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literature
ICH Elements 78
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Aitysh/Aitys, art of improvisation
Aitys (in Kazakh language), Aitysh (in Kyrgyz) is an improvised competition of two akyns, the form of oral poetry performed in a singing manner, poetic contest of improvisations or a poetic duel of wits. The element is performed to the accompaniment of traditional musical instruments: Kazakh dombra or Kyrgyz komuz. Two akyns compete with each other in improvisation of verses on topical themes in a wit-sparkling manner alternating humour and deep philosophic reflections. During the competition two akyns sitting opposite each other develop a song-like dialogue catching up the opponent’s words and performing in turn their improvisations on the spur of the moment. Songs performed during the aitysh-aitys are improvised on whatever topics which come up depending on the wish of the audience. The winner of the competition is the one considered to have demonstrated the most musical skills, rhythm, originality, resourcefulness, wisdom and wit. The element is very popular among people and is considered as a “folk tribune”. In fact, all regions of the countries have bearers and practitioners who often represent their local communities at the poetic competitions raising up topical and urgent problems of social life and criticizing all kinds of vices. The element is practiced at various events from local festivities to nation-wide events. Aitysh/Aitys presents the art of a dialogue participated not only by the performers but by their listeners as well. It is an essential part of life for the communities of tokmo-akyns and aityskers.
Kyrgyzstan,Kazakhstan 2015 -
China engraved block printing technique
As one of the conventional skills, China Engraved Block Printing Technique includes a series of processes: cutting tools are applied to the engraving of characters or patterns on wooden blocks, ink and paper are utilized for printing purpose and the printed book pages are bound into books. Historical cultural relics show the application of engraved block printing technique dates back to the end of the 6th century and early 7th century. The invention and application of engraved block printing technique in China has made tremendous contributions to the progress and development of human civilization thanks to its functions typical of recording and transmitting thoughts, knowledge and experience of human society.
China 2009 -
Chinese Zhusuan, knowledge and practices of mathematical calculation through the abacus
With the abacus as a tool, mathematical algorithms as a theoretical facility, Chinese Zhusuan is figure-based knowledge and practices through moving beads on an abacus according to the defined formulas. The abacus is made of bamboo or wood in the shape of a rectangle, divided horizontally into two decks with a string of five beads (one in the upper deck and four in the lower) or a string of seven beads (two in the upper deck and five in the lower). Each bead in the upper deck has a value of 5 while each in the lower has a value of 1. Atypical abacus has 13 to 19 rods connecting the beads. Zhusuan practitioners can perform mathematical calculations including addition, subtraction, multiplication, division, exponential multiplication, root, equations of higher degree, thus demonstrating the wonderful wisdom and creativity of the Chinese people. This time-honoured tradition has played a vital role in giving impetus to mathematical studies, promoting algorithmic practices, and nourishing intelligence. Zhusuan oral formulas have easy-to-learn rhymes that represent the specific calculation rules and summarize the arithmetic operations. Beginners can make quick calculations after moderate trainings, while proficient practitioners usually develop an agile mind. Through oral teaching and bodily practice, Chinese has maintained and transmitted Zhusuan for generations. With a scientific theoretical system and a simple operation method, Zhusuan has long been popular in various aspects of Chinese living and production. As an important legacy of mathematics and cultural tradition, Zhusuan has become a national symbol of cultural identity.
China 2013 -
Proverbs and Sayings
Proverbs and sayings are also genres of Uzbek oral folk art. A proverb is often in the form of grammatically completed sentence in which folk wisdom is expressed in instructive form. It is a wise adage, which is short, figurative and grammatically and logically complete, a phrase with a deep meaning. Proverbs, which have certain, steady and widely used rhythmic formula, emerged on the basis of people's centuries-long experience. In proverbs found its reflection people's life-related observations, their attitudes to the society, their history, spiritual state, ethical and aesthetic feelings and positive qualities. Having been preserved by the people throughout centuries, they acquired concise and simple poetic form. A saying is a phrase that reflects a phenomenon of life, one of the small genres of folklore. Often has a humorous character. Saying, unlike the proverb, does not contain a generalizing meaning and is not a complete sentence. Sayings are beautiful examples of figurative thinking, which decorate our speech. Although they emerge relatively slow, they remain in use for several years. Sayings bear some similarities to folk proverbs. At the same time they differ from the latter with their peculiar features. These are the following: while proverbs are used as single complete conclusion in a speech, sayings act only as parts of that conclusion; while proverbs have a wide range of themes, sayings have exact themes and their exact functional purposes; while proverbs have their established form structures, sayings do not have such form structures; while proverbs are used sometimes in a figurative sense (or sometimes in a literal sense), sayings are used only in a figurative sense.
Uzbekistan -
Anecdote
Folklore genre, a short funny story, usually transmitted from mouth to mouth. Most often, an anecdote is characterized by an unexpected semantic resolution at the very end, which gives rise to laughter.
