Inscribed in 2014 (9.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nongak is a fusion performing art genre that combines a percussion ensemble (with occasional use of wind instruments), parading, dancing, drama, and acrobatic feats. It has been practiced for various purposes, such as appeasing gods, chasing evil spirits and seeking blessings, praying for a rich harvest in spring, celebrating the harvest at autumn festivals, fund-raising for community projects, and professional entertainment. Any joyful community event was never complete without uproarious music and dance performed by the local band clad in colorful costumes. The resultant ecstatic excitement (sinmyeong) is often defined as a preeminent emotional characteristic of Korean people. The music frequently uses uneven beats of complex structures like simple three-time, compound time, and simple and compound time. Small hand-held gongs and hourglass drums, with their metal and leather sounds, play the main beats, while large gongs and barrel drums create simple rhythmic accents. The small hand-held drum players focus more on dancing than playing music. Dancing includes individual skill demonstrations, choreographic formations, and streamer dances. Actors wearing masks and peculiar outfits perform funny skits. Acrobatics include dish spinning and miming antics by child dancers carried on the shoulders of adult performers. Nongak was most often performed and enjoyed by grassroots people, but there were also professional groups putting on entertainment shows. In recent years, professional repertoires have evolved into the percussion quartet “Samul Nori” and the non-verbal theatrical show “Nanta,” dramatically emphasizing the music element and thereby appealing to broader audiences at home and from abroad.

South Korea 2014

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.

Laf or hyperbola is an excessive exaggeration of any qualities or properties, phenomena, processes in order to create a vivid and impressive image. This is often found in oral folk work, for example, dastans and myths. In Uzbeks, this can also be seen in everyday life. In fiction, they are used to strengthen expressiveness, create a figurative characteristic of the hero, a vivid and individual idea of him.

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.

Spectacular art is ancient form of folk theatre. Its roots are to be found in the shows of tribal times. It existed before and can be seen now, and it embodies and reflects themes in folk life. Notably, the word "oyin" ("game", 'dance") has been long associated with this art for. Almost all types and forms of professional folk spectacular arts (such as performances and shows by maskharaboz, qiziqchi (actors, clowns), raqqos (dancers), dorboz (rope walkers), nayrangboz (illuzionists), mullakchi (acrobats), chavandoz (horsemen), yogoch oyoq (stilt walkers), ayiq, echki, ilon, maymun oynatish (tamers of bears, goats, monkeys and snakes), askiyaboz (wisecrackers), qogirchoqboz (puppeteers)) were called with a single word – "oyin", while their performers – "oyinchi" (the ones, who perform this activity).

Rope walking and under-rope performances are a genre of folk-spectacular art and have deep history. Some written sources testify that in the palace of Amir Temur magnificent performances were staged with participation of ropewalkers. There is also information that Uzbek ropewalkers demonstrated in the past (i.e. in XVIII- XIX centuries) their skills in China, India, Afghanistan, Iran, Russia and other countries. But with a lapse of time rope walking developed significantly, so that ropes began to be mounted on a much higher height. Later rope walking began to be performed in circus arenas and became an integral part of circus art. Notably, the performances of ropewalkers were always combined with those of polvons (strongmen), illusionists, dancers, qiziqchi and askiyachi (comedians and wisecrackers) as well as with traditional circus-related performances (such as walking on stilts, tricks, acrobatics, equilibristic, legerdemain; tamed bears, snakes, monkeys, horses, goats, etc.).

Knowledge and practices related to year seasons are the result of centuries-old observations of nature applied to the life. For many centuries and millennia, people carefully collected folk signs about nature. Every trifle, every natural phenomenon not even significant at first glance, could one day become a reliable harbinger of an important event in human life. Taking into account the relationship between certain natural phenomena, a person remembered them in the form of short acceptances, which over time were transmitted from father to son, from grandfather to grandson. Many of these will not lose their relevance to this day, and some have long passed into the category of superstition.

Cultural environment - a set of sociocultural objects related to the creation and dissemination of cultural values, as well as the style and nature of cultural relationships of people, cultural and everyday conditions and a spiritual and moral atmosphere in society.

The traditional folk calendar is a kind of encyclopedia of life with its holidays and weekdays. The broader definition of the calendar is related to the collection of diverse knowledge about nature, society and man and the traditional use of this knowledge. Proceeding from this definition, perhaps to designate also the concepts "calendar ceremonialism", "calendar ceremony" as which it is necessary to understand the ceremonies which are executed periodically in certain time of an annual cycle.

Sweets are an integral part of the national cuisine. Uzbek cuisine is famous for its confectionery products based on natural ingredients: nuts, honey, fruits, berries and sugar. As a rule, it is customary to prepare national sweets without fail before the holidays for family events. A meal will not be complete without sweets such as: - Zangza - rather fatty brushwood - Kush-tili - deep-fried butter dough - Nishalda - thickly whipped protein with sugar - Parvarda - homemade caramel sweets, rolled in flour - Halvaitar - halva, the consistency of which is slightly thinner than usual - Pashmak - a kind of cotton candy (denser than traditional) - Behi-dulma - resembles stuffed apples. Quince is stuffed with nuts, honey, sugar and baked - Sumalak - a sacred sweetness made from sprouted wheat, which is mainly prepared before Navruz - Baursak - buns of sweet yeast dough fried in a large amount of oil - Urama - reminds brushwood. sweet dough, wrapped in tubes, fried in boiling oil - Chak-chak is a sweet dish, which is made of dough in the form of "vermicelli", cubes or balls, filled with honey syrup.

Cultural space of Baysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of Humanity of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Baysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Baysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

Uzbekistan 2008

Katta ashula is a vocal direction, a song genre typical for the Ferghana Valley, in which peculiar style and manner of singing is observed. It is performed by two or more singers in turns and without accompaniment of musical instruments. Katta Ashula is characterized by laconism (in means of expression), expressiveness (in music language), dynamism (in melodic development) and bright emotionality. Its figurative structure (or style) is closely connected to the traditional (classical) poetry of lyrical and philosophical nature. And ghazals of Navoi, Lutfi, Mashrab, Khazini, Muqimi, Furqat, Zavqi, Miskin serve as main poetic texts in this genre. Though, since the XX century the poems of contemporary Uzbek poets (such as Sobir Abdulla, Charkhi, Chusti, Akmal Polat, Khabibi, and others) as well as examples of folk poetry have been widely used. In terms of subject matter katta ashula songs can be divided into love-lyrical, didactic, religious and contemporary ones. The origins of katta ashula genre should be looked for in ancient folk-ritual chants, songs of "praise" (such as marsiya, navkha, ayolgu), agriculture- and labor-related songs with their original combination of recitative-declamatory beginning and chanting; and in distiches of ghazals (ghazalkhonlik), written in aruz prosody. Performance with high-pitched voice, existence of culmination parts, clarity of words for and their impact to the listeners – all these are features of this type of song. Katta ashula has several genres, such as “Yovvoi maqom” (“Yovvoi Ushshoq”, “Yovvoi Chorgoh”),"Yovvoyi asula" ("Yovvoyi Tanovar", "Yovvoyi Munojat"), "Yakkahonlik" ("Ohkim, gulzorim qani topmadim"). Notably, the emergence and development of Katta ashula genre is closely linked with existence of corresponding performance schools, which stand out with their style of interpretation, manner of singing and bearers. From among katta ashula performance schools it is possible to mention Qoqand, Margilan, Andijan, Namangan and Tashkent performance schools.

Uzbekistan 2009