ichLinks

BOBO, RISHTA, QAYCHI
In this game one of players play the role of grandfather and Others play the role of grandchildren.

#game #role #grandfather #grandchildren

Tajikistan

Riddles
A riddle is one of the small forms of oral folk art, in which the most striking, characteristic signs of objects or phenomena are given in an extremely compressed, figurative form. It represents a statement, question or phrase with double or veiled meaning, and aimed mainly to children.

#riddle #oral folk art #children

Uzbekistan

BOBO, RISHTA, QAYCHI
In this game one of players play the role of grandfather and Others play the role of grandchildren.

#game #role #grandfather #grandchildren

Tajikistan

Riddles
A riddle is one of the small forms of oral folk art, in which the most striking, characteristic signs of objects or phenomena are given in an extremely compressed, figurative form. It represents a statement, question or phrase with double or veiled meaning, and aimed mainly to children.

#riddle #oral folk art #children

Uzbekistan

The Lullaby of Siti Fatimah
Siti Fatimah’s Lullaby is a poem believed to have originated from the Arabian land and began since the era of Prophet Muhammad (peace be upon him). This poem is sung by nine angels for the Prophet’s children. The poem was continued by the Prophet’s daughter Saiyidatina Fatimah to put to sleep her sons Saidina Hassan and Saidina Hussin. The poem was then known as Siti Fatimah’s Lullaby. The poem contains lyrics that praise Prophet Muhammad (peace be upon him), relates about the time a baby is in the womb, the hardship faced by the mother in carrying the baby and giving birth, and continues with the mother loving and caring for the baby from a toddler till adulthood. This poem also contains words of advice to a child, especially not to forget both the parents’ deeds. The original lyrics were in Arabic. However, the poems sung in this country were translated to the Malay language and adapted to suit local conditions.

#lullaby #poem #angel #praise #children

Malaysia

Pisa' Asin
Pisa' Asin is a traditional game of the Melanau community other than Pisa Tibow and is still favoured until now. The Pisa' Asin game is suitable to be played by children and often played during celebration festivals. Pisa' Asin is divided into two versions that is 'asin tu'u' and 'asin bibung'. In 'asin tu'u' the defending players can only catch players that are inside the playing court area only. They cannot catch players that play outside the playing court. In 'asin bibung', the gatuong (middle player) is allowed to chase players who play until they cross the end line of the playing court. But the positions of players who play cannot be out of the edge lines or the head line of the playing court. Players who run straight to the end of the playing court can be chased.

#game #tribe #communities #children #festivals

Malaysia

Playing Ak terek kok terek_Bishkek city_Kyrgyzstan

#children #game #traditional knowledge

Kyrgyzstan

Playing Ak terek kok terek with a familly

#children #game #traditional knowledge

Kyrgyzstan

Seeking for loyal friend
Mister Lữ goes fishing in the afternoon\nBut then the crocodile suddenly took him away\nIt is easier to find silver and gold\nBut to find a meaningful bond is rarer than most\n\nLullabies (Ru) within the family environment has a hypnotising function, where it's used to ease the child into sleeping. Southern Vietnam (Nam bộ) lullabies was formed and sustained through the many layers of Nam bộ culture. The environmental ecosystem and culture have given it a distinctive form that is expressed through lyrics, melodies, and rhytms.

#children #family #folk music #lullaby

Viet Nam October, 2021

The sorrow of infidelity
The breeze swiftly blow the (banana) bushes\nWhile you're enchanted by your lover and neglected your child\n\nLullabies (Ru) within the family environment has a hypnotising function, where it's used to ease the child into sleeping. Southern Vietnam (Nam bộ) lullabies was formed and sustained through the many layers of Nam bộ culture. The environmental ecosystem and culture have given it a distinctive form that is expressed through lyrics, melodies, and rhytms.

