ALL
folk dance
ICH Elements 67
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Traditional Sohbet meetings
Seemingly regarded as a leisure time activity today, “Traditional Sohbet Meetings” tradition with its historical background and institutional structure has a crucial role in social life. In some regions of Turkey, since the tradition is at the risk of disappearing practiced solely among the elderly, though it is preserved in some other parts of Turkey in accordance with the changing conditions of life. As seen in Çankırı case, the element has a significant role within the local culture, therefore Çankırı is defined as “Land of Yâran” by the residents of Çankırı. Although “Traditional Sohbet Meetings” meetings have different names in different regions of Turkey, they all have the same function. In a discipline of teach and delight, the primary aim is to have conversations and talks in leisure times. “Traditional Sohbet Meetings” talks, through the concepts of love, fellowship, brotherhood and respect for each other, ensure safeguarding and conservation of traditions as well as creating a sense of neighborhood. The participants admitted to “Traditional Sohbet Meetings” communities vary from region to region. While in some regions only single men are admitted to the community, in some other regions, participants of the community are from different age groups and professions. For example, the groups in Manisa-Soma and Balıkesir-Dursunbey are classified as the youth, the middle aged and the elderly. Hence, in Soma, the meeting place of the young men is named as “Delikanlı Odası”, as “Köşe Odası” for the middle aged and “Koca Oda” for the aged. “Traditional Sohbet Meetings” are characterized as patriarchal meetings; however the mothers and wives encourage those male members who take the advantage of those meetings in respect to its social and cultural benefits. “Traditional Sohbet Meetings” communities gather at regular periods particularly in winter. For instance, “Sıra Gezmeleri” in Şanlıurfa, is held once a week preferably in Saturday evenings. The beginning and ending month as well as the time schedule concerning the dates and hours of the meeting are decided jointly. Non-participation except for the excuses such as death, illness etc. is subjected to penalty and the non- participant members not obeying the rules of procedures are also fined. The penalization practiced today has mainly turned into punishing with a fine. The total sum is allocated for organizing the following meetings, for the people in need as well as building fountains and roads. These communities usually compose of 5-30 persons and those members are guided by 3-5 community leaders, whose names vary from region to region. The community leaders are appointed via election or through proposals made by the elderly who are highly respected and designated by the consensus of all Yârans. The duty of community leader is to arrange in-group relations and to control the flow of the meetings. In this context, he has sanction power and the members are expected to obey the decisions made by the community leader. The titles of the community leaders can be summarized as follows: “Bayraktar” in Soma, Manisa; “Büyük Baranabaşı, Küçük Baranabaşı, Sohbet Çavuşu” in Balıkesir; “Büyük Yâranbaşı, Küçük Yâranbaşı, Köşe İhtiyarı” in Kütahya; “Delikanlıbaşı” in Ankara; “Efe, Saki” in Kırşehir; “Yiğitbaşı, Gönüller Ağası, Bayraktar” in Niğde; “Efrad” in Isparta, and “Büyük Başağa, Küçük Başağa, Çavuş” in Çankırı and ""Başkan"" in Şanlıurfa. Admission to Traditional Sohbet Meetings is of high dignity; nevertheless dismissal from the community is concerned as indignity. Certain procedures, which differ in each locality, are followed for the admission to or dismissal from or becoming a regular member or quitting the membership of the community. Being honest and modest, keeping secrets, not gambling, not wandering drunken around are accepted as the basic virtues and common rules in every locality. The members of the community have equal rights and commitments. There is no difference in social status among the members. The members of the community are taught and controlled by the leaders and by the other elder members in their daily lives. They also take the advantages of being a member of the community in physical and emotional support, if needed. The characteristics aforementioned contribute greatly to the members, the locality and to the society as well. The meetings are open to guests. The members sometimes bring their children along with them, which ensure the transmission of the tradition to future generations. Learns laying the table by her mother Learns joining in Sohbet by his father Traditional Sohbet Meetings are indoor activities. Those places can be the houses of the community members, be commonly-shared places called “köy odaları”, which has traditional features in Turkey, or rented places called “oda” for which expenses are shared as in Şanlıurfa case. Today, the meetings are held in the places allocated by local authorities. Interior design and setting differ in some regions yet generally sofa and floor cushion is used at the meetings. Traditional Sohbet Meetings consist of many elements but the main element is ""Talk"". This ""Talk"" has a wide range of topics, anything relevant to social life. Other elements of these meetings are folk music, folk dances, indoor plays, village spectacle plays and dining. There is not a certain order for practicing the elements; nonetheless, in each meeting there can be a specifically drawn order. List of dishes can show differences from region to region; nevertheless, not creating a difference in social status as well as not being costly for the host is carefully taken into consideration when preparing the dishes. For instance, the dish list is composed of çiğ köfte, deserts (künefe, şıllık, etc.) and strong coffee, known as mırra, in Şanlıurfa. In Çankırı, soup, güveç (casserole), rice and baklava are main dishes served in Yâran meetings. One of the most important elements of this tradition is music. Şanlıurfa Sıra Gecesi and Elazığ Kürsübaşı meetings, in a master-apprentice discipline, function as a conservatory for the traditionally trained performers. The musical performance begins with the pieces in rast and divan maqams; continues by other maqams if requested; and finalizes by kürdi and rast maqams. The instruments used in these meetings vary from region to region, but the main instruments are the bağlama, cümbüş (mandolin with a metal body), def (tambourine), violin, ud, kanun (zither) and kaval (end-blown flute). The local tunes are performed by the master bearers. Listening to music is also as important as performing the music. “Traditional Sohbet Meetings”, including music, dining, plays and talks, last until the early morning. Therefore, Traditional Sohbet Meetings compose all elements of life and culture. Owing to changing living conditions and migration from rural to urban area, Traditional Sohbet Meetings tradition is transmitted by its bearers to other cities.
