This article lists the practices listed in UNESCO intangible cultural heritage in Azerbaijan.
Understand
The country has thirteen practices included in the "representative list of intangible cultural heritage "From UNESCO and two practices on"emergency backup list ».
No practice is included in the "register of best practices for safeguarding culture ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Azerbaijani mugham | 2008 | * Performing Arts | Azerbaijani mugham is a traditional musical genre that lends itself to a high degree of improvisation. Classical and academic music, it also incorporates popular Bard melodies, rhythms and performance techniques and is performed in many settings across the country. Contemporary interpretations of Azerbaijani mugham reflect different periods in the country's history and its contacts with Persians, Armenians, Georgians and other Turkish peoples. This musical genre shares artistic characteristics of Iraqi maqam, Persian radif and Turkish makam. In the past, the mugham was mainly played on two occasions: the toy, a traditional wedding banquet, and the majles, a private meeting of connoisseurs. It was also practiced by members of Sufi orders and by performers of religious dramas called ta'zie or shabih. Formal competitions and informal meetings allowed accomplished musicians to make themselves known. This modal genre associates a singer, male or female, with musicians playing traditional instruments, notably the tar (long-necked lute), the kamancha (four-stringed spade violin) and the daf (a kind of large tambourine). Unable to be transcribed in a definitive form, the multiple versions are transmitted by masters who train students in the subtle art of improvisation which makes the richness of this artistic expression. European influences, particularly sensitive to the way contemporary musicians play and transmit their know-how to younger generations, have largely contributed to stripping the mugham of certain aesthetic and expressive characteristics. |  |
| The art of the Azerbaijani Ashiqs | 2009 | * Oral traditions and expressions * Performing Arts * Know-how related to traditional craftsmanship | The art of the Ashiq of Azerbaijan brings together poetry, stories, dances, songs and instrumental music in a form of traditional stage expression which is a symbol of the culture of the Azerbaijani people. Characterized by the support of saz, stringed musical instrument, the classical repertoire includes some 200 songs, 150 musical and poetic compositions called dastans, nearly 2,000 poems of all poetic genres and a multitude of stories. The regions sometimes have their own method of instrumental accompaniment, but all are based on a common national language and artistic history. The Ashiq perform at weddings, gatherings with friends and festive events throughout the Caucasus, but also in concert halls, on radio and on television, and they continue to enrich their repertoire by combining classical melodies. and contemporary melodies. Considered to be emblematic of national identity, their art is also seen as the guardian of Azerbaijani language, literature and music. While representing the collective conscience of a people, the Ashiq help to promote exchanges and dialogue between cultures: Kurds, Lezguians, Talish, Tats and other ethnic groups living in the country often practice the art of Ashiq, and so many their poems as their songs have spread throughout the region. |  |
| The traditional art of Azerbaijani carpet weaving in the Republic of Azerbaijan | 2010 | * Know-how related to traditional craftsmanship * Social practices, rituals and festive events * Oral traditions and expressions | Azerbaijani carpet is a traditional, multi-dimensional, hand-made textile with a dense texture, knotted or woven, the patterns of which are characteristic of many Azerbaijani carpet-making regions. Carpet making is a family tradition that is passed down orally and through practice. The men shear the sheep in the spring and fall, while the women collect the dyes, spin the wool and dye the yarn in the spring, summer and fall. Weaving is performed during the winter by female members of the extended family circle, the girls learning to weave with their mother and grandmother and the daughter-in-law with their mother-in-law. The rug is made on a horizontal or vertical loom using multicolored wool, cotton or silk threads dyed with natural dyes. By applying special techniques to knotted rugs, weavers pass a thread which they tie around the warp threads. Woven rugs are variously made of interlacing structural warps, wefts and patterned wefts. The cutting of a finished carpet on the loom is a celebration of rare solemnity. The weaving of the carpet is closely linked to the daily life and customs of the communities concerned, and its role is reflected in the meaning of the compositions and their applications. For example, girls sitting on a carpet say fortune-telling and sing traditional tunes on Novruz (the regional New Year). The rug is widely used as a piece of furniture or wall decoration, and special rugs are woven for medical treatments, wedding ceremonies, childbirth, funeral rituals and for prayer. |  |
| The making and musical practice of the tar, a long-necked string instrument | 2012 | * Performing Arts * Know-how related to traditional craftsmanship | Tar is a long-necked plucked string lute, traditionally made and played in communities across Azerbaijan. Considered by many to be the country's main musical instrument, it appears alone or with other instruments in many traditional musical styles. Tar factors pass on their know-how to apprentices, often in the family environment. Manufacturing begins with the careful choice of materials for the instrument: mulberry for the body, hazelnut for the neck and pear for the pegs. Using a variety of tools, artisans create a hollow, figure-eight crate which is then covered with a thin bull's pericardium. The fret neck is attached, metal strings are added, and mother of pearl inlays are made on the body. Players hold the instrument horizontally against the chest and pluck the strings with a plectrum using trills and several techniques and hits to add color. Tar music plays an essential role in weddings and various gatherings with friends, festive events and public concerts. Tar players pass on their skills by word of mouth to young people in their community, but also by example and in music schools. The making and practice of tar, as well as the skills associated with this tradition, play an important role in the formation of the cultural identity of Azerbaijanis. |  |
