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tribe
ICH Elements 21
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The Kelundang Dance
The Kelundang Dance is a welcome dance to visitors to the Orang Asli (Indigenous) of Jakun ethnicity’s settlement in Gumum, Tasik Chini, Pahang. This dance obtained its name from the dance props that is the kelundang tree trunk, cut and hung at two feet high, and knocked to produce a sound as accompanying music. This dance that is from the basic movement of the Sewang Dance is performed by at least 15 people including the dancers, musicians and singers. The floor pattern is simple that is an elongated circle. During a performance the singer sings in the Jakun language containing quatrains celebrating visitors and relating the beauty of Tasik Chini.
Malaysia -
The Dance of the Seletar Indigenous People – Ketam Bangkang
The Ketam Bangkang Dance (or the ‘Crab Dance’) is an arts form of the Orang Asli (indigenous people) that live in Bakar Batu, Johor. Ketam Bangkang is called ‘Yok Sang’ in the language of the indigenous people. Among the dance steps are elements of the crab like ‘clawing’, ‘crab run’, ‘provoking’, ‘crab’s joke’ and ‘shooing the crab’, as well as ‘wave’s billow’, ‘peeping’, ‘rowing a boat’, ‘the Seletar sway’, ‘dipping mud’, ‘wiping sweat’, ‘nose picking’ and ‘brink of bridge’.
Malaysia -
Sumazau - The Kadazadusun Dance
Sabah's largest ethnic group, the KadazanDusun and their traditional dance is called Sumazau which literally means 'dancing'. Sumazau is synonymous with festivities and celebrations such as weddings and especially the Pesta Kaamatan or Harvest Festival, which is a thanksgiving for a bountiful harvest of rice. The accompanying music is played by the sompogogungan ensemble consisting of six hanging gongs and a drum. The sumazau consists of two basic dance motifs. In the first motif, the dancer steps from side to side, shifting weight from one foot to the other, while gently swinging the arms at the sides in time to the music. In the second motif, the dancer raises the heels slightly, with arms raised. For men, the arms are stretched out at shoulder level with hands moving up and down. For women, the arms are also outstretched, but at a lower level.
Malaysia -
Kuda Pasu
"Kuda Pasu" dance is a traditional dance that has been passed down through the ages and still practiced today. This dance is originally from Bajau ethnic from Kota Belud Sabah. "Kuda Pasu" dance symbolize riding a horse movement, originally "Kuda Pasu" dance is for wedding ceremony and use to welcome the groom. Now it can be performing at any event or ceremony. The movement of this dance is related to martial art move becouse apart from horse movement there is "Silat" too. Music of this dance called "Tigad-Tigad". It is a main bit of song that play by some musical instrument like "gong", "kulintangan", "gendang" and "babamdil".
Malaysia
ICH Materials 24
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Sumazau - The Kadazadusun Dance
The Sumazau dance is probably the most well-known dance tradition in Sabah. Sumazau is synonymous to the Kadazan-Dusun community. Traditionally, this dance is performed to pay homage to the paddy spirits and often involves the female shaman (Bobohizan) to mediate between the spirit and the human world. Sumazau is the highlight of the Harvest Feast in Sabah that is usually celebrated in the month of May. Today, the dance is also performed at weddings to welcome guests. Sumazau is performed by both male and female dancers. These dancers wear allblack costume adorned with pretty motives in gold thread. Female dancers are equipped with shawls and belt (tangkong) made from silver coins. Male dancers usually wear a special headgear (tanjak) and dried salad leaf tied at the waist. Sumazau Dance is accompanied by the pounding of six gongs in various sizes and a gendang. The hand movements of Sumazau dancers are similar to a bird’s wings in flight while their feet are in beat with the poundings of the gongs. Dancers perform as couples; they face each other, and move their feet in small steps while lifting their heels according to the rhythm of songs played.
Malaysia -
"Yohor" Buryat's singing round dance
Yohor, singing round dance of the Buryat ethnic group in Mongolia, the Buryat Republic of the Russian Federation and the People’s Republic of China, is a complex phenomenon of poetry, melody, and movement. Eldest woman starts the Yohor dance. Yohor consists of three parts, in the first part, people start appealing other people to do Yohor. They say words “Yohoroo khatariya! khatarysh”. It means let’s do the Yohor dance. These signal words remind to people it’s time to dance Yohor. In the second part, people stand in circle formation holding hands and singing in a low pitch, start moving foot steps forward; or sideward steps; or backward jumps in circle path with arms gestures as moves up, down and sideward. In combination with changes of melody rhythm, the dance movements are changed into stamping, hopping, leaping, and steps are replaced by jumps. In the end of the dance, people say the word “hatariya hatarysh”.
Mongolia
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Kin Pang Then Festival: Encompassing Past and Present
Kin Pang Then is a traditional ritual of the Tai ethnic group in the northwest region of Vietnam to welcome and thank the deity known as Then. In the ritual, Then comes down to grant blessings on villagers and heal those whose souls are sick. The beneficiaries of the ritual are obliged to participate in the next Kin Pang Then ritual. The whole process of greeting and sending off the deity is intended to bring harmony and unity to all community members who participate in and enjoy the ritual. \nThis video shows the spiritual life of the Tai people and a master performing the ritual to bring good luck and wellbeing to the local people.
