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drum
ICH Elements 116
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Peking opera
Integrating singing, reciting, dancing and martial arts performing, Peking Opera is a comprehensive performing art of traditional opera. In mid 19th Century, having incorporated elements of various opera forms from both northern and southern China, Peking Opera came into being. It was first created by civilians. Its development was then greatly promoted by the royal family, and reached its peak in the capital city of Beijing. Peking Opera is the most widespread and influential among over 300 opera forms in China. Hence it is also called the “National Opera”. Beijing dialect is used in the singing and reciting of Peking Opera where rhyme is of great importance. There is also a strict set of rules and forms of libretto composition. Peking Opera is based on Xipi tune and Erhuang tune. Xipi tune is applied to express passion, joy and ecstasy, whereas Erhuang tune is used to depict sadness and grief. Music (singing) plays a key role in setting the pace of the show, creating a proper atmosphere, shaping the characters, and smoothing the progress of the story. Traditional musical instruments are used in Peking Opera shows, where the drummer plays the role of a conductor and the “Jinghu” player acts as the first violinist in an orchestra. Strings and pipes, such as Jinghu, Yueqin and Sanxian, are known for their tender and melodious sounds, which are called “Wen Yue”, or civilian music. Whereas percussions including Bangu and Daluo make brisk and powerful beats, which are called “Wu Yue”, or military music. Singing and dancing are equally important to the performance of Peking Opera, which is characterized by its formularized and symbolic style. Performers have to follow the established format of movements of hands, eyes, body, and feet. Peking Opera only requires simple stage settings and props, following the principle of abstract presentation of big items (for example houses and walls are not necessary on stage) and specific presentation of small items (tables, chairs, cups and saucers, for instance, are used as props on stage). The exquisite and skilful acting of the performers can also help to unfold a virtual yet vivid stage setting to the audience. The costume and headdress in Peking Opera are flamboyant. The facial make-up is exaggerative and delicate. The lively opera face shows the character’s personality and social identity with concise symbols, colours and patterns, expressing the traditional Chinese aesthetic ideals. The storylines of Peking Opera originate from history, anecdotes and folk legends. About 100 of more than 3,000 Peking Opera shows are still being performed frequently today, such as “The Twin Bliss of Dragon and Phoenix”, “The Tipsy Imperial Concubine”, and “The Orphan of Zhao”. Over the process of its transmission, over 30 schools of Peking Opera with different singing characteristics have been gradually developed. The most famous schools include the Mei School (founded by Mei Lanfang) and the Tan School (created by Tan Xinpei). The Mei School, a performance system named after Mei Lanfang, is regarded as a representative of China’s opera performance systems, and one of the three major opera performance systems of the world. Nowadays, it is mostly the practitioners of professional and amateur troupes who shoulder the mission of passing down Peking Opera. Beijing Peking Opera House, Tianjin Peking Opera House, and Shanghai Peking Opera House play the most significant role in the transmission and development of Peking Opera. Prestigious Peking Opera artists, such as Wang Jinlu, Tan Yuanshou, Mei Baojiu, Li Changchun, Zhao Baoxiu, not only inherit their respective schools in a creative way, but also shoulder the responsibility of training performers of a younger generation. The traditional performing art of Peking Opera is still well received by the public. In Beijing alone it attracts over one million audiences every year. Some Peking Opera fans can not only appreciate it, but also practice it. They are also making a special contribution to the survival and development of Peking Opera. Opera towers and guild halls dedicated to staging Peking Opera shows, such as Huguang Guild Hall in Beijing and Tianchan Yifu Stage in Shanghai, are important cultural venues for relative communities and their “spiritual wonderland”. The major mode of transmission of Peking Opera is to “conduct oral teaching and inspire true understanding of the trainee”. In the past, the master of an opera troupe applied such a method to train his disciples. Even today, this mode is still being extensively used in opera trainings. As an inheritor and practitioner, each Peking Opera performer has to go through a series of rigorous and systematic training at a young age. A trainee will gradually master basic skills including reciting, singing, dancing, and martial arts performing through taking oral instructions from the master, and observing the master’s behaviour. A performing artist of Peking Opera will need to constantly improve his or her artistic attainments through a long-term practice, so as to enrich and solidify the heritage. The representative bearers of Peking Opera typically have mastery of various forms of traditional Chinese culture, such as calligraphy and history, and they are very respected by the public. Peking Opera is unique in its perfect, romantic and abstract way of performing. It is the practitioners’ special expression of their feelings and aesthetic ideals. It is also an important symbol of Chinese cultural identity.
