This article lists the practices listed in UNESCO intangible cultural heritage in Turkey.
Understand
The country has seventeen practices listed on the "representative list of intangible cultural heritage "Of UNESCO and a practice taken from the"emergency backup list ».
No additional practice is included in the "register of best practices for safeguarding culture ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| 1 The Sema, Mevlevi ceremony | 2008 | * Performing Arts * social practices, rituals and festive events | The Mevlevi are an ascetic Sufi order founded in 1273 in Konya, from where they gradually spread throughout the Ottoman Empire. Today, the Mevlevi are found in many Turkish communities around the world, but the most active and famous centers remain those of Konya and ’Istanbul. The Mevlevi are known for their gyratory dance. After a recommended fast of several hours, the Whirling Dervishes begin to spin, leaning on the left foot and using the right foot to pivot. The dancer's body must be flexible, the eyes must remain open, without fixing anything so that the images become blurry and floating. During dance ceremonies, or Sema, a particular musical repertoire called ayın is played. Comprising four parts of vocal and instrumental compositions, it is performed by at least one singer, a flautist or neyzen, a timpani player and a cymbal player. The dancers were trained in a 1,001-day retreat in mevlevi (mevlevihane) cloisters where they learned ethics, codes of conduct and beliefs through daily practice of prayer, religious music, poetry and dance. At the end of this training, they returned to their families and work while remaining members of the order. Secularization policies led to the closure of all mevlevihane in 1925. In the 1950s, the Turkish government again permitted ceremonies, but only in public, before lifting this restriction in the 1990s. Some private groups s 'strive to restore the Sema ceremony to its original spiritual and intimate character. But the thirty years of clandestine practice deprived the sema of some of its religious significance, the transmission having centered on music and songs to the detriment of spiritual and religious traditions. Today, many ceremonies are no longer held in their traditional context but in front of a tourist audience and have been shortened and simplified to meet business demands. |  |
| The art of the Meddah, public storytellers | 2008 | oral traditions and expressions | Meddahlik was a form of Turkish drama performed by a unique actor, meddah, and practiced throughout Turkey and countries Turkish speakers. Over time, similar narrative genres have multiplied in this vast geographic space, through interaction between the peoples of ’Asia, from Caucasus and Middle East. Historically, the vocation of the meddahs was not only to entertain, but also to enlighten and educate the public. These storytellers, who could be heard in caravanserais, markets, cafes, mosques and churches, propagated values and ideas among an often illiterate population. Their social and political criticism regularly sparked heated discussions on topical issues. The term meddah, from the Arabic maddah "to praise someone", can be translated as "storyteller". The meddah chooses songs and comedic stories from a repertoire of popular romances, legends and epics, and adapts them to place and audience. But it is above all the relationship that is established with the spectators that makes the quality of his performance, as well as his talent for combining imitations, jokes and improvisation, often on topical themes. This art, which attaches great importance to the mastery of rhetoric, is held in high esteem in Turkey. Although some meddahs still perform on religious and secular festivals, as well as on television, the genre has lost much of its original educational and social function due to the rise of the media, especially the emergence of positions of television in cafes. |  |
| The Karagöz | 2009 | * oral traditions and expressions * Performing Arts * social practices, rituals and festive events | Karagöz is a form of Turkish shadow theater in which figures called tasvirs, made from camel or ox skin and depicting people or things, are held at the end of stems in front of a light source to cast their shadow on a cotton canvas that serves as a screen. The play begins with the projection of a presenter character who sets the scene and suggests the themes of the story, before disappearing to the shrill sound of a whistle, giving way to the play itself, which may include vocals. , tambourine, poetry, the evocation of a myth, diction exercises and riddles. Usually comical, these stories feature two main characters, Karagöz and Hacivat, and a host of others, including a cabaret singer called Kantocu and an illusionist acrobat, Hokkabaz; they abound in puns and imitations of regional accents. The puppets are manipulated by a main artist, the Hayali, sometimes with the help of one or more assistant apprentices who are trained in this art by participating in the making of tasvirs and playing music to accompany the action. Formerly very often performed in cafes, public and private gardens, especially during Ramadan as well as during circumcision festivals, Karagöz is now performed mainly in theaters, schools and shopping centers in large cities. where it continues to attract the public. Traditional theater strengthens a sense of cultural identity, while bringing people together through entertainment. |  |
