ALL
sticks
ICH Elements 40
-
Beliefs in The Sea Goddess Mazuism
Mazuism is a form of belief that is centered on the veneration of Mazu, the Chinese seafarer’s goddess. At Lhong 1919 an long-established shrine dedicated to Mazu is testimony of the popularity that this form of belief enjoyed. The shrine houses three Mazu figurines that had been brought to Bangkok by overseas Chinese who came to the city about 167 years ago. This goddess was once only a local deity revered by Fujianese, before she became widely known and worshiped by oversea Chinese communities. The process of paying homage to the goddess is an intangible cultural heritage that represents the blend between Chinese and Thai cultures. The three main figurines of Mazu that form the material anchor of this practice of veneration have been passed down through six generations of Thai-Chinese families and have come to be widely known within Thai-Chinese society. A localization of this form of worship can be seen in the fact that the chanting done in honor of the goddess is nowadays delivered as a Thai Buddhist mantra while the statue arrangement remains the traditional way that goes back to Chinese roots. There are three Mazu figurines, representing the different stages of her manifestation, each protected by further guardian spirits. The first manifestation is symbolized by a girl who healed the sick and ensured safety during sea travel. The second manifestation is the goddess Mazu who brings good fortune to businesses. The last manifestation is as the empress in heaven, full of kindness and compassion.
Thailand -
Knowledge and skills in making yurta-marquee
O'TOV (yurta-marquee) - mobile home, residence; the main residence of nomadic, semi-nomadic peoples. It is made of light raw materials (mainly wood) in a conical shape: a circular grill consists of a wall and a top part, covered with felt; therefore it is called "house", "felt house". A hearth is placed in the middle of the fire, and the interior is divided into parts (women's part, men's part, etc.) in a unique way. O'tov, which is the same in terms of structure, differs in appearance (decoration), height, and size. The word "Otov" was used to refer to houses built for brides, often covered with new white felt; white cloth is covered over new felt, decorated with white ropes. More luxurious O'tov is called "white house". Ordinary Otovs, often restored Otovs for household needs, are called "black houses". In historical written sources, it is noted that O'tov existed in the peoples living in Central Asia and South Siberia since ancient times, and even in the Middle Ages, O'tov was used to sew large four-wheeled carts. Until the beginning of the 20th century, Otov was present in several peoples of Central Asia and Central Asia, South Siberia, as well as Mongols and others. As a result of the settlement of peoples, O'tov partially lost its importance; mainly shepherds use it as a comfortable shelter.
Uzbekistan -
Art of Xòe dance of the Tai people in Viet Nam
"Xòe" means dancing with movements that symbolize human activities in ritual, culture, life and work. Xòe is performed at rituals, weddings, village festivals and community events. There are three main types of Xòe: ritual Xòe, circle Xòe, and presentational Xòe. Rituals Xòe and presentational Xòe are named after props used during particular dances, such as scarf Xòe, conical hat Xòe, fan Xòe, bamboo pole Xòe, music Xòe, stick Xòe, and flower Xòe. The most popular form is circle Xòe, wherein dancers form a circle in harmony with each other. The basic dance movements of Xòe include raising the hands up, opening the hands, lowering the hands, clasping the hands of the next person following rhythmic footsteps, slightly arching the chest and leaning backwards. The musical instruments of gourd lute (tính tẩu), shawm (kèn loa), mouth organ (khèn bè), drum, gong, cymbals, reed flute (pí pặp), bamboo-tube percussion (bẳng bu) and small round-shaped rattle are used to accompany dance, which follows rhythms in even meters (either 2/4 or 4/4). The typical melodies played on the instruments use the following intervals: major second, major and minor third, perfect fourth and perfect fifth. Dance movements, though simple, symbolize wishes for community members to have a good life and live in solidarity. Gentle dance moves blend with instrumental music, vocals, tight-fitting blouses, the jingling of silver jewelry hanging around the waists of Tai women and creates an art form imbued with the cultural identity of the Tai in the northwestern region of Viet Nam.
