This article lists the practices listed in UNESCO intangible cultural heritage to Kyrgyzstan.
Understand
The country has nine practices listed on the "representative list of intangible cultural heritage "And a practice taken from the"emergency backup list From UNESCO.
No practice is included in the "register of best practices for safeguarding culture ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| The art of the Akyn, Kyrgyz epic storytellers | 2008 | * Oral traditions and expressions * Social practices, rituals and festive events | Epic storytelling is a major form of cultural expression of the Kyrgyz nomads. The art of the Akyns, epic storytellers, combines song, improvisation and musical composition. Told during religious and private festivals, seasonal ceremonies or national holidays, the epics have survived over the centuries thanks to oral transmission. The value of the Kyrgyz epics is mainly due to their dramatic plot and their philosophical basis. They are a veritable oral encyclopedia of Kyrgyz social values, cultural knowledge and history. The most famous of these is the thousand-year-old Manas trilogy, remarkable both for its length (sixteen times longer than Homer's Iliad and Odyssey) and for the richness of its content. A blend of historical facts and legends, it immortalizes the events that have marked Kyrgyz history since the ninth century. The Kyrgyz have also preserved forty other shorter epics. Unlike the Manas epic where the story takes center stage, these works are usually told with the accompaniment of komuz, the three-stringed Kyrgyz lute. Each epic has its own theme, melody and narrative style. The Akyns were once highly respected figures who toured from region to region and often entered storytelling contests. They were appreciated for their narrative talent, their expressive body language, their intonations and their lively imitations, in perfect harmony with the emotional dimension of the epics. In the 1920s, the first part of the Manas trilogy was written down, based on the oral performance of the great epic singer Sagynbay. Epics remain an essential component of Kyrgyz identity and a source of inspiration for contemporary writers, poets and composers. Traditional interpretations are still linked to sacred cultural spaces today. Although the number of practitioners is decreasing, Akyn masters continue to train young people. They are supported by revitalization initiatives supported by the Kyrgyz government. |  |
| Manas, Semetey, Seitek: Kyrgyz Epic Trilogy | 2013 | * Performing Arts * Knowledge and practices concerning nature and the universe * Oral traditions and expressions | The Kyrgyz epic trilogy of Manas, Semetey and Seitek describes how the scattered tribes were united to form one nation. The trilogy bears witness to the historical memory of the Kyrgyz people and owes its survival to a community of epic storytellers made up of men and women of all ages. The narrators accept their mission after receiving a prophetic dream that is considered a sign from the heroes of the stories. During performances, they enter a trance-like state and use various narrative forms, rhythms, tones and gestures to recreate the historical atmosphere of the epic. The narration of the trilogy can last thirteen hours continuously. Performances take place on a variety of public occasions, from village festivals to national celebrations and holidays. Epic storytellers also provide moral and spiritual support to local communities and individuals during social events, conflicts or disasters. They see the trilogy as a cultural heritage for which they take personal responsibility. The trilogy helps young people better understand their history, culture, natural environment and the peoples of the world, and gives them a sense of identity. As a component of formal education, it promotes tolerance and multiculturalism. Through non-formal education, transmission takes place orally, from master to apprentice. = |  |
| Traditional knowledge and know-how related to the manufacture of Kyrgyz and Kazakh yurts (nomadic habitat of Turkic peoples) Note Kyrgyzstan shares this practice with the Kazakhstan. | 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. |  |
| Aitysh / aitys, the art of improvisation Note Kyrgyzstan shares this practice with the Kazakhstan. | 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. |  |
| The culture of making and sharing flatbread Lavash, Katyrma, Jupka, Yufka Note Kyrgyzstan shares this practice withAzerbaijan, the'Iran, the Kazakhstan 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 | * 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 |  | |
