The craft of felting valionki (traditional footwear of Belarusians) is passed on in families from generation to generation. Making valionki has long been practiced throughout that territory. Valionki of different colour and size are made from fleece shorn at the appropriate time, in the autumn or spring, and to the required length. The wool is not washed, that way it is easier to felt it. The main bearers of the felting craft in Mijory District are Jeŭdakim Mitrafanaŭ and Ksienija Daronda (Zapalassie Village), Mikalaj Daronda (Zapalassie Village), Antanina Kažan, Branislava Cycyna, Valiancina Kapuscina (Čapuki Village), Paviel Kudrašoŭ (Malaja Kavaleŭščyna Village), Leanid Miatla (Mijory Town). The production of valionki is performed manually, gradually and it takes long. They start by twisting the wool in different directions, hammering around and periodically wetting it with warm water. Then homemade wooden blocks and wedges are inserted to shape the mass as valionki of the desired shape and size. Once the water is drained from the mass, valionki are put on the pieč, a Belarusian home heater, to dry. Finished valionki are sometimes trimmed with leather over the heels to make them last longer. Valionki can be also worn with galoshes. Felting wool is no easy matter, as wool has to be matted continuously for several hours, so this work is usually carried out by men. Today, valionki in Mijory District are made for the family, relatives, other villagers and a small number of people to order or for sale at local fairs
The Christmas Rite of ‘Ščadrec’ (Bountiful Night) takes place on the 13th of January, which is Bahataja Kuccia (Orthodox New Year’s Eve), and is a distinctive demonstration of the local cultural tradition of Roh Village. This rite is one of New Year’s walking greeting rites, practiced mainly on the territory of Belarusian Palessie (the southern part of Belarus). Ščadravannie (the rite of going door to door to sing carols, which is paid back by the households with treats or money) is performed with the participation of traditional masked characters: Dzied (an old man), Baba (an old woman), Kaza (a goat), Žuraviel (a crane), Koń (a horse), etc. The Dzied is a unique character of the carol singing group with his birch-bark mask, having no analogues in Belarus. His mask is made in the form of a cylinder hat, its top part forming a cross, which is a symbol of the sun. The rite group moves along the village from East to West — same as the sun goes — missing none of the households, except for those who might be mourning. The locals believe that carol singers’ visit will help their wellbeing and good health through the whole coming year. This Rite is safeguarded by the participants of ‘The Palesskija Krynicy’ folk-group (The Springs of Paliessie), which belong to the Vosava Village’s Dom Cultury (a culture and recreation center). The group has its satellite group for children named Ručajok (The Little Stream).
The singing style of Turaŭ Mižrečča (area between the Prypiać and the Scviha Rivers) is represented by the songs performed in the Agro-Town of Ryčoŭ, which have been traditionally passed on from generation to generation by the local people for decades. The singing tradition is developing in an organic natural environment, so the performance of the songs in the open space — in the streets, fields, at noisy celebrations — explaines the characteristic loud singing with open sounds. The singing heritage of the local community exists both in the traditional impovisation form (during various celebrations, traditional ‘biasiedas’ /talks/), and in the contemporary organized concert form. The original local song culture manifests itself primarily through a wide variety of genres. Along with the genres of the calendar-agricultural cycle of songs, mostly Christmas and spring ones, it embodied a most complete array of the wedding song cycle, including karavaj (bread) songs. Both single and group singing represent the traditional melodic styles, the latter being mainly single voice-based unison-heterophonic form and polyphonic singing forms with with a top solo voice. The distinctive feature of single voice unison-heterophonic singing is formulated tuning and narrow tonal range, some are characterised by the presence of a refrain, words repeated after each line. The same style of performance include ‘forest’ songs, which are performed in the woods while gathering mushrooms and berries, also when rakeing hay in the appropriate time of the year. Singing with a top solo voice is represented in songs of non-ritual genre
