This article lists the practices listed in UNESCO intangible cultural heritage to Kazakhstan.
Understand
The country has eleven practices listed on the "representative list of intangible cultural heritage From UNESCO.
No practice is included in the "register of best practices for safeguarding culture "Or on the"emergency backup list ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Traditional knowledge and know-how related to the manufacture of Kyrgyz and Kazakh yurts (nomadic habitat of Turkic peoples) Note Kazakhstan shares this practice with the Kyrgyzstan. | 2014 | * Know-how related to traditional craftsmanship * Social practices, rituals and festive events | The yurt is a type of nomadic habitat for peoples Kazakhs and Kyrgyz. It consists of a circular wooden frame covered with felt and held in place with ropes; it is quick and easy to assemble and disassemble. The holders of knowledge related to the manufacture of yurts are the artisans (men and women) who make the yurts and their interior decorations. Yurts are made from natural and renewable raw materials. The men and their students make the wooden frames by hand, as well as accessories from wood, leather, bone and metal. The women take care of the interior decoration and the exterior covering, adorned with traditional zoomorphic, vegetal or geometric patterns. The rule is that they work in community groups supervised by experienced artisans, and use weaving, spinning, braiding, felting, embroidery, sewing and other traditional craft techniques. The making of yurts calls on the entire community of craftsmen, and highlights common human values, constructive cooperation and the creative imagination. Traditionally, knowledge and skills are passed on within families or from teachers to students. All the festivities, ceremonies, births, weddings and funeral rituals take place in a yurt. The yurt thus remains the symbol of family and traditional hospitality, fundamental to the identity of the Kazakh and Kyrgyz peoples. |  |
| The traditional Kazakh art of dombra kuï | 2014 | * Performing Arts * Knowledge and practices concerning nature and the universe * Oral traditions and expressions | The art of dombra kuï refers to a short composition performed solo (kuï) on a traditional pear-shaped, two plucked, long-necked musical instrument called a dombra. This music intends to connect people with their roots and traditions, through classical and improvised pieces that bring the audience to live a spiritual and emotional experience. Public investment in interpretation is one of the most important means of social communication and contributes to the transfer of knowledge and skills associated with Kazakh culture. This music is usually accompanied by stories and legends. Traditionally, it is performed at social gatherings, holidays and festive events, surrounded by a wide variety of food and music. It provides an essential social and cultural experience, which strengthens the identity of populations and promotes solidarity and mutual understanding in society. Motivated and talented musicians are placed in apprenticeship with the masters, as soon as a child expresses his interest in the philosophy and virtuosity of traditional music and its practice. Amateur musicians train with other talented and more experienced performers from their region in order to develop their know-how and repertoire. | _(2).jpg/150px-Dombra_Player_(5663178574)_(2).jpg) |
| Aitysh / aitys, the art of improvisation Note Kazakhstan shares this practice with the Kyrgyzstan. | 2015 | * Performing Arts * Oral traditions and expressions | Aitysh or aitys is an improvised competition of oral poetry spoken or sung to the sound of traditional musical instruments: the Kazakh dombra or the Kyrgyz komuz. Two performers (akyns) confront each other in a poetic improvisation on topical issues. Their wit alternates between humor and deep philosophical reflections. During these competitions, the performers seated face to face improvise a dialogue on any type of subject proposed by the audience. The winner is the one who is considered to have demonstrated his musical and rhythmic virtuosity, his originality, his ingenuity, his wisdom and his wit. The most eloquent and witty expressions often become popular sayings. The element is performed on a variety of occasions, from local holidays to national events. Practitioners then use it as a platform to raise important social issues. Traditionally performed by men, aitysh / aitys is now also performed by female performers who express through this art the aspirations and views of women. Today, aitysh / aitys is a very popular cultural component of multiethnic societies in Kyrgyzstan and Kazakhstan, and a primary part of the identity of bearer communities. The most experienced interpreters teach and pass on their knowledge and skills to the younger generations. |  |
| Falconry, a living human heritage | 2016 | * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events * Know-how related to traditional craftsmanship * Oral traditions and expressions | Originally used as a source of food, falconry is now more linked to the protection of nature, cultural heritage and the social engagement of communities. Following their own traditions and ethical principles, falconers train, train and fly birds of prey (falconids, but also eagles and accipitridae) by developing a bond with them and becoming their main source of protection. Found in many countries around the world, practice may vary, for example, in the type of equipment used, but the methods remain the same. Considering themselves as a group, falconers can travel for weeks to hunt, telling each other their day in the evening. They see falconry as a link to the past, especially as it is one of the last links with the natural environment and the traditional culture of the community. Knowledge and skills are passed on from generation to generation through mentoring, family learning, or training in clubs and schools. In some countries, a national exam must be passed to become a falconer. Meetings and festivals allow communities to share their knowledge, raise awareness and promote diversity. |  |
| The culture of making and sharing flatbread Lavash, Katyrma, Jupka, Yufka Note Kazakhstan shares this practice withAzerbaijan, the'Iran, the Kyrgyzstan and the Turkey. | 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 ofAzerbaijan, ofIran, from Kazakhstan, from Kyrgyzstan and of Turkey fulfills social functions through which this tradition continues 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. |  |
