Materials
oral folk
ICH Materials 180
Videos
(10)-
The Art of Doston Narration in Uzbekistan
" Uzbekistan has three regional styles of doston performance: Surkhondarya-Qashqadarya, Khorezm, and Karakalpak. In the Surkhondarya-Qashqadarya style, the doston narrator performs in a guttural voice and accompanied by drum (two-stringed musical instrument). In the Khorezm style, doston songs are performed in a simple voice and accompanied by tor, doira, and bolaman.\n\nThe Karakalpak style of doston is performed in two ways: Romantic dostons are accompanied by karakalpak dutar and ghijjak; heroic epic performances are accompanied qo’biz (very ancient stringed instrument).\n\nThis film includes representatives of all three schools. We learn about their lifestyles, master-apprentice traditions, and processes to prepare certain musical instruments. Recording was conducted in Kashkadarya, Surkhondarya, and Khorezm regions and in the Republic of Karakalpakstan."
Uzbekistan 2017 -
Shashmaqom music
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.
Uzbekistan -
Ca trù Singing
Ca trù is a complex form of sung poetry found in the north of Viet Nam using lyrics written in traditional Vietnamese poetic forms. Ca trù groups comprise three performers: a female singer who uses breathing techniques and vibrato to create unique ornamented sounds, while playing the clappers or striking a wooden box, and two instrumentalists who produce the deep tone of a three-stringed lute and the strong sounds of a praise drum. Some Ca trù performances also include dance. The varied forms of Ca trù fulfill different social purposes, including worship singing, singing for entertainment, singing in royal palaces and competitive singing. Ca trù has fifty-six different musical forms or melodies, each of which is called thể cách. Folk artists transmit the music and poems that comprise Ca trù pieces by oral and technical transmission, formerly, within their family line, but now to any who wish to learn. Ongoing wars and insufficient awareness caused Ca trù to fall into disuse during the twentieth century. Although the artists have made great efforts to transmit the old repertoire to younger generations, Ca trù is still under threat of being lost due to the diminishing number and age of practitioners.
Viet Nam 2013 -
Cultural Space of Boysun, Uzbekistan
Representative List of the Intangible Cultural Heritage of Humanity, 2008\nCultural space of Boysun was proclaimed a Masterpieces of the Oral and Intangible Cultural Heritage of Humanity in 2001 and inscribed onto the Representative List of Intangible Cultural Heritage of Humanity in 2008.This film contains information about the Boysun district’s nature and the cultural processes related to craftsmanship, folk performance, traditional medicine, and others.Strong aspiration to preserve traditional lifestyles of the local people was observed during filming process in 2016 and 2017. An example of this is the increasing number of followers of the folk-ethnographic ensemble called Boysun.
Uzbekistan 2017 -
Uzbekistan Cultural Space of Boysun (Highlight)
Cultural space of Boysun was proclaimed a Masterpieces of the Oral and Intangible Cultural Heritage of Humanity in 2001 and inscribed onto the Representative List of Intangible Cultural Heritage of Humanity in 2008.\nThe current film contains information about the Boysun district’s nature and the cultural processes related to craftsmanship, folk performance, traditional medicine, and others.\nStrong aspiration to preserve traditional lifestyles of the local people was observed during filming process during 2016 and 2017. An example of this is the increasing number of followers of the folk-ethnographic ensemble called Boysun.
Uzbekistan 2017 -
Mongol Tuuli, Mongolian Epic
Mongol Tuuli is an oral tradition comprising heroic epics that run from hundreds to thousands of lines and combine benedictions, eulogies, spells, idiomatic phrases, fairy tales, myths and folk songs. They are regarded as a living encyclopedia of Mongolian oral traditions and immortalize the heroic history of the Mongols. Epic performers are distinguished by their prodigious memory and skills, combining singing, vocal improvisation and musical composition coupled with theatrical elements. Epic lyrics are performed to musical accompaniment on instruments such as morin khuur and tovshuur. Epics are performed during social and public events, including state affairs, weddings, a child’s first haircut, naadam and worship of sacred sites. Epics evolved over many centuries, and reflect nomadic lifestyles, social behaviors, religion, mentalities and imagination. Epic performers cultivate epic traditions from generation to generation, learning, performing and transmitting techniques within kinship circles, from fathers to sons.
