ALL
folksong
ICH Elements 78
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Urtiin Duu, traditional folk long song
The Urtiin duu or “long song” is one of the two major forms of Mongolian songs, the other being the short song” (bogino duu). The Urtiin duu is a lyrical chant, which is characterized by an abundance of ornamentation, falsetto, an extremely wide vocal range and a free compositional form. The rising melody is slow and steady while the falling melody is often intercepted with a lively rhythm. Performances and compositions of Urtiin duu are closely linked to the pastoral way of life of the Mongolian nomads on their ancestral grasslands.
China,Mongolia 2008 -
Traditional Sohbet meetings
Seemingly regarded as a leisure time activity today, “Traditional Sohbet Meetings” tradition with its historical background and institutional structure has a crucial role in social life. In some regions of Turkey, since the tradition is at the risk of disappearing practiced solely among the elderly, though it is preserved in some other parts of Turkey in accordance with the changing conditions of life. As seen in Çankırı case, the element has a significant role within the local culture, therefore Çankırı is defined as “Land of Yâran” by the residents of Çankırı. Although “Traditional Sohbet Meetings” meetings have different names in different regions of Turkey, they all have the same function. In a discipline of teach and delight, the primary aim is to have conversations and talks in leisure times. “Traditional Sohbet Meetings” talks, through the concepts of love, fellowship, brotherhood and respect for each other, ensure safeguarding and conservation of traditions as well as creating a sense of neighborhood. The participants admitted to “Traditional Sohbet Meetings” communities vary from region to region. While in some regions only single men are admitted to the community, in some other regions, participants of the community are from different age groups and professions. For example, the groups in Manisa-Soma and Balıkesir-Dursunbey are classified as the youth, the middle aged and the elderly. Hence, in Soma, the meeting place of the young men is named as “Delikanlı Odası”, as “Köşe Odası” for the middle aged and “Koca Oda” for the aged. “Traditional Sohbet Meetings” are characterized as patriarchal meetings; however the mothers and wives encourage those male members who take the advantage of those meetings in respect to its social and cultural benefits. “Traditional Sohbet Meetings” communities gather at regular periods particularly in winter. For instance, “Sıra Gezmeleri” in Şanlıurfa, is held once a week preferably in Saturday evenings. The beginning and ending month as well as the time schedule concerning the dates and hours of the meeting are decided jointly. Non-participation except for the excuses such as death, illness etc. is subjected to penalty and the non- participant members not obeying the rules of procedures are also fined. The penalization practiced today has mainly turned into punishing with a fine. The total sum is allocated for organizing the following meetings, for the people in need as well as building fountains and roads. These communities usually compose of 5-30 persons and those members are guided by 3-5 community leaders, whose names vary from region to region. The community leaders are appointed via election or through proposals made by the elderly who are highly respected and designated by the consensus of all Yârans. The duty of community leader is to arrange in-group relations and to control the flow of the meetings. In this context, he has sanction power and the members are expected to obey the decisions made by the community leader. The titles of the community leaders can be summarized as follows: “Bayraktar” in Soma, Manisa; “Büyük Baranabaşı, Küçük Baranabaşı, Sohbet Çavuşu” in Balıkesir; “Büyük Yâranbaşı, Küçük Yâranbaşı, Köşe İhtiyarı” in Kütahya; “Delikanlıbaşı” in Ankara; “Efe, Saki” in Kırşehir; “Yiğitbaşı, Gönüller Ağası, Bayraktar” in Niğde; “Efrad” in Isparta, and “Büyük Başağa, Küçük Başağa, Çavuş” in Çankırı and ""Başkan"" in Şanlıurfa. Admission to Traditional Sohbet Meetings is of high dignity; nevertheless dismissal from the community is concerned as indignity. Certain procedures, which differ in each locality, are followed for the admission to or dismissal from or becoming a regular member or quitting the membership of the community. Being honest and modest, keeping secrets, not gambling, not wandering drunken around are accepted as the basic virtues and common rules in every locality. The members of the community have equal rights