ALL
literature
ICH Elements 7
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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 -
Spells and Incantations
Spells and incantations are the ancient forms of ritualistic poetry accustomed since tribal development. They consist of few lines with firm words which endeavor to achieve their ends through the supernatural powers of words, sounds, and gestures. Spells and incantations are unique in a way that they are not used towards human but only towards natural phenomena. Spells and incantations are the ancient form of the literature that features the behavior to reach the goal with use of words, gestures and magic. Spells and incantation are classified into ordinary and special level. There is no restraint to the ordinary spells and incantation, and everybody can say and do it whatever time they wish. In reverse, only experienced person can do the special spells and incantations.
Mongolia -
The art of Bài Chòi in Central Viet Nam
Bài Chòi is a diverse art form combining music, poetry, stage acting, painting and literature. It takes two main forms: "Bài Chòi games" and "Bài Chòi performance". "Bài Chòi games" are played during Lunar New Year by Việt people of Central Việt Nam. To play Bài Chòi, nine or eleven bamboo huts are built in a U-shape within a temple yard or in a vacant ground. The hut placed at the bottom of the U shape is called "main hut" (chòi cái), and the game leaders, who can be either male or female, are called Hiệu artists. The game leader takes a card out of a tube of cards, and then sings for people to guess what the card is. This part is called "Hô Thai". Players buy three cards and wait in the hut. Anyone whose three cards match the cards sung by the Hiệu artists will be declared the winner and given the prize. A new session will then restart. "Bài Chòi performance", male and female Hiệu artists perform on a rattan mat. They either travel from place to place to perform, or otherwise are invited to play for private families, forming rattan-peforming or mobile Bài Chòi styles. A single artist may also perform "solo Bài Chòi". In this case, the artists performs a number of theatrical roles. For some artists, Bài Chòi performances are a mean of earning a living. Musical instruments accompanying Bài Chòi include the two-stringed fiddle, clappers, shawm and war drums.
Viet Nam 2017
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BAYT
Two-line small poetry form. Also it has popularity in written literature.
Tajikistan
ICH Materials 29
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Dastan
The art of doston narration — is one of the bright examples of poetic folklore’s epical traditions and intangible heritage. Initially the compositions were created in the form of songs, without any musical instruments, subsequently, the songs with the accompaniment of some musical instruments, such as drum, qo’biz (string instrument), etc, were created. Ancient examples of dostons came into existence during the times of primitive society among Turkish tribes. Master-apprentice traditions evolved as the number of creators of narrators of epic dostons and performers increased. There are different schools of doston narration in Uzbekistan, such as Bulungur, Narpay, Kurgon, Khorezm, Shakhrisabz, Sherobod, Karakalpak, Kamay and Piskent.
Uzbekistan -
Dastan
The art of doston narration — is one of the bright examples of poetic folklore’s epical traditions and intangible heritage. Initially the compositions were created in the form of songs, without any musical instruments, subsequently, the songs with the accompaniment of some musical instruments, such as drum, qo’biz (string instrument), etc, were created. Ancient examples of dostons came into existence during the times of primitive society among Turkish tribes. Master-apprentice traditions evolved as the number of creators of narrators of epic dostons and performers increased.There are different schools of doston narration in Uzbekistan, such as Bulungur, Narpay, Kurgon, Khorezm, Shakhrisabz, Sherobod, Karakalpak, Kamay and Piskent.
Uzbekistan
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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 -
Syair
Syair is a form of traditional Malay poetry that is made up of four-line stanzas or quatrains. The syair can be a narrative poem, a didactic poem, a poem used to convey ideas on religion or philosophy, or even one to describe a historical event.\n\nThe word syair is derived from the Arabic word shi’r, a term that covers all genres of Arabic/Islamic poetry. However, the Malay form which goes by the name syair is somewhat different and not modelled on Arabic poetry or on any of the genres of Perso-Arab poetry.\n\nThe earliest known record of syair is from the work of Hamzah Fansuri, a famous Malay poet in the 17th century.The most famous syair is a 1847 poem by Raja Pengiran Indera Mahkota Shahbandar: Syair Rakis. It is considered to be the passage to modern Malaysian literature.
Malaysia