China 2010 -
The Eagle Dance : Rejang Be'uh
One of the Bidayuh popular dance is Rejang Be'uh. This dance is usually performed after the harvest season as a form of entertainment for guests of the longhouse. The movements of the dancers with outstretched hands imitate the movements of the eagles as they flap their wings in flight. Rejang Be’uh is usually performed by two male dancers. The dance originated when a Bidayuh legendary hero, Madu Sawan was ordered by the King of the Pleiades to fight with the legendary bird of the sky known as Tingkilang Ramang (The Eagle Spirit). This was to ascertain who has the right to take the King’s daughter, Dara Buda for a wife. Tingkilang Ramang were both accomplished dancers. They started to dance from each end of the verandah, moving gracefully towards each other in various styles and motions, following the slow and steady beating and rhythm of the gongs and drums. Each time when they meet, they swoop down in a quick motion as if they are attacking each other in a fight. During each of these moving encounters, the invisible poisonous snakes and insects will come out from Madu Sawan's pockets and attack Tingkilang Ramang until he fell down unconscious. Thus, in the duel, Tingkilang Ramang lost and Madu Sawan was declared the rightful husband of Dara Buda.
Malaysia -
Bongai
Bongai is not an unfamiliar music in Negeri Sembilan; can be categorised as a traditional song especially for the state’s community. This music is very popular in merriment events that involve weddings. The word Bongai was created from two words that are “Bong” means “a respected person”, and the word “Aye” means “me”. Bongai songs are always performed in exchange of quatrains form by individuals or duet, or in groups. Among the popular songs are Cantik Manis, Kapeh, Irama Budu Landai, Donak Donai and Anak Bocek. The musical instruments that always accompany this music performance are the caklempong, accordion, gong, hand-held drummette, and clarinet.
Malaysia -
The Music of Tumbuk Kalang
The farmers’ community assumes that the festive season is the harvesting season. At this time, they are in jolly mood because they obtain revenue from their own sweat poured into their paddy fields all these while. It has been normal that when every time paddy harvesting season approaches the farmers organise a paddy flaking festivity made merrier by a game of Tumbuk Kalang. Often this game is held house to house and lasts for a number of evenings. The musical instruments for the Tumbuk Kalang performance are a set of caklempong, gong, paddy pestles and hand-held drummettes.
Malaysia -
The Worship of Hùng Kings in Phú Thọ
The Việt people in Phú Thọ province have been practicing and trasmitting the worship of Hùng Kings whose father named Lạc Long Quân and mother named Âu Cơ for a very long time. The legend has become a strong belief of the country’s origin in the Việt people’s mentality for centuries. Dynasties of Great Việt attached great importance to the worship of Hùng Kings and offerred imperial conferments to villages worshiping Hùng Kings in temples and shrines. The worship of Hùng Kings has created many legends of wharves, rivers, fields, rice plants, land and other unique cultural creativity. Part of cultural creativity is reenacted in annual worship performed at communal houses, temples and shrines in villages. Communities make offerings of rice – based delicacies such as square cakes and glutinous cakes dedicated to Hùng Kings. Legend has it that, Lang Liêu who later became the seventh Hùng King made these two types of cakes by himself. They represent the heaven and the earth as well as the filial piety of the children for the parents. These two offerings are indispensable in the worship of Hùng Kings. Offerings dedicated to Hùng Kings at temples and shrines by villagers usually last for a few days: offerings by families first and then by the whole community. The tablets of Hùng Kings are proccessed throughout the villages and the rice fields, which implies that Hùng Kings may witness today’s lives of villagers and offer good weather, abundant harvests, good luck and good health to villagers, plants and animals. Offerings conducted by villagers at temples, communal houses, and shrines is supposed to be the most sacred moments when the respect and gratitude of communities dedicated to Hùng Kings are expressed.
