Materials
dancing
ICH Materials 254
Publications(Article)
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Lintas Nusantara: Dance Forms from the Malay WorldSingapore’s Malay Heritage Centre (MHC) organizes Lintas Nusantara, an annual dance festival that serves as a platform for dance masters and troupes from Singapore, Malaysia, Indonesia, and other countries in the region to showcase their work and capabilities and to facilitate cultural exchanges among the countries involved.\n\nTo commemorate the tenth anniversary of the festival, MHC will be launching a publication entitled Lintas Nusantara: A Spectacle of Dance and Music in October 2021. The publication will provide a visual record of all the dances performed at the festival and include several essays that aim to provide a deeper understanding of the various dance forms as well as their origins, development, and evolution.\n\nIt will cover a total of twenty-three Malay dance forms performed in Singapore, different states in Malaysia, and different regions of Indonesia. These dance forms include Zapin Sungai Kallang from Singapore; Mak Yong and Tari Asyik from Malaysia; and Pajaga Makkunrai (Bugis), Tari Golek Menak (Yogyakarta) and Tari Gending Sriwijaya (Palembang) from Indonesia.\n\nAs part of the publication’s aim to foster more extensive research into dances from the Malay Archipelago, it will feature twenty-seven essays by academics and researchers from Singapore, Malaysia, Indonesia, East Timor, and the Philippines. These essays will cover topics such as preserving dance and community traditions; spirituality in dance and movement; forging cultural and community identity through dance; cultural borrowings as expressed through music, costumes, and movements.\n\nLintas Nusantara: A Spectacle of Dance and Music will also include reflections regarding the importance of cultural exchanges in the growth and evolution of dance and music as well as the development of a dynamic Malay dance ecosystem from musicians Thow Xin Wei (Gamelan Singa Nglaras) and Fadhli Ramlee (aluNada Muzik) as well as an interview with Mr. Osman Abdul Hamid, a dance practitioner renowned for his artistic contributions to the Malay dance scene in Singapore since the late 1970s.\n\nThrough this publication, MHC hopes to provide an overview of the wide spectrum of Malay dance forms, contribute to existing research and documentation on Malay performing arts, and promote greater cross-cultural understanding and appreciation of the diverse dance forms from the Malay world.\n\nLintas Nusantara: A Spectacle of Dance and Music is a bilingual publication written in both English and Malay, and interested parties can send their inquiries to Jamal_Mohamad@nhb.gov.sg.\n\nPhoto 1 : Dancers from Guntur Mataram Dance Company (Jakarta) performing the Tari Golek Asmaradana Bawaraga. Photograph courtesy of Malay Heritage Centre\nPhoto 2 : Artist Seni Budaya (Singapore) performing the Tari Gending Sriwijaya with dancers from Universitas PGRI Palembang (Indonesia). Photograph courtesy of Malay Heritage CentreYear2021NationMalaysia
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Jultagi (Tightrope walking), the Performing Arts of Communication and HarmonyIn Korean traditional society, Jultagi (tightrope walking) was practiced as part of entertainers’ performances, where large banquets were held in administrative halls or noble houses on holidays. Jultagi, which was considered as the essence of Madangnori (traditional Korean outdoor performances), is a traditional Korean performing art that refers to “the players’ performance of comedy, musical storytelling with physical expressions on the bare rope in the air.”\n\nRecords of Jultagi dates back to the Goryeo Dynasty (918-1392). According to the records, Jultagi has been called by various names, such as Dapsakhee, Dapsak, Jusak, Bosak, Saksangjae, Juseung, and Yiseung, which commonly means “performing on a rope.”\n\nThe Jultagi today can be classified into two, the “Gwangdae Jultagi” and “Tteun-gwangdae Jultagi” based on the characteristics of the performers. The Gwangdae Jultagi was performed by Daeryeong Gwangdae, who were affiliated in the central or local government offices, while the Tteun-gwangdae Jultagi, which is also called “Eoreum Jultagi,” was performed by traveling performing troupes. The former one was designated as Important Intangible Cultural Property No. 58 in 1976, and has been transmitted ever since, while the latter one is transmitted as one of several performances of Namsadang Nori, designated as Important Intangible Cultural Property No. 3 in Korea.\n\nWhen it comes to tightrope walking, it’s easy to think of only the acrobat performing on the tightrope. However, for a proper tightrope performance, not only the acrobatic performer, but also the clown who stays on the ground and chats with the performer on the rope, and the musical performers who plays janggu (double-headed drum), piri(pipe), and haegeum(string instrument) and lead the lively atmosphere are essential. Only when all the players mingle with the crowd, Jultagi, the Korean performing art of communication and harmony, is completed.