ALL
coconut
ICH Elements 25
-
Thai Agricultural system knowledge
Thai society in its way of life as well as in the commodities of its trade has been an agricultural one since in the ancient times. As a consequence of centuries of practice, farmers and orchardists have developed localized forms of wisdom and know-how on the cultivation of a variety of crops. A crucial element of this know-how lies in the mastery of irrigation methods used to maximize the productivity of the fields and orchards. The management of the water supplied by the Chaophraya river and the strong seasonal rainfalls was crucial to convert the plentiful sunlight provided by the tropical climate into rich harvests. Among the techniques that the farmers and orchardists developed, the most important way in which the flow of the Chaophraya’s nutrient-rich water to the fields was regulated was by the digging of irrigation ditches. The traditional ditch that was used most widely had its origin in southern China, from where significant numbers of Chinese immigrated to Siam during the Ayutthaya period. This technique can be used both as a way to prepare soil for cultivation and to sustainably regulate water supply to the plants. In the particular case of Bangkok, with its proximity to the sea, it is also a water management process through which the gardener can maintain the balance between fresh water, salt water and brackish water. The gardener will work to regulate the proportions of these three sources of water within their garden by purposefully designing the ditch channels without harming their crops. The wisdom behind the raised garden with a ditch and dike system consists of many small connecting canals dug by the farmers within the turf soil to fertilize the trees. The trees are planted in an elevated plot to prevent flooding during the rainy season. This knowledge of making high-ridge agricultural plots where the soil is dug in lanes is called “Oak Rong” and “Thong Rong”. Besides, the gardens’ water systems were connected to rivers and streams of the public water system.
Thailand -
Dikir Barat
Dikir Barat is a new traditional arts form if compared to others of the same genre, as well as most liked amongst the normal Malay communities in villages and city fringes in Kelantan. In that state it is more popular with the name ‘Dikir Barat’ while in Southern Thailand it is called ‘Dikir Karut’. This arts form has been listed as a National Heritage in the year 2009. The word ‘dikir’ is a product of the combination of two arts that are ‘dikir’ (loosely translated as ‘song’) and ‘pantun’ (‘quatrain’), or ‘dikir’ and ‘karut’ (loosely translated as ‘story’). The word ‘karut’ is from the terminology ‘to tell stories in the form of quatrain or poem’. Thus, the names Dikir Barat, Dikir Karut, Dikir Pantun and Dikir Syair have the same meaning. There are those who opinied that Dikir Barat originated from southern Thailand with the name Dikir Karut. There are those who said that it was the product of the arrangement made by Haji Mat Salleh bin Haji Ahmad (known as Pak Leh Tapang) who improvised this arts form by adding quatrains in it. There are others who mentioned that it originated from Tebu Island, Kelantan. This arts form is normally practiced during paddy harvesting season and wedding ceremonies as entertainment or competition. The content revolves around current issues and lives of universal societies. The performance of a Dikir Barat group is headed by a Tukang Karut (‘The Storyteller’) and Tok Juara (‘The Champion’). They tell ‘stories’ by exchanging quatrains, reciprocated by loud and clear background voices of the Awak-Awak (group members) who don’t need to clap hands, just sufficient to place their palms on their respective cheeks to louden their voices. In a competition normally there are two group participants at a time and using the Kelantanese dialect. They exchange quatrains, insinuating, as if in jester and for entertainment only. At the end of the performance a group’s Storyteller delivers a sad song and requests for forgiveness at the thought of the fate of the Storyteller. At its early development a Dikir Barat performance only used audiphone equipment that were bamboo pieces, knocked to produced the rythmic beat of this arts form. Nowadays, it uses an ensemble of a gong, two small hand-held drums and a pair of maracas, cymbals and small bells. In yesteryears this arts form was a past time game and normally held in a bamboo hut with wooden floor and coconut leaves roof top. However, now Dikir Barat is well-known all over the country and can be seen on TV screen. Its development is also difficult to contain as it often receives changes, like its performance form, according to the era.
