ii. intangible cultural heritage inventory

24 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan

II. Intangible Cultural Heritage Inventory

1. National inventory

A. Inventory Information

Making an inventory of intangible cultural heritage of Uzbekistan includes

the following aspects:

based on the legislation, compiliation of a list (registry or collection) of

objects (values) of intangible cultural heritage according to the main

types: the art of speech, music, choreography, show, folk games, rituals,

customs, artistic crafts, cultural space.

Main criteria for inventory-making: oral transfer, authenticity, ancient

roots, originality, integrity of skills, knowledges and techniques of

performance, exceptional value, cultural identity, risk of disappearance.

authors and developers of the inventory: scientists and specialists of

research institutes, the Center for folk art studies, bearers of traditions,

local self-government (khokimiyats and mahallas), public funds, the

group of experts of the Ministry of Culture and Sports of Uzbekistan.

Making an inventory: based on the national list of objects of intangible

cultural heritage regional and local lists will be created, as well as those,

created on the basis of their belonging to any particular genre or type of

artistic creativity.

Goals and objectivs of inventory-making: preservation, revival, and

development of intangible cultural heritage, which covers the following

activities: identification, documenting, cataloging, archiving,

researching, creation of a database, conservation, assistance (moral and

Intangible Cultural Heritage Inventory | 25

financial), strengthening and transferring skills and knowledges,

popularization and training.

Data carriers, which shall have information about an inventory: textual

(informational, analytical), visual (photo and video; mapping) and

sound (audio and multimedia) materials.

Methods: information gathering (data collection), archiving activity

(working in the archives; working with the databases), on-site work

(data collection through organization of expeditions), exploratory or

research activity (systemic-ethnophonic, analytical, comparative),

practical work (publication of materials, scientific papers, musical

notations; outreach conferences, workshops, seminars, festivals,

master classes).

Financing state budget, grants and financial support by sponsors

(local and international).

At present, based on the Law On preservation of cultural heritage objects

the national inventory is being developed, an inventory list of objects of

intangible cultural heritage of Uzbekistan is drawn up. These tasks are

performed by the Ministry of Culture and Sports, Republican scientific and

methodological Center for folk arts by involvement of experts and specialists

of research institutes, HEIs and the bearers of traditions. The following

objects of intangible cultural heritage of Uzbekistan are being included into

the List:

Oral folk poetry: proverbs, sayings, folk poetry, epic stories (dastans),

folk tales, rutual folklore, etc.

Traditional music : ritual songs, original song genres (alla, terma,

lapar, koshuk, yalla, ashula, suvora, katta ashula, maqom, instrumental

melodies and cycles, maqom cycles as Shashmaqom, Khoresmian

maqoms, Ferghana-Tashkent maqoms, Feruz; instrumental maqom

cycles for surnai and dutar, etc).

Art of spectacular shows: dorboz (rope walker), kugirchokboz

(puppeter), askiya (wittiness), maskharaboz and kizikchi (comedian),

folk games (childrens and adult games as kurash (folk wrestling),

kopkara-ulok (goat hunting), etc.).

Choreography: folk dance (solo and ensemble), for instance, Ferghana

related Tanovar, Khoresm related Lyazgi, Bukhara related Mavrigi,

Surkhandarya related Yakku-yak, Samarkand related Beshkarsak, etc.

Applied folk art: ceramic, wall painting, textile, embroidery, gold-

sewing, hammered ironwork, wood carving and ganch carving, gold-

work, carpet manufacture, traditional musical instruments, etc.


Cultural space, rituals, rites/ceremonies: Boysun, Urgut, Zamin,

Nurata, Sherabad, Bostanlik, marriage rites, rites of treatment (kuch,

jakhr, shamanic rites), Navruz (oriental new year), Mekhrgan (spring

holiday of harvest), Sada (winter holiday fire worship), etc.

For the formation of the List (collection) the responsible is the Ministry of

Culture and Sports of the Republic of Uzbekistan. In order to confirm the

concept, methodology, identify the value of objects of intangible cultural

heritage and make sure their inclusion into the national inventory, for the

purpose of making decisions a commission of experts is established, which

will work on creation of the National Inventory and the List of valuables of

traditional culture. Republican Scientific and Methodological Center for Folk

Arts closely cooperates with corresponding research institutes and

educational establishments (which collect and study intangible cultural

heritage), with specialists and experts, non-governmental organizations and

funds. It drafts the list, establishes a methodology of its development, tests it,

and bears responsibility for collection of data for the List, creation of a

database on the national level. The List (or code) is a comprehensive

compendium of data about formed values of traditional culture in

Uzbekistan (analog and electronic), and differs significantly from the other

types storage, making inventories of intangible cultural heritage (archieves,

funds, collections, sound record libraries, etc). Criteria for inclusion into the

List (code) are:

iniqueness, originality and the feature of a relict;

the value in historical, cultural, social, ethnological standpoints;

artistic value, perfection of skills and performance techniques;

viability, integrity of cultural, economic, social purposes, of initial

function;

typicalness, reflection of distinctive local, regional features, of historic-

cultural traditions, etc.;

volume of skills for transferring tradition (repertoire, number of

products, training and practice), composite nature of a phenomenon

(integrity of traditions, styles, artistic innovations and researches);

method of succession of tradition, transfer, dissemination;

risk of disappearance of tradition.

The list (code) of objects (values) of intangible cultural heritage is a long

term State programme for preservation of intangible cultural heritage. Main

goals of establishing inventory of intangible cultural heritage of Uzbekistan

and creation of the List of objects, are directed to the folowing:


collecting data about all preserved unique and valuable (from historical,

cultural, social-ethnological and artistic perspectives) objects of

intangible cultural heritage of Uzbekistan;

giving the status of under protection of the state, creating legal

mechanism of safeguarding, social and economical prerequisites its

protection; transfer and development;

making up a register (List) of the objects and establishing national and

local databases containing textual, audio-visual information; creating

information systems;

dissemination of any significant information about the values of

traditional culture in the society by means of Mass Media, electronic

networks, publications, etc.

