ALL
long
ICH Elements 3
-
Gasa (Narrative Song)
National Intangible Cultural Heritage, Republic of Korea Gasa, which is part of the country’s traditional vocal music, refers to a long narrative in verse. Based on relevant records, it is presumed that this form of verse started to be written after the reign of King Yeongjo (r. 1724-1776). A total of 12 pieces have been handed down and survive today. They are Baekgusa, Jukjisa, Hwanggyesa, Eobusa, Chunmyeongok, Sangsa Byeolgok, Gilgunak, Gwonjuga, Suyangsanga, Cheosaga, Yangyangga, and Maehwa Taryeong. It is not known who composed these songs or wrote their lyrics, but it is thought that the tradition of Gasa was established toward the end of the Korean Empire (1897 – 1910). The narratives of Gasa are very long and are not regularly styled, and so it is not clear how singers are supposed to arrange their diverse features and sounds. Melodies differ slightly from narrative to narrative. Modulations and repetitions appear characteristically. As for their rhythm, Baekgusa and Jukjisa have dodeuri rhythm (sextuple time). Sangsa Byeolgok, Cheosaga, and Yangyangga have quintuple time. Gwonjuga has no fixed rhythm. Basically, Gasa is sung without instrumental accompaniment, but sometimes it is sung to the accompaniment of piri (flute), haegeum (two-stringed fiddle), daegeum (bamboo flute) or janggo (hourglass-shaped drums). As a free-style song, Gasa is good at expressing people’s sentiment or natural beauty. It is a song sung by professionals, and is the country’s indigenous music featuring peacefulness and locality.
South Korea -
Mongol garment
Mongol deel is a long gown with diagonal or square lapels that can be affixed on both sides. It is the main costume of the Mongol nations and it has lost neither its fundamental design nor style even after centuries of use. The ancientness of the design of the deel is suggested by the appearance of pre-historic people wearing sheep skin coats in ancient petroglyphs. The deel has developed to be compatible with the health, physiological characteristics, and daily life of the pastoral nomads of Mongolia. This garment is also uniquely suited to the harsh weather condition to which the Mongolian lifestyle has adapted. The accessories to the deel also serve many purposes: the long cuff at the end of the sleeves can be used as a glove or liner and the wide belt worn with the deel is designed for protection against kidney disease and back aches, while also serving as a blanket or pillow on long journeys.
Mongolia -
Folk long song performance technique of Limbe performances - circular breathing
The Limbe is one of the ancient musical wind instruments of nomadic Mongolians. The limbe is a side-blown wind instrument, mostly made of hard wood or bamboo. It is considered as one of the valuable traditional musical instruments among Mongolians for its unique technique and characteristics such as producing euphonical melody, melisma, hidden tune associated with circular breathing, and its performing techniques of skillful and delicate movements of fingers and tongue. Over the long historic development of Limbe performance, Mongolians have created the unique technique of playing Limbe using circular breathing. Circular breathing technique of the Limbe performance is closely interconnected with the traditional mentality of Mongolians, traditional folk long song and the vast steppe. The circular breathing technique of the Limbe Performance comprehensively corresponds to the characteristics of the melody of Mongolian folk long song, particularly adequate for performing the folk long song with prolonged and melodic tune for its entire duration without any pause. Limbe is one of the main instruments that perform unilaterally the melodies of traditional folk long song or accompany its performance. While performing a folk long song, it is customary for Limbe performers to use the technique of circular breathing. Limbe has the ability to comprehensively express and support the manifestation of folk long song, its slow pace and expansive wide ranging flow of melody. Its continuous melody serves as a support during the singer's pause for inhaling and thus enriches the song's melody as well. 