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ICH Elements 71
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Indonesian Angklung
Angklung is a simple, original bamboo musical instrument of Indonesia documented since at least 1704. The word Angklung comes from the Sudanese angkleung-angkleungan. Angka means pitch/tone, and lung means broken. 2-4 bamboo resonating tubes carved and tuned carefully are suspended in a rectangular partitioned frame made of white bamboo tightly bound with rattan cords. Lugs on the bottom of the tubes move in rectangular shaped slots in the bamboo base tube of the frame. The resonator tubes sound when the frame is shaken or tapped. The 2 or 3 resonating tubes are tuned to the same note in different octaves. There are also 3 and 4 tube angklungs with tubes tuned to the notes of a chord. Making and tuning the resonator tubes is a great skill taking years to master. Udjo Ngalagena, founder of Saung Angklung Udjo, referred to the sound of angklung as ‘the music of nature'. The form of the angklung itself contains symbolism and philosophical values. The large and small tubes symbolize that the great, strong and rich must always protect and shelter the small, weak and poor. Each angklung has at least 2 resonating tubes, symbolizing that human beings should never isolate themselves or be egoistic, but rather always live within a society. The tubes are arrayed from small to large. This symbolizes that every day, human beings must strive to be better than yesterday, and that some people are created small and some big, but there is nothing to be regretted, as it is all due to fate. The angklung will sound nicely if the large and small tubes move at the same time, within their limits. This symbolizes that if everyone is aware of his or her rights and responsibilities, life will be harmonious. The tubes will sound if the lugs at their bottom ends touch the base tube of the frame. Similarly, one may become great, speak and be of good character if one does not forget one’s identity and culture, while if one forgets then one cannot become anything. The three tubes of an angklung symbolize tritangtu, (in Bali trihitakarana) -- to perform good action with mind, body and words. Each angklung produces a single note or chord. Thus many players each holding a single instrument must collaborate together to play melodies. This develops teamwork, mutual respect (learning to live together), discipline, and artistic sense, even among players from different communities or nationalities. Traditional angklungs use pentatonic scale, while modern/Padaeng angklungs use dialtonic scale. Angklung is closely related with traditional customs, arts and cultural identity in West Java and Banten Provinces and elsewhere. Traditional angklungs are played during ceremonies, eg. rice planting time with the hope of a bountiful harvest, harvest time, circumcision, etc. Traditional angklung culture is transmitted from parents to children, or through non-formal education. Now modern Angklung Padaeng is taught in educational institutions from kindergarten to university level, and is proven to have a positive effect.
Indonesia 2010 -
Traditional craftsmanship of the Mongol Ger and its associated customs
For thousands of years, nomadic herders of Mongolia roamed across the country-side from season to season. Dry, windy areas close to rivers are best for summers while areas away from river-bank wind and close to mountains or hills are best for winter stays. In the country where pasture always was and still is a public domain, the herders moved freely to the best locations for the season. With this lifestyle of freedom of movement and pastoral animal husbandry was invented the national dwelling called the ‘Mongol ger’. It is a round structure of easily dismantle-able walls, polls and a round ceiling covered with canvas and felt, tightened with ropes. The ger was designed to be light enough for Mongolian nomads to carry, flexible enough to fold-up, pack and assemble, sturdy enough for multiple dismantling and assembling as well as easy for regulating temperatures within. Over many centuries the mongol ger was modified into a perfectly aerodynamic structure which can withstand Mongolia's fierce spring winds ranging up to 18-20 meter/sec. It can be dismantled in half an hour and assembled in an hour by a small family with 2-3 adults. The Mongol ger has many varieties. The most common “5-wall ger” consists of five lattice segments forming a circular wall, a door, a toono (round window ceiling), two bagana (columns that hold the toono), and 88 uni(long poles that connect wall lattices and toono which forms the roof of the ger). There are also several accessories attached to the ger.
Mongolia 2013 -
Tibetan opera
Tibetan opera, the most popular traditional opera of minority ethnic groups in China, is a comprehensive art combining folk song, dance, storytelling, chant, acrobatics and religious performance. Most popular in the Qinghai-Tibetan Plateau in western China, the performance begins with a prayer ceremony, including the cleansing of the stage by hunters and blessings by the elder, and concludes with another blessing. The heart of the opera is a drama narrated by a single speaker and enacted by performers supported by groups of singers, dancers and acrobats. Actors wear traditional masks of a variety of shapes and colours that contrast with their simple makeup.
