ALL
singing
ICH Elements 12
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Seonsori Santaryeong (Folk Song of the Mountain Performed in a Standing Position)
National Intangible Cultural Heritage, Republic of Korea When mogabi (leader of a group of singers) leads with his part of the song, the others follow him with their part of the song, playing the sogo (small drums) and making gestures with their hands and feet. The name Santaryeong (Folk Song of the Mountain) was attached, since the lyrics are associated with natural scenery. It starts with slow rhythms but becomes faster gradually. Today, the folk song is sung by males, but it originally stemmed from the female songs of sadangpae (itinerant performance troupe) composed of monks and Buddhist followers, who sang choruses of a prayer to Buddha and received contributions from people in return. With the decline of Buddhism during the Joseon Period, the members of the wandering troupes were replaced with males. Their prayer to Buddha was replaced with Seonsori Taryeong (songs performed in a standing position) sung by ordinary people. Seonsori Santaryeong was divided into a version of Seodo (referring to Hwanghae-do and Pyeongan-do) and a version of Gyeonggi. The latter portrays the natural scenery of places close to Seoul with singers playing sogo, whereas the former sings about the natural scenery of Pyeongyang joyfully with a fast tempo with singers making gestures and waving handkerchiefs. This piece of folk song is a precious material for those studying the music of sadangpae. It is the most joyful, gallant, and liveliest piece among the country’s traditional music pieces.
South Korea -
Main Puteri
Main Puteri, also referred to as Main Teghi in the Kelantanese dialect, is one of the authentic arts found in the state of Kelantan. This performance is one of the most popular traditional healing methods of the Kelantan-Pattani Malay community since the olden days. It is admittedly difficult to separate the ‘performing art’ and ‘medical ritual’ aspects in Main Teghi due to the close ties between the two elements. There are many versions about the origin of Main Teghi as source of information. However, since there are no accurate records thus oral sources are the only ones available. In terms of performance, there are interesting elements in Main Teghi that are a combined elements of acting, singing, dancing, miming and music; apart from Islamic, magical and ritual elements. Tok Teghi, the leader of the group, acts as a medium to connect the patient with the summoned spirits. During this process Tok Teghi keeps changing characters; becoming fierce and ferocious, a senile elder, a disabled youth, speaking nasally and various other characters to portray the pain shouldered by the patient. It is believed that there are more than 50 songs in a Main Teghi performance, but now not even 10 are still being performed. Among those commonly performed are entitled Kijang Mas, Mengulit, Pendekar, Cik Muda, Cik Kojo, Menora and Abe. Main Puteri was recognised as a National Heritage in 2012.
Malaysia -
Gayageum Sanjo and Byeongchang (Free-style Gayageum Solo and Music and Singing)
National Intangible Cultural Heritage, Republic of Korea Sanjo refers to the playing of an instrument solo to the accompaniment of janggo (hourglass-shaped drum), moving from slow to fast rhythm, in four to six movements. Gayageum Sanjo is Korean instrumental folk music played solo with gayageum (twelve-stringed zither). Gayageum Byeongchang refers to the singing and playing of gayageum at the same time. All Sanjo start with slow rhythm and gradually changes to faster rhythm, making listeners feel tense and increasingly delighted. Gayamgeum Sanjo is made up of four to six rhythms: jinyangjo (slow), jungmori (moderate), jungjungmori (moderately fast), jajinmori (fast), and hwimori (fastest). Compared to other instrument-based Sanjo, Gayageum Sanjo masters could form diverse schools thanks to the unique characteristics of gayageum. A singer engaging in Gayageum Byeongchang sings a part of danga or pansori to the accompaniment of his/her own gayageum playing. Gayageum Byeongchang used to be sung by Gayageum Sanjo masters, but the current tendency is for the separation between players of Sanjo and Byeongchang. A song sung as Byeongchang creates its own atmosphere due to the unique melody of gayageum. The following are well-known parts of Gayageum Byeongchang: Jebinojeonggi (Route of the Swallow's Trip) of Pansori Heungboga (Song of Heungbo), Sarangga (Song of Love) of Chunhyangga (Song of Chunhyang), Gogocheonbyeon (Brightness of the Sunshine in the Sky) of Sugungga (Song of the Rabbit and the Turtle), and “Sim Cheong’s Father on His Way to Hwangseong” of Simcheongga (Song of Sim Cheong).
