Elements
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EE00002597
Tercham: The Naked Dance
It is said that besides the naked dance performed during Jampa Lhakhang Drub, there are also naked dances performed during Nabji Drub in Trongsa and Sakteng Tercham, Trashigang and in Dagana. The naked dance is honorifically referred to as a “tercham” a term usually applied to dances revealed as treasure. Just as any sacred ter (treasure or precious object) is not exposed freely to the public so also our nakedness is never exposed publicly. So the dance performed naked and exposing the genitals is exceptional and hence considered tercham or the “revealed treasure dance”. According to the book Invoking Happiness, the dance has its origins during the construction of Jampa Lhakhang, when local spirits disrupted the process45. The story recounts that King Songtsen Gampo manifested himself in the form of several people dancing naked, which fascinated the troublesome spirits. As they remained preoccupied by the dancers, the temple construction was completed and consecrated. According to Chagkhar Lama Dorje, Dorje Lingpa introduced the dance at Nabji, Trongsa. One oral account maintains that when Dorje Lingpa was constructing Nabji Lhakhang, local spirits were disrupting the process every night. In order to distract the spirits, Dorje Lingpa used his miraculous power to summon naked people from the Treasure Cliff located opposite of Nabji Lhakhang. He made them dance, and antics kept the spirits spellbound enough so that Dorje Lingpa was able to complete the temple and consecrate it. Thus, according to this account, the tercham was first performed at Nabji under the supervision of Dorje Lingpa. When Dorje Lingpa later renovated Jampa Lhakhang, the dance was performed during the initial consecration ceremony and is said to have been enacted every year since. At Jampa Lhakhang Drub, tercham is performed each of the first three nights. The performers are chosen from the five villages of Drub Tsawa: Chagkhar, Jampa Lhakhang, Changwang, Nasphey and Nobgang. After the normal mask dance performances are concluded, a crowd gathers around midnight at the performance ground in the outer courtyard of the western side of Jampa Lhakhang. Shortly after midnight, a group of ten men emerge from the chamkhang (room for dance preparations) and dance to the rhythmic beating of traditional mask dance drums and cymbals. The men are all naked except for their faces, which are covered by a white cloth to conceal their identities. The last man, who is the dance master, wears shorts. The group dances around a bonfire located in the middle of the performance ground, sometimes acting outrageously towards the spectators. The dance lasts for an hour despite the cold, which drops to around one to two degrees Celsius. Photos or any type of recording is strictly prohibited, as is the use of torches. Policemen and village locals guard the integrity of the performance, and deal harshly with anyone who attempts to break the stringent rules. Chagkhar Lama Dorje describes the dance as most sacred and says that spectators should not look at the dancer’s genitals as just male organs. As the male genitals are never exposed publicly, it is one of the world’s precious ter. All sentient beings are brought into the world, in part, by this organ. Local elders explain that though the younger generation may find the dance funny, it was started by the great saint Dorje Lingpa, and therefore one should view events with devotion rather than as entertainment. In the recent past, the dance was banned by the Dzongkhag Administration, who deemed it vulgar and embarrassing. Once banned, there was abnormally heavy rainfall and hail, and the Drub could not be properly conducted. Local astrologers attributed downpours and bad weather to the tercham ban. The local people conducted kangsol rituals to repair the relationship with the protective deities and the Dzongkhag Administration lifted the ban the following year.
