The name Zhana Ngacham comes from the zhana (black hats) worn by the dancers and the use of the ngachung (small drum) during the Cham performance. It is another form of Zhana Cham (black hat dance). Usually, the dance is performed mainly by monks in dzongs (fortresses), monasteries and temples during Tshechu (annual mask dance festival) and also during Drubchen (large ritual ceremonies). However, sometimes the dancers are replaced by lay people if there are no monastic facilities in the community. The dance falls under the category of Tsun cham (monastic mask dance performances). The dancers wear a long brocade robe called phoegho with long and wide sleeve ends, a dorji gong (a crossed vajra collar) over the shoulder, and two phoe-cho or phoe-tog, a horn-like tool attached to either side of the hips that helps the robe turn smoothly and elegantly as the dancers twirl. The distinctive feature of the Black Hat dance is the black, spherical hat with decorations in the shape of a human skull and peacock quill, and Thro-pang, an angry face wrapped around the front of the abdomen. Zhana Ngacham is usually performed by 21 dancers under the direction of Cham-pon (dance leader) and Cham-jug (deputy leader). In the seventeenth century, Zhabdrung Ngawang Namgyal (1594-1651) is revered for giving more importance to the performance of such dances and including them in the curricula of the central monastery under the title Gar-thig-yang-sum (mask dances, proportions mandala drawing and ritual intonation) to establish them in the field of cultural heritage in Bhutan.

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

The Mongolian Naadam is inseparably connected to the nomadic civilization of the Mongols who have practiced pastoralism on Central Asia’s vast steppe for centuries. Mongols’ traditional Naadam festival consisting of three manly games is considered as one of major cultural heritage elements which Mongols contributed to the nomadic civilizations. The three types of sports games – archery, horserace and wrestling – are directly linked with lifestyles and living conditions of Mongols and thus become the authentic cultural traditions among nomads. National Naadam is celebrated from July 11 to 13 throughout the country, in soums (counties), aimags (provinces), and the capital, Ulaanbaatar. Naadam represents distinct features of Mongolians’ nomadic culture and traditions, with expression of their unique cultural characteristics and images to become an identity of Mongolian people to the outside world. Thus, Mongolian Naadam has served a key factor to unite the Mongolian people and an important symbol of national solidarity. Mongolian people develop their physical strength, strong will power, patience, space and time related sensitivity and friendly hospitality from the three manly games which provides the cognitive and moral education basis. Main bearers of this cultural heritage are practitioners of the three games. i.e. those who significant part of the Mongolia population. Currently, over 100,000 people practice the traditional wrestling in various clubs and training courses, in addition to 3,000 students studying in several wrestling universities and colleges. Besides, the home schooling is considered one of most effecient forms, as it is the main traditional method to teach and learn the wrestling. Youths who practice wrestling would develop postive personalities such as being friendly, caring to the elderly and modest, besides strong will power, physical strength and courage. The main bearers of horserace appear racehorse trainers and jokey-children. Nowadays, about 400-500 horserace tournaments take place annually and altogether 200,000 horses (some recounted across tournaments) participate in them. About 100,000 racehorse trainers normally train these horses, while over 70,000 children ride and race. Besides, the audience of those tournaments would reach over 300,000 people. The Mongolian traditional home schooling provides extensive knowledge and skills, traditions and customs, culture and art elements of horserace. Compared to other two forms, relatively fewer people (about 10,000) practice and are interested in archery. Similarly, home schooling methods tend to dominate in learning and transmitting archery that family members and relatives become archers a lot. There are hundreds of thousand artisans and craftmen who make various tools and items used in the three manly games through employing meticulous skills and design to make them as collections of various art pieces. For instance, wrestling outfits – hat, boots and shorts, racehorse saddles and jokey’s outfits, and bows and arrows used in archery competitions have specific traditional technology and techniques each. These three sports games make a core blend of traditional arts and sports. Title-singing of horses and wrestlers indicate musical elements embracing songs and melodies. • Wrestling. After the wrestling site has been chosen based on the quality of the grass and the flatness of the site, the wrestling matches begin. Judges in groups of 8, 16, or 32 are divided into two groups which line up at the right and left side of the wrestling site and the wrestlers are divided into two groups at the left and right wings. To present the wrestler to the audience, judges will hold the participant's hat and sing praise songs while the wrestler performs an eagle dance before assuming the position to begin. Wrestling is not only a display of strength and bravery; it is also a competition of skill and technique. The object of the match is to make one’s competitor to fall on the ground with his elbows, knees or any other part of the body touching the ground, at which point he loses. Wrestlers who lose in each round will get eliminated from the tournament. The number of rounds differs from tournament to tournament. There are often 9 rounds at the national festival which takes place on July 11-12 annually and altogether 512 wrestlers wrestle. A half leaves after each round. From the fifth round, winning wrestlers can earn titles starting from hawk, falcon, elephant, garuda /mythical bird/, and lion, to the coveted champion. Wrestlers are divided into two groups or so-called ‘wings’ that the highest ranking wrestlers are listed at the top depending on their titles, such as first grand champions, then champions, lions, garudas, elephants, hawks, falcons etc. • Horserace. Horse-trainers choose potential race horses among horse flocks and train them meticulously, carefully adjusting their daily training and diet. Horse races are grouped in age-specific categories such as stallions, adults, 4-years old, 3-years old, 2-years old and 1-year old which race in different distance categories from 10 km to 30 km. Race horses have their mane and tails trimmed to improve their appearance while their trainers use specially crafted wooden sticks or a brush to remove the sweat from the horse after the race. These sweat-removing tools are often carved and decorated with traditional patterns and images of horses to symbolize their strength. Young riders wear special clothing including the deel and hat. Typically, children aged 6-10 years old jockey racehorses. When registration of the applicant horses is completed, the race administrator rides around the Naadam site three times, while children riding race horses sing ‘Giingoo’ to raise spirits of horses before racing. The winning horse is given the title of ‘Tumnii ekh’ (the mightiest of all), whereas the last horse in the race is given a nickname ‘Buren jargal’ “complete happiness”. The praise song is performed to congratulate winning horses and is called ‘singing titles’. • Archery. This competition is divided into two categories; Khana sur (big bow) and Khasaa sur (small bow). Men shoot from a distance of 75 meters to the target, and women from 65 meters. The target is called ‘zurkhai’, and is made of leather balls neatly lined along the flat ground in two rows. Each archer shoots 40 arrows and the one who shoots the most targets wins.