| 2016 | * Social practices, rituals and festive events * Performing Arts * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship * Oral traditions and expressions | 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 |  | |
| Kures in Kazakhstan | 2016 | * Social practices, rituals and festive events * Performing Arts * Knowledge and practices concerning nature and the universe | The koures at Kazakhstan is a form of wrestling in which contestants face each other on their feet, the objective being to pin both of the opponent's shoulder blades to the ground. As part of this traditional practice, trainers train young boys who then participate in local competitions. Nowadays, koures in Kazakhstan is a national sport, practiced by both sexes, up to the professional level. International competitions are organized, such as "Kazakhstan Barysy", broadcast every year in more than 100 countries. The koures in Kazakhstan is transmitted within sports clubs possibly associated with schools and within the framework of master classes of experienced wrestlers. The minimum age for training is 10 years old and there are no restrictions on access to the item depending on the origin of the participants. Kures is also present in traditional Kazakh folklore. Wrestlers, or baluans, are considered strong and courageous and celebrated in epics, poetry, and literature. The practice of Kures in Kazakhstan teaches younger generations to respect their history and culture and inspires them to behave like heroic baluans. It helps to strengthen tolerance, goodwill and solidarity between communities. | |
| Traditional Kazakh games of assyks | 2017 | * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events * Oral traditions and expressions | The traditional Kazakh games of Assyks are an ancient tradition in Kazakhstan. Each player has their own set of "assyks", traditionally made from sheep astragals, and a "saka", dyed in bright colors. Players use their assyk to eliminate other assyks from the game. It is the position of the knucklebone that determines who wins. The affected community includes most of the population of Kazakhstan, including members of the “Assyk Atu” Games Federation, as well as the large community of practitioners, mostly children between 4 and 18 years old. The element is an outdoor activity that helps develop children's analytical skills and physical well-being, encouraging friendships and social integration. It is also an excellent model of positive collaboration, a vector of unity regardless of age, ethnicity or religious denomination. It is usually performed on the occasion of festivities and gatherings, and the community plays a key role in safeguarding the practice and popularizing it among other ethnic groups in Kazakhstan, making it a national symbol of childhood. . It is transmitted from older boys to younger ones, through observation, as well as through documentaries about the element, broadcast on radio and television, which aim to inspire children to play assyks and to familiarize the public with its cultural heritage. | |
| Traditional spring festive rites of Kazakh horse breeders | 2018 | * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events | The traditional spring festive rites of Kazakh horse breeders - which take place in Terisakkan village (Ulytau district, Karaganda oblast) - mark the end of the old and the start of the new annual cycle of horse breeding. Anchored in traditional knowledge of nature and ancestral relationships between man and horse, the rites call on skills inherited from nomadic ancestors, adapted to contemporary reality. At the end of preparations which take place throughout the year, the main elements constituting the element are: "Biye baylau" (literally "pasture on the stake"), ancient rite of the "first milking" which includes the separation of mares and foals from the herds, milking mares and celebrating with songs, dances and games; "Ayghyr kosu" (figuratively "the marriage of the stallion"), a recent rite of bringing stallions into herds; and “Kymyz muryndik” (metaphor meaning “launching of kumis”), the “first sharing of kumis”, which launches the season of its production and sharing. The rites last about three weeks, until the kumis sharing ceremonies, and take place in each household. The rites open a new annual cycle of reproduction and exemplify traditional Kazakh hospitality. In XXe century, faced with the forced transition from a nomadic to sedentary way of life, the bearers have adapted the traditional form of horse breeding to the new conditions in order to ensure its continued viability. | |
| Legacy of Dede Qorqud / Korkyt Ata / Dede Korkut: the culture, popular legends and music related to this epic Note Kazakhstan shares this practice withAzerbaijan and the Turkey. | 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. | |
| The traditional game of intelligence and strategy: Togyzqumalaq, Toguz Korgool, Mangala / Göçürme Note Kazakhstan shares this practice with the Kyrgyzstan and the Turkey. | 2020 | * Social practices, rituals and festive events * Know-how related to traditional craftsmanship | The traditional game of intelligence and strategy called Togyzqumalaq, Toguz Korgool or Mangala / Göçürme is a traditional game that can be played on special or improvised boards, for example by digging holes in the ground. The game can be played with stone, wood or metal pawns, bones, nuts, seeds, distributed in the holes; the winner is the player who manages to collect the most pawns. There are several variations of the game. For example, the game board may have two, three, four, six or nine holes arranged according to the number of players, and the length of the game depends on the number of players. In the submitting States, the element is linked to other traditional craft activities, such as wood carving, stone carving and jewelry making. Masters of wood and stone carving and jewelers make finely decorated and practical trays and pawns. The design of the trays reflects the traditional world view and the artistic creativity of the artisans. The game improves the cognitive, motor and social skills of the players. It strengthens their strategic and creative thinking and teaches them patience and benevolence. It is transmitted informally, but also through formal education. Recently, the communities concerned have developed mobile applications for learning to play and / or playing. They constitute a new means of transmitting knowledge and increasing the visibility of the practice among young people. |  |
Register of Best Safeguarding Practices
Kazakhstan does not have a practice listed in the Register of Best Safeguarding Practices.
Emergency backup list
Kazakhstan does not have a practice on the Emergency Safeguarding List.