Turkey 2010 -
The Ngajat Dance
The origin of this ethnic group dance is not known but it is strongly believed to be in existence along with the Iban ethnic group since the 16th Century. The Ngajat dance is believed to been performed by warriors on their return from battles. This dance is now performed to celebrate the most significant harvest festival called ‘Gawai’, to welcome important guests to the longhouses for the celebration. The male dancers wear large feathers as part of their headgear, hold an ornate and long shield in their hand with chains, beads and a loincloth called the ‘cawat’. The female dancers have an elaborate headdress, chains, beads and a ‘dress’ that reaches to below their knees with intricate weaving. Traditionally this dance was only performed by male dancers but been innovated and perform by all. The dance is arranged in straight lines and a circle and does involve dramatic leaps and jumps performed by the male dancers. Gongs and other ethnic percussion instruments such as the ‘enkeromong’, ‘bendai’, ‘canang’ and ‘dumbak’ or ‘ketebong’ assemble the music. There are in fact several types of Ngajat dances, such as Ngajat Induk, Ngajat Bebunoh, Ngajat Lesong, Ngajat Semain, Ngajat Berayah and Ngajat Ngemai Antu Pala. The ‘Ngajat Lesung’ for example is one of the famous Iban traditional Ngajat dance in Sarawak. The knees are bent and kept close together as they twist from side to side, ending with a simple tap of the heel on the ground. The arms move from left to right in front of the body. The dance is done gracefully. The hornbill, an iconic bird of Sarawak, symbolizing all the movements. The male dancer in this dance represents the warrior who shows off his strength by biting a wooden mortar called the ‘lesung kayu’ with his teeth while dancing. It weighs about seven kilogrammes.
Malaysia -
Malay Dance Forms
The traditional dance forms of the Malay communities in Singapore are wide-ranging and diverse, and they include zapin, joget, asli and inang, amongst others. Most of these traditional dance forms were already popular in Singapore during the early 20th century. Today, they are performed at festive events, staged as productions, and also taught to the younger generation through performing arts schools.
Singapore -
Den-zha: Annual Offering to a Local Deity
The practice of Bon traditions was widespread in Bhutan long before the arrival of Buddhism, and it retains influence in Tshapey village. Previously people practiced animal sacrifice and had faith in nature. With the advent of Buddhism in the country, many elements of Bon dissipated even as Bon rituals continued. Taking on a fusion of Buddhism and aspects of Bon, this became known as Bo-kar, white Bon. This especially allowed Bon rituals to be performed without sacrificing human lives. Den-zha, a local festival in the village of Tshapey, is one of many such Bo-kar practices. This festival is about appeasing Ke-lha the deity of birth, or the local deity known as Nyep Dangnap, who is commonly worshipped as the protector of the Tshapey community. The deity's dark appearance is said to have given her the name Dang-nap, which is further exemplified by the deity's black mask that can be seen in the Lhakhang, temple, today. The Lhakhang, locally known as Haa Goenpa, or monastery. It is believed that the Goenpa was built on the spot where a dove miraculously landed. The dove is considered to be the Nob Denshap, heart emanation, of the Jowo image of Buddha Shakyamuni of Lhasa, Tibet. It is located about seven kilometers from the road. The most important Nangten, or relic, at the Lhakhang is a large statue of the Jowo Shakyamuni. It is said that any wishes or prayers made before the Jowo will come true. In earlier times, the Tshapey community took care of the Lhakhang, but in 1998 it was given to the Zhung Dratshang Central Monastic Body. It was severely damaged by an earthquake and renovated in 1992. Currently, eight people live in and around the Lhakhang - five Tshampa meditators, one Kunyer caretaker, and one Lopen or Lam the spiritual master. On this occasion, the members of the Tshapey community, including those who have moved away to other places, gather at the village Lhakhang to make Nyen-dhar monetary offerings. If they cannot come, they must come and make Shag-pa confession immediately after the festival period.
