ALL
choreography
ICH Elements 18
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Rigma Chudruk Cham: Dance of the Sixteen Wisdom Goddesses
Rigma Chudruk Cham is a pacifying dance, performed solely by monks wearing exquisite costumes to represent the sixteen goddesses that make various offerings to enlightened beings. Generally, the dance has two types: Rigma Chudruk Cham and Rigma Chudruk Nga Cham. Though the costumes are identical, these dances can be easily differentiated by the instruments they use. The first Rigma Chudruk Cham performs with Drilbu, bell, and Daru or Damaru, a small two-headed drum. The latter dance exclusively plays Nga drums with Ne-tok, drum-stick. The dance is known by various names across different Buddhist traditions: Rigma Chudruk Cham; Khandro-mai Cham Dance of Dakinis; Zhe-wai Cham pacifying dance; Dorji Lhamo chudruk sixteen Vajra Dakinis; Choe-pai Lhamo Chudruk Sixteen Offering Goddesses; and Dodyon-gi Lhamo Chudruk Sixteen Pleasurable Goddesses. The sixteen goddesses not only bestow wisdom but also entertain and bring enjoyable offerings to the enlightened spiritual beings. These goddesses are generally classified into three groups: Outer, Inner, Secret Offering Goddesses. The first group consists of four members: 1. Gegmo-ma, Skt. Lasya, Goddess of Grace 2. Threngwa-ma, Skt. Mala, Garland Goddess 3. Lu-ma, Skt. Gita, Singer 4. Gar-ma, Skt. Nirti, Dancer The second group has also four members: 1. Meto-ma, skt. Pushpe, Flower Offering Goddess 2. Dhugpe-ma, Skt. Dhupa, Incense Offering Goddess 3. Nangsel-ma, Skt. Aloka, Lamp offering Goddess 4. Drichab-ma, Perfume Offering Goddess The third group has five goddesses: 1. Piwang-ma, Violin player 2. Lingbu-ma, flute player 3. Ngadum-ma, Drum player 4. Zanga-ma, Skt. Muranyyaze, Clay-drum player 5. Zuk Dorji-ma, Skt. Vajra Dakini, Vajra Form Goddess The last group has three. 1. Ro Dorj- ma, Taste Vajra Goddess 2. Rek-ja Dorji ma, Feeling Vajra Goddess 3. Choying Dorji ma, Skt. Dharmadatu Vajra Dakini, Vajra Goddess of unfabricated awareness.
Bhutan -
Dancing art
Dancing art of Uzbekistan, which unites the traditions of oral folk creativity, songs and dances, has a rich history. This is testified by numerous archaeological findings, artifacts, wall paintings (in the palaces), ossuaries and works of miniature art of the Middle Ages which came down to us from the ancient past. Throughout history various dance styles emerged. From among them it is possible to mention "Katta oyin" (Big dance), which is a multi-part suite that includes the cycle of rhythmical usuls as well as complexes of certain dance movements associated with them, "khona bazm oyin" (indoor dances), "duchava" (dance with two sticks), "dance with teabowls" (dance with a bowl for drinking tea) , "dance with spoons", "dance with daggers", "dance on chest", "teapot dance", "kema oyin" (dance on a boat), "zangbozi", "naghora oyin", "shodi", "zamin bozi", "larzon", "lazgi", "bukhorcha", "tanovar", "Farghona ruboyisi", "Andijon polkasi", etc. From the past dances were divided into those performed by men and women. Even though there are different styles and genres, various performance manners, it is still possible to see some common features, which make up Uzbek dance to look very impressive.
Uzbekistan -
Ging Tshogling Cham: Wrathful War Dance
One 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. According 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. Outside 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. A 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. After 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. Due 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.
Bhutan -
Uyghur Muqam of Xinjiang
The Xinjiang Uyghur Muqam is the general term for a variety of Muqam practices widespread among the Uyghur communities, which form one of the largest ethnic minorities of the People’s Republic of China. Throughout its history, the Xinjiang region has been marked by a high degree of cultural exchange between East and West, due in particular to its central location along the Silk Road. In Muqam ensembles, the lead instruments are made from local materials and vary in form (they may be bowed-stringed, plucked or wind instruments). The dancing skills involve unique steps, rhythms and formations as well as figures such as flower-picking-bymouth, bowl-carrying-on-head and imitation of animals in solo dances. The Xinjiang Uyghur Muqam has developed four main regional styles, namely the Twelve Muqam, Dolan Muqam, Turpan Muqam and Hami Muqam.