Viet Nam 2021 -
Ubhauli (Going up) and Udhauli (Going down) Puja
Generally, the people of Limbu. Rai and Sunware (commonly known as Kiratis) celebrate Ubhauli and Udhauli festival. It is believed that there are two phases in one year – that are a Ubauli (Going up) and Udhuali (Going down) While the Ubhauli puja is usually conducted during the month of March and April (belief of onset of summer); Udhauli puja is a celebration of descending of season and is conducted during the month of November indicating the onset of winter season. It is believed that from November the winter season starts where people, birds, and animals migrate from cold regions to warmer regions. Udhauli and Ubhauli festivals are conducted in two different seasons – one in summer and the other one in winter- of the year. Kiratis are believed to be the worshipers of nature and agriculture being the sustenance of this community, the Kirats celebrate the Udhauli festival to thank Mother Nature for providing them with bountiful harvest during the current season. During the Ubhuali festival, as it marks the time of the year for cultivation, they pray to Mother Nature for timely rain, healthy crops and protection from natural calamities. In short, Ubhauli marks the beginning of cultivation, and Udhauli marks the harvest period. Although, in the past, Udhuali and Ubhauli festivals were conducted separately, the community today has started conducting these two festivals at one go in the month of March and April, calling this festival as Udhauli Ubhauli Puja. This community festival is conducted at the Diana River. This festival brings together all the people in the limbu community to observe a ritual of praying for a timely rain, good harvest and asking for good harvest at the end of the year. When: In the past, their ancestors used to celebrate Udhauli and Ubhauli puja in two different seasons (summer and winter) of the year. While Udhauli puja used to be conducted in the months of November and December, Ubhauli Puja was conducted in the months of March and April. However, with modernization and globalization, it has become difficult for the community to gather twice a year, they have started conducting this Udhauli and Ubhauli puja at the same time between March and April Month on any of the suitable days – Fridays and Saturdays, thus called this festival as Udhauli Ubhauli Puja. This festival is performed for a day. Where: Today, Udhaulu Ubhauli Puja is performed annually by the bank of River Diana. The reason why they perform this puja at the river is they being the worshiper of nature, they believe that the river is clean and is occupied by tutelary deities. People of the community gather together every year to pay homage to their deities, and pray for timely rain, good cultivation and bountiful harvest. Number of Performers: A paw initiates the festival with the help of one helper. It is said that the helper should be someone who would be able to understand the language of the initiator in a state of trance. The community makes merry, praying simultaneously for a smooth and successful entire crop cycle period starting from sowing seeds to harvest of the crop and protection from natural calamities.
Bhutan -
Sansari Puja: Ritual for the Mother Nature
Sansari Puja (Ritual for the Mother Nature) is the most important cultural event of the Limbu community, Samtse Gewog (block) under Samtse Dzongkhag (district). Sansari Puja is a community festival usually held in April according to the Gregorian calendar to ask blessings from Mother Nature and the deities living in the forest. They have a particular jungle called Limbu lha-kha where they perform this ritual annually. The reason for performing it in the jungle is because of the cleanliness and tranquility of the forest. During this festival, all members of the Limbu community gather to perform a ritual of gratitude and ask for future prosperity. During this ritual, the deities who preside over the jungle according to the community's beliefs are appeased to give thanks for the past successful year and to wish for a peaceful and prosperous life in the future. This festival is always held on one of the Saturdays of April in the Gregorian calendar. Although Saturday is the most suitable day, it can be moved to other days if one of the Saturdays in the month of April is inconvenient for performing the Sansari Puja according to divination. The Sansari Puja is performed every year on a hill known as Limbu lha-kha of Trasher Pu village by erecting a temporary altar where prayers are offered throughout the day for health and a good harvest. All the villagers gather on the quiet hilltop to perform this puja for the worship of Mother Nature and the well-being of all. The reason for performing this festival in the forest is the belief in a clean environment and mountains, and a patron deity who resides in clean places. The pandit or pujari (priest) and his helpers perform the entire festival while the people in the community are joyful and at the same time pray for good health, life and prosperity.
