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perform
ICH Elements 358
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Ca trù singing
Ca Trù singing has other names such as: A Dao singing, Dao nuong ca, Co Tou singing, Nha tro singing, communal house singing, Nha To singing..., derived from folk songs, folk music plus a number of performances and games. folk dance. From the way of worshiping at the communal house door, singing the congee, singing the crowd... Ca trù has gradually been professionalized. Belonging to a folk performance art form, the uniqueness of Ca Trù is that it is an art that combines poetry, music and sometimes dance and performance. The performance space of Ca Trù is diverse, each with its own singing style and performance method. Ca Trù singing has 5 main performance spaces: hát cửa đình (hát thờ), hát cửa quyền (hat cung đình hay hát chúc hỗ), singing at home (hát nhà tơ), singing Thi, and singing ca quan (hát chơi). The performance form of ca trù is a chanting consisting of three main components: a female vocalist (called "dao" or "ca Nuong") using a percussion set to take the beat; a male musician (referred to as "kép") plays the bass lute to accompany the singing, sometimes singing and dancing in both hat su and hat giai singing styles; people who enjoy ca trù (called "quan vien", connoisseurs of sound law, vocal music, and dance) beat drums to punctuate sentences and express their satisfaction with drum sounds. Both the singer, the man, the listener participate in the singing. Ca Trù's greatest contribution to Vietnamese culture is the birth of spoken poetry. In terms of music, the characteristic of Ca Trù is that there are three types of musical instruments: bottom lute, beat and drum, which have contributed to making Ca Trù become a special musical genre of Vietnam.
Viet Nam 2009 -
Drametse Ngacham: The Masked Drum Dance of Drametse
The Masked Dance of the Drametse community is a sacred dance performed during the Drametse festival in honor of Guru Padmasambhava, a Buddhist master. The dance performance also commemorates the founder of the Tegchok Namdroel Ogyen Choeling Monastery, Ani Choeten Zangmo; and venerable Khedurp Kuenga Gyeltshen (1505-/) who introduced the Masked Dance. These two are the eldest daughter and the fourth son respectively of the great treasure revealer, Terton Pema Lingpa (1450-1521). According to oral accounts, Drametse Ngacham was introduced in 1518, just three years before the death of Pema Lingpa. The name of the mask dance is derived from the Drametse village community, which falls within the Drametse gewog village block of Mongar Dzongkhag district in the eastern part of Bhutan. The term Ngacham refers to the dance implements held by performers, a hand-held circular flat drum and mallet. Tegchok Namdroel Ogyen Choeling Monastery was established in 1530. The three-day Drametse Tshechu festival takes place twice a year, organized by the monastery administration. The dancers include monks from the monastery as well as laymen. The origin of the mask dance, its characteristic choreography, masks, and costumes are specified in detail in the Kabum, Collected Works, of Pema Lingpa. Pema Lingpa have seven siblings and Sangdag is one of his sons who fathered Tenzin Chogyal and gave birth to Ani (Nun) Choeten Zangmo. Therefore, Ani Choeten Zangmo is the great grand daughter of Pema Lingpa. Though Ani Choeten Zangmo has no intention to indulge in the leading a family, she was forced to marry Yeshey Gyalpo, son of Sumthrang Choeje Sherab Drakpa. Driven by her destiny, she became renunciate and later established her permanent seat at Drametse where she recognized a place of peace and tranquility, Dra-me “No Obstructions” to her meditational practices at the summit of a Tse, small ridge. During her stay, her brother Kuenga Gyeltshen who is popularly known as Khedrub Kuenga Wangpo visited her. Kuenga Wangpo is highly revered by spiritual masters for his outstanding philosophical knowledge and realization of the true nature of mind, thus he was given a title of Khedrup, great and realized scholar. He encountered Guru Padmasambhava several times while in meditational states, and had visited Zangdok Pelri, the Copper Colored Mountain, spiritual realm of Guru Padmasambhava. While staying at Drametse, an auspicious event happened in his early morning meditation on the 17th day of the 8th month of Iron Male Tiger year 1530—while the Drametse Lhakhang Monastery was under construction. In this state, three khadroma celestial maidens with white complexion, decorated with colorful silken robes, ornaments and flower garlands, invited Kuenga Wangpo to Zangdok Pelri, saying they had come to take him for a tour of the realm’s palaces. He asked, “What should I take for the long journey?” The maiden responded, “While