| The Âşıklık tradition (of the art of the finders) | 2009 | * oral tradition and expression * Performing Arts * social practices, ritual and festive events | The Âşıklık (founder's art) tradition is carried on in Turkey by itinerant singer-poets, called âşıks ". Dressed in traditional attire and strumming on a string instrument called saz, âşık often performs at weddings, cafes and public festivals of all kinds. The âşık is called, in a dream, to undertake the long apprenticeship in the art of playing stringed and percussion instruments, singing, oral narration and repartee which is at the heart of the vocation. The poems he recites, which usually speak of love, are written in rhymed syllabic meters and end with a quatrain in which the âşık pronounces the Mâhlas, his pseudonym. Improvisations can also include riddles, traditional storytelling, verbal and creative jousting with other âşıks, as well as verses sung with a needle in the mouth to force oneself to recite poems while avoiding the sounds B, P, V, M and F. By moving from community to community, âşıks help spread cultural values and ideas and facilitate strong social dialogue, in part through social and political satire as well as poetry on themes of topicality. At weddings, in particular, âşıks are seen as instructors and guides whose tradition draws on and enriches Turkish literary culture, as it enriches the daily life of communities across the country. |  |
| 2 Kırkpınar Oil Wrestling Festival | 2010 | * oral traditions and expressions * Performing Arts * social practices, rituals and festive events * traditional crafts | Kırkpınar Oil Wrestling Festival takes place in Edirne, in Turkey. Thousands of people from different age groups, cultures and regions travel every year to see the pehlivans (wrestlers) in search of the Kırkpınar gold belt and the title of pehlivan chief. Each festival is started by its patron, theaga of Kırkpınar, in a ceremony where forty sets of players from davul (bass drum) and zurna (flute). The gold belt is worn through the city in a procession, followed by prayers recited at the Selimiye Mosque. Wrestling tournaments are traditionally held on the “battlefield”. The master of ceremonies presents the pehlivans to the public by proclaiming in verse their names, their titles and their exploits. Then, the oiler helps the wrestlers to coat themselves with oil, assisted by the towel carrier, before the warm-up exercises and the salute. Wrestlers wear the kıspet, thick pants cut from cow or water buffalo leather. As the tournament unfolds, drummers and flute players perform the traditional festival repertoire. The Kırkpınar Oil Wrestling is open to men of all cultures, regions and age groups without religious, linguistic or racial discrimination. The pehlivans are considered exemplary figures in society with qualities such as generosity, honesty, a sense of respect and attachment to habits and customs. All the pehlivans are trained according to the master-apprentice tradition. |  |
| Traditional Sohbet meetings | 2010 | * oral traditions and expressions * Performing Arts * social practices, rituals and festive events | Traditional Sohbet gatherings play a crucial role in the transmission of popular literature, dances and music, village performances as well as societal values of Turkey. Turkish men meet indoors regularly, especially in winter, to discuss local social and cultural issues, safeguard traditions and encourage solidarity, mutual respect and a sense of community. Meetings can include music, dancing and shows, all popular entertainment while tasting local dishes. A traditional Sohbet meeting can last until the early hours of the morning. Meetings are accessible to men over the age of 15 or 16, regardless of their ethnicity, religion or status, the basic requirement being that members come from an honest family, that they are trustworthy. and respectful of their elders, and that they will not indulge in gambling or wander around while intoxicated. Members may be penalized by having to pay a fine if they miss a meeting, except in extenuating circumstances. Mothers and wives encourage male members to attend because of the social and cultural benefits associated with it. The communities generally number five to thirty people and are guided by chiefs appointed by vote or on the proposal of elders. Community members all have the same rights and obligations. Sohbet meetings have an important educational function by transferring ethical values such as social justice, tolerance, benevolence and respect. |  |
