Craftsmanship of mother of pearl inlay

Mother of pearl inlay is the practice of inserting mother of pearl pieces into wooden objects such as Koran cases, desks, chests, chairs, mirrors, jewel cases and musical instruments. Craftspeople begin by cutting the inner shells of molluscs into different shapes. They draw motifs on a piece of wood, carve out the outlines and shape the mother of pearl pieces, which are then inlaid to the wood. Finally, the surface is polished with sandpaper, burnt for colouring and varnished with melted resin. Practitioners use thick woods such as walnut, ebony and mahogany, preferring dark colours to contrast with the white of the mother of pearl. Geometrical, floral and calligraphic motifs are often used for embellishment. For craftspeople and their families, the element represents a part of daily life and is a source of identity and pride. It is transmitted through apprenticeships and in universities, public education centres and workshops. Today, craftspeople also share their knowledge and skills through social media and online blogs, forums and workshops, thus strengthening social cohesion and cultural exchange across different countries. They also contribute to the preservation of tangible heritage and of social and cultural memory by restoring historical objects exhibited in museums and monuments.

 
Title EN: Example of Mother of Pearl Inlay completed work © Ministry of Culture, Azerbaijan

Türkiye

Craftsmanship of mother of pearl inlay

multinational application of Azerbaijan and Türkiye

Date of Inscription:

Inscribed in 2023 (18.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Craftsmanship and performing art of balaban/mey

Balaban (in Azerbaijan) or Mey (in Türkiye) is a centuries-old woodwind instrument made up of three parts: a body, a wide and flat double reed and a clip. The instrument is traditionally made of plum or apricot wood and coated with linseed or olive oil. Once dry, crafters drill several holes into the front of the body and one hole into the back. The sizes, number of holes and materials used vary according to the region. The knowledge, skills and techniques of crafting and playing Balaban are typically passed on informally within families through observation and hands-on experience, as well as through apprenticeships. The musical practice is also transmitted formally in universities and high schools, traditional music conservatories, institutions and student music communities. Balaban plays a significant role in the music cultures of Azerbaijan and Türkiye and is commonly used as a solo or accompanying instrument at folk festivities, weddings and concerts. A vital part of the identity and collective memory of its musicians and craftspeople, it is also an important means of promoting cultural identity, solidarity and social memory in both countries, with people of all ages, genders, socio-economic backgrounds and ethnicities gathering to listen to and participate in the performances.

 
Title EN: Crafting balaban, Babakhan Amrov © Mamed Rahimov/Ministry of Culture, Azerbaijan, 2011

Türkiye

Craftsmanship and performing art of balaban/mey

multinational application of Azerbaijan and Türkiye

Date of Inscription:

Inscribed in 2023 (18.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Iftar/Eftari/Iftar/Iftor and its socio-cultural traditions

Iftar (also called Eftari, İftar or Iftor in practicing countries) is observed by Muslims at sunset in the month of Ramadan (the ninth month in the lunar calendar), upon completion of all religious and ceremonial rites. Observed by people of all ages, genders and backgrounds, it marks the daily termination of the hardships of fasting from dawn to sunset. The evening prayer is followed by activities such as praying ceremonies, music, storytelling, games, preparing and serving traditional and local meals and marriage arrangements. For communities, it often takes the form of gatherings or meals, strengthening family and community ties and promoting charity, solidarity and social exchange. The ceremonies and rituals related to Iftar are also practised by people who do not necessarily fast during the month of Ramadan. The knowledge and skills are typically transmitted within families through oral instruction, observation and participation, and children and youth are often entrusted with preparing components of traditional meals. During this process, parents also transmit knowledge about the benefits of fasting and the social values and functions of Iftar. Iftar is often supported by governmental entities, NGOs and charities, as well as through television, radio, press and social media.

 
Title EN: Iftar culture in Azerbaijan © J. Imamverdiyev, Ministry of Culture, Azerbaijan, 2022

Türkiye

Iftar/Eftari/Iftar/Iftor and its socio-cultural traditions

multinational application of AzerbaijanIran (Islamic Republic of)Türkiye , Uzbekistan

Date of Inscription:

Inscribed in 2023 (18.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Art of illumination: Təzhib/Tazhib/Zarhalkori/Tezhip/Naqqoshlik

Illumination is a centuries-old decorative art practised on the pages of manuscripts, calligraphic texts and miniatures. The main component is gold leaf or gold paint, both of which entail specific knowledge and techniques. Natural pigments are also used, and synthetic paints such as watercolour or gouache have become widespread in recent years. Today, traditional and contemporary interpretations of the element can be seen in manuscripts, miniatures and calligraphy as well as in stand-alone pieces of art. The practice is transmitted through apprenticeships as well as through formal and non-formal education, including in many universities, academies, research centres, and public and private workshops. The colours, patterns, and motifs used have symbolic meanings, and it is common to embellish religious texts, literary and historical manuscripts, marriage deeds and even commercial treaties with illuminations. The practice is therefore closely tied to the beliefs and cultural practices of communities. Illumination strengthens the sense of cultural continuity for communities at national, regional and international levels. And as the traditional knowledge and methods of illumination are also used in the restoration of ancient manuscripts and folios, the practice also contributes to the preservation of historical and cultural objects and to their safeguarding for future generations.