and commitments. There is no difference in social status among the members. The members of the community are taught and controlled by the leaders and by the other elder members in their daily lives. They also take the advantages of being a member of the community in physical and emotional support, if needed. The characteristics aforementioned contribute greatly to the members, the locality and to the society as well. The meetings are open to guests. The members sometimes bring their children along with them, which ensure the transmission of the tradition to future generations. Learns laying the table by her mother Learns joining in Sohbet by his father Traditional Sohbet Meetings are indoor activities. Those places can be the houses of the community members, be commonly-shared places called “köy odaları”, which has traditional features in Turkey, or rented places called “oda” for which expenses are shared as in Şanlıurfa case. Today, the meetings are held in the places allocated by local authorities. Interior design and setting differ in some regions yet generally sofa and floor cushion is used at the meetings. Traditional Sohbet Meetings consist of many elements but the main element is ""Talk"". This ""Talk"" has a wide range of topics, anything relevant to social life. Other elements of these meetings are folk music, folk dances, indoor plays, village spectacle plays and dining. There is not a certain order for practicing the elements; nonetheless, in each meeting there can be a specifically drawn order. List of dishes can show differences from region to region; nevertheless, not creating a difference in social status as well as not being costly for the host is carefully taken into consideration when preparing the dishes. For instance, the dish list is composed of çiğ köfte, deserts (künefe, şıllık, etc.) and strong coffee, known as mırra, in Şanlıurfa. In Çankırı, soup, güveç (casserole), rice and baklava are main dishes served in Yâran meetings. One of the most important elements of this tradition is music. Şanlıurfa Sıra Gecesi and Elazığ Kürsübaşı meetings, in a master-apprentice discipline, function as a conservatory for the traditionally trained performers. The musical performance begins with the pieces in rast and divan maqams; continues by other maqams if requested; and finalizes by kürdi and rast maqams. The instruments used in these meetings vary from region to region, but the main instruments are the bağlama, cümbüş (mandolin with a metal body), def (tambourine), violin, ud, kanun (zither) and kaval (end-blown flute). The local tunes are performed by the master bearers. Listening to music is also as important as performing the music. “Traditional Sohbet Meetings”, including music, dining, plays and talks, last until the early morning. Therefore, Traditional Sohbet Meetings compose all elements of life and culture. Owing to changing living conditions and migration from rural to urban area, Traditional Sohbet Meetings tradition is transmitted by its bearers to other cities.
Turkey 2010 -
Ceremonial Keşkek tradition
Ensuring solidarity and collective identity, national and religious holidays, celebrations, feasts, commemorations are of great significance as regards to social values. The providers, the distribution and the consumption of the food are strictly determined on these special days. Traditional ceremonial keşkek is one of the social practices which sustain its significance from the past to our present day. Keşkek tradition is practiced at circumcisions, wedding ceremonies, religious holidays such as, Ramadans, sacrifice Aid, Muharram Month (first month of the Islamic calendar), charities, pilgrimage feast, prayers for the rain, Mevlid (Islamic poetry reading), Hıdrellez (a kind of seasonal celebration) and similar practices. Preparation and consumption process of keşkek bears a collective character. Particularly in village communities, preparation of ingredients and cooking process of keşkek are actualized through collective work. The villagers contribute to keşkek ceremony by providing the ingredients and participate in cooking process. Wheat and meat are the basic ingredients of keşkek. The main ingredients are provided by the household on special days for the family and the dwellers of the village provide the work force if needed. The wheat for keşkek, of an amount proportional with the number of participants, is washed with prayers a day before the wedding ceremony. Accompanied by davul-zurna (traditional Turkish musical instruments) the wheat is carried carefully to a large stone mortar. The wheat is hulled on the large stone mortars by two or four persons