| The traditional art and symbolism of kelaghayi, making and wearing silk scarves for women | 2014 | * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events * Know-how related to traditional craftsmanship | Steeped in traditions spread throughout the Silk Road, the art of kelaghayi is concentrated in two locations in Azerbaijan: the town of Shaki and the village of Basgal. The making of kelaghayi involves several stages: weaving the fabric, dyeing it and decorating it with wooden blocks. Weavers choose fine silk threads from sericulture and weave fabrics on their looms before soaking them in a boiling bath and drying them to produce square fabrics. Using vegetable substances, the master craftsmen then give the fabrics different colors and decorate them with different patterns using wooden stamps coated with solutions based on rosin, paraffin and solid oil. The colors of the scarves have symbolic meaning often linked to social occasions: weddings, funeral ceremonies, celebrations and daily activities. The art of kelaghayi making is passed on only through informal learning and is primarily a family activity. Each family has its own stylistic characteristics and decorative motifs. The traditional practice of making and wearing kelaghayi is an expression of cultural identity and religious traditions, and a symbol of social cohesion that strengthens the role of women as well as the cultural unity of Azerbaijani society. |  |
| Lahidj's copper craftsmanship | 2015 | * Know-how related to traditional craftsmanship * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events | Lahidj copper craftsmanship is the traditional practice of making and using copper products concentrated in the Lahidj community in the Caucasus. The master in charge of smelting the copper coordinates the entire process, and is accompanied by an apprentice who learns the necessary techniques while helping the master. The blacksmith-hammer pumps air into the furnaces and hammers the molten copper into thin flat slabs. A craftsman then polishes the hammered copper plates and decorates the finished product. This final step in the process is considered particularly important as the motifs used often relate to the environment, thus reflecting the traditional knowledge and cultural values of the bearers. The master is responsible for the sale of finished copper products in the workshops and for the remuneration of the work of the other craftsmen involved. The tradition is passed down in families from father to son. Many families in Azerbaijan come to Lahidj to buy copper items for daily use, believing that they improve the health benefits of food. For artisans, tradition represents an important source of income and provides a strong sense of identity and pride. Copper craftsmanship also strengthens family ties within the Lahidj community and is seen as a clear mark of Lahidj identity. |  |
| The culture of making and sharing flatbread Lavash, Katyrma, Jupka, Yufka Note Azerbaijan shares this practice withIran, the Kazakhstan, 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 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. |  |
| 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 |  | |
| The art of making and playing the kamantcheh / kamanche, a bowed string musical instrument Note Azerbaijan shares this practice withIran. | 2017 | * Performing Arts * Know-how related to traditional craftsmanship | The art of making and playing the kamantcheh / kamanche ("small bow"), a bowed string instrument, has existed for over a millennium. In the Islamic Republic of Iran and Azerbaijan, it is a major component of classical and traditional music, and kamantcheh / kamanche is played at a large number of social and cultural gatherings. Contemporary practitioners primarily use a four-string kamantcheh / kamanche which consists of a horsehair body and bow. The musicians play alone or in an orchestra. Bearers and practitioners are craftspeople, amateur or professional artists, and elementary teachers and students. Kamantcheh / Kamanche is an integral part of the musical culture of both countries. If the manufacture of the instruments gives them a direct source of income, the artisans also perceive this art as an integral part of the intangible cultural heritage of their community. Through their music, the musicians convey a multitude of themes, ranging from mythology to comedy, including Gnostic themes. Today, knowledge about musical practice and kamantcheh / kamanche-making is passed on both in families and in state-funded musical establishments, including music schools. Knowledge about the importance of music for promoting cultural identity is passed down from generation to generation, in all walks of life in both countries. |  |