 
Title EN: The art of tezhib, Azerbaijan © J.Imamverdiyev/Ministry of Culture of Azerbaijan, 2022

TÜRKIYE​

Art of illumination: Təzhib/Tazhib/Zarhalkori/Tezhip/Naqqoshlik

multinational application of AzerbaijanIran (Islamic Republic of)TajikistanTürkiye , Uzbekistan

Date of Inscription:

Inscribed in 2023 (18.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Traditional knowledge, methods and practices concerning olive cultivation

In Türkiye, olive cultivation refers to grafting, pruning and fertilizing wild olive trees, called delice, and to picking, harvesting and processing the olives. The methods used are based on traditional knowledge and practices concerning nature, such as ideal soil characteristics, climate and manure. The olive trees are grafted and picked according to the folk calendar, and several rituals, festivals and social practices (such as folk plays, dances, contests and feasts) mark the beginning and end of the harvest season. For instance, villagers come together to pick the first olives of the season, and some olives are deliberately left in the groves for poor people to pick. The traditional knowledge, methods and practices have been transmitted within families and villages for centuries, orally and by participating in the associated practices. Today, publications, non-formal education courses and informative seminars also contribute to their transmission. In addition to the symbolism of the olive tree and leaf (which are associated with peace, eternity, wisdom and harmony) the practices concerning olive cultivation enhance solidarity, cooperation and harmony within the community. The element also contributes to environmental sustainability efforts and plays an important role in maintaining social and cultural identity, particularly in rural areas.

 
Title EN: A monumental olive tree Photograph: Yasemin İncekarasu © MoCT, 2022

TÜRKIYE​​

Traditional knowledge, methods and practices concerning olive cultivation

Date of Inscription:

Inscribed in 2023 (18.COM) on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding

Traditional Ahlat stonework

Traditional Ahlat stonework refers to the knowledge, methods, skills and aesthetic understanding surrounding the extraction of volcanic Ahlat stones, shaping and ornamenting the stones, and then using them to create structures and artefacts. Ahlat stone is a volcanic stone extracted by miners from the foothills of the Mountain Nemrut in Türkiye. The extracted stone is cut and shaped, then ornamented by stone carvers with hand-held tools. The ornamentation on the Ahlat stone is formed by scraping, relief and carving techniques, generally using organic, geometric and calligraphic shapes. Building a structure with Ahlat stone requires specific techniques and knowledge. Folk calendars and traditional knowledge of nature play important roles in the extraction of the stone by the miners as well as in construction. In addition to architectural works such as houses, mosques, mausoleums and bridges, the stones are also used in tombstones, inscriptions, fountains and other artefacts. The practice has been transmitted from generation to generation for centuries, but its viability has faced serious threats in the last decades, including demographic changes (difficulty finding new apprentices due to the sharp decline in population and migration to big cities) and the widespread use of modern building techniques and materials in the region.

 
© Information and Document Center of Folk Culture/Ministry of Culture and Tourism

Türkiye

Traditional Ahlat stonework

Date of Inscription:

Inscribed in 2022 (17.COM) on the Representative List of the Intangible Cultural Heritage in Need of Urgent Safeguarding

Telling tradition of Nasreddin Hodja/ Molla Nesreddin/ Molla Ependi/ Apendi/ Afendi Kozhanasyr Anecdotes

The Telling Tradition of Nasreddin Anecdotes refers to the social practices and festivals around the telling of anecdotes attributed to Nasreddin, a philosopher and wiseman recognized for his wisdom and humorous analyses and representations of society and life experiences. Although there are slight differences across communities in terms of imagery, character names and stories, the key features are shared as a common heritage in Azerbaijan, Kazakhstan, Kyrgyzstan, Tajikistan, Türkiye, Turkmenistan and Uzbekistan. The anecdotes are transmitted through oral tradition and written sources and have inspired local idioms and proverbs. Many have become classics and are also distributed in printed and visual media and in television programmes prepared for children. Characterized by their wisdom, witty repartees, absurdity and element of surprise, the Nasreddin anecdotes often break with accepted norms, with the narrator finding unexpected ways out of complicated situations and always coming out as the winner by the power of word. The anecdotes have an instructive and entertaining function, and communities use them to enrich conversations, reinforce arguments, persuade others or explain a situation. Municipalities, universities and non-governmental organizations play a vital role in the transmission of the anecdotes, organizing various activities and festivals for their commemoration at local, national and international levels.

 
© Ministry of Culture, Azerbaijan, 2013

Türkiye

Telling tradition of Nasreddin Hodja/ Molla Nesreddin/ Molla Ependi/ Apendi/ Afendi Kozhanasyr Anecdotes

multinational application of AzerbaijanKazakhstanKyrgyzstanTajikistanTürkiyeTurkmenistan , Uzbekistan

Date of Inscription:

Inscribed in 2022 (17.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Sericulture and traditional production of silk for weaving

In sericulture and the traditional production of silk for weaving, farmers care for the silkworms through their entire lifecycle, growing the mulberry trees that provide leaves upon which the worms feed and produce silkworm eggs. The fibres are reeled from the cocoons, spun into silk threads, cleaned and dyed. The threads are then used to create various types of craft products, including fabrics, carpets, rugs and curtains. Silk products are highly valued by all social and cultural classes, and people use them for special occasions such as weddings, funerals and family gatherings. Deeply rooted in the traditions of the Great Silk Road, the practice is an expression of cultural identity and centuries-old traditions. It is also viewed as a symbol of social cohesion, as the silk trade contributed to the exchange of culture and science within and across the countries concerned.