using gavels in a fixed rhythm. The rhythmic sound is a sign for the start of wedding ceremony. The hulled wheat is one of the main ingredients of keşkek to be prepared on the wedding morning. Meat is the other main ingredient for keşkek. Cooking keşkek requires specialized knowledge therefore it is carried out by experienced persons called ""keşkekçi"" (keşkek maker). Keşkekçis are trained in a master-apprentice tradition. Cooks and his assistants in charge of keşkek cooking start the preparations at early hours in the morning of the day before the ceremony. As weddings - the primary occasions for ceremonial keşkek tradition – are usually held during summer or early autumn, keşkek is usually cooked outdoors. Requiring a long-lasting source of heat, keşkek is cooked in large copper cauldrons, the bottom of which is smeared with ash to protect it before being put on a big open fire. Hulled wheat, chunks of meat on the bone, onions, spices, water and oil are all put together in the cauldron. It is important to maintain the heat at a certain temperature while cooking. Therefore, cook and the assistants take turns to maintain the cooking process as desired until morning. Watching the heat and preparation of the side dishes to be served with keşkek last all night long. This night spent around the keşkek is full of stories, friendly talks and jokes. The cook checks the keşkek cauldron in the morning of the wedding day. Towards noon, the most important phase of the keşkek tradition takes place. The strongest of the village youth, who were previously chosen for ‘keşkek dövme (keşkek beating)’, are called in to ‘beat’the keşkek with a wooden tool which can be named as ağaç kepçe (wooden ladle) tokmak (gavel), çomça or şişe. This is in a way a mashing process. The rhythm while hulling the wheat goes on during the beating process as well. The wooden tools are used in a rhythmic order. The beating process of keşkek attracts great interest among the crowds. To motivate the beating youth, the crowd cheers and sings folk songs. During the beating, one or two persons apart from the beating youth take the bones out with a special kind of tongs. The neighboring towns and villages are invited and keşkek is collectively consumed in the ceremony premises (courtyard of mosque for religious holidays, bride’s or groom’s house on wedding days, a sacred venue for charities and hıdrellez). Prayers are uttered before and after the feast. The pots and pans used during ceremony are collectively washed. A special set of equipments are necessary for the preparation of keşkek. The stone mortar, a collectively owned product of particular craftsmanship, a copper cauldron made especially for such ceremonies and tinned regularly. Hand made ladles and gavels made of wood are among the most important tangible elements of the keşkek tradition. The most significant aspect of the tradition is unifying all people in this ceremony regardless of age, ethnic origin, gender and culture even being invited or not. The hosts of the ceremony check whether all the guests are at the dining table for keşkek. Each person attending to keşkek ceremony is considered as an element of this cultural environment. All individuals within the community through participating in such a ceremonial event have a sense of belonging. This ‘sense of belonging’ reflects itself with the common expression ‘our keşkek is better’, which is a bare evidence of considering keşkek as an important element of cultural heritage. Keşkek ceremony should be practiced with all the components of the tradition or else it loses its traditional aspect for the bearers. In Zonguldak-Ereğli on the west coast of Black sea Region, there is a village named ‘Keşkek’. People from the neighboring villages go to this village, which is a developed locality among the surrounding places, in order to worship on Holy Friday and the visitors are served keşkek there. This clearly explains why the village is called ‘Keşkek’. The villagers see keşkek as a major part of their cultural identity and they are glad to have the name keşkek for their village. Today, this ceremonial tradition, through organizing keşkek festivals and festivities has been preserved by the intimate efforts of city and district municipalities and the hemşeri (locality fellowship) associations, founded by fellow citizens for creating a kind of solidarity. It is observed in these occasions unifying aspects of ceremonial keşkek tradition continues in the cities as well. Preservation of this tradition in the cities is particularly important in terms of how much this tradition is embraced by the communities concerned.