China 2009 -
Badak Kubang Cake
Kuih Badak Kubang, translated literally means a “hippo in a wallow”, is a traditional cake in the district of Chenor in Pahang. The cake is round in shape with a sweet taste. It is made of a mixture of black glutinous rice flour, grated coconut, coconut milk and an adequate amount of salt. The mixture is placed on banana leaves cut into small rounded shapes and placed in a metal dish to be steamed till cooked.
Malaysia -
Practices of Then by Tày, Nùng and Thái ethnic groups in Viet Nam
Then a ritual practice indispensable in Tày, Nùng and Thái ethnic groups' spiritual life, reflects concepts about human beings, natural world and the universe (the Earth realm, the 3-layer Heaven realm). Then ceremonies describe a journey in which Then Master (Male/Female) controls ghost soldiers travelling from the Earth realm to the Heaven realm, the residing place of the gods, to offer worshipping items and show their praying requests for peace, bad luck relief, illness treatment, good crops, new house inauguration, initiation/title-conferring ritual (cấp sắc), blessings and happy new year. Then Masters start the journey by singing and plucking the tính lute (two or three-string lute). Depending on worshipping purposes, Then Masters will arrange worshipping trays to pray different native Gods, among whom Ngoc Hoang is the highest God. Then Masters often use a summoning tablet, a seal, a demon-expelling sword, a yin and yang rod, a bell, a fan and items such as pork, chicken, wine, rice, fruits and votive papers to perform Then ceremonies in the believer’s house, outdoor or at Then altar of the Master’s house. While practising, Then Master wears ceremonial dress, sings the language of his ethnic group and plays the tính lute, shakes the chùm xóc nhạc (rattle-bells), waves a fan. In some ceremonies, a female dancing group will accompany. Then rituals performances express Tày, Nùng and Thái’s cultural identities, from customs to musical instruments, dance and music. Then is always transmitted orally while its rituals are being conducted, reflecting the succession between generations.
Viet Nam 2019 -
Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf
a) Traditional handicraft techniques The old art of manufacturing the traditional Iranian floating vessel, called Lenj, has remained relatively unchanged. Lenjes are, mostly, made for their large cargo capacity. The Lenj-Bum was, once, the best ship for the Iranian sailors and navigators. Even now, it is still competing with rivals. But the gradual decrease in the number of the long voyages is limiting the popularity of the vessel. Lenj-Bum is capable of tolerating the storms. Originally, Lenjes were used in commercial travels to distant destinations, including India and Africa. Lenjes are composed of various parts, each made of special types of wood, depending on their function. Contemporarily, Lenjes are used, solely, for short journeys, fishing and pearl hunting. Older Lenjes were capable of travelling for, even, one year. The Persian sailors used to launch their commercial ships from the three ports of Loft, Kong and Lian, in Bushehr. The marine routes were, however, more varified, and would include travels to Basra in Iraq, or to the southern coasts of the Persian Gulf. Their main trades included dates, wood of Chandal, pottery, coconut and fruits. b) Knowledge and practices concerning the nature and the universe Before the introduction into the tradition of modern positioning systems, Iranian navigators could locate the ship according to the positions of the sun, the moon and the stars. An individual, called Moallem (“teacher; guide”), was responsible for the positioning jobs on the Lenj. Looking at the sun and the stars with his means, including the Persian astrolabe and sextant, at 6 AM and 6 PM, he could locate the Lenj on the sea. Navigation at night was the captain’s duty. He would order a Sokkāni (“helmsman”) to lead the ship into the direction of a specified star till the moment of sunrise. Compasses brougth more convenience for the navigators. They could define the routes more delicately, by utilizing a combination of astronomy and the newly introduced compass technology. The sailors started to record the stars’ specifications on the compasses. Using this combined method, they would define the route at night. The number of stars used as reference points was 17; they would be repeated in both northern abd southen directions round the compasses. The navigational knowledge and legacy is still passed on from fathers to sons. The Iranian navigators also had special formulae to measure the latitudes and longitudes, as well as the water depth. Sailors needed the wind in favour in their travels to the south; they would arrange for their voyages according to the seasonal winds that would blow every 6 months from north to south. They also attended to the particular winds of Persian Gulf to find a forecast for weather. Each wind had a native regional name. Knowing the wind route was not enough to trace the time of a