CD1_BHAJANS OF NEPALI FOLK CULTURE\n\nA bhajan is a spiritual chant in traditional Nepalese culture that is performed mainly in temples. The lyrics typically recount the good deeds of various gods and goddesses. It is believed that the performance of a bhajan brings about peace and prosperity and an improved quality of life for all living beings. Bhajans of Nepali Folk Culture This CD includes examples from four distinct categories of bhajan, namely Devi Bhajan, Dafa Bhajan, Khainjadi Bhajan, and Usha Charitra Bhajan.

This selection tells how native Yapese learned to use betel nuts (areca nuts) and how they learned tying patterns and techniques. It also talks about the roles and responsibilities of newly married Yapese couples and their families.\n

Serenicumu literally means “bumping songs,” a genre of popular music that is widespread throughout Fiji today and is performed in villages as well as at local resorts and hotels. These songs are covers of or are influenced by styles from Europe and America as well as from other Pacific islands or the Caribbean (particularly reggae). They are often performed at informal yaqona drinking sessions and are also associated with informal dance types broadly termed tauratale or danisi (taken from the English word ”dance”).\n\nThe exact origin of the genre is obscure. Serenicumu is said to be associated with the first legally allowed sales of beer to Indigenous Fijians in the 1920s in Suva, and it is suggested that this genre originated from parties where men bumped their drinking glasses together. Another source further adds that this music was originally called sere ni cumu saqa (saqa meaning “barrel” or “tankard”) and that it referred to the practice of Fijian men sitting in a circle at a table and resting their heads against their tankards of beer. Many serenicumu songs still performed today date from World War II―an intense period of creativity for this genre―when soldiers from the US, Aotearoa (New Zealand), and Australia interacted extensively with Fijians.\n\nCurrently, musicians distinguish two main styles of serenicumu: trio and sere bass (also called sere makawa or “old songs,” even though they may be fifteen or more years old). Sere bass performance features a large group of bass vocalists (bass/besi) in addition to three solo voice parts: tatabani/tatabana, domo tolu/vakababa, and laga/lagalaga in descending order in terms of their vocal range. Only the three solo parts are heard in trio. The types and roles of the instruments, their tuning, and their playing techniques have also changed over time. The technique of vadivadi (plucking), which characterized sere bass guitar performance in the past, has been replaced by various “scrumming” (strumming) for the rhythm guitar and a range of left- and right-handed techniques for the lead guitarist. The only chords used in sere bass were dua(tonic), rua (subdominant), and tolu (dominant), whereas trio also featured warning (seventh), minus (minor), and flat (supertonic) chords.\n\nAnyone can participate in sere bass performance, which makes it ideal for use at large social gatherings. Trio performers are expected to perform to a high standard and are usually heard at small social functions such as yaqona drinking sessions.\nThe tempo tends to be slower and the overall pitch lower in sere bass when compared to trio. Sere bass, being closer stylistically to meke, tends to be preferred by older people (those in their mid-40s and above) and provides them with a means to connect with and celebrate their cultural roots. Trio, which tends to be popular with those in their 20s and 30s, exhibits a greater degree of Westernization than sere bass, but it is still regarded as being part of the serenicumu oral tradition that has been passed down through the generations and that continues to change as new songs are continually added to the repertoire and old ones fall into disuse.

Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform Lapar songs composed of four-lined ghazals in two groups. Through Lapar songs, girls and boys express their love for each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing Lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.\n\nLapar songs are mainly composed of four-lined verses and are performed in the form of a dialogue between two parties. If they resemble o'lan songs from these features, they are distinguished by the ideas, literary references, descriptive objects, and the lifestyle that are sung in the lyrics- the level of thought is more highly developed by images. \n\nLapar songs were performed and became increasingly better known through the work of famous Lapar singers, such as Lutfikhonim Sarimsoqova, Tamarakhonim, Lizakhonim Petrosova, Gavkhar Rakhimova, Oykhon Yoqubova, Guishan Otaboyeva, To'khtakhon Nazarova, Qunduzkhon Egamberdiyeva, and others. To pay more attention to Lapar and o'lan songs, to collect them, to support the performers, and to publicise their creative work to the broader community, the Traditional Republican Festival of Lapar and O'lan performers is regularly conducted by the Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan.\n\n\n\n

O`lan is a genre of people's oral creation. Mainly, it is performed by women with or without doira accompaniment. At Uzbek parties and celebrations, the O`lan is sung by a girls' team on one side and a boys' team on the other side, or it is sung by two people who take opposing sides so they can perform as though they are having a dialogue.\n\nYor-yor is a folk song performed at a wedding celebration when the bride is seen off. In ancient times, it was widespread among Uzbek, Tajik, Uygur, and Turkmen people. Yor-yor consists of two or four lines; at the end or in the middle of each line are the words 'yor-yor, aylanaman' (my beloved one, I am enchanted). Usually, yor-yor is accompanied by doira music performed by women. The high effect of yor-yor is that it simultaneously harmonises sadness with a merry melody, tone, and the mood of holiday joys. In yor-yor songs, the bride's features, wishes, cherished dreams, and congratulations to her are praised. \n\nThe Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan, in cooperation with the National Commission of the Republic of Uzbekistan for UNESCO, organised an expedition to Ferghana Valley to research and classify intangible cultural heritage samples as well as to inventory and define the bearers of this heritage. The expedition team recorded samples of O'lan songs from ICH bearers and transmitters of intangible cultural heritage, including Xayrullo Mirzayev, Hanifa Mirzayeva, Inoyat Rafiqova, Makhbuba Yo'ldosheva, Baxtiyor Turg'unov, Zebikhon Abdunazarova, Ko'paysin Oqboyeva, and Qo'zikhon Siddiqova.

Alla (lullaby) is an oral form of ICH sung by one person, usually a mother who is putting her baby to sleep. Alla is important in raising a child. That alla is a unique part of Turkic culture has been stated in many sources. Alla is highly emotive in that it allows a child to perceive not only motherly affection but also her spiritual sufferings. \n\nAlla creators and performers are mothers. The content and melody of all songs are derived from the spiritual state of a mother. The Spirit of the period is reflected in the song. Today, mothers perform all, enriching the songs with new content by signing and praising love for life, a happy life, and a bright future. The Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan, in cooperation with the National Commission of the Republic of Uzbekistan for UNESCO, organized an expedition to Ferghana Valley to research and classify intangible cultural heritage samples as well as to inventory and define the bearers of this heritage. The expedition team recorded samples of alla songs. Through these recordings, listeners can feel a high sense of motherly love as well as the utterance of a suffering human spirit. \n\nAlla\nI say alla my dear baby, \nListen to it. alla. \nListening to my sweet alla, \nEnjoy rest, alla. \nListen to my sweet alla, \nGo to sleep, alla, \nMay your future be prosperous. \nMy little soul, alla-yo.

Katta Ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, Katta Ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta Ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, Katta Ashula is performed in big gatherings, festivities, and party celebrations.\n\nKatta Ashula songs were performed professionally and further developed by famous Khofizes such as Erkaqori Karimov, Turdiali Ergashev, Matbuva Sattorov, Jo'rakhon Sultonov, Mamurjon Uzoqov, Boltaboy Rajabov, Orif Alimakhsumov, Fattohkhon Mamadaliev, Jo' rakhon Yusupov, and Khamroqulqory To'raqulov. Today, Katta Ashula is masterfully performed by experienced singers with the highest skill, such as Khalima Nosirova, Munojot Yo'lchieva, Ismoil and Isroil Vakhobovs, and Mahmud Tojiboev.