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The Masked Dance of the Drametse community is a sacred dance performed during the Drametse festival in honor of Guru Padmasambhava, a Buddhist master. The dance performance also commemorates the founder of the Tegchok Namdroel Ogyen Choeling Monastery, Ani Choeten Zangmo; and venerable Khedurp Kuenga Gyeltshen (1505-/) who introduced the Masked Dance. These two are the eldest daughter and the fourth son respectively of the great treasure revealer, Terton Pema Lingpa (1450-1521). According to oral accounts, Drametse Ngacham was introduced in 1518, just three years before the death of Pema Lingpa. The name of the mask dance is derived from the Drametse village community, which falls within the Drametse gewog village block of Mongar Dzongkhag district in the eastern part of Bhutan. The term Ngacham refers to the dance implements held by performers, a hand-held circular flat drum and mallet. Tegchok Namdroel Ogyen Choeling Monastery was established in 1530. The three-day Drametse Tshechu festival takes place twice a year, organized by the monastery administration. The dancers include monks from the monastery as well as laymen. The origin of the mask dance, its characteristic choreography, masks, and costumes are specified in detail in the Kabum, Collected Works, of Pema Lingpa. Pema Lingpa have seven siblings and Sangdag is one of his sons who fathered Tenzin Chogyal and gave birth to Ani (Nun) Choeten Zangmo. Therefore, Ani Choeten Zangmo is the great grand daughter of Pema Lingpa. Though Ani Choeten Zangmo has no intention to indulge in the leading a family, she was forced to marry Yeshey Gyalpo, son of Sumthrang Choeje Sherab Drakpa. Driven by her destiny, she became renunciate and later established her permanent seat at Drametse where she recognized a place of peace and tranquility, Dra-me “No Obstructions” to her meditational practices at the summit of a Tse, small ridge. During her stay, her brother Kuenga Gyeltshen who is popularly known as Khedrub Kuenga Wangpo visited her. Kuenga Wangpo is highly revered by spiritual masters for his outstanding philosophical knowledge and realization of the true nature of mind, thus he was given a title of Khedrup, great and realized scholar. He encountered Guru Padmasambhava several times while in meditational states, and had visited Zangdok Pelri, the Copper Colored Mountain, spiritual realm of Guru Padmasambhava. While staying at Drametse, an auspicious event happened in his early morning meditation on the 17th day of the 8th month of Iron Male Tiger year 1530—while the Drametse Lhakhang Monastery was under construction. In this state, three khadroma celestial maidens with white complexion, decorated with colorful silken robes, ornaments and flower garlands, invited Kuenga Wangpo to Zangdok Pelri, saying they had come to take him for a tour of the realm’s palaces. He asked, “What should I take for the long journey?” The maiden responded, “While you are experiencing pure vision without doubts, come along with us.” They took him to the realm, and into a palace called Pema yoe ki Phodrang where Kuenga Wangpo saw King Indra Bhuti. Then the maidens took Kuenga Wangpo to the majestic palace of Zangdok Pelri, where he saw Guru Padmasambhava in a youthful form smiling and telling him “I am happy to see you here.” Instantly, Guru manifested to a Jalue, Rainbow Body, and thereupon Kuenga Wangpo was entertained by a splendid dance performed by many gods and goddesses transforming themselves into Dampa Rigja (Hundred Guardian Deities); forty-two peaceful forms, and others in wrathful appearance or in human form with various animals’ heads. All wore exquisite robes and a melodious sound of Choe-ngai dra, Buddhist teachings, resonated from the beating of their drums. It is also believed that the sound of the drum signifies victory over evils and celebrates joy as Buddha’s teachings flourish. Kuenga Wangpo was then told to introduce this dance in Jigten me-yul, the human realm, and that conducting the Masked Dance would liberate sentient beings. Coming out of this meditation, he jotted down the detailed choreography, masks, and costumes. The first introduction of this Masked Dance was at the sacred place of Drametse, thus giving it the name Drametse Ngacham. Due to the significance embedded in the dance, Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive Je Khenpo spiritual leaders, as well as the Druk Desi temporary leaders—these spiritual masters and farsighted monarchs all propagated the Masked Dance across various monasteries and Dzong fortresses around the country.

28:04
Bhutan Dec

VI00000980

Just like any other communities, the livelihood of Lhops also started with hunting and gathering activities. In the past, Lhops gathered wild edible plants like Burr (Kochu or Colocasia) or Lohbol (Tapoica), and hunted as well as fished. With the recent developments in the community, Lhops have adopted agriculture as their source of food and nutrition, and with the passage of time, agriculture has become a way of life for subsistence and commercial means.

