ALL
new year
ICH Elements 71
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The craftsmanship of Mongol boots
The Mongol boots are made up of vamps, leather bootlegs, hide soles, clips and welts. The Mongol boots are ideal for horse riding, they are spacious, and the upturned tips prevent one from being caught in the stirrups. Mongolian boots are named for the number of the ornaments on it, starting mostly from eight and extending up to thirty-two. The craftsmanship of Mongol boots is a complex art of hand-making workmanship of craftsmen skilled with their ancestral inheritance, through already-set and special technique, style and design.
Mongolia -
Belt
The belt represents one's social status and wealth. There are a variety of belts found in Mongolia, including belts that are knitted and others that are made from cloth, leather, hide, and even silver and gold. Aristocrats of the nomadic pastoral peoples of the past would use belts made of various precious metals, on which delicate ornaments would be engraved and gemstones inlayed. This kind of belt was called an agsargan bits. It also had metal decorations from which the wearer would hang their sword, knife, and bow case. There was an ancient tradition that Mongolian men, when they established a friendship with another, would exchange their belts as a wish for continuous peace and unity with one another. It is said that aristocrats of the past would also engrave three, five, seven, or nine dragons on their gold or silver belts as a sign of reverence to this mythic beast.
Mongolia -
Traditional astronomical knowledge
Based on the recurrence of the sun, moon and planetary motions, Mongolians drew up a table of measuring the time and periods by sixty cycles, periods, years, months, days and nights, hours, and moments while reckoning the number 12 as the basics. Accordingly, the table of the sixty cycles used for their everyday lives. There are many facts that Mongolians have studied the astronomy from the scientific principles since ancient times. For instance, there is a wide spread picture with names of 1400 stars and their locations and descriptions called “Tümen odnii lit (almanac of ten thousand stars)” is being kept at the State central library.
Mongolia -
Traditional craftsmanship of Mongol costume
Mongolians do believe that their traditional costumes represent and express the essence of the state existence. According to the symbolic meaning, we do say as the hat represents the rising state, the deel represents the harmonic state, the belt represents succeeded state, the boot represents the support of stay. The traditional costumes, accessories and decorations of various ethnic groups of Mongolia illustrate their origins and historic background, specific features of culture, practices and aesthetic manners. The distinct characteristics of different ethnic groups can be seen through their hats, men’s deel (traditional garment) and their accessories or cuffs, lapel, shoulder of women’s deel, hair dressings, decorations and boots.
Mongolia -
Mongol Hat
Hat is a primary representation of one’s social status and is the most respected of the traditional clothing items. The toortsog, loovuuz, and four-lugged shovgor hats are a few of the more than 200 different kinds of hats used by the Mongolians in accordance with various customs. Hats are classified by the season as well as the wearer's age and gender. And hats are also classified by the shape and design of their top, such as the "skullcap,” "helmet,” and "flag.” Generally, the Mongolian hat has a pointed or domed top with red tassels, and a downward line of stitches resembling rays of the sun, which can vary in number and other features by ethnic group. The hat symbolizes eternal prosperity of Mongolia in the world. Various furs and skins are sometimes attached to different parts of Mongolian hats depending on their purpose and style.
Mongolia -
Jhug dho-ma: An Indigenous Song
Jhug dho-ma is a traditional song sung at Riserboo-Kheshing Chiwog, Kheshing village under Lumang Gewog (block), Wamrong Trashigang. Lopen (Spiritual master) Dorji Wangdi and lopen Dorji Namgay first composed the song in around 1964. The song was composed during the time when people had to contribute labour contribution while constructing road from Samdrupjongkhar to Trashigang Dzongkhag (district). Because of the lack of paved roads, travel in Bhutan was by foot or on mule- or horseback until 1961; the 205-kilometre trip from the Indian border to Thimphu took six days. Road construction began in earnest during the First Development Plan (1961–66). The first 175-kilometre-long paved road was completed in 1962. About 30,000 Indian and Nepalese labourers were imported to build the road with Indian aid when India was bolstering its defense against a potential Chinese invasion. Bhutan also provided labour for the construction work. Another road was built to connect Trashigang with Samdrupjongkhar. About 1,500 kilometers of roads were built by the mid-1970s, largely with manual labour. Every household must compulsorily contribute labour for two weeks. The lyric of the song encompasses the journey from Samdrupjongkhar until Wamrong. It conveys us the settings of different villages on the way while constructing the road.
