Materials
metal
ICH Materials 261
Videos
(12)-
Models and Melodies of Komuz
The film is dedicated to the Kyrgyz folk instrument komuz. An expert on making and playing komuz shares an komuz origin story. The film shows the interconnectedness between the models and melodies of komuz. Outstanding komuz makers and players as well as komuz beginners present some classical komuz melodies in the film.
Kyrgyzstan 2017 -
A Pact for Peace - A Pact for Peace A Journey to Kalinga
▶ Play 3. A Pact for Peace A Journey to Kalinga\nThis episode was first aired on Filipino television on April 18, 1996. This episode has been modified from its original format.\n\nAn animal was offered in the context of the Kalinga cultural ritual.\nHistorically, the Kalinga is a mixed group (Calinga, Kalingga, Kalina’), but it is now considered as a more or less homogenous group in the province of Kalinga. Subgroups of the Kalinga may also be found in the adjoining provinces of Apayao, Abra, Ilocos Sur, and Cagayan. There is a small group of people in the province of Ifugao also called Kalinga but who are not related to the central Kalinga population. The core area of the group is in the drainage areas of the Chico River and its tributaries in northern Cordillera. One of the ways in which this culture has been subgrouped is as follows: Balbalan (northern), Lubuagan (southern), and Maducayan (eastern). Another suggested subgrouping is: (1) Giad’an Balbalasang, (2) Sumadel, (3) Lubuagan, (4) Nabayugan, (5) Ablig Saligsig, (6) Kalagua, and (7) Mangali Lubo. In addition, there is a little-known highly mobile group in the Kalakad-Tupac area in east Tanudan.\n\nThe members form a mixed group of people thought to be descendants of migrants into the area from the Cagayan Valley to the east and the province of Abra to the west. There is a marked difference between the northern and southern populations due to the introduction of wet rice terracing in the south from Bontoc. An eastern grouping caused by eographic circumscription is also recognized. The society is organized into endogamous groups stemming from budong (peace pact) alliances. Because of their dress and personal ornamentations, the Kalinga have been dubbed the “Peacocks of the North.” Two distinctive features are the octagonal house in southern Kalinga, and the peace pacts that they enter into to preserve relationships between neighboring groups. Settlement areas are denser in the south.\n\nAgriculture is also carried on in terraces, though on a smaller scale than the Ifugao and Bontoc, and field preparation is done with the use of draft animals. Rice is the principal crop. Swidden crops include beans, sweet potato, corn, sugar cane, and taro. Coffee is a popular cash crop. The Kalinga are also known for their pottery, baskets, and metal craft.\n\nAlthough in the past, peace pacts had been common among the numerous ethno-linguistic groups, the budong of the Kalinga has caught the country’s imagination. Warring groups enter peace-enhancing arrangements through an elaborate procedure and the holders of each party keep token symbols from the other holders. These symbols ensure that the communities adhere to the terms of the pagta, the rules dictated by the pact.
Philippines 1996 -
The T’boli A People Who Live with Art
▶ Play Video 7. The T’boli A People Who Live with Art\nThis episode was first aired on Filipino television on September 19, 1996. This episode has been modified from its original format.\n\nThe T’boli (Tagabili, Tiboli), together with the B’laan to the east and Teduray to the north, are in a single language group distinct from the remaining language groups of Mindanao. The T’boli traditionally live in scattered ettlements in the highlands of southwestern Mindanao, in the province of South Cotabato. The cultural communities surround the complex of highland lakes—Lake Sebu, Lake Selutan, and Lake Lahit. Settlements are composed of family clusters of fifteen or more households. Clusters are at elevations averaging 3,000 feet above sea level. Recently, these settlements have grown to comprise thirty or more households. Each settlement has a ceremonial house called a gono bong (big house). Members of such communities are usually related by kinship.