Viet Nam 2019 -
Kin Pang Then Festival(KOR)
The Tai communities live in Son La, Lai Chau, Yen Bai and Dien Bien provinces in the Northwest of Viet Nam. Kin Pang Then is one of Then's important rituals of the Tai people. This is the occasion where the Then master and his followers perform a thanksgiving ritual for the Then god. The ritual includes songs and music that symbolically express the journey of the Then Master to travel to the other world to look for the lost souls of the disciples/clients and to call the souls coming back to their bodies. The film is about the destined ritual Master and his ritual performance with Xoe dance for healing, good luck and well being for the local people. The film demonstrates the spiritual life and religious Then practice of the Tai in Northwestern religion in Viet Nam.
Viet Nam 2019
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YOHOR, PART OF A COLLECTIVE PAST, PRESENT, AND FUTURE OF THE BURYATThe performing art of Mongolia, especially the traditional folk dance, is an expression that embodies and originates from the nomadic way of life, expressing their lifestyle, household activities, courage, love, pride, and livestock. The dance is accompanied by singing, and some musical instruments as morin khuur, ikel khuur, tovshuur, tsuur, with the performers dressed ethnic costumes. Since ancient times the motifs and movements in traditional folk dances were used to transmit the narratives and social myths of Mongol history and culture.Year2017NationSouth Korea
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Mongolian Culture and HeritageThe culture of the Central Asian steppes expresses itself vividly in the lifestyle of traditional nomadic practices. Mongolian culture has been in practice in the nomadic life and the traditions surrounding the nomad’s home (ger). And it is present in religious celebrations, national festivals, art and crafts, music and dance, language and literature, which form the backbone of Mongolian intangible cultural heritage of Mongolia. Mongolia is filled with valuable cultural properties and intangible cultural heritage of humanity that have been kept or practiced for thousands of years.\n\nGer, Mongolian Traditional Dwelling\nThe traditional architecture of the Mongols differed strongly from that of the settled peoples of Asia and other continents. Centuries ago, there the ger, also known as a yurt, appeared. It still offers shelter to nomads in particular places in Central Asia. Its development and fundamental principles are determined by the specific features of the way of life of Mongol tribes, which made it necessary to evolve a light and collapsible structure to be used as a dwelling or for public functions.\n\nMongolian Language and Literature\nMongolian is the language of most of the Mongolian population and inner Mongolia. By origin, Mongolian is one of the Altaic family of languages, and the history of the Mongolian language is long and complicated. Significant literary work of early Mongolia includes The Secret History of the Mongols, which was published in 1228).\n\nMongolian Religion and Beliefs\nThe Mongols have practiced several religions, of which Shamanism and Buddhism were the most common. The faith in Mongolia is Buddhism, though the state and religion were separated during the socialist period, but with the transition to the parliamentary republic in the 1990s, there has been a general revival of faiths across the country\n\nMongolian Art and Crafts\nMongolian arts and crafts have been passed down across generations from the Paleolithic times to today, leaving behind deep impressions on all facets of life and conscious, aesthetic, and philosophical thinking. Highly developed Mongolian arts and crafts come from the second millennium BCE. The works included sculptured heads of wild animals with exaggerated features. Other items include knives, daggers, and other items of practical and religious use.\n\nMongolian Music and Dance\nMusic is an integral part of Mongolian culture. Among Mongolia’s unique contributions to the world’s musical culture are the long songs, overtone singing, and morin khuur (the horse-headed fiddle). The music of Mongolia is also rich with varieties related to the various ethnic groups of the country. Among the most popular forms of modern music in Mongolia are Western pop and rock genres and the mass songs written by contemporary authors in the form of folk songs.\n\nHorse Culture of Mongolia\nIt is famously known that horses play a large role in the Mongols’ daily and national lives. Common sayings are, “A Mongol without a horse is like a bird without wings,” and “Mongols are born on horseback” these are arguably true words. Even today, horse-based culture is still practiced by nomadic Mongolians.\n\nVisit https://www.toursmongolia.com/tours for additional information about Mongolian culture.\n\nPhoto 1 : Prairie meadow grass inner Mongolia traditional clothing © Batzaya Choijiljav\nPhoto 2~7 : © Batzaya ChoijiljavYear2020NationMongolia
Open Archive 2
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Traditional Manaung Festival of Kachin
This is photos of Manaung festival of Kachin national race. The Manning festival is a kind of ritual festival which propitiate to Madine Nat and Kachin tribe have been practiced in ancient time when they had been worship Nats.
Myanmar -
Tae Na Gu - Karan musical instrument
Karen (Pgaz K' Nyau) tribe’s unique culture has remained largely intact because of its isolation. The traditions are deeply connected with the forest and the tones of the music echo their histrionic landscape that ranges from deep wild and valleys. Their main way of living is living with and taking care of the forest. The Karen musical instrument called “Tae Na Gu”, has its own sound and character with a very long history. A soft sound, bright and gentle is the colour that would paint your heart in light colours. The root of this instrument could trace back to more than 200 years ago. Its name usually appeared in tribal's ancient rhymes. From generation to generation this ancient instrument has been transferred. It has significant changes. For example, the strings used to be 9 - 12 with a minor scale, now it has only 6-9 strings in major scale so they could play with other musical instruments perfectly. Also, many new generations of Pgaz K' Nyau musicians bring it back to life by designing, changing colours and forms. But one thing that would not change is it exquisitely represents the character of the Pgaz K' Nyau people. Gentle, adaptive and caring for their inheritance.
Thailand