 
© Ministry of Culture, Azerbaijan, 2021

TÜRKIYE​

Sericulture and traditional production of silk for weaving

multinational application of AfghanistanAzerbaijanIran (Islamic Republic of)TajikistanTürkiyeTurkmenistan , Uzbekistan

Date of Inscription:

Inscribed in 2022 (17.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Culture of Çay (tea), a symbol of identity, hospitality and social interaction

Tea culture in Azerbaijan and Türkiye is an important social practice that shows hospitality, builds and maintains social ties, and is used to celebrate important moments in the lives of communities. Although there are several types of tea and brewing techniques, communities in both countries primarily harvest and consume black tea. Communities brew tea by using a wide variety of kettles, produced using traditional craftsmanship. The drink is served freshly-brewed and hot, in pear-shaped cups made from glass, porcelain, faience or silver. It is typically accompanied by sweets, sugar, lemon slices, jams and dried fruits. In certain regions of Azerbaijan, some communities also add local spices and herbs to the tea, such as cinnamon, ginger and thyme. Tea culture is an essential part of daily life for all layers of society, providing a strong sense of cultural identity. The bearers include tea farmers and harvesters, tearoom owners, tea makers, and the artisans who make the associated tools, utensils and sweets.

 
Tea farmers at plantations in Lankaran © AZERTAC

Türkiye

Culture of Çay (tea), a symbol of identity, hospitality and social interaction

multinational application of Azerbaijan and Türkiye

Date of Inscription:

Inscribed in 2022 (17.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Hüsn-i Hat, traditional calligraphy in Islamic art in Türkiye

The Hüsn-i hat is the centuries-old practice of writing letters of Arabic origin in a measured and proportional manner while taking into consideration certain aesthetic values. Traditional tools include a specific type of paper glazed with organic substances, a reed pen, pen knives, a special slab for trimming the reed pen, an inkwell, soot ink and a pen case. Many calligraphers, or hattats, make their own tools, and they play an important role in the transmission of the Hüsn-i hat tradition, passing on their knowledge, craft skills and values through apprenticeships. The Hüsn-i hat can be written on paper or leather. It may also be applied on stone, marble, glass and wood, among others. There are many different styles of Hüsn-i hat, and the practice was traditionally used to write the Koran, hadiths (statements of the Prophet Muhammad) and poetry, as well as for State correspondence, such as imperial edicts and warrants, and on religious and public buildings. In Islam, Hüsn-i hat is seen as a means not only of writing ideas, but of depicting them visually. To this day, Hüsn-i hat is still used in sacred and literary works and on mosques, Turkish baths and temples.

 
© MoCT, 2020

Türkiye

Hüsn-i Hat, traditional calligraphy in Islamic art in Türkiye

Date of Inscription:

Inscribed in 2021 (16.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Traditional intelligence and strategy game: Togyzqumalaq, Toguz Korgool, Mangala/Göçürme

Traditional intelligence and strategy game: Togyzqumalaq, Toguz Korgool, Mangala/Göçürme is a traditional game which can be played on special boards or improvised ones such as pits on the ground. The game can be played with pellets made of stone, wood, metal and bone, nuts, or seeds, which are distributed across the pits; the player who gathers the most pellets wins the game. There are several variations of the game. For example, the board can have two, three, four, six or nine pits arranged in order according to the number of players, and the duration varies according to the number of players. In the submitting States, the element is linked to other traditional crafts such as wood and stone carving and jewellery making. Wood and stone carving masters and jewellers make elaborately decorated boards and pellets as well as practical ones, reflecting traditional worldviews and their artistic creativity. The game improves players’ cognitive, motor and social skills and strategic and creative thinking, and teaches them to be patient and considerate. It is transmitted both informally and through formal education. Recently, the communities concerned have also developed mobile device applications for learning and/or playing the game, which provide a new way of transmitting related skills and increasing the visibility of the practice among younger generations.

 
School children playing Togyzqumalaq during open air masterclasses in the center of Almaty (Kazakhstan) Photograph: Erkebulan Khalelov © Togyzqumalaq Federation, 2018
 

Türkiye

Traditional intelligence and strategy game: Togyzqumalaq, Toguz Korgool, Mangala/Göçürme

multinational application of KazakhstanKyrgyzstan Türkiye

Date of Inscription:

Inscribed in 2020 (15.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Art of miniature

The miniature is a type of two-dimensional artwork that involves the design and creation of small paintings on books, papier-mâché, rugs, textiles, walls, ceramics and other items using raw materials such as gold, silver and various organic substances. Historically, the miniature was exemplified by book painting in which the text was supported visually, but the element has evolved and can also be observed in architecture and as an adornment in public spaces. The patterns of the miniature represent beliefs, worldviews and lifestyles in a pictorial fashion and also gained a new character through the Islamic influence. While there are stylistic differences between them, the art of miniature as practiced by the submitting States Parties shares crucial features. In all cases, it is a traditional craft typically transmitted through mentor-apprentice relationships (non-formal education) and considered as an integral part of each society’s social and cultural identity. The miniature displays a specific type of perspective in which the size of the figures changes according to their importance – a key difference from realistic and naturalistic styles. Though it has existed for centuries, it continues to develop and thus strengthens the bonds between past and present. Traditional painting principles and techniques are preserved, but artists also bring individual creativity into the process.

