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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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Memory and ICH in KyrgyzstanKyrgyzstan, a landlocked country the territory of which is more than 94 percent mountainous, is among the most attractive lands located at the heart of Asia on the ancient Silk Road trade routes. The cultural heritage of the Kyrgyz people has been greatly influenced by their nomadic history. Kyrgyz people occupy a unique cultural environment and have a rich ICH. The vitality of this cultural heritage is safeguarded and transmitted from generation to generation as collective memory, orally or through practice and expression.Year2021NationKyrgyzstan
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Masterpieces of Oral Tradition and Expression Kyrgyz Epic HeritageThe oral tradition of the Kyrgyz people is the basis of a unique intangible cultural heritage that reflects Kyrgyz cultural identity. Oral heritage, developed over centuries, depicts the history and culture of the Kyrgyz people. Their creativity has been proven to survive exclusively in an oral form for many generations. This oral tradition represents a unique layer of traditional knowledge, making it a valuable source of cultural and traditional values and evidence of the development of the sociopolitical history of the Kyrgyz people. Kyrgyz oral heritage takes a wide variety of forms, including songs, fairy tales, proverbs, and riddles. These can all be different in terms of content and structure. Depending on the genre, oral tradition can reflect history, legends, fairy tales, or lore, which can be important in educating younger generations about the value of peace, attitudes toward nature and people, and love for the motherland. Many traditional oral works portray the main characters as defenders of their native land, arousing a sense of pride, and also depict the rich nature of the Kyrgyz land, nourishing love for their home. Some elements of oral tradition such as songs and folktales tell the stories or the specificities and peculiarities of the everyday life of Kyrgyz people. Folktales also reflect the esthetic views of the Kyrgyz people and teach us to recognize beauty, rhythm, and skillful use of language.\nYear2020NationKyrgyzstan
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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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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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The National Program for ICH Safeguarding in MongoliaBy the 68th resolution of the government of Mongolia, the National Program for Safeguarding Intangible Cultural Heritage was approved on 13 February 2019. This national program will be implemented between 2019 and 2023, and it has six parts.\n\n 1. Justifications\n 2. Objectives, purposes, and duration\n 3. Activities to be implemented within the framework of the national program\n 4. Evaluation criteria for implementing the national program\n 5. Financing the national program\n 6. Monitoring and evaluating the implementation of national program\n\nSeveral articles associated with protecting and safeguarding traditional culture, its transmission, development, research, and dissemination were reflected on the Constitution of Mongolia, the National Security Concept of Mongolia, the Concept of Mongolia’s Foreign Policy, the Concept of Sustainable Development of Mongolia, the State Policy on Culture, the Law of Culture, the Law on Protection of Cultural Heritage, and the Law of Mongolian Language.\n\nThe Mongolian Law on Protecting Cultural Heritage was amended in 2014 by the State Great Khural for regulating relations associated with the fifteen ICH classifications, the rights and duties of ICH practitioners, an organization of transmission activities and so on.\n\nBetween 2005 and 2016, the government of Mongolia approved and implemented national programs for ICH elements, including morin khuur, traditional long song, and Mongol khoomei, which were inscribed on the Representative List of the Intangible Cultural Heritage of Humanity, and Mongolian traditional folk dance bii biyelgee, Mongol epic, and Mongol tsuur, which were inscribed on the List of the Intangible Cultural Heritage in Need of Urgent Safeguarding. The NCCH has taken part in implementing these programs. As a result, these national programs have had positive changes in safeguarding ICH, such as identifying ICH practitioners from elders, organizing apprenticeship training, promoting traditional culture and cultural heritage abroad and nationwide, transmitting ICH to younger generations, building pride in ICH, and self-researching ICH.