China 2008
ICH Materials 156
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Chung Vô Diệm (played by Ngọc Giàu)-03_Hat Boi
Mô hình “đào võ” có hóa trang lên mặt, khí phách phi phàm. (Brawny “đào" motif with a proud appearance and assertive aura.)
Viet Nam -
Chung Vô Diệm (played by Ngọc Giàu)-07_Hat Boi
Mô hình “đào võ” có hóa trang lên mặt, khí phách phi phàm. (Brawny “đào" motif with a proud appearance and assertive aura.)
Viet Nam
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Types of Vietnamese's Hát bội(Hat Boi) characters - A quick guide
“Hát bội” is a traditional performance art in Vietnam, it has a rich historical foundation, and quite an influence to the community. The stage of Hát Bội also consists of Viet aesthetic values, reflecting the life, stories, and aspirations of the Vietnamese. Hát bội characters contain a fine selection of multiple human characteristics. With those qualities - every plot, every movement, technique and performing elements are conveyed in a holistic sense. Let's learn about the details of each character type so we can fully appreciate this traditional art form. Check out ichlinks.com to learn more about Hat boi essential types of characters. \n\nCredit:\nProduced in ICHCAP - Cultura Fish (Hiếu Văn Ngư) partnership. \n\nContent development: Vuong Hoai Lam (Researcher), Luc Pham Quynh Nhi (Coordinator, editor), Ha Hoang Minh Trang (Translator)\n\nContributors : \n- Cultura Fish team: Ha Thuc Duc Tung, Nguyen Le Thanh Thao, Nguyen Le Nhat Anh, Tran Thi Minh Thuy\n- Ho Chi Minh city Theatre of Hat boi: Vu Ho Hoang Vu, Ha Tri Nhon, Linh Hien, Bao Chau, Hoang Tuan, Thanh Binh, Dong Ho, Kieu My, Anh Thi, Ngoc Giau, Thanh Trang, Hoang Ha, Huu Danh, Linh Phuoc, Nguyen Tuan, Minh Khuong, Ngo van Tong, Nguyen Van Do, Ho Tuan Dung, Le Minh Tan, Tran Thanh Hung, Nguyen Tran Thanh Tuan. \nProduction: Cao Trung Thao and Pham Anh Nguyet\nPhoto by Giang Pham
Viet Nam 2021-10-25 -
THE ART OF MASKS MAKING - UP IN HAT BOI
As a UNESCO category 2 center, ICHCAP organized the youth ICH storytelling contest with the aim to support ICH safeguarding activities of young practitioners. Youth practitioners play an essential role, as ICH relies on direct transmission among community members. Their activities and involvement will hopefully contribute to raising awareness of ICH worth protecting. The story below won the Grand Prize of the 2019 Asia-Pacific Youth ICH Storytelling Contest. \n\n---------------------------------\nThe Hát Bội is Vietnamese intangible traditional performing art which has taken shape, developed during Vietnam history and is still preserved. The Hát Bội is form of traditonal opera which has a 500 old year long history of development in Vietnam. It contains features close to the culture in many other countries in Asia. My name is Anh Quan, I am sophomore of The Ho Chi Minh City University of Culture in Vietnam. \n\nWhen I started in junior high school, I had opportunity to study and enjoy The Hát Bội. These images, stage, eyes, gestures of The Hát Bội are so excited. But I strongly impress by artists’ face. This emotion is always with me in my thoughts. When I have been a student. Immediately, I go to The Ho Chi Minh city Hát Bội Theater to learn more about this art. Hát Bội relies on the principles of symbolization and stylization. These principles prodoundly influence Hát Bội typical dance/ gesture and makeup by which Hát Bội in distinguished from other traditional performing arts. Being the essences of Hát Bội, gesture and dance are perfomrmed based on several rules of symbolization and stylization with the aim of sophisticatedly expressing the feeling and emotion of characters and other implications of plays. These artists of Hát Bội have to understand very well about principles of symbolization and stylization and when they makeup and. Makeup is definitely the outward essence Hát Bội indicate the specific and personality of every character. The articial materials for making-up a disguise includes as followings: Multi-colours-lipsitcks, powder in multi-colors, the balckening-wax or the ash-like-black powder, the zinc-powder in golden-red– a mixture of the deep-red and golden powder, powder in blue, in green, and in yellow. With many special kinds of professional tools, such as: Tooth sticks, fingernail like kinife flat which look like a spoon – flat and made of wood.\n\nI observe artists makeup , I dream that i can makeup like them. I want to pursue my dream of being one of characters of Hát Bội. With the help of Thanh Bình Artist, I have fulfilled my dream. I feel virtuosity, sophistication and passion of Thanh Binh Artist when he makeup for me.