you are experiencing pure vision without doubts, come along with us.” They took him to the realm, and into a palace called Pema yoe ki Phodrang where Kuenga Wangpo saw King Indra Bhuti. Then the maidens took Kuenga Wangpo to the majestic palace of Zangdok Pelri, where he saw Guru Padmasambhava in a youthful form smiling and telling him “I am happy to see you here.” Instantly, Guru manifested to a Jalue, Rainbow Body, and thereupon Kuenga Wangpo was entertained by a splendid dance performed by many gods and goddesses transforming themselves into Dampa Rigja (Hundred Guardian Deities); forty-two peaceful forms, and others in wrathful appearance or in human form with various animals’ heads. All wore exquisite robes and a melodious sound of Choe-ngai dra, Buddhist teachings, resonated from the beating of their drums. It is also believed that the sound of the drum signifies victory over evils and celebrates joy as Buddha’s teachings flourish. Kuenga Wangpo was then told to introduce this dance in Jigten me-yul, the human realm, and that conducting the Masked Dance would liberate sentient beings. Coming out of this meditation, he jotted down the detailed choreography, masks, and costumes. The first introduction of this Masked Dance was at the sacred place of Drametse, thus giving it the name Drametse Ngacham. Due to the significance embedded in the dance, Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive Je Khenpo spiritual leaders, as well as the Druk Desi temporary leaders—these spiritual masters and farsighted monarchs all propagated the Masked Dance across various monasteries and Dzong fortresses around the country.
Bhutan 2008 -
Shawa Sha-khe/che Chham: The Dance of the Stag and Hounds
Shawa Sha-khe/chi Chham (the mask dance of the stag and the hounds) or also called as Acho Phen-to (the Hunter and the servant) by its character is one of the mask dances that falls under the Nam-thar zhi-chol gi gar-chham (biography-based mask dances) category of three broad classifications of mask dances in the Bhutan. This mask dance has a characteristic of theatrical play extracted from the life story of Milarepa (1052-1135) and has various characters and episodes basically conveying the Buddhist principals of compassion, arising faith and human values that lead to a harmonious life. The origin of the mask dance dates back to the 11th century when Jetsun (venerable) Milarepa the great yogi from Tibet, converted Gonpo Dorji, a fierce hunter as his disciple who later listed as became one of his principal followers named as Khe-rawa Gonpo Dorji. In brief, the story goes as follows: While Milarepa was meditating in a cave known as Katya in Nyishangkurta (on the present-day border between the Tibetan autonomous region of China and Nepal), he heard a couple of hounds barking somewhere near to his hermitage. In a short while, a stag glistening with sweat and exhausted bounds into his cave indirectly seeking refuge from the lean and thin meditator Milarepa. Out of great and compassion and pity, Milarepa sangs a song to calm the terrified stag, which eventually laid down peacefully near to the great yogi in the cave. Led by the scent of the stag, two ferocious hounds; a red and a black-coloured appeared in lightning speed, rushed inside the cave in pursuit of the stag. Milarepa also calms them by singing yet another stanza of song dedicating to the hounds which subsides its rage and calmly sits beside Milarepa waggling its tail alike to their owner. Subsequently, the merciless hunter, the owner of the dogs, Gonpo Dorje soon arrives in pursuit of his target, the hounds, and steped into the cave frustrated, drenched in sweats, tired and a bow and arrow ready to release the trigger. The sight of his hounds and the stag calmly sitting together with Milarepa infuriates him, thinking that the yogi has used some kind of black magic on the animals. Dragged by his rage, he shoots an arrow at Milarepa which in-turn slips the arrow from his bowstring. Milarepa then sings the hunter a song to calm his mind and open it to the Dharma, but the hunter remains uncertain whether Milarepa is a great saint or else a black magic practitioner. Gonpo Dorje inspected Milarepa’s cave, and upon noticing nothing in it but an empty bowl surprised him. Overwhelmed by feelings of profound respect for Milarepa, feled deep remorse for all his past sinful actions and thereafter vowed never to commit such acts and became a faithful disciple. The mask dance has various characters such as; Shawa (the Stag), Sha-khi/che (two hounds), Acho (the hunter), Phen-to (servant), Milarepa (the Saint) and a package of Atsa-ra (clowns). The mask dance is performed only during the annual Tshe-chu (Mask Dance Festival) with several episodes portraying different scenes. The element is still vibrant in the country.