Bhutan -
Pangtse makhu: Extraction of Oil from Symplocos paniculata Fruits
The extraction and production of Pangtse Makhu were effectively practiced from the 1970s until 1990s, and have remained to be a part of an income source and source of oil until now to the people of Toed-Wang Gewog (block) under Punakha Dzongkhag (district). “As the plant is highly adaptable and grows naturally on barren, degraded land and dry areas but for better yield, the plant is also grown on the terraces,” said the villagers. But today it is said and observed by the grandparents in the community that because of the country’s speed of development and with advancements in technology and intellectual, the tradition of extracting Pangtse Makhu in the community has significantly declined over time due to the availability of cheaper imported refined oils in the markets. It is also said that during the olden days with abundant Pangtse Shing and with more extractors, people did not have to buy oil rather oil extracted from Toed-wang gewog was sent throughout the region. However, with an increased number of youths going to school and colleges during the harvesting and production time, and also with less market value over more hardships, it has been a challenge for the few people maintaining this practice in the locality to share the value to the younger generation. Today, the community is on verge of losing the tradition of extracting Pangtse oil because of its labor-intensive nature with a tedious and time-consuming procedure. And also, it’s because of people’s choice for the cheaper imported oil over the one that has been naturally extracted and produced which has a slightly higher price in the market. Despite the challenge, the local producers are looking forward to a government intervention in the conservation of the losing tradition.
Bhutan -
Naadam, Mongolian traditional festival
The Mongolian Naadam is inseparably connected to the nomadic civilization of the Mongols who have practiced pastoralism on Central Asia’s vast steppe for centuries. Mongols’ traditional Naadam festival consisting of three manly games is considered as one of major cultural heritage elements which Mongols contributed to the nomadic civilizations. The three types of sports games – archery, horserace and wrestling – are directly linked with lifestyles and living conditions of Mongols and thus become the authentic cultural traditions among nomads. National Naadam is celebrated from July 11 to 13 throughout the country, in soums (counties), aimags (provinces), and the capital, Ulaanbaatar. Naadam represents distinct features of Mongolians’ nomadic culture and traditions, with expression of their unique cultural characteristics and images to become an identity of Mongolian people to the outside world. Thus, Mongolian Naadam has served a key factor to unite the Mongolian people and an important symbol of national solidarity. Mongolian people develop their physical strength, strong will power, patience, space and time related sensitivity and friendly hospitality from the three manly games which provides the cognitive and moral education basis. Main bearers of this cultural heritage are practitioners of the three games. i.e. those who significant part of the Mongolia population. Currently, over 100,000 people practice the traditional wrestling in various clubs and training courses, in addition to 3,000 students studying in several wrestling universities and colleges. Besides, the home schooling is considered one of most effecient forms, as it is the main traditional method to teach and learn the wrestling. Youths who practice wrestling would develop postive personalities such as being friendly, caring to the elderly and modest, besides strong will power, physical strength and courage. The main bearers of horserace appear racehorse trainers and jokey-children. Nowadays, about 400-500 horserace tournaments take place annually and altogether 200,000 horses (some recounted across tournaments) participate in them. About 100,000 racehorse trainers normally train these horses, while over 70,000 children ride and race. Besides, the audience of those tournaments would reach over 300,000 people. The Mongolian traditional home schooling provides extensive knowledge and skills, traditions and customs, culture and art elements of horserace. Compared to other two forms, relatively fewer people (about 10,000) practice and are interested in archery. Similarly, home schooling methods tend to dominate in learning and transmitting archery that family members and relatives become archers a lot. There are hundreds of thousand artisans and craftmen who make various tools and items used in the three manly games through employing meticulous skills and design to make them as collections of various art pieces. For instance, wrestling outfits – hat, boots and shorts, racehorse saddles and jokey’s outfits, and bows and arrows used in archery competitions have specific traditional technology and techniques each. These three sports games make a core blend of traditional arts and sports. Title-singing of horses and wrestlers indicate musical elements embracing songs and melodies. • Wrestling. After the wrestling site has been chosen based on the quality of the grass and the flatness of the site, the wrestling matches begin. Judges in groups of 8, 16, or 32 are divided into two groups which line up at the right and left side of the wrestling site and the wrestlers are divided into two groups at the left and right wings. To present the wrestler to the audience, judges will hold the participant's hat and sing praise songs while the wrestler performs an eagle dance before assuming the position to begin. Wrestling is not only a display of strength and bravery; it is also a competition of skill and technique. The object of the match is to make one’s competitor to fall on the ground with his elbows, knees or any other part of the body touching the ground, at which point he loses. Wrestlers who lose in each round will get eliminated from the tournament. The number of rounds differs from tournament to