21:56
Bhutan

VI00000979

Yarney is one of the mainstays of monastic life in Buddhist communities, the tradition descends from the time of Buddha until today. It is observed as one of the most important annual events in Buddhist monasteries and institutions. ‘Yar’ means ‘summer’ and ‘ney’ means ‘to stay or abide’. Varsavasa is the Sanskrit term for Yarney, and like the Chokey term it is rather literal: varsa means ‘rains or rainy season’ and vasa means ‘dwelling or residence.’ The term widely used in Bhutan is Yarney. The origin of Yarney practice can be traced back to the historical Buddha, Siddhartha Gautama, 2600 years ago in India. The first Buddhist monks did not build monasteries and temples; they were mostly homeless and depended solely on alms for their sustenance. However, the summer’s monsoon rains presented a number of obstacles to Lord Buddha and his Sangha Buddhist community to make daily customary alms round from village to village and teaching tours. Not only is it unhealthy and uncomfortable to be unhoused in the rains, but the nurturing rains bring forth insects and worms who inhabit the muddy walkways and small plants and newly planted rice paddies would start budding in the fields. At that time the Tirthikas non-Buddhist critiques of Buddha Gautama would criticize the practice of alms round, reasoning that walking for alms especially during the summer killed several animals and insects. So to keep from crushing insects or young crops in their tender state; and avoid the health hazards of the monsoon rains, flooding, and displaced wildlife, the Buddha established the rainy seasons as a time for retreat. This is codified in the Vinaya rules for the monastic community. Instead, they would remain within the premises of their residences or dwelling places, most often monasteries, each summer or venture to a specific rainy season retreat. For the monasteries, the place Sangha members observe Yarney must be conducive to spiritual and mental development. One of the main objects of observing Yarney is to set aside time to practice meditation outside the schedule of preaching the Dharma to lay devotees or going on alms rounds. The period for the retreat lasts three months by the lunar calendar, usually starting in June or July and would continue until September or October. This established a formal practice of observing Yarney – Buddhist monastics using the summer or the rainy season as an opportunity to take retreat. The Buddha and Sangha would stay and spend days in their residences. This was a period for the Sangha to spend time in quiet and serious meditation, give local Dharma talks and help laypeople and junior Sangha members in spiritual development. It was also opportune time for them to clarify their understanding of every aspect of the Buddha’s teachings through questions and discussions. As the tradition progressed, it became renowned as a productive period in which the sutras were said to have been written down. Thus, during Yarney monastics engage their vows; listen and contemplate lob pa thoe sam; and meditate on teachings pong wa sam tan they received from their Khenpo or abbot. During Buddha’s time, many monks and practitioners were said to have achieved the accomplished state of Arhat, non-returner, and once-returner through this deep study.

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Bhutan

The Moryonan is a Lenten tradition held annually during Holy Week on the island of Marinduque. Catholics pray for the happiness and prosperity of their families and beg God for mercy, taking part in the Moryonan, which commemorates the Passion of the Christ. One of the most eye-catching points of the Moryanan is the mask that depicts the Roman soldiers who appear in the Bible. During the Moryanan, people walk around the streets wearing this mask and soldier’s attire. Mask makers begin creating masks by accepting pre-orders up to four months in advance of the festival. The delicate process of sculpting wood to capture intricate details demands significant skill and artistry from the artisans.

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Philippines 2023

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 Specific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. Most roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life.

00:06:43
Malaysia 2023

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2015 Traditional Balinese dance is a cultural heritage that incorporates Bali’s history, customs, and culture. Balinese dances can be categorized as Wali (sacred), Bebali (semi-sacred), or Balih-balihan (entertainment). Wali dances are performed in the inner sanctum of Balinese temples as a part of ceremonies, Bebali ceremonial dances are performed in the middle compound of Balinese temples as an accompaniment to ceremonies, while Balih-balihan dances are performed in the outer compound of temples, or elsewhere. Topeng is an example of a Bebali or semi-sacred/ceremonial dance.

00:06:45
Indonesia 2023

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018 Khon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds.

00:03:38
Thailand 2023

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018 Lkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor gods.

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Cambodia 2023

Xuan Pha Dance listed in the National ICH List in 2016 The Xuan Pha performance is a Vietnamese folk tradition held every lunar February in Xuan Pha village. It serves as a blessing to the people and expresses gratitude to the guardian deity who watches over farming activities. Legend has it that Dinh Bo Linh achieved peace with the help of the deity Xuan Pha when chieftains were trying to divide the country. This became the origin of the village festival. The performance includes five different dance segments, each simulating the dances of five nations, paying tribute to the King of Dai Viet (modern-day Viet Nam). Most of the props used in the performance are made from materials obtained from nature, and the performers sing of a peaceful, happy, and idyllic life.

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Vietnam 2023

Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana. Lkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.

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Cambodia

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This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

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Malaysia

VI00000964

Introduction In Malaysia, there is a living traditional art where a storyteller develops the oral tradition, otherwise known as oral literature. Oral tradition is the original source of Malay literature and translated into written literature. One of the practitioners of this oral tradition is known as 'Awang Batil'. Apart from specialised storytellers such as Awang Batil, there are other transmissions of oral literature throughout the country, especially in villages through folk stories or stories of elders that are collected, rewritten and made into collections for children to read. Awang Batil Awang Batil is a storyteller who provided entertainment and education to the people, especially to the villagers and local community. Awang Batil entertains and educates the community through many classic stories that he inherited. Through those stories, the community is entertained and educated. Once upon a time, Awang Batil functioned as a story book, novel, radio, television, movie or video as it is now. He would travel from house to house, village to village, state to state including the state of Kedah, Penang and some areas in the Southern Region of Thailand, especially the Setol Region.

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Malaysia