Materials
felt
ICH Materials 177
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Felt stitiching, students from school No.67
Art Council of Mongolia/ beating fleece, students from school
Mongolia -
Students Making Zeeg (camel wool hemming) and stitching felt carpet, school No.20
Art Council of Mongolia/ beating fleece, students from school
Mongolia -
Felt stitiching students from school No.20
Art Council of Mongolia/ beating fleece, students from school
Mongolia -
White Circle felt art center artist B. Bayanduuren demonstrating a unique felt art technique that creates images with dyed wool
Art Council of Mongolia, Culture Naadam Project
Mongolia
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Traditional Craftsmanship of the Mongolian Ger and Associated Customs
Traditional Craftsmanship of the Mongolian Ger and Associated Customs (Representative List of the Intangible Cultural Heritage of Humanity, 2013)\nThe Mongolian ger is composed of wooden frames, canvas, and ropes. The wooden frames comprise the crown, roof poles, wall lattices, door, and two pillars; each wooden element is produced by separate, specialized carpenters. The traditional craftsmanship of the Mongol ger reflects the nomadic culture and national identity of Mongolia.
Mongolia 2017 -
Yurt Production
Preserving and transmitting craftsmanship for centuries, a yurt is not a mere dwelling, but also a creative workshop for folk art. Yurt embodied all kinds of decorative and applied arts. Meeting all the demands of everyday life, it carries both aesthetic and ritual functions.
Kyrgyzstan 2017 -
Pa'ta la (Myanmar Xylophone_Metal)
The earliest mention of the pattala (pa'tala:) is in the Bago Kalyani Sima lithic inscription of A.D. 1479 enumerating the presents exchanged with the king of present day Sri Lanka. It was mentioned by Court official Twinthin Mingyi in 1798 as one of the six instruments of the anyein (non- dramatic dance and comedy) ensemble. F.A Neilly, author of a book on Thailand, wrote " The Thai xylophone is derived from the Myanmar xylophone which the Myanmar play exceedingly well". Thai Research Society Vol 69 Part 1-2 of January- July 1951 carried long article by USA Kent University School of Music Terry E Miller and Music Department of Shrinaken University researcher Jaran Chaichonperut. War between the two countries made cultural exchange of musical instruments. There is evidence to show that the xylophone was extant earlier in Myanmar than in Thailand.\nEarlier, softwood was used for the mallets. Now they are made of teak, padauk, cutch, yindai or pyinkado. The mallets are eight inches long with a soft knob of cotton, felt or velvet at the tip. The resonance box is usually made of teak and decorated with pieces of glass of various colors and gilt. Earlier the box constituted one body. Now it is made collapsible for easier transportation. Thought the slats are generally bamboo, there can also be brass or iron. The Myanmar pattala is tuned to the diatonic scale. However, Myanmar chau' pau' and hni pau' instead of being equivalent to international E and B notes are a semitone each Lower. The Myanmar pattala covers one octave below middle C and two octaves above thereby encompassing altogether three octaves. The Myanmar pattala is composed of the slats, the resonance box and the mallets. The beginner is trained to first play left and right strikers alternately in the "maun nin:" method of play. Then the student is trained to strike the mallets simultaneously using the "zoun" method. Traditionally, the player tearns to keep to the timing beats by playing the short music piece beginning "htan taya tei: shin" . They the player is taught the combined "htan", the combined "dun", the combined "djan" and the detached "djan".