\n\nThe running time of the tightrope performance continues throughout the afternoon. Therefore, it is necessary to carefully organize the composition with acrobatics, chats, and music keep the audience entertained. Starting with the “Julgosa,” a ritual ceremony for the safety of the performance, Jultagi shows a variety of tightrope walking skills, from simple acrobatics to difficult tricks, inducing dramatic tension among spectators. Afterwards, through “Jung Nori” and “Walja Nori,” the dramatic tension of the audience is relaxed and entertained. Subsequently, the audience’s dramatic tension is once again induced through several acrobatics, and then the tension is relieved through the final “Salpan” ground acrobatics performance. Although there may be some changes depending on the performer or situation, Jultagi performances are generally conducted based on this order.\n\nThe traditional Korean tightrope walking is differentiated from other tightrope acrobats in that it does not only focus on the acrobatics, but also leads the playful atmosphere harmonized with songs and storytelling. Korea’s Jultagi, which has these distinctive characteristics, is unique and valuable in that both the performer and the audience communicate and harmonize together in a pleasant atmosphere in pursuit of inner freedom.\n\nToday, the reputation of Jultagi performances, which were as popular as Pansori (narrative songs) in the past, is losing its light in modern times. Occasionally, it can be found at local cultural festivals, but it is difficult to maintain its reputation enough to be labeled as a vulnerably transmitted element. Active endeavors and public attention are needed at the national level so that Jultagi, which has played a role in strengthening Korea’s identity since the past, can be transmitted to future generations. Above all, since the value of an ICH element is elevated when safeguarded and practiced, so efforts should be made to enhance the reputation of Jultagi through various performances considering the transmission environment of today. I conclude this article in anticipation of the day when Jultagi, which can give people a sense of freedom from the COVID-19, will be able to freely cross the sky amid the crowds’ cheers.\n\nphoto : Jultagi of Namsadang Noli in 2008. © Flicker account : Republic of Korea, Copyright information link : https://creativecommons.org/licenses/by-sa/2.0/Year2022NationSouth Korea
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NauryzNauryz is the first day of the new year according to the solar calendar in many Turkic cultures and symbolizes the renewal of nature associated with the cult of fertility. Nauryz unites people around traditional values. Before the holiday, it is necessary to pay off debts, forgive each other’s offenses, tidy up the house, prepare refreshments, clean the springs, and plant trees. All people are in a hurry to congratulate relatives, friends, colleagues, and neighbors; they smile and say warm words when meeting people by chance as well as invite them over and sit down at a dastarkhan, which has a round shape like a table many more people can fit around than from behind a rectangular one. This shows the original hospitality and kindliness of Kazakhs.\n\nLegends Associated with the Name of Nauryz Holiday\nAccording to one legend, Nauryz is the name of the ancestor of Kazakhs, he did not have children. Before his death, Nauryz turned to Abdraim (the prophet) with words of regret that he had no one to leave his name. To preserve the name of the old man, Abdraim gave the name to Nauryz-kozhe. Nauryz is the birthday and death of this old man. On this day they prepare a sacrificial meal, read prayers from the Koran in memory of their ancestors. According to another version, Nauryz is the name of a beggar. Before his death, he turned to the old people with the words that he had no one to leave his name. Old people promised to cook Nauryz-kozhe annually and read prayers from the Koran in memory of him.\n\nHoliday Symbols\nThe white color on the dastarkhan is a symbol of contentment, welfare, and prosperity. Therefore, its mandatory attributes are: koumiss, kurt, cottage cheese—livestock products.\n\nThe most indispensable thing in Nauryz is the presence of a traditional dish—nauryz-kozhe on each holiday table. Kazakhs believe that in Nauryz you need to eat this dish to e fulfilled and then the year will pass in abundance. Nauryz-kozhe is a nourishing and rich soup prepared from seven ingredients: meat, water, flour, butter, millet (can be replaced with rice or corn), salt, and milk. Each component of the dish symbolizes one of the seven vital principles: growth, luck, happiness, wealth, health, wisdom, and the patronage of heaven. Nauryz is generally full of symbols. At the celebration of Nauryz the presence of the number seven was obligatory for Kazakhs, which represent seven days of the week, units of time of universal eternity: seven cups were placed before the elders with a nauryz-kozhe drink made from seven varieties of seven types of cereals.