ALL
rope
ICH Elements 135
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Epic art of Gorogly
The entire epos includes a historical range of the legendary achievements of the ancient national hero of Gorogly and his 40 cavalrymen by recording all major events of traditional lifespan of the Turkmen people. The aspiration of the Turkmen nation for a happy life, unification, freedom and justice as well as their features such as bravery, honesty, partiotism, freindship, tolerance and fairness have been reflected in the epos. The element is a combined genre of oral traditions and performing art incorporating narrating, singing, vocal improvisation and musical composition, where a prose and poetry are alternated in its perforamnce. Its bearers and practitioners are epic performers-dessanchy bagshy specialized in the Gorogly epic. It is by tradition performed by one dessanchy bagshy playing the dutar (a two stringed, long-necked lute) in a sitting position, while narrating prose and reciting poetry in a way to deliver the characters' feelings and emotions to the accompaniment to the traditional musical instruments such as dutar and gyjak (a fiddle-like Turkmen musical instrument). It is traditionally performed at social gatherings, celebrations, national ceremonies, life rituals, national festivals and special "Folklore Festivals". The element provides related communities with a sense of social and cultural identity and it is considered as a main symbol of Turkmen people to sustain their cultural identity being as an oral encyclopedia and it remains the inexhaustible fountain-head to nurture their cultural psychology, national character, mentality, creative capacity and artistic skills.
Turkmenistan 2015 -
Traditional turkmen carpet making art in Turkmenistan
The traditional turkmen carpets and carpet products are the hand-woven woollen textile goods of ornamental art with quadrangular shape in different sizes with dense texture ornamented with characteristic colored patterns pertaining each separately to one of five main turkmen tribes (tekke, yomut, ersary, saryk and salor). Their designs form patterns from clear linear geometric ornaments (dots, lines and figures). Compositional decision of the turkmen carpets has characteristic features: the central field with major patterns ("gels") in octagonal forms is limited with the borders, patterns which differ from that of the central field. The alternation of recurrence of designs represented with combination of the belt and centric ornamental compositions. Reality surrounding a carpet weaver (local flora, fauna and environment) has been reflected in a combination of the threads, pictures and colours creating carpet designs. The turkmen carpets are created on horizontal or vertical looms mainly using different coloured wool threads. Weavers use both types of knotting; double knots with double weft or one-and-a half knot with double weft. Carpets serve both as a floor covering and a wall decoration functions and substitute furniture to satisfy everyday aesthetic needs of turkmen people. There are also special carpets woven for the birth of a child, for wedding ceremonies, for prayers and for mourning rituals. Carpet products such as chuvals (sacks), khorjuns (saddle-bags), torbas (bags) are destined for clothing, transportation of various household paraphernalia and used for decorations of camels, horses, nomad tents, wedding processions etc.
Turkmenistan 2019 -
Aitysh/Aitys, art of improvisation
Aitys (in Kazakh language), Aitysh (in Kyrgyz) is an improvised competition of two akyns, the form of oral poetry performed in a singing manner, poetic contest of improvisations or a poetic duel of wits. The element is performed to the accompaniment of traditional musical instruments: Kazakh dombra or Kyrgyz komuz. Two akyns compete with each other in improvisation of verses on topical themes in a wit-sparkling manner alternating humour and deep philosophic reflections. During the competition two akyns sitting opposite each other develop a song-like dialogue catching up the opponent’s words and performing in turn their improvisations on the spur of the moment. Songs performed during the aitysh-aitys are improvised on whatever topics which come up depending on the wish of the audience. The winner of the competition is the one considered to have demonstrated the most musical skills, rhythm, originality, resourcefulness, wisdom and wit. The element is very popular among people and is considered as a “folk tribune”. In fact, all regions of the countries have bearers and practitioners who often represent their local communities at the poetic competitions raising up topical and urgent problems of social life and criticizing all kinds of vices. The element is practiced at various events from local festivities to nation-wide events. Aitysh/Aitys presents the art of a dialogue participated not only by the performers but by their listeners as well. It is an essential part of life for the communities of tokmo-akyns and aityskers.