Bhutan -
EE00002512
Yaldā/Chella
“Yaldā/Chella” is an ancient celebration whereby the brilliance of the sun along with the warmth of life are cherished. This event coincides with an increase in day-length in the region The winter solstice in the Northern Hemisphere corresponds to Dey 1st (December 22nd) in the Iranian calendar and Ghovs 30th (December 21st) in the Afghans calender . On the occasion of the last night of autumn, families get together. This family reunion often takes place at the houses of elders where people meet around a table called “Yaldā/Chella Night Sofrah”. “Yaldā/Chella Night Sofrah” consists of a lamp that symbolizes light, water that represents cleanliness, red fruits such as pomegranates, watermelons, beetroots, jujube and red and green grapes that demonstrate warmth along with serving broth (Ash), sweets, dried fruits and nuts special to this occasion, all set on “Yaldā/Chella Night Sofrah” and consumed during the nightly gathering. The Sofrah usually comes in red and is traditionally spread on the floor or on Korsi/chairs. The red color used in various components of the Sofrah refer to the reddish sky after the dusk and before the dawn. This feature showcases the relationship between this celebration with the ancient rituals of a Mithraism, i.e. worshiping the goddess of the sun. In Afghanistan, people believe that the devil invades houses at this night and they set fire at their houses to prevent entrance of evil and ugliness (embodied as the devil) to their houses. The type of activities in this celebration ranges from reciting poems, storytelling, reciting Hafiz's poems or referring to them for pleasane omens, reciting verses from the epic poetic masterpiece of Shahnameh, listening to or playing music, singing and giving gifts to new in-laws/brides and children, indoor games and enjoying “Yaldā/Chella Night Sofrah” goodies and items. Women play a key role in this ceremony. Children are also considered as the future bearers/practitioners of the element. The elders are valued as its bearers. While observing “Yaldā/Chella” items such as cultural identity, attention to nature, and respect for women, friendship, hospitality, cultural diversity and peaceful coexistence are manifested and respected.
Iran,Afghanistan 2022 -
EE00002509
The telling tradition of Nasreddin Hodja/MollaNesreddin/Molla Ependi/Apendi/Afendi Kozhanasyr/ Nasriddin Afandi anecdotes
The Telling Tradition of Nasreddin Hodja/Molla Nesreddin/Molla Ependi/Apendi/Afendi Kozhanasyr/Nasriddin Afandi Anecdotes is an intangible cultural heritage element on social practices and festivals related to the tradition of telling anecdotes. It is transmitted orally among generations and is shaped around Nasreddin who became a symbol of humor and wisdom. Although there are slight differences about images, names and anecdotes of Nasreddin in communities, the main features of the element have been shared as a common heritage in the Submitting States. Communities acknowledge that he was a wise person who analyzed the society well and gathered shared intelligence, thought and life experience of people in his own personality. The anecdotes of him are short and intensive narrations transmitted through oral tradition and written sources, attributed to Nasreddin whose reputation spread to the wide geographical area. Some of the anecdotes have become classic, and the epigrams of these anecdotes have turned into idioms and proverbs in time. His anecdotes are intensely practiced in the printed and visual media as well as in the oral tradition and especially in the programs prepared for children. In the anecdotes of Nasreddin, the components of wisdom, repartee, witticism, common sense, absurdity and surprise merged firm and these are distinguishing features of the anecdotes. Nasreddin breaks very often accepted norms and concepts, while finding an extraordinary way out of the situation, where he is always the winner, by the power of word. Anecdotes call for humor, satire, sarcasm, and cynicism, to reveal the negative traits of people. However, the anecdotes is a genre with an instructive, entertaining function, a profound meaning that ends with moral, intellectual, and logical results. His anecdotes include relations of different people and their behaviors in various situations. Through his anecdotes, all kinds of unpleasant behaviors are being criticized and judged through humor. Communities in the Submitting States enrich conversations with his anecdotes and support speeches with his witticism. His anecdotes are narrated easily by everyone to strengthen any thought by giving examples in the dailylife, to convince other people or to explain a situation. In some Submitting States, although there is no specific narrator or teller of these anecdotes, the artists of traditional theatre use the element to enrich their narratives and to entertain people. On the other hand, there are specific tellers of the anecdotes in some Submitting States (Tajikistan, Turkmenistan, Uzbekistan). The anecdote tellers select words and perform with great care. In this sense, it mostly depends on knowledge, understanding, thinking, performance culture and skill of the performer to tell anecdotes in meaningful, impressive and funny way. It is important for performer to know various life situations, possess an impressive culture of speech, and make use effectively and skillfully his face, eye, hand, and body movements. In Submitting States, local administrations, municipalities, universities and NGOs which play significant roles in transmission of the element, organize various activities and festivals periodically for commemoration of Nasreddin at local, national and international levels. Public participation in these festivals and activities is considerably high.