South Korea -
Menora
Menora, also known as Nora Chatri, is a folk dance-drama tradition practiced by the Thai community in the north Malaysian states of Kelantan, and Kedah, as well as throughout southern Thailand. A Menora performance incorporates stylised dance, singing, comedy, and drama. Ritual elements are strong in this performance tradition, which is often performed on special occasions such as Buddhist temple ceremonies and the initiation or coming of age rites of a dancer. Menora is also held at community gatherings such as weddings and public festivals.The word Menora derives from a Buddhist jataka tale about Menora, a heavenly bird-princess who falls in love with a human prince, Phra Suthon. This tale forms the basis of the tradition’s main dance sequence in which the principal dancer, as Phra Suthon, performs a courting dance with Menora and her heavenly sisters. Dance movements are characterised by backward-bent fingers and outstretched arms, alternating subtle and sudden gestures that are said to reflect those of a mythical bird. The opening dance is followed by a lakon (dramatic sequence), during which various stories are performed by the principal dancer, a pair of clowns and supporting actors. In Kelantan, the Menora has incorporated many characteristics of Kelantanese Malay traditions, particularly the Mak Yong. The musical instruments of Menora usually comprise of gendang, geduk, gedumbak, gong, canang, kesi, wooden clappers, and serunai.
Malaysia
ICH Materials 33
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Aitysh__-improvised competition of two akyns
Kyrgyzstan
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Aitysh
Aytysh is a musical and poetic competition of two akyns in the art of improvisation or verbiage. Aytysh is performed to the accompaniment of komuz. In aytysh, the intonation and improvisational tradition of performing arts is especially manifested. The competition takes place in the form of a dialogue with sparkling versification, composed and improvised during the competition on various topical topics. The themes of aytysh are multifaceted, deep reflections are expressed in them, in which sparkling humor is interspersed with philosophical generalizations.
Kyrgyzstan
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2. Case of Kyrgyzstan: Influences and Effects of ICH Festivals on Local Communities
The ICH festivals in the Kyrgyz Republic are a great way to safeguard the cultural heritage. Kyrgyzstan has a rich ICH and embraces all ICH domains including the oral traditions andexpressions, performing arts, social practices, rituals and festive event, knowledge and practices concerning nature and the universe, and traditional craftsmanship. Festivals feature various ICH domains such as arts and crafts, cuisine, folklore, felt, hunting with birds, horse games, etc. For instance, the festivals Kyrgyz Shyrdagy and the Oimo International Festival are held with the aim of safeguarding and popularizing traditional knowledge and skills of handicrafts, for safeguarding and promoting traditional games, various birds of prey festivals are held, such as Salbuurun and Kok Boru. Moreover, festivals are dedicated to safeguarding oral traditions, such as Aitysh, the art of improvisation as well as many other festivals reflecting traditional cuisine, folklore, etc.
South Korea 2020-11-18 -
Aitysh/Aitys, art of improvisation
Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practiced on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitys and use the contest to express women’s aspirations and viewpoints.