\n\nThe national programs were implemented only for the folk performing arts domain—one of the five UNESCO domains of ICH—but were not implemented for the other domains.It is a demanding task to implement ways to increase and improve research and safeguarding efforts for ICH in every domain represented in nomadic culture as well as to promote ICH abroad and nationally, and, at the same time, also increase the social and economic status of ICH practitioners while improving their skill and opening possibilities to introduce the cultural industry as a form of a tourist product.\n\nThe main objective of this national program is to identify ICH elements of ethnic groups in Mongolia and to research, register, document safeguard, transmit, and disseminate the ICH elements abroad and nationally.\n\nWithin the program’s framework, the following objectives were put forward to be implemented:\n\n-To improve the policy and legal environment of ICH and to intensify the implementation of the UNESCO 2003 Convention for Safeguarding of Intangible Cultural Heritage\n-To improve research, documentation, and activities of ICH registration and information database in accordance with international standards\n-To organize and conduct activities associated with raising the general public’s awareness about ICH and disseminating ICH abroad and nationally based on intersectoral cooperation\n-To increase the ICH specialists’ capacity and support ICH practitioners\n\nPhoto : Sambuugiin Pürevjav of Altai Khairkhan (an overtone singing ensemble from Mongolia) playing a morin khuur near Centre Georges Pompidou in 2005 CCBY 2.5 Eric PouhierYear2019NationMongolia
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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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Mongolian Culture and HeritageThe culture of the Central Asian steppes expresses itself vividly in the lifestyle of traditional nomadic practices. Mongolian culture has been in practice in the nomadic life and the traditions surrounding the nomad’s home (ger). And it is present in religious celebrations, national festivals, art and crafts, music and dance, language and literature, which form the backbone of Mongolian intangible cultural heritage of Mongolia. Mongolia is filled with valuable cultural properties and intangible cultural heritage of humanity that have been kept or practiced for thousands of years.\n\nGer, Mongolian Traditional Dwelling\nThe traditional architecture of the Mongols differed strongly from that of the settled peoples of Asia and other continents. Centuries ago, there the ger, also known as a yurt, appeared. It still offers shelter to nomads in particular places in Central Asia. Its development and fundamental principles are determined by the specific features of the way of life of Mongol tribes, which made it necessary to evolve a light and collapsible structure to be used as a dwelling or for public functions.\n\nMongolian Language and Literature\nMongolian is the language of most of the Mongolian population and inner Mongolia. By origin, Mongolian is one of the Altaic family of languages, and the history of the Mongolian language is long and complicated. Significant literary work of early Mongolia includes The Secret History of the Mongols, which was published in 1228).\n\nMongolian Religion and Beliefs\nThe Mongols have practiced several religions, of which Shamanism and Buddhism were the most common. The faith in Mongolia is Buddhism, though the state and religion were separated during the socialist period, but with the transition to the parliamentary republic in the 1990s, there has been a general revival of faiths across the country\n\nMongolian Art and Crafts\nMongolian arts and crafts have been passed down across generations from the Paleolithic times to today, leaving behind deep impressions on all facets of life and conscious, aesthetic, and philosophical thinking. Highly developed Mongolian arts and crafts come from the second millennium BCE. The works included sculptured heads of wild animals with exaggerated features. Other items include knives, daggers, and other items of practical and religious use.\n\nMongolian Music and Dance\nMusic is an integral part of Mongolian culture. Among Mongolia’s unique contributions to the world’s musical culture are the long songs, overtone singing, and morin khuur (the horse-headed fiddle). The music of Mongolia is also rich with varieties related to the various ethnic groups of the country. Among the most popular forms of modern music in Mongolia are Western pop and rock genres and the mass songs written by contemporary authors in the form of folk songs.\n\nHorse Culture of Mongolia\nIt is famously known that horses play a large role in the Mongols’ daily and national lives. Common sayings are, “A Mongol without a horse is like a bird without wings,” and “Mongols are born on horseback” these are arguably true words. Even today, horse-based culture is still practiced by nomadic Mongolians.\n\nVisit https://www.toursmongolia.com/tours for additional information about Mongolian culture.\n\nPhoto 1 : Prairie meadow grass inner Mongolia traditional clothing © Batzaya Choijiljav\nPhoto 2~7 : © Batzaya ChoijiljavYear2020NationMongolia