 
Wall miniature performed in Sheki Khan Saray (Azerbaijan) © J.Imamverdiyev/Ministry of Culture of Azerbaijan, 2018

TÜRKIYE​

Art of miniature

multinational application of AzerbaijanIran (Islamic Republic of TürkiyeUzbekistan

Date of Inscription:

Inscribed in 2020 (15.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Traditional Turkish archery

Traditional Turkish archery encompasses principles, rituals and social practices, the craftsmanship of traditional equipment, archery disciplines and shooting techniques that have evolved over the centuries. In traditional Turkish archery, there are different types of disciplines practised on foot and horseback. Bearers and practitioners train individually or collectively to improve their skills, carry out individual shootings and take part in competitions and festive events. The craftsmanship of traditional archery equipment is a key component of the element. The equipment is made with raw materials such as trees grown under certain climatic conditions at high altitudes, organic glues, horns, tendons, silk and leather. Craftspeople must therefore have advanced knowledge of nature, including plants, animals and the climate. Archery equipment is generally decorated with calligraphy, ornaments and marquetry. Craftspeople engaged in the craftsmanship of traditional archery equipment also play an important role in safeguarding the element, with the related skills being transmitted from master to apprentice or through self-learning. In recent years, there has been a remarkable increase in the number of female archers and trainees, as well as a significant increase in the number of non-governmental organizations involved in archery in various regions of Türkiye. Bearers and practitioners ensure the continued viability of the element by adopting it to fit contemporary conditions.

 
Puta (target) shooting in Çanakkale Biga Province Competition © Mustafa Çelik/MoCT, 2017

Türkiye

Traditional Turkish archery

Date of Inscription:

Inscribed in 2019 (14.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Heritage of Dede Qorqud/Korkyt Ata/Dede Korkut, epic culture, folk tales and music

The epic culture, folk tales and music of Dede Qorqud/Korkyt Ata/Dede Korkut are based on twelve heroic legends, stories and tales and thirteen traditional musical compositions shared and transmitted across the generations through oral expressions, performing arts, cultural codes and musical compositions. Dede Qorqud appears in each story as a legendary figure and wise individual, a sage of minstrels whose words, music and expressions of wisdom relate to traditions of birth, marriage and death. In the musical compositions, the main intonations are reproduced using a musical instrument called the Kobyz through the sounds of nature, and imitation soundscapes are characteristic of this medium (such as the imitation of a wolf’s howl or a swan’s note). The musical compositions are all interconnected by the epic stories that accompany them. The element encompasses social, cultural and moral values such as heroism, dialogue, physical and spiritual wellness and unity as well as respect for nature, and contains profound knowledge about the history and culture of Turkic-speaking communities. It is practised and sustained by the community concerned on a wide variety of occasions – from family events to national and international festivals – and is therefore well-rooted in society, serving as a connecting thread between generations.

 
 

Türkiye

Heritage of Dede Qorqud/Korkyt Ata/Dede Korkut, epic culture, folk tales and music

multinational application of AzerbaijanKazakhstanTürkiye

Date of Inscription:

Inscribed in 2018 (13.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Whistled language

Whistled language is a method of communication that uses whistling to simulate and articulate words. The practice developed as a result of the steep mountains and rugged topography of the region, which required the local population to find an alternative way to communicate across long distances. The practitioners are mainly agricultural communities who spend most of their lives outdoors. The communities concerned consider this practice to be a key reflection of their cultural identity, which reinforces interpersonal communication and solidarity. Although the community is aware of the importance of this practice, technological developments and socioeconomic changes have led to a decline in the number of practitioners and areas where it is spoken. One of the key threats to the practice is the use of mobile phones. The new generation’s interest in whistled language has diminished considerably and there is a risk that the element will be gradually torn from its natural environment, becoming an artificial practice. In spite of such threats, the communities have been actively promoting this linguistic practice both nationally and internationally to ensure its sustainability, and whistled language is still transmitted from generation to generation in the context of parent-child relations through both formal and informal methods.

 
The steep mountains, rugged topography and dispersed settlements of the region where is used whistled language
© Ministry of Culture and Tourism of Türkiye, General Directorate of Research and Training 2016

Türkiye

Whistled language

Date of Inscription:

Inscribed in 2017 (12.COM) on the Representative List of the Intangible Cultural Heritage in Need of Urgent Safeguarding

Spring celebration, Hıdrellez

The Spring Celebration ‘Hidrellez’ takes place annually on 6 May, which is recognized as Spring Day, or the awakening of nature. ‘Hidrellez’ is a compound noun derived from ‘Hidir’ and ‘Ilyas’, which are believed to be the protectors of earth and water and the helpers of individuals, families and communities in need of them. To mark this occasion, various ceremonies and rituals connected with nature are performed, guaranteeing the wellbeing, fertility and prosperity of the family and community and protecting livestock and crops for the upcoming year. The element belongs to all participants: families, children, youth, adults, dancers and singers. The rituals have deep-rooted cultural meanings and provide the community with a sense of belonging and cultural identity and an opportunity to strengthen relations. The communities concerned ensure the viability of the element by participating in the Spring Celebration on an annual basis. The complex organization of related events at the local, regional and national levels ensures the wide participation of individuals, groups and communities. The element is recognized as a key part of the cultural identity of the local communities and related knowledge and skills are transmitted within the family and between community members through oral communication, observation, participation and performances.