\n\nAmusements\nThe celebration of Nauryz has always been accompanied by mass games, traditional horse racing and amusements. Improvised contests of wit poets (akyns) take place in Nauryz, the holiday is not without national competitions among which the kazaksha kures national wrestling, the game of logic called toguz kumalak and of course kyz-ku and baiga horse games. Actors play theatrical performances right on the streets. Another ancient tradition of Nauryz celebrating revered to this day is called altybakan when girls and boys come together to chat and ride on a swing.\n\nAll people, regardless of gender, age, and communal affiliation are released from everyday duties and take part in fun and games on equal terms. The day ends with a performance where two akyns in poetic form competed in songs. Their competitions stopped when the sun goes down over the horizon, when good conquers evil. Then they make a fire, and people with torches light them up from go around all the neighborhoods of the village, singing and dancing, thereby completing the festival of spring renewal and the equinox.\n\nNauryz was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2016.\n\nPhoto : Nauryz © Nazym MalibayevaYear2020NationKazakhstan
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Nepali Women and the Teej FestivalHindu Nepali women celebrate a huge festival—one of the biggest occasions in Nepal—known as teej. It takes place on the third day of Shuklapaksha in Bhadra (normally in August or early September). The mythical explanation of teej purports that Hamalay’s daughter Goddess Parvati went through a rigorous fasting for 108 years known as hari talika teej with the desire to have Lord Shiva as her husband. Having witnessed the willingness of the Goddess to be with him, Lord Shiva accepted her as his wife. Goddess Parvati’s spirit, devotion, and strong intention generally compose the story upon which teej festival is grounded. Inevitably, Nepalese women have come to see teej as a venue for them to show their devotion to their significant other. If unmarried, they celebrate teej as a symbolic prayer to someday have a good husband.\n\nIn a highly male-dominated society such as that of Nepal, this kind of festival rings the idea of female subjugation and puts women empowerment in question. Does teej, a Nepali heritage as it is, survive a misogynistic culture? How do women (re)create themselves in a festival created by men for men? To put these inquires in context, it should be noted that Nepali women have historically been regarded as inferior objects. In the old days, if married, women would not be allowed to visit their hometown; they would not be given easy access to basic needs of living such as communication and transportation. teej is, again, a festival created by men symbolically for men, but it also is, and absolutely a venue for women. Nepali women use this opportunity to be with others to share their sorrow, happiness, and other deep emotions in togetherness. It has been reported that women use Teej as an assembly to collect funds for women-centered causes, taking advantage of the big occasion to raise development issues.\n\nteej remains as an important festival in Nepal, a surviving cultural vein of the South Asian nation. It honors Nepalese folk life, folk songs, and ancient Nepali music. Wearing red attire with fancy ornaments, participating in singing, dancing, and eating dar (a particular food in Teej) are the main activities in the festival. These days, both women and men observe the festival, recognizing its cultural value\n\nPhoto : CONTRIBUTED BY ANIL GANDHARBAYear2017NationNepal
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Ging Tshogling Cham: Wrathful War DanceOne of the most entertaining mask dances is the Ging Tsholing Cham, where most of the audience, especially the children, are captivated by the intensifying drum beats and the fighting scene of the Cham ritual dance. The mask dance is also called Tro-ging, a local name, because it provides an entertaining presentation and performance for the audience. Ging represents the wrathful appearance of celestial beings, daka and dakinis; those dances are performed by laymen called Boecham pa. Whereas Tshogling is the emanation of guardian deities of Dharma protectors, including the Four Kings of the cardinal points and the Eight Classes of Gods and Goddesses; these roles are usually performed by Tsun cham pa monks. \n\nAccording to literary sources, the mask dance was introduced by Terton, treasure revealer, Pema Lingpa (1450-1521) after he saw the performance at Zangdok Pelri, the copper-colored mountain and spiritual realm of Guru Padmasambhava. Pema Lingpa, who was one of the fortunate incarnate beings of Guru Padmasambhava, met his enlightened master several times: when he predicted the future, when he gave him the list of treasures to be discovered in disguise, when he guided him to the sites to be discovered, and as he often invited him into his realm during meditation states and in dreams. On one such occasion, in the magnificent palace of Rang-jung Trulpai Phodrang, self-formed palace, he saw