Turkey 2011 -
Arirang, lyrical folk song in the Republic of Korea
Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nearly every Korean knows and enjoys singing Arirang, which is not just one song but a variety of local versions handed down throughout Korea. Experts estimate the total number of folk songs carrying the title ""Arirang"" at some 3,600 variations belonging to about 60 versions. Arirang is essentially a simple song, consisting of the universal refrain Arirang, arirang, arariyo, and lyrics that have developed differently from region to region. The most typical lines express a universal sentiment: Arirang, arirang, arariyo; Over the Arirang hill you go. (refrain) Leaving me, my love, you'd go lame before three miles. (lyrics) The lyrics were not created by any particular individual, but an outcome of collective contributions made by ordinary Koreans through generations. They convey joys and sorrows of common people arising from love, parting with the beloved, troublesome in-laws, or national struggle against foreign invaders. Affection for Arirang is evident throughout today's ultra-modern Korean culture, well beyond the realm of traditional music. Arirang has been rearranged into modern ballads, rock 'n roll and hip-hop, as well as symphonic pieces, appealing to a wide array of audiences and striking a chord with Koreans; it is often described as their unofficial national anthem. Olympic champion Kim Yu-na skated to an Arirang theme, ""Homage to Korea,"" at the 2011 World Figure Skating Championships. Arirang is also one of the most recognized cultural symbols and is widely used as a theme for movies, dramas and soap operas, and names of commodities, restaurants, and broadcasting companies.
South Korea 2012 -
Gagaku
Gagaku is one of the Japanese performing arts, which are expressed by playing musical instruments, with long, slow songs and dance-like movements, and performed at ceremonies or banquets at the Imperial Palace or in a theatre, such as the National Theatre in Tokyo. Gagaku consists of (i) Kuniburi no Utamai, (ii) the Japanized dance and music which had been derived from the Continent, and (iii) Utamono. The substances or repertoires have been created in the history and culture of Japan and become distinctive. Kuniburi no Utamai had been formed up around the tenth century with original Japanese songs and dances long before foreign music and instruments were brought into Japan in the fifth century. While the dance and music that came via the continent use only musical instruments, Kuniburi no Utamai is mainly composed of songs and played just partly with a Japanese harp and Kagura flute. The choreography of Kuniburi no Utamai is simple but noble and grave. The Japanized dance and music which had been derived from the Continent consist of an instrumental tune, kangen, which developed from such Asian music and dances that reached Japan via ancient China and the Korean peninsula during the four hundred years from the fifth century through the ninth century, and was shaped by the history and culture of Japan, and (b) bugaku, the ceremonial dance to this tune. The Japanization is the process as follows: (i) the configuration of performance consisting of those derived from China, Central Asia, and India and those from the Korean peninsula: (ii) the selection of foreign music instruments and the formation of the smaller chamber music ensembles. Those used here are wind instruments (Sho, Hichiriki and Fue), strings (Biwa and So), percussion instruments, and others. Utamono is the vocal music that was newly formed around the tenth century in Japan under the influence of music from abroad. Some of its lyrics are Japanese folk songs and some are ancient Chinese poems. As briefly explained above, the history of Gagaku stretches over more than a millennium. Gagaku-ryo, i.e. the department of Gagaku, was set up as a national institution by the enactment of the year 701. The Imperial Court aimed at establishing a centralized State under the rule of written laws and regulations, known as Ritsu-Ryo Kokka. Historians think that Gagaku was incorporated into the national system as an essential part of official ceremonies. In 752, for example, these performing arts were performed at the ceremony to bring the soul into Great Buddha statue in the temple of Todai-ji, which has been a UNESCO World Heritage Site since 1998. In the tenth century the performing arts from the Asian continent were sophisticated and Japanized while new Utamono and new repertoires of Bugaku were composed under the influence of performing arts from abroad; the form of today’s Gagaku was being established. Moreover, the style of acting and the performance space were also being set. The individual members who compose the Music Department of the Imperial Household Agency in charge of the transmission of Gagaku are mainly descendants of specific families who occupied such posts as a family profession. Although the tradition of Gagaku faced difficulties several times because of the decline of the Imperial