\nThe face painting in an original feature in Hát Bội as well as in some forms of opera in Southeast Asia .The make-up in Hát Bội ( chiefly for male personages , rarely for female ones) includes three main parts : painting the complexion, drawing lines on the face and pasting false beards. There is nothing called the realistic things to identify but absolutely living - symbols in the art of the Hát Bội with its speical ways of disguiting for whole characters at all.\n \nLooking at the face makeup, the audiences can understand wether a character is good or bad, loyal or disloyal, etc. Below are some basic colour used in Hát Bội makeupnRed: Loyal, unyielding personnWhite: artful flatterernGreen: intelligent person or person with venturesome spirit or short lifenYellow: gentle and virtuous personnBlack: Furious and vigorous personnThat is the dialectics of the art of theatrical masks attained by masterly (mask makers, makeup, artist). nThe above special things may be generally get a common concept for us all to comprehend some intersted – things in many kinds of the characters and characteristics in traditional culture and art of the Hát Bội. \n\nThe Hát Bội has any characters. Currently, plays of Hát Bội are mainly performed at the temple (or shrine). The young generation do not strongly like the traditional art include The Hát Bội. Few young people are passionate about traditional art, this situation make the training for young people quite so difficult. For make youth generation learn more about The Hát Bội. Over the past years, The Ho Chi Minh city Hát Bội Theater has organized program called “The school stage” to introduce The Hát Bội to pupils and students.\n\nThis program around the content: history of formation and development of The Hát Bội, dance, and makeup art. Besides that, performance of historical topics, excerpts about children to raise patriotism, hope students have the opportunity to learn more about The Hát Bội. I think this working is very well for young people. That thing will make me and young people will love and have positive emotion with the traditonal stage. I hope The Ho Chi Minh city Hát Bội Theater always create other program to performance for community. To get deeply understanding about Hát Bội, warmly welcome to The Ho Chi Minh city Hát Bội Theater – Vietnam. I am so happy when I have chance to get experience and share excited valid content of The Hát Bội for every body. Vietnam also has so many traditonal arts. The Hát Bội is one of them. For protecting and delivering The Hát Bội, I think the young generation have to focus on studing intangible culture of country. I aslo contribute a little working for do that. I hope other young person will do that like me. I am going to keep my passion to learn more about traditonal of Vietnam also the other coutries over the world. Vietnam - a friendly destinaton always warmly welcome all of you, we have so many stories to talk with you. When you meet me together, I am going to “play” the Hát Bội for you. Because I really become “an actor” of The Hát Bội by my heart in my dream.
Viet Nam 2019
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THE ART OF MASKS AND MAKEUP IN HAT BOIHat boi is a Vietnamese intangible traditional performing art that has taken shape and developed during Vietnam’s history and is still preserved. It is form of traditional opera which has a five-hundrend-year-old history. It contains features close to the cultures of many other countries in Asia.Year2019NationSouth Korea
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Bringing the Stories of Vietnam to the WorldGlobalization, the age of information, and a prime era of technology where cultures and meanings collide—it is strange how we often find ourselves disorientated with it all, the local versus the global, the familiar versus the foreign. Just so, the narrative surrounding Vietnam has quite a “foreign” presence among the international audience, and even domestically to some degree. The first images people think of when it comes to Vietnam are perhaps the war, or maybe they’d focus on the cuisine and natural scenery thanks to the effort of tourism footage in more recent years. The image is either of the country’s trauma-bound identity or a paradise land of amazing landscapes. While not entirely wrong, those narratives don’t fully reflect the complexity of a Vietnam that was, is, and will be. Telling a diverse and complex Vietnamese story in an honest and caring manner is one of the goals of Cultura Fish; it’s a direct result of our very lived experiences of interacting with our peers from across the globe and within the country.Year2022NationViet Nam