tournament. There are often 9 rounds at the national festival which takes place on July 11-12 annually and altogether 512 wrestlers wrestle. A half leaves after each round. From the fifth round, winning wrestlers can earn titles starting from hawk, falcon, elephant, garuda /mythical bird/, and lion, to the coveted champion. Wrestlers are divided into two groups or so-called ‘wings’ that the highest ranking wrestlers are listed at the top depending on their titles, such as first grand champions, then champions, lions, garudas, elephants, hawks, falcons etc. • Horserace. Horse-trainers choose potential race horses among horse flocks and train them meticulously, carefully adjusting their daily training and diet. Horse races are grouped in age-specific categories such as stallions, adults, 4-years old, 3-years old, 2-years old and 1-year old which race in different distance categories from 10 km to 30 km. Race horses have their mane and tails trimmed to improve their appearance while their trainers use specially crafted wooden sticks or a brush to remove the sweat from the horse after the race. These sweat-removing tools are often carved and decorated with traditional patterns and images of horses to symbolize their strength. Young riders wear special clothing including the deel and hat. Typically, children aged 6-10 years old jockey racehorses. When registration of the applicant horses is completed, the race administrator rides around the Naadam site three times, while children riding race horses sing ‘Giingoo’ to raise spirits of horses before racing. The winning horse is given the title of ‘Tumnii ekh’ (the mightiest of all), whereas the last horse in the race is given a nickname ‘Buren jargal’ “complete happiness”. The praise song is performed to congratulate winning horses and is called ‘singing titles’. • Archery. This competition is divided into two categories; Khana sur (big bow) and Khasaa sur (small bow). Men shoot from a distance of 75 meters to the target, and women from 65 meters. The target is called ‘zurkhai’, and is made of leather balls neatly lined along the flat ground in two rows. Each archer shoots 40 arrows and the one who shoots the most targets wins.
Mongolia 2010 -
Pithi Kor Chuk (Rite of passage: Topknot-Cutting Ritual)
" Kor Chuk " is one of the adolescent ceremonies of the Cambodian people from birth to death. This ceremony is to prepare the person to enter adulthood. The ancient Khmer practiced this tradition in almost every family. Children, both boys, and girls, from the age of one year, had to shave their hair to clean their heads every month or every holy day, leaving only one piece of hair (chuk or kampoy) at the top, or some kept three pieces like the angle of the stove on the top of the head, and until the age of 12 or 13 (the girl is kept under the age of puberty). Then the ceremony of shaving off the hair. Today, this tradition is almost extinct in Cambodia, except in the Angkor area and in the north or northwest part of the country. By this, it does not mean that there is no such a tradition in other places, it is just rare. The tradition of the ceremony may differ slightly from district to region, so here is the tradition in Chan village, Tang Krasang commune, Batheay district, Kampong Cham province. The locals call this ceremony “shaving or cutting off the Kompoy.” Nowadays, in this area, the practice of keeping the hair on children from a very young age is very rare. Due to financial problems, some families cannot effort throwing the shaving or cutting off the Kompoy ceremony for those children who keep the Kompoy. Even though the locals do not care much for their children to keep their Komoy as before, they still have the desire to celebrate the ceremony of cutting their children's hair because it is a tradition and a blessing for children at this age. Probably because of the limited resources, the locals often have the shaving off ceremony together with the "Cheagn Mlub" ceremony. The process of the ceremony lasts 1 night and 2 days. The first day is called the day of Jol Rorng. Since the morning, the villagers, some relatives, and some neighbors on whom the host relied came to help with their chores, such as building a shaving place and arranging various offerings, as follows. Rundab Tver Tmenh: Soul rice (sticky rice in a glass or in a soup bowl with banana leaf cones), fresh coconut, cut the head of the coconut enough to cover the water with the banana leaf cones on top and wrap a cloth or scarf around it. Rundab Kor Sork neng Bom Berk Phnek: a plate for a razor blade or razor blade, hair comb, glass, perfume, oil, powder, banana leaf container to keep the hair, water container or Ork Kombor, a grass ring, a gold ring and a silver ring for attachment with the three pieces of hair or one piece of hair. Bay Srey Derm: is made from a virgin banana trunk, assuming that the height is the same as the child who shaves his hair. The upper bouts featured consist of Kon Bay Srey 5 Tnak, wrapped around by banana leaf or by texture silk. Represents all children. A stick or a diamond sword: made from the top of two palm leaves, with Bali inscription along the leaves, and the end of the leaves are twisted together for children to carry or wear around their necks during the ceremony. Dong Tpech: Dong made of bamboo for Tpech cotton, curved on both ends like the body of a bow (look similar to Tu Korng). At the front bend or head, three incense sticks and a candle are tied, and at the end of the tail or Konsai they tie a piece of Mlu and a piece of Sla. Dong Tpech is used when Grandpa Achar leads the person to the shave place. Ceremony: Although this Kor Chok ceremony goes hand in hand with the "Cheagn Mlub" ceremony, now let the story of shaving alone be shown. The actual ceremony begins in the afternoon, beginning with the offering of Krong Pali on the ground facing east, towards Rean Bosbok. This work is to inform the owner of the water in the sense of declaring. Ta Acha (layman) asked the owner of the ceremony to hold Dong Tpech and he led the way to the up-stair of the house.