Malaysia -
Pithi Chol Mlub (Rite of passage: Seclusion of a Girl at Puberty)
Nowadays, almost everyone misunderstands that Chol Mlub, which is a traditional rite of passage for Cambodian women has disappeared, and even the purpose of the ceremony is also somewhat confused, because it is understood that women during rite of passage learn to be housewives, mainly to lighten the skin or whiten the skin, learn female law, learn the five precepts, the eight precepts until the ten precepts and sew embroidery. The fields of housing and education mentioned above belong to women, but that does not mean that woman has to learn while she is in the rite of passage. She can know before or after. The main purpose of the "Rite of Passage" is to be ready to be a man's wife in the future (ready to have a husband). Traditionally, every family always wants their sons and daughters to live as adults with honor in society. For sons to be ordinated as monks to show gratitude towards parents while daughters to enter the rite of passage to show gratitude toward mother. These factors motivate families with daughters to have at least one of their siblings to be in rite of passage. If you make the eldest daughter, youngers daughters will be accompanied, so when they reach puberty too, there is no need to organize a rite of passage, which saves the cost of the family. In fact, parents love and want their children to do the same. With this in mind, some locals still implement and practice rite of passage tradition, even in modern society. According to previous research, the villages and districts that still practice this tradition are in Boeung Preav commune, Sre Ambel commune, Dong Peng commune, Sre Ambel district, Koh Kong province, Tumnup commune, Taing Krasang commune, Batheay district, Kampong Cham province, Kien Sangke commune, Sot Nikum district, Siem Reap province. Rite of passage is women’s most important subject that they have to learn and there are many stages of the rite. The first stage is to prepare themselves for "first menstruation" that will last for 2 to 3 days, a ceremony called "Sen Chhol", will be commemorated to inform the ancestors about the rite of passage of their daughter. The second stage is the period of "Staying in the rite of passage”, women will be obligated to be on a proper diet such as eating vegetarian food, no sunlight exposure as well as other tasks that must be done every day for an average of 1 month, 3 months, 6 months or There are also 9 months. The third stage is "Leaving rite of passage" it is the last stage but there are many more tasks to be completed, the ceremony has to be held similar to a wedding ceremony (one night and two days). The symbolism of the work in the first stage is compared to "sperm" that propel in the mother's womb. Second stage is compared to a baby in the womb ready to be born. Stage 3 is compared to a mother is "having a contraction" waiting for the birth of a baby to come out of the womb. The whole ceremony is quite similar to a wedding; it is somehow called a single wedding or sometimes there is an escort who represent the husband. These are the wedding trials which women have to experience before a real one that take place in the future. The rite of passage that prepare women to get ready to be a wife has a tough discipline than men. Women are secluded in a room whereas men are in pagoda, focusing on the study but they are free to chat or meet people on holy days. The pagoda area for the venerable symbolizes the mother's womb and during a monkhood, men seems to be more relaxed than women, there is sunlight all over the large courtyard, but during rainy season, the monks are not allowed to leave the pagoda. In order to study dharma and other subjects for one year (equal to one Vorsa), which is equivalent to one quarter, the monks rushed to study only dharma (literature). But if monks want to continue to study for many years, they can learn more skills such as lime carpenter, carpenter, and sculptor. After leaving monkhood, they will be able to earn money with their skills and start a family. Beside, studying in pagoda monks also follow a strict diet which they can eat only two meals a day which is morning and noon (fish-meat) and in the evening only tea, milk only. For women, when they are in the rite of passage, they do not leave the room or outside the house, generally speaking, no sun exposure except at night when they shower or use toilet, because a dark sky represents mother’s womb, and the daughter in the rite of passage represents the baby in the mother's womb. That's why they try to keep the baby in the womb out of the sun until it is born. If the mother expose with sun, baby will pre-maturely born, it will definitely be worse for the baby. Strictly speaking, two-course meal like the monks, but a vegetarian dish without meat, such as porridge or rice with salt, soy, cucumber, sesame, ripe coconut, ripe banana, ripe mango, watermelon. Some foods are avoided such as bacon fat or fish sauce. At this point, it is not considered that rite of passage is when women learn to be housewife, because they don’t eat or anything. In fact, a woman knows how to cook before she enters the rite, and so does sewing, embroidering, and sweeping the house, these skills are important for women when they have husbands. The study of the five precepts, the three precepts, or the ten precepts deeply, is not seen at all, that is, only the chanting of the Dharma of worshiping God (Vantea Preah) every morning and evening. Some of the work women do while in the rite of passage are just to get rid of boredom. Others say that they Chol Mlub to exfoliate their skin complexion, because they have not been applied makeup or any powder, only wearing a long sleeves shirt to cover her body and staying in a mosquito net. Wearing a multi-layered shirt is not just for the sake of a bright skin, it represents a baby in a mother's womb covered by a few layers of belly. If women have only one layer of belly, it will affect the baby when the mother eats spicy or hot. Generally speaking, staying in the rite of passage is a way of guiding women during their puberty to get ready to be a wife. They do not have to get married immediately, at least wait two to three years The symbol of leaving the rite of passage is like a mother during a contraction of childbirth delivery, because on the first day of the ritual, the woman is not yet exposed to the sun. Even though she leaves the room in the house but she needs to use an umbrella and still be in mosquito net, waiting for the next task, with the Khmer grandmother as the guard next to the mosquito net. In some villages in Sre Ambel district, Khmer grandmothers who know how to give birth midwives called (Daun Khner) are obliged to monitor the baby's movement by taking care of the mother's womb, such as touching or waiting for the baby to be born. Next important task, an old single man called (Jas Komlos) will dance with a movement of digging (Daun Khner) with a traditional music, which metaphorically means to ease the process of child delivery to be quick. Then, Daun Khner will hold the woman’s hand out of the room to a ceremony hall. This represents a baby who was just born and it will be covered by a piece of while cloth and the body of a baby is compared to the mother’s placenta. At that time, it was old, hot, dancing, digging, digging, Daun Nhe (Daun Khmer) accompanied by the traditional song titled, "Kors Daun Nher". The process of carrying a child by the Khmer grandmother from the room to the ceremony hall on the ground is the process of being born from the surface or out of the abdomen one step at a time with a piece of white cloth as a way or covering the body of the child is like the placenta of Mother. Waiting until a next sunrise, it is assumed that the baby is successfully born. There are many following rituals such as cutting hair, ear piecing, tver tmenh (), which serve as a confirmation the woman is ready for a wifehood. The rite of passage process is almost the same as a wedding, which includes: Krong Peali ritual (Sen Krong Pali), Sen Chong Dai, Bok Lak (game to find Lak). All work is done continuously from the evening until Acha tied the hand of the Cho Mlub child with his sister and cousin to participate in the ceremony (Photo: San Phall, 2016) 1AM, Kors Duan Nher ritual will be done at midnight. On the morning of the second, the child will be accompanied to the ceremony hall to worship the sun, get haircut, do teeth, get ears pierced, reav ang kor reab, porpil rotate and tie hands as a finale. This Chol Mlub tradition plays an important role in educating people in society by showing the process of a woman in her puberty who has to go through the rite of passage in order to be qualified for wifehood and to become mothers. Women is considered as a land for sowing seeds and the gender roles they inherited include housekeeping, child care, in general, to manage the family economy. For men, they pick up profession or skill to earn money for the female to manage. Men and women are always in pairs, one of which cannot be missed, that is how society created.