 
Pelivan wrestling on Hidrellez Day
© Združenie Festival Proletni Veselbi 2010

Türkiye

Spring celebration, Hıdrellez

multinational application of Republic of North MacedoniaTürkiye

Date of Inscription:

Inscribed in 2017 (12.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Traditional craftsmanship of Çini-making

Çini are traditional, handmade glazed tiles and ceramics made in Türkiye featuring colourful motifs of plants, animals and geometric patterns often found on facades of buildings and in homes throughout the country. Producing çini involves a series of processes. The clay is first shaped, lined, dried and fired in ovens specifically for çini making. Designs representing local customs and beliefs are then drilled on paper and transferred to the surface with coal dust. Outer contours of the patterns are hand drawn, the surface dyed in various colours and then the work is glazed and fired. Çini-making workshops involve craftspeople, supervisors and apprentices. Each craftsperson has a specific role – shaping, design and dye, polishing and undercoating or firing. Practitioners consider çini making as an outlet for self-expression, development and healing, as well as a means of maintaining an art form that is a symbolic aspect of Türkiye’s cultural identity, strengthening links from the past to the present providing continuity. Çini making is not confined to workshop spaces. The tradition is also practised in the home, public education centres, vocation schools and universities throughout the country where neither age, gender nor ethnicity are barriers to knowledge sharing, transmission and skills development.

 
© Ministry of Culture and Tourism of Turkey, 2014
© Ministry of Culture and Tourism of Türkiye, 2014

Türkiye

Traditional craftsmanship of Çini-making

Date of Inscription:

Inscribed in 2016 (11.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz

Novruz, Nowrouz, Nooruz, Navruz, Nauroz or Nevruz marks the New Year and the beginning of spring across a vast geographical area covering, inter alia, Azerbaijan, India, Iran, Kyrgyzstan, Pakistan, Türkiye and Uzbekistan. It is celebrated on 21 March every year, a date originally determined by astronomical calculations. Novruz is associated with various local traditions, such as the evocation of Jamshid, a mythological king of Iran, and numerous tales and legends. The rites that accompany the festivity vary from place to place, ranging from leaping over fires and streams in Iran to tightrope walking, leaving lit candles at house doors, traditional games such as horse racing or the traditional wrestling practised in Kyrgyzstan. Songs and dances are common to almost all the regions, as are semi-sacred family or public meals. Children are the primary beneficiaries of the festivities and take part in a number of activities, such as decorating hard-boiled eggs. Women play a key role in organizing Novruz and passing on its traditions. Novruz promotes the values of peace and solidarity between generations and within families, as well as reconciliation and neighbourliness, thus contributing to cultural diversity and friendship among peoples and various communities.

 
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TÜRKIYE​

Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz

multinational application of AfghanistanAzerbaijanIndiaIran (Islamic Republic of)IraqKazakhstanKyrgyzstanPakistanTajikistanTürkiyeTurkmenistan , Uzbekistan

Date of Inscription:

Inscribed in 2016 (11.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Flatbread making and sharing culture: Lavash, Katyrma, Jupka, Yufka

The culture of making and sharing flatbread in communities of Azerbaijan, Iran, Kazakhstan, Kyrgyzstan and Türkiye carries social functions that have enabled it to continue as a widely-practised tradition. Making the bread (lavash, katyrma, jupka or yufka) involves at least three people, often family members, with each having a role in its preparation and baking. In rural areas, neighbours participate in the process together. Traditional bakeries also make the bread. It is baked using a tandyr/tanūr (an earth or stone oven in the ground), sāj (a metal plate) or kazan (a cauldron). Besides regular meals, flatbread is shared at weddings, births, funerals, various holidays and during prayers. In Azerbaijan and Iran, it is put on the bride’s shoulders or crumbled over her head to wish the couple prosperity while in Türkiye it is given to the couple’s neighbours. At funerals in Kazakhstan it is believed the bread should be prepared to protect the deceased while a decision is made from God and in Kyrgyzstan sharing the bread provides a better afterlife for the deceased. The practice, transmitted by participation within families and from master to apprentice, expresses hospitality, solidarity and certain beliefs that symbolize common cultural roots reinforcing community belonging.

 
© 2015 by M. Rahimov/Ministry of Culture and Tourism of Azerbaijan
© 2015 by M. Rahimov/Ministry of Culture and Tourism of Azerbaijan

Türkiye

Flatbread making and sharing culture: Lavash, Katyrma, Jupka, Yufka

multinational application of AzerbaijanIran (Islamic Republic of)KazakhstanKyrgyzstanTürkiye

Date of Inscription:

Inscribed in 2016 (11.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Ebru, Turkish art of marbling

Ebru is the traditional Turkish art of creating colourful patterns by sprinkling and brushing colour pigments onto a pan of oily water and then transferring the patterns to paper. Known as marbling, the designs and effects include flowers, foliage, ornamentation, latticework, mosques and moons, and are used for decoration in the traditional art of bookbinding. The practitioner uses natural methods to extract colours from natural pigments, which are then mixed with a few drops of ox-gall, a kind of natural acid, before sprinkling and brushing the colours onto a preparation of condensed liquid, where they float and form swirling patterns. Ebru artists, apprentices and practitioners consider their art to be an integral part of their traditional culture, identity and lifestyle. Their knowledge and skills, as well as the philosophy behind this art, are transmitted orally and through informal practical training within master-apprentice relationships. Achieving basic skills in Ebru takes at least two years. The tradition is practised without barrier of age, gender or ethnicity, and plays a significant role in the empowerment of women and the improvement of community relationships. The collective art of Ebru encourages dialogue through friendly conversation, reinforces social ties and strengthens relations between individuals and communities.

