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ICH Elements 14
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Saman dance
The Saman dance is cultural heritage of the Gayo people traceable to the 13th century, developed later by Syeh Saman incorporating religious messages. Saman is performed by boys and young men, always in odd numbers, sitting on their heels or kneeling in tight rows. The players wear black costumes embroidered with colourful Gayo motifs, symbolizing nature and noble values. The trainer or leader, called penangkat sits in the middle of the line and leads singing of verses containing messages about tradition, development, religion, advice, sarcasm, humor and even romance. Players clap their hands, slap their chests, thighs and the ground, click their fingers, sway and twist their bodies and heads forward and backward, left and right, synchronizing with the rhythm, sometimes slow, sometimes fast and energetic, in unison or with alternate dancers making opposite moves. Saman movements symbolize nature, the environment, and daily lives of Gayo people. Villages invite each other for Saman competitions to build friendly relationships. Saman is performed to celebrate national and religious holidays, and is a game among village children, who learn it informally. The frequency of Saman performances and transmission are decreasing, despite community and government efforts. Therefore safeguarding is urgently needed. A Saman performance consists of 7 parts, called: Rengum, Salam, Dering, Uluni Lagu, Lagu, Anak ni Lagu, and Lagu Penutup (closing song). According to other sources, there are 9 parts: Keketar (introduction), Rengum, Salam, Gerakan Tari, Anak ni Lagu, Saur, Syair, Guncang and Penutup, or only 4 parts.
Indonesia 2011 -
Sankirtana, ritual singing, drumming and dancing of Manipur
Starting with ritual observances which involve singing and dancing in the temples of Manipur, Sankirtana encompasses an array of arts performed also in the home and the street to mark occasions of religious import and stages in the life of the Vaishnava people inhabiting the Manipur plains. The theology and lore of Krishna is central to these performances, but they assimilate in their rendering formal features carried over from music and dance in Manipur’s pre-Vaishnavite past. The core of Sankirtana practice is to be found in the temple, where it narrates through song and dance the lives and deeds of the Lord. These are typically presented in the round, in a hall (Mandapa) attached to the temple before devotees. The main repertoire consists of Nata Pala, which is performed all over the Manipur valley. The Ariba Pala and Manohar Sai Pala, less often in evidence today, are also temple-centred. Outside the temple, Sankirtana assumes forms such as the Holi Pala celebrating the festival of colours in springtime or Shayan performed in the winter months. Khubak Eshei is celebrated within the temple during the rains, marking the chariot festival of the Lord. In the setting of the home, Sankirtana is offered as prayer at all life-cycle ceremonies, such as the ear-piercing ritual (for both males and females in childhood), the donning of the sacred thread (for adolescent males), marriage, and the rites of passage at death. Thus pervading the life of the Manipuri Vaishnava, Sankirtana is regarded as the visible manifestation of God.
India 2013 -
Trần Thương Temple Festival, Hà Nam Province
Trần Thương Temple Festival commemorates the death anniversary of Saint Trần Hưng Đạo, a national hero.This is a cultural event held in the community to verenate and honor sacred and real figures in the national history like Saint Trần Hưng Đạo. He is a national hero who defeated foreign invaders then was considered as a Saint to support communities to have a prosperous and happy life. Trần Thương Temple Festival is famous for its typical ceremonies like water procession, palanquin procession, food delivery. Especially, there are performances of spirit mediumship with some shamanism practices in Trần Thương Temple Festival.
