1. From Gorogly to Law; How Did Intangible Heritage Become a "State Priority"?
In official Turkmen discourse, intangible heritage is not merely a "cultural sector," but the core of the Turkmen nation's spiritual and historical experience. This perspective is frequently echoed in state media, official speeches, and documents from the Ministry of Culture, encompassing a broad spectrum of elements: folklore, epics, handicrafts, carpet weaving, felt making, jewelry, music and dance, vernacular architecture, and social customs and rituals.
However, this view is not merely poetic; it is backed by a precise legal and institutional framework that has transformed intangible heritage into a state project.
1.1. Accession to the 2003 UNESCO Convention (2011)
Turkmenistan joined the Convention for the Safeguarding of the Intangible Cultural Heritage in 2011. This step marked the beginning of a systematic policy that later led to the creation of specialized institutions and national programs.
1.2. Establishment of the Office of Intangible Cultural Heritage (2014)
In 2014, the Ministry of Culture of Turkmenistan established the Office of Intangible Cultural Heritage. The duties of this office include:
Identifying and documenting heritage elements.
Categorizing and compiling the National Inventory.
Education and intergenerational transmission.
Preparing files for global registration.
Organizing festivals and promotional programs.
Between 2015 and 2025, this office has registered more than 120 elements of intangible heritage at the national level.
1.3. The Law on "Safeguarding National Intangible Cultural Heritage" (2015)
This law defines intangible heritage as "national wealth" and mandates the government to:
Compile and update the National Inventory of Intangible Heritage.
Create educational and research programs.
Provide financial support to master craftsmen and heritage bearers.
Take action to register qualified elements globally.
1.4. The 2015–2020 State Program
This program included field collection, digital recording, academic research, the creation of a national database, and the holding of annual festivals. These cumulative actions have elevated intangible heritage from the level of "sporadic rituals" to a matter of public policy.
2. Global Registration Strategy; A Map for Visibility on the International Scale
Alongside domestic protection, Turkmenistan has purposefully moved toward registering intangible heritage elements on UNESCO’s Representative List. Global registrations do not just have cultural aspects; they serve as a tool of soft diplomacy and reconstruct the country’s international image.
2.1. Elements Registered with UNESCO
The Epic of Gorogly (2015)
Kushtdepdi Ritual Singing and Dancing (2017)
Traditional Turkmen Carpet Weaving Art (2019)
Dutar Making and Associated Music Performing Art (2021)
Turkmen Needlework (2022)
Sericulture and Silk Weaving (2022)
Anecdotes of Nasreddin Hodja/Efendi (2022)
Akhal-Teke Horse Breeding Art (2023)
Turkmen Alabai Dog Breeding Art (2025)
2.2. Four Main Pillars of Turkmenistan's Intangible Heritage
A) Epic-Narrative Axis: Gorogly, Efendi narratives.
B) Musical-Ritual Axis: Kushtdepdi, Dutar and singing.
C) Applied Arts Axis: Carpets, needlework, silk.
D) Animal-Symbolic Identity Axis: Akhal-Teke, Alabai.
These selections are not coincidental; they construct an image of Turkmenistan where historical roots, living arts, and national symbols sit side by side.
3. Akhal-Teke and the Turkmen Carpet; Two Mirrors of Turkmenistan’s Cultural Policy
3.1. Akhal-Teke; From Horse to Nation-State Symbol
In Turkmenistan, the Akhal-Teke horse is not just a breed; it is a political-cultural symbol with a permanent presence in official state discourse, media literature, and even urban architecture.
Historical Root and Collective Memory: In Turkmen epic narratives—especially in Gorogly—the Akhal-Teke is introduced as the horse of heroes and a symbol of nobility.
Cultural Policy and Official Representation: Global registration of the "Art of Akhal-Teke Breeding," National Turkmen Horse Day, large statues of Akhal-Teke in Ashgabat, and its appearance on banknotes, stamps, and diplomatic gifts.
Akhal-Teke as a Tool of Cultural Diplomacy: Donating Akhal-Teke horses to world leaders and their presence in international festivals is part of Turkmenistan's soft diplomacy strategy.
Summary: The Akhal-Teke is a multi-layered symbol: Animal–Epic–Identity–State–Diplomacy.
3.2. Turkmen Carpet; The Woven Text of Identity
The Turkmen carpet is one of the most recognized cultural symbols of Turkmenistan and holds a foundational place in the country’s cultural policy.
Carpet as a Visual Archive: Turkmen carpet patterns carry tribal, geographical, and historical information; the carpet is a cultural text.
The Role of Women in Heritage Transmission: Carpet weaving is primarily performed by women and is a part of their social and cultural identity.
Global Registration and Cultural Policy: The 2019 global registration of the Turkmen carpet conveyed three messages: 1. Solidifying the carpet as national heritage; 2. Increasing the international credibility of handicrafts; 3. Strengthening the cultural economy.
Carpet as a Tool of Diplomacy: Turkmen carpets have a permanent presence in official ceremonies, state gifts, and international exhibitions.
Summary: The Turkmen carpet, like the Akhal-Teke, is part of Turkmenistan's grand strategy to construct and showcase national identity.
Final Conclusion
By combining three tools—law, institutions, and global registration—Turkmenistan has successfully transformed intangible heritage into a pillar of national identity and a tool of cultural diplomacy. By consciously selecting epic, musical, artistic, and symbolic elements, the country constructs an image of itself where historical roots, living arts, and national symbols are situated in a cohesive system. The Akhal-Teke and the Turkmen carpet are two central symbols of this system; one in the realm of power and glory, the other in the realm of beauty and memory.