Cambodia -
Jampa Lhakhang Drub: Commemorating the Consecration of Jampa Lhakhang
Though Jampa Lhakhang is believed to have been established in the 7th century, there is no evidence regarding what rituals may have been held there in its early centuries. Oral tradition traces the present Jampa Lhakhang Drub directly to Dorje Lingpa. As previously mentioned, after arriving in Bumthang, Dorje Lingpa executed the renovation of the temple probably in between 1374–7627. At its conclusion, he conducted a grand Drub dedicated to Guru Drakpo and Lam Kadu Cycle in order to ward off evil forces that might impact the temple and the Buddhist teachings propagated within, thereby sanctifying the newly renovated temple. In particular, oral tradition has it that Dorje Lingpa was said to have performed sibnon (subjugation of the si spirit) under the entry staircase of Jampa Lhakhang to ward off thirty evils that were obstructing Buddhism in the Choekhor valley and beyond. It is believed that the Drub ceremony has been conducted annually ever since during the ninth lunar month. The masked dance performances commemorate the introduction of Dorje Lingpa’s Drub and re-invigorate the spiritual power of the site. Though it takes place in the ninth month, the days were variable and would be fixed depending on what was convenient for the tsawas (sponsors). Chagkhar Lam Dorje claims that the present dates have been fixed only in the last sixty years. Some elements take place prior to the beginning of the fifteenth day, including the exorcism rituals, comprised of jinsek (fire offering), mewang (fire blessing), and sibnon (subjugation of evil spirit). a. Preparations: The Chagkhar Lama and one member from each tsawa household join the committee members for a meeting during which they decide the timetable for festival preparations. On the 29th day of the seventh lunar month, the torgyab ritual is performed at Chagkhar Lhakhang, following which the dancers can begin to practice the cham that will be performed at the festival. Usually, cham practice begins from the next day of the torgyab, that is on the 30th day of the seventh lunar month after offering serkyem to the protective deities of Chagkhar Lhakhang. But if that day is deemed to be inauspicious, astrology is consulted to determine an appropriate date. From the designated day forward, the cham practice takes place every evening at Chagkhar Lhakhang. Similarly, folk dancers chosen from the villages begin practicing on an auspicious day. On the 13th day of the eighth lunar month, a member of each household gathers at Jampa Lhakhang to clean the venue, including in and around the temple and the kitchen. The preparation of ritual cakes, called torzheng, takes place on the 14th day. b. Day One (15th Day of the Eighth Lunar Month): Chamjug (final rehearsal) At mid-morning on the 15th day of the eighth lunar month, the presiding lama, monks and all the tsawa members gather at Chagkhar lhakhang, the private temple of Chagkhar Lama family. After offering prayers and serkyem in the temple, they begin a chibdrel procession to guide the sacred religious objects enshrined in the temple37 to Jampa Lhakhang. Once they pass the outer gate of Chagkhar Lhakhang, the procession stops to offer marchang on the lawn by the roadside, after which they move towards Jampa Lhakhang. People line the route to receive blessings from the sacred objects. At the outer gate of Jampa Lhakhang the procession is received by all the members of Drub Tsawa who receive blessings from the sacred objects and offer marchang. They enter the inner courtyard where the procession is received by the Jampa Lhakhang Lama and/or dzongpon and again offered marching before they move inside the Jampa Lhakhang. All the sacred objects are placed inside the inner sanctum of the Jowokhang, everyone makes prostrations to them, and then take part in the zhugdrel ceremony before being served tea. After a break, the programme resumes with the lama presiding over ritual prayers in the Jowokhang. The tsawa members and dancers gather to make thodam (boundary-sealing) prayers for the success of the Drub. After ritual prayers, the lama addresses the dancers and organizers about the importance of the Drub and its continuity to bring good health and prosperity for the community, Bumthang valley and the country at large. He also instructs all participants taking part in the drub to bear their roles and responsibilities without failure. In mid-afternoon, the lama presides over the monks as they perform ritual prayers at each choeten and place a boundary post at each one. The thodam ritual is followed by