Cambodia -
Lbaeng Veay Kon Koal (Khmer Traditional Golf Game)
“Lbaeng Veay Kon Koal” is a kind of game that is played in many countries. They have played the game from ancient times to the present day, especially in India. This game has two types: "Horseback Rider" and "Pedestrian Runner". But today in Cambodia, this horse-riding golf is gone, no one has ever seen or heard of it, only the sculpture on the terrace of the north corner of Angkor Thom, which is probably built during the late 12th century or early 13th century. On foot, golf is still played today, for example, in Prek Sangke village, Koh Sor Tin district, Kampong Cham, and Kampong Speu provinces. This Veay Kon Koal game can be called in different names by different districts or regions across Cambodia. Those names are "Veay Kon Koal", "Veay Bror Dum" or “Leng Pek.” To play the game, People have to divide themselves into two groups to compete like in football. The number of people is not limited, more or less, depending on whether there are people or not. This game is often played in rice fields or farm fields that have been harvested, along the wide trails or sometimes in the fields with water up below the knee. The main equipment for this game is golf/ball and sticks. The golf (or so-called "Kon Bror Dum" are usually made of light spruce wood, such as Derm Ror Lous or Derm Kor Chang to be rounded and dried. Otherwise, they use coconut or palm fruit. The sticks or hooks for beating, are made from the branch of a palm tree or Kandol tree, Sangke tree, Trabek tree, Krasang tree or any wood that as big as the size of Kid’s wrist. The stick should be smooth and the grip should bend in order to make it easy to hold or they can use Russey Ping Pung, Russey Prech, Russey Prei, Pdoa which has a curve trunk. This game can be played both day and night, and if played at night, they burn the golf ball almost become live coal, which is then called the "fireball". Before playing, they set a "goal" on either side of each group, depending on the size of the yard, and plugged in a piece of wood to mark the place. At the start of the game, both teams line up facing each other with golf balls which is in the middle of the playing field and each team has to choose a representative to stand in the middle in front of the golf ball. Then the two of them hold the stick and raise the interface or confront each other to be ready "Kae", hit gently, changing from right to left and from left to right 3 times. Then both players hit the ball and run past the opponent’s goal. If the player runs past any team, that team is lose. This game does not allow the players to use their hands, but they can use their feet, instead. The game will be in vain and the golf ball will have to be Kae again.
Cambodia -
Bon Om Tok (The water festival)
“The Royal Water Festival” is a major national festival that Cambodians across the country celebrate every year. Because this is a national festival organized by the Royal Government, the main center for the ceremony is in Phnom Penh, Chaktomuk river in front of the Royal Palace. In the provinces, villages, districts and pagodas, this ceremony is also held according to their ability and resources. Every year, the Water Festival is held on the 14th Kert, 15th Kert and 1st Roach day of the Kadeuk month (lunar calendar), and people from everywhere come to participate in this festival in large numbers. In this festival, there are 3 big events: boat racing, lantern floating ceremony, and Ok Ambok ceremony to worship the moon god. Boat Race: Boats that are used for racing are called “Tuk Ngor” which consist of two types of boats: Tuk Ngor and Tuk Chev. Today, most pagodas have Tuk Ngor. Some pagodas have only Tuk Om or Tuk Chev and some pagodas have both types of boats. Touk Ngor is a village or a community’s property. Since it is a communal ‘s property, the Touk is placed and taken care of by monks and the pagoda. Villagers will train and join the race. Before the Water Festival arrives, villages are gathered to train because the racers are not professional athletes. They usually do work for a living and come to train only when the race is approaching. During the Water Festival in Phnom Penh, they have to do the selection from their own village. Some pagodas or villages in the district hold this boat race during Pchum Ben and some race on the day of Chenh Preah Vossa for people to watch and celebrate the festival. On the day of the Water Festival, only the winning boats for each village and district representative will be taken to join the race in Phnom Penh. The boat race lasts for 3 days. In general, the number of boats participating in the race each year is about 400 to 600 boats, and each boat is drawn to select a competitor organized by the race organizing committee. Each boat requires to race twice, once in the outer stream and against the inner stream. The race starts from Chroy Changvar Bridge and runs along the water in front of the Royal Palace at Dum Nak Pear (royal port), which is the final and the place where the King and his entourage sit and watch. The winning boats from the first day and the second day must go to the race on the third day, which is the final day. At the end of the race, there is an important task called“Cut Proit" celebrated by the Baku Brahmins at the Royal Palace. The sword for the cut consists of the swords kept in the Royal Palace and four other swords kept by the Brahmin family in Baray District, Kampong Thom Province. Each day the king came to be the preside and watch the boat race at the port pavilion in front of the royal palace. Besides, there is also the royal Family, prime ministers, the president of the national assembly, diplomats, and many more dignitaries. Lantern Floating Ceremony: Every night of the Royal Water Festival, there is always Pror Tip Jvea Lea floating on the water for people to visit and enjoy. The figure decorated with lights are usually arranged on boats or large ships, designed as symbols of ministries or institutions or of private companies, and decorated with colorful light bulbs. In some rural areas, people also float lanterns along rivers, lakes or ponds in pagodas, etc. The small lanterns are made of banana trees or banana leaves decorated with flowers and candles. Ork Ombok Sompeah Preah Khae ceremony: On the night of the middle of the Royal Water Festival, which falls on the full moon day, there is another important ceremony, "Ok Ambok Sompeah Preah Khae”. Whether it is a house, a pagoda or a royal palace, offerings are always prepared for the ceremony. The main offerings were Ambok (pounding rice grain), banana, coconut, and sugar cane, as well as candles, incense, and flowers. In the