate from the vocal chords. Words in any spoken language can be articulated using this whistling technique. The challenging and mountainous terrain, which create a tough environment in Turkey’s Eastern Black Sea Region, has resulted in cultural practices that are very different from other parts of the country. One of these practices, most of which relate to nature and the environment, is the whistled language. The steep mountains and rugged topography of the region have resulted in houses being built that are remote and inaccessible from one another, giving rise to the local population finding an alternative way to carry out daily communication through the use of high pitched, loud sounds, which are created by whistling across the large distances. How this obstacle to face to face communication has been resolved is a strong indicator of human creativity. Whistled language, which can also be seen in various other regions of the world, is an environmentally friendly form of communication that not only makes life easier and more harmonious but also reinforces social bonds for the people living in the region. Whistled language has a melodious and rhythmic pattern that is formed by combining many distinctive sounds that are established by consensus. With these patterns of sound, it can be possible to simulate, morphemes used in daily life, such as “Okay”, “come” and “go”; to exchange short dialogues for warning and SOS or calling for help, such as “There is a forest fire!” and “Would you like to join us tomorrow to harvest hazelnuts?”. Although the determining factor in the use of this language is the emulation and recognition of fixed phrases expressed using the whistled language technique, new words and phrases that are entering the modern lexicon can also be incorporated. In other words, the cultural life of the element is constantly being renewed with the introduction of up to date expressions. Given the possible negative impact of modern technology on the natural environment and aspects of human health, one can see that not only is this element environmentally friendly, it also appears to contribute to environmental sustainability. The bearers of this linguistic legacy are now trying to broaden its use in their region by focusing on the element’s environmentally friendly characteristics. The whistled language is used as a cultural means of expression by all segments of society, with no distinction in terms of age, gender, young and old. The practitioners of the element are mainly agricultural communities who spend most of their lives outdoors. In addition, governorates, district authorities, municipalities, universities, and mukhtars (village representative) all play an active role in safeguarding the whistled language with administrative and financial contributions, while the Community Education Center in the Çanakçı District contributes with educational programs and the Bird Language Sustenance Culture and Tourism Association contributes with projects and various social events and activities. Used to meet daily communication needs with its melodious and rhythmic pattern, whistled language is therefore not only a functional indicator of human creativity, it also has an aesthetic quality. Whistled language is an apparent part of the users’ cultural identities and the concerned communities consider that the reflection of their cultural identity is one of the reinforcing elements of interpersonal communication and social solidarity. In this context, naming the village that has been sustaining this cultural indicator, as “Kuşköy” (meaning: bird village), shows that they perceive it as an element of their cultural identity. Moreover, in Kuşköy Village, the whistled language is also called as “bird language”. These days, with the increasing use of mass media, interpersonal communication is weakening and social divides are deepening. Particularly during a time such as this, whistled language, as a natural communication tool, supports not only mutual understanding, respect and solidarity, but also the environment, in terms of sustainable development.

Turkey 2017

Traditional Turkish Archery is an intangible cultural heritage element, consisting of its principles, rituals and social practices, craftsmanship of traditional equipment, archery disciplines and shooting techniques evolved over centuries, which has been shaped around a sportive activity. In traditional Turkish archery, there are different types of disciplines practiced on foot and on horseback. The archery on foot discipline includes “Menzil” (Long-Distance), “Darp” (Pounding) and “Puta” (Target) shootings. Horseback archery discipline includes “Kıgaç”, “Kabak” and “Tabla” shootings. Bearers and practitioners of the element train individually or collectively to improve their archery skills, carry out individual shootings, and take part in competitions and festive events. Archers learn from masters the traditional shooting techniques and skills which allow them to perform either foot or horseback shootings. In all stages of practice, archers strictly act in accordance with the certain principles, rules and rituals related to the element. Craftsmanship of traditional archery equipment is also important component of the element. These equipments are made by craftspeople who have the skills and knowledge of materials as well as patience and mastery. Making the equipment requires raw materials such as trees grown under certain climatic conditions at high altitudes, organic glues, horns, tendons, silk and leather, and so craftspeople should have an advanced knowledge of nature, including plants, animals and climate. Archery equipment is generally decorated with calligraphy, ornaments and marquetry.

Turkey 2019

Knowledge and practices related to year seasons are the result of centuries-old observations of nature applied to the life. For many centuries and millennia, people carefully collected folk signs about nature. Every trifle, every natural phenomenon not even significant at first glance, could one day become a reliable harbinger of an important event in human life. Taking into account the relationship between certain natural phenomena, a person remembered them in the form of short acceptances, which over time were transmitted from father to son, from grandfather to grandson. Many of these will not lose their relevance to this day, and some have long passed into the category of superstition.