sibnon, which is conducted in order to maintain continuity with what the locals believe Dorje Lingpa did during the first drub. In sibnon the si spirit are buried in a triangular box underneath a stone slab in front of the inner entrance to the passageway, while a ritual dedicated to Guru Drakpo is performed. After sibnon, jinsek ritual begins at the performance ground. First, the Atsara Gep and the atsaras arrive and explain how and why Lhawang Jajin (Indra) arrived on earth from heaven; meanwhile organizers prepare the fire for jinsek in the middle of the ground. Performances are conducted in the following order: - Zhana Cham, the Black Hat Dance, for jinsek; - Tre Ging Dance, four dancers with wrathful masks hold sticks at each corner of the jinsek fire pit while the Zhana Dance is performed; - Tshog Cham, the Feast Offering Dance; - Mecham, the Fire Dance, by the two Tre Ging dancers around the fire pit (after mecham they proceed to mewang ground carrying a mecha (torch) along with lama, monks and crowds of people. Coming back from mewang, marchang offering and beshed are performed at the performance ground by the patselpas). - Yoeluema (locally called Zhauli), the Malevolent Spirit Dance; - Ju Ging Cham, the Stick Dance of Dorling tradition; - Durdhag Cham, the Dance of the Cremation Ground; - Dri Ging Cham, the Sword Dance of Dorling tradition; - Nga Ging Cham, the Drum Dance of Dorling tradition. The evening programme ends around midnight, and slightly after, the Naked Dance called Tercham begins. c. Day Two (16th Day of the Eighth Lunar Month): Tsukton (Initial ceremony) On the 16th day of the eighth lunar month, the tsukton day, the programme is as follows: - Atsara Gep consecrates the ground and welcomes the audience; - Shinje Yab-yum, the Dance of Yamantaka Father and Mother; - Yoeluema, the Malevolent Spirit Dance; - Ju Ging Cham, the Stick Dance of Dorling tradition; - Dri Ging Cham, the Sword Dance of Dorling tradition; - Nga Ging Cham, the Drum Dance of Dorling tradition. Lunch break - Zhana Nga Cham, the Black Hat Drum Dance; - Pacham, the Dance of the Heroes according to Dorling tradition; - Jachung Boechung, the legend of the bird and the boy. The evening programme ends around 5 p.m., and the Naked Dance begins after midnight. d. Day Three (17th Day of the Eighth Lunar Month): Barton (Actual event) The third day, or barton, takes place on the 17th day of the eighth lunar month. The programme is as follows: - Dralha Pangtoe, when the Atsara Gep leads the atsaras in propitiating local tsen and deities; - Shazam Cham, the Stag Dance; - Zhana Phur Cham, the Black Hat with Dagger Dance. This dance is suspended part way through so that the Durdhag Cham can take place, then the Atsara Gep offers marchang while the Zhana dance is stopped. Then the female folk dancers line up holding the marchang pot. After the marchang is offered, Zhana dance finally concludes. - Ging and Tsholing, the Dance of the Ging and Tsholing. The Tsholing dance first, followed by the Ging, and they enact a dance of the sacred war between the gods and the demons. Lunch Break - Dramitse Nga Cham, the Drum Dance of Dramitse, performed by ten dancers; - Pholey Moley, the Dance of Noble Men and Charming Ladies; - Torgyab, the torma exorcism, is prepared in the Jokhang. The evening programme ends around 7:30 p.m., and the Naked Dance begins after midnight. e. Day Four (18th Day of the Eighth Lunar Month): Droeton (Concluding day) On day four, the 18th day of the eighth lunar month, the programme is as follows: - The Jowo Jampa Thongdrol is displayed between 8:30 to 10 a.m.41 on the northern side of Jampa Lhakhang. During the display, Zhengzhi Pemi Cham, a dance based on Guru’s soldeb, Pa Cham, and singing take place; - Chung Cham, a Garuda Dance performed by four dancers; - Dri Cham, the Sword Dance; - Nga Cham, the Drum Dance; - Tenwang, receiving blessings from the relics42 starts for the public in the Jowokhang. - Raksha Go Cham, Ox-headed Dance introduced by Terton Karma Lingpa in the 14th century; - Raksha Mang Cham, Intermediary Dance introduced by Terton Karma Lingpa in the 14th century; - Raksha Jug Cham, the Concluding Dance of Raksha Go Cham; - Community members offer dhar (scarf) to the champon. The evening programme ends around 6 p.m. f. Day Five (19th Day of the Eighth Lunar Month): Trashi Monlam (Auspicious prayers) The programme for the 19th day of the eighth lunar month is as follows: - Tangra, Thanksgiving prayers offered to the Gonpo Degyed and his retinues; - Removal of boundary posts and offering of serkyem; - Atsara Gep offers farewell prayers at the performance ground and retires to dressing room, signifying the closure of the Jampa Lhakhang Drub; - At the same time, a new champon is appointed by offering dhar; - In the late afternoon, the sacred objects are carried in a procession back to Chagkhar Lhakhang and installed in the shrine until the next Jampa Lhakhang Drub.