countryside, many villagers Dal (pounding) the Ambok by themselves. In addition to preparing offerings at home, the villagers bring bananas and young coconuts to the abbot in the temple, and the abbot also arranges the Ambok on a pedestal dish and five young coconuts for the monks. Then the monk began to pray and spread the Ambok to young and old Buddhists is a sign that the fruits are abundant. When the monks finished chanting, the Buddhists came out to celebrate the Ok Ambok ceremony. Traditionally, the Ok Ambok ceremony begins at midnight, when the full moon rotates above the head. But today, in pagodas, people often start the Ok Ambok ceremony late at night, as Buddhists will soon return home. Before the Ok Ambok ceremony begins, one of the most important tasks is to "drain the candles." This is done at the Royal Palace and in the pagodas across the country. The main purpose of the candle draining is to predict the rain and agriculture harvesting in the coming season. The way to drain a candle is to insert a row of candles, about one inch apart, on a long candle holder made of bamboo or wood, and at the northern end, there are often carved dragon heads. The candles in the Royal Palace depend on the number of provinces. There can be 24 or 25 candles, that is, after the Brahmins have finished praying, they light them. The candles are turned upside down. If the candles representing the province burn the most, it is predicted that the province will have lots of rain. But in some areas of the countryside, there may be many candles, all of them 108, which is a very lucky number in the ancient Khmer tradition. At other pagodas, for example at Wat Taing Krasang (Brorsam village, Kampong Cham province), there are five candles, but only three are considered important, as the other two candles are smaller. The three candles represent the beginning, middle, and end of the year. After the end of the candle draining ceremony, the Ok Ambok ceremony began. At that time, young and old, men and women, took the Ambok and gave it to each other happily. Therefore, the Ak Ambok Sompeah Preah Khae ceremony refers to the same idea, that is, to have abundant harvests, and only until there is enough rain, the fruits can be reaped.
Cambodia -
Pithi Bon Sob (Funeral Ceremony)
People in the world believe in the incarnation, and in order to be reborn, relatives and friends have to perform many ceremonies dedicated to their beliefs; however, the practice of this tradition varies from nation to nation. Even within Cambodia may vary by region. In the city or town, the body is usually cremated immediately within a few days after the death and the ashes are collected. This can be explained by the fact that the location and lifestyle required this. In some areas, after death, the body is permanently buried. In other areas, especially the Angkor region, Siem Reap, whether rich or poor, a deceased person must go through two major ceremonies. In the first stage, when death occurs, it is very important to perform a funeral one to two days, after the body is buried in the grave for at least a year. The locals understand that this is to let the earth embrace the body and feed the animals, that is, let the soil and water (adjacent to the soil) dissolve the body one step at a time. When the flesh is rotten, only the bones are left, and then the bones are burned and the air finally dissolves. This is because the human body is made up of four elements: water, earth, fire and air, and when dissolved it is made up of these four elements. According to the locals, the feeding of animals does not refer to vultures or other animals, but to earthworms. When a Chinese diplomat named Chiv Takwan arrived in Angkor in the 13th century, he wrote “a human corpse is placed in the wood to be eaten by animals”, it is believed that the soul will be incarnated faster”. Whatever the tradition, the main reason is how to get the dead person to reincarnate. The second stage is the cremation. Before the ceremony, the priest must do the ritual of "Yorng Sob" which is to remove the bones from the pit, wash them, pack them in rags, and wrap them in another mat, then place them on a tree trunk. After that, they arrange a joint cremation on the field. Because the burial was made long ago before the cremation and it is a joint cremation, so they could choose the day and the month as they wish. Cremation is usually held during the month of Phalkun, and although the ceremony lasts for several days, the day of the cremation has to be on "Ronoch". In general, this cremation is very solemn because it is held together by many families with about 10 to 100 corpses. In the case of any family with sufficient resources or the corpse of the former chief priest of the pagoda, it can be done separately, but it is very rare. The funeral lasts for 3 nights and 3 days. On the first night, they started a ritual called “stealing the corps” by taking the corpse (the package of bones from the Yorng Sob task) and hanging it on a tree or putting it in Saley cart until the evening of the third day before the corpse procession to the funeral hall or crematorium or "Phnom Yorng " or called "Meru") in the Khmer language. In the morning, on the first day, elders, priests and relatives of all the corpses prepare according to their respective duties and affordability. Achar (Priest) Yogi draws 12 soul flags, Achar organizes Buddha altars and an eight-story pavilion. Grandmas prepare Bay Betabor, Bay Sey and Sla Tor and men Jak Jek, making sand mountain, making Rean Nim Reach or Rean Puth Kun and Phnom Yong. Whereas, young women prepare spices, fish, meat for cooking and baking. On the same day, the initiator of the festival brings “Kroeung Bonlong” to a nun who has a role of "Keas Junh Jean Tbong". A priest ordains a man who will “Buos Mok Plerng”. Another priest performed the ritual of calming the coffin by measuring a banana vine and sprinkling water on the coffin. In the afternoon (around 3 PM), Acha Yogi performs Krong Pali. The next ritual is to raise the Aphitorm flag and the crocodile flag. The work is solemn as there is "Chark Ho." Later, seven monks recite prayers and performed sermons, and the next work is “Apisek” on Buddha statue. The ritual ends with a performance on the scene which “Socheata took honey “Mathubayeas” to give to the Buddha. In the early morning of the second day, arriving at the funeral hall, they piled up the sand, from a nearby pond to build a mountain with perfect decoration. According to the elders, the sand mountains represent the stupas in the Trinity. After that, the priests and elders performed the ordination ceremony of the sand mountain. On the second day, from about 3 to 4 