| Semah, Alevi-Bektaşi ritual | 2010 | * oral expressions and traditions * Performing Arts * social practices, rituals and festive events | Semahs can be described as a collection of mystical and aesthetic body movements performed in rhythmic harmony. They are one of the twelve great ritual services Cem, religious practices carried out by followers of the Alevi-Bektaşi order, a belief system founded on the admiration of Ali, the fourth caliph after the Prophet Muhammad. The Semahs are performed by the semahçıs (Semah dancers), accompanied by devout musicians who play the saz, long-necked lute. There are different forms of Semah in Alevi-Bektaşi communities across Turkey, each with distinct musical characteristics and rhythmic structures. A constant feature is the representation of the ritual performed by both men and women, side by side. The rituals of the Semahs are based on the concept of oneness with God which is realized through a natural cycle: the human being comes from God and returns to God. There are two forms of Semahs: the İçeri Semahs which are performed in Cems only by the faithful within the framework of the twelve services; the Dışarı Semahs which are run independently of the services in order to promote the culture of Semah to the younger generations. Semah is the most important means of transmission of the Alevi-Bektaşi tradition. All traditional practices, motifs and teachings are passed down orally, and the distinct genres of art and literature associated with the tradition continue to develop. This is how the Semahs play a crucial role in stimulating and enriching the traditional musical culture of Turkey. |  |
| The ceremonial tradition of Keşkek | 2011 | * social practices, rituals and festive events * knowledge and practices concerning nature and the universe | Keşkek is a traditional Turkish ceremonial dish, prepared for weddings, circumcision ceremonies and religious festivals. Women and men cook together in large cauldrons the dish of wheat and meat called Keşkek which they then serve to guests. The wheat is washed the day before while reciting prayers, then carried to a large stone mortar to the sound of davul (drum) and zurna (double reed flute). In the mortar, it is separated from the sound by two to four people who beat it rhythmically with pestles. The dish is usually cooked outdoors: husked wheat, bone-in pieces of meat, onions, spices, water and oil are poured into the cauldron and cooked overnight. Around noon, the strongest of the village youths are called in to beat Keşkek with wooden mallets, while the crowd cheers them on and the players of zurna perform musical pieces, announcing the thickening of the stew with a specific melody. Many expressions associated with this dish - used when selecting wheat, blessing, praying and carrying wheat, as well as during preparation and cooking - have become common expressions of daily life. In addition, the tradition includes entertainment, theater and music. Neighboring towns and villages are invited to celebrate together in the premises where the ceremony takes place. The tradition of this dish is preserved and transmitted by master cooks to apprentices. |  |
| The Mesir Macunu festivities | 2012 | * oral traditions and expressions * Performing Arts * social practices, rituals and festive events * knowledge and practices concerning nature and the universe | The mesir macunu festivities in Manisa, Turkey commemorate the recovery of Hafsa Sultan, mother of Suleyman the Magnificent, who was cured of an illness by the invention of a paste known as mesir macunu. Hafsa Sultan then asked to distribute this paste to the public. This is how every year, from March 21 to 24, the dough is prepared by a chef and his apprentices from forty-one spices and fresh herbs according to traditional practice. A team of fourteen women wrap the dough in small pieces of paper and twenty-eight imams and apprentices bless it before scattering it from the top of the minaret and domes of the Sultan's Mosque. Thousands of people flock from different parts of Turkey and compete to grab the scraps of paper as they disperse. Many believe that their desire to get married, find work and have children will come true within the year. An orchestra of forty-five musicians in traditional costume plays historic Ottoman music during the preparation of the dough and throughout the festivities to which the people of Manisa are deeply attached. The strength of tradition creates a strong sense of solidarity within the local communities and the city welcomes guests from almost all parts of Turkey. |  |