Kazakhstan
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Lintas Nusantara: Dance Forms from the Malay WorldSingapore’s Malay Heritage Centre (MHC) organizes Lintas Nusantara, an annual dance festival that serves as a platform for dance masters and troupes from Singapore, Malaysia, Indonesia, and other countries in the region to showcase their work and capabilities and to facilitate cultural exchanges among the countries involved.\n\nTo commemorate the tenth anniversary of the festival, MHC will be launching a publication entitled Lintas Nusantara: A Spectacle of Dance and Music in October 2021. The publication will provide a visual record of all the dances performed at the festival and include several essays that aim to provide a deeper understanding of the various dance forms as well as their origins, development, and evolution.\n\nIt will cover a total of twenty-three Malay dance forms performed in Singapore, different states in Malaysia, and different regions of Indonesia. These dance forms include Zapin Sungai Kallang from Singapore; Mak Yong and Tari Asyik from Malaysia; and Pajaga Makkunrai (Bugis), Tari Golek Menak (Yogyakarta) and Tari Gending Sriwijaya (Palembang) from Indonesia.\n\nAs part of the publication’s aim to foster more extensive research into dances from the Malay Archipelago, it will feature twenty-seven essays by academics and researchers from Singapore, Malaysia, Indonesia, East Timor, and the Philippines. These essays will cover topics such as preserving dance and community traditions; spirituality in dance and movement; forging cultural and community identity through dance; cultural borrowings as expressed through music, costumes, and movements.\n\nLintas Nusantara: A Spectacle of Dance and Music will also include reflections regarding the importance of cultural exchanges in the growth and evolution of dance and music as well as the development of a dynamic Malay dance ecosystem from musicians Thow Xin Wei (Gamelan Singa Nglaras) and Fadhli Ramlee (aluNada Muzik) as well as an interview with Mr. Osman Abdul Hamid, a dance practitioner renowned for his artistic contributions to the Malay dance scene in Singapore since the late 1970s.\n\nThrough this publication, MHC hopes to provide an overview of the wide spectrum of Malay dance forms, contribute to existing research and documentation on Malay performing arts, and promote greater cross-cultural understanding and appreciation of the diverse dance forms from the Malay world.\n\nLintas Nusantara: A Spectacle of Dance and Music is a bilingual publication written in both English and Malay, and interested parties can send their inquiries to Jamal_Mohamad@nhb.gov.sg.\n\nPhoto 1 : Dancers from Guntur Mataram Dance Company (Jakarta) performing the Tari Golek Asmaradana Bawaraga. Photograph courtesy of Malay Heritage Centre\nPhoto 2 : Artist Seni Budaya (Singapore) performing the Tari Gending Sriwijaya with dancers from Universitas PGRI Palembang (Indonesia). Photograph courtesy of Malay Heritage CentreYear2021NationMalaysia
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Masterpieces of Oral Tradition and Expression Kyrgyz Epic HeritageThe oral tradition of the Kyrgyz people is the basis of a unique intangible cultural heritage that reflects Kyrgyz cultural identity. Oral heritage, developed over centuries, depicts the history and culture of the Kyrgyz people. Their creativity has been proven to survive exclusively in an oral form for many generations. This oral tradition represents a unique layer of traditional knowledge, making it a valuable source of cultural and traditional values and evidence of the development of the sociopolitical history of the Kyrgyz people. Kyrgyz oral heritage takes a wide variety of forms, including songs, fairy tales, proverbs, and riddles. These can all be different in terms of content and structure. Depending on the genre, oral tradition can reflect history, legends, fairy tales, or lore, which can be important in educating younger generations about the value of peace, attitudes toward nature and people, and love for the motherland. Many traditional oral works portray the main characters as defenders of their native land, arousing a sense of pride, and also depict the rich nature of the Kyrgyz land, nourishing love for their home. Some elements of oral tradition such as songs and folktales tell the stories or the specificities and peculiarities of the everyday life of Kyrgyz people. Folktales also reflect the esthetic views of the Kyrgyz people and teach us to recognize beauty, rhythm, and skillful use of language.\nYear2020NationKyrgyzstan
Open Archive 3
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Welcome~ Is this your first time with Yamari?