pm, they prepare a reception. Traditionally, they often make Num Banjok “Khmer noodles” for the reception. It was about 4:30 when the corpse procession leaves the place where it was kept and enter the festival hall. The procession was followed by ritual items. The nun wears a gem ring, sitting in the front row, while the relatives of the corpse carry pole of Balong, and there is a monk sitting on a wheelless cart carried by men. Next, relatives were strapped by Sbov Pleang knot to a Somley cart, and four monks sit on the cart. If it is a procession of the body of the King or the body of the high priest, chariot is decorated and designed as a dragon or phoenix. Upon entering the Pnum Yorng, they process three rounds around the mountain. Then, Achar Yogi and Achar Phluk, they perform prayers and prayers in front of the Rean Puth Kun. Relatives of the corpses placed fragrant vines under the coffin. They make gods to come down and offer fire, and firecrackers were set on fire to run and set the coffin on fire. While worshiping, the Acha-yogi sits chanting dharma on the east side. As for the four Achar Pluk, they sit and chant dharma in the halls of each direction. The Keas Jun Jean Tbong nun meditates next to the funeral hall. This meditation session is to see which corpses have been received Balong and which corpses have not yet been received. After the cremation, Achar Yogi and Achar Phluk take banana leaves and a krama to cover the bones mixed with charcoal and rotate the Popil for the corpse. Later, the "transformation" ritual is the most important, Achar Yogi draw a human form and start a ritual for the corpse. Then Popil rotation ritual will be started, the relatives of the corpse collect the ashes, wash them with coconut water and put the ashes in a Krama hammock, and sing a lullaby to put the ashes to sleep as if putting the baby to sleep too. All ashes will be taken by relatives to keep at home for a while. The main rituals can be said to be over now, but the cremation ceremony will be completed on the morning of the third day, Rorb Bart ceremony and unrope sand mountain. So far, it is believed that the souls are not in peace yet, it is required to have one more ritual called interment of ashes. However, some families could not afford to keep the ashes at the stupa or under the temple grounds, they only do minor ritual. But if the family of the deceased has a prosperous life, they will hold another burial ceremony.
Cambodia -
Pithi Leang Arak (The Medium Spirit Ritual)
In traditional Khmer belief, "The Medium" refers to ghosts that have spiritual power and often live in seas, rivers, lakes, creeks, streams, and ponds. Others live in trees, bushes, and mountains, and have their own more or less power. When traveling in the forest or crossing the lake, travelers must mind their words and speak carefully because some words may interrupt or annoy the spirits guarding the place, yet it will cause illness or other disasters. Another type of ghost refers to the souls of ancestors who are believed to be dead, but the soul or spirit does not die with the body. They are around to help take care of and protect children, but sometimes those souls are also angry and punish their children if they make a mistake and do something wrong. It is believed that if a person is “Arak Kach” there are weird signs such as the person is sick, trembling with fear, mouth paralysis slurred speech, or inability to walk…etc.) Although today's society is evolving to a more modern level, including modern medicine, Cambodians, especially those living in remote areas, are still seeking traditional treatment such as ghost possession. Therefore, if there are any disasters such as disease, eradication, drought, or lost cattle, and lost property for no reason, the locals will seek help from “Kru Hmor” to predict or use a method called “Bol” or summon a spirit called “Ban Jorn Arak”, each of the methods can tell the locals about a root cause behind the incidents that happened. After they found out the cause, they had to organize a "Leang Arak" ceremony, or “Ban Jorn Roub” and make an offering for Arak spirits to keep a promise. In some areas, when a male or female is possessed by a spirit, people believe that the spirit is an Arak. But in other areas, such as in the north of Siem Reap, Angkor people called a spirit that possesses a male and female body differently. If the spirit possesses a male body is called Arak, whereas a spirit that possesses a female body is called "Memot". That is why sometimes we hear people call "Pithi Leang Arak" and sometimes we hear "Pithi Leang Memot". The ritual is organized by an individual, a family, or a community to pray for a well-being for everyone. As for the date, protocol, and agenda in Pithi “Leang Arak”, we observe that they vary slightly from region to region. As mentioned above, the residents of Angkor (north against Phnom Kulen and south against Tonle Sap Lake), especially the village north of Angkor Thom (Nokor village, Pronit village, Prasatchar village, Phlong village, village Leang Dai, Daun Ov village, Tak village and Samrong village, etc.) call a spirit possesses male body is called Arak, whereas a spirit that possesses a female body called "Memot", but from time to time, we also see one or two Arak spirits to join Leang Memot with Memot spirit too. The locals in this area hold this ritual once a year, during Meak month to commemorate the Memot, who helps to cure the villagers' illnesses and make them happy. The ritual was held with ten to fifteen people who are ready to be possessed by Memot and one Memot Master. Locals believe that each person has her own birth teacher spirit “Kru Komnert” who looks after her life. Therefore, they have to install an altar and prepare offerings or Jorm Komnert for the spirit. Some install the altar on the head of the bed. There are two types of Jorm Komnert, one is made of a ripe coconut and another is made of carved wood with legs in the shape of monkeys and other animals. During the Leang Memot, participants have to bring Jorm Kru Komnert and Jorm Memot to put on a tray together. For those who have just joined or their, Jorm is torn and old, they have to make a new one that day before the ritual begins. The offerings and utensils were also prepared on the day of the ritual, including a basket of rice for storing rice, and on the basket of rice was a tray of offerings such as a banana, orange juice, fruit juice, water perfume, ten incense sticks, five candles, cigarettes, Mlu, Sla, Bay Srey Pak Cham. These items are stacked under the tray of Jorms, which is placed in front of their respective seats. At around 7 pm, the Leang Memot ritual begins. At that time, the Arak