Viet Nam -
Birth Ceremony of Lhop Communities
Beyond the daily harmonic life of the Lhop’s society, there lies an undisputed belief and idea on birth and death. Lhops have their own ways of interpreting the physiological and morphological processes of birth, growth, aging and death as it unfolds to them. As the child grows, she or he crosses different stages with status and roles and responsibilities in the community. They get educated in life skills and rituals of life. Their departure or separation is also honored with elaborate rituals. It is considered as a taboo for Lhops to accept a child from a female who has no approved partner in the community or outside mates from the community. Ideally, it is the cross-cousins only who can give birth to a legitimate child in the society, though marriages between different clans are now accepted. However, marrying out of the community continues to be strongly discouraged. From the moment cross-cousins partners are born in the family, their marital and issues are thereon legitimate in the community, and so is their new born child. Lhops has well and predetermined destined relationships when it comes to the copulation between male and female. Lhops believe that the copulation between male and female produces a child in which male contributes bone and female contributes flesh, but it does not mean that any male can impregnate a female, and be the father or husband of someone else. Cross cousins are referred to as Lhir-ra and Lhi-met, laterally meaning male and female seedling (Lhi- seedling, met- female, ra-male). They believe that the human body as a combination of flesh (sa) and bone (ruish).They believe that the male is like that of a seed (lhi) and rain (wai), while the female is like that of land or soil (boh) that holds the seed and rain water together to allow germination and growth, so as in the combination of bone from a male, and flesh from the female, that give rise to an individual. Cross cousins undergo an educational process of identifying their mates and their families. They slowly start to develop a mindset and behavior towards their growing age and body. Once they reach a mature age, they are encouraged to execute the marital rules and take up roles in the community. Male partners take residence in the wife’s households, and it is a matter of pride for the female to conceive and have him in her house.
Bhutan -
Salburyn - Kazakh Festival of Equestrian Hunting with Falcons and Tazy Greyhound
Salburyn is a festive event and an important component of Kazakh equestrian hunting with falcons and tazy greyhounds. It is a traditional ritual of transmitting hunting knowledge from skilled hunters to beginners and apprentice participants. Salburyn lasts 5-7 days, it is held in the winter hunting season. It is conducted at a large open space where the participants establish a camp of Kazakh yurts and tents as common areas. During the initial 2-3 days the experienced hunters share their knowledge and hunting methodology with young hunters. The hunting commences in the early morning after the elders give their blessing (bata). First part is compiled of pathfinders (yz kesushi) who read the game traces and establish the hunting ways. Participants split into the groups compiled of both more and less experienced hunters. Golden eagle hunters (berkutchi) detect the target and throw the eagle vectoring their flight trajectory with the hand movement. The tazy greyhounds are used in pairs. Some hunters are employing both eagles and tazy together. The triumphal celebration is organized for the hunters returning back, where elder women shower them with sweets. The hunters then bestow the pray to the elders hunters.
Kazakhstan -
Chundu Soelchod or Soelkha: Invoking Chundu, a Local Deity
Chundu Soelchod is a native offering practiced by people of Haa and Paro. During the Soelkha, dances and Zhey are performed by the people of Yangthang Gewog with unique dress, lyric and steps. The male artists are locally called pazerpa or pazaap. In the 8th century, Guru Rinpoche visited Bhutan thrice from Tibet and subdued the local deities and transformed them as protecting deity of dharma in every region. Chundue soelkha is mainly celebrated for thanking Ap Chundu (local deity of Haa) for helping people of Haa during the battle time. It was originated during the time of when Zhandrung Ngawang Namgyel had conflict with Tsang Desi of Tibet. During that time group of Tibetan (Boe ma) reached at Haa, Gyensa. It was said that during night, those Boe ma (Tibetan) who reached Gyensa had seen fire and noises in Jangkhakha (Ap Chundu ground). Due to the light and reflection from Jangkhakha those Tibetan couldn’t attract the enemies instead they fell down in the river below Gyensa. That group of Tibetan was defected and the battle was won by the Haaps. Therefore people of Haa started with Ap Chundu soelchod to remember and thank Ap Chundu for his superstitious power and supporting them to win the battle. People also say as Ap Chudu’s birthday. It is celebrated toward the end of the year that is ninth month of the Bhutanese’s calendar. Regarded as manifestation of the warmth Chagna Dorji, Ap Chundu is not just localized to Haa district but he is and important deity of the country itself. In Bon-nag tradition (animal sacrifice is required to appease the deities. People use to sacrifice the yak during the festival until 2013. They did because they were feared so much that Ap Chundu will punish them with diseases and natural calamities if they missed it. How ever since killing is sinful act in Buddhism in the year 2013, Haaps local guardian deity has been appeased by scarifying a yak after consulting with the dzongkhag and gewog staff, and the family who carried out the tradition for years, the authorities decided to seek Ap Chundu’s permission to stop killing yaks to appease him. So they rolled the dice and according to the astrologer, got his affirmation.