Mongolia -
Awang Batil
Introduction\n\nIn Malaysia, there is a living traditional art where a storyteller develops the oral tradition, otherwise known as oral literature.\n\nOral tradition is the original source of Malay literature and translated into written literature. One of the practitioners of this oral tradition is known as 'Awang Batil'. Apart from specialised storytellers such as Awang Batil, there are other transmissions of oral literature throughout the country, especially in villages through folk stories or stories of elders that are collected, rewritten and made into collections for children to read.\n\n\nAwang Batil\n\nAwang Batil is a storyteller who provided entertainment and education to the people, especially to the villagers and local community. Awang Batil entertains and educates the community through many classic stories that he inherited. Through those stories, the community is entertained and educated.\n\nOnce upon a time, Awang Batil functioned as a story book, novel, radio, television, movie or video as it is now. He would travel from house to house, village to village, state to state including the state of Kedah, Penang and some areas in the Southern Region of Thailand, especially the Setol Region.
Malaysia -
Askiya, the art of wit
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 -
Folk knowledge and method of upbringing and educating children
The one and main principle for upbringing and educating children and youth is to direct them to have respect towards their elders and to follow and venerate their teachings. It is accustomed to employ the combination of variety folk upbringing and educating methods such as approving and supporting, encouraging and praising, disapproving and prohibiting, reproving and criticizing, serving as an example and causing to follow. Folk aphorisms, proverbs, folk oral literature, traditional games and toys are commonly used as well. Mongol herders have been educating and nurturing their children and youths from very young age by engaging in the labor activities which appropriate to their age, and working together with their parents and siblings; playing traditional games, engaging with nature and to make a disciple of well-educated person.
Mongolia -
Intangible Cultural Heritage Elements of Ferghana Valley_Collection on Intangible Cultural Heritage Elements of Ferghana Valley
Intangible Cultural Heritage Elements of Ferghana Valley_Collection on Intangible Cultural Heritage Elements of Ferghana Valley\n\n1. Yalla\nYalla, a widespread folklore song genre, is made up of words that come from poems by classic and modern poets. The songs are accompanied by dancing. Yalla is sung by one, two, or more people with the accompaniment of doira music or a musical ensemble. Most yalla songs are about love and affection, and they possess an attractive, charming, and jolly character.\n\n2. Alla\nAlla (lullaby) is an oral form of ICH sung by one person, usually a mother who is putting her baby to sleep. Alla, popular among Uzbek, Uyghur, and Tajik people, is important in raising a child. Alla is highly emotive in that it allows a child to perceive not only motherly affection but also her spiritual sufferings.\n\n3. O‘lan\nO‘lan is a genre of people’s oral creation. Mainly, it is performed by women with or without doira accompaniment. At Uzbek parties and celebrations, the o‘lan is sung by a girls’ team on one side and a boys’ team on the other side, or it is sung by two people who take sides opposing each so they may perform as though they are having a dialogue. Through the o‘lan genre, people express their hopes, dreams, sorrows, and joy, and the theme of love is at the core of its content.\n\n4. Yor-Yor\nYor-yor is a folk song performed at wedding celebrations. In ancient times, it was widely spread among Uzbek, Tajik, Uyghur, and Turkmen people. Yor-yor consists of two or four lines, at the end or in the middle of each line are the words yor-yor, aylanaman (my beloved one, I am enchanted). Usually, yor-yor is accompanied by doira music performed by women. The high effect of yor-yor is that it simultaneously harmonises sadness with a merry melody and tone and the mood of holiday joys. In yor-yor songs, the bride is congratulated and is praised for her features, wishes, and cherished dreams.
Uzbekistan 2012-01-01