Naqqāli is an Iranian traditional theatre form, having originated in ancient Iran. This dramatic performance concerns telling of a story, history or non-history based, in a variety of genres. It is done either in verse or prose and accompanied by gestures and movements appropriate to the event related. Iran enjoys a long tradition of Naqqāli. This tradition was called “Gowsān” during Parthians (3rd BC-3rd AD). “Gowsān”s (the reciters) acted as entertainers to both kings and ordinary people. Under the Sassanids (3rd-7th AD), Naqqāli was highly regarded at court, where it used to be called “Xonyāgari”. Following the collapse of the Sassanid, these reciters emmigrated to remote areas to keep the tradition alive. In ancient times, they used to recite narrative poems, play musical instruments, sing, and act. Naqqāli is the oldest form of dramatic performance in Iran. Historically, it has adopted itself with socio-political circumstances. Before the Sassanid(651 AD), Naqqāls were poets and musicians simultaneously. They recited stories along with playing instruments. Bārbad was the most renown Naqqāl of the Sassanid. During Ghaznavids(10th-12th AD), the Court banned musical Naqqāli. But the tradition survived in remote areas. Two important events occurred during the Safavid period (16th-18th AD): establishment of coffee-houses and applying “Parde”. Parde introduced a new style in Naqqāli, and coffee-houses became exclusive venues for Naqqāls for, at least, 300 years. Up to several decades ago, great coffee-houses hired Naqqāls. Unfortunately, the strong influence of western culture and break down of the old traditions caused a decline in popularity of coffee-houses; consequently, Naqqāl's lost their traditional audiences During the Islamic period, such reciters were known under various names; such names had their origin in the types of the repertory of the tales they recited. One example is, so called, “Shāhnāme-Xān”s, who were specialized in reciting tales from Shāhnāme, the great Persian epic by Ferdowsi. This naming style can still be traced. In addition to Persian literature, Naqqāls needed to be acquainted with expressions referring to the local culture, or the Iranian traditional/folk music. Thus, they functioned as both entertainers, and bearers of Persian literature and culture, while encouraging national cohesion. Nowadays, the language of recited narrations is not limited to Persian; these tales are allowed to be narrated in regional dialects or languages. Up to several years ago they were the most important guardians of folk-tales, ethnic- epics and Iranian folk music. Naqqāli requires considerable talent; no one can arrive at eminence in this line except men of cultivated taste and retentive memory. They must not only be acquainted with the best ancient and modern stories, but be able to change them in relation to new incidents, either heard or invented. They must also recollect the finest texts of poetry, which they may quote from. The audience are normally acquainted with the tale, so the Naqqāl requires the charm in his performance, an attractive voice quality, as well as skill in acting to captivate them. The Naqqāl is alone in performing a rich range of roles, such as those of kings, queens, warriors, princesses, beggars, etc, convincingly. He is even a master in producing sound effects, including horse galloping, fencing ,etc. Master Naqqāls, even, are well equipped with a knowledge of Iranian sports, while they recite skills in wrestling and fencing, among others. There are two groups of practitioners, the Professional and the Seasonal. They may perform in coffee-houses, tents of nomads, houses, and historical places like ancient caravanserais. The Professionals, who are few in number now, earn their living from Naqqāli; seasonals have other occupations, too. Nowadays, professional Naqqāls are mostly invited for official ceremonies sponsored by municipalities or governmental institutes. Seasonal Naqqāls mostly perform in regional ceremonies like wedding parties, or even mourning ceremonies. However, both groups have been invited for Iranian Ritual-Traditional Theatre Festivals since the very beginning of its establishment. Naqqāls, especially Morsheds (master Naqqāls), wear costumes reminiscent of Dervishes cloths. They may, even, use ancient helmets, or armoured jackets in the middle of the performance, to create a sense of reality for the battle scenes. Their multifunctional canes may represent a wide range of motifs, including a beautiful beloved, a horse, a sword, etc. “Parde”, used by some Naqqāls, is a painted curtain in the Coffee-House-Style. Having preserved all the logical, religious and traditional styles, it has flourished as a sign of respect for popular beliefs. The painters have been messengers of light and impossible dreams. Due to the fact that this unique theatrical performance always presents one of the deepest and genuine layers of the national Iranian culture, its protection will definitely serve to safeguard the national and historical roots of it. Besides, it can be a source of inspiration for literary figures and artists all around the world. Every form of art is a unique language faciliating peaceful communication among different cultures. In this regard, Naqqāli should be considered as an international heirtage in urgent need for safeguarding.