Bhutan -
Sada Shin Noh, sacred dancing at Sada shrine, Shimane
‘Sada Shin Noh’ is a performing art expressed by the people’s dance-like movements to musical instruments such as drums to re-enact the power of the deity with which the people are blessed. It is always performed on September 24th and 25th every year on a special stage, called Gakuden, constructed within the precincts of the Sada Shrine which is the tutelary presence of the community. During these two days at Sada Shrine, people replace the rush mats, called Goza, with new mats on which the deities seat themselves. The replacement re-enacts the deities’ power. During the performance of ‘Sada Shin Noh’, a ritual dancer performs with Goza in his hand. The Goza are purified by this dance. People consider that ‘Sada Shin Noh’ is indispensable to the re-enactment of the deities’ power. ‘Sada Shin Noh’ is also performed at other neighbouring shrines, whenever requested. The repertoire, choreography and music in ‘Sada Shin Noh’ are traditionally fixed. ‘Sada Shin Noh’ is accompanied by flute music, three types of drums and singing. The players sit down around the stage, and the dancers perform at the centre of the stage. The repertoire performed in this performing art is classified into three categories. The first seven numbers belong to Category I. The performers do not wear masks, and perform the ritual dances with swords, holy wooden sticks, and bells in hand, depending on the number. In the ritual dance, Gozamai, the dancers perform with the rush mats for the deities in their hands in order to purify them before serving them to the deities. Category II has the three ritual dances performed with a mask of an old man. It is said that these dances were performed in Kyoto in the early seventeenth century. Category III has twelve numbers called Shin Noh which are performed with a mask of a deity. Japanese myths are depicted through these dances. This composition of dances is a typical example of Japanese performing arts. However, the main feature of ‘Sada Shin Noh’ is the dance of purification of the deities’ seats. People believe that ‘Sada Shin Noh’ should be regularly performed in order to re-enact the power of the tutelary deities in the community. ‘Sada Shin Noh’ is natural and nothing special in the daily lives of the people around Sada Shrine who share the worship. ‘Sada Shin Noh’ is an interaction between people and the deities that supports and guarantees a rich and peaceful future for the people, their families, and the community, making the social and cultural functions of “Sada Shin Noh” significant. The people who worship Sada Shrine as a tutelary presence are eager to transmit ‘Sada Shin Noh’ to the future. They have practiced diligently to acquire the skills needed for their performances, and have been publicly approved by the people of the community. Those who are in charge of the transmission of ‘Sada Shin Noh’ are first, the members of the Association for the Preservation of Sada Shin Noh. They are ordinary citizens engaged in respective jobs, but they practice regularly and have acquired the traditional performance formula. They bear a direct responsibility to perform it in a traditional style in public. Second are Shinto priests, who maintain the Sada Shrine. They have the responsibility of offering the opportunity and place for the public performance of ‘Sada Shin Noh’. Third are people inside and outside the community, who consider it necessary to continue transmitting ‘Sada Shin Noh’ to the future. They appreciate the public performances of ‘Sada Shin Noh’, and make financial contributions to the Shrine and the Association from time to time. The people of the community have long regarded ‘Sada Shin Noh’ as an important performing art. Designated as Important Intangible Folk Cultural Property by the National Government in 1976, it has been widely recognized in Japan as an important element of the Japanese cultural heritage that indicates the transition of the Japanese lifestyle. The transmitting group and community consider ‘Sada Shin Noh’ as one of their own distinctive cultures of which they are proud. By transmitting and performing it in public, it offers them an opportunity to renew a sense of identity with the community and society, thus contributing to its continuity.