Uzbekistan -
Aytim (Couplets)
Aytim (Couplets) is a small form of performing art used mostly by mothers while speaking with babies. Couplets are quite important in bringing up good aesthetic taste in children, introducing them to good, real. This is like appeals to the baby in song form, which he will remember for life. Naturally, Aytim contributes to the formation of hearing, the recognition of sounds and rhythms. It also has a hidden connect with the mother's soul.
Uzbekistan -
Arirang folk song in the Democratic People’s Republic of Korea
Arirang is a lyrical singing genre, which has been handed down orally for centuries and which never has lost its popularity among the Koreans. Arirang was sung by the people in the northwestern part of the Korean peninsula as early as in the late 14th century. Today Arirang is sung in its traditional form by people all over the country, while it is also performed in symphonic arrangements and in dance music. Arirang typically contains a gentle and lyrical melody in five scales, and the refrain: Arirang, arirang, arariyon Over the Arirang hill you go. Arirang songs speak about leaving and reunion, sorrow, joy, and happiness. There are various categories of Arirang songs that can be classified by the lyrics or the melody used, and by place of origin. Currently 36 versions of Arirang are known. Most typical versions are Sodo Arirang, Phyongan Provincial Arirang, Jonchon Arirang, Haeju Arirang, Kangwon Provincial Arirang, Kosong Arirang, Onsong Arirang, Tanchon Arirang, Thongchon Arirang, Musan Arirang, Ku Arirang and Kosan Arirang, Arirang, as living heritage, up till the present day has undergone continuous developments, always reflecting the history of the Korean people. Under Japanese colonial rule, for instance, Arirang was widely sung as it reflected the distress about national ruin and the people’s spirit of resistance. In recent days such modern versions as “Arirang of Reunification” and “Arirang of Great Prosperity” have been produced reflecting the realities of our time.
North Korea 2014 -
Turkish coffee culture and tradition
Turkish coffee culture and tradition goes back to the 16th century when coffee started to be served at coffeehouses in Istanbul. The tradition has two distinguished aspects which make its taste unique and provide means toward socialization. As a beverage Turkish coffee carries special preparation and brewing techniques. It is one of the oldest coffee making methods still in use. The traditional techniques used in preparing coffee led to development of special tools and silverware such as like the boiling pot (cezve), coffee cup (fincan), mortars which have artistic value. Turkish Coffee leaves a long lasting taste at someone’s palate due to its preparation techniques which require time and its freshness. It is softer, more aromatic and more concentrated than other types of coffee. It is easy to distinguish from other coffees with its aroma, ground and foam peculiar to it. Turkish Coffee is not only a beverage but also a communal practice that brings together cultural spaces, social values and beliefs within a context of socialization process. Its role socialization can be traced back to opening of the first coffeehouses with its noticeable decorations in Istanbul. Coffee houses were then, and still are the places where people drink coffee, converse, share news, read books and socialize. The tradition itself is a symbol of hospitality, friendship, delicacy, and entertainment. All these are reflected in the famous Turkish proverb “the memory of a cup of coffee lasts for forty years.” This saying represents how important and profound coffee is in Turkish culture.
Turkey 2013 -
Sericulture and silk craftsmanship of China
Sericulture and Silk Craftsmanship refers to the craftsmanship applied in traditional sericulture, silk dyeing and weaving process, which has been handed down from generation to generation, and relevant folk-customs derived thereby. China’s sericulture and silk craftsmanship boasts a history of 5000 years. The silk fragments, preliminary loom and potteries decorated with silkworm patterns excavated from sites dating 4000 years ago in the Taihu Lake area; demonstrate the time-honoured history of the sericulture and silk production in the region. Alongside the historical process, traditional manufacturing craftsmanship develops, and the main elements include: Mulberry planting: including cultivation of mulberry seedling, mulberry trimming, and various methods of engraftment; Silkworm production: including the selection, hybridization, and breeding of silkworm eggs, incubation, instruments for silkworm rearing, control of the temperature and humidity, and frame mounting methods; Silk reeling: including sorting and stripping of cocoons, ways for preserving the cocoons such as drying and salting, temperature control and process for boiling the cocoons, facilities and techniques for silk reeling, etc; Silk floss making: including techniques of water rinsing and tearing; Weaving tools: including various looms such as treadle looms, multi-shaft and multi-treadle patterning looms, lesser draw looms, greater draw looms, etc, and arrangement of heddle drafts and programming of patterns on draw looms; Design and weaving of fabrics: including the design and weaving of various structures and patterns, such as the Shuanglin silk damask which is calendared by stamp rocks, the Hang gauze with warps crossed, the Shu silk with warp-faced patterns, the Song-style silk in lampas weave, and Kesi woven in tapestry structures.