Bhutan -
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
ICH Stakeholders 6
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Gandharba Community
Bhansar Village in the Tanahun District, 140 kilometers west of Kathmandu, is home to the Gandharba Community, a musician caste of Nepal. The community is made up of 26 Gandharba houses and 150 residents. Nepal has a few musician castes that use song and music as their hereditary occupation. The Gandharba’s uniqueness comes from their use of the sarangi, a four-string instrument played with a bow, and their broad repertoire of songs. For centuries, the Gandharba played the sarangi as a tradition and profession. As a consequence of relying on the instrument for their livelihood, they were able to preserve their culture, art, and heritage since ancient times. The Gandharba musicians traveled throughout the country playing their music, and through their music, they sang messages of the people and kings and about heroic deeds. The Gandharba musicians were messengers of the nation. In fact, in many ways they still are, as they are the only conveyors of news and messages from times long past.\nIn Bhansar, people have their own culture, rituals, traditions, and lifestyles, with the majority of adult men relying on making and selling sarangi. In addition to selling instrument to locals and foreigners, they also seek out opportunities to perform. The elder men still wander from place to place trying to make a living as well as spreading the news and stories of the past. Other men of the younger generation make a living by singing on highway buses to entertain the passengers. However, the most interesting aspect of this village community is the creative thought and work of the Gandharba women.
Nepal -
The Koryo Saram Dance Troupes of Uzbekistan
The Koryo Saram living in Uzbekistan are descendants of Koreans who resettled from Primorsky Krai and Khabarovsk Krai in Russia to Central Asia around 1937. However, unlike the majority of Korean diaspora communities that were formed through voluntary migration, the Koryo Saram of Central Asia were forcibly resettled as a consequence of political decisions. And as a result the Koryo Saram who settled in Central Asia faced huge challenges adapting to their new geographical and sociocultural environment, and as ethnic minorities these challenges were intensified. The establishment and growth of the Korean diaspora community of Uzbekistan took place within this context. nOf the post-Soviet activities to safeguard and transmit intangible cultural heritage, the efforts of the Koryo Saram dance troupes deserve special mention, especially with the somewhat recently established Samjiyeon Dance Troupe, Asadal Dance Troupe, and Koryo Dance Troupe under the Central Koryo Saram Culture Association of Uzbekistan (Koryo Association). Established in 1998, Koryo Dance Troupe is the oldest of the three while the Samjiyeon Dance Troupe and Asadal Dance Troupe were established in 2014 and 2015, respectively. With the exception of Koryo Dance Troupe, young people (in their twenties and thirties) head up these troupes and the dancers are in their teens and twenties. Key activities of all the troupes include both dance education and performance.\nThese Koryo Saram dance troupes perform at various events, including the traditional Koryo Saram festivals of Chuseok (a harvest holiday) and Seolnal (Lunar New Year), and thus play a central role in the continued transmission of intangible cultural heritage. The dance troupes also perform at events alongside various other ethnic groups, promoting the Koryo Saram community’s place within Uzbek society as an ethnic group with a unique and honorable heritage, living harmoniously with its neighbors.y of Uzbekistan took place within this context.
