ALL
apprenticeship
ICH Elements 204
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Mak Yong theatre
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices. Experts believe that Mak Yong appeared well before the Islamization of the country. It was performed as a royal theatre under the direct patronage of the Kelantan Sultanate until the 1920s. Hence, the tradition was perpetuated in a rural context without forsaking the numerous refinements acquired at court, such as sophisticated costume design. A typical Mak Yong performance opens with an offering followed by dances, acting and music as well as improvised monologues and dialogues. A single story can be presented over several consecutive nights in a series of three-hour performances. In the traditional village setting, the performances are held on a temporary open stage built of wood and palm leaves. The audience sits on three sides of the stage, the fourth side being reserved for the orchestra consisting of a three-stringed spiked fiddle (rebab), a pair of doubleheaded barrel drums (gendang) and hanging knobbed gongs (tetawak). Most roles are performed by women, and the stories are based on ancient Malay folk tales peopled with royal characters, divinities and clowns. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance and spirit possession.
Malaysia 2008 -
Mongolian knuckle-bone shooting
Mongolians revere certain parts of bones of their domestic livestock animals and use them in their religious rites, plays and traditional games. One such popular team-based game is knucklebone shooting. Players flick thirty domino-like marble tablets on a smooth wooden surface towards a target of sheep knuckle-bones, aiming to knock them into a target zone. Each shooter possesses their own (arrow, chair, etc.) adjusted shooting tools and instruments especially made by hand and wear costumes embossed with distinguished characteristics depending on their rank and merits. All the equipment is made by traditional craftsmen. Its technique demands high levels of endurance and accuracy. Singers communicate their opinions to the shooters by singing traditional Knucklebone Shooting melodies and songs. Each competition's opening and closing ceremony has several specific rituals. National competitions tournaments involve 400-600 shooters; there are 30 or more competitions per year. Shooters build their own communities depending on their interest and affinity. This community is recognized as part of the cultural heritage. According to established rules teams consist of six to eight men, among which one or two have to be youngsters. Team members are tied by unbreakable internal bonds and follow clear ethical rules of mutual respect and dignity. A senior member who possesses well ethical and traditional knowledge and experiences will become the team leader. The Association is the principle representatives of bearers, preserving and promoting this heritage and ensuring continuous training and transmission of knowledge from senior to younger shooters.
Mongolia 2014 -
Falconry, a living human heritage
Falconry is the traditional art and practice of keeping, training and flying falcons to take quarry in its natural state, and has been practised for more than 4000 years. It is one of the oldest relationships between human and bird. It probably evolved in the steppes of Asia, and spread via cultural and trade links to other countries, first to Europe, North Africa and East Asia and later in the 16th century to the rest of the world. The practice of falconry in early and medieval periods of history is documented in many parts of the world. The falcon and her prey have evolved together over millions of years; their interaction is an age-old drama. The falconer’s task is to bring the actors together on nature’s stage. Falconry as intangible cultural heritage is integrated into communities as a social recreational practice and a means of connecting with nature. Originally a way of obtaining food, falconry has acquired other values over the centuries, and is identified with camaraderie, sharing, and expressions of freedom. Nowadays falconry is practised by people of all ages in local communities in more than eighty countries. Falconry expresses itself in multiple cultural domains, in particular ‘social practices, rituals and festive events’, as well as ‘knowledge and practices concerning nature and the universe’. These include traditional skills, traditional knowledge about the biology and behaviour of birds and the environment, the making of traditional falconry equipment, as well as linguistic and artistic expressions found in idioms, painting, sculpture, poetry, rituals and music. Falconry has its own set of culturally-shaped traditions and ethics; while falconers come from different backgrounds, they share universal values, traditions and practices. Falconry is transmitted from generation to generation as a cultural tradition by a variety of means, such as mentoring, learning within families, or formalized training in clubs and schools. The process of transmitting falconry heritage activates not only the historical memory of the falconry community but also enriches its cultural identity. In recent times falconry has seen a renaissance. Falconry provides modern man with links to nature and strengthens local identities. It is an important cultural symbol in many countries. The modern practice of falconry aims at safeguarding not only falcons, quarry, and habitats but also the practice itself as a living cultural tradition.