Turkey,Uzbekistan,Kazakhstan,Kyrgyzstan,Tajikistan,Turkmenistan,Azerbaijan 2022 -
EE00002508
Talchum, mask dance drama in the Republic of Korea
Talchum is a performing art that encompasses dance, music, and theatre. An ensemble of six to ten musicians accompanies masked performers who sing and dance and exchange verbal interactions through theatrical movements. The primary themes satirized by traditional mask dance dramas include the hypocrisy of Buddhist monks, the arrogance of the yangban nobility, and people's suffering under the male-dominated patriarchal system. Diverse social issues are humorously explored through dramatic combinations of songs, dances, movements, and words. Masks with exaggerated archetypical representations of everyday personages are an indispensable element in the presentation of talchum. A Korean mask dance drama does not require a formal stage: Any empty space can become a venue for talchum. The audience for a masked-dance drama are not passive spectators, but important participants. They complete the production with their cheers and jeers as the drama unfolds. Talchum is a dynamic theatrical flow of action and sound created through the combined efforts of both the players and spectators. This flexibility provided to talchum by the audience's active participation and its thematic orientation toward social criticism gave birth to the unique phenomenon of large-scale transmission of talchum among young people, particularly university students, during the 1970-80s. This generation continues to play a critical role in the transmission of talchum. In talchum, physical and emotional conflict among the characters always ends in a dance of reconciliation. While criticizing that which needs to be criticized, talchum always aims toward a greater unity.
Republic of Korea 2022 -
EE00002505
Pehlevanliq culture: traditional zorkhana games, sports and wrestling
The culture of pehlevans (pehlevanliq) refers to variety of traditional physical performances, training and competitions practiced and transmitted from generation to generation by ‘pehlevans’ (traditional athletes/wrestlers). It includes zorkhana games and sports, pehlevan wrestling (‘gulesh’), and individual pehlevan performances at outdoor celebrations and various popular events. While zorkhana games and sports used to be performed in special buildings bearing the same name (‘houses of strength’, with arenas (“sufra”), surrounded by spectators), they were destroyed in early 20th century during the Soviet period. Despite the destruction of zorkhanas, pehlevans’ performances continued to be transmitted and became popular in early 1990s, when Azerbaijan regained its independence. Communities continue to use the term ‘zorkhana’ to refer mainly to their performances. Originally framed as training activities of athletes for military purposes (State of Safavids, 16th century), zorkhanas, with time, completely lost their original function, while remaining a part of culture. Today, dozens of pehlevans perform in Azerbaijan. In zorkhanas, pehlevans use specific tools (‘mil’,‘yekba’,‘kebbade’), which imitate Middle Age weapons (sword, shield, bow), but are made heavier (originally, to allow pehlevans handle real weapons easily). The gulesh wrestling is a type of zorkhana performances, requiring specific skills and regulated by set of rules. The competitions are regulated by referees and accompanied by “Jangi” music or naghara drums fast beating. Pehlevans also perform outside zorkhana sports, through weightlifting, pulling heavy objects and other displays of bodily strength. The pehlevanliq culture represents integral part of popular culture and gives strong sense of identity to communities in Azerbaijan.
Azerbaijan 2022 -
EE00002504
Orteke, traditional performing art in Kazakhstan: dance, puppet and music
It is an indigenous Kazakh performing art that combines theater, music, and puppetry. 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. Orteke represents a simultaneous ensemble of music performance on Kazakh traditional two-stringed instrument dombyra and a hopping dance of a wooden puppet. Fixed on a surface of a traditional drum (daulpaz) by a metal rod a flexible wooden figure of teke (a mountain goat) is connected to the fingers of a musician by one or several threads. Flexible head and joints of a puppet are connected to the pulling string. As the musician strikes his/her fingers playing dombyra, the puppet starts hopping in sync with the beat set by an artist. The figure turns alive making amusing dancing movements and tapping a rhythmic beat on a firm skin surface of a drum.Some masters of genre can play with 3 and more puppets at the same time. Sound of dombra, audience public in anticipation, leather surface as flat as the steppe itself, and a small wooden figure of a mountain goat, tied to the puppeteer musician by a single thread, began to beat out the rhythm with its tiny hooves. This action, fascinating with its magical simplicity, is known among the Kazakh people as "Orteke", which is fancied by both children and adults.