The idea of establishing the national inventory (and at a later stage of local,

regional inventories) and the List of values of traditional culture of

Uzbekistan is formed on the basis of already existing register of movable

(tangible) and immovable (intangible) cultural values; system of Living

Human Treasures, being recommended and supported by UNESCO;

methodology of preparation of Representative list of Masterpieces of

intangible cultural heritage of the humanity, taking into account the

provisions of UNESCO Convention of 2003 On safeguarding of the intangible

cultural heritage. On the basis of general national List of objects of cultural

heritage will be established regional and local ones, that will include the

values of intangible cultural heritage, which are uniqe or typical for this any

given region, land or territory and which in cultural, aesthetical and social

terms are important for the community living in this particular territory or

area. It is also planned to compose the List according to the belonging to any

particular genre and forms of artistic creativity. And for this pupose local

authorities, (regional khokimiyats, administrations of culture), local self-

government (makhallas as a local community, self-government and

traditional institute of neighbourhood) will be attracted.

On the basis of development of the National Programme on preservation of

intangible cultural heritage the following lists are being composed:

List of regions, types, genres, skills of traditional culture.

List of events and activities dedicated to traditional culture (holidays,

rituals, rites, customs).

List of living hearths of traditional culture (cultural spaces).


List of informants, performers the bearers of traditions (groups,

collectives, associations, individuals).

List of compendium of traditional culture.

It is necessary to note, that all objects of the inventory are divided into two

general categories: living objects (phenomena of traditional culture, which

were preserved to this day and continuously exist in their own natural

habitat) and historical objects (phenomena of intangible cultural heritage,

which ceased to continue their independent development, but were

documented and kept in arhives, sound libraries, museums and depositories,

and are acknowledged by the community as valuable ones and are typical or

necessary for their identity).

It should be noted, that objects, which were considered according to these

criteria and categories, were not defined completely yet. Attaching them to

any particular category reflects the existing situation. Nevertheless, the

boundary between living and historical objects of intangible cultural heritage

is not absolute, but inconsistent.

To date by the Ministry of Culture and Sports of the Republic of Uzbekistan

(the Department for folk arts) and the Republican Scientific and

Methodological Center with participation of experts-specialists and

assistance of the National Commission of the Republic of Uzbekistan for

UNESCO a List of objects of intangible cultural heritage was developed,

which will be included into the national inventory. At the moment, an

inventory entitled Intangible cultural heritage of Uzbekistan is being

created, which will include main areas, forms and genres of traditional

culture; parallel the process of preparation of textual material is continued,

where basic and objective information is given with regard to the object, and

its features (i.e. historico-cultural, artistic features; chronology of recording

and publishing; description of expression style with indication of the list of

publications (bibliography) and illustrative material). For instance, the

object Navruz - a nationwide calendar holiday included general

information about Navruz, historical information, reasons for its inclusion

into the inventory, its area of spreading, art forms associated with it and

their basic elements, audio and video materials, publications, etc). Similar

textual information has been gathered also on other forms of traditional

culture (i.e. traditional music, folk epic, artistic craft, folk dance, cultural

space and rites).


Number of inventories : At present in Uzbekistan two National Inventories

were established, which were recognized as

Masterpieces of intangible cultural heritage of

humanity.


B. National inventory of Cultural space of Boysun

It was developed and is implemented now by the Ministry of Culture and

Sports of Uzbekistan, Republican Scientific and Methodological Center for

Folk Art, Khokimiyat of Boysun district, Surkhandarya regional

administration for Culture and Sports, Art Studies Research Institute of the

Academy of Arts of Uzbekistan, Institute of Language and Literature of the

Academy of Sciences of Uzbekistan, Boysun Public Fund for Culture and Art,

with assistance of the National Commission of Uzbekistan for UNESCO. It was

developed and adopted on the basis of the programme on Preservation of

unique historical and cultural heritage of Boysun (2003-2005).

1) Number of designated items

The number of designated items is 20. Main objects of the inventory:

Boysun as a unique object of historico-cultural heritage of Uzbekistan.

Atlas of artistic crafts of Boysun. Embroidery. Carpet weaving. Felt

carpets. Weaving. Ceramics. Artistic Leather Work. Chest Making. Yurt

making. Woodwork. Musical Instruments. Folk songs. Rituals. Navruz in

Boysun. Traditional music, Folk epic. Instrumental Music. Folk games,

etc.

2) Frequency of designation

Anually

3) Date of most recent update

In 2007, the object of Boysun national historic-ethnographical park

was added.

4) Establishment of an expert advisory panel

On the basis of Art Studies Research Institute of the Academy of Arts of

Uzbekistan an advisory panel of experts was established.

Leader : Akbar Khakimov, academician, doctor of art history, professor,

director of Art Studies Research Institute;

Address : 2, Mustaqillik sq., Tashkent,

Phone : (998-71) 239 17 71 / 239 46 75/ 239 10 92


5) Responsible governmental organisation (national/local govern-mental)

- department, person in charge, contact information, job description

Central - Central Administration, Republican Musical colledge under

the Ministry of Culture and Sports of Uzbekistan

Local Khokimiyat and administration on culture and sports of

Boysun district

6) Designated Heritage Cultural space of Boysun

EMBROIDERY

Categories

Living objects

(All objects, included intotheinventory, are living objects, i.e. they

are still in existence, are preserved and operate in this district.)

Criteria

Originality, uniqueness, historic-cultural and artistic values.