United Arab Emirates,Austria,Belgium,Czech Republic,Germany,Spain,France,Hungary,Italy,South Korea,Kazakhstan,Morocco,Mongolia,Pakistan,Portugal,Qatar,Saudi Arabia,Syria 2016 -
The Sumayau Dance
This is the traditional dance of the Dusun Lotud ethnic group from the Tuaran district where it is also known as "Madsayau". The Sumayau is the main element of a special chanting ceremony or "Mengahau" as it is called in Dusun. It is not performed in ordinary celebrations. A "Monolian", an elderly female priestess who is also a ritual specialist, would lead the dance ceremony. It is a rule of the tradition that this role is held only by the descendents of the previous "Monolian". "Mengahau" is a big affair and is usually celebrated for 5 days and nights. The purpose of this ceremony is to venerate the "gusi-gusi" (a type of antique jars believed to possess spirits) by chanting ancient ritual verses. It is also conducted to honour dead family members, similar to the "kenduri arwah" (feast for the departed) commonly observed by the Muslim Malay community. As soon as the music starts, the dancers would sway towards the dance floor. Every movement of the hands would be in harmony with the rhythm of the music. However, the movement of the feet are slower as compared to the hands. One simply walks with very small steps in an unhurried manner. The pace of the dance increase with applause from the audience.
Malaysia -
Kompang Jidor
Kompang Jidor traditionally encompasses twelve interlocking kompang beats that create composite rhythms. It is usually performed with vocal accompaniment of selawat based on the Kitab Barzanji, a book of praises to the Prophet Muhammad composed in the 18th century. The selawat, sung in Arabic, is structured into verses (rawi) and refrains (jawapan). The twelve beats of the Kompang Jidor are: jidor, babon, banggen, nelon, ngelimo, ngorapati, anak babon, paron, ngapati, ngentong, nyalahi, nyelangi. Kompang Jidor is performed by a group of kompang (Malay frame drum) players and a single player who strikes the jidor (large double-headed barrel drum). Once a tradition that flourished throughout Johor, this older form of kompang is becoming increasingly rare. Because of its complex rhythms, the art of the twelve-beat Kompang Jidor takes more time to learn and master than the more common four-beat Kompang Melayu.
Malaysia -
Batik
The word “Batik” means “drawing out with wax”. The coloured and patterned cloth has gained popularity not only in Malaysia but also in international fashion scenes. This fabric normally carries motifs that reflect the flora and fauna, geometry and landscape of nature. Terengganu Batik is renowned for its vibrant colours, bold prints and its versatility. It is soft, light and breezy and very well suited for the summer and tropical climate and its fabric is made into shirts, dresses, crepe de chine, scarves, kaftans, sarongs, pillow cases, bags, table cloths and many more items. There are two types of batik, the hand drawn and the block print. The hand drawn is based on the artist’s imagination and creativity. The artist begins by using a small pen-like container filled with hot-melted wax. It is then hand-drawn onto a white fabric with hot liquid wax creating a design. Brushes are then used to paint dyes within the outlines, thus allowing for the creation of shaded and multihued designs. The gracefulness and speed of their freehand never ceases to amaze one’s attention. It is a beauty of the highest form of traditional batik where each hand-drawn article of clothing is unique. The block print batik uses either a copper or a wooden block that looks like a domestic iron, artistically designed with intricate patterns. The block is dipped in a hot melted wax and press printed on the white cloth, which is then dyed in the colours required, rinsed and dried. Many contemporary designers also incorporate elements of this ancient craft into their colourful creations. Today, batik is not only used for outfits, but innovative commercial uses of this beautiful and artistic textile are made into bags, cushion covers, curtains, slippers etc.