Kyrgyzstan,Kazakhstan 2015 -
Art of crafting and playing with Kamantcheh/Kamancha, a bowed string musical instrument
The art of crafting and playing with Kamantcheh/kamancha (“little bow”), a bowed string instrument, has exsited for more than 1,000 years. In Iran and Azerbaijan, types of this art constitute major elements of classical and folkloric Music. Classical Iranian Music refers to the urban music with “Radif” repertoir; the Folkloric Kamantcheh Music refers to the mainly rural musical traditions of Azarbayjan, Lorestan, and Torkaman Sahra. In both countries, contemporary practitioners mainly make and use four string Kamantcheh/kamancha composed of a body (chamber, neck and pegs) and a bow with horse-hair. Some Folkloric variants with two or three strings are also popular in Lorestan, Azarbayjan, or Torkaman Sahra, Iran(also, cf.D). Craftsmanship starts with choosing wood material. Craftspeople use walnut and/or mulberry for the body, and cornel for the bow. In Azerbaijan, only ball-shaped resonating chambers are crafted. Iranian communities produce the following resonating chambers/sound-boxes: 1-Pošt-baste(""closed in the back""):A hollow oval with sheep-skin; 2-Pošt-bāz(""open in the back""):A half-cone, with sheep-skin on one end. Craftspeople create a bowl and a round fingerboard, and unite them with an iron billow that ends up with a base shaft at the bottom. The chamber’s open side is covered with sturgeon, catfish, sheep or bovine bubble skin. They very often inlay the body with mother-of-pearl or other materials to express and mark different motifs and add their personal touch to the external decoration. In Iran, calligraphy, wood carvings, or inlayed jewels and shells are also practiced. The instrument rests on the base shaft and stands vertically on performer's lap or beside them; performers move the bow horizentally on the strings, and pivote Kamantcheh round the shaft to facilitate transfers on the strings. Kamantcheh/kamancha produces strong and subtle sounds, close to human voice with the sound diapason ranging from small octave ‘A’ to the third octave ‘A’. Players perform large works and etudes using various performing techniques, individually or as part folk orchestras. Generations of performers have left invaluable heritage of Kamantcheh/kamancha works, which are reproduced by young performers, adding their own playing dynamics and colouring. Transmitted from generations to generations at professional and amateur levels, within families or professional education institutions, this art brings together a large community of Kamantcheh/kamancha music lovers and listeners and continues to be a marker of cultural belonging.
Azerbaijan,Iran 2017 -
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 -
Pansori epic chant
Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2003) Pansori is a genre of musical storytelling performed by a vocalist and a drummer.This popular tradition, characterized by expressive singing, stylized speech, a repertory of narratives and gesture, embraces both elite and folk culture. During performances lasting up to eight hours, a male or female singer, accompanied by a single barrel drum, improvises on texts that combine rural and erudite literary expressions. The term Pansori is derived from the Korean words pan, meaning “a place where many people gather”, and sori meaning “song”. Pansori originated in south-west Korea in the seventeenth century, probably as a new expression of the narrative songs of shamans. It remained an oral tradition among the common people until the late nineteenth century, by which time it acquired more sophisticated literary content and enjoyed considerable popularity among the urban elite. The settings, characters and situations that make up the Pansori universe are rooted in the Korea of the Joseon period (1392-1910). Pansori singers undergo long and rigorous training to master the wide range of distinct vocal timbres and to memorize the complex repertories. Many virtuosos have developed personal interpretive styles and are renowned for their particular manner of performing specific episodes.