China 2009 -
Tales, Legends and Stories
Uzbek tales, legends and stories, like those of other peoples, are part of the oral folk art. The tale is based on traditional plot and refers to prose folklore. A legend is often about any historical events or personalities, and stories are genre of folklore non-fairytale prose, passed down from generation to generation and developing historical themes in its folk interpretation. Tale is one of the most ancient and mass genres of Uzbek oral folk art. Oral stories, which are constructed based on fantastic ideas and artistic fiction, and which bear didactic idea and purpose, are called "tale" (in Uzbek – "ertak"). While representing an example of intangible cultural heritage, tales reflect, to a certain degree, worldview, national character, lifestyle and thinking of the people. Important role in the emergence of tales occupy ancient myths, traditions, rituals and customs. Although in Uzbek folklore studies the term "ertak" is used to denote a tale, in various regions of Uzbekistan this genre is commonly known as "matal", "ushuq", "varsaqi" and "chopchak". Legend is a verbal story, which is transmitted from generation to generation and is mixed with magic, sorcery and dreams. It is one of the examples of intangible cultural heritage. Legend, being one of the most ancient genres of oral folk art of Uzbeks, narrates about events and occurrences, in which notions aimed at understanding and perceiving reality based on artistic storyline, are embodied. For this reason, in legend it is possible to find brief information about social life, people's worldviews, traditions and customs and historical events. Story is a narration, which is done verbally. In terms of origin and historical roots it is considered one of the examples of ancient folklore and as such represents an element of intangible cultural heritage. It is a work of small size without commonly established form, which describes certain historical occurrence (that took place in the past) or past event by means of artistic fiction.
Uzbekistan -
Khoja Nasreddin satirical and humorous storytelling traditions
Traditions of telling humorous and satirical stories about Khoja Nasreddin - a folklore character of the peoples of the Muslim East. Khoja Nasreddin is a collective image devoid of spatial and temporal boundaries. He is a connecting link in a chain of cultural phenomena that are far from each other; in the end, he constitutes a single cultural layer. The first appearance of anecdotes about Khoja Nasreddin dates back to the 10th century. The literary character of Nasreddin is eclectic and combines in himself the image of a sage and a simpleton at the same time, an internally contradictory image of an antihero, a vagabond, a free-thinker, a rebel, a fool, a holy fool, a sly man, a rogue and even a cynical philosopher, a subtle scientist-theologian and a Sufi. He makes fun of human vices, misers, bigots, hypocrites, bribe judges, etc.
Uzbekistan 2022 -
Flatbread making and sharing culture: Lavash, Katyrma, Jupka, Yufka
The culture of flatbread making and sharing, represented with the names Lavash-Katyrma-Jupka-Yufka, is a set of traditional knowledge, views, skills and rituals related to preparation, baking, storing, using and sharing of traditional thin bread that performs specific cultural and social functions within the related communities in Azerbaijan, Iran, Kazakhstan, Kyrgyzstan and Turkey and is transmitted from generations to generations. Flatbread tradition is a symbol of shared cultural identity and serves expression of mutual respect among communities. The five countries share a number of common features, skills and knowledge related to preparation and use of the flatbread. Tradition bearers usually prepare the flatbread from unleavened or leavened dough based on flour, salt and water, while also adding sometimes milk, butter, sesame and poppy seeds. Communities use different types of crops to prepare the dough, such as wheat and rye. The dough is rolled by hand or using a dough roller into round or oval shape. In Azerbaijan, Iran, Turkey and some communities of Kyrgyzstan, flatbread is baked in earthen or stone ovens called “tandyr” or “tanūr” buried into the ground. Some communities in Azerbaijan, Iran, Kazakhstan and Turkey bake the flatbread (yufka or lavash) on a metal plate known as “sac” (“saj” or “sāj”) over the fire. Communities in Kyrgyzstan and Kazakhstan bake the flatbread by laying out rolled dough in big cauldrons (‘kazan’) heated on fire. As a result of this baking style, practitioners manage to maintain nutritious qualities of the flatbreads and store them for several months without refrigerator. Various methods, techniques, instruments and substances are used by flatbread-preparing practitioners. The preparation of flatbread involves traditional practices based on collective labour and sharing within family and neighbourhood. As expression of social solidarity in rural areas, families prepare and bake flatbread together with their neighbours, especially as a preparation for winter. The flatbread is baked both at homes by family members and flatbread bakers, who learn the practice through a master-apprentice relationship. The flatbread preparation bears a great variety of social and cultural functions for its communities in terms of its usage at special occasions and its relation to transition between seasons. Communities of five countries consider flatbread preparation places sacred. In Kazakhstan, communities believe preparing flatbread at funerals helps the deceased get protection from the burning Sun, while waiting for decision of the God. To wish prosperity and wealth to newly-married couple, in Azerbaijani and Iranian weddings the flatbread lavash is often put on shoulders of the bride, while in Turkish weddings dried flatbread yufka is crumbled over the head of the bride. In Kyrgyzstan, tradition bearers believe that flatbread helps sick people. In some religious ceremonies and traditional weddings in Iran flatbread is served as a component of the sacred offering. During the preparation of flatbread, it is shared with all passers-by as a sign of hospitality. Flatbread culture is expression of belonging to common cultural roots. It reinforces cultural links and serves as marker of hospitality, conviviality and friendliness within the societies of five countries.
Azerbaijan,Iran,Kyrgyzstan,Kazakhstan,Turkey 2016