Uzbekistan
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ASIA DANCE CULTURE INSTITUTE, under the Department of Ethnic Dance at Gyeongsang National University
The Asia Dance Culture Institute, under the Department of Ethnic Dance at Gyeongsang National University, staged a Korean traditional dance performance on November 11, 2019, which consisted of taepyeongmu (dance of great peace; Korean National Intangible Cultural Heritage No. 92), salpurichum (exorcism dance; Korean National Intangible Cultural Heritage No. 46), Dongnae hallyangchum (playboy dance of Dongnae; Busan Intangible Cultural Heritage No. 14) and Jindo bukchum (drum dance of Jindo; Jeollanam-do Intangible Cultural Heritage No. 18). The conceptual theme of the performance was to envisage the prestige of Korean traditional dance and facilitate its encounter with artificial intelligence (AI) robots in the coming era of the 4th Industrial Revolution.\nIt was regarded in dance circles as the first experimental performance of a traditional dance involving an AI robot in Korea. nSince its launch in 2007, the Asia Dance Culture Institute has identified, inherited and developed Asian dance, and furthermore, disseminated it widely in Korea and abroad with the aim to promote the greatness of Asian choreographed arts. It also endeavors to develop cultural contents for Asian dance through academic conferences and education projects. This year, we ventured to perform “Dialogue Between Dance and Robots” as a regular performance of the Asian Traditional Dance Company. Our time-honored dance that has been inherited from the distant past through the lasting accumulation of time is said to be a product into which the past and the present have been condensed and converged. The moment such traditional dance encounters engineering science, we can cautiously begin to anticipate the upcoming future. In the not-so-distant future, perhaps we will feel that AI and robots are our close companions in life, as opposed to simple tools, as we enter into the era of the fourth industrial revolution. It would not be an exaggeration to speculate that this work of collaboration between humans and robots on stage represents a new world that awaits us. The Asia Dance Culture Institute will continue its efforts to create new content that will be born from the convergence of intangible cultural heritage and artificial intelligence.
South Korea -
Vayali Folk Group, Kerala
Vayali is a folklore group that was started in 2004 exclusively with the intention of preserving the folk arts of the indigenous communities along the banks of river Nila. Vayali nears a decade of active participation in the social arena, reaching far deeper and spreading to a larger number of people.\nVayali, from its birth has constantly expanded, shifting focus to various aspects of indigenous arts and crafts which are at the verge of extinction. The group of folk singers were identified by folk enthusiast Vinod Nambiar, now the Director of Vayali and given a chance to perform at ‘Thali silpasala’, where they performed the artform ‘Chavittukali’. This was the real beginning of Vayali’s journey. What started as a group of folk singers then became an authority in performing various other Folk forms, like Dharikavadhom, Kudachozhi and Maani.
India
ICH Materials 587
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Kazakhstan Orteke(Dance of the Wooden Goat) (Highlight)
Orteke(mountain goat) is the name of an indigenous Kazakh performing art in which flexible wooden figure of a mountain goat is placed on a traditional drum called dauylpaz. Orteke’s originality comes from it being a combination of theater, music, and puppet dance. The expressive puppet figure, called teke (goat), seems to come to life when the master starts playing the drum.\n The figure makes funny dance movements in time with the rhythm of the music being played. It is also said that the orteke figure once came different shapes and sizes that were created individually, each with a different number of moving limbs, depending on which kyu was performed.
Kazakhstan 2017 -
Orteke—Traditional Kazakh Puppet-Musical Performing Art
Orteke (mountain goat) is the name of an indigenous Kazakh performing art in which flexible wooden figure of a mountain goat is placed on a traditional drum called dauylpaz. Orteke’s originality comes from it being a combination of theater, music, and puppet dance. The expressive puppet figure, called teke (goat), seems to come to life when the master starts playing the drum. The figure makes funny dance movements in time with the rhythm of the music being played. It is also said that the orteke figure once came different shapes and sizes that were created individually, each with a different number of moving limbs, depending on which kyu was performed.
Kazakhstan 2017
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Đò đưa (on boat)
Đò đưa is one of a few folk songs that was influenced by Ca trù and then became a Ca trù song for entertainment. A late Ca trù folk artist, Đinh Thị Bản, said: “This is a favourite song, sung when mandarins were on a boat on Hồ Tây Lake in Hanoi in the past”.
Viet Nam 1982 -
Bo‘ston (Garden) by Nughmonjon Akhmedov and Sherali Isoqov
Katta ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, katta ashula is performed in big gatherings, festivities, and party celebrations.