Iran 2011

Main Puteri, also referred to as Main Teghi in the Kelantanese dialect, is one of the authentic arts found in the state of Kelantan. This performance is one of the most popular traditional healing methods of the Kelantan-Pattani Malay community since the olden days. It is admittedly difficult to separate the ‘performing art’ and ‘medical ritual’ aspects in Main Teghi due to the close ties between the two elements. There are many versions about the origin of Main Teghi as source of information. However, since there are no accurate records thus oral sources are the only ones available. In terms of performance, there are interesting elements in Main Teghi that are a combined elements of acting, singing, dancing, miming and music; apart from Islamic, magical and ritual elements. Tok Teghi, the leader of the group, acts as a medium to connect the patient with the summoned spirits. During this process Tok Teghi keeps changing characters; becoming fierce and ferocious, a senile elder, a disabled youth, speaking nasally and various other characters to portray the pain shouldered by the patient. It is believed that there are more than 50 songs in a Main Teghi performance, but now not even 10 are still being performed. Among those commonly performed are entitled Kijang Mas, Mengulit, Pendekar, Cik Muda, Cik Kojo, Menora and Abe. Main Puteri was recognised as a National Heritage in 2012.

The Ritual of Pahlevani and Zoorkhanei is a collection of rhythmic moving skills, music and dramatic art in a holy place named “Zoorkhane”. In this ritual a group of 10 to 20 men, using tools that symbolically represent the ancient weapons, perform rhythmic and musical, dramatic and ritualistic movements. Zoorkhane, the place for the administration of the Element enjoys a special architecture, a blend of Mithraic temples and Islamic architecture. The major sections of the place include a dome, the arena (Gowd: an octagonal pit, 70cm deep, wherein the rituals are administered and the practitioners stand on specific spots according to age and seniority), the audience seats (overlooking the arena), and “Sardam” wherein the Morshed sits. The Zoorkhane gate is short to encourage bending at the entrance to pay respect toward the holy place. The tools, equipment and sportswear of Zoorkhane are mostly made in the cities of Tehran and Mashhad by skillful craftsmen. In the history of Iran, this Element has been influenced by epical myths and a worldview based on the ancient Iranian ethical trilogy “Good Though, Good Deed, Good Speech”. It roots back to Mithraism in 3000 years ago. This ritual has been and is practiced from the ancient times in most parts of Iran as well as some regions of such neighboring countries as Afghanistan, Tajikistan, Azerbaijan, Iraq, Pakistan and India. The element enjoys a masculine nature and its practitioners belong to all social strata. Ethical and chivalrous values are instructed under the supervision of a Pahlavan (""champion"", a master in skills and heroic ethics) within the epical poems recited by a Morshed (""preceptor""), accompanied by music and sport rhythmic movements. “Morshed” is a singer who plays “Zarb”, an Iranian percussion instrument, recites epical and mystical poems, and leads and harmonizes chanson with the music and sport-like dramatic movements. The poems that are recited by the Morshed constitute part of Zoorkhanei literature. In the course of the ritual, dramatic, sport-like, musical and acrobatic movements are performed and, finally, the ceremony is ended with prayers that connote expansion of peace and friendship among nations, and resolving the needy people’s hardships. Golrīzān Ceremony: One of the side programs of the Element is the “Golrīzān” Ceremony that is organized as a homage for pioneers (Pīshkesvat's), champions and preceptors, or for collecting financial contributions for the needy, the sick, or orphans. In this ceremony flowers are put at every corner of Zoorkhane, as a sign for invitation for contribution; the collected contributions are, then, secretly granted to the needy, by a group of trustees. The practitioners in the ritual wear special sportswear, usually, consisting of a pair of trunks - decorated with Arabesque drawings- and a t-shirt. On the clothes and some of the Zoorkhanei tools, motifs of Botee-Jeghghe (an abstraction of a bent cypress symbolizing a humble champion) are observed.

Iran 2010

Naqqashlik, or the traditional art of ornament-making, is a highly refined form of decorative craftsmanship in Uzbekistan, rooted in centuries of Islamic and Central Asian artistic traditions. This craft involves the creation of intricate patterns and motifs that adorn architecture, furniture, wooden columns, doors, ceilings, and ceremonial objects. Naqqashlik is not only a visual art but also a spiritual and philosophical expression. It features floral, geometric, and calligraphic motifs, all governed by strict aesthetic principles and symbolic meanings. The craft plays an essential role in architectural preservation, cultural identity, and national aesthetics. Master artisans, known as naqqosh, follow meticulous processes including drawing, carving, painting, and gold leafing. Designs are traditionally developed using natural pigments and hand tools, with every pattern reflecting a balance between beauty and harmony.

