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transportable
ICH Elements 3
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Traditional knowledge in making Kyrgyz yurt ‘Boz ui’
The yurt is a nomadic dwelling used Kyrgyz people. It has a wooden circular frame covered with felt and braided with ropes, and can be easily assembled and dismantled within a short period of time. The bearers of yurt-making knowledge are craftspeople, both men and women, who produce yurts and their interior decorations. Yurts are made from natural and renewable raw materials. Men and their apprentices make the wooden frames by hand, along with wooden, leather, bone and metal details. Women make the interior decorations and exterior coverings, ornamented with traditional zoomorphic, vegetative or geometric patterns. All festivities, ceremonies, births, weddings and funeral rituals are held in a yurt.
Kyrgyzstan 2014 -
Kazakh traditional yurt (nomadic dwelling)
Yurt (kaz. 'kigiz uy', 'kiiz uy') - portable housing with dismountable wooden circular frame with felt covering. Its origins date back to the era of ancient Turkic nomads. For modern population of Kazakhstan yurt is not only housing, and the model of the universe; it is also a symbol of their national identity. A yurt is a round folding wooden frame covered with felt and rope weaving. The frame of the yurt consisting of four parts: •\tkerege - ready-sliding base •\t'uyk' ('uyq') - dome poles, roof (modern) •\tshanyrak ('shanyrak') - circular top, a chimney and a window (modern) •\tyessyk ('esik') - double doors (modern) Tent can be easily assembled and disassembled in a short period of time. Yurt is mainly characterized as easily transportable, compact, ecological and practical home. The yurt used as livestock housing in their daily life and urban residents as a gazebo, which reinforces the sense of the continuity of the traditions of their ancestors.
Kazakhstan 2014 -
Traditional knowledge and skills in making Kyrgyz and Kazakh yurts (Turkic nomadic dwellings)
Yurt production includes knowledge and skills in creating a portable dwelling traditionally used by Kazakh and Kyrgyz people. Yurt has a dismountable wooden circular frame covered with felt and braided with ropes. Yurts can be easily set up and dismantled within a short period of time. Yurts are basically characterized as easily transportable, compact, ecological and practical dwellings. Bearers of yurt-making traditional knowledge are craftspeople (men and women), producing yurts and yurts’ interior decorations. Men and their apprentices make yurts’ wooden frames, traditionally by hand using special devices and instruments. Men also make wooden, leather, bone and metal details for yurts and household items. Women make yurt coverings and interior decorations. As a rule, they work in community-based groups supervised by experienced skilled women-artisans. Women-artisans use weaving, spinning, braiding, felting, embroidering, sewing, winding and other traditional handicraft technologies. Women’s work- process is usually accompanied by their singing, joking, telling stories about famous masters of the past and treating traditional meals. Clans’ wise elders are also bearers. Knowledge and skills are transmitted through generations traditionally from masters to their apprentices (oral instructions, practical classes, joint production). The element is a great value and heritage received genetically or through learning, enriched by masters and transmitted to young generations. Joint production of yurts gives craftspeople the “one-family” feeling; the use of yurts by livestock-breeders as their dwellings in everyday life and by urban citizens as their summer-houses generates the feeling of continuity of ancestors’ traditions. Yurts are an obligatory part of all national festivities, traditional events and funeral-memorial rituals; yurts are kept in the family and transmitted from parents to their children as a sacred family relic ensuring ancestors’ protection. For Kyrgyz and Kazakh people the Yurt is not only a dwelling and the Universe model; but also a symbol of their national identity. Yurt’s top crown shanyrak and tyundyuk are depicted on the state symbols of Kazakhstan and Kyrgyzstan – coat of arms and flag. Kyrgyzstan and Kazakhstan Heads of State receive honourable guests in Yurt.
Kyrgyzstan,Kazakhstan 2014
ICH Materials 18
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Living Heritage Series-Traditional Musical Instruments
ICHCAP published the book Living Heritage Series – Traditional Musical Instruments in collaboration with the ICH NGO Forum’s #HeritageAlive.\n\nProven from a long history, music shares thoughts and emotions among community members who play the instruments and enjoy it. This book was made with the contributions of fifteen writers from countries across the globe. The authors describe the current status of traditional music and provide insight on how to revitalize these traditions based on the 2003 Convention.
South Korea 2021 -
2022 Living Heritage Series: Water
ICHCAP published the book Living Heritage Series, Water: Interconnectivity between Intangible Cultural Heritage and Science in collaboration with the i-WSSM.\n\nThe subject of this publication is water. This book was made with contributions of nine authors with stories about ‘water management’ and ‘water and culture’ of the Asia Pacific region. The objective of the publication is to expand the boundary or interface of water centering on Sustainable Development Goals (SDGs) 6, Clean Water and Sanitation.
South Korea 2022
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3. Safeguarding the Furruco and the Cirrampla of Casanare, ColombiaColombian cultural diversity is marked by its triethnic influence from European, indigenous, and African traditions, added to a strong regional division due to the geographical differences throughout its territory. One of those regions is found on the eastern side, called Llanos Orientales(eastern plains), whose traditions are also shared with Venezuela, with four main departments: Arauca, Casanare, Meta, and Vichada. The llano folklore is undoubtedly the main element that culturally identifies the Casanare department, and from this phenomenon is where the idiosyncrasy and feelings of the llanero people come. \n\nHowever, as is the case with all cultural phenomenon, it is not static and immutable. It is on the other hand, variable and mutable. Thus through time and from different economic, political, geographical, and religious circumstances, among others, the musical traditions have been presenting a series of changes and transformations that have been visible in each period of the region's history. In this historical process, specific stages can be identified where some musical instruments are presented as the soul of the llanos musical tradition, reaching what we commercially know today as the Llanero ensemble, namely: harp, cuatro, maracas, and bass. However, these instruments have not been the same throughout history.Year2021NationColombia
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5. Sustainability, Landscape Context, and Water Puppet Culture in the Red River Delta, VietnamWater puppetry is identified widely as an artistic form that has sprung from the characteristics of particular landscapes and the lives and shared stories of their communities. In the Red River Delta (RRD) in Vietnam, it is documented as having developed in the rice-growing area in the tenth/eleventh century (Dunning, 1996 2021; Gaboriault, 2009), with the first physical evidence of performance held in the Th\nầy Temple, Hà Tây Province, during the Late Lê (Ly) Dynasty (1428–1778). The inscription on the Sùng Thiên Diên Linh stone stele (tablet) of 1121 at the Doi San ̣Pagoda, Duy Tien District (around 50 kilometers from Hanoi), provides evidence of water puppetry based on stories that reflect local lives and livelihoods and mythical creatures such as the golden tortoise, fairies, and flocks of birds and animals singing and dancing (Hai, 2006). Water puppet performance is a collaboration between puppeteers, musicians, the audience, and, \nimportantly, the character of the staging and spatial context of the performance within water landscapes. Today, performances generally consist of a series of short vignettes based on stories of traditional delta life and livelihoods, commonly interspersed with folk tales and mythological characters.Year2022NationUnited Kingdom