the Root Master manifesting in Ja-lue rainbow body or wisdom body, from which millions of his forms emerged, filling the three realms of the universe, which is beyond our imagination. Among the magical representations, the enlightened sages of India and Tibet sit in the right row and the scholars sit in the left row. In between them sit the 108 treasure discoverers, who are incarnations of Guru Padmasambhava and his 25 chief disciples. A cloud of gods and goddesses transformed into one hundred Dampa Rigja Protective Deities– forty-two peaceful forms, and fifty-eight in Ging wrathful appearance–they made various sensuous offerings, including the performance of Dorji-lugar Vajra Dances, dancing upon the air, rejoicing in the participation in the preaching of the coinage doctrine. \n\nOutside the entrance gate of the Four Directions are thousands of warriors from the Pho-jued and Mo-jued male and female classes of protecting deities, the Eight Classes of Gods and Goddesses, led by the kings of the Four Directions Tshoglings, who are getting ready to overcome obstacles to the sacred teachings. In the war scene between the Gings and the Tshoglings, the aggressive characters of the Tshoglings, and the drum beats of the Gings arouse a sense of fear in the obstacles and samaya oath breakers, guiding them to follow the righteous path of humanity.\n\nA similar performance was originally introduced by Guru Padmasambhava to aid Tibet’s King Thrisong Detsen (c. 755-797 or 804 AD). Padmasambhava used his supernatural powers at the great Samye Monastery in Tibet, he manifested in the form of Ging and Tshogling, producing an immense positive force to fight and subdue the evil spirits that hindered the construction of the monastery. With the obstacles overcome, the site became an important part of establishing the teachings of the Buddha in the region. \n\nAfter seeing the spectacular performance and realizing its benefits for the liberation of sentient beings, Pema Lingpa introduced the sacred mask dance to Jigten me-yul the human world, first at Korphu Temple, one of his seats in Trongsa, central Bhutan. There is still a saying that goes, "If you are not sure about the choreographies of Ging Tsholing or Tro-ging, you should visit Korphu Drub." Korphu Drub is the annual mask dance festival that coincides with the temple's dedication ceremony. \n\nDue to the importance of the dance, this mask dance was later introduced in most Tshechu, Rabney, Mewang, Mani, Drub, Drubchen (native names for the annual mask dance festival) of forts, monasteries and temples by Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive spiritual leaders of the Je Khenpo as well as the temporary leaders of the Druk Desi - these spiritual masters and far-sighted monarchs.YearNationBhutan
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NowruzFor thousands of years, Nowruz has been celebrated by the Persians. This ancient ceremony is celebrated every year on 1 Farvardin (the first month in Persian Calendar), roughly 20 April, to welcome the new year and the spring, which brings life back to Earth for a new beginning. However, preparations begin a few weeks before, and the actions and performances continue for almost two weeks.\n\nPreparing for New Spring\nNowruz preparations begin a few weeks prior to the new year, with a traditional spring cleaning called khaneh yekani. It is also customary to purchase new clothing for the family and maybe new furniture for the home as a way of welcoming the new year and spring.\n\nHaft Seen Table\nWhile preparing for Nowruz, the people create the Haft Seen Table, a special family activity that begins by spreading a special family cloth on a table and setting the table with the seven S (seen) items including:\n\nSumac: The crushed spice of berries for the sunrise and the spice of life\nSenjed: Sweet dry fruit of the lotus tree for love and affection\nSerkeh: Vinegar for patient and age\nSeeb: Apple for health and beauty\nSir: Garlic for good health\nSamanu: wheat pudding for fertility and sweetness of life\nSabzeh: sprouted wheat grass for rebirth and renewal of nature\nBesides these items, other symbolic items go on the Haft Seen Table, depending on the tradition of each family. For example, a mirror symbolizes a reflection on the past year, an orange in a bowl of water symbolizes Earth, colored eggs represent fertility, and coins for prosperity in the new year. Special flowers called Hyacinths symbolize spring, and candles radiate light and happiness. Families also put Qur’an or Shahnameh, an epic Persian story of colorful kings and princes written around 1000 CE by the great Persian poet, Ferdowsi.\n\nChahar Shanbe Suri\nIt is also a tradition to celebrate the last Wednesday of the old year, Chahar Shanbe Suri by lighting small bonfire in the streets and jump over the flame shouting “Zardie to az man, sorkhie man az to” which means “May my sickly pallor be yours and your red glow be mine” with which, the flame symbolically removes all the unpleasant and unwelcomed things of the previous year.