pending storm; they also attended to the color of waters, the wave heights, or the nature of the blowing wind. c and d) Performing arts, Social practices and festivity events The majority of the Iranian inhabitants of the region earn their livelihood from the sea; consequently, the Persian Gulf continues to receive their respect. A number of traditional ceremonies and customs about Lenjes and the sea show their rooted symbiosis with nature. Nowruz-e-Sāyyad (Fisherman’s New Year) is one example. The celebration occurs late in the month of Tir (June 22nd), as a surviving traditional ceremony from the distant years. No fishing, no trades, and no sea journeys are allowed on this day. In the morning, the children colour animal foreheads, with red clay; and by sunset, all villagers gather on the seashore to play music or perform the proceedings of Shushî, an old traditional performing art, showing the sailors’ respect for the nature. Some people wear special clothes and masks, and try to represent sea-gulls. When the native music band plays Rezif (the sailors’ traditional music), suddenly, a number of men with fearful appearances come out of the sea, and pretend to attack the people. They are Shushi’s, the old demons who were asleep, and now the new years’ eve has awakend them. Interestingly, the people enter dialogues with these demons, and encourage them to join in the feast. Bādebān-Keshi (“setting the sail”) is another surviving ceremony. Long ago, when the ships were about to leave for long voyages, by the time the sailors were setting the sails, the music would accompany from the shore. The sailor’s families would bid farewell. Specific music and rhythms constitute inseparable parts of sailing on the Persian Gulf. In the past, the sailors sang special songs while they were working. In Hormozgan province, three such musical traditions are, still, attended by the locals: Livā, Rezif and Azvā. The singers describe a marine travel in their songs. Traditional bagpipes, named Neyanbān, accompany. The ritualistic performances are reminiscent of the jobs on the Lenjes. The movements resemble hoisting the ropes, rowing, holding in the fishing nets, and also separating and classifying the fish. e) Oral traditions and expressions, including languages as a vehicle of the intangible cultural heritage There are traditional sailing terminologies, stories and poems (Sharve) related to the nominated element in modern Iranian languages and dialects of the region. These linguistic varieties are representable as: 1.Lārestanî :(Aradi,Evazi,Bastaki,Banāruye-yi,Bikhe-yi,Khonji,Fedāghi,Fishvari,Gerāshi and Lāri) 2.Bashākerdî/Bashkardî :(Bandar-Abbāsi,Rudāni,Minābi and Hormozi) 3.Kumzārî :(Lāraki, …)
Iran 2011 -
Arirang, lyrical folk song in the Republic of Korea
Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nearly every Korean knows and enjoys singing Arirang, which is not just one song but a variety of local versions handed down throughout Korea. Experts estimate the total number of folk songs carrying the title ""Arirang"" at some 3,600 variations belonging to about 60 versions. Arirang is essentially a simple song, consisting of the universal refrain Arirang, arirang, arariyo, and lyrics that have developed differently from region to region. The most typical lines express a universal sentiment: Arirang, arirang, arariyo; Over the Arirang hill you go. (refrain) Leaving me, my love, you'd go lame before three miles. (lyrics) The lyrics were not created by any particular individual, but an outcome of collective contributions made by ordinary Koreans through generations. They convey joys and sorrows of common people arising from love, parting with the beloved, troublesome in-laws, or national struggle against foreign invaders. Affection for Arirang is evident throughout today's ultra-modern Korean culture, well beyond the realm of traditional music. Arirang has been rearranged into modern ballads, rock 'n roll and hip-hop, as well as symphonic pieces, appealing to a wide array of audiences and striking a chord with Koreans; it is often described as their unofficial national anthem. Olympic champion Kim Yu-na skated to an Arirang theme, ""Homage to Korea,"" at the 2011 World Figure Skating Championships. Arirang is also one of the most recognized cultural symbols and is widely used as a theme for movies, dramas and soap operas, and names of commodities, restaurants, and broadcasting companies.
South Korea 2012 -
Children folklore
Children's folklore is a specific area of oral artistic creativity, which, unlike adult folklore, has its own poetics, its own forms of existence and its bearers. The common practice of children's folklore is the relationship of the artistic text with the game. It is a kind of tool for the socialization of a child, an area of traditional folk culture, including verbal genres and forms of children's creativity, as well as adult folklore addressed to children. It has its own genre system and aesthetic specificity. Children's folklore is one of the directions of oral folk art.
