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ICH Elements 26
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Kyrgyz epic trilogy: Manas, Semetey, Seytek
Kyrgyz Epic Trilogy "Manas. Semetey. Seytek" represents three interconnected parts of Epos created more than millennium ago. Manas is the epic hero who united scattered tribes into one nation – Kyrgyz. Deeds of Manas were continued by his son Semetey and his grandson Seytek. Trilogy became the immortal spirit and basic identity of the Kyrgyz. Kyrgyz people did not preserve their written language, therefore, they attach great importance to the oral Trilogy which has preserved their historical memory. World-wide known writer Chinghiz Aitmatov stressed that Epic Trilogy is a synonym of Kyrgyz and is an encyclopaedia of their life. It is one of the biggest epics in the world; its version contains 500 553 lines. Today there are more than 80 versions. Kyrgyz people say: “There is no Trilogy without tellers”. Trilogy lives thanks to community of epic tellers - manaschies, semeteychies, seytekchies. Continuous epic narration may last many hours in a row. Epic tellers believe that Trilogy narration is their mission assigned from above; it gives them sense of identity and continuity.
Kyrgyzstan 2013 -
“Sanjyra”
Sanjyra is the oral listing of ancestors on the straight male-line. It was compulsory for everyone to know his ancestors as the Kyrgyz identified themselves through a link with clan and tribe. Sanjyra provided answers to the questions such as: “Who are you?”, “Who were your father, grandfather?”, “From which family are you?”. That is why there is a saying: “Those who do not now their ancestors will become slaves”. The Kyrgyz genealogy consists of three large groups: right wing (on), left wing (sol) and the ichkilik (inner) group. Similar to many genealogies of other nations, it represents a sprawling crown of a tree (tree of life). Intertribal hierarchy was built on the male-line by giving the male names to the titles of tribal clans.
Kyrgyzstan -
CHENAKHOI KHALQI
Folk metrology. Traditional knowledge and practice of measurements, methods and means to ensure their unity and ways to achieve the required accuracy.
Tajikistan -
Art of Akyns, Kyrgyz epic tellers
The predominant form of cultural expression among the Kyrgyz nomads is the narration of epics. The art of the Akyns, the Kyrgyz epic tellers, combines singing, improvisation and musical composition. The epics are performed at religious and private festivities, seasonal ceremonies and national holidays and have survived over the centuries by oral transmission. The value of the Kyrgyz epics lies largely in their dramatic plots and philosophical underpinnings. They represent an oral encyclopedia of Kyrgyz social values, cultural knowledge and history. The pre-eminent Kyrgyz epic is the 1000-year-old Manas trilogy, which is noteworthy not only for its great length (sixteen times longer than Homer’s Iliad and Odyssey), but also for its rich content. Blending fact and legend, the Manas immortalizes important events in Kyrgyz’s history since the ninth century. The Kyrgyzs have also preserved over forty “smaller” epics. While the Manas is a solo narration, these shorter works are generally performed to the accompaniment of the komuz, the three-stringed Kyrgyz lute. Each epic possesses a distinctive theme, melody and narrative style. Akyns were once highly respected figures who toured from region to region and frequently participated in storytelling contests. They were appreciated for their proficiency in narration, expressive gestures, intonation and lively facial expressions, so well suited to the epics’ emotionally charged content.
Kyrgyzstan 2008
ICH Materials 66
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Yurt Production
Preserving and transmitting craftsmanship for centuries, a yurt is not a mere dwelling, but also a creative workshop for folk art. Yurt embodied all kinds of decorative and applied arts. Meeting all the demands of everyday life, it carries both aesthetic and ritual functions.