\n\nQashoq Zani\nWhile others are jumping over the bonfire, others are busy performing Qashoq Zani, which is very much like Halloween. Children—with some of the adults—wander around the alleys making sounds by tapping a pan or pot to bring out the neighbors. The neighbors open their doors and give the children treats.\n\nFalgoosh\nA group of unmarried woman and teenagers huddled in the corners of dark alleys and stand falgoosh, listening to the conversations of passersby. The content of the first sentence of a conversation is regarded as an omen (fal) or portent for the future. This continues until there is no more wood to burn.\n\nTraditions\nIt is also a custom to make ash (a kind of soup) and serve it after the ceremony to end the Chahar Shanbe Suri program. After ending the ceremony, in a few days, all people around the country wait for the exact time of changing seasons, when the new year comes, the tahvil moment.\n\nThe Moment of Tahvil\nThe exact time of the new year is calculated by astrologists and occurs during the venereal equinox; this is tahvil. Throughout history, people have been informed when they hear “Haji Firooz” being sung. A special person crossing through their neighborhood and the singing and dancing would spread the news of Nowruz. He is dressed in a red satin outfit and has his face painted as a disguise. A few minutes left to tahvil, families and friends gather around the Haft Seen Table.\n\nTo Visit Elderly\nThe joyful moment of tahvil is delightful for people, and they want to share the good feeling with those beloved and close friends and relatives. The priority is to visit with the elderly on the new year, where they serve fruit, sweets, and nuts, and children receive small gifts or an amount of money called eidi from their grandparents. This is why children are so passionate for these visits. These visits continue depending on how busy the adults are or until the last day of the Nowruz holiday.\n\nSizdah Bedar\nOn 13 Farvardin, the last day of the Nowruz holiday, people will leave their places to spend the day in the countryside. It is called sizdah (thirteen) bedar (out) to accompany nature through the change of the seasons. They bring their sabzeh and get to tie grass and make wishes like making a wonderful spouse or wishing for money, and after that they throw it into running water.\n\nPhoto : Celebratory foods for Nowruz © Mohammad ShirkavandYear2020NationIran
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Ever wondered New year celebration in the Himalayas?Nepal is a country of Himalayas boasting the world’s tallest peak, Mt. Everest. Here different caste people live in harmony. Each caste has its language and culture. So, no wonder about having its own New Year as well. Before jumping towards the topic, I would like to introduce the people of the Himalayas. Sherpas, Gurungs, Tamangs, etc. are the biggest ethnic groups that live nearby the Himalayas. Sherpas, who are famous as mountaineers, live in the lap of mountains. Tamangs, Gurungs, etc. are other ethnicities that live in the mountain as well as hilly areas of Nepal. Apart from owning the beautiful snow-clad mountains, these ethnic groups also have their own culture and tradition which is celebrated by the whole Nepalese.\n\nAmong them, Losar is a major festival for the Buddhists people living in the Himalayas. ‘Lo’ means ‘year’ and ‘Sar’ means ‘new’, which means “New year” in the Tibetan language. Rather than Nepal, Losar is also celebrated in Tibet and Bhutan. It is celebrated on the first day of the Lunisolar Tibetan Calendar which falls in February or March according to the Gregorian Calendar. Nepal celebrates three different Losar and is called Tamu Losar, Sonam Losar, and Gyalpo Losar. Tamu Losar is celebrated by Gurung communities, Sonam Losar is celebrated by the Tamang communities whereas Gyalpo Losar is celebrated by the Sherpa community. Even these three Losar are celebrated on different dates, the way of celebrating it is very similar due to their similar lifestyle.\n\nOn Losar day or New Year, all people of the community wear their traditional costumes and gather in the square and celebrate it merrily. They sing their traditional songs, dance in their traditional style. They even celebrate by holding competitions for fun. Like all other festivals we celebrate, Losar is also a festival of family and relatives gathering. On this very day, traditional food is served to all guests who visit their homes. They even perform ritual activities to get relief from bad lucks and they also visit the Buddhist temple and chant their prayer for the prosperity of their family. During the festival, people forget the past thing and forgive each other by exchanging gifts. So, all can have their fresh new start with social harmony and with a new hope.\n\nThis day is a very important day for the young generations as they are learning not only their culture but also songs and dances too. Songs and dances are taught orally at the scene itself, and children learn them. Hence there is no doubt that Losar is a living heritage, that is transmitted from one generation to another generation.