This article lists the practices listed in UNESCO intangible cultural heritage in Uzbekistan.
Understand
The country has eight practices listed on the "representative list of intangible cultural heritage "And a practice taken up in the"register of best practices for safeguarding culture From UNESCO.
No practice is repeated on the "emergency backup list ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Shashmaqom music Note Uzbekistan shares this practice with the Tajikistan. | 2008 | * Performing Arts * Oral traditions and expressions | For more than ten centuries, the musical tradition of shashmaqom has been cultivated in the urban centers of the region of Central Asia formerly called Mâwarâ al-nahr which corresponds to the Tajikistan et al'Uzbekistan current. The shashmaqom, literally “six maqams”, is a mixture of vocal and instrumental music, melodic and rhythmic languages and poetry. It is performed solo or by a group of singers accompanied by an orchestra of lutes, fiddle, frame drums and flutes. The instrumental introduction that usually opens the work is followed by the nasr, the main vocal part made up of two distinct groups of songs. The shashmaqom dates back to pre-Islamic times. It has been influenced throughout its history by the evolution of musicology, poetry, mathematics and Sufism. The maqam system was so successful in the ninth and tenth centuries that many music schools were opened, mainly in the Jewish community, in the city of Bukhara, historical and spiritual center of shashmaqam. The repertoire of shashmaqom requires special training from musicians because the classical notation system can only record the general framework. Oral transmission from master to student therefore remains the preferred means of preserving music and its spiritual values. From the 1970s, most of the best-known performers of shashmaqom left Tajikistan and Uzbekistan to emigrate to Israel and to United States. Since the two countries gained independence in 1991, several measures have been taken to safeguard the shashmaqom. Only a few rare musicians have retained the local performing styles taught by independent teachers. With the disappearance of many shashmaqom masters, the vast majority of current performers in Tajikistan and Uzbekistan are students from the Conservatory of Tashkent which offers composition courses. |  |
| 1 Boysun District Cultural Space | 2008 | * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events * Know-how related to traditional craftsmanship * Oral traditions and expressions | Located in southeastern Uzbekistan, on the route connecting Asia Minor to India, Boysun District is one of the oldest inhabited regions inCentral Asia. The decline of Silk Road and the political upheavals in Central Asia have contributed to the region’s isolation. These circumstances have favored the preservation of ancient traditions, marked by various religions, including shamanist beliefs, Zoroastrianism, Buddhism and Islam. Today the district has nearly 82,000 inhabitants. Many traditional rituals are still alive: on the eve of Navruz, the spring festival gives rise to a sowing ritual with offerings of food. Family rites also persist: 40 days after a birth, evil spirits are driven out by fire and ashes. The circumcision of boys is the occasion of goat fighting and various games, such as wrestling or horse racing. Ancient practices remain frequently used in wedding ceremonies and funeral rites, and shamanistic rituals to heal the sick. Other popular traditions include ritual songs related to annual festivals, epic legends and dances. Wind or string instruments accompany the lyrical songs. The Shalola Folk Music Ensemble collected popular songs and identified traditional instruments and costumes. The band members also documented the legends, epics and old melodies in the villages. The cultural model imposed during the Soviet era left little room for the traditional cultural and artistic expression of Boysun. Today, it seems essential to support communities by providing them with musical instruments and technical material to document their various cultural expressions. |  |
| 2 The Katta Ashula | 2009 | * Performing Arts * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events * Oral traditions and expressions | Katta Ashula (literally: "great song") is a traditional song genre and an integral part of the identity of several peoples of the Fergana Valley, Uzbekistan, where Tajiks, Uighurs and Turks also live, and some regions. from Kyrgyzstan, Tajikistan and Kazakhstan. Original genre, Katta Ashula combines performing arts, song, instrumental music, oriental poetry as well as sacred rites. It covers a variety of subjects, from love to philosophical and theological conceptions of the universe and nature, while leaving room for improvisation. Passed down orally from teacher to student from generation to generation during a demanding apprenticeship, it is performed by at most five singers and at least two. Nowadays, Katta Ashula is an important expression of Uzbek cultural identity that can promote dialogue between cultures. In order to allow this tradition to maintain its viability, the festivals, competitions and various actions organized by the government of Uzbekistan and the local authorities will be strengthened by the introduction of transmission programs to young people and by research work (constitution databases, organization of seminars and publications, etc.). |  |
