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ICH Elements 5
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Flatbread making and sharing culture: Lavash, Katyrma, Jupka, Yufka
The culture of flatbread making and sharing, represented with the names Lavash-Katyrma-Jupka-Yufka, is a set of traditional knowledge, views, skills and rituals related to preparation, baking, storing, using and sharing of traditional thin bread that performs specific cultural and social functions within the related communities in Azerbaijan, Iran, Kazakhstan, Kyrgyzstan and Turkey and is transmitted from generations to generations. Flatbread tradition is a symbol of shared cultural identity and serves expression of mutual respect among communities. The five countries share a number of common features, skills and knowledge related to preparation and use of the flatbread. Tradition bearers usually prepare the flatbread from unleavened or leavened dough based on flour, salt and water, while also adding sometimes milk, butter, sesame and poppy seeds. Communities use different types of crops to prepare the dough, such as wheat and rye. The dough is rolled by hand or using a dough roller into round or oval shape. In Azerbaijan, Iran, Turkey and some communities of Kyrgyzstan, flatbread is baked in earthen or stone ovens called “tandyr” or “tanūr” buried into the ground. Some communities in Azerbaijan, Iran, Kazakhstan and Turkey bake the flatbread (yufka or lavash) on a metal plate known as “sac” (“saj” or “sāj”) over the fire. Communities in Kyrgyzstan and Kazakhstan bake the flatbread by laying out rolled dough in big cauldrons (‘kazan’) heated on fire. As a result of this baking style, practitioners manage to maintain nutritious qualities of the flatbreads and store them for several months without refrigerator. Various methods, techniques, instruments and substances are used by flatbread-preparing practitioners. The preparation of flatbread involves traditional practices based on collective labour and sharing within family and neighbourhood. As expression of social solidarity in rural areas, families prepare and bake flatbread together with their neighbours, especially as a preparation for winter. The flatbread is baked both at homes by family members and flatbread bakers, who learn the practice through a master-apprentice relationship. The flatbread preparation bears a great variety of social and cultural functions for its communities in terms of its usage at special occasions and its relation to transition between seasons. Communities of five countries consider flatbread preparation places sacred. In Kazakhstan, communities believe preparing flatbread at funerals helps the deceased get protection from the burning Sun, while waiting for decision of the God. To wish prosperity and wealth to newly-married couple, in Azerbaijani and Iranian weddings the flatbread lavash is often put on shoulders of the bride, while in Turkish weddings dried flatbread yufka is crumbled over the head of the bride. In Kyrgyzstan, tradition bearers believe that flatbread helps sick people. In some religious ceremonies and traditional weddings in Iran flatbread is served as a component of the sacred offering. During the preparation of flatbread, it is shared with all passers-by as a sign of hospitality. Flatbread culture is expression of belonging to common cultural roots. It reinforces cultural links and serves as marker of hospitality, conviviality and friendliness within the societies of five countries.
Azerbaijan,Iran,Kyrgyzstan,Kazakhstan,Turkey 2016 -
Beonwajang (Tile Roofing)
National Intangible Cultural Heritage, Republic of Korea It is not known exactly when Koreans began covering their houses with tiles, but archaeological excavations suggest that tiles had become an important roofing material by the Three Kingdoms Period (1st century BCE ~ 7th century CE). This suggests that tile makers and roofers with highly advanced skills were in business at the time. According to historical records, there were even wabaksa (literally meaning “tile experts”), some of whom went over to Japan and taught their skills to the Japanese. The government of the Joseon Dynasty set up Waseo (Bureau of Roof Tiles) in 1392, the first year of the reign of its founding monarch, King Taejo, to oversee roof tile production. In 1406, the sixth year of the reign of King Taejong, it was renamed Byeorwayo (Special Kiln for Roof Tiles) to concentrate more on distribution. Aside from tile-making technicians, Buddhist monks were assigned to the office to produce and distribute tiles in massive quantities. Two types of artisans participated in making tile-covered roofs: the roof tile makers called wagong or wajang but were sometimes called wabyeokjang as well because they produced bricks as well as roof tiles, and; the roofing technicians, called gaejang, literally meaning the “covering artisan.” In Korean, beonwa meant both “roof tile production” and “roofing with tiles”; in Chinese characters, however, the word is written differently: “燔瓦” for the former and “瓦” for the latter. Roofs constitute an important aesthetic element of traditional Korean architecture. The gently curved roof lines accentuating the beauty of traditional Korean-style wooden buildings require the sharp eyes and deft hands of skilled roofers. The traditional tile roofing technique has been designated as an important intangible cultural heritage so that the ingenious skills of roofers can be preserved and transmitted to future generations.
South Korea -
Olan (Singing)
Olan is one of the well-preserved types of folk song art in Uzbekistan. The beauty of them lies in the possibilities of improvisation, the simplicity of rhythms, and paying special attention to the text when performing. Aytys available to the brotherly Kazakh and Kyrgyz peoples has a connection with our Olan. Olans are executed without instrumenttal tracking. Olans are alternate singing and the exchange of lines between a guy and a girl. Replicas can also be exchanged between performer groups. Various topics are used, mainly love.
Uzbekistan -
RUBĀI, dubayti
Ruboi – distich – a poetry form that is consisted of four lines. Rubois are created about love, social problems and etc.
Tajikistan
ICH Materials 12
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O`lan by Zebikhon Abdunazarova
O`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 opposing sides so they can perform as though they are having a dialogue.
Uzbekistan 2015 -
Yor-Yor by Jamilakhon Nasriddinova
O`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 opposing sides so they can perform as though they are having a dialogue.
Uzbekistan 2015