Uzbekistan -
Nomad games, rediscovering heritage, celebrating diversity
Kyrgyz people’s cultural heritage is intrinsically linked to the nomadic lifestyle. However, during the Soviet era, which came with forced sedentation, many elements became endangered, including traditional games. After gaining independence in 1991, the local communities in Kyrgyzstan started working on revitalizing and celebrating their traditional culture. In this context, traditional game practitioners and knowledge bearers from different communities across the country held their first major meeting in 2007 to discuss current challenges for the traditional games and the safeguarding needs. The participants identified many challenges but agreed that some of them were very urgent: the first being the loss of knowledge about the traditional games and the second being the lack of interest among the younger generation to play the games. After long discussions and deliberations, the participants identified several safeguarding needs that shaped the Nomad Games: Rediscovering Heritage programme. The traditional game practitioners reached a consensus about the need to prioritize documentation and identification of traditional games in different parts of the country. These goals were prioritized because many people knowledgeable about traditional games were older and there was a real threat of losing their knowledge about traditional games unless it was documented.
Kyrgyzstan 2021 -
Dassain: A Festival of Southern Bhutanese
Dassain symbolizes the victory of good/virtue prevailing over evil/falsity. It is the most important festival in Nepal. Since most of the Lotshampas (Southern Bhutanese) originated from Nepal, the southern Bhutanese celebrate it every year in September or in beginning days of October. The date of celebration varies every year which marked as per the Hindu calendar. According to Hindu Mythology, Dassain festival has been celebrated since Lord Ram and Goddess Durga had gotten the victory over Ravan and Mahisharura, the demons who had created terror in the Devaloka (the world where God reside.) consequently, the festival is a way of acknowledging triumph over an evil spirit. Dassain is popularly a celebration within families lasting for 15 days starting from bright lunar fortnight to full moon (Hindu calendar) The days are divided for the activities starting from cleaning, washing to shopping. However, in Bhutan the official declaration of holiday is one day (day of Tika.) The community people explain that the significance of celebrating the festival with families is to honour the unity of Lord Ram’s Monkey army who helped him build the stone bridge to connect Lanka where Sita has been confined. The most memorable of all days of Dassain is the Vijaya Dashami or the Day of Victory. On this day, the families gather to put tika (rice mixed with curd) beginning with the eldest person on the youngest. The person who puts tika also has to give money as a symbol of blessing. In the community level, the Gup, head of the community will be invited to receive the Raja Tika. However, the nature of celebration of Dassain then and now has taken a transformation; earlier all the people of the community used to come together for the grand festive celebration, but nowadays due to the modernization and employment opportunities, many of the family members have migrated to the urban cities or travelled aboard, leaving the celebration only for members present during the occasion.
Bhutan -
Nag-tse or Nag-tsha: Ink
Ink or Ink making is also an art related to the art of Calligraphy and writing. Like the calligraphy pen, ink is one of the fundamental needs while undertaking any kind of writing, printing, paintings including the engraving works as it need to be either sketch or write the primary writings before actual engraving is initiated. Therefore, it is an art that a calligrapher or a xylograph printer must know how to make ink by themselves. Nag-tsha or more often Nag-tse is a general term for any types of Ink used for the aforementioned activities but also referred particularly to the normal ink i.e. the black ink. As majority of the writings are written using the black ink thus, the usage of the term dominated the verities of inks be it gold, silver, copper, turquoise or vermillion. However, if somebody make quires like, “What types of ink?” the response will be referred to a definite ink like “gold, silver, copper, turquoise, vermillion, blood and normal ink.” However, due to the massive usage of normal black ink whether it is made from sooth or other black colour ingredients for writing and printing; not only the woodblock prints but also prayer flags therefore, the term Nag-tse (black ink) have been used as a general term for an ink. As mentioned above, Ink and pen making technology evolved simultaneously with the invention of writing culture. As Bhutan highly regards Guru Padmasambhava and Denmang Tsemang (?) one of his principal disciples who transcribed the teachings and gave the scripture for the practice of King Sindhu Raja and later said to be hidden as treasure in early 9th century. Later in the 15th century, Terton Pema Lingpa (1450-5121) resumed the writing tradition along with pen and ink making to decipher the treasure document mentioned as Shog-ser and also for woodblock printing purpose. The tradition met its thriving period in the 17th during Zhabdrung Ngawang Namgyal’s (1594-1651) reign after he instituted the State Government by established the Monastic Body and introduced the Calligraphy section (Yig-zoi-de) where monks learnt the art of calligraphy and ink making as well. Ink making was not only or writing but also required for making xylograph prints from the woodblocks stored in the respective Monastic Institutions esp. in the Dzongs (Fortress). Thereafter, the art was perpetuated and practiced by the successive Je Khenpos (chief abbot) and Druk Desis (temporal secular rulers) and Monarchs which is still surviving at a very small space due to the availability of modern inks from the market.