| The culture and tradition of Turkish coffee | 2013 | * oral traditions and expressions * social practices, rituals and festive events * know-how related to traditional craftsmanship | Turkish coffee combines special preparation and cooking techniques with a common culture rich in tradition. The freshly roasted beans are ground to obtain a fine powder; this ground coffee, cold water and sugar are then poured into a saucepan and cooked over low heat so that foam forms on the surface. Coffee is served in small cups with a glass of water, and is mostly consumed in cafes where people meet to chat, exchange news and read books. This tradition, rooted in the Turkish way of life, is a symbol of hospitality, friendship, finesse and fun. An invitation to have coffee with friends offers the opportunity to talk about an intimate subject or to share everyday problems. Turkish coffee also plays an important role on social occasions such as engagement ceremonies and parties; knowledge and rituals are transmitted informally by family members, through observation and participation. The coffee grounds left in the cup are often used to predict someone's future. Turkish coffee is considered part of the cultural heritage of Turkey, it is present in literature and songs, and is an indispensable part of ceremonies. |  |
| Ebru, the Turkish art of marbled paper | 2014 | * knowledge and practices concerning nature and the universe * know-how related to traditional craftsmanship | Ebru is the traditional Turkish art of creating colorful patterns by applying color pigments with a drip or brush on water to which fatty substances have been added in a container, then to transfer this design to paper. The designs and effects employed in the art of marbled paper are, among others, flowers, foliage, ornamental patterns, interlacing, mosques and moons; they are used for decoration in the traditional art of bookbinding. Practitioners use natural methods to extract the dyes from the natural pigments, which are then mixed with a few drops of beef bile, a type of natural acid, before being drip or brushed onto a preparation. thickened liquid, where they float in variegated patterns. Ebru artists, apprentices and practitioners see their art as an integral part of their traditional culture, identity and way of life. Their knowledge and skills, as well as the philosophy of this art, are transmitted orally and through practice in the framework of master-apprentice relationships. It takes at least two years to acquire basic ebru know-how. This tradition is practiced regardless of age, gender or ethnicity, and plays an important role in empowering women and improving relationships in the community. The collective art of ebru encourages dialogue through friendly exchanges, strengthens social bonds and consolidates relationships between individuals and communities. |  |
| Note Turkey shares this practice withAzerbaijan, the'India, the Kyrgyzstan, the Pakistan, the'Iran and in Uzbekistan. | 2016 | * oral traditions and expressions * Performing Arts * social practices, rituals and festive events * knowledge and practices concerning nature and the universe * traditional crafts | The Novruz, or Nowrouz, Nooruz, Navruz, Nauroz, Nevruz, marks the New Year and the beginning of spring in a very large geographical area, including, among others, theAzerbaijan, the'India, the'Iran, the Kyrgyzstan, the Pakistan, the Turkey and theUzbekistan. It is celebrated every 21 March, date calculated and originally set based on astronomical studies. The Novruz is associated with various local traditions, for example the mention of Jamshid, mythological king of Iran, with many stories and legends. The rites that accompany it depend on the location, from jumping over fires and streams in Iran to tightrope walks, placing lighted candles at the door of the house, to traditional games. , such as horse races or traditional wrestling practiced in Kyrgyzstan. Songs and dances are the rule almost everywhere, as well as semi-sacred family or public meals. Children are the primary beneficiaries of the festivities and participate in many activities such as decorating hard-boiled eggs. Women play a central role in the organization and running of the Novruz, as well as in the transmission of traditions. The Novruz promotes values of peace, solidarity between generations and within families, reconciliation and good neighborliness, contributing to cultural diversity and friendship between peoples and different communities |  |
| Traditional çini craftsmanship | 2016 | * know-how related to traditional craftsmanship * knowledge and practices concerning nature and the universe | Çinis are traditional handmade earthenware and ceramic tiles. Decorated with geometric shapes and multicolored plant and animal motifs, they are often found on the facades of buildings and houses across Turkey. The making of çinis takes place in a series of operations. The clay is first modeled, covered with a first primer, dried and fired in specific ovens. Designs representing local customs and beliefs are then pierced into paper before being applied to the pottery with charcoal dust. The contours are traced by hand then the colors applied to the surface. The pottery is finally glazed and fired. The çini workshops integrate artisans, supervisors and apprentices. Each craftsman has a specific role: modeling, decorating and coloring, polishing, applying an undercoat or baking. For its practitioners, çini is a way to express yourself, to flourish and to feel better. It also helps to preserve an art form which is symbolic of Turkey's cultural identity and which helps to strengthen the link between past and present, ensuring its continuity. The art of çini is not limited to workshops. This tradition is also practiced at home, in public education centers, vocational schools and universities across the country, where neither age, gender, nor ethnicity hinders the sharing of knowledge. , the transmission and acquisition of know-how. |  |