music band began to pay homage and then began to play music for Main Memot to possess the body. After playing two or three songs, the Memot spirit begins to possess and make strange gestures, some wearing a scarf on his head or tying his waist, while others wear a skirt (usually a Hol), pulling a sword or carrying a pole to dance rheumatically, the locals realized that the Arak spirit is possessing Memot body, so they shouted and clapped their hands to make the Memot dance happily, it continued until 11 PM which made the ritual very noisy. Until all the bodies are possessed by Memot, they would together joyfully. Finally, Memot Thom prays, then the villagers take the offerings “Pe Sam Neann” (Offering) and throw them away in order to avoid any misfortune or other diseases. In other parts of the region, Leak Arak ritual may be held in private, arranged by relatives of a patient in order to find out the root cause of the sickness. The most common offerings are Bay Sey, Sla Tor, Pe, candles, incense sticks, and flowers. The food offerings include rice, soup, bananas, boiled chicken and pork heads...etc. In addition, there is an Arak music band, and especially there is a messenger called “Snom”, a woman who interrogates and interprets to the spirits that possess the body and she also helps facilitate the ritual. When the ritual begins, Arak music is played to summon the spirit to possess the body. When the spirit possessed the body, the woman start to ask questions and find the root cause of the sickness. What has the patient done wrong? and plead the spirit to cure the patient with a promise to offer a steam chicken and port head to let the demons help heal the sick by promising a rooster, a pig's head, offering music, or whatever the ghost commands.
Cambodia -
Pithi Buos (Rite of Passage: the Ordination Ceremony)
"Ordination” is a part of rite of passage, meaning a transition of a teenage boy to a man "adolescence." In a traditional society, women and men are separated when they are in puberty. Young women are in rite of passage called Chol Mlub while men are in pagodas ordinated as monks. Women role is to take care of household chores and men explore or trade, so they can have enough basic knowledge. Therefore, in Khmer language, people say “Buos Rean” meaning to send boys to learn lifelong skills as well. Ordination ceremony are seen in many districts and regions across the country, and here are examples of locals who perform the ordination ceremony at Wat Athvar, Wat Angkor Mol and Wat Svay Leu in the Angkor area of Siem Reap province. Ordination ceremony at the Angkor area is celebrated by retaining many ancient traditions, and it is very solemn, as many villagers attend, sometimes in dozens, and with the participation of many close relatives. In that ceremony, there are accessories for the venerable person, and the main accessories that cannot be missed are srey ban rice, rice soul, Angkor Reab. Tver tmenh tools, Popil, monk bowl, coconut slator and monk robe. Apart from this, there must be Chum for maker, musician and Khgner. Ordination can be divided into two stages. In the early stages, all the young men put on make-up and costumes in a way that they are monk nor ordinary men; men nor women and not even called them as human but a dragon (Neak in Khmer language), that is why the ceremony is called dragon ordination or (Buos Neak). During the make-up, people use turmeric powder, powder and jewelry, to transform young men to girls. In some areas, the make-up is done at the ceremony house before going to the pagoda, but in other places, such as the locals around Athvar pagoda, Angkor area, Siem Reap province, they do make up and put on costumes at pagoda. From the evening of the first day, a priest (Achar in Khmer language) and the relatives of the dragon perform a blessing ceremony to worship the Preah Ratanatray - the next task is to summon the dragon's soul and tie hand for dragon. At this point, the Achar opens a sutra called "Dragon's Soul" to read (in some areas, the dragon's soul summon ends at dawn, along with the "Sucking the dragon’s soul”. The end of this task is to rotate Popil for the dragon. Then the Achar performed Angkor Reab, measuring the flat rice using the traditional scale, with a clock, a ship, and letting all the dragons lie on the flat rice prepared by the Acha. In the early morning, the dragon has to search the flat rice which he slept on. Then the Achar prepares for teeth cleaning ceremony for the dragon. At around 7 or 8 in the morning, they started the dragon procession by leaving the pagoda and passing through the town before returning to the pagoda. Sometimes they come together and pay homage to Angkor Wat three times before going to the pagoda. During this procession (except during the procession in AngkorWat) Dragons highly praised because all people, young and old, all travel on foot, and dragons usually ride horses or even elephants. If there is a shortage of horses, the dragon is allowed to sit on a bicycle with his grandmother or sister walking in front of him. For villagers who live far from pagoda, as in the case of Svay Leu villagers, the dragon procession is carried by a bullock cart decorated with colorful flowers, and the locals can ride a bullock cart. A dragon, however, the seat of the dragon is still supreme. The procession is accompanied by Pin Peat or Chai Yam music. Before entering the pagoda, all the dragons have to do the work of “worshiping the sun at the gate of the pagoda. At Angkor Mol pagoda, the sun worship is done in front of the temple. At the end of the task, they offered three rounds of prayers to the temple. What is interesting at Angkor Mol pagoda is that when marching to the temple, the dragon rides his brother or sister. At the end of the procession, the dragon enters the temple to perform the last important task called "Oub Bacheer” which is the transition from a dragon to a monk. A monk who performs this task is called "Oub Bacheer” is a monk who has been ordinated for at least 10 years and has a deep dharma discipline. During the task, Neak has to memorize some dharma in order to reply to the monk. Last of all, is “Teak Kor Neak” it is when the dragon had to change his clothes and take off his jewelry and take over the robe of Chipor, and leave his life in this world and his home to start a monkhood in a pagoda. As already mentioned above, ordination at this time is a stage to practice self-discipline and learn various skills before living in society and starting a family. Therefore, the Cambodian society values man who was ordinated as a monk and they want him to be their son-in-law because they understand that the man is educated and skillful.