Bhutan -
Kharphu: The White God Ritual
Kharphu (The White God Ritual) is celebrated every year on fourth month of Bhutanese calendar. Though meaning of Kharphu cannot be stated clearly but village older bearer believes Kharphu means “white god ritual” where no animal sacrifices are made. There are two types of Kharphu namely Gudpa (Extended) and Chunku (Abridged) which are observed consecutively every year. During a larger kharphu, dish called pan is prepared and served, and is observed for 3 days, while in smaller Kharphu pan (Wild betel leave fried) serving is skipped and is observed for two days. The origin of Kharphu and its story is has been transmitted verbally from generation to generation. Ex.Tshogpa Lhalungla is a descendent of one of the host family, he shared that as per the story he received from the older people of village that when the people settled in Chali as per their karmic action, during those days no matter how much they work, the grains and cereals were not enough to feed their family, food they eat didn’t contain nutrition, cloth they wear don’t provide the warmth, even they can’t sleep soundly. Then people gathered to discuss over it. During meeting one the villager pointed out that we don’t have a god to guide and protect us, and this may be the reason we have been suffering. Then all the villagers agreed that then need a god. Among them there was a man named Sherub, who is farsighted, knowledgeable and reliable man. Then villagers insisted him to go and receive god. He denied, saying he is incapable for this task. He said this task can be only accomplished by Gomchen phawang (Bat). Then sherub went in all the direction in search of bat but met with gods of four directions but couldn’t find bat. Then one of the god from four direction prophesied that bet is inside their village only, inside a cave call Asi-kaure draphy (cave) which shadow falls in water and water splashes on the walls of cave. And this place is believed to be located at the bottom of Kongla bra (Kongla cliff) at the end of Chali and still there are many bats in it. Bat was brought to the village and at first, bat also denied the villagers request but towards end of the day bat accepted but he said gift has to be taken for sons and daughters of god. For sons they arranged three armful of arrows and for daughters three Urka (Lether sack) full of Bakur (square shaped bamboo container). Then, bat made his journey towards north. After a long journey bat reached Tsampa, place believed to be located in Tibet, where god Gung-Lha-Lhapsang Gyelpo resides. Finally he could meet the god and shared his reason for visit. God criticize him about his face, legs and wings, so, he can return him alone, but he changed every criticism in positive way by saying “my rat like face is to sing a song for god father and mother, my skinny leg is to perform dance in front of god father and mother, my lathery wings is to fan your god father and mother. Bad couldn’t send back with all the means and strategies of god, finally promised to send one of his children. Gunglha lhapsang Gelpo has four daughter and four sons. He told to send one the daughter to god mother and she said to god to send one of his son. God father and mother had a very hot discussion over it. And they decided to roll a die, and god father lose the game and had to send his son along with bat to bless Chalipas (Residents of Chali). Here at Chali goat was received by Sherub along with the villagers. Since then Sherub was known as Bonpo pa Sherub, since it was a Bon Lha (God of Bon religion).And his descendent has to perform Bonpo Wanboo (Shaman). And Bonpodpa Sherub became host along with another rich household. And currently there is four household descendent holding as host during Kharphu. But, with passing time and generation Bonpodpa Sherub’s descendent couldn’t shoulder the responsibilities of Wanbu and is appointed one of the interested and capable people from their village. There is no as such rule to appoint Wanbu. There is unique lyric and tune from journey of god’s son of including all the places where till Chali, different household visiting household lyrics and blessing, farewell lyric and unique tones.
Bhutan