 
Outer cover of a book ornamented with art of Ebru. Its published date is estimated as 17th century. Photograph: Mahmut Davulcu © Ministry of Culture and Tourism, 2011

Türkiye

Ebru, Turkish art of marbling

Date of Inscription:

Inscribed in 2014 (9.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Turkish coffee culture and tradition

Turkish coffee combines special preparation and brewing techniques with a rich communal traditional culture. The freshly roasted beans are ground to a fine powder; then the ground coffee, cold water and sugar are added to a coffee pot and brewed slowly on a stove to produce the desired foam. The beverage is served in small cups, accompanied by a glass of water, and is mainly drunk in coffee-houses where people meet to converse, share news and read books. The tradition itself is a symbol of hospitality, friendship, refinement and entertainment that permeates all walks of life. An invitation for coffee among friends provides an opportunity for intimate talk and the sharing of daily concerns. Turkish coffee also plays an important role on social occasions such as engagement ceremonies and holidays; its knowledge and rituals are transmitted informally by family members through observation and participation. The grounds left in the empty cup are often used to tell a person’s fortune. Turkish coffee is regarded as part of Turkish cultural heritage: it is celebrated in literature and songs, and is an indispensable part of ceremonial occasions.

 
Serving Turkish Coffee with silver coffee cup set and tray. Photograph: Kadir KIR © Ministry of Culture and Tourism

Türkiye

Turkish coffee culture and tradition

Date of Inscription:

Inscribed in 2013 (8.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Mesir Macunu festival

The Mesir Macunu festival of Manisa, Türkiye, commemorates the recovery of Hafsa Sultan, mother of Suleiman the Magnificent, who was cured of a disease by the invention of a paste known as mesir macunu. The Sultan then ordered that the paste be disseminated to the public. So, every year from 21 to 24 March, the paste is prepared by a chef and apprentices from 41 fresh spices and herbs according to traditional practice. A team of 14 women wrap the paste in small pieces of paper, and 28 imams and apprentices bless it before scattering the paste from the top of the minaret and the domes of the Sultan Mosque. Thousands of people come from different regions of Türkiye to compete to catch the pieces as they fall. Many believe that by so doing their wishes for marriage, work and children will come true within a year. A 45-piece orchestra dressed in traditional clothing perform historical Ottoman music during the preparation of the paste and throughout the festival. Inhabitants of Manisa have a deep emotional attachment to the festival. The strength of tradition creates a strong sense of solidarity among local communities, and the city welcomes guests from almost all regions of Türkiye.

 
Preperation of Mesir Macunu Photograph: Researcher of Folklore working for Ministry of Culture and Tourism © Information and Documentation Center of Folk Culture/Ministry of Culture and Tourism

TÜRKIYE​

Mesir Macunu festival

Date of Inscription:

Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Ceremonial Keşkek tradition

Keşkek is a traditional Turkish ceremonial dish prepared for wedding ceremonies, circumcisions and religious holidays. Women and men work together to cook wheat and meat called ‘Keşkek’ in huge cauldrons, then serve it to the guests. The wheat is washed with prayers the preceding day, and then carried to a large stone mortar, to the accompaniment of music from the ”davul” drum and zurna double-reed pipe. At the mortar it is hulled by two to four persons using gavels in a fixed rhythm. Cooking is usually carried out outdoors: hulled wheat, chunks of meat on the bone, onions, spices, water and oil are added to the cauldron and cooked all night. Towards noon, the strongest of the village youth are called to beat the Keşkek with wooden mallets, while the crowd cheers and zurna players perform musical pieces, announcing the thickening of the stew with a specific melody. Numerous expressions associated with the dish – used during the selection of wheat, the blessings, praying and carrying the wheat, as well as preparing and cooking it – have become common expressions in daily life. In addition, the tradition encompasses entertainment, plays and musical performances. Neighbouring towns and villages are invited to feast collectively in the ceremony premises. The cooking tradition is safeguarded and transmitted by master cooks to apprentices.

