Materials
musical instrument
ICH Materials 437
Videos
(40)-
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 -
Kyrgyzstan Komuz&Kalpak Dignifies the Man (Highlight)
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. \nThis film is dedicated to kalpak—a traditional male felt hat. Knowledgeable people (a teacher, a journalist, an activist, and craftswomen) talk about the social functions and spiritual meanings behind kalpak. The film shows traditional and modern methods of making kalpak.
Kyrgyzstan 2017 -
2. Case of Kyrgyzstan: Influences and Effects of ICH Festivals on Local Communities
The ICH festivals in the Kyrgyz Republic are a great way to safeguard the cultural heritage. Kyrgyzstan has a rich ICH and embraces all ICH domains including the oral traditions andexpressions, performing arts, social practices, rituals and festive event, knowledge and practices concerning nature and the universe, and traditional craftsmanship. Festivals feature various ICH domains such as arts and crafts, cuisine, folklore, felt, hunting with birds, horse games, etc. For instance, the festivals Kyrgyz Shyrdagy and the Oimo International Festival are held with the aim of safeguarding and popularizing traditional knowledge and skills of handicrafts, for safeguarding and promoting traditional games, various birds of prey festivals are held, such as Salbuurun and Kok Boru. Moreover, festivals are dedicated to safeguarding oral traditions, such as Aitysh, the art of improvisation as well as many other festivals reflecting traditional cuisine, folklore, etc.
South Korea 2020-11-18 -
The Art of Making Traditional Kazakh Dombra
The dombra, a two-stringed plucked instrument, has played an integral part of Kazakh culture since ancient times. By performing kuy (a short solo composition) on the dombra, the nomad expressed his feelings. The only harmonic material for dombra that fully meets the traditions and rules is the tree. The tradition of hollowing out the instrument from a single piece of wood relates to mythological ideas about the sacredness and inviolability of the tree. The entire process of manufacturing dombra in ancient times took four years, and each instrument was custom made based on the player’s physique, voice, repertoire, gender, and was endowed with a special spiritual content.
Kazakhstan 2017 -
Malaysia The Instrument that Heals the Body and the Mind Sape (Highlight)
Sape is a traditional instrument of the Kenyah people in Sarawak, Malaysia. It is a boat-shaped instrument made of special wood and traditionally consists of 2 to 4 strings. Traditionally, sape performance was considered more than just a performance as part of a ritual, and only men were allowed to play. However, in modern times, women can also play Sape, and the number of strings has increased to six, allowing various modern music performances.
Malaysia 2019 -
Sape: An Instrument for Mind and Body
The sape is a traditional instrument of the Kenyah people in Sarawak, Malaysia. This boat-shaped instrument is made of the special wood adau and typically has two to four strings. \nSape music carries greater significance than simple per\u0002formance—it has long been used to calm people and treat illnesses. Previously, women were not allowed to play the sape, but it gradually became acceptable for them to per\u0002form. As the materials and playing techniques have changed over time as well, more people are now able to enjoy sape performances. The sape has helped to keep the tradition and beliefs of Malaysia alive through to the modern era.
Malaysia 2019 -
Dondang Sayang
Dondang Sayang is a Malay traditional music and song that is well-known in the State of Malacca and still practiced by four communities such as the Malay, Baba Nyonya, Chitty and Portuguese. The performances are accompanied by violin, rebana, gong and accordion and sing by two singers of the opposite sex, who sing in quatrains. It has received UNESCO’s recognition as a Representative List of The Intangible Cultural Heritage of Humanity on 29th November 2018.
Malaysia -
Sape
Sape is one of the most identifiable traditional musical instruments in Sarawak producing a soothing sound of music. It is a traditional lute of the Orang Ulu community of Sarawak, traditionally used by the Kenyah, Kayan and Kelabit tribes.
Malaysia -
Aitysh/Aitys, art of improvisation
Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practiced on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitys and use the contest to express women’s aspirations and viewpoints.