Heritage associated items

Types of articles or goods : Susane (large wall mounted

embroidery); borpush (used to cover a pile of stacked blankets,

takhmon); joynamoz (an embroidery, used as a prayer rug);

zardevor (a frieze, a kind of narrow, horizontal wall mounted

embroidery of different length); bolish-pupak (a pillowcase with

tassels), joypush (a wedding bed sheet for a bride and groom);

belbog (a waist scarf), chiroz (a braiding for skullcaps) oyna-khalta

(an embroidered small bag or baggie for keeping mirrors),

belkars (a waist scarf decorated with embroidrey), rumolcha (a

handkerchief for bride), sandalipush (an embroidered coverlet for

a sandal), kurak (items made in patchwork technique), lula-bolish

(a pillow and a pillowcase), tanpok (an embroidered towel) tuz-

khalta (a small bag or baggie to keep salt), ishlik-khalta (knapsack

for kitchen utensils), (a female scullcap), toki (a

skullcap for men), choy-khalta (a small bag or baggie for tea),

bujom (a woven cloth for wrapping clothes and beddings, with

embroidery on one of the korners), chimildik (a wedding curtain),


duppi (a skullcap), jiyak (narrow strips for furnishing a dress),

(a variet of djoypush, a counterpane), bogcha (a

bugjoma roll), chimildik-pupak (wedding curtain with tassels).

Applied folk art, artistic craft : For ceneturies the dowry has

included various kinds of embroideries, used as decorations of the

room of a newly married couple. These are large decorative

panels, suzane; covers for blankets stacked on the chest, borpush

or bugjoma, frieze bands, on the wall under the ceiling, zardevor;

covers for sandals, sandalipush, pillowcases, bolipush and lula-

bolish.

The ethnic peculiarities of the traditional culture of the district

have found their reflection in the color, character of ornament and

compositional features of Boysun embroidery.

Materials : base fabric satin (cotton cloth) or silk. Threads

cotton, rarely silk (craftswomen themselves prepared the silk

threads from silkworms). At present synthetic or cotton threads

are used. In the past natural dyes were used: a black color was

obtained from fruits of totum darakht, yellow one knars of on a

nut tree, and red one from ruyan grass.

Technology : a pattern is pencilled onto the base fabric, on which

embroidery is done using silk threads (the patterns were made by

craftswoman called chizmakash).

List of stitches : bosma and kandakhayol (satin stitch), yurma

(chain/tambur stitch).

Dcor and colors : vegetative motifs: lali gul, toki gul, gukish gul,

bodom gul, obi gul, kunghira, etc (color motifs).

Popular subjects : Tog kizi (Mountaing bride or girl) or Kiyik (a

deer). According to mistress . Jalilova (Avlod village) this subject

originates from the folk epic (dastan) Laili and Majnun.

Original elements : farishta (an angel, protecting the world),

images of stylized figurines of a pregnant woman (considered

locally to be sacred). Elements on suzane suzane border (the

border of the world), a wave-like border (a symbol of eternity).

The external ornament of the border - berun kungra, the internal


one darun kungra. Thin dividing stripes are called oba (water); a

mekhrob pattern (border pattern) in between; a shokhcha is a

vegetative pattern of the internal corner. In the center there are

flowers rosette (huge circles), metamorphically depicting the sun

and moon. Motifs reflect traidional ideas about the universe,

nature, happiness and love. It appears to be for folk masters that

the entire composition represents jannat (the Paradise). Names

of planets oy (Moon); katta oy or panja oy (larger planet), kichik

oy (smaller planets). In the center of the planet, there is nucleus in

the form of a rosette or a flower branch (dasta-gul), surrounded

by a ring consisting of colorful rosettes. Between planets there are

various floret and vegetative patterns such as the almond flower

(bodom-gul), tulip (lola-gul), sometimes with images of stylized

birds: swallows (kaldirgoch), and nightingales (bulbul). Rosette

compositions - vary from one to twenty rosettes.

The suzane has a rectangular form exdending horizontally. The

size of suzane may vary from 1,5 to 2 m in height and from 2 to 4

m in length. Main colors yellow, green, blue, dark blue, orange

and red.

Decoration of belbog (waist shawl with embroidery): round

medallions with ornament called kaychi (scissors), image of

kaldirgoch (a swallow); round coin-shaped patterns of pulakcha

or tangacha. Stithces uymoki, shakhari. Decoration of duppi

(skullcaps): motifs of alacha gul, lola gul (flowers) are used in

female skullcaps, whereas motif of tuldirma gul in male skullcaps.

Information regarding holders/bearers

Main centers of embroidery of the Boysun district are villages of

Avlod, Kushkak, Bogbolo, Labisoy, Bibishirin, Tuda, pasukhri,

Khodjabulgan, Gumatak, Duoba, Dukhibolo, Yakkatol, Machay,

Munchok, Chilanzor, Shurob, Pulkhokim, Okmachi, Khomkon, etc.

The embroidery skill is transferred from generation to generation

by women. At present in Boysun the traditions of embroidery are

preserved among the dynasties: hereditary embroiderers Samiya

Ruzieva (Boysun), who learned the art and skill of embroidery

from her grandmother and mother; now her daughters, Dilbar and

Dilorom Ruzieva continue the traditions. Embroiderer Norova


Salomat (Boysun) and her daughters - Naiba and Latofat;

Khudoydotova Aybibi (Kushkak) and her daughters - Sabokhat,

Raykhon, Saodat Norboeva and Muborak Khursandova; Khalovat

Kholmuminova (Bogbolo), who learned the embroidery from her

mother Nozik Ruzieva and sister Barno Kholmuminova;

embroiderers Adolat Djalilova, Madina Yakubova, Nasiba

Norkabilova (Avlod) and many others. More comprehensive

information about the embroiderers is given in the book of A.

Khakimov and E. Gul: Boysun. Atlas of artistic crafts (Tashkent,

2006).

