ALL
gender
ICH Elements 55
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Kushtdepdi rite of singing and dancing
Kushtdepdi rite of singing and dancing is a performing art combining the genres of creative poetizing focused on good feelings and wishes, its singing with vocal improvisation and dancing with movements of hands, gestures and footsteps in accordance with the tune of the song. The element serves as a tool and a medium for conveying good wishes for happiness, mutual respect, solidarity, social cohesion to the wide public and youth. The element is considered as an inseparable part of child birth ceremonies, wedding ceremonies and national celebrations. Its introductory part starts with singing poetic words of best wishes for well-being, happiness and sermon for the youth to keep close ties with elders that is performed by a seated group of respected women dressed in traditional costumes. Its next stage continues with inviting performers to start the rite and then the performance is led by singing of a couple of poetry singers (traditionally a woman and a man) with dances to the accompaniment of songs in a semi-closed or closed circles. Dancing movements start with three steps on right foot and then simultaneously tramping and clapping which are intended to drive maleficence and misfortune away from the future life. The element is performed at the end of events concluding in a positive note as a prayer to the nature for fertility, procreation, solidarity and peace.
Turkmenistan 2017 -
Oshi Palav, a traditional meal and its social and cultural contexts in Tajikistan
Oshi Palav (pilaf) is a kind of traditional meal of the Tajik people, which is prepared regularly at homes and in celebrations, rituals, gatherings. In dining rooms, national restaurants and tea-houses the Oshi Palav is everyday favourite meal of Tajik people. The Oshi Palav is prepared from carrot, rice, meat (beef, lamb, chicken), oil, onion and water in a big pot. For better flavor, cooks add some peas, saffron, garlic, caraway seeds, pepper and barberry. During the centuries Tajik people created different kinds of this meal, like "Oshi yak ba yak", "Palavi toki", "Oshi devzira", "Bedonapalav" and etc. up to 200 kinds of the element. In traditional Tajik culture there are many customs, rituals, celebrations and social gatherings dedicated specially to the element in which participate a big number of people, for example, the rituals "maslihat-oshi" (osh for advices), "sabzirezakunon" (cutting carrot rite), "oshi nahor" (morning osh), "oshi zanho" (osh for women), "oshi harifona" (osh of friends), "oshi gapkhuri" (osh with talking) and etc. The Oshi Palav in such gatherings and rituals brings people together and has the character of social integration and unity. People of Tajikistan recognize the Oshi Palav as a part of their traditional cultural heritage and call that as "King of meals". There are many stories, legends, folksongs, proverbs and other folklore texts regarding the element, which show the importance of the element among people. Also the element created many kinds of folk dance with plate, imitating the Oshi Palav cooking, which are played by folklore dance groups.
Tajikistan 2016 -
Traditional skills of crafting and playing Dotār
The element is recognized as one of the main elements of cultural and social identity for the regions in which it is crafted and played. The bearers and practitioners are mostly farmers including men as crafters and players and women as players, and recently a number of them are young researchers of both genders. Its traditional knowledge of crafting and playing is informally transmitted through generations by the master-student method. This element is seen in local, oral and written literature (including local poems, proverbs, chants and lullabies) which constitute a part of nature, history, and background of the bearers. As this element is shared by a number of communities, groups and individuals, it brings mutual respect and understanding amongst the communities concerned. Dotār is a folkloric plucked-string musical instrument that has been played in social and cultural events/spaces such as weddings, parties, celebrations, ritual ceremonies etc. Dotār has a bowl which is pear-shaped and made of dried wood of dead mulberry tree and its neck is made of apricot or walnut wood. It has two strings traditionally made of silk which been replaced with metal wires nowadays. Some believe that one string is male and functions as accord and the other is female which plays the main melody. The crafters also repect nature as they use dead and dried wood for making Dotār. It is not in opposition toward the national and international instruments like Universal Human Rights Declaration, sustainable development , etc.
Iran 2019 -
Raiho-shin, ritual visits of deities in masks and costumes
Raiho-shin rituals take place annually in various regions of Japan on days that mark the year’s beginning or days when seasons change. Such rituals stem from folk beliefs that deities from the outer world—Raiho-shin—visit communities and usher in the new year or new season with happiness and good luck. Local people dressed as deities in outlandish costumes and frightening masks visit houses, admonishing the lazy and teaching children to behave well. The head of the household treats the deities to a special meal to conclude the visit. In some communities, the rituals are held in the streets. Because the rituals have developed in regions with different social and historical contexts, they are diverse in form. For example, Suneka of Yoshihama have abalone shells dangling from their hips, whereas Kasedori of Mishima wear bamboo hats. The various appearances reflect different regional characteristics. The people who play a role as Raiho-shin also vary regionally. In some communities, men of a certain age become Raiho-shin, and in others, women play such roles. By performing the rituals, local people—notably children—have their identities molded; they develop a sense of affiliation to the community and strengthen ties among themselves. In accordance with their ancestors’ teachings, community members share responsibilities and cooperate in preparing and performing the rituals. Some prepare masks and costumes, some play a role as Raiho-shin, and others welcome Raiho-shin into their houses. Only when this ritual is over can community members look forward to a year free from misfortune.