\n\nThe T’boli practice swidden farming, cultivating highland rice (teneba), the staple food, potato, sugar cane, taro, and sweet potato. Corn and coffee are considered cash crops. Owning a horse is an indicator of economic status. Forests function as the main source of food, and the main source of protein is lake fish.\n\nThe T’boli are noted for their backstrap loom textile, t’nalak, which is woven from tie-dyed abaca fiber. Personal ornaments made of multicolored beads and embroidered blouses and hats are other notable features of the T’boli. Small household metal industries use the lost-wax process to manufacture cast brass bolo handles, figurines and betel-nut containers, and other ornaments.\n\nWhile the kinship system is bilateral, there is a strong male dominance. The father leads the household, and the oldest male leads joint and extended families. The oldest male child takes over this dominance upon the death of the father. If there is no son, lomolo is practiced, whereby the father’s eldest brother assumes the wealth of the deceased and claims the latter’s wife as his own.\n\nThe communities are also linked through a recognized leader, the datu, who does not officially command but whose word is respected because of his status, economic means, reputed courage, skill in settling disputes, and wisdom in the interpretation of custom laws. The position is achieved through community validation. He traditionally acquires rights over a person for whom he has paid an unsettled debt.\n\nA major social ritual of the T’boli is the mo-ninum, which is usually celebrated for a marriage and includes a multilateral exchange of articles of wealth (kimu). After six ceremonial feasts, for which the families take turns being hosts (moken) and guests (mulu), the ceremony climaxes with the marriage itself. The whole cycle may take many years to complete and sometimes results in the construction of a gono mo-ninum, a huge house that can accommodate more than two hundred people.\n\nMaguindanaoMandayaKalingaSubanonTagalogManobo
Philippines 1996 -
Uwang Ahadas - A Yakan Virtuoso
▶ Play Video 8. Uwang Ahadas A Yakan Virtuoso\nCourtesy of the Gawad sa Manlilikha ng Bayan Executive Committee\n\nThe Yakan inhabit the island of Basilan just off the southern tip of the Zamboanga Peninsula of western Mindanao, particularly in the municipalities of Tipo, Lamitan, Sumisip, and Tuburan, and the islands of Sacol, Malanipa, and Tumalutab east of Zamboanga. The Yakan belong to the widespread Sama group, and their culture has become too specialized to be distinguished as a distinct group.\n\nThe Yakan’s language is closely related to the Sama, but their culture is more land orientated rather than the sea based. Agriculture consists largely of upland rice, although copra is also widespread. The main religion is Islam with syncretic elements from traditional and indigenous beliefs.\n\nThe Yakan are well-known for their elaborate dress, which is similar for males and females. For instance, both wear trousers. Noteworthy articles include the kandit, a fifteen-meter-long red sash worn by men, and the pinantupan, the women’s overskirt. Textile weaving done on the backstrap loom is much sought after, especially because of the intricate and beautiful motifs. The Yakan is one of the few groups that use tapestry loom producing the sophisticatedly woven pis syabit (headscarf for men) and seputangan (head cloth for women).\n\nThe Yakan have a rich musical tradition based on the pentatonic scale. Their musical instruments are usually made of bamboo, wood, and metal. The daluppak is a digging stick with a bamboo clapper. The kopak-kopak is a bamboo clapper on a stick. The kwintangan kayu is a percussion instrument consisting of five wooden beams suspended horizontally. The ends of the beams are tapered, and these are beaten. It is associated with planting and played to enhance plant growth. The wooden tuntungan is a suspended wooden ercussion plank with jar resonators, played with a pole during the harvest season for the purpose of giving thanks. The gabbang is a bamboo xylophone with five bars. The suling is a bamboo mouth flute used by men in courting. Another used by men to express love or admiration is the kulaing. The kulintangan or kwintangan consists of five bronze gongs arranged according to size and used during celebrations. The agung is a large deep gong used in ensemble performance.