\n\nBut due to the rapid change of communities in Nepal, the celebration of Losar is deducting day by day. Young people are moving to the big cities and developed countries. New generations are not as involved as they used to be before. Therefore, to protect their culture and tradition, these ethnic group peoples are doing rallies in Katmandu on Losar day. All different caste people, who celebrate Losar, gather in the rally by wearing their traditional dress performing their cultural songs and dances, and enjoying the local food. They enjoy the whole day festival by doing cultural rallies, singing and dancing as well as making new friends.\n\nTo sum it up, Losar is more than a festival of New year. It is an Intangible Cultural Heritage. This festival brings new hope to the people who celebrate it. It is directly related to the lifestyle of the community as they gather and celebrated it together. But more than that it is a living heritage when they are practicing their songs and dances orally and teaching to the coming new generations. Since the Losar festival, as well as the songs and dances in the festivals, are not recorded, it may extinct at any time. Therefore, with its cultural significance, it is truly a Cultural Heritage of Nepal that should be safeguarded as soon as possible.\n\nphoto : Dance in Tamu Lhosar © Puskapuku123Year2022NationNepal
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Ganggangsullae Public Event, a Play under the MoonlightThe Ganggangsullae public event was held on the morning of May 22 at Unrimsanbang Square in Jindo-gun. Ganggangsullae, a UNESCO Intangible Cultural Heritage of Humanity and Korea’s National ICH, presents performances to the general public every year, sponsored by the National Intangible Heritage Center and the Korea Cultural Heritage Foundation. Ganggangsullae bearers and the members of the preservation committee performed at the event.\n\nGanggangsullae is a song, a dance, and a game. The basic composition of the song is that the lead singer sings the chant, followed by a group of people singing ‘ganggangsullae’. It was important to sing with good lyrics. Sometimes the singers quoted lyrics from pansori and folk songs, but also wrote lyrics about what he/she saw and experienced in his/her daily life. A good lead singer was so important that he/she was called from various villages during the Ganggangsullae season.\n\nThe basic dance with singing is to go round and round in a circle. Start by holding hands with the people on either side and skipping counterclockwise in a circle. Sometimes a person enters a circle and dances, forming several small circles, straight lines, and curves.\n\nThe exciting dance soon leads to play. The formation is moved between the round ganggangsullae, which is called sullaenori. Ganggangsullae and sullaenori together are called ganggangsullae.1. The game encourages the spectators to make a louder sound, and the yard is filled with people’s excitement through the round circles made by joining hands.\n\nTherefore, Ganggangsullae can be called a festival in name and reality. A big festival was held on the full moon in January, Baekjung in July and Chuseok in August, centering on the Southwest Sea coast, and a crowd of young people from the village led the game of Ganggangsullae. It was mainly led by women, but men and women performed together.\n\nPeople gathered in the yard of the wealthy noble men, the sandy beach, and the riverside sand. The villages were officially united to play, and there were people who climbed the mountain and crossed over to visit other villages. Ganggangsullae was a festival that excited young people to the point where they went on an expedition by hiking at night.\n\nPlay induces improvisation. In the past, there was no set order, nor formation, and people played however they wanted to play. Every little thing that they saw and experienced in their daily life became the lyrics of a song, and it became a song by adding melodies. The lyrics to sing along were different for each region. In this village, it was called ‘Ganggangsullae’, while in other villages it was called ‘Ugwangganggangsullae’, ‘ganggangdosullae’, ‘sullaeyaha’, and ‘gwanggwangsullae’.\n\nHolding hands can only be accomplished with someone else. The same goes for dancing and playing to the beat. In Ganggangsullae, a person can experience becoming a member of a community. Because we played together between people, generations, and villages, the things that were there and those that didn’t exist flowed and mixed with ease. It can be inferred that ‘Ganggangsullae’, which everyone sings together, has the power to give diversity and a sense of belonging.\n\nPicture 1: Ganggangsullae © Daejeon Metropolitan City, Korea Open Government License Type 1, Source\nPicture 2: Ganggangsullae of Haeundae Daeboreum © Busan Metropolitan City, Korea Open Government License Type 1. SourceYear2022NationSouth Korea