The picture above is of my family and me making Yamari (traditional typical Newari Bread) in Nepal 2019. It was midwinter, freezing cold morning. The majestic view of snowclad mountains seems refreshed after wakening up. Many trees were denuded of leaves and the lawn was covered in frost. I was wearing gloves and a woolen cap to escape from the cold, sitting in my yard drinking chiya (a traditional nepali tea) and enjoying the splendid morning view with my father. In the meanwhile, I heard my mother calling us to the kitchen. We went to the kitchen and saw my mother ready for making “Yamari”. She wanted us to give her our hands in making the “Yamari”. "Ya" means "to like'' and "mari" means "bread" in Newari language, which literally means “tasty bread”. Yamari is a steamed sweet bread made of rice flour (from the new harvest) dough, shaped like fig with ends like a fishtail and filled with chaku (a sweet made up of sugarcane, ghee, and nut, etc.) and sesame seeds. I was so excited because Yamari was one of my favorite foods which are eaten once a year, in the winter season only. I always wondered why it is made in winter only but not in other seasons. My mother explains, “Eating Yamari avoids the effects of cold winter. Our body gets weak in winter, so, to energize our body we eat chaku which is only made in winter”. However, nowadays it is becoming a popular snack and can be seen in city markets. My mother taught me how to make nice shaped Yamari. The closing part of it must be like the shape of the tail longer if possible because it is believed that the longer the tail is the longer the day will be, and night get shorter which means soon the winter will end. I followed my mother but failed several times. Some shaped round, some shaped semi triangle. After failing several times, I was able to make a beautiful Yamari (third picture). According to the Newari tradition, children including elders go to nearby houses door to door singing a special song and asking for Yamari on a full moon day known as the yamari full moon day. This event used to be real fun and memorable especially for children. However, today this tradition is gradually disappearing. Children and youngsters have no craze for Yamari like before. They are more interested in mobiles or computer games than in preserving their culture and tradition.
Nepal -
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 -
Korean Buddhist monk`s storytelling and singing with painting (삼척 안정사 땅설법)