Myanmar -
Pa'tala: (Myanmar Xylophone)
The earliest mention of the pattala (pa'tala:) is in the Bago Kalyani Sima lithic inscription of A.D. 1479 enumerating the presents exchanged with the king of present day Sri Lanka. It was mentioned by Court official Twinthin Mingyi in 1798 as one of the six instruments of the anyein (non- dramatic dance and comedy) ensemble. F.A Neilly, author of a book on Thailand, wrote " The Thai xylophone is derived from the Myanmar xylophone which the Myanmar play exceedingly well". Thai Research Society Vol 69 Part 1-2 of January- July 1951 carried long article by USA Kent University School of Music Terry E Miller and Music Department of Shrinaken University researcher Jaran Chaichonperut. War between the two countries made cultural exchange of musical instruments. There is evidence to show that the xylophone was extant earlier in Myanmar than in Thailand.\nEarlier, softwood was used for the mallets. Now they are made of teak, padauk, cutch, yindai or pyinkado. The mallets are eight inches long with a soft knob of cotton, felt or velvet at the tip. The resonance box is usually made of teak and decorated with pieces of glass of various colors and gilt. Earlier the box constituted one body. Now it is made collapsible for easier transportation. Thought the slats are generally bamboo, there can also be brass or iron. The Myanmar pattala is tuned to the diatonic scale. However, Myanmar chau' pau' and hni pau' instead of being equivalent to international E and B notes are a semitone each Lower. The Myanmar pattala covers one octave below middle C and two octaves above thereby encompassing altogether three octaves. The Myanmar pattala is composed of the slats, the resonance box and the mallets. The beginner is trained to first play left and right strikers alternately in the "maun nin:" method of play. Then the student is trained to strike the mallets simultaneously using the "zoun" method. Traditionally, the player tearns to keep to the timing beats by playing the short music piece beginning "htan taya tei: shin" . They the player is taught the combined "htan", the combined "dun", the combined "djan" and the detached "djan".
Myanmar
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Con gà rừng(the Chèo melody)
This is a special melody of Chèo art only for the singer, playing the role of the character Xúy Vân, who pretended to be crazy, in the play “Kim Nham”. The role of Xúy Vân is called nữ pha; she deserved to be both complained about and pittied. Kim Nham, her husband, abandoned her when he passed an examination. When she felt lonely, she was seduced by Trần Phương. She pretended to be mad so she could divorce her husband and live with Trần Phương. Nevertheless, she was abandoned again. Falling into despair, she did became crazy. “Xúy Vân giả dại” is a famous excerpt of Chèo art, which is more popular than the whole play.
Viet Nam 1998 -
Barsa Dinko Teej Lai
This is a women’s folk song sung during the Teej festival. The lyrics describe the pain felt by women who are forbidden by their in-laws to go to their fathers’ houses to celebrate Teej. The tempo of the song is slow.
Nepal 1905 -
Rogon Ni Sum e Langad (History of Betel Nut Use in Yap)
This is the history of how native Yapese learned to use indigenous betel nuts (areca nuts). Native Yapese added pepper leaf and coral lime powder to betel nut and called it langad. Langad was not used by the native Yapese until it was introduced by a friendly ghost who was stranded on the main island of Yap several hundreds of years ago. The ghost, whose name was Llong, was left behind by his companion Luug. Llong then settled himself at the Ron’uw village in the northwestern part of the island. For some reason, Llong relocated himself to Gilyaboch village on the Gakaan peninsula on the western side of the island. There he lived and began making and setting fish traps along the water. Day after day, the natives saw him and wondered what he was doing in the water and who he was. The natives approached him and became friends with him. Llong taught them how to make fish traps and how to set them in the water to catch fish. When setting the traps, branchy corals were required to be placed on and around the traps to cover them. Collecting branchy corals almost every day for the traps, the natives asked Llong if those corals were edible, seeing that they were almost everywhere in the fishing ground. He replied that they were edible, but needed to be processed in advance. So they collected some of the branchy corals and brought them onto land. Thereafter, Llong taught and showed them how to make lime powder out of branchy corals. Llong explained that the powder shouldn’t be taken alone, but could only be taken with two more elements. Llong ordered the natives to bring betel nuts and pepper leaves. Native Yapese at that time used the trunks of betel nut trees only for building houses, but did not use the nuts. Llong gathered everything up and demonstrated how it use it. He added a little amount of powder in a split betel nut and wrapped a piece of pepper leaf around it, putting it in his mouth and chewing on it. After he chewed the mixture, he spat the bloody red liquid out of his mouth. It looked very interesting to the natives, so they tried it right away. Eventually, everyone had a chance to try the newly discovered products. They all felt high from using them and began singing, dancing, and enjoying the sensation until they all felt tired and wanted to take a nap. During their naps, Llong bestowed his blessings upon the langad ingredients so the natives would have the interest or the urge to use them again. When they woke up from the short nap, they were sober and all surprised to see the redness on their lips as well as the spit marks on the ground. They got worried and concerned that their chief in Lamear village might find out what they had done, so they kept it a secret from him. Later, they decided to pay the chief a visit and present him the langad. The chief tried it for the first time and was very impressed. He showed his great excitement, saying that he had never experienced such a euphoria. From then on, he proclaimed the tradition that the people should offer him the langad on a regular basis. This is the story of how native Yapese started using betel nuts. It began in Gilyaboch village, but quickly spread to their chief in Lamear village and to other allies on the island. This knowledge of chewing betel nut with coral lime powder spread throughout the island and became a tradition of the Yapese culture hundreds of years ago. Langad is now a part of daily lives in Yap. It is widely used for social gatherings, community meetings and events, funerals, and so much more.