CARPET WEAVING

Categories

Living objects.

Criteria

Uniqueness, originality, the feature of a relic, historico-cultural

and artistic value.


Types of articles/items : kokhma-gilam, takir-gilam, gadjari-

gilam, terme-gilam, okenli-gilam, pakhta-gilam, sharakay-gilam

(kinds of pileless carpets), djulkhirs (long pile rug), napramach

(knapsack), khurdjun (saddle bag), torba (knapsack), bugdjoma

(square cloth for beddings), ishlik-khalta (knapsack for kitchen

utensiles), koshik-khalta (knapsack for spoons), popona

(caparison), dastarkhan (a tablecloth), chimildik (wedding

curtain), joynamoz (rug for praying), kighiz (type of felt carpet),

kozik bogi (woven strips for fastening yurt).

Applied folk art, artistic crafts : Ancien form of folk crafts.

Female Crafts. Ehtnocultural identity (typical for culture of Turkic

and steppe world). Carpets essential part of the dowry (sepa,

sarpa). Home-made carpets are an essential attribute of interior of

houses and yurts (summer houses).


Material : fleece (of good quality, and of spring shearing 8-11

kg), cotton threads (pakhta-gilam), rarely kenaf (hemp).

Technology : non-pile weaving (palas), a technique of felting

(felt), dyes colouring agents - aniline dye.

Decoration and colors : traditional artwork, use of geometric

figures, cornuted and clawlike elements, solar symbols, stepped

rhombuses, indented motifs, curls of horns, vegetative and

zoomorphic elements and symbols. Dominate red and dark-blue

non-ornamented strips; motifs of the decoration: white, red and

dark blue colors. Patterns stitch basma and yurma (ilma),

alternating by ornamented strips. The element, which is typical

for Boysun is a meander (symbol of water) used in two versions:

as a wave-like strip and vertical rosette or fylfot (it had formed in

the antiquity). Elements of ornament keklik tush (breast of

chukar), kelin koshi (brides eyebrows), ergene (a fence, the door

of yurt), tugdona gul (an element of ornament in the form of a

cross with rhombus in the center and horn-like curls on the cross

sides), tumorcha (stipes of an amulet), it-izi (a crosswise element

made of five small squares), kashta (a triangle). Compositions:

ajdakho (in the form of a head of dragon), kochkor-mayiz (lit.

horns of ram; an ornament in the form of chains of S-signs; known

in Boysun as Imam Sultoni and is considered sacred; used for

decorating walls of a house), tuya buin (neck of camel), kul soli (an

enclosed hand; embedded handle), khokuz kuzi (eyes of bull),

khapomat gul (a necklace), tarak (a comb), etc. Natural dyes: black

from totum tree fruits, yellow from nut tree, red from wild

ruyan- madder, as well as from roots of djida, apricot tree, poplar,

etc. Diverse color gamma (combination of dark blue, brown, green

olive tint, dark vinous-green-gray, black-gray-white-pink, gray-

fawn-blue-white).

Technique : special looms (dukon narrow-beamed) khaladji

and charkh (spinning with cotton threads), urmak. Device kilich

(a wooden sable-shaped bar, made of nut-tree wood, used for

ramming thread of the weft during carpet weawing). Kilich is a

kind of symbol of carpet manufacture; it is kept at home and is

transferred from generation to generation. Carpet cloth is made

by interweaving of threads and weft. Sizes of carpets 2+4 m.


Typical for Boysun carpets are terme-ghilam, gadjari-ghilam,

takir-ghilam, okenli-ghilam.

Felt carpets (kyghiz) have uncommon design, meander motif,

simple wave-like strips, simple compositions of don gul (large

rhombuses).

Materials : wool (processed). Handmade manual work. Colors

green, pink, acid-yellow and white colors, creating flashy color

gamma.


Main bearers of carpet weaving traditions Uzbeks (tribes

kungrad, oguzi, kara buin, kenagas, juzy, mangit, lokay, katagandy).

Centers of carpet weaving Boysun, Avlod, Tuda, Machay,

Gumatak, Kurgancha, Sayrob, etc. Craftswomen Kandagara

Eshmatova (Besherkak), Ambar-kampyr (Okmachit), Bakhor

Anvarova (Khomkon), Kizlargul Boysarieva and Mashrab

Rakhimova (Munchak), Zulaykho Khurramova and Tursuntosh

Kenjaeva (Yalangochbuva), Baynakhol Kholmirzaeva (Tuda),

Salomat Norova and Samiya Tuzieva (Boysun), etc. More detailed

information about carpet weaving can be found in the book of .

Khakimov and E. Gyul. Boysun. Atlas of artistic crafts (Tashkent,

2006).

TRADITIONAL MUSIC

Categories

Living objects.

Criteria

Uniqueness, originality, historico-cultural and artistic values.

Succession, transfer of traditions, viability


Items/pieces : folk songs (lullabies, labor, ritual, historical;

specific song genres koshuk, terma, yalla and ashula), chants

(sadr, jakhr), folk epics (dastans) and instrumental music (solo


and ensemble). Ancient roots, oral transfer of musical traditions.

Embodied elements of musical culture of Uzbek and Tajik people

the population of Boysun. Functional purpose family life

(wedding ceremonies, funerals, funeral repasts), economic activity

(labor process), beliefs (from ancient heathen beliefs to Islamic

religion), natural phenomena (seasons, calendar related, etc).

Ethnocultural indentity (musical and intonation culture of ethnos).