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

Noken is a knotted net bag or woven bag made from wood fibre or leaves, sometimes coloured and decorated. Noken is a traditional handcraft of all communities of Papua and West Papua Provinces, Indonesia. The day-to-day function of large size noken is for carrying plantation produce, catch from the sea or lake, wood, babies, small animals, shopping, etc., and for hanging at home to store things. Small size noken is for carrying personal effects such as betel nut, food, books, etc. Noken may be used to cover the head or body. For nearly all (275/311) respondents, noken is an accessory to their traditional dress, and according to most (290/311) is used in traditional ceremonies or celebrations, such as marriage proposals, marriage ceremonies, initiation of children, appointment of community leaders, welcoming guests and for keeping sacred heirlooms.. Among mountain communities, noken had been given along with other presentations to make peace between disputing parties. Drs. H. Rahimin Katjong, Deputy Governor of West Papua, recalled wearing a small noken containing betel nut etc at the time of his appointment as a traditional community leader at Fak Fak, West Papua. Nearly all (276/311) respondents explained that noken is used by all age groups, and most (282/311) observed that noken is used by both sexes. As soon as babies learn to walk, their mothers give them a small noken containing food such as sweet potatoes, thus instilling the habit of carrying one’s own needs, which may also be used to help others, inside a noken which is always close at hand. Three quarters of respondents (235/311) said that noken is generally made by women-- ”the Mamas of Papua”--usually adults according to most respondents (250/311). Women thus play a special role in safeguarding noken culture. At Epouto village in Paniai District, we found male orchid-noken craftsmen. Asmat community men also make noken. Most craftspersons make noken in their spare time from agriculture, fishing, and household duties, though some make noken full time. Noken making goes on yearround, but will increase in times leading up to traditional festivals. The method of making noken varies between communities. A basic outline is as follows. Branches or stems or bark of certain small trees or shrubs are cut, sometimes heated over a fire, and soaked in water for some days. After soaking, only wood fibre remains. The Dani/Hugula in Wamena peel bark from sticks of certain trees and then beat the sticks till only fibres remain. The wood fibre is dried, and then spun with the palm of the hand on the thigh of the craftsperson to make a strong thread or string, which is sometimes coloured using natural dyes. This string is knotted by hand to make net bags with various patterns and sizes. The same technique is used to make vests, hats, belts, etc.. In Paniai District we find noken interwoven with special decoration made from fibres from yellow, brown and black. orchid stems. Besides knotting, there are communities which make noken by weaving tree bark, wood fibre, pandan leaf, young sago leaf, or grass from swamps. Some select grasses with contrasting colours (Inanwatan, Metemani, Kais and Kokoda (Imeko) communities). Maybrat community craftspersons colour the fibres with natural colours. The fibres, leaves or grass are woven in various attractive patterns with symbolic meanings. To make noken requires great manual skill, care, artistic sense and inner satisfaction. Craftspersons often make noken while singing traditional songs of Papua. To become proficient in making noken takes up to several months of informal training. A skilled noken craftsperson will be much appreciated within her (or his) community. The diversity of making, wearing and use of noken continues to develop and be recreated as the response of the people of Papua to nature and their environment.

Indonesia 2012

Naqqoshlik is drawing an ornament - a pattern built on rhythmic alternation and a combination of geometric or graphic elements, performed by means of painting, drawing, sculpture or embroidery. Uzbek national patterns have their own names, going back in history. Traditional Uzbek ornament is found in decorative art embroideries, in wood carvings, in paintings on clay and ceramics, on Uzbek fabrics, on buildings. At the heart of the ornament is a picture of simple things. For example, knives are designed to protect, a flowering garden is a symbol of fertility and agriculture. Each flower carries information: a scarlet poppy - the image of an innocent girl, a tulip - a symbol of purity, a rose - peace and beauty, wildflowers - a young man. Often, a different meaning was embedded in the image of flowers. For example, they believed that they carried healing power and health. The ornament creates a vector image in which a magical meaning is laid, reflecting the course of human life. This is an oriental vector style with geometric patterns. Geometric patterns have abstract forms: - zigzag lines - circles - polyhedra - stars - ornamental motifs - meander - human figures - stylized inscriptions. Ethnic patterns are folklore images, folk motifs in which a creative union of religion and culture is concluded. They carry a semantic and ritual load.

Dancing art of Uzbekistan, which unites the traditions of oral folk creativity, songs and dances, has a rich history. This is testified by numerous archaeological findings, artifacts, wall paintings (in the palaces), ossuaries and works of miniature art of the Middle Ages which came down to us from the ancient past. Throughout history various dance styles emerged. From among them it is possible to mention "Katta oyin" (Big dance), which is a multi-part suite that includes the cycle of rhythmical usuls as well as complexes of certain dance movements associated with them, "khona bazm oyin" (indoor dances), "duchava" (dance with two sticks), "dance with teabowls" (dance with a bowl for drinking tea) , "dance with spoons", "dance with daggers", "dance on chest", "teapot dance", "kema oyin" (dance on a boat), "zangbozi", "naghora oyin", "shodi", "zamin bozi", "larzon", "lazgi", "bukhorcha", "tanovar", "Farghona ruboyisi", "Andijon polkasi", etc. From the past dances were divided into those performed by men and women. Even though there are different styles and genres, various performance manners, it is still possible to see some common features, which make up Uzbek dance to look very impressive.