Kazakhstan 2022 -
EE00002503
Crafting and playing the Oud
Oud is the name of a short-necked lute-type musical instrument that is a plucked chordophone instrument with a historical background dating back to ancient times, in both countries. It is placed on the player's leg, and the performer stops the frets with the fingers of one hand and plucks with the other hand. The oud in both Syria and Iran consists of a sound box, which looks pear-shaped and is made of ribs of either walnut, rose, poplar, ebony or apricot wood. Walnut wood is usually the wood of choice because of its flexibility and beautiful color gradients. The ribs were shaped by moulds. The neck is attached to a soundbox which bears a pegbox. Three soundholes are made on the soundboard for technical and decorative reasons. Crafting a complete Oud takes 20-25 days. The natural wood is left to dry and harden, then it is treated with water and steam for a period of 15 days to build its durability. Ouds are crafted in different sizes for different sized-bodies, and beautifully decorated with wodden carvings and mosaic patterns. The soundboard is sometimes decorated in Eslimi patterns. The instrument slightly varies in size in different regions. The number of oud strings in both countries are 5 twin strings, and a sixth string can be added to the oud according to the wish of each craftsman by making additional tunes. The compass of this instrument is in bass and baritone ranges. It can produce both melodic and harmonic tones. It is performed solo as well as in ensembles. As this Human-Rights-friendly element is historically deep-rooted in the region, it is played in a very wide range of events including weddings, cultural events, festivals, family gatherings, and funerals accompanied by traditional songs and dance. Therefore, it serves as an identity-marker. The element is transmitted through master-apprentice training and it is also taught through musical centres and institutes, colleges and universities in urban areas. Players of both genders usually undergo years of training, and a skilled practitioner is able to improvise tunes. Grafters are mostly men although in recent years young women have developed an interest in crafting.
Iran,Syria 2022 -
EE00002502
Furyu-odori, ritual dances imbued with people’s hopes and prayers
“Furyu-odori” refers to various local ritual folk dances, characterized by glamorous costumes accompanied with songs, gong-ringing, and drum-beating. These dances have been performed at certain times of the year for centuries and have been transmitted from generation to generation mainly in rural areas throughout Japan. The nomination encompasses 41 representative furyu-odori of each area. Life in rural areas was easily affected by severe climate events such as typhoons, droughts, and earthquakes. Local people of such areas created ritualistic performances imbued with their earnest hopes for a tranquil life. They dance furyu-odori for numerous purposes, including end of plagues, repose of the deceased, and praying for a good harvest or safety from such disasters. The eye-catching costumes, lively dances and songs and other accompaniments are indispensable for furyu-odori, since they dispel evil spirits and misfortune and strengthen good forces, such as local deities and ancestral spirits that protect the communities. While sharing commonalities, furyu-odori have evolved into different forms in response to socio-cultural differences in each region. There are several classifications for furyu-odori; one of them is bon-odori, practiced as part of the Bon festival that takes place in July or August throughout Japan. A large group dance is performed in order to repose and entertain ancestral spirits that return home for several days in the Bon period. People also practice other kinds of furyu-odori, which are kouta-odori (dances with short songs), nenbutsu-odori (dances with Buddhist chanting), taiko-odori (dances with drumming), or hayashimono (dances accompanied by objects in which deities dwell).
Japan 2022 -
EE00002495
Pleng Chaiyam (Chaiyam Music)
"Phleng Chai Yam" is lively, and funny and captivates the audience's attention. This music is played to celebrate many festivals such as Bon Pka festivals, almsgiving, dragon baptism, and so on. Apart from this, you can also play in some other events such as marching, leading leaders or players, etc. Chaiyam musical instruments include 5, 7, and 9 long drums (may be more or less as possible), one or a pair of krab, one or a pair of chap, one gong mong (as a rhythm giver or so-called master) And sometimes there are cheong and tro to support as well. For the costume, men are wearing Kben, Sontaes shirt, using different bright colors with a scarf around their waists. Most of the characters wear funny face masks made of paper. Sometimes there is also a female character holding Chap to accompany the dance. If there is no woman, there must be a man dressed as a woman. Many festivals are held at pagodas, so each pagoda always has a Chai Yam band.