Mongolia 2010

There are various types of performed singing genres. Love songs is the most spread mass genre of singing art of the Kyrgyz. Love songs reflect not only moral and aesthetic worldview of the people, but love of native land as well. Their lyrics are often built on comparisons of images of nature and a loved one. They praise the beauty of surrounding world and motherland. Edification-songs represent other genre of the Kyrgyz folk singing. They reflect philosophical views about human character, family relations, society and peace, and contain catchwords and conclusions about natural phenomena. They are often sung during celebrations of important life events. Lyrical songs may be performed without accompaniment or with accompaniment of komuz or accordion. They sound more often without accompaniment during traditional and family celebrations of so called oturush, and sherine, as well as during folk song contests such as sarmerden and yr kese (singing chalice). No repertoire of folk singers (yrchy) is complete without lyrical songs. Ceremonial songs of the Kyrgyz, first of all, are connected with celebrations of various events. They have a solemn character and are performed with musical accompaniment. So, for example, toi bashtar (wedding song or feast song) marks the beginning of a wedding celebration or jubilee celebration, and jar-jar is the song of a greeting of groom and bride. There are ceremonial songs that are performed without musical accompaniment. It concerns the lamentation song performed by the bride’s mother at a dramatic moment of the wedding, when the bride leaves her parents’ house; or the lullabies that are performed during of the ceremony of encradling the newborn child. A vivid expression of the epic beginning of Kyrgyz folklore is demonstrated in lamentation songs performed at funerals. Songs of bakhshi and dervishes are other well preserved song genres of the Kyrgyz. They are performed in the form of melodic recitatives at praising and appealing to the God, and at purification rituals. Contemplation song is one of the genres of lyrical traditions of the Kyrgyz. They are built on folk philosophy, teaching, and artistic representation of the reality, which are transmitted from generation to generation. They comprise moral principles and ethno- pedagogical views of the nation in them. Similar to the other folk song traditions, contemplation songs are presented in rhythmic and poetic form.

‘Tabak tartuu’ is a special ritual of offering and serving dishes, treating guests. The right offering of ‘tabak’ (meat dish) – considered to be an art and an indicator of knowledge of customs and respect for the rules of decency and hospitality. From the ancient times, special ceremony was followed when distributing the boiled meat. A piece of lamb meat ‘jilik’ is given to every guest according to his/her age, social or family status, the head of ram ‘bash’ is given to the honored guests. The tradition of distribution of pieces of meat may also vary depending on the region.

The ornament adorns all the objects surrounding the Kyrgyz from the moment of birth to the end of life. Nowadays, ornaments are very popular and used not only for decorating yurts and utensils but also for festive attires, jewelry, and souvenirs. Kyrgyz gave the patterns their own names identifying them with elements of their own and surroundings in the world around them. The shape of the symbols has reached us through the ages, almost unchanged. Kyrgyz ornaments include simple geometrical symbols, floral patterns, images of animals (both living and fantastic), nature, and stylized images of people. One of the most popular patterns are: ram’s horns, which repeats the image of this animal and represents prosperity or Umai ene, winged woman with a child, a spirit that represents fertility and protects mothers and babies. There are several types of Kyrgyz ornamental patterns: 1.\tPatterns symbolizing landscapes and other natural objects and processes such as Earth, a spring, eternal movement, Sun, Venus, star constellations, day and night, equinox; 2.\tPatterns symbolizing elements of animal kingdom such as raven claw, goose foot, ram horns, goat horns, a bird wing, a dog tail; 3.\tPatterns symbolizing elements of flora such as almond, clover, pomegranate, tulip; 4.\tPatterns symbolizing household objects as a comb, a lock, tip of a knife, köökör, a vessel for fermented milk; 5.\tPatterns with anthropomorphic elements.