Philippines 1996 -
A Sound for the Spirits - The Buklog of the Subanons
▶ Play Video 4. A Sound for the Spirits The Buklog of the Subanons\nThis is a shortened version of the Travel Time episode “A Subanon Celebration,” which was first aired on Filipino television on March 21, 1996. This episode has been modified from its original format.\n\nAnimals were offered in the context of the Subanon cultural ritual.\n\nThe Subanon or Subanun people of the upstream may be found on the western Peninsula. The population core areas are in Katipunan. The known subgroups parallel the linguistic variations and micro-adaptations to social and physical environment and comprise: (1) Misamis, (2) Lapuyan, (3) Sindangan, (4) Tuboy, and (5) Salug.\n\nThe cultural and technological adaptation is upland riverine. They practice swidden cultivation on mountain slopes. The traditional settlement pattern is highly dispersed with a few residential structures on top of ridges near potable water sources. The houses are placed adjacent to cultivated fields. They favor locations near springs where water gushes out of rocks over contiguous to streams.\n\nRice is the preferred food crop, but fields are also rotated and intercropped, planted with corn, sweet potato, and cassava. Land problems and soil degradation have forced some of the people to recourse to wet rice agriculture where the topography allows. Metal craft and backstrap weaving are practiced. They have maintained trade with coastal peoples for centuries, as indicated by the presence of Asian stone and ceramic trade wares. Present-day Subanon are usually nonaggressive. There are indications that in the past, the people were required to provide a “soul companion” for an important deceased relative.\n\nUnique to the Subanon is their set of rituals, the buklog, the main feature of which is a huge dancing platform (buklogan). This structure is raised some 10 to 18 feet high and consists of a highly resilient platform supported at the corners by upright posts. A long pole is passed through the middle of the platform and extends upwards like a maypole. Below it is a short thick hollowed log that lies above a trench filled with empty jars functioning as resonating chambers. The pole rises and falls when dancers rhythmically bounce on the platform. The booming sound invites people to come and join in the ritual and festival. There is feasting, wining, and dancing lasting for days, with as many as two hundred people dancing on the buklogan continuously, day and night.\n\nThe ritual consists of a complex set of rites performed before the culminating event, usually near waterways, and which serve to propitiate spirits. The buklog is a prestige ritual that has a multitude of functions, such as celebrating well- being and a good harvest, and giving thanks to appease spirits after an illness. It may also honor personalities, welcome back homecomers, or praise a new timuay (leader). Finally, it is held to pay respects to the spirits of the dead, for the final sending of the spirit of the ancestor and the death anniversary of a grandparent.\n\nThe Subanen form a subgroup and are related to the Subanon but are concentrated in Siocon, Zamboanga del Norte.
Philippines 1996 -
Bhutanese Traditional Pen-making(CLEAN)
#bhutan #유네스코아태무형유산센터 #bhutanculture \n\nThe term Si has dual connotation of referring to the Calligraphy pen as well as to the specific bamboo from which pen is crafted. According to Lopen (master) Wangdi Gyeltshen, a renown calligrapher of Central Monastic Body said that, there is also another reed locally called Tshi-nag (a reed with dark colour at its internode) which is available from Wangdi-tse monastery area in Thimphu. Actually, there is no specific origin of the Si as it came to exist simultaneously with the writing culture in Bhutan.\n\nColloquially, all pens used for writing purposes are called as Myu-gu, which the name derived from its raw material Myug-ma (bamboo or reed). That is why any pen used for writing available in the market today, irrespective of what it is made of are commonly called Myu-gu (literally means reed pen). As there are different types of My-gu, thus, apart from the aforementioned Si, the pens are made from a wild fern called Kyer-ma is called Kyer-myug, and the ones made of quill is dro-myug, the nib made from metal is chag-myug. Similarly, sol-myug made from dead amber or charcoal, a talc stone is cut like a pencil for use -do-myug, the chalk comes in packets and used for educational purposes in schools is sa-myug. There are also pir-myug (brush pen) and lastly, the zha-myug, the lead pencil.