Uzbekistan 2015
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Sernicumu (Popular filian folksongs)
Serenicumu literally means “bumping songs,” a genre of popular music that is widespread throughout Fiji today and is performed in villages as well as at local resorts and hotels. These songs are covers of or are influenced by styles from Europe and America as well as from other Pacific islands or the Caribbean (particularly reggae). They are often performed at informal yaqona drinking sessions and are also associated with informal dance types broadly termed tauratale or danisi (taken from the English word ”dance”).\n\nThe exact origin of the genre is obscure. Serenicumu is said to be associated with the first legally allowed sales of beer to Indigenous Fijians in the 1920s in Suva, and it is suggested that this genre originated from parties where men bumped their drinking glasses together. Another source further adds that this music was originally called sere ni cumu saqa (saqa meaning “barrel” or “tankard”) and that it referred to the practice of Fijian men sitting in a circle at a table and resting their heads against their tankards of beer. Many serenicumu songs still performed today date from World War II―an intense period of creativity for this genre―when soldiers from the US, Aotearoa (New Zealand), and Australia interacted extensively with Fijians.\n\nCurrently, musicians distinguish two main styles of serenicumu: trio and sere bass (also called sere makawa or “old songs,” even though they may be fifteen or more years old). Sere bass performance features a large group of bass vocalists (bass/besi) in addition to three solo voice parts: tatabani/tatabana, domo tolu/vakababa, and laga/lagalaga in descending order in terms of their vocal range. Only the three solo parts are heard in trio. The types and roles of the instruments, their tuning, and their playing techniques have also changed over time. The technique of vadivadi (plucking), which characterized sere bass guitar performance in the past, has been replaced by various “scrumming” (strumming) for the rhythm guitar and a range of left- and right-handed techniques for the lead guitarist. The only chords used in sere bass were dua(tonic), rua (subdominant), and tolu (dominant), whereas trio also featured warning (seventh), minus (minor), and flat (supertonic) chords.\n\nAnyone can participate in sere bass performance, which makes it ideal for use at large social gatherings. Trio performers are expected to perform to a high standard and are usually heard at small social functions such as yaqona drinking sessions.\nThe tempo tends to be slower and the overall pitch lower in sere bass when compared to trio. Sere bass, being closer stylistically to meke, tends to be preferred by older people (those in their mid-40s and above) and provides them with a means to connect with and celebrate their cultural roots. Trio, which tends to be popular with those in their 20s and 30s, exhibits a greater degree of Westernization than sere bass, but it is still regarded as being part of the serenicumu oral tradition that has been passed down through the generations and that continues to change as new songs are continually added to the repertoire and old ones fall into disuse.
Fiji 2017 -
Quan Ho Bac Ninh in the North Vietnam
CD4 QUAN HỌ BẮC NINH IN THE NORTH VIETNAM\nQuan họ,a special alternate singing between men and women, was once only available in Kinh Bắc region in northern Vietnam. Traditional Quan họ was previously the folk art of forty-nine villages in Kinh Bắc, which is presently Bắc Ninh and Bắc Giang provinces.Quan họ singing has been associated with twining occasions in the past. Quan họ is often sung between two groups, called bọn Quan họ, who are living in two different villages and wanting to strike up friendship with each other. During annual festivals or their free time, the Quan họ people sing to satisfy their demand for exchanging art. They sing throughout the day and night. The twining relationship between the Quan họ performers as artistic and intimate friends has continued from forefathers to descendants; thus, they are never allowed to marry each other. Quan họ is one of the few musical forms that has alternate singing between men and women and lyrical love-exchange lyrics but has no the function of love-exchange in daily life as other love-exchange folksongs.\n\nNevertheless, Quan họ is sung not only by twinning Quan họ people but also by others from other places. People can sing Quan họ at many locations; for example, they can perform it at houses at night on normal days, at temples on festivals, on hills, in the forest, along the street, at ponds, or on boat.In Quan họ singing, the male group is called liền anh, and the female group is called liền chị. Traditional Quan họ is pair singing without accompaniment. One of the pair is in charge of singing, leading the tune while the other sings as a secondary part. These two people have to be selected and trained to be in perfect harmony at the same timbre. In addition to pair singing, there is group singing, which is performed on congratulatoory and worshipping occasions. The male group sings in response to the female one. Four typical singing techniques of Quan họ are resonant, ringing, restrained, and staccato.