Ritual songs and chants : calendar, wedding, funeral, cult-ritual

songs. Calendar celebration of Navruz (Yil boshi - Beginning of

the Year, Muborakbod - Congratulatory, Navruz ayyomi -

celebration of Navruz), celebration of Spring (Boychechak -

snowdrop, Binafsha - violet, Lola - Tulip), labor-related (Kush

khaydash - yoking oxen, Shokhmoylar - greasing the bullocks

horns, Don septi - sowing, Mayda - threshing, Oblo baraka -

thanksgiving for harvest and crops), natural phenonena (Oftob

chiqdi - sunrise, Sus Khotin - calling for a rain, Kor keldi - arrival of

snow, Choy Momo and Mirkhaydar - stopping the wind), calendar-

related (Ramazon or Yo rabbiman).

Singing style : solo or collective singing by men and women

without instrumental accompaniment in a recitative and long

manner, with strong voice. Typical features: words (words taken

from dailiy life of the folk or folk poetry), music (one-voice melody

of small range), clothes (undress, daily and in relation to rituals

festal or festival dress), necessary items and articles (a puppet

dressed in womens clothes, special instrument - kovok soz (an

instrument made from pumpkin) at the time of singing Sus Khotin;

a whip, dagger, scoop and doira (a percussion instrument) during

cult-ritual songs). Close relationship of many folk songs with

rituals, ritual related actions. Viability, integrity, antiquity.

Parameters: the simples form, singing withot accompaniment,

limited range, recitative and long (monotonous) performance,

singing in a loud voice (with regard to men) or in a gentle, small

voice (with regard to women).

Wedding-ritual related songs folk songs of wedding cycle :

Beshik toy (a ritual, associated with the birth of a child;

celebrations at the cradle held on the occasion of the birth of a

child), Sunnat or Ugil toy (the circumcision rite), Muchal toy


(festivities related to a twelve-year eastern cycle (the calendar of

animals)) and Nikoh toy (a wedding rite).

Attributes/typical features and artefacts: music, dance, spectacles

(askiyachi-khazilkash, dorboz, kizikchi, puppeters), words (folk

poetry), wedding costumes (traditional clothes and adornments),

special clothes for comedians, clowns, kavzo (cothes made from

the barks of firtree, which are worn during the rite of firewood

chopping), folk games (kopkara goat hunting on horses, kurash

or olish wrestling, poyoda ulok running, eshak ulok goat

hunting on donkeys, kavzo, etc), musical instruments (percussion

instruments doira or dapp and doul (a small drumm), stringed

ones dombra, wind instruments surnai or metar). Music of

different times and styles, diversity in terms of character, content,

types of music-making and musical dialects. Presence of

instrumental accompaniment. Integrity of musical traditions and

their use in wedding-related songs: Yor-Yor (womens procession-

dignifying songs), Kelin Salom or Khazor ali (a greeting-instructive

wedding related song; lit. the bow of the bride), Al muborak

(Congratulatory song) and Kelin va kuyov kutlovi (Greetings of a

bride and groom, a rite-processional song), Ulan (Welcoming),

Sovchilar koshigi (lit. Songs of matchmakers), Kelin yigisi or

Mochai (Weeping of a Bride). Mainly women-related repertoire.

Living objects. Sovchilar koshigi and Kelin yigisi - historical objects

(they are stamped on the memory of people but are not

performed now). Diversity of melos and rythm. Solo performance

and singing with or without instrumental accompaniment; a

collective performance and singing without instrumental

accompaniment; associated with wedding-related rites.

Languages Uzbek and Tajik.

Funeral and commemorational songs : Yigi, Guyanda

(distinctive forms of mourning and keening). Womens solo or

collective singing without musical accompaniment. Performed

during the funerals or commemoration dates or funeral repasts.

Lyrical-mournful or dramatical and lengthy manner of singing.

Small range, songful. Living objects. Guyanda - a song performed

during funeral-related rites by professional mourners called

guyanda. Sharbon Shoymonova (Boysun) is a performer of

guyanda. Her singing is called alamli koshik (the song of sorrow).

Non-musical elements weeping, crying, sobbing. Corresponding

traditional clothes dark or dark blue dress with long sleeves and


a white handkerchief. Sadr - funeral rite with solo-collective

performance, accompanied by the movements, like in dance,

which creates necessary ritual-related emotional condition.

Female repertoire was performed before carrying out the

deceased. The rite was done during the funerals of young girls or

boys (prior to funeral rite some symbolical rituals of wedding

were done, which were accompanied by wedding songs singing).

Cult-ritual songs and performances : Jakhr, performed by a

shaman-baxshi. Shamanistic rituals are the living objects, which

were preserved and are being transderred from generation to

generation. Main functional purpose is treatment. The content of

the text, accompanied with music is aimed at exorcisement.

Characteristic features or attributes doira (a percussion

instrument; in the past in place of doira were used kobuz and

dombra stringed instruments), whip, dagger, hot scoop, (prayer)

beads. Melo-declamatory singing at a slow tempo, small range,

simple rhythmic formula. Mens repertoire. Places and centers

where it was widely spread: Boysun, Avlod, Saryosiyo. Performers

Ismat sufi Khalikov (Saryosiyo), Akmal, Feruza and Sanobar

Ramazanov (Boysun), Rovshan Abdullaev and Mukhiddin Rasulov

(Avlod).

Rites, associated with the magic of words : alas (a fire),

chakmok (lightning), kushnos (treatment of ill child),

mushkulkushod (relieving ones soul). Cult-ritual ceremony. Main

function treatment. Features: permanent connection to some

specific magical actions; these rites were performed for only one

single purpose treatment; time and character of performance

are strictly regulated; syncretism. Attributes: medicative herbs,

words, fire, smooth stone pieces, tablecloth, flour, bread, fruits,

mirror, sweets, etc. The rites are performed when treating sick

people with the use of fire (alas), lightning (chakmok), massage

(kushnos), magic of words (mushkulkushod). The bearers of these

traditions and performers are mainly women. The areas of

spreading Boysun, Avlod, Tuda, Saryosiyo, Yakkatol, etc.