| Kok-boru, a traditional equestrian game | 2017 | * Social practices, rituals and festive events * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship * Oral traditions and expressions | Kok-boru, a traditional equestrian game, is the synthesis of traditional practices, performances and the game itself. This is a traditional game in which two teams of horsemen attempt to drop a goat carcass (replaced by a cast nowadays) or "ulak" into the goal of their opponents. The cardholder community includes players in top league, semi-professional and amateur teams, as well as the general public. The more experienced players serve as referees, while the "kalystar" (elders) fall into another category. They are the guarantors of the impartiality of the game. The element is the expression of a cultural and historical tradition as well as of the spiritual identity of its practitioners. It helps to strengthen the cohesion of communities, regardless of their social status. The game promotes a culture of teamwork, responsibility and respect. Knowledge about the element is mainly transmitted naturally through demonstrations, as well as through festive and social events. The community concerned actively participates in ensuring the viability of the element through the transmission of knowledge and know-how, through research and the organization of training sessions. The National Kok-Boru Federation, established in 1998, plays a key role in promoting and safeguarding the element through the development and organization of activities. |  |
| Ak-kalpak craftsmanship, traditional knowledge and skills related to the making and wearing of the Kyrgyz male hat | 2019 | * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship | Ak-kalpak craftsmanship is a traditional Kyrgyz handcraft form. Ak-kalpak is a traditional male headgear made of white felt, associated with deep meanings of the sacred order. The craftsmanship of ak-kalpak is a sum of constantly evolving knowledge and know-how in the fields of felting, cutting, sewing and embroidery of patterns, transmitted to the communities concerned by the practitioners. of the element. The necessary knowledge and skills are transmitted through oral instruction, practical training and participation in manufacturing workshops. There are more than 80 types of ak-kalpak, adorned with various designs, each with a history and sacred significance. Eco-friendly and comfortable to wear, ak-kalpak is reminiscent of a snow-capped mountain whose four sides represent the four elements: air, water, fire and earth. The four ridges symbolize life, the acorns on top symbolize posterity and the memory of ancestors, and the design symbolizes a family tree. A unifying factor among the various Kyrgyz tribes and communities, ak-kalpak distinguishes the Kyrgyz from other ethnic groups. It also helps promote inclusion, especially when representatives of other ethnic groups wear it on holidays or on days of mourning to express their union and sympathy. Several workshops are organized throughout the country to ensure the transmission of the necessary knowledge and know-how, and in 2013 a project entitled “From generation to generation”, devoted to traditional techniques of making ak-kalpak, was carried out. at national scale. It resulted in an exhibition and the publication of a book. |  |
| The traditional game of intelligence and strategy: Togyzqumalaq, Toguz Korgool, Mangala / Göçürme Note Kyrgyzstan shares this practice with the Kazakhstan 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
Kyrgyzstan does not have a practice listed in the Register of Best Safeguarding Practices.
Emergency backup list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Ala-kiyiz and shirdak, the art of the traditional Kyrgyz felt carpet | 2012 | * Know-how related to traditional craftsmanship * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events | The art of the traditional felt carpet is one of the primary arts of the Kyrgyz people and is an integral part of their cultural heritage. The Kyrgyz traditionally produce two types of felt rugs: ala-kiyiz and shirdaks. Knowledge, techniques, diversity, semantics of ornaments and carpet-making ceremonies are all important cultural elements that provide the Kyrgyz people with a sense of identity and continuity. The making of Kyrgyz felt rugs is inseparably linked to the daily lifestyle of nomads who use them to protect themselves from the cold and decorate their interior. The creation of the felt rugs requires unity within the community and promotes the transmission of traditional knowledge - in principle from the older women concentrated in the rural mountainous areas to the young girls in the family. However, the traditional art of ala-kiyiz and shirdak is threatened with extinction. The number of practitioners is declining, most of them over 40 years old. The lack of government safeguards, the disinterest of the younger generation, the predominance of cheap synthetic rugs and the poor quality and insufficient supply of raw materials only aggravate the situation. As a result, the ala-kiyiz ceremony has all but disappeared and the shirdak is seriously threatened with extinction. |  |