Viet Nam 2012 -
Xoan singing of Phú Thọ province, Viet Nam
As a form of performing arts, Xoan singing includes singing, dancing, drumming and clapper beating. It is closely attached to the Worship of the Hùng Kings, founders of the country. Phú Thọ people created Xoan singing and performed it at the village communal houses, temples and shrines worshipping the Hùng Kings in springs. “Xoan” means “spring”. Bearers and practitioners form four guilds, in which the male and female Trum play the most important role; they preserve the songs, select students, transmit the singing styles and repertoires and organize practices. They are also active in introducing and teaching Xoan singing at the four Xoan guilds, and in clubs and guilds. A full Xoan performance cycle includes 3 phases: Worship singing (Hát thờ) with songs praising the virtues of the Hùng Kings and the village guardian deities; Invocation for good health and fortune (Quả cách) with 14 repertoires praising nature, humankind, and the daily life of the community; Festive singing (hát Hội) with songs featuring the couple love. The special characteristic of Xoan is the modulation between singers and instrumentalists at the perfect fourth interval, and it has a simple structure with few ornamental notes. Xoan dance's movements have a sense of imitativeness, illustrating people's daily life activities. After singing at their communal houses from the 2nd - 5th day of the Lunar New Year, the Xoan guilds travel to other communities venerating Hùng Kings to take part in convivial cultural exchanges. Xoan practitioners are organized into music guilds called Phường. The Leader of each guild is called “Trùm”. In the past, only men could be “Trùm”, but nowadays women could also be leaders. The Leaders are in charge of transmission and organization of activities of the guilds. At present, each guild comprises of 30 - 100 members. Men are called “kép”, women are “đào”. As a community performing art, Xoan singing fosters cultural understanding, community cohesion and mutual respect. The Vietnamese Institute for Musicology has collected 31 Xoan songs, and thanks to the efforts of several Xoan artists four guilds have been established. 33 dedicated clubs also exist, and seminars are held to expand knowledge of Xoan.
Viet Nam 2017 -
Mudiyettu, ritual theatre and dance drama of Kerala
Mudiyettu is a ritualistic art form of Kerala based on the mythological tale of battle between the goddess Kali and the demon Darika. It is a community ritual in which the entire village participates. After the summer crops have been harvested, the villagers reach the temple early in the morning on an appointed day. The traditional performers of Mudiyettu having purified themselves through fasting and prayers, proceed to draw on the temple floor a huge image of goddess Kali called 'Kalam' with coloured powder obtained from organic material. Kalam helps the performers imbue the spirit of the goddess. This is followed by an enactment of Kali-Darika myth, where Kali eventually vanquishes the demon. Mudiyettu performance which is said to herald the dawn of peaceful and prosperous new year, purifies and rejuvenates the whole community. It is performed annually in 'Bhagavati Kavus'', the temples of the goddess in different villages of Kerala along the rivers, Chalakkudy Puzha, Periyar and Moovattupuzha among thenMarar and Kurup communities. Mudiyettu combines in itself the mythic, the ritual, the festive and the ecological aspects of the community. At the same time it is an expression of aesthetic and creative aspirations of the community.