Information about the rites and ritual music is given in the book of

R.Abdullaev. Boysun. Traditional musical culture (Tashkent, 2006).


TRADITIONAL MUSICAL INSTRUMENTS

Categories

Living objects.

Criteria

Traditionality, historic-cultural and artistic values. Musical art.

Artistic craft. Applied folk art. Ancient roots, succession, transfer

of traditions, skills and knowledges.


Musical instruments (items/articles) : stringed instruments

(dombra or dumbira, dutar), wind instruments (sibizgi, chupon nai,

nai shuvullok, gajir nai, surnai), percussion instruments (chang-

kobuz or chankovuz, doira and dapp). Also background sound-

making instruments are widely spread, the materials and designs

of which are very simple: stems of cereals (oats, barleys),

branches of trees, barks, leaves, canes, vegetables (pumpkin), etc.

They represent one-time use objects and are nondurable. Also,

there are idiophonic instruments as tayokcha (wooden stick) and

its variety of forms as khassa tayok (crook) and shaldirgoch tayok

(crook with metal rattles); koshik (wooden spoon), kongurokcha

(small bell), zang (small jingle bell), kavok soz (instrument made

from a pumpkin). Materials used in creating kavok soz are

pumpkin, stems of canes; application/use rite dedicated to

calling rain (Sus Khotin).

Materials used in creation of musical instruments : wood,

cane, metal, clay, leather, bones. Trees: mulberry (tree), nut tree,

zardoli (a kind of pear tree), aptricot tree dombra, dutar, surnai,

chupon nai, doira; cane sibizgi, clay nay shuvullok, metal

chang-kobuz. Elements of stringed instruments a body (pear-

shaped), fingerboard (long or short), tags, bridge (kharrak) and 2

strings (from leather, fishing line or silk); wind instruments pipe

of different size; percussion instruments round hoop (gardish)

covered with leather (oxhide, cowhide, mountain goat skin).

Repertoure instrumental signals (chakirik), rythms (usuli),


instrumental (folk) tunes and melodies (of variety of forms and

genres).

Traditional musical instruments and instrumental music (solo and

ensemble) enjoy great popularity among the population of Boysun.

Almost in every village they are used during family occasions, folk

holidays and festivals. Along with traditional musical instruments,

in Boysun became widespread also other uzbek musical

instruments chang, gidjak, konun, rubab, nai, karnai, etc, brought

to this area in the second half of the century and which are

frequently used in musical life and activity. Characteristic, style,

size of instruments, in particular of dombra and their repertoires

are given in the book of R. Abdullaev: Boysun. Traditional musical

culture (Tashkent, 2006) published in English and Russian

languages.


Bearers of traditions are sozgars (producers of musical

instruments). Centers Boysun, Tuda, Avlod, Sayrob, Machay,

Kofrun, Duoba, Yakkatol, Kurgancha.

Sozgars : family of the ceramist of Izzatullo Eshonkulov (Boysun)

produces nai-shuvullok (a longitudinal clay pipe, a wind

instrument with various designs; a clay pipe in the form of

animals, pot); Burikul Djumaev (Tuda), Botir and Abdullo

Khudoykulov (Kushkak) produce wind instruments surnai, gajir

nai and sibizgi; Rakhmat Abdurakhimov (Saryosiyo), Melikobul

Yuldashev (Khodjabulgan), Panji Salikhov (Panjob) and Djuma

Kurbonov (Sayrob) produce dutar and other types of musical

instruments (tar, rubab which are not typical for Boysun); Ismail

Fayzullaev and Abdurakhmon Nizomov (Duoba), Ibragim

Nazarov (Pulkhokim), Zoir Allanazarov (Kizil Navr), Odil

Eshonkulov (Yukori Machay) are the producers of dombras;

Rakhmat Esonov (Saryosiyo) chang-kobuz; Ali Rovshanov

(Saryosiyo) is a producer of wind instruments as chupon nai, gajir,

sibizgi and koshnai.


C. National inventory of Shashmaqom

It was developed and is implemented by the Ministry of Culture and Sports

of Uzbekistan, Republican Scientific and Methodological Center for Folk art,

Research Institute for Art Studies of the Academy of Arts, State

Conservatoire of Uzbekistan with the assistance of the National Commission

of Uzbekistan for UNESCO. It was worked out and compiled on the basis of

the Programme of UNESCO Shashmaqom a classical music of Central Asian

people (2005-2007). Shashmaqom is a unique heritage of Uzbek and Tajik

nations. Shashmaqom is one of the unique forms of intangible cultural

heritage of Uzbekistan and Tajikistan. The inventory was prepared in 2008

on the basis of materials of scientific expedition Shashmaqom (2005-2006),

which was conducted throughout all regions of Uzbekistan, with

participation of scientists and specialists of Research Institute for Art Studies,

Conservatoire and Tashkent Institute of Culture, bearers of maqom art

tradition from Khoresm, Bukhara, Samarkand and Ferghana Valley. At the

time of preparation also materials of previous expeditions, archive data,

materials of house museum of Yunus Rajabi, archives and private collections

of musicians of all regions of Uzbekistan were used. Factual information,

which was gathered durng the expeditions (informational, historical, textual,

illustrative and ethnophonical) helped in creation of the National Inventory

of Shashmaqom, and in more general sense of Maqom art of Uzbekistan.

The number of objects included into the inventory 5. At present, the list was

not updated.

1) Number of designated items

The number of objects is 5 : Shashmaqom a cycle consisting of six

maqoms. Cycle of Khoresm maqoms. Cycle of Ferghana-Tashkent

maqoms. Instrumental and vocal Maqom works. Original maqom cycles

(Feruz, etc).

2) Frequency of designation

At present the list is not updated.