Viet Nam 2015
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Pinagmulan - Enumerations from the Philippine Inventory of Intangible Cultural Heritage
This publication of the guide book on intangible cultural heritage of the Philippines is the precious result of the enthusiastic efforts made by the National Commission for Culture and the Arts (NCCA) to reconfirm and restore the national treasure of the long protected traditional culture, which have been alienated and marginalized during the colonial period of many centuries. This guide book has been edited to understand holistically the entire aspects of living heritage, the five domains defined by the Convention, and emphasize the importance of the communities practicing and transmitting them.
Philippines 2013 -
Sample Data Ⅱ : Nagaland, Orissa Cultural Atlas of India - Development of a web-based statewide database on the cultural resources of India
The early history of the Nagas is shrouded in obscurity and many theories abound of their origin and migration. How and when they came to settle in the north‐eastern region of India is an unsettled question. \nSeveral traditions exist within the multi‐ethnic Naga communities on their origins. \nAccording to the oral traditions passed down through songs, folklore and word of mouth the Ao emerged from six stones at Long‐terok, which exists to this day near Chungliyimti, the first legendry settlement of the Ao. ‘Long’ meaning stone and ‘Terok’ six, refers to the six stones from which emerged three pairs of male and female progenitors whom the Ao claim to be their ancestors. The Ao is distinguished with two phratries –Chongli and Mongsen. The Chongli claim that the three males and females who emerged at Longtrok were Tongpok and his sister Lendina, Longpok with his sister Yongmenala and Longjakrep with his sister Elongshe. They were the first human beings who emerged at Longtrok. \nEach male member along with his sister formed the three phratries of the Chongli. \nTongpok founded the Imsong‐Pongen clan, Longpok the Longkumer clan and Longjakrep with his sister founded the Jamir clan respectively. The three siblings intermarried and through these marriages, the Ao clans came into existence and a well‐ knitted clan exogamy marriage evolved that is followed to this day.
India 2009
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NAVRUZ, SHARING TOGETHER ON NEW YEAR’S DAY—SOME REFLECTIONS ON THE CULTURE OF NAVRUZNavruz (Nowruz) is not just about the first day of spring, but it is also not just a celebration of the New Year marked by indulging in a feast; it has a much wider historical and cultural context with deep doctrinal significance.Year2011NationSouth Korea
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BAKHSHI ART FESTIVAL TO REVIVE SILK ROAD CULTUREA wide range of festivals are held in Uzbekistan to generate public interest in intangible cultural heritage. This includes the recent International Bakhshi Art Festival, which was held for a week from 5 April in the ancient city of Termez. Bakhshi is a multi-genre art form that brings together singers, musicians, and performers of Doston, a Central Asian oral epic. Teams from seventy-five countries took part in this festival, which featured not only a wide range of performances but also an enlightening international conference.Year2019NationSouth Korea
Open Archive 4
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The Folk Performance of Xuan Pha
The Folk Performance of Xuan Pha (in Xuan Pha village, Xuan Truong, Tho Xuan, Thanh Hoa) is a diversity and abundant performance system which reflects the relationship between Dai Viet and other countries in the region and the world Includes 5 performances: Tu Huan, Ai Lao, Chiem Thanh, Ngo Quoc, Hoa Lang. This performance has a long history, most researchers believe that Xuan Pha was formed in the 15th century. In the process of studying this particular type of intangible cultural heritage, Researchers have found many different cultural layers, the earliest cultural layer appearing is the layer of love songs that mixed between the Viet and the Muong ethnic groups and a later cultural layer around the 16th to 17th century reflecting the integration of the Western civilization into the Vietnamese indigenous culture with the Hoa Lang performance. In the past, there was at least 43 area throughout Thanh Hoa province. Until now, only 2 places have been performing all 5 performances, including Xuan Pha. Along with the change of economy - society, Xuan Pha game is also changing gradually to survive and develop. In Xuan Pha, the show is being preserved very well by the community here and promises to develop more in the future Xuan Pha is a performance that has recorded the imprints of the relationship between Dai Viet and other foreign countries. In addition, this study also shows the important trading gateway position of Thanh Hoa province in history as well as the integration characteristics in the international relation context of Lam Kinh in particular and Dai Viet in general
Viet Nam -
Kecak Dance of Bali
Bali Kecak Dance performance. These photos are taken during my travel in Bali in 2016.
