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

Production of folk musical instruments in Uzbekistan and traditions of performance. The history of traditional folk musical instruments of Uzbekistan is incredibly rich and diverse. Rubab is a string bow instrument. It has a wooden convex body (round or oval in shape), a leather deck, 4-6 intestinal, silk or metal strings, usually tuned in quarts, and resonating strings. The most common rubabs are 800-1000 mm long. Sound is extracted usually by plectrum. The Uzbek orchestra of folk instruments includes 3 varieties of rubabs: prima, viola, tenor. Varieties of rubab are found in various peoples of the East: Afghan, Dulan, Kashgar, Pamir and other rubabs. It is also known that the rubab is played in North Africa and in the southern provinces of Spain. It was borrowed to Europe in the XII century under the name of Rebra. In Turkey, there is a three-string rubab. Among the Persians it is called "Rabet Barbitus".

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.

Lapar is a song about eternal and female. This is a song about waiting for love, about the feeling that came, about the love of the deceived, about the upheavals of female fate and such desired happiness. Lapar is sad and fun, he happens to be built as a song-thought, or maybe sound like ardent plot pieces. Of particular interest is the lapar, which is performed in a roll call dialogue between a man and a woman. Then lapar turns into an amazing musical performance, into an ardent and crafty game.

A cattle breeding is one of the ancient activities dealt by Uzbeks. It is the dominant animal husbandry industry specializing in breeding cattle for milk, beef, leather raw materials, as well as as a traction force. Even the holy book of Zoroastrianism, “Avesta”, calls upon careful attitude towards cattle, in particular, in relation to horses, bovine animals, sheep and goats. A cattle breeding was one of the main activities in mountainous, submontane and steppe areas of Uzbekistan. The essence of traditions, knowledge and skills related to cattle breeding and goals pursued by them, were always the same - they were aimed at breeding animals, protecting them from various diseases, predators and thieves, preventing their loss, etc.

Thai society in its way of life as well as in the commodities of its trade has been an agricultural one since in the ancient times. As a consequence of centuries of practice, farmers and orchardists have developed localized forms of wisdom and know-how on the cultivation of a variety of crops. A crucial element of this know-how lies in the mastery of irrigation methods used to maximize the productivity of the fields and orchards. The management of the water supplied by the Chaophraya river and the strong seasonal rainfalls was crucial to convert the plentiful sunlight provided by the tropical climate into rich harvests. Among the techniques that the farmers and orchardists developed, the most important way in which the flow of the Chaophraya’s nutrient-rich water to the fields was regulated was by the digging of irrigation ditches. The traditional ditch that was used most widely had its origin in southern China, from where significant numbers of Chinese immigrated to Siam during the Ayutthaya period. This technique can be used both as a way to prepare soil for cultivation and to sustainably regulate water supply to the plants. In the particular case of Bangkok, with its proximity to the sea, it is also a water management process through which the gardener can maintain the balance between fresh water, salt water and brackish water. The gardener will work to regulate the proportions of these three sources of water within their garden by purposefully designing the ditch channels without harming their crops. The wisdom behind the raised garden with a ditch and dike system consists of many small connecting canals dug by the farmers within the turf soil to fertilize the trees. The trees are planted in an elevated plot to prevent flooding during the rainy season. This knowledge of making high-ridge agricultural plots where the soil is dug in lanes is called “Oak Rong” and “Thong Rong”. Besides, the gardens’ water systems were connected to rivers and streams of the public water system.

It is a combined genre consisting of a dutar making craftsmanship with creative abilities including a composing of music and performing of dutar’s music sat down accompanying by singing. A dutar is a two-stringed, long necked lute consisting of a pear-shaped resonator (body) covered by thin wooden sounding board. The turkmen dutar’s resonator and soundboard are made from mulberry wood prepared from dried bole of the tree no less than 50 years old and the neck of apricot wood. Most melody’ notes are played on the upper of the dutar’s two strings with the four fingers of the left hand. The dutar is an inseparable part of culture of the turkmen people where it is found in all of the main genres of turkmen music and singing. Performers of the turkmen dutar‘s music and singers are divided into 2 groups. A dutar player named as a dutarchy is performing only dutar’s music. A bagshy is a peformer of dutar’s music accompanying by singing of the different genres of poetry which also subdivided into 3 types according to their performing styles and repertiores. A yanamachy bagshy is only a singer accompanied by music performed by dutarchy. A tirmechi bagshy is a performer of different genres of the turkmen music accompanying by singing. A dessanchy bagshy is an epic perfomer incorporating narrating, singing, vocal improvisation which in its performances a prose and poetry are alternated.