Bhutan -
Death Ritual of Lhop Communities
Death is often considered as a great loss but not more than the fear incurred from the unnatural deaths; such as accidents from falling off a tree or death caused due to an encounter with wild animals as they strongly believe that death has been caused from dishonoring the deities or by evil spirits or by bad spells from somebody. They conduct very elaborate ceremonies to appease the spirit of the deceased and deities, especially the deceased with food and drinks so as to prevent misfortune to the surviving people. Lhops believe in the dual existence; that when death occurs, the soul, Se-hok, leaves the body and dwells in the emptiness for certain period and later joins the world of Sim-pu (death).
Bhutan -
Nyeldrum and Keytoen: Pregnancy and Baby Shower
According to our conventional wisdom, once a woman stops menstruating, and starts vomiting in the morning as well as experiencing loss of appetite, she is pregnant. Henceforth, she avoids doing any heavy work, and elders and experienced people advise her on the dos and don’ts of birthing-related subjects. Although pregnancy was socially acceptable for a woman who had a husband, there was a social stigma against unmarried pregnant women. Not only did people gossip behind their backs, but some communities even ostracised them on the pretext that their pregnancy outside marriage would cause accident or disaster to the people, animals and community, especially if they happened to pass through any restricted areas such as ladam or ridam (restriction of mountains and forests near the community and believing these sites as the abode of local deities. Restrictions these sites starts from the sowing of seeds in the field and until the harvest). Although no nasty actions are taken against unwedded pregnant women these days, they are still the subject of gossip, and social stigmatisation persists, though perhaps to a lesser degree now than is mirrored in the well-known traditional saying: "If the bastard is faced to the rocky cliff, the cliff breaks down; and, And if the bastard is faced towards the lake, the lake dries up." Although due date for the birth could not be predicted precisely, impending birth is determined based on the size of the abdomen and frequency and intensity of labour pains. As soon as childbirth seems imminent, the woman readies herself by preparing ara (distilled wine) or changkyoe (fermented rice) as well as stocking up with other nutritious foods such as meat, egg and fish. She also avoids crossing the tethers of horses, as it is believed that this will delay birth, since pregnancy in mares lasts about a year. Besides, roaming or journeying at night is strictly forbidden. When it is time, a few elderly women will be called to assist the pregnant woman, as it is also believed that it will be easy to give birth if there is an experienced woman nearby. According to the Eastern Bhutanese belief, if the woman is in protracted labour, various methods are followed to aid her in delivering the baby, such as: opening a container of fermented rice (Changkoe or phafin, also known as buchang) and serving it to her; a family member going to a cross-section of paths and stamping the ground hard three times, collecting the dust from that spot, and then rubbing it on the abdomen of the expectant woman; or her brother (phuga ajang) dresses up and covers his body with a lhiu (rain coat made from yak hair) and then, carrying a quiver and holding a bow in his right hand, he jumps across the abdomen of his sister who is lying on the bed. These are some of the popular practices claimed to have saved pregnant women from suffering further. After delivery, the child is picked up by the kindest and most gentle person present, as it is again believed that the new-born will take on the character of the person who first picks the baby up. Once the child has been picked up, its umbilical cord is cut with a sharp knife or a scissor. The child is washed with lukewarm water and welcomed by inserting a piece of butter in the mouth, placing another piece on the head, and uttering many good wishes and prayers for his/her long life. While the child is being washed, the mother awaits expulsion of the placenta. The placenta is buried in the ground, placing the umbilical cord towards the surface. However, in some cases the placenta is taken to a river and pressed under a heavy stone with the umbilical cord turned upstream. Either way, if the umbilical cord is not placed correctly, it is believed that the child will vomit. After washing, the baby is allowed to suckle at the mother’s breast either before or after expulsion of placenta, and following that ara and nutritious foods are given to the mother. However, if placental expulsion does not occur, a rundi (kind of flat rope made from bamboo, used when carrying loads on the back in Tshangla Community) is cut in half and burned. The ash is given to the mother to eat. In some cases, the cast off skin of a snake (buesop) is fed to the woman. People believe that these practices will help the body expel the retained placenta. As the birth of a child is considered impure, outsiders will avoid visiting the family for three days after the birth. After three days, where possible, a lama or tsip (astrologer, or lama who knows astrology) is invited to the house to perform a purification ritual called lhabsang and define the child’s horoscope and bestow a name. Following this, well-wishers and neighbours will visit, bringing a ceremonial scarf and a pitcher of ara, a small amount of dried meats, eggs or anything else that is considered valuable to the weak and recuperating mother. The next very important function for a child is the first cutting of hair, which can be done at any suitable time after the hair is long enough. The practice is that the first haircut is done by a brother of the child’s mother, or in some cases (for example if she has no brother), it may be done by a lama.