South Korea 2003 -
Ningyo Johruri Bunraku puppet theatre
Ranking with Nô and Kabuki as one of Japan’s foremost stage arts, the Ningyo Johruri Bunraku puppet theatre is a blend of sung narrative, instrumental accompaniment and puppet drama. This theatrical form emerged during the early Edo period (ca. 1600) when puppetry was coupled with Johruri, a popular fifteenth-century narrative genre. The plots related in this new form of puppet theatre derived from two principal sources: historical plays set in feudal times (Jidaimono) and contemporary dramas exploring the conflict between affairs of the heart and social obligation (Sewamono). Ningyo Johruri had adopted its characteristic staging style by the mid eighteenth century. Three puppeteers, visible to the audience, manipulate large articulated puppets on the stage behind a waist high screen. From a projecting elevated platform (yuka), the narrator (tayu) recounts the action while a musician provides musical accompaniment on the three-stringed spike lute (shamisen). The tayu plays all the characters, both male and female, and uses different voices and intonations to suit each role and situation. Although the tayu “reads” from a scripted text, there is ample room for improvisation. The three puppeteers must carefully co-ordinate their movements to ensure that the puppet’s gestures and attitudes appear realistic. The puppets, replete with elaborate costumes and individualized facial expressions, are handcrafted by master puppet makers. The genre acquired its present full name Ningyo Johruri Bunraku – in the late nineteenth century, a period in which the Bunrakuza was a leading theatre. Today, the pre-eminent venue is the National Bunraku Theatre in Osaka, but its highly reputed troupe also performs in Tokyo and regional theatres. Approximately 160 works out of the 700 plays written during the Edo period have remained in today’s repertory. Performances, once lasting the entire day, have been shortened from the original six to two or three acts. Ningyo Johruri Bunraku was designated Important Intangible Cultural Property in 1955. Nowadays, it attracts numerous young performers, and the aesthetic qualities and dramatic content of the plays continue to appeal to modern audiences.
Japan 2008 -
Traditional Ainu dance
The title ‘Traditional Ainu Dance’ is defined as dances and songs transmitted among the Ainu people of distinctive cultures in Hokkaido located in the northern area of Japan. Those dances and songs are derived from the life and religion of the Ainu people; some are performed at ceremonies and banquets in local communities, and others privately performed in daily lives. Neither of them is accompanied with musical instruments. They are performed along with songs and handclaps of dancers and participants on site. The Ainu people used to live in a vast area including Hokkaido, the northern part of Honshu, the Kuril Islands and Sakhalin. Currently, however, most of them live mainly in Hokkaido, and its population is estimated at approximately twenty-four thousand. The Traditional Ainu Dance is transmitted by the seventeen preserving associations established in fifteen cities and towns where the Ainu people live. Allegedly the Ainu culture of today’s style was formed up approximately in the twelfth or thirteenth century. People at that time lived by fishing, hunting and gathering, and they also traded with other areas. In this way of life, the Ainu people have developed such a creed as they believe in deities which are omnipresent at anything related to their lives, namely the nature (the sun, rain, water, fire etc.) including animals and plants. Thus, they often conducted prayers and ceremonies in their daily life. The Traditional Ainu Dance can be performed at these prayers and ceremonies or banquets. ‘Iyomante,’ for example, is the biggest ceremony with the Traditional Ainu Dance for sending a deity disguised as a bear back to heaven. The Ainu people believe that a deity comes down to the human world in disguise of an animal or a plant which is a gift from the deity to be eaten by the human beings. Once people have physically eaten it up, they thank the remaining spirit of this invisible deity for its gift and hold a ceremony to send it back to heaven. During the ceremony people sing and dance. One of the features found in the Ainu performing arts is the imitation of calls and movements of animals and birds. During the