Cambodia -
Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf
a) Traditional handicraft techniques The old art of manufacturing the traditional Iranian floating vessel, called Lenj, has remained relatively unchanged. Lenjes are, mostly, made for their large cargo capacity. The Lenj-Bum was, once, the best ship for the Iranian sailors and navigators. Even now, it is still competing with rivals. But the gradual decrease in the number of the long voyages is limiting the popularity of the vessel. Lenj-Bum is capable of tolerating the storms. Originally, Lenjes were used in commercial travels to distant destinations, including India and Africa. Lenjes are composed of various parts, each made of special types of wood, depending on their function. Contemporarily, Lenjes are used, solely, for short journeys, fishing and pearl hunting. Older Lenjes were capable of travelling for, even, one year. The Persian sailors used to launch their commercial ships from the three ports of Loft, Kong and Lian, in Bushehr. The marine routes were, however, more varified, and would include travels to Basra in Iraq, or to the southern coasts of the Persian Gulf. Their main trades included dates, wood of Chandal, pottery, coconut and fruits. b) Knowledge and practices concerning the nature and the universe Before the introduction into the tradition of modern positioning systems, Iranian navigators could locate the ship according to the positions of the sun, the moon and the stars. An individual, called Moallem (“teacher; guide”), was responsible for the positioning jobs on the Lenj. Looking at the sun and the stars with his means, including the Persian astrolabe and sextant, at 6 AM and 6 PM, he could locate the Lenj on the sea. Navigation at night was the captain’s duty. He would order a Sokkāni (“helmsman”) to lead the ship into the direction of a specified star till the moment of sunrise. Compasses brougth more convenience for the navigators. They could define the routes more delicately, by utilizing a combination of astronomy and the newly introduced compass technology. The sailors started to record the stars’ specifications on the compasses. Using this combined method, they would define the route at night. The number of stars used as reference points was 17; they would be repeated in both northern abd southen directions round the compasses. The navigational knowledge and legacy is still passed on from fathers to sons. The Iranian navigators also had special formulae to measure the latitudes and longitudes, as well as the water depth. Sailors needed the wind in favour in their travels to the south; they would arrange for their voyages according to the seasonal winds that would blow every 6 months from north to south. They also attended to the particular winds of Persian Gulf to find a forecast for weather. Each wind had a native regional name. Knowing the wind route was not enough to trace the time of a pending storm; they also attended to the color of waters, the wave heights, or the nature of the blowing wind. c and d) Performing arts, Social practices and festivity events The majority of the Iranian inhabitants of the region earn their livelihood from the sea; consequently, the Persian Gulf continues to receive their respect. A number of traditional ceremonies and customs about Lenjes and the sea show their rooted symbiosis with nature. Nowruz-e-Sāyyad (Fisherman’s New Year) is one example. The celebration occurs late in the month of Tir (June 22nd), as a surviving traditional ceremony from the distant years. No fishing, no trades, and no sea journeys are allowed on this day. In the morning, the children colour animal foreheads, with red clay; and by sunset, all villagers gather on the seashore to play music or perform the proceedings of Shushî, an old traditional performing art, showing the sailors’ respect for the nature. Some people wear special clothes and masks, and try to represent sea-gulls. When the native music band plays Rezif (the sailors’ traditional music), suddenly, a number of men with fearful appearances come out of the sea, and pretend to attack the people. They are Shushi’s, the old demons who were asleep, and now the new years’ eve has awakend them. Interestingly, the people enter dialogues with these demons, and encourage them to join in the feast. Bādebān-Keshi (“setting the sail”) is another surviving ceremony. Long ago, when the ships were about to leave for long voyages, by the time the sailors were setting the sails, the music would accompany from the shore. The sailor’s families would bid farewell. Specific music and rhythms constitute inseparable parts of sailing on the Persian Gulf. In the past, the sailors sang special songs while they were working. In Hormozgan province, three such musical traditions are, still, attended by the locals: Livā, Rezif and Azvā. The singers describe a marine travel in their songs. Traditional bagpipes, named Neyanbān, accompany. The ritualistic performances are reminiscent of the jobs on the Lenjes. The movements resemble hoisting the ropes, rowing, holding in the fishing nets, and also separating and classifying the fish. e) Oral traditions and expressions, including languages as a vehicle of the intangible cultural heritage There are traditional sailing terminologies, stories and poems (Sharve) related to the nominated element in modern Iranian languages and dialects of the region. These linguistic varieties are representable as: 1.Lārestanî :(Aradi,Evazi,Bastaki,Banāruye-yi,Bikhe-yi,Khonji,Fedāghi,Fishvari,Gerāshi and Lāri) 2.Bashākerdî/Bashkardî :(Bandar-Abbāsi,Rudāni,Minābi and Hormozi) 3.Kumzārî :(Lāraki, …)