Court and the aristocracy, who were patrons of Gagaku, and because of political turbulence and conflicts, certain families in Kyoto, Osaka, and Nara have kept the tradition, and do not let it cease. In the latter half of the 18th century, the Musical Department of the Imperial Household Agency was established, incorporating musicians from several localities, and this was the predecessor of the Musical Department of the Imperial Household Agency. As explained above, the Department members recognize Gagaku as part of their precious cultural heritage transmitted from their ancestors. As Gagaku has been designated as an Important Intangible Cultural Property of Japan since 1955, it is recognized as an item of important cultural heritage which has high historical and artistic value for the Japanese people. Gagaku is the oldest tradition among the Japanese traditional performing arts. The Music Department of the Imperial Household Agency is widely recognized as the authentic transmitter of the tradition. The transmitters recognize Gagaku as their own unique culture of which they can be proud before their contemporaries in Japan and throughout the world. The transmission and performance of Gagaku contribute greatly to raising the holding community’s sense of identity and continuity. Thus, Gagaku has been transmitted from generation to generation for a long time, developed corresponding to the politics and the surroundings of each time, and constantly recreated. The history of Gagaku illustrates very well how Japan has transformed culture from abroad and sophisticated them as part of our own culture. The performing arts transmitted to-day varies from those originating in ancient Japan to Japanized, sophisticated and developed ones derived from abroad. In this sense, Gagaku is the crystallization of the culture created by the society and history of Japan. In 1955 Gagaku was recognized as a part of cultural heritage, and designated as an Important Intangible Cultural Property. Therefore, Gagaku functions as one cultural tool to reconfirm the Japanese identity.
Japan 2009 -
Hua’er
Hua’er has been one of performing arts of folk songs in Gansu, Qinghai and Ningxia of China for over 600 years long since Ming dynasty. Hua’er is a folk song created by nine ethnic groups, such as Han, Hui, Tibetan, Tu, Mongol, Dongxiang, Salar, Bonan, Yugur, and each nationality shares it with others. It is an important artistic form of cultural exchange, emotional communication among nationalities, which is only folk song of its kind created and performed by multi-nationalities in China. Hua’er’s music has been drawn its inspiration from ethnic and traditional music, it has more than 100 tunes. Their titles are called so-and-so ling, just according to the names of nationality, town or flower, such as Dongxiang ling, Tu People ling, Hezhou ling, White Peony ling etc. Hua’er’s music is based on five notes of pentatonic scale, high in tune, wide in range, free rhyme and rich expression. The libretto of Hua’er is improvised by folk singers under a certain formula, each has 3,4,5 or 6 lines, each line consists of 7 characters, it has their own metre. Its content involves daily life of farmer, and richer in love. The forms of performance of Hua’er could be solo, duet, and group competition. More than 100 traditional Hua’er folk festivals are held in Gansu and Qinghai once a year with their own time and venues, which is important place to show folk singers talents. Hua’er, as folk song of local nationalities handed down from one generation to another, is an important tool to express people’s mind and feelings with unique social function and cultural function. “Singing my dresses, singing happiness in my heart”, “one song after another, the more songs I sing and the younger I am”, these librettos play a role to shake off their weariness and depression in the heart of singers. “Singing one by one, just for my sweetheart”, these show Hua’er is a tool of love between young man and young woman. Folk singers are low educated farmers and herdsmen, they are practitioners of Hua’er, and also spokesmen of common people. Their improvisation and performance play a part of “time mirror” with expression of the people’s voice. For instance, “Wife’s having hair dyed, daughter wants her hair in a bob, mama is having hair permed, all wants to follow the fashion, and I will pay for that.” This Hua’er says the huge change and pleased heart of farmers’ life in countryside of the northwest of China, this is also vivid oral record of social progress in China. For the reason that Hua’er Folk Festival in Gansu and Qinghai has been included into the list of China Intangible Cultural Heritage, a large number of excellent singers were put into representative list of China Intangible Cultural Heritage Practitioner, this drew much attention to Hua’er, and increased the sense of Hua’er identity and continuity. The folk singers and persons in charge of cultural communities and cultural centers realized the importance of protecting Hua’er.