3) Date of most recent update

2007


4) Establishment of an expert advisory panel

On the basis of Research Institute for Art Studies and State

Conservatoire an advisory group/panel of experts was established.

Leader : Rustambek Abdullaev doctor of art history, professor.

Phone : (+998-71) 227.37.25

5) Responsible governmental organisation - department, person in charge,

contact information, job description

Central - Central Administration, Republican Musical colledge under the

Ministry of Culture and Sports of Uzbekistan;

Local khokimiyats and administrations on culture and sports with

active participation of regional music colleges of Bukhara,

Khoresm, Ferghana, Andijan and Namangan.

6) Designated Heritage

SHASHMAQOM

Categories

A musical art, leading genre of traditional music. Living object

Criteria

Uniqueness, traditionality, originality, high-level of

professionalism, succession, transfer, availability/existence of

school of Ustoz-Shogird (Master-Apprentice), orality, viability

Area

Urban culture

Area of habitat

Bukhara, Samarkand; starting from the century spreading in all

regions of Uzbekistan. Cyclic recurrence.



Shashmaqom is a cycle consisting of six maqoms : Buzruk, Rost,

Navo, Dugokh, Segokh and Iroq. Each maqom includes an

instrumental part Mushkilot (Tasnif, Tardji, Gardun, Mukhammas

and Sakil) and vocal part Nasr, consisting of two cycles of voal-

instrumental works shube (the composition of the first one:

Sarakhbor, Talkin, Nasr, and Ufar and in between - Tarona; the

second one five-part cycles of Molgulcha and Savt).

Shoshmaqom includes more than 250 instrumental and vocal

musical compositions. Formation VIII century, Bukhara, its

basis is cycle of 12 maqoms (Duvozdakh maqom), which were

formed in the IIV centuries. Sources medieval Treatises on

music of Oriental scientists. Existence, spreading, transfer of

traditions orally, from master to apprentice.

Performance : instrumental (solo or ensemble) and vocal (solo-

ensemble with instrumental accompaniment), professional skill.

Content : lyrics, philosophy, sometimes religious texts. Elevated

oriental poetry, prosody aruz (the feature of multi-syllabism,

presence of long and short syllable, musicality, rhythmicity,

complexity of form, strict conformity to rules). Poetical forms

ghazal, rubai, mukhammas, musaddas.

Music : widely developed instrumental melody of broad range,

complexity of form (combination of two melodic constructions

khona and bozguy), perfection of performance techniques, well

expressed melos, dynamics, diversity of character, modal,

compliance with system or harmony (in the instrumental works of

Mushkilot section). Music (in vocal pieces of Nasr section) widely

developed and songful-melodious melody of wide range (from 1,5

to 2,5 octaves), complexity of form (principle of khata widely

developed musical-poetical composition), gradual coverage of the

whole range, presence of culmination (audja the highest position

of voice, the use of original culminations namuds), emotionality,

lyricism, modality, skill, perfection of vocal-performing techniques

of singing, rhythmicity, expressiveness, harmony of words an

music, wide chant (khangi), strict observance of poetry and music

laws, the feature of the ensemble (voice and accompaniment).


Main musical instruments : tanbur (each maqom is tuned

according to the pitch of tanbur), dutar and doira (usuli rythmic

formulae). In the century instrumental ensemble, consisting

of all traditional musical instruments.

Shashmaqom made possible formation of local original maqom

cycles, as cycle of Khoresm maqoms (Rost, Buzruk, Navo, Dugokh,

Segokh, Iroq, Panjgokh) and cycle of Ferghana-Tashkent maqoms

(Chorgokh 1-5, Bayot 1-5, Shakhnoz-Gulyor 1-5, Dugokh-Khusayni

1-7, Miskin 1-7, Nasrullo 1-3, etc).

Publications dedicated to Shashmaqom : Six musical poems.

Shashmaqom. Notes by Viktor Uspensky about well-known

maqom performers Ota Jalol Nasyrov and Ota Giyoz Abdugani

(Bukhara-Moscow, 1924); Bukhara maqoms. Notes by Yunus

Rajabi. Anthology Uzbek folk music, volume 5 (Tashkent, 1959);

Shashmaqom, a six-volume edition. Notes by Yunus Rajavi

(Tashkent, 1966-1975); Yunus Rajabi. Usbek Maqoms.

Shashmaqom (Tashkent: UNESCO, 2007).

Leading researchers of Shashmaqom : Abdurauf Fitrat, Nikolay

Mironov, Viktor Uspensky, Yelena Romanovskaya, Ilyas Akbarov,

Yunus Rajabi, Iskhak Radjabov, Tamara Vyzgo, Fayzulla Karomatli,

Yurgen Elsner, Teodor Levin, Tokhtasyn Gafurbekov, Otanazar

Matyakubov and others.


The development of shashmaqom is closely connected to the

activities of leading musicians and singers, bastakors creators of

musical pieces (some pieces bear the names of their creators, for

instance Nasrullo, Sulton, Ashkullo, Mirzakhakim, Bastanigor, etc).

