Paglami-lamihan Soundscapes 2: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble  Traditionally played solo in the rice fields after planting the palay and until the flowering stage. The kwintangan kayu is made of five graduated logs of manakayan tree (Shorea almon Foxw) and one piece of bamboo. These are arranged on top of a tree or set up on the ground and played continuously by different musicians day and night. Recording Credits Producer NCCA-Intangible Cultural Heritage Unit Audio Engineer Froilan Malimban Studio Fastgen Media Productions Year Recorded 2011

While the song maybe the same as Track 2, this track, however, is recited by an old man to soothe a baby to sleep and in a little louder tone, which may mean that the baby is still awake. The song will help put the baby to sleep after singing the version frequently. This is another aspect of iTaukei intangible cultural heritage in as far as lullabies and rhymes are concerned. The effect and impact of an elderly woman and man singing the same lullaby to the child differ greatly and are used in different situations. For example, the child may be noisy and crying endlessly; therefore, an elderly male sings the song to stop the child from crying. An elderly woman, on the other hand, can sing the same to put the baby to sleep if the latter is finding difficulty in sleeping.

Paglami-lamihan Soundscapes 2: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble  May be played by two or three musicians. Performed by Uwang Ahadas, kwintangan kayu (melody) Accompanied by Sanira Ahadas, kwintangan kayu (rhythm) Recording Credits Producer NCCA-Intangible Cultural Heritage Unit Audio Engineer Froilan Malimban Studio Fastgen Media Productions Year Recorded 2011

Paglami-lamihan Soundscapes 2: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble  May be played by two or three musicians. Performed by Uwang Ahadas, kwintangan kayu (melody) Accompanied by Sanira Ahadas, kwintangan kayu (rhythm) Recording Credits Producer NCCA-Intangible Cultural Heritage Unit Audio Engineer Froilan Malimban Studio Fastgen Media Productions Year Recorded 2011

Paglami-lamihan Soundscapes 2: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble  Played solo during paglami-lamihan. This is also a practice instrument. Recording Credits Producer NCCA-Intangible Cultural Heritage Unit Audio Engineer Froilan Malimban Studio Fastgen Media Productions Year Recorded 2011

Paglami-lamihan Soundscapes 2: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble  Played solo during paglami-lamihan. This is also a practice instrument. Recording Credits Producer NCCA-Intangible Cultural Heritage Unit Audio Engineer Froilan Malimban Studio Fastgen Media Productions Year Recorded 2011

Paglami-lamihan Soundscapes 2: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble  Played solo during paglami-lamihan. This is also a practice instrument. Recording Credits Producer NCCA-Intangible Cultural Heritage Unit Audio Engineer Froilan Malimban Studio Fastgen Media Productions Year Recorded 2011

Paglami-lamihan Soundscapes 2: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble  Played solo during paglami-lamihan. This is also a practice instrument. Recording Credits Producer NCCA-Intangible Cultural Heritage Unit Audio Engineer Froilan Malimban Studio Fastgen Media Productions Year Recorded 2011

Paglami-lamihan Soundscapes 2: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble  Played solo during paglami-lamihan. This is also a practice instrument. Recording Credits Producer NCCA-Intangible Cultural Heritage Unit Audio Engineer Froilan Malimban Studio Fastgen Media Productions Year Recorded 2011

Paglami-lamihan Soundscapes 2: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble  May be played by one to three musicians. Recording Credits Producer NCCA-Intangible Cultural Heritage Unit Audio Engineer Froilan Malimban Studio Fastgen Media Productions Year Recorded 2011

This track about the Rali rituals and songs combines speech with singing. This is included as a particularly interesting way to present intangible cultural heritage. Subhadra Devi gives instructions, in Hindi, about why and how the goddess Rali is worshipped each spring. Rali is identified as a form of Parvati, with her husband Senkar a form of Shankar, in the annual spring ritual for unmarried girls to gain a good groom by celebrating the marriage of goddess Rali to Senkar, with her brother Bastu in attendance. Subhadra Devi describes the rituals and the appropriate songs in dialect. She begins with the song for gathering spring flowers and making garlands for Rali each morning. Then, she moves on to the song about assembling objects for rituals. She goes on to describe how observant girls fast over four Mondays and go from household to household singing in order to gather donations for their Rali ritual. She then offers an example of this sort of song, in which the theme of male migrant labor common in the hills spills into mythological domains here, with Rali’s brother Bastu off to Delhi, while Senkar has gone to work in Chamba, each offering to send her gifts. Subhadra Devi ends by singing an example of the sort of devotional song or bhajan sung by grown women at the auspicious ending of the Rali ritual, when the goddess is carried to a pool to be submerged. This song addresses the mulberry tree from whose wood a flute for Krishna might be made. It describes the unfinished fates of those who haven’t ever given alms, fasted on ritual days, constructed raised stands for wayfarers to rest under shady trees, or given daughters in marriage. Recorded and collected by Kirin Narayan

This song literally relates to Roko Savirewa awaiting his meal, the day’s catch from the sea. The “meal” referred to is a fish locally known as Nuqa. (It is unknown whether Roko Savirewa is the name of a child or elder or Chief. Roko, in some parts of Fiji, refers to a chiefly title preceding the chiefdom they rule, e.g., Duke of Norwich England, but in this case “Duke of Savirewa.”) In olden days, with no formal schooling, children learned the language, cultural practices, and survival techniques through chants and stories and other means of oral transmission of intangible cultural heritage such as this song.