We must understand how to treat what is left from previous generations.

Rena Ibrahimbekova is a person who was at the origin of the revival of kelaghayi and its production in Azerbaijan, thanks to whose efforts it was included in the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. Professor, Doctor of Philosophy, Head of the Department «Gender and Applied Psychology» of the Faculty of Social Sciences and Psychology of Baku State University, where she has been teaching since 1976. Having defended her thesis on the psychology of architecture, she not only teaches relevant academic disciplines but also has extensive experience with various UN agencies such as the UN Development Programme (UNDP), Population Fund (UNFPA), Women’s Fund (UNIFEM)The United Nations Children’s Fund (UNICEF), The United Nations Educational, Scientific and Cultural Organization (UNESCO), the World Food Programme (WFP), as well as the World Bank, in various projects, from the preparation of the National Human Development Report, to mainstreaming gender issues into poverty reduction strategies, research on the situation of women and children of internally displaced persons.

It is evident from the above mentioned, that Rena Ibrahimbekova has worked on various problems throughout her life, frequently switching between them. “The research on kelaghayi was undertaken without any direct connection either to the applied arts at the time or to any other sphere related to the restoration of cultural values. In the late 90s and early 2000s, as Deputy Head of the Department of Culture, Education and Social Affairs in the Cabinet of Ministers, she was appointed Coordinator of the Gender Project of the UN Development Program. This program has been actively developed since the Fourth World Conference on Women, held in Beijing. It covered all aspects of society and the country as a whole, addressing the establishment of gender equality and equal relations in society. It's important to remember that even though society is made up of different groups, issues related to equality on a principle in social relations between the sexes affect everyone. The project was successful, lasting for three years, and encompassed almost all facets of life in the country, including economic, cultural, educational, and social relations. The development of general principles took into account local particularities, which led to the introduction of correctional work to establish equal relations between men and women. Azerbaijan had established itself as a fairly developed country in that respect, and gender issues were being dealt with quite successfully.

Identifying areas of activity where gender equality principles could be demonstrated was one of the most positive aspects of the project. To put it differently, finding an area of work in our culture where men and women can interact equally was necessary. From a historical perspective, these activities should have been valuable and beneficial to the family, the individual, and the country as a whole. Unexpectedly, this activity became the production of kelaghayi. By that time, however, (this is the 1990s) the kelaghayi were no longer produced, and it was almost out of use.”

“By chance, this is how the ' kelaghayi idea' came to be. You might ask - how does a kelaghayi, this female headscarf, relate to gender equality? At the start of our research, I knew immediately – quite directly! Everything in this activity, which is connected to the production, the peculiarities of the use of this household item in our society, has depended on the good and “business” interaction of both men and women. The creation of a product that represents love, peace, hard work, and beauty in the ethnic consciousness of the people can only be assured through their respectful labor relations. Following a thorough investigation of the matter, the UNDP and the Japanese Embassy devised the idea of restoring ancient folk art through a project format. The local authorities have also offered assistance.”

Kelaghayi est un phénomène culturel dans les cultures du monde qui ne peut pas être reproduit. Le monde moderne et l’analyse historique le démontrent. « On croit qu’une femme a été capable d’arrêter un combat entre hommes en jetant son kelaghayi de la tête. Elle a arrêté le bain de sang en le jetant entre les combattants. Il n’était pas tout à fait acceptable par la tradition d’exprimer ses sentiments ouvertement, alors une fille laissait tomber un kelaghayi accidentellement, pour montrer son consentement à un mariage.  Il était courant pour le jeune homme de le ramasser, et si la fille ne le demandait pas, il pouvait envoyer les marieurs le lendemain pour organiser un mariage. »

Rena Ibrahimbekova states that kelaghayi has many healing powers, such as the ability to bandage a tightly painful area to reduce osteochondrosis pain or after injuries. Moreover, some properties are difficult to explain by the causal link between the material order and the matter. She cites the cases in which wearing kelaghayi has saved women from infertility or helped to resolve difficult problems.

Such small stories are not uncommon. In mourning, women covered the head with kelaghayi in black with ascetic ornament. Moreover, women from wealthy families traditionally wear kelaghayi to express their condolences, sadness, and grief without revealing their status.  Kelagahayi helped to express that all are equal in the face of eternity, tragedy, and misfortune. And the wedding ceremonies were brilliant! The dancing women's movements were accompanied by colorful patterned kelaghayi and monotone flowing shades of different colors, creating an impressive atmosphere.  At the wedding, the bride was required to wear the kelaghayi that was gifted to her by the groom's parents. She will use the same kelaghayi to wrap her first child.  

The topic of Kelagai ornamentation is significant. Rena Ibrahimbekova and her team's research revealed numerous ornament varieties and ornamentation methods. They were even categorized. “Kelaghayi can either be painted and decorated with different ornamental forms throughout, or they can be kept white and ornament applied only along the edge along the entire perimeter. The region is the primary factor that determines the main difference. The endemic Khari Bulbul in Karabakh kelaghayi, Buta in Shirvan, there is distinctiveness in the Ganja kelaghayi and, in Irevan also. The most famous one, of course, is Basqal kelaghayi. A small town situated high in the mountains at 1200 meters between Shemakha and Ismaillo is where it is produced. It is not possible to make an exact copy of the same composition or ornament by hand. Every kelaghayi is unique. However, there is a Basqal canonization called Basqal   kəlağayısi. Although it's rigid, it still allows endless improvisation. Any dot or speck on a kelaghayi is perceived as something that cannot be changed and is gently called a mole. Our classification process revealed that kelaghayi is an ethnically defined item, and Azerbaijanis engage in silk and kelaghayi production wherever they live if the climate is suitable”

Kelaghayi is an important part of the cultural life of our people. I believe that kelaghayi is a part of our way of life and cultural component, just like carpets are a part of ourselves.

Mrs Ibrahimeokova has her vision for the future of kelaghayi. “In the past, it was used more traditionally - women covered their heads, which was an integral part of the national costume. The color, ornamentation, and composition was varied with age. The region was a factor, as some tied them tightly while others were just throwing them on their shoulders. Our project's aim was not only to restore and place the kelaghayi in the most honorable place in the museum but also to update its meaning.  To meet the needs of the modern generation when it comes to clothing. It's amazing how well it worked! To be sure, just take a walk around the city”

Rena Ibrahimbekova was able to organize an exhibition of kelaghayi in 17 countries, which was highly valuable, and also conducted master classes on its production. “In Sofia and Tashkent, we showcased the kelaghayis and demonstrated the process of creating an ornamental masterpiece on silk - the patterned kelaghayi.  Visitors watched attentively and were given the chance to apply the ornament themselves”

Our all-time favorite question on heritage is also linked to the silk scarf in her answer.

“What is heritage? The result of pure human activity is the remnants of the past generations, which are a part of their material and spiritual values. A human is the only one who has a heritage in the world of living beings, making it important to understand how to handle the remains of those who lived and created before him. The responsibility is immense for both a small family and the entire nation. Kelaghayi is where both material and spiritual values come together. On one side, it is a material object, that is clear. But everything that is connected to its manufacture, ornamentation, and use is a spiritual culture, and it is built on universal spiritual values. By defining and predicting the extent to which the future will accept it as an object of cultural and spiritual value, we can determine the extent to which it will meet the interests and needs of the people of the future. The outcome will hinge on kelaghayi’s ability to connect past and future generations.”