People of Vi Village (Hùng Sơn Town, Lâm Thao District) make square cakes to invite Hung Kings to join them for the Lunar New Year, 2011. Photo by Hoàng Sơn; © 2011 Vietnam Institute of Culture and Arts Studies.

Ritual of seizing sacred paddy for seeds and for good luck, Trẹo Village, Hùng Sơn Town, Lâm Thao District, 2011. Photo by Hoàng Sơn; © 2011 Vietnam Institute of Culture and Arts Studies.

Jagar, from the word jag, means “awake” or “awoken.” Those who sing jagars are Jagariyas. Jagars are akin to ballads and come in many different forms that exist in many parts of India. Their purpose is to wake up deities. The spirits of gods and deities are invoked by singing about them, their deeds and exploits, and by asking for blessings and favors. The Nanda Devi jagar is a religious narrative associated with the Nanda Devi pilgrimage. The pilgrimage of Nanda Devi happens every few decades when the idol of Nanda Devi is carried in a palanquin to her husband Shiva’s abode. This pilgrimage entails a long and arduous journey through a rough terrain and fields of snow. The Hindu goddess Nanda Devi is worshiped in the former Western Himalayan kingdoms of Garhwal and Kumaon, which together make up the modern Indian state of Uttarakhand. During Nanda Devi’s annual festival, in the Hindu months of Bhadrapad and Shravan, her songs are sung by women throughout the state. The jagar of Nanda Devi is an example of a religious ballad that lasts for several hours and can go on through the night. This extract is the very beginning of a commissioned recording made by William Sax in 1981. The original version is six hours long. The performers are the women of Nauti village, District Chamoli, Garhwal, Uttarakhand. This initial part is a local cosmogony in which female forces and goddesses play the major roles, and are summoned. They are followed by the story of the goddess Nanda, a local version of the myth of the goddess Parvati.

Ngâm vọng is an old song of Ca trù. According to legend, it appeared in the Lê dynasty. There are many explanations about the origin of its lyrics. According to some books, it tells the story of a lake excursion by King Lê Thánh Tông. On his excursion, he met a beautiful woman and wanted to marry her. She suddenly disappeared when she was in a palanquin on the way to the royal palace. After that, the king knew that she was a fairy. Missing her, the king had a temple built. According to other books, the lyrics of Ngâm vọng were the confidence and the wish of beautiful women in the imperial palace. Those wishes were expressed through incoherent sentences; thus, the lyrics do not have a unified content. This song opens with a low singing voice and then a high singing voice gradually comes in.

CD6 CA TRÙ SINGING\nCa trù singing has other names such as hát ả đào, hát cửa đình, hát nhà tơ, hát nhà trò, or hát cô đầu. According to Đại Việt sử ký toàn thư (The Complete Book on the History of Đại Việt), Ca trù appeared in the Lý dynasty (1010-1025) under the name Ả đào singing. Many Ả đào singing contests were held in the village communal houses. In that time, village notables often played the praised drum while enjoying the performers singing and threw reward cards to the singers who performed well. That card was call “trù”. Gradually, the way of rewarding the singers with cards became known as Ca trù. This name is found in the poem namely “Nghĩ hộ tám giáp làm giải thưởng cho cô đào hát” (“On Behalf of People from Eight Hamlets to Write the Rewarding Rule for Awarded Singers”) of Lê Đức Mao in 1500. Ca trù is a popular genre of traditional singing and dancing of the Kinh people in the northern and the central Vietnam. The key members of a Ca trù band include one đàn đáy (three-stringed lute instrumentalist) (the đàn đáy is the only musical instrument for accompanying Ca trù), one singer who both sings and plays the phách clappers, and one praise drummer (known as quan viên cầm chầu) player.\n\nCa trù can be performed in a wide variety of places. Ca trù was born to serve as worship singing. From serving as worship at the village communal houses and ancestor worship, Ca trù has changed into singing for entertainment at private houses, restaurants, or cabarets. In addition to these main performance environments, Ca trù was performed at the royal palace and the palaces of mandarins. At present, Ca trù is sung as traditional music. In each performance environment, Ca trù has some changes in terms of the repertoire, musical nature, or performance styles. The CD Ca trù singing (Hát Ca trù) introduces some songs that which were performed for worship and for entertainment. They were recorded in 1970 (tracks 5, 6, and 7), in 1982 (tracks 1 and 4), and in 1997 (tracks 2 and 3) and performed by the three most famous Ca trù folk artists.

CD5_NARRATIVE TRADITIONS – ORAL EPICS AND BALLADS VOL. II: THE JAGAR AND THE EPIC OF ALHA\n\nOral epics, ballads, and narratives form a major part of the background of rituals, storytelling, and local mythologies – all an important part of the intangible cultural heritage of India. The vast range of oral epics in India, most often sung, also contain recitation and prose that explain the text. The meters vary greatly, and they all have different definitions and terms. For instance, the meter and singing of the Alha is called Alha Chhand. A wide variety of types of performances and expression of this genre exist. Some stories are narrated with scrolls that illustrate episodes. Sometimes, they are acted out, and sometimes sung, as in the case of the paddanas, which are performed while transplanting rice. Stuart Blackburn and Joyce Flueckiger distinguish three kinds of oral epics in India: martial, sacrificial, and romantic. \n\nSome epics tell a story with multiple episodes and characters, and some are “multi-story” oral epics. Oral epics in India are very closely tied to communities, with performers, audience, and participants all belonging to the same community. Most oral epics are associated to rituals, the performance of some being the ritual itself. Caste also plays an important role in the performance or patronage of the oral epic traditions in India. The great epics of Ramayana and Mahabharata in some cases, enter the world of these local oral epics, where the performers are considered to be reincarnations of heroes and gods from these epics. According to Komal Kothari, an eminent folklorist of India, this phenomenon happens when the impact of the oral epic spreads beyond its initial local boundaries. Though we are not able to present full performances of all the oral epics, we believe that these recordings provide a good glimpse into the variety of meters, singing styles, and contexts that exist within these traditions. Three oral epics are presented in this volume. They are all part of larger collections, and each one is contributed by an expert on the genre who has done extensive research. The paddanas were contributed by Peter Claus, the Nanda Devi jagar by William Sax, and Alha by Karine Schomer. This album presents extracts from two kinds of narrative traditions that are part of the intangible cultural heritage of two very different traditions and regions of India.

ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 38 is 'Funeral Ceremonies and New Beginnings.'

When we were young, we were told a lot of stories. Everyone hated the big, vicious, evil, and cunning animals. However, seen through grown-up eyes, there are no bad animals in the world. Animals personified in stories convey a message to the human world-that of peace and harmony. At a time when a message of peace is desperately needed, let’s enjoy some stories featuring various animals, from tigers to birds, rabbits, monkeys, and more.