This is an extract from the Paddana of Koti-Chennaya, a long epic that is popular in Tulunadu. It tells the story of twin heroes Koti and Chennaya, describing their heroic deeds, and finally their deification as daivas (local gods). Selected portions of Koti-Chennaya are sung in different contexts: a) while performing “Agelu Seve” at the shrines of Koti-Chennaya, b) during ritual performances, specifically the annual festival in front of the shrines (Baidarle Nema), c) while tapping toddy from palm trees, d) while transplanting paddy seedlings, d) in the wedding ceremony during the traditional decoration with colors (Madarangi), e) in a satirical theatrical performance called the Purusha Dance, f) during a marriage or funeral ceremony, g) while peeling dry areca nuts, and f) during leisure time for the purpose of relaxation. However, the major portions of the epic are performed during the Baidarle Kola, the ritual performance with Koti and Chennaya as mythical heroes.

Mo’og Magar is a traditional Yapese chant performed during girls’ standing dances in Balebat village, Rull municipality in Yap. The chant is basically intended to thank God for the lives of all grandparents in the community and for allowing their longevity to enable the little ones to spend more time with them in this life. In the dance, the girls also thank their grandparents for raising their parents as well as their parents for raising them to become who they are today.

This traditional folk song comes from the Dhimal community, which inhabits the forests of the Eastern Terai area in the south of Nepal. Both men and women sing and dance to this song sung in the Dhimal language.\nInstruments: dhimal dhol, baansuri, juri

Yawur is a traditional Yapese men’s standing dance from Tomil municipality on the eastern side of Yap. The dance was composed in the early days based on the hardship the Yapese people had experienced in Palau during the German colonial period. Yapese people were brought to Angaur (Yawur) in Palau by the Germans to excavate phosphate for Germany. Many were reluctant to go to Angaur because of the belief that it was a land of sickness and home of the evil spirits. They were also unsure if they could make it back home to be with their families again. The dance talks about all the hardship experienced during the time in Angaur as well as the apologies to the evil spirits on Angaur to save their lives. It also talks about the survivors who made it back home and their hope for not going back to Angaur again.

The first part is a marching dance chant from Ulithi Island that used to be sung for log pulling. It served to help men pull logs from the jungle to the men’s houses. The latter part is a chant sung by men from Satawal Island. This chant portrays one of the popular names used by navigators during their voyage. It also tells how navigators should make good decisions during their voyages.