Askiya (in Arabic – “azkiya”, literally means “witty”, “resourceful”) is an original genre of folk-spectacular art, and oral folk creativity, which evolved and became widespread in the Ferghana Valley and Tashkent region. As a result of continuous evolution it achieved the level of art. Askiya is an original eloquence and witticism contest organized between two or more people around particular topic or theme (which is called by askiya performers as payrov). In so doing, askiya performers use simple words in different meanings and for different purposes. They joke open-heartedly and in a friendly manner, laugh at some unusual situations and flaws observed or run across in the daily life of their contemporaries. Not to offend his rival the performer (askiyachi or askiyaboz) has to use carefully and skillfully each word and phrase during askiya. At present more than thirty forms of askiya are known. These include payrov, qofiya, radif, bakhribayt, tutal, okhshatdim, afsona, rabbiya, safsata, chiston, laqab, gulmisiz, bulasizmi, shirinkor and terma. Although, each of the above-mentioned forms conform to common requirements peculiar to askiya art genre, still each has its own distinguishing features.

Uzbekistan 2014

Stone carving (stone cutting) is an ancient art of Uzbeks as well. Artefacts found during archaeological excavations say, that the very first treated stones in Uzbekistan belong to the Paleolithic, Neolithic and Bronze Age. The masters of those times knew how to process the stone, knew the techniques for transporting heavy solid stones, used lever devices to lift them, knew which stones were lighter and which were more difficult to process, already had tools to give pattern and relief to the stone. Their wide use of granite, marble, limestone and gypsum is indicated by excavations of ancient monuments in southern Uzbekistan - in the towns of Koratepe, Fayaztepe, Ayritash. Here Buddhist temples were decorated with carved stone, sculptures were created from stone. Later, stone cutting became a craft, and the art of stone carving reached its height in Maverannahr, Khorasan, Khorezm and other territories. For example, during the reign of Amir Temur, architectural masterpieces such as Gor-Emir, Shahi-Zinda, the Bibihanum mosque, the Ahmad Yassawi mausoleum and much more were created, where magnificent sculptures and carved stone with letters are presented. The displaced stone is magnificent - the tombstone of the great Temur and the grates carved from marble in Gori Emir. A lot of stone and marble was used in the architecture of ancient Khiva. The entire foundation of the palaces is laid out there by them, and they are all carved from geometric and floral figures. The stone-cutting walls of the Khiva Palace of Tashavli can be considered a magnificent example of beautiful stone carving, it is therefore called the Stone Courtyard. There are several types of stone carving: line threads, chain, lattice, deep, multi-layer, flat threads, etc. It also matters which stone works with - soft, pliable, medium hardness or hard.

Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.

Tajikistan,Uzbekistan 2008

Mumtoz ashula (classic song) cycles is a lyrical genre which differs from other song genres with extention of the melody, steady lyric character, emotional and mounful meaning, great range, the complexity of the rhythm method and perfection of the style. The style of singing is solo with own accompaniment on tanbur, dutar and tor. Its genre composition is represented by mumtoz ashula, mumtoz yalla, katta ashula (Ferghana Valley), khalq ashula and muhammas (Bukhara), suvora and naqsh (Khoresm) and lyrical-lengthy songs of religious character (such as munojot, nat, khamd, manzuma, yakkakhonlik, khonaqoi, qalandari, etc.).

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

As ritualized practices devoted to disaster-averting and peace-pleading, Ong Chun Ceremony widely spreads along the coastal areas both in Minnan, China and Melaka, Malaysia. It is practiced by the communities with both commonness and localities. In Minnan, it mostly takes place every three or four years when the northeast monsoon arrives in autumn; while in Melaka, it is preferentially held in the dry season of the lunar leap year, both starting on an auspicious day meticulously selected and lasting for days or months. The element is rooted in folk belief and customs of worshiping Ong Yah, the deity reverently acknowledged as Tye Tian Soon Siew Ong Yah, among the coastal communities. Local inhabitants believe that, Ong Yah is appointed as commissioner by the Heaven to protect people and their lands from disasters on regular patrols of inspection. Those who lost their lives at sea, respected as “good brothers,” become wandering souls lonely and homeless. Rituals for welcoming and escorting Ong Yah at regular intervals are therefore held for his visit to the land and rescuing “good brothers.”

China,Malaysia 2020