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Online BharatanatyamBharatanatyam is the oldest classical dance traditions among the eight classical dances of India. It has its origin in the southern parts of the country. The art form has its beginning as a temple tradition and later evolved on to the proscenium stages. The history of Bharatanatyam is as vibrant as the cultural traditions of south India, especially Tamil Nadu. The sculpture, fine arts, music, and every other art tradition is interlinked with this age-old art form which successfully retains its significance until today.\n\nTraditional Bharatanatyam follows a seven-part presentation, which is called margam. The art form generally includes a solo dancer and musicians along with on or more singers. The music and vocal performance and the dance movements trace back to the ancient Natya Shastra, and many other Sanskrit and Tamil texts.\n\nThe solo Bharatanatyam dancer wears a dress that resembles a Tamil Hindu bridal attire. She wears a brightly colored sari, specially designed for the dance to accommodate the dancer’s movements. Her body is also adorned with jewelry—on her ears, nose, and neck that outlines her hair.\n\nGiven our current situation with COVID, much of world is going digital, and performing arts are also adapting. However, online Bharatanatyam sessions are offered by Aiswarya Lakshmi. The sessions allow participants to have a similar learning experience from a mentor or teacher. Having gotten her Bharatanatyam training from the prestigious Kalakshetra Foundation, India, her sessions follow the dancing and teaching methods of the school. The focus on the Bharatanatyam vocabulary and basics of dance textual traditions will sculpt a participant into an artist themselves and a better connoisseur of classical Indian arts.\n\nFor further information, send Aiswarya Lakshmi a message at lakshmi.aiswaryaa@gmail.com\n\nPhoto 1 : Dear All, Image courtesy of Prateeba Mayuran, Bharatanatyam and Kuchipudi dancer, Dance photographer, Chennai, India\nPhoto 2 : Handful of Flowers, Image courtesy of Prateeba Mayuran, Bharatanatyam and Kuchipudi dancer, Dance photographer, Chennai, IndiaYear2021NationIndia
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The Giant Lantern Festival of the PhilippinesOwing to its Catholic traditions, the Philippines is perhaps one of the few countries in the world that celebrates Christmas the earliest and the longest. The country marks the Christmas holidays starting from 1 September. Shopping malls and shops will start displaying Christmas decorations; families will start to put up Christmas trees in their houses; and Christmas songs will be heard almost everywhere.\n\nSan Fernando, a city located in the province of Pampanga, is known as the Philippine Christmas capital. The city is famous for its colorful and handcrafted lanterns that had been part of the province’s Christmas traditions since the 1900s. The Christmas lantern is called parul sampernandu in Kapampangan, the local language of the Pampanga province or parol in Filipino. The origin of the word parol came from the Spanish farol, which means lantern or light. The lanterns symbolize the Star of Bethlehem, thus most lantern designs from San Fernando incorporate a star caricature. In the Catholic tradition, the Three Kings are believed to have followed the Star of Bethlehem that led them to find the Child Jesus in a manger.\n\nEvery December, the Giant Lantern Festival (Ligligan Parul in Kapampangan) is held in San Fernando. The lanterns are transformed like gigantic glowing stars with rotors that synchronize thousands of dancing lights and the sound of Christmas melodies. Usually the giant lanterns are about six meters tall and hung up in the air. Decorated with thousands of light bulbs, capiz shells, and fiberglass, the giant lanterns are stuck to polyvinyl plastic. It is a festival for the eyes; people flock at night to witness the grand salvo of lights and sound.\n\nThe Giant Lantern Festival is also a competition where various barangays in Pampanga compete to win for the most beautiful giant lantern in the province. The locals take pride in their province’s competition as it is where they showcase their creativity and knowledge in crafting the intricate designs of giant lanterns. Tracing back to the country’s colonial history, the lantern-making tradition in San Fernando Province is influenced by the Spanish. The Spanish encouraged the local people to have lantern processions in honor of Our Lady of La Naval or the blessed Virgin Mary. In the past, the people would have a nine-day novena called lubenas, which was usually held before Christmas. The religious tradition has evolved to become the Giant Lantern Festival where people flock to witness the spectacular yuletide festival.\n\nPhoto : 2012 "Ligligan Parul" Giant Lantern Festival CCBYSA3.0 Ramon FVelasquez / WikiMediaYear2018NationPhilippines