Bhutan -
Pithi Leang Arak (The Medium Spirit Ritual)
In traditional Khmer belief, "The Medium" refers to ghosts that have spiritual power and often live in seas, rivers, lakes, creeks, streams, and ponds. Others live in trees, bushes, and mountains, and have their own more or less power. When traveling in the forest or crossing the lake, travelers must mind their words and speak carefully because some words may interrupt or annoy the spirits guarding the place, yet it will cause illness or other disasters. Another type of ghost refers to the souls of ancestors who are believed to be dead, but the soul or spirit does not die with the body. They are around to help take care of and protect children, but sometimes those souls are also angry and punish their children if they make a mistake and do something wrong. It is believed that if a person is “Arak Kach” there are weird signs such as the person is sick, trembling with fear, mouth paralysis slurred speech, or inability to walk…etc.) Although today's society is evolving to a more modern level, including modern medicine, Cambodians, especially those living in remote areas, are still seeking traditional treatment such as ghost possession. Therefore, if there are any disasters such as disease, eradication, drought, or lost cattle, and lost property for no reason, the locals will seek help from “Kru Hmor” to predict or use a method called “Bol” or summon a spirit called “Ban Jorn Arak”, each of the methods can tell the locals about a root cause behind the incidents that happened. After they found out the cause, they had to organize a "Leang Arak" ceremony, or “Ban Jorn Roub” and make an offering for Arak spirits to keep a promise. In some areas, when a male or female is possessed by a spirit, people believe that the spirit is an Arak. But in other areas, such as in the north of Siem Reap, Angkor people called a spirit that possesses a male and female body differently. If the spirit possesses a male body is called Arak, whereas a spirit that possesses a female body is called "Memot". That is why sometimes we hear people call "Pithi Leang Arak" and sometimes we hear "Pithi Leang Memot". The ritual is organized by an individual, a family, or a community to pray for a well-being for everyone. As for the date, protocol, and agenda in Pithi “Leang Arak”, we observe that they vary slightly from region to region. As mentioned above, the residents of Angkor (north against Phnom Kulen and south against Tonle Sap Lake), especially the village north of Angkor Thom (Nokor village, Pronit village, Prasatchar village, Phlong village, village Leang Dai, Daun Ov village, Tak village and Samrong village, etc.) call a spirit possesses male body is called Arak, whereas a spirit that possesses a female body called "Memot", but from time to time, we also see one or two Arak spirits to join Leang Memot with Memot spirit too. The locals in this area hold this ritual once a year, during Meak month to commemorate the Memot, who helps to cure the villagers' illnesses and make them happy. The ritual was held with ten to fifteen people who are ready to be possessed by Memot and one Memot Master. Locals believe that each person has her own birth teacher spirit “Kru Komnert” who looks after her life. Therefore, they have to install an altar and prepare offerings or Jorm Komnert for the spirit. Some install the altar on the head of the bed. There are two types of Jorm Komnert, one is made of a ripe coconut and another is made of carved wood with legs in the shape of monkeys and other animals. During the Leang Memot, participants have to bring Jorm Kru Komnert and Jorm Memot to put on a tray together. For those who have just joined or