India 2010 -
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 -
Kırkpınar oil wrestling festival
Kırkpınar Oil wrestling Festival is a traditional practice which is composed of a set of rituals and can be traced back to middle ages. Emerged in XIVth century Rumelia (Southwestern part of Turkey), Kırkpınar Oil Wrestling is one of the world’s oldest festivals (648 years). 648th Kırkpınar Oil wrestling Festival was organized in Edirne, in 2009. Festival ceremonies last for three days. The festival is launched by the welcoming ceremony of Kırkpınar Aga with 40 davul-zurna bands in front of Edirne Municipality Building. The festival activities then move on ceremonial procession in the city center followed by moment of silence ceremony, singing the Kırkpınar anthem and visiting the ‘Cemetery of Pehlivans’. The “golden belt”, which the Chief Pehlivan (Baş Pehlivan) will be rewarded with, is carried during the ceremonial procession. The festival starts on Friday, which is regarded as holy by the Muslims. The reason for choosing Holy Friday as the first day of the festival is the tradition of reciting mevlid (prayer) for the pehlivans. The “mevlid” is recited in historical Selimiye Mosque by the participation of all pehlivans. The events continue with the wrestling of pehlivans on an arena built exclusively for the festival in the outside of the city centre, Men’s Field (Er Meydanı) is the place where the oil wrestling is held as a customary practice of Pehlivan wrestling. Oiling of pehlivans in the field and Peşrev, which consists of a series harmonized warming up exercises and salutation, are important rituals of the festival. The festival goes on with the introduction of the pehlivans by cazgırs and at the end of the third day, the festival closes with the awarding of Kırkpınar Golden Belt to the winner called Chief Pehlivan. A band of 40 davul-zurna players perform ‘Kırkpınar tunes’ throughout the festival. What distinguishes Kırkpınar from any other wrestling festival is its rich cultural form which preserved its traditional image for centuries. Attracting people from all regions of Turkey, Kırkpınar Oil Wrestling Festival contributes greatly to social peace along with a sense of cultural cohesion. Such a rooted tradition which is sustained by the groups, communities and individuals contributes to dissemination of intangible cultural heritage concept as well. Kırkpınar can be considered as a fair with its authentic objects (red-bottomed candles, kıspets, local traditional clothes, peşgirs, zembils -a kind of tool for carrying the kıspet, tools for oil, davuls and zurnas, golden belt), rituals (praying, mevlid tradition, peşrev and oiling) and cultural identities ( pehlivan figure) (pehlivan, Kırkpınar agası (main sponsor), cazgır). Main Elements of the Festival Pehlivans Wrestlers who oil themselves are called pehlivans. The figure of pehlivan is an important element of cultural identity for Turkish people. Pehlivans are exemplary figures in the society with their attributes like generosity, honesty, adherence to traditions and customs and respectfulness. Therefore, the most chivalrous pehlivans or pehlivans that display the best peşrev are also rewarded. Pehlivans are trained in master-apprentice tradition. All the wrestlers in the festival are called ‘pehlivan’. The ultimate winner of the Kırkpınar Oil Wrestling is called Chief Pehlivan of Turkey and he carries the golden belt for one year’s period. The wrestler, who becomes chief pehlivan for three consecutive years, also becomes the owner of the golden belt. Kırkpınar Aga Concept of aga is one of the most fundamental elements of Kırkpınar Oil-Wrestling. The concept of Aga is regarded as an institutional identity. As pehlivans, agas are also considered as exemplary figures in the society who adhere to traditions. Kırkpınar Aga is officially recognized by the state and thus a car with a red plate (a type of official plate) written Kırkpınar Aga on is specifically allocated to the Aga. This red plate is valid at least for one year during the period of Agalık. Following the festival opening, agalık for next year is announced. The one who offers to make the highest financial contribution to cover the festival costs is designated as Kırkpınar Aga for the next year. This tradition is one of the most important elements as regards to the sustainability of the festival. Kırkpınar Aga is the main sponsor of the festival events. Cazgır Also known as salavatçıs, cazgırs introduce all the pehlivans to the audience citing their names, titles, skills in verse format and through prayers and they start the match. They are also supposed to introduce the opponents to each other after the pairing up, praying and informing both sides about the strong points each opponent has with advices. They need to have a fine strong voice and be able to improvise prayers in verse. Cazgırs strive to maintain unity within the field and bring the pehlivans together in a common spirit. Their talks inspire and excite the people around. They utter prayers called salavat in a musical style which catalyzes the enthusiasm of the participants. Cargırs are acknowledged as a profession and they come from a master-apprentice tradition. Davul - Zurna players As another essential element of oil wrestling festival, davul-zurna players are trained in masterapprentice tradition. Kırkpınar music which is known as pehlivan tunes is played exclusively in this festival. A group of 40 davul-zurna players perform during the festival. In Edirne, three different associations have been established to perform musical pieces for Kırkpınar Festival. During the festival, davul-zurna band performs in traditional dresses. Instruments of Kırkpınar Oil Wrestling ▶Kıspet Kıspet is the basic outfit of a pehlivan. They are a kind of thick trousers made of water buffalo or cow leather. Currently, kıspet is tailored by a limited number of masters in Çanakkale and Samsun provinces. ▶Zembil Zembil, a traditional handcraft, which is a hand-made instrument produced on a special reed workbench. Zembil is only made and used for carrying the kıspet. ▶Red Bottomed Candle This candle is the official symbol of invitation for Kırkpınar. In the past these candles were hung in coffee houses of towns and villages to indicate the townsfolk were invited to the Kırkpınar.