Japan 2018 -
Ging Tshogling Cham: Wrathful War Dance
One of the most entertaining mask dances is the Ging Tsholing Cham, where most of the audience, especially the children, are captivated by the intensifying drum beats and the fighting scene of the Cham ritual dance. The mask dance is also called Tro-ging, a local name, because it provides an entertaining presentation and performance for the audience. Ging represents the wrathful appearance of celestial beings, daka and dakinis; those dances are performed by laymen called Boecham pa. Whereas Tshogling is the emanation of guardian deities of Dharma protectors, including the Four Kings of the cardinal points and the Eight Classes of Gods and Goddesses; these roles are usually performed by Tsun cham pa monks. According to literary sources, the mask dance was introduced by Terton, treasure revealer, Pema Lingpa (1450-1521) after he saw the performance at Zangdok Pelri, the copper-colored mountain and spiritual realm of Guru Padmasambhava. Pema Lingpa, who was one of the fortunate incarnate beings of Guru Padmasambhava, met his enlightened master several times: when he predicted the future, when he gave him the list of treasures to be discovered in disguise, when he guided him to the sites to be discovered, and as he often invited him into his realm during meditation states and in dreams. On one such occasion, in the magnificent palace of Rang-jung Trulpai Phodrang, self-formed palace, he saw the Root Master manifesting in Ja-lue rainbow body or wisdom body, from which millions of his forms emerged, filling the three realms of the universe, which is beyond our imagination. Among the magical representations, the enlightened sages of India and Tibet sit in the right row and the scholars sit in the left row. In between them sit the 108 treasure discoverers, who are incarnations of Guru Padmasambhava and his 25 chief disciples. A cloud of gods and goddesses transformed into one hundred Dampa Rigja Protective Deities– forty-two peaceful forms, and fifty-eight in Ging wrathful appearance–they made various sensuous offerings, including the performance of Dorji-lugar Vajra Dances, dancing upon the air, rejoicing in the participation in the preaching of the coinage doctrine. Outside the entrance gate of the Four Directions are thousands of warriors from the Pho-jued and Mo-jued male and female classes of protecting deities, the Eight Classes of Gods and Goddesses, led by the kings of the Four Directions Tshoglings, who are getting ready to overcome obstacles to the sacred teachings. In the war scene between the Gings and the Tshoglings, the aggressive characters of the Tshoglings, and the drum beats of the Gings arouse a sense of fear in the obstacles and samaya oath breakers, guiding them to follow the righteous path of humanity. A similar performance was originally introduced by Guru Padmasambhava to aid Tibet’s King Thrisong Detsen (c. 755-797 or 804 AD). Padmasambhava used his supernatural powers at the great Samye Monastery in Tibet, he manifested in the form of Ging and Tshogling, producing an immense positive force to fight and subdue the evil spirits that hindered the construction of the monastery. With the obstacles overcome, the site became an important part of establishing the teachings of the Buddha in the region. After seeing the spectacular performance and realizing its benefits for the liberation of sentient beings, Pema Lingpa introduced the sacred mask dance to Jigten me-yul the human world, first at Korphu Temple, one of his seats in Trongsa, central Bhutan. There is still a saying that goes, "If you are not sure about the choreographies of Ging Tsholing or Tro-ging, you should visit Korphu Drub." Korphu Drub is the annual mask dance festival that coincides with the temple's dedication ceremony. Due to the importance of the dance, this mask dance was later introduced in most Tshechu, Rabney, Mewang, Mani, Drub, Drubchen (native names for the annual mask dance festival) of forts, monasteries and temples by Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive spiritual leaders of the Je Khenpo as well as the temporary leaders of the Druk Desi - these spiritual masters and far-sighted monarchs.
Bhutan -
Mesir Macunu festival
Mesir Macunu (paste) Festival has been annually celebrated for 472 years during March 21st-24th of each year. The roots of Festival go back to a historical anecdote about the mesir macunu, Hafsa Sultan, mother of the Ottoman Ruler Suleiman the Magnificent contracts an incurable disease. In an effort to find a cure for this disease, Merkez Efendi, the Chief Physician of the Madrasah of Sultan Mosque concocts a special experimental recipe of a paste with 41 different herbs and spices. This special paste to be thenceforth known as the mesir macunu (paste) cures Hafsa Sultan rapidly. Hafsa Sultan then asks to disseminate this paste to the wider public, hoping that it would ensure the well being of each and everyone. Wrapped in small pieces of paper, the paste is then “scattered” to the community, from Sultan Mosque. Since then, at each and every anniversary of this event, people gathering around Sultan Mosque commemorate the invention of this healing paste, through a series of events. The festival begins with the “mixing” and cooking of the mesir macunu, prepared in respective proportions and mixtures in line with the traditional know-how. Blessed with wishes for cure, the paste is then packed up by women according to the traditional knowledge. It is then scattered among the public from the top of the minaret and the domes of the Sultan Mosque. Thousands of people coming from different regions of Turkey compete with each other, in a challenge to grab these pastes in the air, before they finally hit the ground.