ceremony of ‘Iyomante’ people repeatedly imitate calls and sounds accompanied with its movements of a bear, and words are inserted in such repetitions. On the other hand, performing arts which are privately performed in an Ainu daily life contain lullabies, improvisatory lyrical songs, incantations with melodies, and songs accompanied with movements of labours by several persons in a daily life. As mentioned above, the Traditional Ainu Dance is performed at important ceremonies and banquets to the Ainu people and also in their daily life, through which the Ainu people reconfirm the identity and deepen a sense of continuity. Currently, in addition to such ceremonies as mentioned above, the Traditional Ainu Dance is demonstrated at newly projected festivals and events. It is one element of the intangible cultural heritage transmitted from generations to generations and is continuously developed and reproduced according to the situations of each era. The traditional style of the Ainu dances is a big circle of many participants, proceeding right-handed with some fixed movements and singing together. They sing the same song together or in turns, otherwise they sing in a responding way between a chorus leader and the others. Some of those traditional songs are polyphonic; several women sit on a floor in a circle in surrounding a lid of a wooden container, make a rhythm in beating the lid, and sing the same melody with one sound successively delayed. Because there are currently many opportunities to perform it apart from a daily life, some dances and songs have been formed up as independent repertoires in paying due attention to the traditional performing style. As overviewed, they are (i) the imitation of calls and movements of animal, namely ‘crane dance’, ‘fox dance’ and ‘swallow dance’: (ii) the imitation of insects, namely ‘grasshopper dance’: (iii) the ritual one, namely ‘sword dance’ and ‘bow dance’: (iv) the entertaining one: (v) the improvisatory one. Thus, the Traditional Ainu Dance is simple and naive, and often retains the primordial quality inside. In this sense it can illustrate the origin of performing arts.
Japan 2009 -
Ojiya-chijimi, Echigo-jofu: techniques of making ramie fabric in Uonuma region, Niigata Prefecture
The materials and techniques used to produce high-quality, lightweight ramie textiles known as Ojiya-chijimi and Echigo-jofu, has been developed under its distinctive climatic conditions and transmitted from generations to generations in the long history of the community. After World War II, under the influence of a rapidly-changing society, it fell into a decline. With a strong determination to protect their own cultural heritage, however, the people concerned with textiles and weavings joined forces and reconstructed its base for the conservation and transmission of this intangible cultural heritage themselves. It has been rooted in the community as its cultural identity. In 1955 “Ojiya-chijimi, Echigo-jofu” was designated as an Important Intangible Cultural Property, and “Association for the conservation of techniques for Echigo-jofu, Ojiya-chijimi-fu,” founded by the community, was recognized as the Holding Group of this technique. This Association strongly recognizes “Ojiya-chijimi, Echigo-jofu” as its own cultural heritage and makes every effort to preserve and transmit them. Ojiya-chijimi and Echigo-jofu has a long history. Ramie weaving began in ancient times around Uonuma region in Niigata Prefecture, and we have a remains presumably dated back to the eighth century. In the seventeenth century it was dedicated to Tokugawa Shogunate. As suitable to the hot and humid summer of Japan, clothes made of ramie weaving have been a favourite of many people in various classes for centuries. Thus, those textiles have been constantly produced as a cultural pride for the people of the community, and its producing technique has been transmitted from generations to generations until today. The production area is such a heavy snowfall area as closed by snow during a half of a year, and hence its production technique makes a good use of its distinctive nature and climate. The yukizarashi method is well-known as a unique part of the production process, in which the woven textile is spread on the snow, and bleached by the ozone released as the snow evaporates. The traditional ikat (kasuri) designs are made from threads that were tied before dyeing. They