Iran 2011 -
Ulik Mayang
This graceful dance of worship is the most popular in Terengganu. Ulek Mayang was performed as a healing ritual for fishermen who fall ill at sea or while carrying out their daily activities. Some illnesses were believed to be caused by sea spirits and could only be cured by calling upon the spirits of the sea and sending them back to the dark watery depths. In a ritual performance, some of the performers will fall into deep trance. The performance tells the tale of a sea princess who falls in love with a fisherman while he is at sea. The princess steals the fisherman’s soul, causing him to fall into a trance-like state of semi-consciousness. Once they are back on land, the fisherman’s friends ask a bomoh (traditional healer) to restore his semangat (spirit) and bring him back to health. The bomoh conducts a healing ritual for the fisherman using a mayang (coconut palm blossom), kemenyan (benzoin resin) and offerings of coloured rice. He summons the spirit of the sea-princess, who calls upon her five sisters to help seize the object of her desire. A tug-of-war ensues between the bomoh and the six princesses for the soul of the fishermen. Finally, the seventh and eldest princess arrives and sends her sisters back to sea with these words: “I know your origins, let those from the sea return to the sea, let those from the land return to the land.” She thus releases the soul of the fisherman and restores his health. Ulek Mayang is traditionally performed by seven female dancers, each dressed in an elaborate costume with a regal headdress and flowing yellow sash. Three to four male dancers perform the role of the fishermen and bomoh. The graceful gestures of the female dancers are reminiscent of the undulating movements of the sea. The dance is accompanied by a small music ensemble comprising a rebana (frame drum), accordion, and seruling (flute) or serunai (double-reed oboe). The contemporary version of the Ulek Mayang is performed in almost every formal state function and event.
Malaysia -
The Culture and Custom of the Malay Community: The Lulluby Custom
‘Berendoi’ (to lulluby) originates from the word ‘endoi’ of the Perlis Malay dialect meaning a hammock to put a baby or child to sleep. This custom is as the family’s thanksgiving after receiving a newborn baby. This custom too develops in Kedah especially in districts sharing the same boundaries as Perlis such as Bukit Besar, Kota Sarang Semut, Kubang Rotan and Bukit Kerengga. Berendoi has elements of the Islamic teachings with at least three or four participants chanting rythmatically during the ‘bercukur’ or shaving of a week-old baby’s hair. Among the activities in the berendoi ceremony still around today are mouth splitting, lulluby and Lulluby Above The Coconut Tree Shoot Or Make A Vow. Every performance is usually held together with a thanksgiving feast and ‘akikah’ (slaughtering of an animal usually a goat for the baby) with the goat’s meat as the main dish. Berendoi starts after the meal is served. The Berendoi group consists of a number of men adorning the Malay attire with pelikat sarung and songkok (head gear), or women in either a uniform of baju kurung or baju kebaya attire with head scarf. The Berendoi group starts their performance by chanting verses praising Prophet Muhammad (peace be upon him) and then the group leader cradles the baby and places him in the hammock. The song usually sung first is Ya Rabbi in the Arabic and Malay languages with the lyrics full of praises of the Prophet.
Malaysia -
TABEKASERE - Traditional bamboo woven basket of Navatusila
The origin of basketry in the Pacific can be traced back to the early European exploration that changed the islanders’ way of living. Intensive European exploration changed the attitude and economy of the indigenous people that ultimately led to the change in the nature of the artifacts made. Baskets during these early times were mainly used in trading. Basketry in the Pacific Islands share similar characteristics in one-way or another, whether it be similar designs or similarity in raw materials used. Mostly across the Pacific, coconut leaves are used to make baskets; from simple designs to complicated ones. Many Pacific Islands use reed or vines to make baskets as well, and in rare cases, from bamboo stems. Traditional baskets woven from bamboo stems can be found from a district in Fiji called Navatusila. This traditional basket shares some similar and different features in comparison to other traditional baskets across the Pacific. Navatusila, a district in the mountains inland on the main island of the archipelago, Vitilevu, is known throughout Fiji and perhaps around the world for its past that many believed was a turning point in Fiji’s Christian history. However, this event is part of history and needed not hinder the fact that Navatusila, like many Fijian traditional settlements, still practice traditional skills and knowledge that is unique to the people in expressing social and cultural identity. Nubutautau, a village in Navatusila, has a bearer of high knowledge and skills in weaving a traditional craft known as tabekasere. The knowledge and skills in weaving the tabekasere is only held in Nubutautau in all the Fiji Islands. This unique craft came to light post Cultural Mapping Program held in February 2016 by the Ministry of iTaukei Affairs, iTaukei Institute of Language and Culture. Thus, the bearer of knowledge and skills in making the itabekasere is recognized as a Living Human Treasure, as it was discovered at that time that a lone person possessed the knowledge and skills.
Fiji