Bhutan -
Guqin and its music
The Chinese zither, called guqin, has existed for over 3,000 years and represents China’s foremost solo musical instrument tradition. The guqin has seven strings and thirteen marked pitch positions. By attaching the strings in ten different ways, players can obtain a range of four octaves. The three basic playing techniques are known as san (open string), an (stopped string) and fan (harmonics). San is played with the right hand and involves plucking open strings individually or in groups to produce strong and clear sounds for important notes. To play fan, the fingers of the left hand touch the string lightly at positions determined by the inlaid markers, and the right hand plucks, producing a light floating overtone. An is also played with both hands: while the right hand plucks, a left-hand finger presses the string firmly and may slide to other notes or create a variety of ornaments and vibratos.
China 2008 -
Thuen-pa pun-zhi: The Four Noble Friends
Thuen-pa pun-zhi (The Four Noble Friends) is a spiritual tale originating from the Jakarta Tales of Lord Buddha. It is one of the most popular tales, both spoken and depicted in pictures on the walls of dzongs (fortresses), monasteries, temples and individual homes to promote harmony, cohesion, unity and a life of integrity. The fable is narrated as follows: In a dense forest in the country of Kashi once lived a Partridge, a Rabbit, a Monkey and an Elephant, who despite their different sizes and species became incredible friends. The reason is that they have the same feeling of love and kindness for each other. Every day they helped each other find food and wholeheartedly shared everything they found. One day they spoke to each other, "Although we have been friends for so long, we don't know who is the oldest and who is the youngest among us. We should begin to respect our elders and treat our younger friends with kindness, so we must examine ourselves." Amazingly, all the friends agreed to their joint proposal. The next day, everyone gathered near a giant Banyan tree (Ficus benghalensis). For the test, the partridge allowed prompted his friends, "Look at this tree." And asked, "Which of us saw the tree first?" First the elephant answered, "When I was small and lived with my mother's herd, I saw the tree, and it was just as big as I am." The monkey followed his giant friend and said, "I also saw the tree, and it was as big as my body." And the rabbit said, "I saw the tree as a sapling with only two tender leaves, and I licked the dew drops off those freshly grown leaves." After hearing these coincidences, the other friends except the partridge acknowledged the hierarchy of age. But surprisingly, the partridge, though the smallest, said, "I am the one who nibbled the juicy banyan fruit, and it is the tree that grew from the seed I left on the ground." Knowing who was the eldest among them, the elephant paid respect to his three other friends, and similarly the monkey honored the rabbit and the partridge; and the rabbit honored the partridge because he was the oldest and most senior friend. After that, the eldest got the first part of the food they got, and then they maintained the hierarchy. When they went on threatening journeys, the youngest carried the elder, the monkey carried the rabbit, and finally the partridge enjoyed the privilege of reserving the highest seat. On another occasion, the members again discussed why we should not try, besides respecting ourselves, to do at least some virtuous deeds. Partridge voluntarily stood up and suggested, "Until now, we have intentionally or unintentionally fed on the lives of other animals. Being a predator is an unvirtuous act, so let's cultivate being herbivores." Immediately others spoke up, "Although we can avoid taking life, we sometimes feed on what is not really ours. This is an act of possession that is not granted or by permission, so from now on we will not commit ourselves to having anything that is not given or offered." They then agreed not to be possessed of food, sexual misconduct and, untruthfulness, and finally to renounce the consumption of intoxicants, especially alcohol. The four friends committed themselves to the Basic Five Virtuous Law they imposed on each other. One day, the oldest friend, the partridge, asked the rest of his friends, "Let's make other mates besides ourselves abide by our rules, who among us can bring your friends into the Law?" The monkey replied, "I can make all my fellows to abide." Similarly, the rabbit and the elephant also assured their friends to follow the rules. Gradually, all the animals obeyed the fundamental law, which led to the occurrence of favorable weather that not only brought abundant fruits and harvests to the animal world, but also enabled mankind to live in harmony. The king, fascinated by the unusual auspicious signs, called his queens, ministers, young men and merchants to inquire