feature various colours in geometric patterns or abstract patterns of plants, or combinations of these. These traditional patterns are still being used by people today, who bring a contemporary sense to the traditional designs. Thus, the community has inherited the traditional producing technique of “Ojiya-chijimi, Echigo-jofu” and constantly recreated this intangible cultural heritage by production with the specific technique. Sophisticated manufacturing of those textiles, process with traditional tools and distinctive utilization of snow are required for the designation as important intangible cultural heritage in this case. It is needless to say that the people of this Association shall fully understand the meaning of their own intangible cultural heritage, cooperate each other and respect mutual skills. Because they are determined to transmit to the next generation what they have inherited from the ancestors, they make every effort to widely disseminate it and hold a workshop for it. The community has constantly recreated a sense of identity and continuity through the conservation and transmission of this important intangible cultural property. The making of “Ojiya-chijimi, Echigo-jofu” is a complex, detailed process. The process must meet specific conditions in order to qualify for Important Intangible Cultural Property status. These conditions have been carried on and transmitted by the Association and the people involved up to the present. ▶Conditions of Designation -TEUMI (Hand-twisted ramie thread) Ramie fibers are split by fingernail and shredded into very fine threads. Further manipulated and moistened by the hands and mouths of threadmakers, the ends of each strand are twisted together to form a continuous thread. An additional tight twisting of the weft threads gives Ojiya-chijimi its characteristic crepe texture. This work takes place during cold winter months when the humidity from snow keeps the ramie threads pliable. -TEKUBIRI (Hand-tied ikat (kasuri) threads) Skeins of ramie thread are bound with cotton thread in a predetermined pattern before being immersed in a dye vat. This method of hand-tying is known as tekubiri. The bound areas resist the dye. When untied, placed on a loom, and woven into a fabric, the kasuri pattern emerges. -IZARIBATA (Use of a body-tension loom) Utilizing a simple body-tension loom (izaribata), the weaver sits on a wooden plank raised slightly off the floor with her legs outstretched underneath the loom. Her foot is slipped into a sling that manipulates a bent, wood lever attached to string heddles. A cloth beam (chimaki) is then placed against the weaver’s abdomen and secured by a strap that is brought around the small of the back. In this position the loom becomes an integrated extension of the weaver’s body. She can achieve subtle adjustments to warp tension by simply shifting her weight. An extremely high degree of skill is required to weave ramie thread as fine as human hair without the thread breaking. -YUMOMI, ASHIBUMI (The SHIBOTORI finishing method) The woven cloth is soaked in hot water and rubbed to remove any starch (yumomi). Afterwards, the cloth is soaked again in hot water and washed by trampling or massaging it with one’s feet (ashibumi). This process softens out the creases in jofu cloth and gives chijimi cloth its beautiful crepe-like texture. -YUKIZARASHI (Snow bleached) Wet lengths of ramie cloth are placed on top of snow-covered fields. For ten to twenty days the textiles are exposed to the bleaching properties of sunlight, which is intensified by the white snow. The cloth is further lightened by the penetration of ozone ions from the melting snow.
Japan 2009 -
China engraved block printing technique
As one of the conventional skills, China Engraved Block Printing Technique includes a series of processes: cutting tools are applied to the engraving of characters or patterns on wooden blocks, ink and paper are utilized for printing purpose and the printed book pages are bound into books. Historical cultural relics show the application of engraved block printing technique dates back to the end of the 6th century and early 7th century. The invention and application of engraved block printing technique in China has made tremendous contributions to the progress and development of human civilization thanks to its functions typical of recording and transmitting thoughts, knowledge and experience of human society.