Âşıklık tradition is a multi faceted art form which includes the oral tradition, music and narrative telling. Performers of this art go through a years-long apprenticeship under the guidance of master âşıks. Âşıks have formed a distinguished style in Turkish Literature through the numerous literary works both in verse and prose; which has come to be acknowledged as the tradition “Âşık Style”. This tradition encompasses saz playing, âşık tunes, improvisations, repartee, and narrative telling with love as its main theme. Although there are various views about the origin and the formation of Âşıklık Tradition, it is widely accepted that the roots of the tradition lie in pre-Islamic and early Islamic Turkish epic narrators which are called “Ozan” or “Baksı”. Âşıklık Tradition emerged as a result of the changing political, social, cultural and economic conditions in the 16th century. Most renowned representatives of the tradition are Karacaoğlan, Köroğlu, Kazak Abdal, Pir Sultan Abdal, Ercişli Emrah, Gevheri, Âşık Ömer, Levni, Kul Himmet, Dadaloğlu, Dertli, Ruhsati, Bayburtlu Zihni, Âşık Şenlik, Âşık Sümmani, Âşık Mahsunî Şerif, Âşık Veysel, Davut Sulari, Âşık Murat Çobanoğlu ve Âşık Yaşar Reyhanî. Âşıklık tradition is transmitted from masters to apprentices through training and education similar to other oral, auditory, visual and material-based fields of Turkish culture. This transmission is completely actualized through oral channels. Âşıklık Tradition has a social side to it, in the sense some of the motifs of the poems and tales told by Âşıks are the problems of the society and âşıks themselves are perceived as enlightening and guiding figures. Poems of this tradition are written in syllabic meter, blending into a unified meaning in quatrains and gaining rhythm with rhymes. Works of Âşıks are combinations of music and poetry. Saz is an integral part of the tradition. Saz instruments played by âşıks are made of chestnut and mulberry trees. They generally have six, eight or twelve strings. Saz is usually played with a kind of plectrum called “tezene”. Âşıks of our times perform their arts in festivals, festivities, weddings, âşık coffee houses and Cem rituals. In traditional weddings, as important performing venues for âşıks, they not only entertain the public but also fulfill their teaching and guiding roles through anecdotes and tales. Âşıklık tradition is still very much alive in cities like Kars, Erzurum and Kayseri, where âşıks also perform in âşık coffee houses. Alevi-Bektaşi rituals are other gatherings where âşıks, known as “zakirs”, recite poems reflecting the beliefs and world-views of Alevi-Bektaşi philosophy. In addition to their usual performing venues, various activities and festivals organized by NGOs and local governments are emerging as new occasions for âşıks to perform their arts. Some of the most essential concepts in Âşıklık Tradition are mentioned below. Master/Apprentice Discipline: Âşıklık tradition is not only based on singing, reciting or playing an instrument but it is also a training-based tradition. The âşıks are, in general, trained by a master grasping the know-how of his master’s art, utterances and poems. Once they become masters in their arts, they start training apprentices on their own and thus the tradition is preserved. Drinking Bade: A youth destined to be an âşık would have a dream in which he is offered with a goblet of bade by a wise spiritual leader (Pir) or by his beloved. From that moment on, the young man wakes up divinely inspired to make verses, sing songs and recite poems. Choosing The Mâhlas (Pseudonym): Mâhlas is the pseudonym which the poet uses instead of his real name. The âşıks utter their pseudonyms in the final quatrain, which the âşıks call “introducing oneself” or “recognition”. Riddle: Riddle is a poetry genre in which the name of a person, being or thing is concealed. The tradition of singing the favorite riddles and unraveling those has been preserved up to date among the âşıks as a masterly skill. If there is no response for the riddle, the âşık himself unravels it. Repartee/Improvisation: Repartee is acknowledged as a cultural value, a figure of speech and pun as regards to oral tradition. This art has a function of teach and delight. During the challenging performance between the âşıks, beginning with a verbal dueling part, they compete with each other on the aptness, humor and beauty of the poetry and improvisation using alternating lines and improvising witty jibes in front of an audience. Leb-değmez: Verses with a needle between the lips: This is a style of reciting poems avoiding the consonants like “B, P, M, V, F”, pronounced by teeth and lips, to perform the masterly skills of the âşıks. The âşıks put a needle between their lips in that style of reciting poems. Folk Tales: Developed and preserved thanks to the master/apprentice discipline of the âşıks, also known as “narrators”, “Folk Tale” is a genre encompassing narrative style, poetry and music.

Turkey 2009

The Hüsn-i hat is the art of writing with Islamic letters of Arabic origin by using reed pen and soot ink in a measured and proportional manner while taking into consideration of the aesthetic values. A special paper glazed with organic substances (aharlı kağıt), reed pen (kamış kalem), pen-knives, a special slab for trimming the reed pen (makta), inkwell (hokka) and pen case (divit) are the most used tools in its practice traditionally. The Hüsn-i hat is written on special paper, leather or other writing materials and it may also be applied on the surfaces of stone, marble, glass, wood, etc. by using specific techniques. Holding the reed pen and its directions on the paper by the hattat ensures the perfection and compound of letters. There are different styles of writing which have been evolved over centuries: Thuluth, jali, naskh, muhaqqaq, raykhāni, tawqi, riqā’, kufic, ta’liq, nasta’liq, siyaqat, diwani, riq’a, gubari are among the commonly preferred styles. These writing styles, using the tools and traditional craftsmanship related to the element have been transmitted through master-apprentice relation from generation to generation. The Quran, hadiths (statements of the Prophet Muhammad), Turkish laconic and poetical couplets are written with hüsn-i hat. Therefore, hattats have applied Sufistic rituals while writing hüsn-i hat. Apart from the sacred and literal works, the element also practised in state correspondences such as imperial edicts, warrants and religious and public buildings in Seljuk and Ottoman period. Today, the element is still practised in sacred and literal works and religious buildings in Turkey.

Turkey 2021