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Neighbourhood Sketches: Bringing ICH onto the StreetsKampong Gelam is an historical precinct that was originally conceived by Sir. Stamford Raffles to be a settlement area for the Malay, Arab, and Bugis communities in Singapore. In 1989, the core area of Kampong Gelam was gazetted for conservation by the Urban Redevelopment Authority. Today, the historical precinct continues to retain a strong Malay and Muslim identity with both traditional and modern trades attracting locals and foreign tourists alike.\n\nLocated at the heart of Kampong Gelam is the Malay Heritage Centre, a heritage institution managed by the National Heritage Board. The center serves as a showcase of Malay heritage and culture in Singapore, as a focal point for the Malay community in Singapore and a place-maker for the historical precinct. It also presents exhibitions and programs that showcase the intangible cultural heritage (ICH) of the various sub-communities within the wider Malay community.\n\nIn 2011, the Malay Heritage Centre conceptualized and introduced its signature program known as Neighbourhood Sketches. Neighbourhood Sketches is a series of regular outdoor performances held within Kampong Gelam. The program brings the rich and diverse ICH art forms of the Malay community closer to the public through regular street performances outside the walls of the center.\n\nSince the introduction of the program in 2011, the Malay Heritage Centre has presented a total of 126 performances that have attracted more than 23,000 participants. The different types of ICH art forms showcased in these performances included Wayang Kulit (shadow puppet theater), Dondang Sayang (performance involving the exchange of Malay quatrains set to music), Angklung (ensemble performance using instruments made from bamboo), Gamelan Melayu (ensemble performance using predominantly percussive instruments), Dikir Barat (Malay choral singing), Silat (Malay martial arts), and Kuda-Kepang (Javanese horse dance).\n\nWhen curating performances for Neighbourhood Sketches, the Malay Heritage Centre makes a conscious effort to showcase a broad range of ICH art forms practiced by and associated with the Malay community. In addition to staging performances, the center ensures that key characteristics of each art form are shared with the audience during every performance and, where applicable, interactive segments involving audience participation are also included.\n\nIn addition, the Malay Heritage Centre records performances staged as part of Neighbourhood Sketches as a means of documenting the ICH art forms presented. The centre also leverages on technology to promote the performances to raise public awareness and uses social media platforms such as Facebook Live to broadcast these performances so that they are able to reach out to a wider audience.\n\nThus far, Neighbourhood Sketches has received an overwhelmingly positive response, and the majority of the audience members surveyed requested more performances as well as certain other ICH art forms to be presented. In addition, 95 percent of the audience members agreed that watching the performances contributed to a better understanding and appreciation of Malay arts, culture, and heritage.\n\nIt is worth noting that the ICH practitioners who participated in Neighbourhood Sketches have also enjoyed being part of the program. In fact, many of these ICH practitioners were grateful for the opportunity to showcase their craft to a wider audience and informed the Malay Heritage Centre that they felt a stronger sense of pride as ICH bearers after participating.\n\nBesides showcasing the cultural expressions, practices, and art forms of the Malay community, the performances of Neighbourhood Sketches also serve to educate and entertain visitors to Kampong Gelam. In doing so, they contribute to the overall cultural vibrancy of the historical precinct by activating its streets by presenting performances that are engaging and reflective and respectful of the precinct’s identity, culture, and heritage.\n\nPhoto : Wayang Wong (traditional Javanese theatre) performance by Kesenian Tedja Timur in the historical Kampong Gelam precinct. ⓒ Malay Heritage CentreYear2019NationSingapore