Turkmenistan 2021

Yig-par koni is an adverb that means engraving of scripts which is the art of Xylography, one of the indigenous craftsmanship art of Bhutan. Script engraving is done using special wood locally called Tag-pa shing (Birch: Betula utilis) that flourishes at altitudes varying from 3000 to 4200 meters above sea level. Tag-pa shing can be easily identified by its bark that has a mix red and pink and brown colours alternatively across the trunk like that of a tiger’s skin thus got its name. The art is considered as one of the religious craftsmanship since its significance, production and usage are all connected to spiritualistic believes and purpose. In Bhutan, the presence of skills for making woodblock prints are seen in temples, monasteries and Dzongs (fortress) every part of the country in the form of biographies, excellent teachings of the Buddha printed from woodblocks. The earliest biography is that of Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521), as prophesied by Guru Padmasambava, the epitome of the Secret Teachings of Tantric Buddhism. Terton Pema Lingpa was the last reincarnate of Princess Pema Sal (?), daughter of King Thrisong Deutsan of Tibet. Owing to the propensity of his previous lives, the Terton knew craft works without training, and dedicating his skills to ensure the continuity of the Buddha’s teachings, had made uncountable number woodblocks, available in the monasteries established by the Terton himself and by his sons as well as in the house of a number of his patrons that can be seen even today. Moreover, Thugse Dawa Gyaltshan (1499-1586), the son of Pema Lingpa, had also engraved as many as 614 woodblocks for the collected works and autobiography in memory of his father which is still preserved at the sacred place of Kunzang Drag, Bumthang Dzongkhag (district). After Terton Pema Lingpa and his heart son Thugse Dawa Gyaltshen had started the tradition of woodblock print, Choje Ngagwang Tenzin (1522-1590), the reincarnate of Gartoen who was the son of Phajo Drugom Zhigpo, engraved the biography of Phajo Drugom in about 1570 (C.E). Then, in the 17th century Zhabdrung Ngawang Namgyal, having satisfactorily completed all the activities related to the dual system and before he went into the final retreat (i.e. parinirvana), initiated a project to engrave the collected works of the omniscient Pema Karpo (1527-1592) and all the essential ones and its prints are distributed them to all the monasteries and sangha communities as dharma donations. He created of the seat of Je Khenpo as the overall head of sangha monasteries and ecclesiastical affairs and that of Desi, who functioned as the secular head of the country. He had also appointed officials to fit these high-ranking positions. The successive Je Khenpo and Desis ensured the practice, manage and spread of the teachings and the good system of administration, by engraving unlimited number of woodblocks prints in their respective areas which can be seen still today in all the historical monuments. However, due to the advancement of printing technologies, the National Library & Archives of Bhutan is the only institution that is upholding the xylography art in the country while the practice is turned its form to an oral account.

Mudiyettu is a ritualistic art form of Kerala based on the mythological tale of battle between the goddess Kali and the demon Darika. It is a community ritual in which the entire village participates. After the summer crops have been harvested, the villagers reach the temple early in the morning on an appointed day. The traditional performers of Mudiyettu having purified themselves through fasting and prayers, proceed to draw on the temple floor a huge image of goddess Kali called 'Kalam' with coloured powder obtained from organic material. Kalam helps the performers imbue the spirit of the goddess. This is followed by an enactment of Kali-Darika myth, where Kali eventually vanquishes the demon. Mudiyettu performance which is said to herald the dawn of peaceful and prosperous new year, purifies and rejuvenates the whole community. It is performed annually in 'Bhagavati Kavus'', the temples of the goddess in different villages of Kerala along the rivers, Chalakkudy Puzha, Periyar and Moovattupuzha among thenMarar and Kurup communities. Mudiyettu combines in itself the mythic, the ritual, the festive and the ecological aspects of the community. At the same time it is an expression of aesthetic and creative aspirations of the community.

India 2010

The element consists of the traditional craftsmanship of a community called Thatheras of Jandiala Guru, Punjab, India. The Thatheras craft utensils are of both utilitarian and ritualistic value made of copper, brass and kansa (an alloy of copper, zinc and tin). The metals used are recommended by the ancient Indian school of medicine, Ayurveda. In Ayurvedic texts, copper is regarded as an ideal metal for making cooking utensils and possessing medicinal properties. On the other hand, kansa is the prescribed metal for retaining the nutritive values of food. The settlement of the craftspeople in Jandiala Guru is laid out along a series of narrow lanes, lined on both sides by small home-cum-worksheds with families living and working on their hereditary profession. Both male and female members participate in the processing and creation of the artefacts. The process begins with procuring cooled cakes of metal which are flattened into thin plates, and are then hammered into curved shapes, creating the required pots, urns, plates and bowls and other artefacts. Heating the plates while hammering and curving them into different shapes requires careful temperature control, which is done by using tiny wood-fired stoves (aided by hand-held bellows) buried in the earth. The utensils are manually finished by polishing with acid, sand and tamarind juice. Designs are carved by skilfully hammering a series of tiny dents on the surface of the heated metal. Using basic tools that are handmade, the craftspeople create ritualistic, ceremonial and utilitarian vessels for both individual and community use.