| The tradition of preparing and sharing the dolma, a marker of cultural identity | 2017 | * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events | The dolma tradition brings together a set of knowledge and know-how relating to the preparation of a traditional dish called "dolma" which comes in the form of small garnishes (based on meat, onions, rice, peas and spices) wrapped in fresh or pre-cooked leaves, or used to stuff fruits and vegetables. The name of this tradition is an abbreviation of the Turkic word "doldurma", which means "stuffed". This traditional dish is shared with family or local communities, with the methods, techniques and ingredients used in its preparation varying from community to community. The tradition continues throughout Azerbaijan and is considered a central culinary practice in all regions of the country. It is practiced on special occasions and gatherings. It also promotes solidarity, respect and hospitality. Passed down from generation to generation, the dolma tradition transcends the ethnic and religious boundaries that exist within the country. The bearers are the traditional cooks, mostly women, and the larger community of individuals who use the dolma for various cultural and social purposes. Informal transmission occurs through parent-child relationships, while formal transmission occurs mainly in vocational schools and through apprenticeship. The element enjoys high visibility in Azerbaijani society and its viability is ensured by communities through numerous awareness raising activities and events such as festivals, teaching of this tradition by vocational education institutions and the preparation of publications on the subject. |  |
| Legacy of Dede Qorqud / Korkyt Ata / Dede Korkut: the culture, popular legends and music related to this epic | 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. |  |
| Nar Bayrami, traditional festival of pomegranate and its culture | 2020 | * Performing Arts * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events * Know-how related to traditional craftsmanship * Oral traditions and expressions | Nar Bayrami is a festival that takes place every year in October / November in the Goychay region of Azerbaijan and celebrates the pomegranate as well as its traditional uses and symbolism. The cultivation of pomegranate is a set of practices, knowledge, traditions and know-how related to the production of the fruit which is not used only in culinary contexts but which is also present in crafts, arts decorative, myths, stories and other creative practices. This element is closely linked to local agriculture and to the producers and people living in rural communities who cultivate and harvest the fruits. These participants have a detailed understanding of environmental characteristics and harvesting techniques. This fruit enjoys great visibility in society as pomegranate and Nar Bayrami perform cultural and social functions, from its use in traditional dishes to its appearance in poetry. Symbolically, the pomegranate is associated with long-term productivity and abundance and is believed to carry energy. In local legends, it speaks of love and passion, while believing people regard it as a symbol of eternity. The annual festival celebrates the pride of ancestral traditions linked to the fruit and encourages active exchanges and communication between the communities and visitors present during the festivities, which represents a favorable moment to highlight the local nature and culture. |  |
| The art of miniature Note Azerbaijan shares this practice withIran, in Uzbekistan and the Turkey. | 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
Azerbaijan does not have a practice listed in the Register of Best Safeguarding Practices.
Emergency backup list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Chovgan, a traditional equestrian game played on the backs of Karabakh horses in the Republic of Azerbaijan | 2013 | * Social practices, rituals and festive events | Chovgan is a traditional equestrian game played on a flat, grass-covered terrain where two teams of players compete on Karabakh horses. Each team consists of five riders: two defenders and three attackers. The game begins in the middle of the field and the players use wooden mallets to try to get a small leather or wooden ball into the opposing goal. The playing is interspersed with traditional instrumental music called janghi. Chovgan players and coaches are experienced farmers and riders from the region. They traditionally wear a large astrakhan hat, a long, fitted coat with a high waist, special pants, socks and shoes. People of all ages come to watch this traditional game and support their teams. Chovgan reinforces the sense of identity anchored in nomadic culture and helps to perceive the horse as an integral part of everyday life. The specific rules, know-how and techniques of Chovgan are passed on to beginners by experienced players during group training. The practice and transmission of Chovgan, however, has weakened due to loss of interest among young people, urbanization and emigration, which has resulted in a shortage of players, trainers and karabakh horses. |  |
| The yalli (kochari, tenzere), traditional collective dances of Nakhtchivan | 2018 | * Performing Arts * Social practices, rituals and festive events * Oral traditions and expressions | The yalli, traditional collective dances of Nakhtchivan, is a set of traditional dances performed exclusively during collective performances. Typically, yalli is performed forming a circle, chain, or line, and incorporates elements of play and pantomime (imitations of birds or other animals), physical exercises, and movement. The yalli dance community is made up of practicing dancers who perform their choreographies spontaneously or according to a schedule during different festivals and celebrations. Some variations of yalli include chanting passages and are performed by both men and women, while others are performed only by men and mimic pastoral games and certain horned beast fighting moves. Until the mid-20th century, yalli was widely practiced. However, several factors have had negative consequences on the transmission of the practice, including a gradual loss of social functions of certain types of yalli and a preference given to stage performances as well as external factors such as worker migration and crises. in the late 1980s and early 1990s, an evolution from informal transmission to formal modes, and a radical simplification of dances which resulted in a loss of diversity. |  |