Mongolian traditional contortion is a form of acrobatic dance involving dramatic bending and flexing of the human body. This art, practiced mostly by girls and women, aims to display the beauty and flexibility of the human body through breath-taking bending, folding and flexing techniques that incorporate elements of Mongolian dance and Buddhist fine arts. The Mongolian traditional contortion is one of the phenomena that greatly contributed to the art of world circus. T.Tsend-Ayush, D.Majigsüren and B.Norovsambuu are the main contributors to the history of the development of contortion.

In Khorasan of today a special music known as the music of “Bakhshis” is widespread. It is played by a master-musician playing Dotār (the regional long-lute type instrument with two strings). The music constitutes the local music of the region, played as solo, and accompanied by improvisations. Bakhshis sing epic and Sufic poems, containing mythological and historical themes. Presently, they perform in various gatherings of the locals, both cheerful and mourning; in the past other types of celebrations were attended by them, too. They perform their Maghams in Turkish, Kurdish, Turcoman and Persian. The contents the music of Bakhshis consists of legends, and historical and ethnic narrations containing epic, religious and romantic themes, performed as singing, ordinary speech, and citation in a repetitious manner. The events of the story are cited; and the poems are sung. Accordingly, the music of Bakhshis can be considered as a combination of music (vocal and instrumental) and verbal dramatic arts. DEFINITIONS: “BAKHSHI” In Persian, the word “Bakhshi” derives from the gerund “Bakhshish” meaning “granting”, conveying the impression that the Bakhshi is an exception in character, whom God has granted a gift. Accordingly, “Bakhshis should be able to sing, play, versify, narrate and make their own musical instruments.” MAGHAM: Bakhshis play regional Maghams, and their music is known as Maghami. Magham consists of pieces of instrumental and/or vocal music, influenced by the regional locals’ culture and beliefs. “Magham” is a popular word in other regions of Iran and some neighboring countries. However, the content and performances define Bakhshis music as especial in identity, while enjoying shared roots with the traditional music of the region, and the Repertory of Iranian Traditional Music, as well. TYPES OF MAGHAMS: The common Maghams of Bakhshis Music are as follows: Navāyī Navāyī is the most widespread Magham of the music of Bakhshis. It is diverse, vocal, rhythmless, accompanied by Sufic poems. The performer shall not be known a Bakhshi, unless he is competent in playing Navāyī. Modulations are observed in variations of Navāyī. Tajnīs A Turkish Magham, Tajnīs enjoys many intricacies which mark competent Bakhshis once performed. Tajnīs is vocal and rhythmless, accompanied by Sufic poems. In comparison with Navāyī, Tajnīs is poorer in its varieties Modulation in variations of Tajnīs are also popular. Gerāyelī/Gerye-ye Leylī (Leyli’s cry) Gerāyelī is a sorrowful Turkish magham, with poems narrating breakaways. The chanson enjoys rhythmic and rhythmless parts. Shākhatāyī A Turkish vocal and rhythmic magham, with sorrow in the vocal section, and cheer in the rhythmic one. Shākhatāyī embraces many varieties; and its long poems present religious themes. Loy Loy is an antique magham, belonging, specifically, to Kormanj Kurds of Northern Khorasan. It is a vocal and instrumental magham, with romantic and describing content. THEMES: The following provide Bakhshis Music with its common themes: (EPIC): “Kūroghlī”: An epical-historical story, narrating the gallantries of a hero named Kūroghlī in his battles against the rulers of his time; (HISTORICAL): “Shah Esmail”, narrating the gallantries of Imam Ali, the first among the Imams, utilizing the life story of Shah Esmail, founder of the Safavid Dynasty; (RELIGIOUS): “Ebrahim Adham”, the religious-Sufic life story of the Sufist, Ebrahim Adham; (ROMANTIC): “Leyli & Majnoun”, the love-story of Majnoun, and his beloved, Leyli. DOTĀR The only musical istrument accompanying the music of Bakhshis Dotār: a long-lute with two strings. (“Dotār”, in Persian, means an instrument with two strings). Traditionally, the strings were made of silk; and Bakhshis used to determine the desired thicknesses. Since around forty years ago, however, metal strings of desired diameters started to be employed instead. Bakhshis consider one string as male, and the other female. The male string remains open, while the female one is being used to play the main melody. The harmony provides the music with its unique character. The five fingers play the role of the plectrum. The bowl is pear-shaped, and is made of berry wood, as a unibody. The tall and slim handle/neck is made of stronger apricot wood. Bakhshis Dotār's hold 12 to 14 frets. Nowadays nylon has been substituted for the traditional sheep intestine as the material. PLAYING SKILLS: Khorasani Dotārs are played in different pitches. The major factors responsible for the variations include the diverse musical habits of the inhabitant ethnicities, and the verifiec “maghams” on the region. The two main pitches are, however, the, so called, Turkish and Kurdish pitches. Through the former, Navāyī, Tajnīs, Gerāyelī, and Shākhatāyī, among others, are performed, and, through the latter, Loy, Allāh-Mazār, Jafargholī, and the like.

Iran 2010