China 2009 -
Peking opera
Integrating singing, reciting, dancing and martial arts performing, Peking Opera is a comprehensive performing art of traditional opera. In mid 19th Century, having incorporated elements of various opera forms from both northern and southern China, Peking Opera came into being. It was first created by civilians. Its development was then greatly promoted by the royal family, and reached its peak in the capital city of Beijing. Peking Opera is the most widespread and influential among over 300 opera forms in China. Hence it is also called the “National Opera”. Beijing dialect is used in the singing and reciting of Peking Opera where rhyme is of great importance. There is also a strict set of rules and forms of libretto composition. Peking Opera is based on Xipi tune and Erhuang tune. Xipi tune is applied to express passion, joy and ecstasy, whereas Erhuang tune is used to depict sadness and grief. Music (singing) plays a key role in setting the pace of the show, creating a proper atmosphere, shaping the characters, and smoothing the progress of the story. Traditional musical instruments are used in Peking Opera shows, where the drummer plays the role of a conductor and the “Jinghu” player acts as the first violinist in an orchestra. Strings and pipes, such as Jinghu, Yueqin and Sanxian, are known for their tender and melodious sounds, which are called “Wen Yue”, or civilian music. Whereas percussions including Bangu and Daluo make brisk and powerful beats, which are called “Wu Yue”, or military music. Singing and dancing are equally important to the performance of Peking Opera, which is characterized by its formularized and symbolic style. Performers have to follow the established format of movements of hands, eyes, body, and feet. Peking Opera only requires simple stage settings and props, following the principle of abstract presentation of big items (for example houses and walls are not necessary on stage) and specific presentation of small items (tables, chairs, cups and saucers, for instance, are used as props on stage). The exquisite and skilful acting of the performers can also help to unfold a virtual yet vivid stage setting to the audience. The costume and headdress in Peking Opera are flamboyant. The facial make-up is exaggerative and delicate. The lively opera face shows the character’s personality and social identity with concise symbols, colours and patterns, expressing the traditional Chinese aesthetic ideals. The storylines of Peking Opera originate from history, anecdotes and folk legends. About 100 of more than 3,000 Peking Opera shows are still being performed frequently today, such as “The Twin Bliss of Dragon and Phoenix”, “The Tipsy Imperial Concubine”, and “The Orphan of Zhao”. Over the process of its transmission, over 30 schools of Peking Opera with different singing characteristics have been gradually developed. The most famous schools include the Mei School (founded by Mei Lanfang) and the Tan School (created by Tan Xinpei). The Mei School, a performance system named after Mei Lanfang, is regarded as a representative of China’s opera performance systems, and one of the three major opera performance systems of the world. Nowadays, it is mostly the practitioners of professional and amateur troupes who shoulder the mission of passing down Peking Opera. Beijing Peking Opera House, Tianjin Peking Opera House, and Shanghai Peking Opera House play the most significant role in the transmission and development of Peking Opera. Prestigious Peking Opera artists, such as Wang Jinlu, Tan Yuanshou, Mei Baojiu, Li Changchun, Zhao Baoxiu, not only inherit their respective schools in a creative way, but also shoulder the responsibility of training performers of a younger generation. The traditional performing art of Peking Opera is still well received by the public. In Beijing alone it attracts over one million audiences every year. Some Peking Opera fans can not only appreciate it, but also practice it. They are also making a special contribution to the survival and development of Peking Opera. Opera towers and guild halls dedicated to staging Peking Opera shows, such as Huguang Guild Hall in Beijing and Tianchan Yifu Stage in Shanghai, are important cultural venues for relative communities and their “spiritual wonderland”. The major mode of transmission of Peking Opera is to “conduct oral teaching and inspire true understanding of the trainee”. In the past, the master of an opera troupe applied such a method to train his disciples. Even today, this mode is still being extensively used in opera trainings. As an inheritor and practitioner, each Peking Opera performer has to go through a series of rigorous and systematic training at a young age. A trainee will gradually master basic skills including reciting, singing, dancing, and martial arts performing through taking oral instructions from the master, and observing the master’s behaviour. A performing artist of Peking Opera will need to constantly improve his or her artistic attainments through a long-term practice, so as to enrich and solidify the heritage. The representative bearers of Peking Opera typically have mastery of various forms of traditional Chinese culture, such as calligraphy and history, and they are very respected by the public. Peking Opera is unique in its perfect, romantic and abstract way of performing. It is the practitioners’ special expression of their feelings and aesthetic ideals. It is also an important symbol of Chinese cultural identity.