'Bituu amisgaa' means 'hidden circle of breathing'. Performing with circular breathing is a complex technique of uninterruptedly continuing the activity of expelling the air stored in a mouth cavity to play the melody and at the same time inhaling air into the lungs through the nose and transferring it to the mouth cavity. The distinctiveness of the technique to circular breathe lies in the ability of intentionally changing the normal way or process of breathing, thus creating the circular bond of continuous air flow by inhaling and exhaling simultaniously. The first step in mastering this technique of Limbe performance is to learn in the ability to inhale gently neither stopping the flow of blowing nor interrupting its tone of melody. The second step is to learn to play the Limbe with the ability to completely express the melody of traditional folk long song, its manifestation, phylosophical view by perfectly possessing the technique of producing ornamentation, coloratura, melismaa and shurankhai (falsetto) which requires one's true endeavours and hard work, talent and sense of acoustics. In this sense, it can be concluded that the element ""Folk long song performance technique of Limbe performers – Circular breathing"" finds its true form or fulfilled from within the inseparable interconnection of circular breathing technique of the Limbe and its performance of folk long song. The ""Circular breathing"" is a great achievement of nomadic Mongolians derived from their creativity, result of the exploration and necessity of their daily life. The origin and development of circular breathing is closely bound up with the skills and knowledge of ancient craftsmen or metalsmiths who specialized in gold and silver. Early Mongolian craftsmen used circular breathing techniques for crafting various decorative and ornamental items including valuable jewelries. In crafting such items, craftsmen were required to blow continuously to the flame through a pipe with needle like hole, in order to make the hard metal melt or soften. In that regards, the craftsmen had to blow gently to the flame through the pipe bitten in their mouth, continuing as long as possible. From such necessity of lifestyle, craftsmen have mastered the technique of circular breathing, creating a circular-like cycle of breathing, simultaneously inhaling through their nose while blowing without any pauses. It can be considered that the introduction of the circular breathing technique by craftsmen in the art of Limbe was a new and productive invention in its performing technique. The traditional method of learning the simultanious act of inhaling and exhaling has a coherent sets of training forms, ranging from elementary to advanced which include continuous blowing act at a candle light or a flame without extinguishing it and blowing through a straw into a glass of water. The technique of circular breathing performance of the Limbe has valuable significance that could equally be practiced for other wooden wind instruments (Mongolian traditional wind instruments: Bishguur, Byalar, Hornpipe; non traditional: Clarinet, Saxophone, Oboe, etc.) and is an outstanding example of musical performing techniques created by humanity, consituting one of the distinctive forms of intangible cultural heritage in need of urgent safeguarding. This traditional element of ""Folk long song performance technique of the Limbe performers-Circular breathing"" has been handed down by and preserved among renowned Limbe performers: L.Tserendorj, L.Maam, M.Dorj. Nowadays, the second generation apprentices of these well-known Limbe performers are the main bearers and holders of this traditional art. But the existing few number of these bearers of the element has become the biggest concern for its further viability. Currently, there is a high risk of possibility that the tradition of this element could dissappear from its existence. One of the factors causing the element to dissapear is inevitably the significance of decrease of current groups and individuals of artists and practitioners of traditional folklore in numbers and changes in the traditional repertoire. The main change of repertoire in traditional folklore has caused by the tendency to absorb classical or modern forms of view, and the predominance of western methodology in training system. Additionally, the intense globalization and urbanization changes are the factors causing to diminish the value and tendency towards intangible cultural heritage among general public, particularly among younger generations. Today, some of the urgent objectives for us are to promote, safeguard and transmit the element to the younger generations, to ensure its further existence and viability.
Mongolia 2011
ICH Materials 2
-
Mongol garment
Mongol deel is a long gown with diagonal or square lapels that can be affixed on both sides. It is the main costume of the Mongol nations and it has lost neither its fundamental design nor style even after centuries of use. The ancientness of the design of the deel is suggested by the appearance of pre-historic people wearing sheep skin coats in ancient petroglyphs. The deel has developed to be compatible with the health, physiological characteristics, and daily life of the pastoral nomads of Mongolia. This garment is also uniquely suited to the harsh weather condition to which the Mongolian lifestyle has adapted. The accessories to the deel also serve many purposes: the long cuff at the end of the sleeves can be used as a glove or liner and the wide belt worn with the deel is designed for protection against kidney disease and back aches, while also serving as a blanket or pillow on long journeys.