Traditional school of maqom performers is based on Ustoz-

Shogird methodology - an original system of Living Human

Treasures. Transfer of skills, knowledges and traditions is done

orally. Distinguished performers of Shoshmaqom are the

following: bearers of musical-poetical traditions of old Bukhara

and Samarkand schools of performers - Ota Jalol Nasirov (1845-

1928), Ota Giyoz Abdugani (1859-1927), Levi (Levicha)

Babakhanov (1873-1926), Domla Khalim Ibadov (1878-1940),


Khodja Abdulaziz Abdurasulov (1852-1936), Marufkhodja

Tashpulatov (1897-1982), Bobokul Fayzullaev (1894-1964),

Shonazar Sakhibov (1903-1972), Fazliddin Shakhobov (1911-

1974), Moshe Babakhanov (1909-1983), Mikhail Tolmasov (1891-

1969), Isroil Tolmasov (1900-1967), Gavriil Mullakandov (1900-

1972), Borukh Zirkiev (1905-1973), Yunus Rajabi (1897-1976),

and others. Contemporary performers of Shashmaqom: Ariel

Babakhanov, Berta Davydova, Turgun Alimatov, Khasan Rajabi,

Tolibjan Temirov, Ibodullo Rakhmatov, Ulmas Rasulov, Munojot

Yulchieva, Makhmudjon Tdjibaev, Mashrab Ermatov,

Abdukhashim Ismailov, Nasiba Sattarova and many others. In the

centuuty a popularizer of Shashmaqom became a maqom

ensemble established under auspicies of Radio Committee of

Uzbekistan, led by Yunus Rajabi (1959-1976).


2. Non-governmental inventory

At present there are no any non-state inventories on any given object of

intangible cultural heritage of Uzbekistan. Only some sorresponding

preparatory work is being carried out. In this regard notable is subregional

workshop organized in February 2009 in Bishkek (Kyrgyzstan) for CIS states

with participation of UNESCO on issues of inventory-making of intangible

cultural heritage on the basis of local community. In the workshop the

importance and implementation of UNESCO Convention On safeguarding of

the intangible cultural heritage was highlighted by participating countries,

which will allow to promote preservation, development and transfer of

intangible cultural heritage and promote cultural diversity in CIS countries.

By the participants recommendations were given to attract the attention of

national (local) experts to conduct activities, aimed at raising awareness and

helping local communities in identification, inventory making and

preservation of elements of intangible cultural heritage; to support relevant

national authorities in the elaboration of Lists (i.e. inventory, list, register) of

intangible cultural heritage in accordance with the principles of UNESCO

Convention with active participation of communities and groups, who are

the bearers of such heritage; to develop common approaches and

methodologies for making inventory of intangible cultural heritage, and thus

promote subregional cooperation and strengthening of relationships

through the exchange of information and implementation of joint activities

aimed at preserving the Intangible Cultural Heritage, which is common for

several states.

At the wokshop the presentation was given by Professor Rustambek

Abdullaev dedicated to the experience of making inventory of intangible

cultural heritage of Uzbekistan, during which he proposed a draft

questionnaire survey for objects of intangible cultural heritage, which was

approved by the participants and the representative of UNESCO headquarter.

The questionnaire survey includes two questionnaires:

A Questionnairepassport of object of intangible cultural heritage,

consisting of 22 questions.

A Questionnaire of the object of intangible cultural heritage,

covering 13 questions.


A Questionnaire-passport of the object

General information about the

work of art or product/item.

Title of the work.

Type of the art/creativity (music, poetry, dance,

folk games, spectacles/shows, craft, rites).

Type, genre.

Style, direction.

Locality, region.

Information about the work or item (creators,

authors, performers).

Features of performance an techniques of

production/manufacture.

Attributes (musical instruments, instruments of

production, etc).

Characteristics of the object.

Brief summary of characteristics of the object,

historical information.

Language (oral, musical, illustrative, etc).

Level (traditional, stylized, reconstructed,

migratory, historical).

Qualirt, colouring, dcor (traditional, newly

revived/restored, new, etc).

Materials and elements of

manufacture/production and performance.

By whom it was previously produced or

performed, when.

Schools of Mastery/Skill.

Bearers of Traditions.



performer/producer.

Performer Full name, age, place of birth,

education, sotial position,

nationality (origin), attitude

to the creativity/art

(amateur, professional,

avocational).

From whom he/she

mastered/by whom trained.

Full name of Master

(pseudonym, age, tradition).

Sphere or area of

application/use.

Who

recorded/fixed

Full name, date of recording,

condition (expedition,

inquiry, questionnaire

survey, where and when).

Date of filling and signature

A Questionnaire of the object of intangible cultural heritage


object.

Classification of the object.

Types, genres and a form (music,

spectacle/show, oral poetry, dance, folk games,

craft, rituals or rites, cultural space).

Bearers of traditions of your community or

group (Full name, age, nationality (family/clan,

tribe) education, social status).

Existence/availability of mastery schools.

Local community (makhalla, district, region).

Attitude to the heritage.


Characteristics Type/form of art.

Brief historical information.

Category (living or historical objects).

Criteria (traditionality, uniqueness, values,

originality, viability, succession, integrity,

transfer, risk of disappearance, aesthetical).

Description of the phenomenon

Designation, functions.

Genre, form, structure field of activity.

Style and direction, features of performance,

mastery/skill, production.

Bearers of tradtion: informants, performers, ,

masters, schools of mastery/skill.

Succession, transfer of traditions.

Material, dcor, coloring, quality, artistic and

aesthetical assessment.

Traditional and new tendencies.

Attributes, used equipment/technical media,

instruments.

Information about informator,

executors/performers

Full name, age, nationality (family), education,

social status, etc.

Based on the questionnaire survey an inventory, list (register) is made of the

object of intangible cultural heritage, while the corresponding attachments are

made list of participants in tabular form ( 1 ), list of works/pieces or items and

information about its fixation/recording, storage ( 2 ), information about public

presentations (exhibitions, festivals, fairs, competitions, rites, holidays, etc),

cultural space (3 ), audio, photo and video materials with comprehensive

description ( 4 ), object related list of publications, bibliography ( 5 ).

At present, on the initiative of the National Commission of Uzbekistan for

UNESCO and with assistance of the Ministry of Culture and Sports and experts


non-state inventory is being made, which includes the brief description of the

object in uzbek language. This is only the preliminary work on making state

inventory with full description of questionnaire data about the phenomena and

objects of intangible cultural heritage of Uzbekistan.

ii. intangible cultural heritage inventory

Documents