 
Laying wheat to dry Photograph: Resercher of Folklore working for Ministry of Culture and Tourism © Information and Documentation Center of Folk Culture/Ministry of Culture and Torusim

Türkiye

Ceremonial Keşkek tradition

Date of Inscription:

Inscribed in 2011 (6.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

Kırkpınar oil wrestling festival

The Kırkpınar oil wrestling festival takes place in Edirne, Türkiye. Thousands of people from different age groups, cultures and regions travel every year to see ”Pehlivan” (wrestlers) fight for the Kırkpınar Golden Belt and the title of Chief Pehlivan. Each festival is launched by its patron, the ”Kırkpınar Aga,” in a ceremony featuring forty bands of ”davul” drums and ”zurna” shawms. The golden belt is carried through the city in a procession, followed by prayers recited in the Selimiye Mosque. The wrestling bouts customarily take place at the Men’s Field. The master of ceremonies introduces the ”Pehlivans” to the audience, reciting in verse their names, titles and skills. Next, the oil man oils the wrestlers assisted by the towel holder, before the warm-up exercises and greetings. The wrestlers each wear ”kıspet,” thick trousers made of water buffalo or cow leather. As the wrestling takes place, the drum and shawm bands play the traditional repertoire of the festival. Kırkpınar oil wrestling is open to men from all cultures, regions and ages without discrimination between religion, language or race. ”Pehlivans” are considered exemplary figures in society with attributes such as generosity, honesty, respectfulness and adherence to traditions and customs. All ”Pehlivans” are trained in the master-apprentice tradition.

 
Municipality Building Festival Executive Center Photograph: Resercher of Folklore working for Ministry of Culture and Tourism © Information and Documentation Center of Folk Culture / Ministry of Culture and Tourism

Türkiye

Kırkpınar oil wrestling festival

Date of Inscription:

Inscribed in 2010 (5.COM ) on the Representative List of the Intangible Cultural Heritage of Humanity

Semah, Alevi-Bektaşi ritual

Semahs can be described as a set of mystical and aesthetic body movements in rhythmic harmony. They constitute one of the twelve main services found in ”Cem” rituals, religious practices performed by adherents of Alevi-Bektaşi, a belief system based on admiration for Ali, the fourth caliph after the prophet Muhammed. Semahs are performed by ”semahçıs” (Semah dancers), accompanied by devout musicians playing the ”saz” long-necked lute. Various forms of Semah exist in Alevi-Bektaşi communities across Türkiye, each with distinct musical characteristics and rhythmic structures. One consistent characteristic is the performance of the ritual by both men and women, side by side. Semah rituals are founded upon the concept of unity with God as part of a natural cycle: people come from God and return to God. There are two forms of Semah: ”İçeri” Semahs are performed in ”Cems” only among adherents as part of the twelve services; ”Dışarı” Semahs are performed independent of services to promote Semah culture to younger generations. Semahs are the most crucial means for the transmission of the Alevi-Bektaşi tradition. All practices, traditional motifs and teachings are passed on orally, and distinct genres of art and literature associated with the tradition continue to thrive. In this way, Semahs play a crucial role in fostering and enriching the traditional music culture of Türkiye.

 
Dıšarı (Public) Semah-Mengi- in Denizli City Photograph: Researcher of Folklore working for Ministry of Culture and Tourism © Information and Documentation Center of Folk Culture/Ministry of Culture and Tourism

Türkiye

Semah, Alevi-Bektaşi ritual

Date of Inscription:

Inscribed in 2010 (5.COM ) on the Representative List of the Intangible Cultural Heritage of Humanity

Traditional Sohbet meetings

Traditional Sohbet meetings play a crucial role in transmitting Turkish folk literature, folk dances and music, village plays as well as societal values. Turkish men meet regularly indoors, especially in winter, to discuss local social and cultural issues, safeguard traditions, and encourage solidarity, mutual respect and a sense of community. Meetings may include music, dances and plays, all enjoyed while consuming local dishes. A traditional Sohbet meeting may last until the early morning. Meetings are open to men above the age of 15 or 16, regardless of ethnicity, religion or status, with the basic requirement that members be of honest families, be trustworthy and respectful of their elders, and not gamble or display public drunkenness. Members may be penalized with a fine for missing a meeting, except under extenuating circumstances. Mothers and wives encourage male members to attend because of the associated social and cultural benefits. Communities usually comprise five to thirty persons and are guided by leaders, appointed by election or proposed by elders. Members of the community all have equal rights and commitments. The Sohbet meetings fulfil an important educational function by transferring ethical values such as social justice, tolerance, benevolence and respect.

 
Balıkesir-Dursunbey Barana Sohbet Meetings- Village Spectacle Plays Photograph: Researcher of Folklore working for Ministry of Culture and Tourism © Information and Documentation Center of Folk Culture/Ministry of Culture and Tourism
 

Türkiye

Traditional Sohbet meetings

Date of Inscription:

Inscribed in 2010 (5.COM ) on the Representative List of the Intangible Cultural Heritage of Humanity

Âşıklık (minstrelsy) tradition

The Âşıklık (minstrelsy) tradition of Türkiye is performed by wandering poet-singers known as ”âşıks.” Dressed in traditional clothes and plucking a stringed ”saz,” the âşık is a common performer at weddings, in coffeehouses and during public festivals of all sorts. The âşık is called in a dream to undertake a long apprenticeship in the arts of playing string and percussion instruments, singing, storytelling and repartee that form the heart of the vocation. The poems they recite, usually about love, are written in rhymed syllabic meter and end with a quatrain in which the âşık utters the ”Mâhlas,” his pseudonym. Their improvisational performances may also include riddles, folk tales, verbal duels of wit and creativity with other âşıks, and verses sung while the minstrel holds a needle in his mouth to force him to recite poems avoiding B, P, V, M and F sounds. Because âşıks travel between communities, they help to spread cultural values and ideas and to facilitate a robust social dialogue, in part through topical poetry and social and political satire. At weddings in particular, âşıks are regarded as instructors and guides whose tradition draws on and enriches Turkish literary culture and the daily lives of communities throughout the country.