Malaysia -
The Eagle Dance : Rejang Be'uh
One of the Bidayuh popular dance is Rejang Be'uh. This dance is usually performed after the harvest season as a form of entertainment for guests of the longhouse. The movements of the dancers with outstretched hands imitate the movements of the eagles as they flap their wings in flight. Rejang Be’uh is usually performed by two male dancers. The dance originated when a Bidayuh legendary hero, Madu Sawan was ordered by the King of the Pleiades to fight with the legendary bird of the sky known as Tingkilang Ramang (The Eagle Spirit). This was to ascertain who has the right to take the King’s daughter, Dara Buda for a wife. Tingkilang Ramang were both accomplished dancers. They started to dance from each end of the verandah, moving gracefully towards each other in various styles and motions, following the slow and steady beating and rhythm of the gongs and drums. Each time when they meet, they swoop down in a quick motion as if they are attacking each other in a fight. During each of these moving encounters, the invisible poisonous snakes and insects will come out from Madu Sawan's pockets and attack Tingkilang Ramang until he fell down unconscious. Thus, in the duel, Tingkilang Ramang lost and Madu Sawan was declared the rightful husband of Dara Buda.
Malaysia -
Harumanis Mango With Glutinous Rice
This is a dish of glutinous rice served with coconut milk and a type of mango known as harumanis. To prepare the glutinous rice with coconut milk, either the glutinous rice is cooked in the coconut milk, or the glutinous rice is cooked first before mixed with the coconut milk, or the coconut milk is served separately with the glutinous rice and the mango. This dish may be akin to that of Pulut Mangga (Glutinous Rice with Mango) in Kelantan but with a different type of mango used.
Malaysia -
Shoots In Fermented Durian
Tempoyak Daun is a traditional cuisine of the Kuala Pilah communities in Negeri Sembilan. This food is eaten with white rice, omelet and fried fish. The main ingredients are the shoots of tapioca, pumpkin and long beans. The side ingredients are the leaves of turmeric, kaduk (a type of shrub) and ginko biloba, as well as petai (edible seeds of the petai tree), anchovy, lemon grass, coconut milk, tempoyak (fermented durian), chilies, fresh turmeric and salt. Slice finely the leaves of turmeric, kaduk and ginko biloba. Grind finely the chilies and fresh turmeric then fry the sliced and grounded ingredients together with the lemon grass. Add in the coconut milk and tempoyak, and stir till well blended and the gravy thickens. Then add in the anchovy and petai. Finally add in the shoots of tapioca, pumpkin and long beans as well as salt to taste, and stir till well blended.
Malaysia -
Catfish In Fermented Durian
This cuisine is popular especially in the district of Temerloh in Pahang. The main ingredient is the catfish cooked in tempoyak, the fermented flesh of the durian fruit. The durian flesh is separated from the seed, mixed with a little salt and fermented for three to five days in a room temperature. Other ingredients are chilies, kesum leaf, big onion, turmeric, and an adequate amount of salt and sugar. Pound finely all the ingredients except the fish, tempoyak and kesum leaf. Put in a pot, add in sufficient amount of water, the tempoyak, salt and sugar and mix thoroughly. Lastly, add in the fish and let cooked
Malaysia -
Starchy Sago Dish
Ambuyat, or also called Linut, is a starchy food whitish in colour with a sticky texture, originated from palm sago flour from the trunk of the sago palm tree called ‘Ampulung’. This traditional food is well known among the Bisaya, Bajau, Kadazandusun and Murut ethnics. The sago flour is mixed with water and let it settle for about 10 minutes. Then discard the water and mix the sago flour with very hot water. Blend till the sago flour turns clear and sticky that signifies it is cooked. An alternative method is in medium heat mix the sago flour with very hot water in a pot till the sago flour turns clear and sticky. Ambuyat is eaten with bamboo fork or chopstick called ‘candas’. Take a mouthful of the Ambuyat with the fork or chopstick then dip it in a sauce. It is advisable to eat the Ambuyat while still hot. Dip it in gravy as a sauce, like boiled fish gravy.
Malaysia -
Mamagandal
Mamagandal or 'manakai' is the process of carrying paddy sacks (“bandu”) using a buffalo to transfer the sacks from the seedling area to the paddy grain barn reserve (“tangkob”). This activity that has become a traditional game was introduced to highlight the originality of the daily activities of the KadazanDusun ethnic in Sabah during the harvesting season. This game displays culture and speed, perseverance and physical strength of the tribe in utilising the transport system in the past, in the muddy and puddle conditions of the paddy field.
Malaysia