\n\nRegarding the raw material; in Bhutan, Si is traditionally found at Chagdana in Toepai Gewog (Block) in Punakha, and near the Nag-tshang (Manor) at Drametse. It is also found in Kheng region of Zhemgang and at the Yarphel village of Trashi Yangtse district. Si is highly valued as being blessed by superior beings like Lord Manju Shri, Guru Rinpoche, the five classes of dakinis and the Dharma Lord Drukpa Kunleg (4155-1529). Si grows as big as normal bamboo, with short culm or internode, narrow lacuna and thick culm wall. They grow in heights of more than five arm-span. Both the plant and its leaves are generally yellowish. In ancient times, a writing pen was mainly a painting brush in China and in India it was made from the quill (moulted flight feather) of a peacock or other large bird. It is explained that the pen used traditionally in Tibet and Bhutan was made from the plant species called Si, which has thick nodes and grows mainly at lower altitudes.\n\nIt is obvious that, if writing tradition is gradually disappearing, both the art of making Si as well as its usage is an inevitable element to be gone together. Due to the booming computing technologies and automatic printing machines, the writing along with Si related practices are being gradually driven out of its existence however, realizing its importance and for its revival, His Majesty’s Golden Scriptures Project and other similar projects being initiated by some individual Spiritual masters had help in revitalization of such tradition as well as involving calligrapher to carry on the writing and Si making culture amidst the emerging sophisticated technologies.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874510108445676802
Bhutan 2023-07-01 -
Hne: gyi: (Big Oboe)
The hne or oboe- like wind instrument occupies a critical position in the Myanmar music troupe. It belongs to the group of wind instruments and can cover the chromatic scale. It is found portrayed on the wooden door of the northern building on the platform of Bagan's Shwezigon Zedi. There are two kinds of hne, the big and the small. The hne consists of five parts:\n1. Reed which is made of the leaf from the toddy palm;\n2. Mouth piece made of gold, silver, brass, bronze or steel\n3. Tube or body of wood from padauk, yindaik, pyinkado, teak\n4. Horn\n5. "dano" or "cheek- guard" made of metal which encircles the upper moulding of the body; it guards the cheek which swells when blowing.\nThe big hne is an essential instrument which is played pleasantly occasions such as the ploughing ceremony or royal regatta when it accompanies the big drum, the bjo, sidaw, boating song, yeginthan theme. The big hne plays mournfully on inauspicious occasions when lamentation is called for. It accompanies the braintaung (egret wing) theme. In earlier days the big hne was accompanied by two short drums and one vertical drum when propitiating the nats (spirits) with bpunza (drum food). The small hne is played briskly to accompany the pot-drum and dobat. Currently used is the hne which produces C sharp note when four holes are closed. The tones produced by the hne are;\n1. one hole closed for the fifth degree\n2. two hole closed for the sixth degree\n3. three hole closed for the seventh degree\n4. four hole closed for fundamental C\n5. five hole closed for the second degree\n6. six hole closed for the third degree\n7. seven hole closed for the fourth degree\nWhen all holes are open the tone produced is of the fourth degree.
Myanmar -
Ngar Myoe Pyinzali TaungYoe Maun: Gyi (big gong)
Since the time of Shan Saw-bwas, TaungYoe nationals created and used this big gong. During the reign of Pway- Hla Sawbwa, some TaungYoe nationals were arrested for their action of protecting the gong from the motive of Sawbwa to confiscate it.\nIt was casted with the craft of bronze-casting. The gong was made of alloy of gold, silver and copper weighing 6.5kg of each metal. That gong is collectively owned by two TaungYoe villages of Kyay Twin Gone village and Hsan Thee village. It's a national heritage of TaungYoe nationals and has been preserving for 114 years. That's been still protecting by two brothers in rotation for six months each. It's struck by a knobbed beater on the central dome carrying by two men on the shoulders hanging with a rope on a pole.\n-25 inches of gong in diameter\n-5 inches of central dome in diameter\n-4 inches of knobbed beater in diameter
Myanmar 2014-07-04 -
Kan: Traditional Thai Reed Mouth Organ
The kan is a traditional Thai instrument from the northeastern region of Isan, which can be played solo or as an accompanying instrument. During the reign of King Rama IV, playing the kan was prohibited in Bangkok due to concerns that it might surpass in popularity the traditional Thai ensemble music of the central region. The kan consists of bamboo pipes, a metal reed, and a windchest (tao) made from the root of a hardwood tree. Today, efforts are being made to modernize the kan such as tuning it to the international standard pitch and forming ensembles alongside Western instruments.
Thailand 2020 -
Kazakh Jeweler Art
The video shows how jewelry making differs from making other crafts in Kazakhstan, as it has a professional nature and is predetermined by the specifics of production, including the purchase and use of certain metals, of which silver has sacral value. Historical examples of Kazakh jewelers and traditional techniques of minting metal are shown as are jewelry-making processes. Symmetrical ornaments and patterns dominate jewelry designs and they emphasize the historical heritage.