China 2009 -
Khalfa (songstress) art
Khalfa is a woman-performer of folk songs and instrumental music, a poetess in Khoresm Oasis, who embodies traditions of oral folk art. In terms of activity, there are the following types of khalfas: khalfa sozi (khalfa-musician), who performs folk instrumental melodies; khalfa yodoghiy (khalfa-singer and khalfa-poetess), who performs folk songs at wedding ceremonies and festivities, while accompanying her singing by playing on a musical instrument; khalfa kitobiy (khalfa-book lover), who reads old books of religious themes during commemoration and rituals events ("mushkulkushod" – literally "relief"); khalfa dostonchi (khalfa-narrator); khalfa raqqosa or khalfa oyinchi (khalfa-dancer). In Khoresm two directions of khalfa performance became widespread, i.e. ensemble performance and solo performance. In ensemble performance it is possible to see a leading woman-performer, who sings songs under accompaniment of accordion (i.e. Russian diatonic accordion, which has been existence in Khoresm since XIX centure and which is called "qol soz"), doira player (who accompanies singing by playing on doira; sometimes she can act as a dancer as well) and dancers (who accompany singing with their dances; they usually dance with kajraks (castanets), or sometimes, sing along and play on doira).
Uzbekistan -
Lullaby
Lullaby is a unique and independent form of traditional folk song, which reflects the traditional knowledge and wisdom for bringing up the children, relationship between mother and child, and various practices and manners of Mongols. Lullaby is a song with specific meanings and independent melody, poetic system as well as character and description dedicated for calming and pacifying the baby. Its lyrics encompass meaning of convincing and fondling the baby and detailing his/her lineage. The tradition of Lullaby has transmitted in 2 different names as “Song of Cradle” and “Cradle-Song” or Lullaby. The Lullaby does not have a specific narratives, it is more dedicated melodies that lull a child for calm down. There are various different lullaby are sung by mothers depending on their emotion, instinct, range of throat and way of singing.
Mongolia -
MARSIYA, nola, sugvori, navha
Eulogy, a kind of folksongs performed in funeral rites.
Tajikistan -
SHUYAK-SHUYAK
A kind of folksongs dedicated to the hair washing ritual, which takes place a day before the wedding.
Tajikistan -
NA’T-KHONI nahtkhoni, naht
Traditional folksongs with religious and ethical contents, which are performed in social gatherings.
Tajikistan -
Chakan, embroidery art in the Republic of Tajikistan
The art of chakan embroidery is a kind of sewing ornaments, image of flowers and symbolic drawings with colorful threads on cotton or silk fabrics. Chakan embroidery is used to decorate women’s shirts, pillows, bed spreads, head scarves, towels, curtains and coverlets for cradles. In the chakan embroidery art, there are symbolic depictions and mythological images related to the surrounded nature and cosmos, which express people’s wishes and hopes. Each ornament has special name and meaning, for example, pomegranate flower, willow leaves, almond, tulip, cockscomb, nightingale, peacock’s tail, moon, star, sun, cloud and so on. Process of chakan embroidery consists of selection of textile and threads, drawing ornaments, doing the needlepoint images, and sewing clothes. The threads were prepared in the past from cotton and silk fibers, and colored them with natural paints prepared with some kinds of plants and minerals. Now, chakan dress makers use fabric threads for needlework. In the Khatlon region chakan shirt is an important dress of brides. Every bride should have chakan embroidered curtain and pillows as well. Grooms during wedding ceremony will put on tāqi – the national skulp-cap with chakan embroidery. In houses of the Khatlon are hang chakan embroidered needlework curtains. During the traditional festival and holy days Tajik women and girls wear chakan dress. Musical folklore groups and dancing ensembles of Tajikistan widely use chakan embroidered dress in the scene. Annualy in Tajikistan are held festivals and competitions of traditional costumes titled "Jilvai chakan".
Tajikistan 2018