Turkey 2012 -
Yama, Hoko, Yatai, float festivals in Japan
Float festivals are communal festive events in which all members of the communities get together to pray for peace in the communities and protection from disasters. At the heart of the festivals is the procession of floats bearing creative decorations that showcase the diversity of local cultures. Community members derive their pride and identity from the float festivals that are the biggest single festive event of the year for them. The oldest float festival dates back to the 9th century, but most of the festivals began after the 17th century and spread to various regions. Local people in these regions then modified the festivals with their own creativity. Floats are huge constructs pulled or shouldered by members of communities. They are inhabited by the gods honored in the festivals or are meant to entertain and appease these gods. The techniques of making and repairing floats have been transmitted for centuries by craftsmen such as carpenters, lacquer artisans and dyers. Furthermore, efforts are made to preserve the natural environment when securing materials for the floats; these sustainable methods have been handed down through many generations. The festivals’ most significant feature is the communities’ devotion to the preparation and celebration of the festivals. Community members including men, women, the young and the elders share their tasks and responsibilities all year around preparing for the float festivals, the most important event of the year for them. Float festivals therefore foster communication and teamwork between community members, and play vital roles in uniting them.
Japan 2016 -
FALAK
Falak is a traditional folklore music genre of the Tajik people. Falak means «heaven, fortune or universe». The structure of Falak is most often in one section and can form an interlude within a performance. The quatrains or couplet sung by the falak-singers are emotionally expressive and are rich with the philosophy and expressions of destitution of human life.
Tajikistan 2021 -
Traditional turkmen carpet making art in Turkmenistan
The traditional turkmen carpets and carpet products are the hand-woven woollen textile goods of ornamental art with quadrangular shape in different sizes with dense texture ornamented with characteristic colored patterns pertaining each separately to one of five main turkmen tribes (tekke, yomut, ersary, saryk and salor). Their designs form patterns from clear linear geometric ornaments (dots, lines and figures). Compositional decision of the turkmen carpets has characteristic features: the central field with major patterns ("gels") in octagonal forms is limited with the borders, patterns which differ from that of the central field. The alternation of recurrence of designs represented with combination of the belt and centric ornamental compositions. Reality surrounding a carpet weaver (local flora, fauna and environment) has been reflected in a combination of the threads, pictures and colours creating carpet designs. The turkmen carpets are created on horizontal or vertical looms mainly using different coloured wool threads. Weavers use both types of knotting; double knots with double weft or one-and-a half knot with double weft. Carpets serve both as a floor covering and a wall decoration functions and substitute furniture to satisfy everyday aesthetic needs of turkmen people. There are also special carpets woven for the birth of a child, for wedding ceremonies, for prayers and for mourning rituals. Carpet products such as chuvals (sacks), khorjuns (saddle-bags), torbas (bags) are destined for clothing, transportation of various household paraphernalia and used for decorations of camels, horses, nomad tents, wedding processions etc.
Turkmenistan 2019 -
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 -
Yoga
Yoga is a time honoured Indian holistic system of personal, physical, mental and spiritual wellness focused on all-round unification of body, mind and soul. Traditionally handed down over the centuries from teacher –Guru to disciple –Shishya, who after attaining mastery become a Guru to teach others. While Indian mythology traces the origin of yoga to the God Shiva as the first teacher its presence is well documented in Indian textual tradition from the Rigveda dated between c. 1500–1200 BCE to Satapatha Brahmana texts of 300 BCE to the philosophical treatises of the Upanishads – Mundaka and the Bhagvad Gita dated before fifth or fourth century BCE. The sage Patanjali systematised the text in his treatise -Yogasutras dated 400 CE while many other great sages and Yoga masters contributed to the furtherance of the system and its practice through their writings. The practice of Yoga leads to the union of individual consciousness with universal consciousness to attain harmony between the elements. The aim of Yoga is to realize the inner self, to mitigate all kinds of sufferings and to pave way for attaining the state of liberation. Yoga practices include Yama or five abstentions, Niyama-five observances, Asana –postures, Pranayama -Suspending Breath, Pratyahara –Abstraction, Dharana –Concentration, Dhyana –Meditation, Samadhi - Full integrated consciousness, Bandhas –Lock, Mudras – Gestures, Shat-karmas - Cleansing practices, Yukta-ahara - Holistic food, Yukta Karma -Right Action and MantraJapa -Chanting sacred words. Yogic practices have helped many millions learn to maintain a balanced way of life.
India 2016 -
Music of the Bakhshis of Khorasan
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