Kyrgyzstan 2017 -
Bhutanese Traditional Xylographic Printing(CLEAN)
#bhutan #bhutantravel #bhutanculture #유네스코아태무형유산센터 #unesco \n\nThe Bhutanese tradition of xylography and printing was begun in the 15th century by Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521) and his sons, creating the root of virtues for the wellbeing of both living and dead in the country. Thereafter, the biography of the Terton and his collected works were printed on woodblocks and distributed to his residential monasteries and his patrons both in Bhutan and Tibet.\n\nFollowing the arrival of Zhabdrung Ngawang Namgyal (1594-1651) in Bhutan, the hitherto divided country was united under the main influence of the dual system of governance. Thereafter, the successive abbots of the monastic system and heads of the temporal system and then the successive far-sighted kings of the Wangchuck Dynasty, together with the heads of various other schools of Buddhism have continued to uphold the tradition. Skills training in woodblock making, engraving and printing were facilitated to provide sufficient copies of works on science and crafts, and the biographies and excellent teachings to be distributed to the communities of ordained monks and practitioners, dzongs and temples throughout the country. Therefore, Trashigang in the east, Trongsa in the centre, and Punakha and Paro in the west of the country became popular centres for such activities, until the reign of 3rd King Jigme Dorji Wangchuck (1928-1972).\n\nStarting 1970s, however, distribution has entered into a commercial phase, with increasing numbers of scriptural works being offset printed in India and then returned to Bhutan for distribution. At the same time, the interest in and practice of the traditional method of printing on woodblocks have been gradually losing their value among the users. Nowadays, printing machines have been set up in ever increasing numbers countrywide and these can produce, in larger quantities and within a very short time, scriptural volumes and other books that have a clear typeface, and are colourful and pleasing in appearance. On the one hand, this is a clear indication of progress in economic development, but on the other, this has become one of the main reasons for losing the precious heritage of woodblock print, among others.\n\nTransmission method\nIn Bhutan, the transmission of the knowledge and skills related to Xylography printing is usually undertaken by teaching or engaging the interested candidates in the printing process. The process normally requires two persons for better results, but one person alone can also do the job in cases of urgency when there is no one else available to help. The woodblock is first placed flat on a printing bench. The following steps are followed for printing.\n\nFor more information please visit \nhttps://www.ichlinks.com/archive/elements/elementsV.do?nation=BT&page=1&urlAnchor=txt&elementsUid=13874510342886677176&mode=grid&searchText=printing&orderCd=A&countrys=BT
Bhutan 2023-07-01
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To‘sma Yo‘limni (Do Not Stand in My Way, Lapar) by Laylokhon Khakimova
Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform lapar songs composed of four-lined ghazals in two groups. Through lapar songs, girls and boys express their love to each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.
Uzbekistan 2015 -
Bahorimdan O‘rgilay (I Admire You My Spring, Lapar) by Karomat Mamajonova
Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform lapar songs composed of four-lined ghazals in two groups. Through lapar songs, girls and boys express their love to each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.
Uzbekistan 2015
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Kyrgyz Manas Epic Visualized through Motion Comic and Mobile ApplicationManas is the largest Kyrgyz epic and the name of its main character—the hero, who united the Kyrgyz. Manas is included in the UNESCO list of masterpieces of the intangible cultural heritage of mankind, as well as in the Guinness Book of Records as the most voluminous epic in the world. The Manas epic is divided into three parts: “Manas,” “Semetey.” and “Seytek.” The main contents of the epic are the feats of Manas. The Sagymbai Orozbakov (1867–1930) and Sayakbay Karalaev (1894–1971) Manas versions are considered classics. Modern scholars have not come to a consensus about when the epic originated. Hypotheses put forward indicate that it is connected with events of the Kyrgyz people of the ninth century. Some historians believe that the historical background corresponds to conditions of the fifteenth to eighteenth centuries but that it also contains more ancient ideas. Also, many historians point out that the epic time in Manas is not mythical, but historical.\n\nLast year, there was a youth hackathon event to create multimedia contents on intangible cultural heritage. Uluu Ash, a motion comic based on Manas, was made at this event. A motion comic is one in which sound or music is added to illustrations, and some pages show moving pictures, which is different from an animation with moving pictures throughout.\n\nAk Shumkar KUT public association, a Kyrgyz NGO, implemented the motion comic project with the support of the Institute for Sustainable Development Strategy, public foundation. During the hackathon, project participants developed a demo version of the mobile application named Manas, and a script was written for the motion comic. Later, the film working group, which included animators, artists, journalists, scriptwriters, musicians, and Manas reciters, continued to work and eventually made the film.\nUluu Ash, the film’s title, is one of the most important scenes in the epic. The glorious Kyrgyz Khan Kekötöy, having reached old age, leaves a testament to his son Bokmurun with instructions on how to make a burial and how to arrange all the posthumous rites. He also bequeaths to seek advice from Manas. Having buried Kökötöy, Bokmurun prepares a memorial service for his father. Manas takes over the entire administration. Many visitors from distant countries come to the ceremony. The Kyrgyz people gathered the representatives from Asia and Europe. The more important point in this ceremony was the advice of wise men and brave warriors at the end of the commemoration, which is described in the film.\n\nDuring the hackathon, an informal platform was formed to generate ideas for promoting elements of intangible cultural heritage among young people. This platform has its further development as a club for young creative minds to enhance comprehension and promote traditional culture. One of the products of the event was a mobile application of Manas. The application is informative and educational. It has been growing with subsequent addition and expansion of its content. This epic product is being made for the first time, and hopefully will provide a good example for young people to show the possibility that spiritual and cultural heritage may even now be the most vital element determining future and development prospects.\n\nphoto 1 : Capture from the Uluu Ash motion comic ⓒ Ak Shumkar KUT Public Association\nphoto 2 : Showing the Manas mobile application ⓒ Ak Shumkar KUT Public AssociationYear2019NationKyrgyzstan
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EPIC OF MANAS AS NATIONAL IDENTITY OF KYRGYZ PEOPLEThroughout their history, the Kyrgyz people have lived nomadically, which then determined the direction of their cultural and spiritual life. This idea comes to life quite easily when examining the intricacies of Kyrgyz folk art and epic poetry, in particular. The main core of Kyrgyz epic poetry is Manas.Year2014NationSouth Korea