Japan 2011 -
Sbek Thom, Khmer shadow theatre
The Sbek Thom is a Khmer shadow theatre featuring two metre high, non-articulated puppets made of leather openwork. Dating from before the Angkorian period, the Sbek Thom, along with the Royal Ballet and mask theatre, is considered sacred. Dedicated to the divinities, performances could only take place on specific occasions three or four times a year, such as the Khmer New Year, the King’s birthday or the veneration of famous people. After the fall of Angkor in the fifteenth century, the shadow theatre evolved beyond a ritualistic activity to become an artistic form, while retaining its ceremonial dimension. The puppets are made from a single piece of leather in a special ceremony for each character representing gods and deities. The hides are dyed with a solution made from the bark of the Kandaol tree. The artisan draws the desired figure on the tanned hide, then cuts it out and paints it before attaching it to two bamboo sticks enabling the dancer to control the puppet. The performances traditionally take place at night outdoors beside a rice-field or pagoda. A large white backdrop is held between two tall bamboo screens in front of a large fire or, nowadays, projectors. The shadows of the puppet’s silhouettes are projected onto the white screen. The animators bring the puppets to life with precise and specific dance steps. The performance is accompanied by an orchestra and two narrators. Inspired from the Reamker, the Khmer version of the Ramayana, the performances stage scenes of this epic, which may last several nights and require up to 160 puppets for a single presentation.
Cambodia 2008 -
The Space of Gong Culture in the Central Highlands of Viet Nam
The tradition-bears of the gong culture are the seventeen Austro-Asian and Austronesian ethno-linguistic communities living in Vietnam’s Central Highlands. Gong music is an integral part of the life cycle of each person and important agricultural events of the community, performed in a wide range of ceremonies and rituals, such as ear-blowing for babies, weddings, sacrifice buffalo, abandoning grave, worshipping water troughs, celebrating new rice, closing rice storehouse, celebrating new communal house, so on. It is believed there is a god in each gong, a protecting shield for the family. Having gongs represents wealth and power. Gong ensembles in the Central Highlands are communal, each performer plays one note. Every member in the ensemble must remember the rhythms and melodies so that they can harmonize with other performers. Depending on the ethnic groups, the gongs are played by hand or with wooden sticks wrapped in cloth, leather or rubber strips. Each gong ensemble has between 2 and 13 flat and knobbed gongs with a diameter ranging from 25 to 120 cm, played by both men and women. Peoples in the Central Highlands often buy gongs from Kinh people in Quang Nam, Quang Ngai provinces, or even in Laos and Cambodia. The gongs are re-tuned in order to have the desired sounds. In the past, almost every village had a gong tuner. Today, there are only a few remaining gong tuners in the region. Economic, social and religious transformations have dramatically affected the lives of the local communities here. The safeguarding of gong space in the Central Highlands is thus more challenging. Senior tradition-bearers are passing away, while few people master the traditional rituals. Some major rituals with gong performance are no longer practiced. Younger generations are is less interested in traditional culture. Buffalo sacrifice is banned in many localities. Rice cultivation is altered with industrial crops. The instruments become trade items for other purposes. Nonetheless, the government is doing its best to ensure its practice and transmission.
Viet Nam 2008