their, Jorm is torn and old, they have to make a new one that day before the ritual begins. The offerings and utensils were also prepared on the day of the ritual, including a basket of rice for storing rice, and on the basket of rice was a tray of offerings such as a banana, orange juice, fruit juice, water perfume, ten incense sticks, five candles, cigarettes, Mlu, Sla, Bay Srey Pak Cham. These items are stacked under the tray of Jorms, which is placed in front of their respective seats. At around 7 pm, the Leang Memot ritual begins. At that time, the Arak music band began to pay homage and then began to play music for Main Memot to possess the body. After playing two or three songs, the Memot spirit begins to possess and make strange gestures, some wearing a scarf on his head or tying his waist, while others wear a skirt (usually a Hol), pulling a sword or carrying a pole to dance rheumatically, the locals realized that the Arak spirit is possessing Memot body, so they shouted and clapped their hands to make the Memot dance happily, it continued until 11 PM which made the ritual very noisy. Until all the bodies are possessed by Memot, they would together joyfully. Finally, Memot Thom prays, then the villagers take the offerings “Pe Sam Neann” (Offering) and throw them away in order to avoid any misfortune or other diseases. In other parts of the region, Leak Arak ritual may be held in private, arranged by relatives of a patient in order to find out the root cause of the sickness. The most common offerings are Bay Sey, Sla Tor, Pe, candles, incense sticks, and flowers. The food offerings include rice, soup, bananas, boiled chicken and pork heads...etc. In addition, there is an Arak music band, and especially there is a messenger called “Snom”, a woman who interrogates and interprets to the spirits that possess the body and she also helps facilitate the ritual. When the ritual begins, Arak music is played to summon the spirit to possess the body. When the spirit possessed the body, the woman start to ask questions and find the root cause of the sickness. What has the patient done wrong? and plead the spirit to cure the patient with a promise to offer a steam chicken and port head to let the demons help heal the sick by promising a rooster, a pig's head, offering music, or whatever the ghost commands.
Cambodia -
Quan Họ Bắc Ninh Folk Songs
Quan họ is a form of alternate singing between males and females, once only popular in 49 villages of the ancient Kinh Bắc region, presently in Bắc Ninh and Bắc Giang provinces. The singing tradition is an intergral part of tục kết chạ (friendship custom) between villages, tục kết bạn (friend-making custom) between groups of singers, as well as tục ngủ bọn (sleepover custom). During these twining occasions, groups of quan họ singers from two villages sing throughout day and night. Quan họ songs are sung in harmony as alternating verses by two females (liền chị) from one village, and two males (liền anh) from the twined village sing with similar melodies and responding lyrics. The twining relationship allows singers maintain as artistic and intimate friendship, marriage is not allowed. Quan họ singing has three main types: hát canh (the singing at a host’s house), hát thi lấy giải (singing for prizes), and hát hội (singing at festivals). Lim Festival, taking place on the 13th of the First Lunar month every year, is the most significant event to celebrate and commemorate the founding father of this singing tradition. Music accompaniment was introduced into quan họ singing several decades ago, giving ways to new forms of performance, such as on stage and in celebrations such as wedding, anniversaries and ceremonies.