Cambodia -
EE00002486
Lkhon Sbaek Por (Coloured Leather Theatre)
"Colored Puppet" is made of cowhide and the characters are carved into pieces like large shadow puppets, but the carving of the colored puppets is not as detailed as the large shadow puppet. They paint and cut the details with a brush instead. On the other hand, the color puppet can be used to perform stories other than Reamker, such as in Sastra, legends, and Jataka tales, and only during the daytime. The stage to perform the color puppet is black canvas. The artists are both men and women. They dress up according to the characters and the story. Sometimes Neak Jert Sbaek has to leave the skin aside in order to perform, sing, talk, describe or exchange love, and then they raise the leather to continue with the story. The music accompanying the color puppet is a small band of Pin Peat and mostly borrows from the Morori music. The Ministry of Culture and Fine Arts's color-leather theater was revived with the support of UNESCO in 2001. Stories that have been performed include Preah Lak Chinvong, Kray Thong, Preah Jinvong, Tip Sangvar, Preah Sothoun Keo Monohara, Ko Samuth Tuek Doh. These works were directed by Professor Pich Tum Kravil and two other assistants, Mr. Nguon Sam Ath and Mr. Mao Keng. The people who carved the leather were Mr. Seu Vuthy, Mr. Prak Siphannarath, and Mr. Det Sovutha.
Cambodia -
EE00002485
Lhkon Sbaek Toch (Small shadow theatre)
"Small Shadow Puppet" (also known as "puppet" and some call "Nang Talong") is a type of theater that uses a white screen and lighting to bring down shadows like the large shadow puppet, too. But on the contrary, the small shadow puppet is smaller and the figure can control the movement of the limbs and the mouth can speak by shaking the bamboo pole and can also perform fairy tales, new stories or comedies. Small Shadow Puppet artists need to know how to control the leather and narrate. The music accompanying the small shadow theater is the Pin Peat. The Sbaek making is not much different from the large shadow puppet. Short story used to be performed by artists from the Ministry of Culture and Fine Arts: - 1994 “The story of Thun Chey” directed by Professor Pich Tum Kravol, Mr. Mao Keng. The leather sculpture are Mr. Man Kosal, Mr. Ieng Hoeun, Mr. Kong Rath. - 1996 "Preah Chan Korrup" was compiled by Mr. Pok Saran, Neakru Uy Lattavann, Mr. Keo Sonireth and directed by Professor Pich Tum Kravil, Mr. Hang Soth, Mr. Mao Keng. - 1998 “White Hair Send Off Black Hair” compiled by Mr. Pok Saran and directed by Professor Pich Tum Kravil, Mr. Hang Soth and Mr. Mao Keng. Drawn and sculptured by Mr. Prak Siphannarath and Mr. Soeur Vuthy. - 1999 "The story of the father-in-law choosing the son-in-law” compiled by Mr. Pok Saran and directed by Professor Pich Tum Kravil, Small leather (Photo: Ministry of Culture and Fine Arts, 2004) Mr. Hang Soth, Mr. Mao Keng. Drawn and sculptured by Mr. Soeur Vuthy and Mr. Prak Siphannarath. - 2002 "The Story of Alev" compiled by Mr. Pok Saran and Mr. Keo Sonireth and directed by Professor Pich Tum Kravil, Mr. Hang Soth, Mr. Mao Keng.