It is a sermon that conveys difficult doctrines in a form and level familiar to ordinary believers or non-Buddhists, rather than the so-called 'BeopMun(法門)', aimed at Buddhist experts or believers with a high understanding of doctrine. Through this, it could be used as catechesis for Buddhists, and it was carried out as a means of alms giving and propaganda by visiting villages other than temples. Ttangseolbeop corresponds to the Korean form of ‘Gangchang (講唱)’ and ‘Sokgang (俗講)’, which have been actively studied in China. 땅설법은 어려운 교리를 불교 전문가 또는 교리에 이해도가 높은 신도들을 대상으로 하는, 이른바 ‘법문’(法門)의 형식이 아닌 일반 신도들 또는 비불교도에게 익숙한 형식과 수준으로 전달하는 설법을 의미한다. 이를 통해 불교 신도 대상의 교리 교육으로 삼을 수 있고, 절이 아닌 일반 마을들을 돌아다니며 탁발과 포교의 방편으로 행해졌다. 땅설법은 중국에서 활발히 연구되었던 불교 ‘강창(講唱)’, ‘속강(俗講)’의 한국형에 해당된다. 어려운 법문이 아닌 일반 민중과 눈높이 한다는 의미로 땅(地)자를 붙여 땅설법이라 붙인 것으로 이해된다. 이러한 불교 속강문화는 불교가 전파된 국가에서는 보편적으로 있었던 문화인데 지금 현재는 그 어느 곳에서도 전승되고 있지 않다. 다만 중국에는 둔황 석굴 장경각에서 이와 관련된 많은 문서들, 이른바 '변문'들이 발견되었다. 다만 그것을 어떻게 연행(공연)하였는지는 전승이 되지 않고 있다. 중국의 판소리라 불리는 설창이 이것의 후대형이라고 말해지고 있다. 한국 또한 이런 문화가 이미 1960년대 이전에 소멸되었던 것은 학계에 알려졌으나 지난 2018년 삼척 신기면의 한 작은 절, 안정사에서 전승되어 오고 있음이 알려지면서 학계의 관심을 모으고 있다. 땅설법의 구비경전(레퍼토리)은 중요하게 취급하는 본전(本典) 5종과 그에 비해 중요도가 약한 별전(別典)이 있다. 본전에는 <석가모니일대기(釋迦牟尼一代記)>, <선재동자구법기(善財童子求法記>, <목련존자일대기(目連尊者一代記)>, <성주신일대기(成造神一代記)>, <신중신일대기(身衆神一代記)>가 있다. 이 각각의 경전을 연행하는 것은 의례 목적이나 대상 청중에 따라 선택하게 된다. 즉, <석가모니일대기(釋迦牟尼一代記)>는 가장 기본되는 구비경전으로 땅설법 학습을 할 때 가장 먼저 학습을 시작하는 경전이다. 이 경전은 사월초파일이나 영산재 등에 연행되는데 그 전편을 연행하지는 않는다. 그 양이 압도적으로 많기 때문이다. 보통 초파일 <석가모니일대기> 땅설법에서는 ‘부처의 탄생 부분’을 주로 한다. <선재동자구법기(善財童子求法記>는 불교 선지식과 관련하기 때문에 일반인들이 이해하기는 힘들다. 따라서 불교 교리에 밝은 이들의 수행 모임에서 선택된다. <목련존자일대기(目連尊者一代記)>는 목련존자가 어머니의 극락왕생을 위한 여정을 내용으로 하기 때문에 천도와 관련된 의례에서 연행한다. <성주신일대기(成造神一代記)>는 화엄신중 중의 하나인 ‘성주신’에 대한 내용이므로 성주대재에서 연행한다. <신중신일대기(身衆神一代記)>은 칠성대재나 신중기도 등에서 선택된다. <성주신일대기>와 <신중신일대기>는 전혀 불교를 모르는 일반인들을 포교할 목적일 경우 선택되는 경전이다. 그 내용이 한 인물의 일대기 구성을 취하고 있고, 그 안에 일반 민중들의 여러 민속문화들이 많이 포함되어 있어 친근하게 느껴지기 때문이다. <석가모니일대기>, <선재동자구법기>, <목련존자일대기>는 각각 유형의 불교경전이 존재한다. 그러나 <성주신일대기>와 <신중신일대기>는 전혀 그 모본에 해당되는 경전을 찾을 수 없다. 아마도 땅설법 전승자들이 창안한 이른바 위경(僞經), 중국 돈황변문에 대응하는 한국의 변문(變文)인 셈이다. 이 경전들은 공통점을 취하는데 그것은 한 인물(내지 신격)의 일대기 구성을 취하고 있다는 점이다. 이것은 곧 이 구비경전을 듣고 보는 이들의 몰입을 이끌어내기에 용이한 때문이며, 그런 가운데 목적하는 불교 교리와 문화의 전달이 용이했기 때문으로 보인다. 5종의 본전 외에 별전이 존재한다. <만석중득도기(曼碩衆得道記)>, <안락국태자경(安樂國太子經)>, <태자수대나경(太子須大拏經)>, <심청효행록(沈淸孝行錄)>, <삼한세존일대기(三韓世尊一代記)>, <위제희부인만원연기(韋提希夫人滿願緣起)> 등이 있다. 땅설법을 연행할 때는 필수적으로 그림(변상도)가 있어야 하며, 이 변상도는 위의 스토리의 중요한 부분을 한장 한장 그린 것이다. 그리고 이 그림을 들고서 스님이 말(강)과 소리(창)를 섞어 전달한다. 그러나 땅설법이 민중의 눈높이에 맞추기 위하여 고안된 불교의 포교 수단 내지 교리 전달 수단이었기에 더욱더 적극적으로 청중들의 참여를 이끌어내면서 다양한 연행들이 혼합된다. 인형극, 가면극, 역할극, 다양한 민요와 춤 등을 하며 참여자의 공감을 자아내는 한편, 그들이 직접 참여케 함으로써 불교교육적 효과를 극대화한다. 현재 안정사 땅설법은 전승의 위기에 놓여있다. 종파에 속하지 않은 작은 절이기에 현재 땅설법의 맥을 이을 후계자가 없다. 다여 스님이라는 단 한명만이 이를 연행하고 있다. 또 삼척 안정사 땅설법이 위치한 곳이 도로공사 등과 맞물리면서 자칫 그 근거가 사라질 위기에 있다. 이렇게 되면 소중한 종교공동체의 와해가 예상된다. 이에 시급한 조처가 필요하다.
South Korea