Viet Nam 2009 -
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 -
Kumiodori, traditional Okinawan musical theatre
Kumiodori is a type of musical composed of speech, music and dance, and dance-like movements. It is a comprehensive performing-art based on Okinawa’s traditional music and dance, but elements from mainland Japan like Nogaku or Kabuki and also from China are incorporated. During a performance, songs accompanied mainly by a three-stringed instrument portray events as well as the emotions of the characters. The words used in the story-telling come from the language of ancient Okinawa. The rhythm of the lines is based on traditional poetry, and the distinctive intonation of the Ryukyu scale. Dances and actions are based upon the physical movements of a pythoness at traditional rituals in ancient Okinawa. Male actors perform all the female roles. Traditional techniques and characteristics unique to Okinawa can also be seen in the methods of hair-dressing, costumes, equipment and tools used on stage. Kumiodori has approximately 70 dramas today. The contents are concerned with legends or the history of Okinawa. Kumiodori was first performed in 1719 in the Ryukyu Kingdom to welcome the envoy of the Chinese emperor. It was created and transmitted under the protection of the Ryukyu government and prospered as the official performing art of the Kingdom. Because it was originally created to be performed at official events of the kingdom, its main themes were loyalty and dutifulness. After the Meiji Restoration in the late 19th century, Ryukyu became a prefecture of Japan, and no longer received support from the Ryukyu Kingdom; Kumiodori began to be performed for ordinary citizens, so that the performers could earn a living. Even under difficult times during and after World War II, people in Okinawa managed to transmit Kumiodori, finding relief and mental support in the songs and dances under the harsh conditions of life. In 1972, when Okinawa was returned to Japan from the U.S., Kumiodori was designated by the Government as Important Intangible Cultural Property and the bearers of Kumiodori were given recognition. To avoid unruly changes in the performing art, the following requirements were set upon its designation. Requirements for designation: 1. The majority of the actors and those associated with the performance of Kumiodori must be members of the Traditional Kumiodori Preservation Society. 2. Acting and stage direction must be based on traditional style. a. Words must be based on traditional style. b. Appearance (costumes, wigs, make-up) must be in traditional style c. Actors must play all female roles d. Stage settings and props must be in traditional style When Kumiodori was designated as Important Intangible Cultural Property, the Traditional Kumiodori Preservation Society was formed to secure its transmission. The members of the Society are proud of Kumiodori, eager to transmit it, and maintain the high standards of their skills. The people of Okinawa respect this Society, and recognize Kumiodori as an important cultural heritage created by their ancestors. The Traditional Kumiodori Preservation Society is engaged in the promotion of Kumiodori, the training of successors, and the revival of dramas that were discontinued in the past. New performances with freer themes have been created today while keeping the traditional style of Kumiodori. They have been well received by the audience with a contemporary sensibility. In this way, Kumiodori has adapted to changing times and circumstances, and has continued to be recreated. Today, Kumiodori can be enjoyed all year round. The National Theatre Okinawa was built for the purpose of continuing the transmission of Kumiodori, and through detailed research on the performance history of Kumiodori, it provides the best stage mechanics suitable for its performance. As mentioned above, Kumiodori is a performing art that developed in the history and climate of Okinawa, and serves as a symbol of Okinawa, both socially and culturally. For the people of Okinawa, to see Kumiodori, or to perform in it, strengthens their sense of affiliation to the community. Kumiodori has continued to evolve, incorporating foreign elements from Asia and the Japanese mainland, while surviving many difficult conditions. Because of this, it is an important cultural heritage, indispensable for a deeper understanding of Okinawa. It is also a significant example the study of cultural interrelations between the Japanese mainland, Asian countries and Okinawa. The old language used in Kumiodori is no longer understood, except by the elderly. Kumiodori plays a central role in preserving this extinguishing language, as well as transmitting literature, performing arts, history, and ethical qualities to this day, both in Okinawa and other prefectures of Japan. The members of the Traditional Kumiodori Preservation Society have acquired high performing skills, and are eager to train successors. The Government recognized them as bearers of the arts and skills of Kumiodori. Currently, there are about 60 members. 2 among them have been recognized as supreme bearers, known as Living National Treasures. They have a central role in training successors, and work in collaboration with the national and local governments, schools and the National Theatre of Okinawa to promote Kumiodori. The National Theatre Okinawa conducts workshops in collaboration with the Traditional Kumiodori Preservation Society to train successors for the transmission of the knowledge and skills of Kumiodori. The young successors have a chance to perform throughout the year in order to exhibit the skills they have acquired. For the further promotion of Kumiodori, they work to increase opportunities to enjoy Kumiodori outside Okinawa. It also holds performances aimed for elementary school students in Okinawa.
Japan 2010