| The culture of making and sharing flatbread Lavash, Katyrma, Jupka, Yufka Note Turkey shares this practice withAzerbaijan, the'Iran, the Kyrgyzstan and in Kazakhstan . | 2016 | * knowledge and practices concerning nature and the universe * social practices, rituals and festive events * oral traditions and expressions | The culture of making and sharing flatbread in communities in Azerbaijan, Iran, Kazakhstan, Kyrgyzstan and Turkey fulfills social functions that make this tradition continue to be followed by many individuals. The making of bread (lavash, katyrma, jupka or yufka) involves at least three people, often from the same family, who each have a role in its preparation and baking. In rural areas, the process takes place between neighbors. Traditional bakeries also make this bread. It is cooked in tandyrs / tanūrs (earthen or stone ovens dug into the ground), on sājs (metal plates) or in kazans (cauldrons). In addition to the usual meals, flat bread is shared on the occasion of weddings, births, funerals, holidays and prayers. In Azerbaijan and Iran, it is placed on the bride's shoulders or crumbled over her head to wish the couple prosperity while in Turkey, it is given to the couple's neighbors. In Kazakhstan, it is believed that this bread is prepared at a funeral to protect the deceased while awaiting divine decision, and in Kyrgyzstan, sharing the bread ensures the deceased a better stay in the afterlife. This practice, actively transmitted within families and from masters to apprentices, reflects hospitality, solidarity and certain beliefs symbolizing common cultural roots and thus reinforces the feeling of belonging to the community. |  |
| L'Hıdrellez, spring festival Note Turkey shares this practice with North Macedonia. | 2017 | * social practices, rituals and festive events * knowledge and practices concerning nature and the universe | Every year on May 6, the Hıdrellez, Spring Festival, is celebrated as Spring Day, or the renewal of nature. “Hıdrellez” is a name made up from “Hıdır” and “İlyas”, which are believed to mean the protectors of the land and water, who help individuals, families and communities in need of 'them. To celebrate this event, various nature-related rituals and ceremonies are performed that bring well-being, fertility and prosperity to the family as well as the community and protect the livestock and crops for the year to come. The element is practiced by all participants, namely families, children, youth, adults, dancers and singers. These rituals have cultural meanings that are deeply rooted and give the community a sense of belonging and cultural identity, giving them the opportunity to strengthen their relationships. The affected communities ensure the viability of the element by participating in the Spring Festival every year. Massive participation of individuals, groups and communities is ensured through the complex organization of events at local, regional and national levels. The element is seen as an essential component of the cultural identity of local communities and the associated knowledge and skills are transmitted within families and among community members through oral communication, observation, participation and feedback. representations. |  |
| Legacy of Dede Qorqud / Korkyt Ata / Dede Korkut: the culture, popular legends and music related to this epic Note Turkey shares this practice withAzerbaijan and the Kazakhstan. | 2018 | * Performing Arts * social practices, rituals and festive events * oral traditions and expressions | The culture, folk legends and music related to the epic of Dede Qorqud / Korkyt Ata / Dede Korkut are based on twelve heroic legends, tales and tales and thirteen traditional musical pieces which have been shared and passed down from generation to generation through oral traditions, performing arts, cultural codes and musical compositions. Dede Qorqud appears in each story as a legendary figure and wise person, a troubadour whose words, music and testimonies of wisdom are associated with traditions surrounding birth, marriage and death. In musical pieces, it is the sound of the kobyz, a musical instrument, which reproduces the sounds of nature, and soundscapes are characteristic of this medium (such as the imitation of the howl of a wolf or the song of a swan). The musical pieces are all closely linked to each other by the epic tales that accompany them. The element which conveys social, cultural and moral values such as heroism, dialogue, physical and spiritual well-being and unity as well as respect for nature, is rich in in-depth knowledge of history and the culture of Turkish-speaking communities. It is practiced and perpetuated by the concerned community on multiple occasions - from family events to national and international festivals - and is therefore well rooted in society, serving as a common thread between generations. |  |