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Oral Tradition of Maldharis of Banni Grasslands, IndiaKutch is a frontier district in the state of Gujarat, India, situated near the border of India and Pakistan. It is surrounded by Great and Little Rann of Kutch on the North, South and East and the Arabian Sea on the West. In the beginning of the twelfth century, Kutch was ruled by Chavda, Sama, Sanghar, Kathi and Solanki dynasties. Banni grasslands of Kutch, comprising of around 3000 sq.km area, is one of the biggest grasslands of Asia. This grassland acts as breeding and nesting ground for more than 250 bird species, including resident, winter migratory birds.\n\nGujharat is a culturally significant and unique oral tradition of the maldharis or pastoralist community of Banni grasslands in Kutch, which are folk riddles spoken in Sindhi language and are based on the seven traditional folk tales of Sindhi literature. These riddles include descriptions of the local flora and fauna, various elements of the surrounding landscape such as water, grasses, mountains, land etc, and also words related to activities associated with animal breeding. It originated around 1010AD and was practiced widely during the Sumra dynasty.\n\nGujharat is spoken in a poetic form and hides within itself a hidden words or paya or thip. When a maldhari composes a gujharat, he hides within it at least 2 to 10 payas. In order to decode a gujharat, the audience has to first guess the hidden words. The coded word is generally a common noun such as animal, man, woman, city, soil, wood, water etc. and the aim is to decode the proper noun for that common noun. Once the audience finds the hidden words, they have to start naming all the words related to that particular paya (common noun). Both wit and linguistic skill of the maldharis is tested while decoding the gujharat. Once the noun has been decoded, the narrator of the Gujharat concedes defeat and cries mari vai which means the gujharat is now dead. He then decodes the entire message in the poetic form. This poetic explanation of the Gujharat is called Sail.\n\nThe hidden meaning in a Gujharat is called Jhorni. Once the riddle has been broken, the one who narrated the gujharat speaks jhorni in a poetic form. Jhorni has to be spoken in a specific tone so that the sentiments and emotions of the Gujharat are conveyed to the audience.\n\nTraditionally, the maldharis or pastoralists of Banni grasslands would spend their evenings in the choupals (public gathering areas) and have sessions of performing gujharat, while the audience would have fun by decoding them. When the maldharis would gather while their cattle herds grazed in the grasslands at night, the gujharat sessions would go on all night long, with all the villagers participating enthusiastically. Rehan is a place of public gathering where male members of the community would originally gather to conduct Gujharat sessions. Nowadays, such gatherings also take place in Otaq, a room for male guests located adjunct to the main household. Special Mach Kacheri, a performing session of Gujharat is often organized in the Otaq. Mach Kacheri is also organized around a bonfire on a wintery night in open spaces in the village or forest. Maldharis often organize picnics called tola in the forest as well as near tad or sources of water, where singing of Sufi Kalam along with Gujharat takes place.\n\nGujharat are a unique oral tradition in the sense that they are one of a kind in the world. The whole process of constructing and solving the riddles is, in itself, a means of recreation and entertainment for the local pastoralists. However, the original objective of this oral tradition has deeper roots. The main aim of this oral tradition was to educate the local maldharis about the different elements and resources found in the cultural landscape of Sindh. The riddle decoding process would require the audience to speak out all the different names for the natural resources or animals in their region, which would make the riddle interesting while at the same time educate the audience regarding the flora, fauna, traditional knowledge systems and other resources of Banni. Since most of the maldharis did not receive any formal education, the mode of communication had to be oral, and in a way that would be easily accessible and understandable to the general public.\n\nGujharat has immensely helped in oral transmission of Sindhi folk tales to the newer generation. All the various aspects of heritage, be it natural or cultural, have been widely expressed through language, specially through the riddles in Gujharat. Due to intergenerational transmission over the years, gujharats have also been able to preserve oral histories, folk tales and have also recorded significant historical events in the region. The names of any extinct species of birds of animals are also preserved In the memory of the locals, through Gujharat. It is due to this reason that this type of oral tradition is considered unique and one of its kind in the world.\n\nPicture 1: A typical Gujharat Session in Banni © Aanchal Mehta\nPicture 2: Kambh: The traditional pose of sitting for Gujharat session © Aanchal MehtaYear2022NationIndia