Micronesia -
Benediction of Felt, Esgiinii Yuruul
Mongolian well-wishing is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Briefly, benedictions (well-wishing) propitiate people’s future happiness and well-being through skilfully composed and recited poems. There are thousands of benedictions on various subjects. For instance there are benedictions recited while beating the sweat cloth of a saddle, while distilling milk vodka, while celebrating a birth, and while cutting an infant’s hair for the first time. Besides ancient benedictions, many contemporary benedictions are being kept at the ILL. These include benedictions for a new ger, weddings, a child’s first haircut, endowment practices, mare-milking ceremonies, foal-branding ceremonies, the People’s Revolution, and others for the military.
Mongolia 1905
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PRACTICE OF CONSTRUCTING THE MONGOLIAN GERThe ger, a traditional dwelling created by nomadic Mongolians, is specifically designed to fit their way of life. Its semi- sphere shape helps the ger endure storms and tempests. It has solutions for heat control and ventilation. It is flexible in terms of size and design, and it is portable and lightweight. At the same time, it is also comfortable to live in and easy to build and dismantle. Moreover, the ger is used as a measure for time and directions.Year2013NationSouth Korea
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Beldemchi Exhibited: From the Making of Women’s Traditional Clothing into a Field of Female CreativityAn exhibition of beldemchi was launched at the Gapar Aitiev Fine Arts Museum in Bishkek on 7 June 2017. The exhibition is still ongoing through the partnership of the Kiyiz Duino Foundation and the Gapar Aitiev Fine Arts Museum, an institution named after one of the first Soviet Kyrgyz artists who became a national artist of the Kyrgyz Soviet Socialist Republic in 1954. The exhibition displays more than forty items collected from state museums and private collections. It represents all regions of the country and various embroidery styles and techniques. The event is a sign of increasing interest in beldemchi in Kyrgyz society; renowned designers are already coming up with unique beldemchi design.\n\nOne of the Kyrgyz ICH elements, beldemchi is a traditional women’s skirt worn over a dress, gown, and sometimes thin coat. Conventionally, women wear their first beldemchi after a severe stress, e.g. first labor or situations demanding warmth. When worn as postpartum clothing, beldemchi helps women correcting their posture. It also gives physical support. Historically, as Kyrgyz people led a nomadic lifestyle in inland continental climate conditions during pre-Soviet times until 1917, beldemchi was an essential part of Kyrgyz women’s traditional apparel.\n\nBeldemchi may be worn daily and in holidays or festive events. It is made up of velvet and silk adorned with embroidery. The embroidery could cover either the whole skirt or its edges. Viewed as a protective amulet against evil eye, jinxes, and other unpleasant troubles, it is also a determinant of a woman’s age, social status, region, and her artistic skills based on the composition, style, and quality of the embroidery since every woman is supposed to know how to make a beldemchi and its embroidery. The main base of beldemchi is a double-leaved swing skirt with wide and thick belt. Beldemchi has several regional differences. In the north where the winter season is cold and long, it is mainly a wraparound flared skirt from warm fabric with a thick band over the belt. In the south, beldemchi is a buttoned front open cut skirt.\n\nThe presentation of beldemchi at the exhibition displays how the making of traditional clothing for women has gradually turned into a field of rich female creativity. Notwithstanding, beldemchi has started to disappear from Kyrgyz everyday life, which may have been caused by the changing views and lifestyle. During the Soviet modernism in the 1960s, wearing beldemchi was a sign of backwardness and provincialism. Soon in the 1970s, it fell into disuse. However, elderly women in rural areas have kept wearing beldemchi until now.\n\nPhoto : Women wearing Beldemchi © Kyiz Duino FundYear2017NationKyrgyzstan