Turkey 2010 -
Nachi no Dengaku, a religious performing art held at the Nachi fire festival
achi no Dengaku is a performing art expressed by the local people through ritual dancing to flute music and beating drums to wish for an abundant harvest of rice crops. The repertoires, manner of dance and music have been fixed through its long tradition. In 1976 it was designated as an Important Intangible Folk Cultural Property, and is currently recognized as an important cultural heritage that represents trends in Japanese people's way of living. It is performed on a stage of approximately 4m square, temporarily installed during a festival in ""Kumano Nachi Taisha,"" a tutelage shrine in the region. The festival is known nationwide as the Nachi Fire Festival, and Nachi no Dengaku is recognised as an important tradition that is a key component of the festival. Nachi no Dengaku is performed by one flute player, 4 drummers with drums around their waists, 4 players of ""Binzasara,"" a musical instrument that is only used during Dengaku, and 2 others. The flute player performs at the side, while 8 to 10 performers appear on stage and dance in accordance with the drums and Binzasara. They change their formation in various ways, by swapping positions, dancing in a circle or symmetrically. There are 22 repertoires, each performed in 45 minutes. The Binzasara is 8cm by 2cm, 1cm thick and is made by stringing together around 70 wooden plates. The dancer holds each handle of the Binzasara, and dances while making a sound by moving the wooden plates like a wave.
Japan 2012 -
Yama, Hoko, Yatai, float festivals in Japan
Float festivals are communal festive events in which all members of the communities get together to pray for peace in the communities and protection from disasters. At the heart of the festivals is the procession of floats bearing creative decorations that showcase the diversity of local cultures. Community members derive their pride and identity from the float festivals that are the biggest single festive event of the year for them. The oldest float festival dates back to the 9th century, but most of the festivals began after the 17th century and spread to various regions. Local people in these regions then modified the festivals with their own creativity. Floats are huge constructs pulled or shouldered by members of communities. They are inhabited by the gods honored in the festivals or are meant to entertain and appease these gods. The techniques of making and repairing floats have been transmitted for centuries by craftsmen such as carpenters, lacquer artisans and dyers. Furthermore, efforts are made to preserve the natural environment when securing materials for the floats; these sustainable methods have been handed down through many generations. The festivals’ most significant feature is the communities’ devotion to the preparation and celebration of the festivals. Community members including men, women, the young and the elders share their tasks and responsibilities all year around preparing for the float festivals, the most important event of the year for them. Float festivals therefore foster communication and teamwork between community members, and play vital roles in uniting them.
Japan 2016 -
Yueju opera
The Chinese tradition of Yueju opera combines Mandarin operatic traditions and Cantonese dialect. Rooted in the Cantonese-speaking provinces of Guangdong and Guangxi in south-eastern China, Yueju opera is characterized by a combination of string and percussion instruments, with elaborate costumes and face painting. It also incorporates stunts and fights using real weapons and drawing on the Shaolin martial arts, as illustrated by the central Wenwusheng role that demands proficiency in both singing and fighting. It has developed a rich repertoire of stories ranging from historical epics to more realistic descriptions of daily life.
China 2009