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ICHCAP ICH Video Documentary Series #6: Traditional Igal Dance in the PhilippinesIgal is a fast but gentle dance that is shared by the Sama people of Tawi-Tawi Island, located in the southernmost part of the Philippines, and the people of the western provinces of Mindanao. Igal is called Pangalay in Tausug and Pamansak in Yakan, all meaning ‘dance’.\n\nIgal has no specific choreography and is improvised without repeated movements. It is also rooted in the form of worship performed with the body. It expresses the ecstasy that accompanies the tauhid, that is, the manifestation of a divine being, and tries to become one with nature through dance and get closer to God. Igal is a dance of the moment. Basically, there is no song, and it proceeds in smooth and soft movements according to the sound of traditional instruments, and this music is an important element that inspires the dancer’s movements. While other dances move faster in proportion to the beat of music, the Igal dance moves slower as the music speeds up. Also, when performing the Igal dance, an ornament called Janggay is worn on the fingers, which maximizes the movement of the fingers to add elegance and artistry. The characteristic of dancing is to not stop moving the hands until the end of the dance, and to avoid excessive body movements.\n\nThe Igal dance is an important element that expresses the cultural identity of the Sama people, and it has inspired modern dance and contemporary art creations in the Philippines. In the Simunul region, local festival dances were created based on the Igal dance, and this phenomenon is an important part of the life of today’s generation, and it is an important example of vitality and reinvention handed down to tomorrow’s generation.\n\nThe Igal dance:\nhttps://www.youtube.com/watch?v=eViUTF7id68&list=PLXen1g2tAaHDVurZGxieuywxmvMjFfgPZ\n\nThis traditional Igal dance of the Philippines video is one of the 10 ICH video Documentary Series, which is the result of the collaborative project between ICHCAP and National Commission for Culture and the Arts(NCCA) in the Philippines. Both organizations aim to raise visibility and strengthen the public’s access to ICH in the Philippines through this project.\n\nVideos represent the most accurate method of capturing ICH as it exists in the real world, as well as being effective tools for communicating with the public. ICHCAP will endeavor to continue vividly documenting the scenes of ICH that are hidden across the Asia-Pacific region with the aim of raising the profile of ICH elements as treasures of humanity and introducing them to the public.\n\nPlease refer to the brochure for more information on the Philippines ICH video documentary.\n\nPicture 1~6: Traditional Igal Dance in the Philippines © ICHCAPYear2022NationPhilippines
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Dance of Fools: The Awa Dance Festival in Tokushima, JapanThe Awa Dance Festival, also known as the Awa Odori Dance Festival, is the largest traditional festival in Tokushima Prefecture, Japan, and has over four hundred years of history. It is held in mid-August every year. Awa is the old administration name for Tokushima, and odori means dance. As a folk dance in the region, Awa odori originated from a Buddhist practice. It is generally believed that a collective dance style was added to a priestly dance to honor the spirits of ancestors, leading to today’s Awa odori.\n\nThe Awa Dance Festival is held as part of the Obon Festival, a major Japanese holiday. This year, festival will be held for four days, from 12 to 15 August. The main celebration starts around 6:00 p.m. in city centers and continues until 10:30 p.m. People dance in parks and stage areas and parade through the streets. Large crowds come from around the country to see and enjoy Awa Odori, which is also called “dance of fools” after old Tokushima saying:\n\nThe dancing fool and the watching fool are both fools, so why not dance?\n\nAt this time of year, over a thousand groups of choreographed dancers (ren) from around Japan register for the festival. Other non-ren dancers also gather to present voluntary performances. Spectators are also free to join the festivities. As such, Awa Odori can be better enjoyed through collective dance steps. Typically, men dance in a powerful style while women dance in a more graceful fashion.\n\nTo spur the excitement, ren dancers play hayashi, an essential part of the festival, with traditional musical instruments, such as with flutes, drums, kane gongs, and three-stringed shamisen lutes. This combination of flute and percussion instruments is called norimono. The kane player leads the group; flutes produce melody; drums provide a rhythmic base, signaling the start of the festival.\n\nDuring the festival, visitors can enjoy Awa Odori performances on stages in city centers. The Awa Odori Kaikan is one of the main indoor stages, where outstanding groups present Awa Odori demonstrations. The most notable feature of the festival is that it encourages all people, not just ren dancers, to participate in the festival; people voluntarily establish and join related associations and promote the festival themselves, which have led to the festival’s success. To take part in the festival and have a chance to dance on stage, one can join the Niwaka Ren to learn choreography.\n\nPhoto : Group of female dancers at the Awa Odori Matsuri in Tokushima. CCBY3.0 Stemu2000 (Wikimedia Commons)Year2018NationJapan