Kazakhstan 2017 -
The Art of Rickshaw Painting
Rickshaw is considered one of the most popular transport vehicles in Bangladesh. Millions of rickshaws can be seen all over the country. It is one of the most easy-to-get and traditional vehicles in this region. Basically, this is a three-wheeled pedicab driven by a person who is generally called 'rickshaw-wala'. It is required to put hard physical labor to drive this vehicle. Most of the Asian nations have their own form of this primitive transportation. But, in Bangladesh, the vibrant, colorful designs on rickshaw has taken it to another level of aesthetics and craftsmanship. The painted rectangular metal board at the backside, between the two wheels of the vehicle is the main attraction of the whole artwork. This is what you generally refer to as rickshaw painting- a genre of art that is unique to the Bengali culture. Sometimes it resembles rural life, sometimes historic incidents or movie stars or surreal thoughts, essentially to attract the passengers. This is a traditional Bangladeshi urban folk art form that represents the culture, history, and livelihood of common people. In reality, every rickshaw is a single mobile piece of art.\n\nThe themes of rickshaw painting are a bit different in different cities. In Dhaka, the capital city of Bangladesh, the paintings are more vibrant than the paintings Chittagong region, and you can also notice the difference in Rajshahi or other regions. But most of the time It includes the colorful paint of birds, flowers, village scenery, liberation war, cinema poster, cities, mythology, animals, human beings, national monuments, etc. Even sometimes global incidents inspire the artisans. There were rickshaw paintings in Dhaka based on the incidence of the collapse of twin towers in the United States of America.\nThe rickshaw painters are considered as traditional folk artists. Their arts are sometimes considered as people's art. There are different types of rickshaw painters. Mostly they are less educated. They are the people who have been working in rickshaw garages. If you visit the rickshaw garages you may find elderly people who have been painting for decades. This is somehow a pearl of local wisdom. Most of the early artisans self-taught. They have no institutional training or knowledge of painting. However, their colorful vibrant paintings on rickshaw show their craftsmanship, skill, and level of imagination and observation power. These paintings on the body of the rickshaw can easily catch someone's eye which is the main reason behind rickshaw painting- to attract passengers. nThe painters reflect their own likings and desires in their paint as well as the desires of the people who are ordering the painting. They also consider the likings of the passengers whom we call rickshaw-jatri. The decoration and painting attract the general riders. They enjoy watching this piece of art.\n\nWe can see some challenges nowadays, in terms of keep going on with this traditional form of art because of mechanization, modernization, and urbanization. Rickshaws are gradually being withdrawn from selected streets of the larger cities. There is a doubt that this will eventually affect the traditional art form. If this continues to happen, the big cities will have no more rickshaws which is really a big threat to the art form. Some people also oppose rickshaw pulling because this is a very hard physical labor-oriented occupation. But if rickshaw gets withdrawn from the big cities there will be a risk to lose the tradition and it will affect the economy and living of the people related to this. nThe traditional artisans of rickshaw painting are somehow facing some problems to keep going on with their traditional livelihood. They complain that they are not getting enough earing from rickshaw painting these days. They paint rickshaws with their hands. But nowadays there are other available digital paint forms like screen printing which costs three or four times less than the hand paintings. So the rickshaw owners are preferring to buy these screen printings. nRickshaw painting is one of the most tangible forms of intangible cultural practice. This art is considered 'peoples art. The painted rectangular metal board at the backside, between the two wheels, leaves a trail of passion that the Rickshaw artist puts in his creations. This craftsmanship requires knowledge and skills which is transmitted from the early rickshaw painters themselves. nSome young students of Charukola, Dhaka University; one of the most influential fine arts institutes of the country, have expressed their thoughts on the safeguarding of this unique art form. They are also trying to revitalize this traditional form of art. They are trying to make it popular among the urban upper and middle-class society. They suggested using this form of art on other products like dresses, mobile phones, and other accessories. nAs the genre of the rickshaw paint is dying down due to digital printing and other such technologies, some young Bangladeshi artists are trying to bring back rickshaw art and promote it by hand painting on modern, innovative products. They are trying to convert the traditional form of rickshaw art into a modern form of art. \n\nThe youth of Bangladesh is very much connected to this intangible cultural heritage and they are finding their way to safeguard and promote it in this era of digital printing. While we can feel the risk of diminishing this art form, It is a light that young people who are parts of institutional or formal fine arts are trying to safeguard and promote the knowledge and tradition of the painting. They are also taking steps to preserve and protect the form of art .
Bangladesh 2019 -
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