Indonesia -
Kathin
The offering of Kathin cloth or Kathin cloth is a ritual that believers or even monks perform rituals in temples to make Kathin cloth. There are two kinds of Kathin as "Choun la Kathin" is small Kathin and "Ma Ha Kathin" is big Kathin. Kathin has a fixed time for offerings. cannot be offered forever like any other cloth. This time, with only one month from the waning days of the first lunar month to the 11th day of the 15th lunar month 12 (12 lunar months), this period is called the transitional period Katin ceremony or festival. We also take place in the temple. Laotians march around the church three times carrying money trees and cloth for the monks. According to the beliefs of the Lao people, This acacia festival is organized for remedies or utilitarian benefits: (1) maintaining traditional good not to cease (2) is followed Buddha draws upon the breed of the Prophet (3) of the Securities and life with Russell kernels night (4) creates solidarity between Buddhist agency (5) a road to heaven and nirvana for themselves.
Lao People's Democratic Republic -
Wadangmet: The Dancing festival of Chhilings
Wadangmet, also known as Papani, is one of the greatest festivals of the Chhiling Rai people from the eastern hills of Nepal. Just after the Nepali Tihar festival (Sep/Oct) is celebrated, every Rai household in the community takes out the Dhol and Jhymta, musical instruments which are kept hidden in the house for a whole year. Pulling out these instruments signals the beginning of the festival which lasts for 1-2 weeks. My 80-year-old grandmother loved telling this and many other stories about the Rai culture. It is believed that divine Rai deities, Ambirahang and Rexihang, children of Budahang come to the village and shower their blessings on the people. Budahang is the king of the gods. According to the Chhiling legend, Budahang’s children ran away and secretly got married, a serious violation of Rai social and traditional norms. For breaking the taboo, they were banished from the village. The villagers, however, decided that couple could visit the village for one week every year. Wadangmet is celebrated to welcome the return of the banished couple with singing and dancing. During their stay, the community does not perform any other rituals or worship other souls and spirits. The celebrations begin on the full moon in November. As an offering, the locals take one half kilogram of rice (mana dhurne) to the local priest’s house. This offering, on the first day of the festival, is made to the unholy couple to encourage their blessings of eternal life for family members. On the second day the people gather at the priest’s house and, during puja, offer a pig and two chickens to the siblings. The same day, they clean and worship in the village courtyards. On the third day, the villagers gather at the Mukhiya’s (the head of the village) house with Dhol and Jhyampta to perform traditional dancing. They cut another pig and share the feast. On the fourth day, every household offers a pig to Ashik Hang (the king of blessing) for a long and healthy life. At this time the household’s future for the coming year is forecasted by performing the “Tharkibahal or Mangla” ritual; a chicken is offered to gods. If a chicken bleeds it is believed that family members will have a peaceful and healthy life for the coming year. If the chicken doesn’t bleed the family will have one year of uncertainty. The celebration continues for a fifth day in another village. On the sixth day the raucous celebration continues at the Mukhiya’s house in another village. Traditionally, the day also used to be an occasion for joking and courting among boys and girls. They would meet, fall in love and many would practice bhagibibaha; they would elope and be considered married. Wadangmet is the happiest time of the year. It’s a festival to celebrate life, community, friendship, love, music and dance. The final day of the festival is MangPankha; seeing off the deities. This is a week-long celebration at the Priest’s house that includes more rice and chicken puja, singing, dancing and playing the hidden musical instruments. People dance for whole night (and drink) and when the sun rises, they once again bid farewell to forbidden couple. Achita, rice used for the pujas, is considered to cure diseases. They save it for medicinal use throughout the coming year. No one knows how or when this festival began. My grandmother was filled with myths and fascinating stories about ancestors and how they lived. Regrettably, many of these stories are being forgotten but, Wadangmet is alive and well. Long live the Chhilings Rai people!
Nepal