India 2014

The carpets woven in the city of Kashan can be defined as follows. Spreadable hand-woven materials consisting of a basic structure of strings made of cotton or silk interwoven in millimeter scales known as warp (Tar or Toon) on an erected framework known as ‘Dar’, while by means of wool or silk strings, and based on a colored design, appropriate knotting in harmony with the delicacy of the carpet are created on the surface. In the weaving style of Kashan, after each row of knots, cotton strings are extended two times from within the warps in horizontal direction known as ‘woofs’. Woofs are divided in two categories in terms of thickness: thick woof or under-woof is almost of the same thickness of warps, while thin woof or top-woof is as thick as reel strings. These woofs are pressed on woven knots by means of combs and make the carpet more strong and delicate. This style, known as Farsi weaving has a background of four hundred years in Kashan which is the pioneer of this style. The skills and elements involved in the process of production of these hand-woven carpets can be divided in certain categories: Carpeting Tools: 1- Weaving frame: is a wooden or metal framework consisting of two vertical columns and two horizontal beams. In addition, certain wooden accessories are used to reinforce the frame (wedges), while in metal frames, knots and jacks are also used. In order to control and move the strings in the course of weaving, two thin layers of woods are used. 2- Comb: is used for pressing the woofs after each row of weaving to make the carpet stronger and more delicate. 3- Stick: it is a metal belt with the width of 2 centimeters and length of 60 centimeters used to lead the woofs from among the warps. 4- Scissors: for cutting the tips of the woven strings after a number of rows as well as for leveling the surface of the carpet. 5- Bench: as a seat for the weaver, made of wood or metal. Carpeting Materials: 1- Warp: prepared multi-layered cotton or silk strings in proportion to delicacy of the carpet and required by the design will establish the basic structure of the carpet. In Kashan style, the warps are drawn on the ground and mantles on the frame. 2- Khameh: woolen two-layered colored strings in various sizes for knotting to warps in 90 degrees angle which serve as the thickness of carpet in appropriate sizes. 3- Woofs: cotton strings in two thicknesses: thick woofs equal in thickness with the warps, and thin woofs as thick as ordinary reel strings which are led through the warps after each row of weaving and is pressed with comb which strengthens the carpet. In full-silk carpets, silk woofs are applied. Design: in order to prepare the design of the carpet, which is the most artistic activity involved in carpeting, certain rules are followed, the most significant of which can be summarized as follows: A) Drawing is the general form and the first impression of the carpet which makes the basic design of the carpet in the first glance. The procedure that is followed in Kashan is as follows: 1- Lachak-Toranj design: is this design limited by a background cadre and consists of a central oval shape known as Toranj and rectangular surrounding shapes known as Lachak. Each Toranj has four surrounding Lachaks. Sometimes, the Toranj is in circular form, known as Shemeh. Lachaks are normally in harmony with Toranj. 2- Toranjafshan Design: the design consists merely of a Toranj in the middle covered with symmetrical flower and leaf designs, without Lachak. If the surface is without flowers and leaves and other forms, the design is known as simple Lachak-Toranj. 3- Lachakafshan: There is no Toranj in the design, only four Lachaks around. The remaining portion of the design is covered with flowers, leaves, and other symmetrical shapes. 4- Mehrabi Design: The surface is normally without Toranj. Only to Lachaks are located on the top corner, with ornamental religious designs. The surface is simple with an urn or columns around. 5- Overall design: a basic design theme is repeated all over the surface. Single forms such as Botteh-Jegheh, scattered bouquets, frames, flowers, etc are repeated over the surface. 6- Koomeh Design: short scattered trees together with birds and animals. B) Design is the combination of drawings, paintings, flowers, leaves, branches, animals and other forms which enliven the basic drawings by applying colors, each with its respective artistic identity inspired by nature, buildings, historical events, movements of living animals, and background mentalities of the designer and painter. Dyeing: Colors and dyeing materials: natural colors are more popular in Kashan, such as Ronas, walnut skin, pomegranate skin, vine leaves, etc. except for Ronas, other materials are among the waste natural materials. The masters of dyeing create very stable and beautiful color mixtures by using various types of natural pigments. Farsi weaving style also known as asymmetrical knotting is applied with exemplary delicacy in Kashan so that the back side of the carpet is made with equal longitudinal and latitudinal knots.

Iran 2010