| Traditional Turkish archery | 2019 | Traditional Turkish archery encompasses principles, rituals and social practices, handcrafting of traditional equipment, archery disciplines and shooting techniques that have evolved over the centuries. In traditional Turkish archery, different disciplines are practiced standing or on horseback. Holders and practitioners train individually or in groups to progress, practice in individual shooting sessions and participate in competitions and festive events. Handcrafting of traditional equipment is an essential component of the element. The equipment is made from raw materials such as trees growing in certain climatic conditions at altitude, organic glues, horn, sinew, silk and leather. Craftsmen therefore need to have in-depth knowledge of nature, including plants, animals and climate. The arches are usually decorated with calligraphy, ornaments and marquetry. The artisans who make traditional archery equipment also play an important role in the preservation of the element, as the associated skills are passed on from master to apprentice or acquired on a self-taught basis. In recent years, the number of archers and apprentices has increased dramatically, as has the number of non-governmental organizations involved in archery in various parts of Turkey. Bearers and practitioners ensure the element's viability by adapting it to today's world. |  | |
| The art of miniature Note Turkey shares this practice withAzerbaijan, the'Uzbekistan and the Iran. | 2020 | * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship | Miniature is a type of two-dimensional art that refers to the design and creation of small-sized paintings on books, papier-mâché, rugs, textiles, walls and ceramics and other media using raw materials such as gold, silver and various organic substances. Historically, the miniature was defined as an illustration inserted on a page in order to visually support the content of the text, but the element has evolved and is also found in architecture and in the beautification of public spaces. The miniature visually represents beliefs, world views and lifestyles and has also acquired new characters through the influence of Islam. Although there are differences in style, the art of miniature, as practiced in the submitting States, has some common characteristics. In any case, it is a traditional art transmitted by a mentor to his apprentice (non-formal education) and considered to be an integral part of each of the social and cultural identities of the company. The miniature presents a specific type of perspective whose size and patterns change according to their importance, which is the main difference with the realistic and naturalistic styles. Although it has been around for centuries, it continues to develop and thus strengthen the links between past and present. Traditional painting techniques and principles are preserved but the artists also bring their individual creativity to the process. |  |
Register of Best Safeguarding Practices
Turkey does not have a practice listed in the register of best safeguarding practices.
Emergency backup list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| 3 Whistled language | 2017 | * knowledge and practices concerning nature and the universe * oral traditions and expressions | Whistled language is an articulate mode of communication that allows words to be said while whistling. The practice has its origins in the steep mountains and rugged topography of the area, due to which the locals have had to find another way to communicate over long distances. The practitioners are essentially farming communities who spend most of their time outdoors. The communities concerned see this practice as an important aspect of their cultural identity, which strengthens interpersonal communication and solidarity. Although the community is aware of the importance of this practice, technological developments and socio-economic changes have resulted in the decline in the number of practitioners and the regions where it is practiced. One of the main threats to the practice is the use of the mobile phone. The interest of the younger generation in whistled language has weakened considerably and the element is in danger of being torn from its natural environment, to become an artificial practice. Despite these threats, communities have actively encouraged this language practice at the national and international levels to ensure its sustainability. Thus, whistled language is still transmitted from generation to generation, from parents to children, through both formal and informal methods. | |