about the cause of this good luck, but unfortunately no one could give an answer. One day the king met a Hermit who lived in the seclusion of the forest and could predict everything, and asked him the same question. The hermit said, "All these auspicious signs are due to the virtuous behavior of the animals that live in your forest." Although the king was surprised by this news and wanted to see the animals, the Hermit urged the king to make his countrymen obey the law of animals; not to kill, not to steal, not to commit misconduct, not to be dishonest, and not to engage in the consumption of intoxicants. As advised, the King got all his citizens to obey the law, which had actually been established by the Four Noble Animal Friends. Finally, the king, the people and the animals experienced an unattainable peace, tranquility and blissful life in the present and enjoyed it even after their deaths as heavenly beings
Bhutan -
The Gióng Festival of Phù Đổng and Sóc Temples
Saint Gióng also known as Phù Đổng Sky King in historical literature is a legendary hero of the ancient Vietnamese. Many centuries ago, Saint Gióng festival of Phù Đổng village –his homeland– was ranked as the most attractive one in the Northern Delta. It attracts tens of thousands of people from everywhere to attend thanks to its performing match like a battle that reenacts the national hero’s victory. The festival in Phù Đổng Village symbolically re-enacts the battles, in which the saint’s generals, such as Flag Master, Drum Master, Gong Master, Army Master and Children’s Master fight against the enemies generals. Gióng festival takes place from the 6th to the 12th day of the fourth lunar month, mobilizing hundreds of village male teenagers who act phù giá (assisstants) in an elite troop. On the 6th day of the fourth lunar month, those who act generals have to be launched in front of the Sky King, and then gather at Phù Đổng temple where they officially enter the time and space of the legend. A ritual of sacrifice is one of the most important practices of the festival at Sky King Temple as it is believed that sacrifice symbolizes the community’s respect dedicated to the holy Saint. It is followed by the ritual of water procession performed by the generals of the troop, which implies that sacred water taken from Mẫu Temple is used to bathe the weapon. The chess-playing ritual also known as the battle ritual is the central activity of Gióng festival of Phù Đổng temple and it is practiced in the form of a grand performance. In the Sóc Temple, where Saint Giong ascended to Heaven on his iron horse, the celebrations include a ritual of bathing Giong statue and a procession of bamboo flowers and elephant to the temple as offerings to the saint. Bamboo flowers are dispersed to villager as a good luck throughout the year.
Viet Nam 2010 -
Mat weaving
Has a history of more than 100 years. The ingredients are strabismus (sedge) and father (jute). They grow locally, attached to the dunes, alluvial grounds along the Hậu River, when needed, they import from other places. Production process: Wash strabismus, remove floats and sort; dye the dye, dry it, then hang it up high. Before weaving, strabismus is soaked in water to make it soft enough. Jute is sewn into tendons and then attached to the loom. After weaving, the mats will be dried to avoid mold and mildew, then bound, scraped, and trimmed. The loom is handmade, operated by two people. Products have several types: snail-scale mats, cotton mats, chess mats, ordinary white mats, antique mats. They weave mats during the day and sell them at night at the night market according to the rule: The next night the meeting is 1 hour later than the night before.
Viet Nam -
Traditional art of wood engraving
Wood engraving has two main types: half engraving and whole engraving. There is a template of engraving that is called tsoi in Mongolia. Whole engraving is used for making a variety of items, such as the horse currycomb, chest, tiger-legged table, bed, and a cast of traditional cookie, as well as an arrow, pieces of a chess game, toys, and religious items and idols. Animals such as lion, tiger, dragon, and elephant, all of which symbolize strength and power, are engraved on the wooden doors of gers, while religious symbols and ornaments are engraved on the doors of temples and monasteries. Carving a pair of intertwined dragons on top of poles in gers and temples is common.
Mongolia -
CHOYKHONA
Tea house, a social environment for drinking tea, eating and relaxing. In Tajikistan, old people usually visit tea houses. They drink tea, talk to each other, and play board games such as chess, backgammon, and cards. Some tea houses are visited by folk musicians and singers, storytellers. In Rasht, Tojikibod and Lakhsh districts, teahouses also serve as a hotel for invited guests coming to a wedding celebration. Some guests can stay and spend the night during their visit.
Tajikistan