Kazakhstan -
Rakhine Si Do (Rakhine Royal Drum)
By using Rakhine Royal Drum was found at the period of Visali of the king of Chandra. At the time of king Chandra, the lyrical ode of the crown-princess Saw Pyae Nyo was played with the various kinds of instruments. Long-drum and Than-Lwin-drum contained in this instruments.In the Myanmar era of 897 ( 1535 AD) when was called Lay Myoe Age, King Min Bar built Yan Aung Zaya Chittaung stupa with a vaulted vase. Rakhine oil lamp dance, Shawl dance, Powewar dance, the sports of Mrauk.U period such as the posture of wrestling, boxing, the stick martial art and the figures in the posture of playing the Rakhine musical instruments such as the Rakhine Duelong Harp, bamboo pipes wind instrument, melodious small drum, hand-cymbals, cymbals၊ horn, long drum, Marlakhon fiddle, the bugle , the cymbal and the flute were sculpted as the ancient supporting evidences of Rakhine long drum on the western wall of the second tunnel of Shittaung pagoda.. Rakhine nationality mostly used long-drum. According to the ceremony, the drum which is used to celebrate pagoda festival is called Mu-Yoe Drum. Pan-taja drum is used for the wedding ceremony and the ceremony of propitiate nats. Khat- Ttin drum is used for the funeral ceremony . Si- Byaw( kind of long drum ) is used to play the novitiated ceremony. One- headed drum is used for ceremony of pulling gharry. Kyin-drum is used for the posture of wrestling. There are fourteen kinds of Rakhine drum. They are Mhyaut drum, Than-Lwin drum, Mu-Yoe drum ( Si-Pyaw ), Singal-headed small drum, Big drum (Shan si) , Donmin drum , Si Pataung drum, Si wun drum , Melodious small drum, One-headed drum, Pan:taya: si drum, Pat Si drum (Kyin si), Si chay drum, Si ai drum. According to the song, it can be played with hands. The song which produces the sound of Byane from cow skin and the sound of harp from goat skin. It can be played not only hand but also stick. Rakhine royal drum is played together with cymbals, gong, jingle bell and conch-shell.\nPadauk wood is used to make the body of Rakhine royal drum and the either sides of two drumheads are covered with cow-skin and goatskin. The Padauk wood has to made hollow and the either side of cow skin and goat skin are tightly stretched on the drum heads. Both two drumheads can be played. The leather must be tightly tied with the string of gunny twine.\n-2 feet 3 inches in Length\n-3 feet 5 inches in the girth\n-1 feet in the diameter of drumhead (site of cow skin)\n-11 inches in the diameter of drumhead ( site of goat skin)
Myanmar 2014-06-17 -
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 -
Vat-gine (Crescent-shaped Gong) Mon Traditional Crescent Gong
Vat-gine or crescent-shaped gong is one of the Mon traditional musical instruments that has been used since the ancient time. The original crescent-shaped gong was consisted of 14 gongs and used to be played only in Nat (Spirit) propitiation ceremony. But, an additional gong tuned to Nga Pauk (Fifth Note) is added to play since the late 1962. The Crescent-shaped gong consists of 14 gongs which are arranged in ascending order from right to left. The pitch of gongs is higher from left to right and the player has to strike them with two mallets. This crescent-shaped gong is played in Mon national celebrations, Hin-tha dance, solo dance performance, Mon traditional dance and national ceremonies such as Union Day and Mon National day.\nFirstly, the two ends of fine Yamanay wood is smeared with mud. After its bark is stripped off, the log is smeared with mud again and left for six months to dry by itself so that the wood becomes well seasoned. The rattans are attached to arrange the 13 crescent-shaped gongs. It is painted with the original color of the wood and embellished in Mon traditional decorations. The left side of instrument is carved into head of Kainnayi bird and the right one its tail. The stands are carved into the two legs of this bird.\n-68 inches in length\n-46 inches in height\n-9.25 inches in the breadth of middle hollow\n-9 inches in length of Kainnayi Head\n-7.25 inches in tail
Myanmar 2014-07-02