| Askiya, the art of joking | 2014 | * Performing Arts * Social practices, rituals and festive events * Oral traditions and expressions | Askiya is a genre of popular Uzbek public speaking that takes the form of a dialogue between two or more participants who debate and exchange witticisms on a particular topic. Holders and practitioners, mostly men, must master the peculiarities of the Uzbek language, and know how to improvise and reason skillfully and quickly, using humor and jokes. The dialogues, although in the form of a joke, play an invaluable role in raising awareness of social trends and events and drawing attention to important issues, through close observation of daily life. Askiya is often performed at popular festivals, festivities, family rituals and gatherings held in towns and villages in Uzbekistan. There are currently over thirty forms of askiya, some practiced by professionals and others by amateurs, each with its own distinctive characteristics. Askiya knowledge and skills are mainly transmitted orally to individuals, groups and communities through traditional master-apprentice learning methods. Askiya emphasizes humor, ensures easy communication between people, and unites representatives of various communities, regardless of their age and background, around a common event. It also has a strong pedagogical dimension, using humor to teach people to be more attentive and to analyze the difficulties and problems of daily life, thus stimulating cultural and social development. | |
| The tradition and culture of palov | 2016 | * Social practices, rituals and festive events * Performing Arts * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship | According to an Uzbek saying, guests can only take leave of their hosts when the latter have offered them the palov. The tradition and culture of palov is a social practice based on the preparation of a traditional dish common to all rural and urban communities in Uzbekistan. The ingredients of this dish are rice, meat, spices and vegetables. In addition to being consumed regularly, it is also a gesture of hospitality and is served on special occasions such as weddings or New Years, to help the underprivileged or to pay homage to deceased relatives. The palov can also accompany events involving other rituals, such as prayers and performances of traditional music. This dish is prepared by men and women of all ages and from all social classes. The knowledge and skills associated with this practice are transmitted from the old to the younger generations, formally or informally, following a master-apprentice model or by demonstration and participation in families, among peers, in community institutions, religious organizations and vocational education institutions. Preparing and sharing this traditional dish helps strengthen social bonds, promote values such as solidarity and unity, and perpetuate local traditions that are integral to the cultural identity of the community. |  |
| 2016 | Oral traditions and expressions * Performing Arts * Social practices, rituals and festive events * Knowledge and practices concerning nature and the universe * Have done related to 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 |  | |
| 3 The lazgi, dance of Khorezm | 2019 | The movements of the lazgi, Khorezm dance, illustrate human creativity by reflecting the sounds and manifestations of the surrounding nature and the feelings of love and happiness. Lazgi, Khorezm dance, was originally associated with the Khorezm region, but is now widespread throughout Uzbekistan. Paintings of the dance can be found at the Topraq-Kala archaeological site in the Khorezm region, testifying to the centuries-old roots of this dance. The lazgi, which is inspired by social life and the activities of local communities, represents life in each of its movements. During the dance, all the musicians, singers and dancers act in harmony. The lyrics of the songs are very often an ode to love and kindness. There are two types of dance: a “figurative” form and an interpretive improvised form. While the former represents feelings as concrete movements, the latter focuses on improvisation as the rhythm and movements of the dance become more dynamic and changeable. The melodies and dances of the lazgi are so communicative that the spectators start to dance spontaneously. The lazgi, Khorezm dance, is an essential form of personal expression. It is passed on from generation to generation through the creation of new versions of representations. The lazgi is danced during national holidays and traditional festivities in its figurative forms. The interpretive form, inspired by everyday life, is favored during family and community events. | | |
| The art of miniature Note Uzbekistan shares this practice withAzerbaijan, the'Iran 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
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| The Margilan Handicraft Development Center, safeguarding traditional atlas and adras manufacturing technologies | 2017 | The history of making ikat, atlas and adras in the territory of present-day Uzbekistan dates back to ancient times. Historically, it was in Marguilan that the atlas and adras were made, fine and colorful traditional fabrics. Traditional handicrafts experienced difficult times during the Soviet era, and some ancient techniques of handicraft production almost disappeared. In view of the urgent need to revitalize and safeguard endangered traditions, in 2007 the local community launched an initiative to create a Center for Handicrafts Development (CDC). The objective of this Center is to safeguard, develop and promote the traditional Uzbek methods of making atlases and adras through innovative training, exhibitions and craft fairs, festivals on traditional textiles. and the publication of various backup tools and manuals. It also encourages the use of natural materials and contributes to the transmission of knowledge and skills relating to nature and the universe and their importance for the health and well-being of people. CDC's success is linked to its strong spirit of partnership, and local communities play an important role in the implementation of its initiatives out of a common sense that the atlas and adras fabrics are at the heart of the identity. | .jpg/150px-Yodgorlik_Silk_Factory_(5982821398).jpg) |
Emergency backup list
Uzbekistan does not have a practice on the Emergency Safeguarding List.