 
Female Âşık Durşen Mert presenting a performance at İpek Yolu Âşıks Feast Photograph: Researcher of Folklore working for Ministry of Culture and Tourism © 2008, by Information and Documentation Center for Folk Culture/ Ministry of Culture and Tourism

Türkiye

Âşıklık (minstrelsy) tradition

Date of Inscription:

Inscribed in 2009 (4.COM ) on the Representative List of the Intangible Cultural Heritage of Humanity

Karagöz

Karagöz is a form of shadow theatre in Türkiye in which figures known as ”tasvirs” made of camel or ox hide in the shape of people or things are held on rods in front of a light source to cast their shadows onto a cotton screen. A play begins with the projection of an introductory figure to set the scene and suggest the themes of the drama, before it vanishes to the shrill sound of a whistle, giving way to a main performance that may incorporate singing, tambourine music, poetry, myth, tongue-twisters and riddles. The usually comic stories feature the main characters Karagöz and Hacivat and a host of others, including a cabaret chanteuse called Kantocu and an illusionist-acrobat named Hokkabaz, and abound in puns and imitations of regional accents. The puppets are manipulated by one lead artist, the Hayali, who may have one or more apprentice-assistants who are learning the craft by helping to create the tasvirs and accompanying the action with music. Once played widely at coffeehouses, gardens, and public squares, especially during the holy month of Ramazan, as well as during circumcision feasts, Karagöz is found today mostly in performance halls, schools and malls in larger cities where it still draws audiences. The traditional theatre strengthens a sense of cultural identity while bringing people closer together through entertainment.

 
Karagöz curtain © Information and Documentation Center for Folk Culture/ Ministry of Culture and Tourism

TÜRKIYE

Karagöz

Date of Inscription:

Inscribed in 2009 (4.COM ) on the Representative List of the Intangible Cultural Heritage of Humanity

Arts of the Meddah, public storytellers

Meddahlik was a Turkish theatre form performed by a single storyteller called a meddah and practised throughout Türkiye and Turkishspeaking countries. Through the ages, similar narrative genres have flourished due to interaction among the peoples of Asia, the Caucasus and the Middle East within this wide geographical area. Historically, meddahs were expected to illuminate, educate, and entertain. Performing in caravanserais, markets, coffeehouses, mosques and churches, these storytellers transmitted values and ideas among a predominantly illiterate population. Their social and political criticism regularly provoked lively discussions about contemporary issues. The term meddah, borrowed from Arabic maddah “to praise”, can be translated as “storyteller”. The meddah selects songs and comic tales from a repertory of popular romances, legends and epics and adapts his material according to the specific venue and audience. However, the quality of the performance largely depends on the atmosphere created between storyteller and spectators, as well as the meddah’s ability to integrate imitations, jokes and improvisation often relating to contemporary events. This art, which places great value on the mastery of rhetoric, is highly regarded in Türkiye. Although some meddahs still perform at a number of religious and secular celebrations and appear on television shows, the genre has lost much of its original educational and social function due to the development of the mass media and in particular because of the appearance of TV sets in cafés.

 
Meddah Rauf Altıntak in a performance Photograph: Nilüfer Zeynep ÖZÇÖREKÇİ GÖL © Information and Documentation Center of Folk Culture/Ministry of Culture and Tourism of Türkiye

TÜRKIYE

Arts of the Meddah, public storytellers

Date of Inscription:

Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2003)

Mevlevi Sema ceremony

The Mevleviye is an ascetic Sufi order founded in 1273 in Konya, from where it gradually spread throughout the Ottoman Empire. Today, the Mevleviye can be found in many Turkish communities throughout the world, but the most active and famous centres of the order’s activity are in Konya and Istanbul. The Mevleviye are renowned for their whirling dances. Following a recommended fast of several hours, the whirlers begin to rotate on their left feet in short twists, using the right foot to drive their bodies around the left foot. The body of the whirler is meant to be supple, with eyes open but unfocused so that images become blurred and flowing. At their dancing ceremonies, or Sema, a particular musical repertoire called ay›n is played. Based on four sections of both vocal and instrumental compositions, it is performed by at least one singer, a flute-player, called neyzen, a kettledrummer and a cymbal player. Dancers used to receive 1,001 days of reclusive training within the mevlevi-houses (mevlevihane), where they learned about ethics, codes of behaviour and beliefs by practising prayer, religious music, poetry and dance. After this training, they remained members of the order but returned to their work and families. As a result of secularization policies, all mevlevihane were closed in 1925.The Turkish government began to allow performances again, though only in public, in the 1950s, restrictions were eased in the 1990s. Some private groups are re-establishing the original spiritual and intimate character of the Sema ceremony. However, over the thirty years the tradition was practised clandestinely, transmission focused rather on music and songs than on spiritual and religious traditions, which has deprived performances of part of their religious significance. Consequently, many sema ceremonies are no longer performed in their traditional context but for tourist audiences, and have been shortened and simplified to meet commercial requirements.

 
Mevlevi Sema Ceremony in Şeb-i Arûs Photograph: Murat ÖCAL © Directorate General of Information Audiovisual Archive/Ministry of Culture and Tourism

TÜRKIYE

Mevlevi Sema ceremony

Date of Inscription:

Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2005)