Mongolia -
Mongol garment
Mongol deel is a long gown with diagonal or square lapels that can be affixed on both sides. It is the main costume of the Mongol nations and it has lost neither its fundamental design nor style even after centuries of use. The ancientness of the design of the deel is suggested by the appearance of pre-historic people wearing sheep skin coats in ancient petroglyphs. The deel has developed to be compatible with the health, physiological characteristics, and daily life of the pastoral nomads of Mongolia. This garment is also uniquely suited to the harsh weather condition to which the Mongolian lifestyle has adapted. The accessories to the deel also serve many purposes: the long cuff at the end of the sleeves can be used as a glove or liner and the wide belt worn with the deel is designed for protection against kidney disease and back aches, while also serving as a blanket or pillow on long journeys.
Mongolia
Open Archive 7
-
Arrival of the Autumn Reminds me “Bada Dashain” in Nepal
I am Rashila Maharjan. I am studying Anthropology in South Korea. Nowadays, Facebook walls are full of Dashain festival photos. Looking at the Dashain photos sent by my family and friends, I want to briefly share memories of Dashain when I was young. After a late scorching heat of summer, autumn is here. Days are shorter and nights are longer now. The cold breeze in the morning and evening gives me a sign telling, “Dashain ayo” which means “Dashain is here”. Dashain is a major and the longest festival in Nepal. A fifteen-day long festival is a most awaited festival in the year. This year it was celebrated from 7th October to 20th October. All the government agencies, educational institutions private offices get days off during this festival period. Dashain commemorates a great victory of gods over the wicked demons and it symbolizes the victory of good over evil. The story of good over evil is told throughout the festival. By this faith, people forgive each other, and convey greetings and best wishes to each other and pray for a year of a good harvest. On the auspicious occasion of Dashain, all houses are beautifully decorated, painted into different colors to roll out the red carpet for their guests. People do the shopping and buy new clothes. In the commemoration of the Dashain, a goat is slaughtered in every house for the preparation of a feast during the festival. With this preparation, family members and relatives, who had not seen or met for quite a while congregate and visit elders to seek Tika and Jamara, as well as a blessing. (According to the Hindu mythology, Tika (a red vermillion mark on forehead) is believed to give peace and calmness whereas Jamara (young saplings of rice seed tucked on ears) is said to be a sign of the blessing of goddess Durga.) On the other hand, elders of the family give tika as well as a blessing with cash gifts to the younger ones after receiving bows from them. One other activity throughout Dashain is flying kites, ridding on a traditional swing made by the bamboo tree, playing cards, etc. All members of the family gather and play cards while joking with each other, kids fly kites and ride on the swing. In the evening, people gather at the town square and share their stories. As in last year, COVID-19 has caused unleashed chaos and fear among the people. Despite the global pandemic the excitement and the spirit of the festival are not less than before. Nepal witnessed the Dashain celebration with a well-maintained social distance while on the contrary, people who are living abroad and can’t visit their home are using an online platform to celebrate the festival. Overall, Dashain is a grand and favorite festival for all age groups of people which symbolizes unity, harmony, and brotherhood. The autumn wind is blowing gently and the colors of leaves are changing in Korea. This cool weather and smell of autumn bring a feeling of Nostalgia that stems from memories of back to my homeland.
Nepal -
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 -
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 -
Gon Shan Traditional Gold Embroidery
In ancient time, gold thread looms were woven and embroidered in the palace. The practice of making tapestry is transmitted generation by generation. In Gone Shan traditional costumes, it is used to sew for a long time, as well as for pillows and other accessories.
Myanmar