Cambodia -
EE00002478
Lkhon Sbaek Thom (Large Shadow Theatre)
There are three types of "shadow theater: large shadow theater, small shadow theater, and colored shadow theatre. "Large Shadow Puppet or Lkhon Sbaek Thom" is one of the oldest and most revered theaters in the country. It is interesting that in the inscription of Wat Baseth (K, 78) written in AD. 668 and 677 with the word "tokkatak" and the inscription of Kork Chak temple (K. 155) in the 7th century CE, there was the word "tokk tor", which are now called "tokkaktar". A picture that can be held up or down or a drawing that plays a story. Although it is not possible to confirm that this word is an ancient Khmer word called for "shadow theater", but it is also a proof or idea for consideration. The Lkhon Sbaek Thom only plays the story of Reamker, which is an ancient epic, and because the story of Reamker is too long, the whole story is never performed. Therefore, it is only excerpted the scene only. Traditionally, Lkhon Sbaek Thom is performed only in large ceremonies that are characterized by faith, devotion, prayer, and so on. Major ceremonies with large shadows include the Royal Cremation Ceremony and the Royal Family, Samdech Preah Sangkhareach, Chao Athikar Wat, Coronation Ceremony, and Birthday Celebration of the King, Chao Athikar Wat .... As for the ceremonies in the villages and districts, there are burial ceremonies in Khan Seima, the Inauguration Ceremony of the Buddha Statue, the ceremony for various achievements in the pagoda, Bon Phum, and so on. Lkhon Sbaek Thom is performed with a white canvas, about 2-3 meters wide, about 8-10 meters long, stretching about 1 meter above the ground. Behind the white cloth, there is a fireplace about 1 meter above the ground for lighting to illuminate the skin on the white cloth. Before the performance, they have to hold a ceremony to offer and pray to the masters and the souls. In that ceremony, a puppet shadow is put in front of the stage, and the most important image is Ey Sei, which is placed in the center and accompanied by the main characters, such as Noreay Pleng Sor, Preah Ream, Krong Reap, Hanuman, etc. In front of the skin, they prepare offerings of Bay Sei, Sla Thor, bananas, Mlu Sla, flowers, candles, incense, and rice ... as well as a bowl of blessing water. During the ceremony, all the performers must come and light candles and incense, with a teacher leading the prayer ceremony. At the end of the ceremony, the performance begins with the performer (also known as the "Neak Jert Sbaek") picking up a piece of Sbaek that is already arranged according to the story, places it next to the white cloth to reflect the shadows, and move it up and down with the rhythm of the music, accompanied by a narrative voice. In a fighting scene, the Sbaek are placed one on top of the other, or sometimes the two Sbaek are pressed against each other, slightly apart from the canvas, in order to make the fighting scene more realistic, leaving the two skins behind the performers to turn to a fight, pretend that the Sbaek is fighting like that. The audience can easily understand the story of the large shadow drama because of the narrator. That is why the narrator has a very important role. The narrators are usually old people who know the story well, although sometimes they have to look to the Sastra for help. Narrators sometimes have one and sometimes two to correspond. The words that are said are a collection of words, a poem and a list of words. The best narrator is one who uses humorous words to make the audience laugh. The fire that accompanies the large shadow theater is the music of Pin Peat ensemble. Usually, the skins for the large shadow theatre are made of cow skin, but according to some opinions, the main characters such as Ey Sei, Eyso and Noreay in ancient times were made from the skins of big tigers or bears, because these characters have higher power than the other characters. Freshly peeled skin is first cleaned and "killed" by staining the ashes and soaking in boiling water. The type of wood that is used to soak the leather is mixed with a strong sour and bitter wood so that it gives the leather color, lasts a long time and prevents insects from eating. Then the leather is carved into pictures according to the desired story. When carved, the bark is boiled to make ink to turn the leather brown, and the most important bark is the middle bark. Finally, a bamboo stick is used to tie the leather vertically, using one or two bamboo strips the size of the figure to hold the skin so that the leather can be held for the performance. According to research reports, between the 1960s-70s, there are large shadow theater groups in Phnom Penh, Siem Reap and Battambang. In 1965, the large shadow theater troupe was formed in the traditional dance troupe under the "National Preservation of Performance" and later become the "Department of Performing Arts", now under the Ministry of Culture and Fine Arts. In addition to the large shadow theater group of the Department of Performing Arts, there are also large shadow groups of the Arts Associations and Communities such as large shadow group, Sovannaphum Arts Association (Phnom Penh), Kork Thlok Arts Association (Phnom Penh), Wat Reach Bo (Siem Reap), Large shadow troupe Lok Ta Ty Chien (Siem Reap), large shadow group Lok Ta Hing (Siem Reap) and Banteay Meanchey Provincial Department of Culture.
Cambodia