#children #family #folk music #lullaby

Viet Nam October, 2021

“Orteke—Traditional Kazakh Puppet-Musical Performing Art”
Some people say orteke is a street theatre, others might claim it is a musical instrument, some would see it as a decorative art, and children perceive it as a toy and use for entertainment. The truth is that all of the statements are correct, orteke is everything altogether. It is an indigenous Kazakh performing art that combines theater, music, and puppetry. You may notice it from the introductory words of one of the masters in the video. He did not give single-worded description of orteke, because it is simply impossible.

Kazakhstan

2020

30 MIN

NEWS People on Vanuatu’s Malekula Island Speak More than 30 Indigenous Languages. Here’s Why We Must Record Them : Indigenous languages preserve ways in which people engage with their environment. CCBY Royce Dodd, Author provided Malekula, the second-largest island in the Vanuatu archipelago, has a linguistic connection to Aotearoa. All of its many languages are distantly related to te reo Māori, and the island is the site of a long-term project to document them. Vanuatu has been described as the world’s “densest linguistic landscape,” with as many as 145 languages spoken by a population of fewer than 300,000 people. Malekula itself is home to about 25,000 people, who among them speak more than thirty indigenous languages. Some are spoken by just a few hundred people. Indigenous languages around the world are declining at a rapid rate, dying out with the demise of their last speakers. The UN Permanent Forum on Indigenous Issues estimates one indigenous language dies every two weeks. As each language disappears, its unique cultural expression and world views are lost as well. Our project in Malekula hopes to counter this trend. Malekula Languages The work in Malekula began in the 1990s when the late Terry Crowley hosted a Neve’ei-speaking university student from a small village. The encounter inspired his interest in the island’s many Indigenous languages. The Malekula project works with communities to facilitate literacy initiatives, often in the form of unpublished children’s books and thematic dictionaries. The research highlights the value of Indigenous languages as an expression of local cultural identity. The Malekula project is a response to the urgent need to record the island’s indigenous languages in the face of significant changes to almost every aspect of traditional life. These changes have brought indigenous languages into contact and competition with colonial English and French and the home-grown Bislama, a dialect of Melanesian pidgin. From education to religion, administration, and domestic life, Bislama is now often the language of choice. Why is that a problem? The value of indigenous languages lies in the fact that they articulate the way in which people have engaged with and understood their natural environment. Malekula has a 3,000-year history of human settlement. Each language spoken on the island encodes unique ways in which its speakers have sustained life. Indigenous languages preserve ways in which people engage with their environment. Another fundamental aspect of indigenous languages is their direct link to cultural identity. In a place where distinctive local identities are the norm, the increasing use of Bislama reduces the linguistic diversity that has been sustained for millennia. In recent times, the way of life for the people of Malekula has shifted from intensely local communities to broader formal education. Imported religions have similarly influenced local belief systems. The same centralized governance that facilitates infrastructure development and access to medical care also affects the autonomy of small communities to govern their affairs, including the languages in which children are taught. Traditionally, linguistic field research has produced valuable research for a highly specialist linguistic audience. Most scholars had no expectation of returning their research to the community of speakers. We initially followed this tradition in writing about the Neverver language of Malekula but grew increasingly dissatisfied with the expectations of the discipline. Looking to modern decolonizing research methodologies and ethical guidelines in Aotearoa, we developed the “first audience principle.” This means indigenous language communities should be the first to hear about any field research findings. In 2020, the COVID-19 pandemic and travel bans brought linguistic fieldwork to an abrupt halt. During this unwelcome hiatus from fieldwork with Malekula communities, it has been tempting to focus on more technical analysis for our fellow academics. But our obligation to communities remains, and we are developing new ways of working with our archived field data in preparation for the time when we can return to Malekula. This article is based on the free flow of information, the creative commons from https://theconversation.com For the original source with additional links, please visit https://theconversation.com/people-on-vanuatus-malekula-island-speak-more-than-30-indigenous-languages-heres-why-we-must-record-them 03/12/2021

children