China 2010 -
Acupuncture and moxibustion of traditional Chinese medicine
Acupuncture and moxibustion of TCM(traditional Chinese medicine) is a traditional knowledge and practice for regulating the body’s balance and maintaining health. It is based on the holistic concept of the ‘unity between man and nature’. Under the guidance of the theories of the channels and acupuncture points, its practice involves the insertion of needles into points or the burning of moxa to warm the superficial part of the body. The holistic concept of the ‘unity between man and nature’ views the living individual as a component part of the universe, and explains life activities with the theory of yin and yang. It holds that the occurrence of disease is due to either an imbalance of yin and yang within the body, or an imbalance of yin and yang between the human body and universe. The theories of acupuncture and moxibustion hold that the human body is a small universe, each part of which is connected by channels. Through long-term practice, points on the channels have been discovered, gradually developing into a systematized theory, of which the 12 channels correspond to the 12 months, and 365 acupuncture points to the 365 days of the year. Palpation on the three portions of the body (upper, middle and lower) and three needling depths (superficial, moderate and deep) are associated respectively with heaven, man and earth. The principle of selecting points on the lower body for diseases in the upper, or of selecting points on the right for diseases on the left reflects clearly this TCM holistic view of seeing the human body as an integral whole. The practice of acupuncture and moxibustion includes two treatment modalities: acupuncture and moxibustion. In acupuncture, needles are properly selected according to the individual conditions and used to puncture and stimulate the chosen points to dredge the channels with “lifting”, “thrusting”, “twirling” and “rotating” methods, or with comprehensive needling techniques, for both prevention and treatment of disease. Nine needles of different shapes and dozens of different needling techniques were recorded in Zhen Jing (Classic of Acupuncture, 针经) in the 2nd to 3rd century B.C. Needles were mainly made of special stones, or metals (such as bronze, iron, gold and silver). Modern needles are mostly made of stainless steel. Moxibustion is usually divided into direct and indirect moxibustion, in which either moxa cones are placed directly on points or moxa sticks are held and kept at some distance from the body surface to warm the points so as to adjust the yin and yang of the body and restore balance. Moxa cones and sticks are made of moxa wool processed from moxa leaves which have been dried up and ground into wool. They are inflammable with an even warmth and burn for a long period of time. Artemisiae, the raw material of moxa, is an aromatic plant. It grows widely in China, and has been extensively used in moxibustion because since ancient times the Chinese have believed that it can dispel pathogenic factors. Acupuncture and moxibustion has been re-created in response to its environment and interactions with nature and history. Therefore, characteristics of regional, group or individual schools have been formed. The “three-step needling techniques” improved upon by Cheng Xinnong (1921-) and the “three-free-flow needling techniques” summarized by He Puren (1926-) have brought a far-reaching influence on promotion of the continuing existence of this tradition. A great deal of common sayings, such as “Hegu (LI4) is used for diseases of the face and mouth, Weizhong (BL40) for the back and lumbus” and "without knowledge of the channels, mistakes when needling are inevitable”, objectively explains that acupuncture and moxibustion manifests itself in the culture integrated highly by knowledge coupled with practice. Therefore, to be an identified tradition bearer demands long-term accumulation of knowledge and practical experience. Acupuncture and moxibustion has been transmitted through teaching by personal examples as well as verbal instruction in inherited lineages formed by master-disciple relations or members of a clan. These tradition bearers are identified by their reverence for Huang Di and Fu Xi (two founders of acupuncture and moxibustion). The bronze figure of acupuncture points cast in 1026 (Song Dynasty), Zhen Jiu Jia Yi Jing (Systematic Classic of Acupuncture and Moxibustion, 针灸甲乙经) compiled in 259, Zhen Jiu Da Cheng (The Great Compendium of Acupuncture and Moxibustion, 针灸大成) written in 1601 and other works, are a testimony to the inheritance and development of this tradition, which have served as important reference materials in the study of acupuncture and moxibustion, and have been playing a significant role in their viability and re-creation. Among the Chinese, there are sayings such as “one needle and a bundle of herbs keeps you healthy into your old age” and “hanging moxa leaves in front of your house gate on the 5th day of the 5th lunar month keeps the doctor away all year round”. This shows in all aspects that acupuncture and moxibustion has produced a great impact on people’s lives and reflects its relevant visibility and awareness. Acupuncture and moxibustion, an embodiment of the wisdom of the Chinese nation and a reflection of the uniqueness of Chinese culture, has been playing an important role in promoting people’s healthcare with its steady rate of development and systematized theories inherited in history.
China 2010