Bhutan -
Tamzhing Phag-chham: The Boar Mask dance of Tamzhing Monastery
Tamzhing Phag-chham is a solo mask dance with a mask made of a wild boar (Sus scrofa), which is very common on the Asian continent. The term "Phag-chham" sometimes has two different meanings; Phag-chham (tamzhing Phag-chham) and the other, the Phag-chham performed during the Raksha Mangchham (a theatrical mask dance of the Intermediate state). Tamzhing Phag-chham was originally composed by the Great Treasurer Terton Pama Lingpa (1450-1521) on the consecration of the temple Tamzhing Lhundrub Choeling on the 15th day of the Tiger Month (11th month) of the Wood Ox Year, which corresponds to the Gregorian year 1505, in Bumthang, one of the central districts of Bhutan. Later it was performed in other monasteries founded either by Terton himself or by his successors in most of the eastern and central parts of Bhutan. Phag-chham is among the most important and sacred mask dances in Tamzhing, and the festival "Tamzhing Phag-la Chod-pa" is also named after this dance, which is held every year from the 10th to the 12th of the eighth lunar month. It is performed by an amateur and can only be danced by the Chhamjug (the second leader of the mask dancers), who wears a wooden boar mask, exquisite brocade costumes with dangling skirts made of five eye-catching colored cloths, and holds two bundles of willow branches in both hands. The boar mask is considered one of the masterpieces of the founder himself, as are the dance steps themselves. Since the mask is considered sacred, it is received in a Chibdrel (traditional procession) when the dancer comes out of the Chhamkhang (preparation room). The origin of the mask dance lies in local tradition: Pema Lingpa was looking for a suitable place for his temple in the Choekhor valley when he saw a wild boar digging in the ground. He realized that this was a sign from the enlightened being Dorje Phagmo (deity Skt. Vajravarahi) to show him the suitable place. After the temple was built, he held a festival in honor of the patron deities during the inauguration as a symbol of gratitude. Since it is believed that the prophecy and the groundbreaking ceremony for the Tamzhing Temple was led by Dorje Phagmo, the festival is dedicated to her and is called Phagla-Chodpa. On the second day of the festival, Phag-chham leads the ground-breaking ceremony to sanctify the site before more mask dances are performed for the audience. Due to the unexpected loss of the Chham-yig (choreography manuscript) from the monastery many years ago, elders have regretfully found that the Phag-chham performed today no longer contains the complete steps and choreography. Elderly locals says that, at that time, there were more than 14 different types of steps, and due to faulty oral tradition, nearly 50% of the choreographies have been lost. The communities are concerned that without documentation, there is a risk of even more steps being lost and even new ones being added, as many of the artisans are either lay monks or farmers from the affiliated communities.
Bhutan -
Rukubji Lochu: A Grand Festival of Rukubji COmmunity
Bhutan, embodied with rich and unique culture heritage has largely remained intact for centuries because of its unique way of preserving its culture and tradition over the generation and of course being isolated from the rest of the world. Rukubji, a geopolitically located snake head village under Sephu Gewog (block) in the premises of Wangduephodrang Dzongkhag (district) celebrates Lochu. Lochu is the native sacred festival were offering for the wellbeing of locality led by Phajo (local shaman) with 25 Pazab (soldiers or guard) particularly performed. Lochu is said to be sacred performance initiated in around mid of 10th and 11th century after Zhabdrung Tshenden Dhelwa subdued the demonic forces and made into local deity (Phola) of the place. The villagers do a grand offering to the local deity to bring peace and happiness. In the past a sheep is slaughtered and made offering to the local deity. In recent times, the bonisim culture was being stopped and alternative offerings like forelegs/hindleg and ……. of a cow are done to appease the protector. Zhabdrung Tsenden Dhelwa was born in Tibet. It was around in mid of 10th and 11th century where Zhabdrung Tsenden Dhelwa visited the place. The place was not blessed by any other Lamas and it is said that first lama to visit in the region was Zhabdrung Tsenden Dhelwa where he subdued many demons and sanctified the place. Lochu was conducted consecutively every 3 years. It is believed that, failing to perform the offerings would bring bad luck, natural calamities such as flood (happened some 7-8 years ago) and the harvest of any crop (potato being the main cash crop of the locality) would be befallen. It is also believed to be said that the local deity, in order to bless the community with peace and happiness, an old man is always assigned to offer prayers to local deity (Phola) to bring peace and prosperity in the community. It so happened that one day the old man knew that due to his old age, worried that he wouldn’t be able to render his service in offering to Phola thereafter. Legends are being past that the local deity appeared before him and enlightened him with wisdoms. The old man, upon this wisdom advised his communities to conduct the Lochu on 5th or 6th day of every twelfth lunar month of the third year. Thereon, the festival is being celebrated in winters of every third year. Far and near community witnesses this festival and the locality celebrates grandeur day with feast and ceremony. It is said that in the olden days lochu is annually conducted on the 5th or 6th day of the twelfth lunar month. However, as time passes the communities could not conducted annually and made to conduct in every 3 years. Alternatively, if the locality couldn’t celebrate this occasion, the community comes together annually and recites Kangyuar (translated words of buddha) to bring good luck in community. As the time passes by, the community face problems like, finding Phajo (Shaman) since it is said that the way of offering is different. A man from every household was mandatory in the past for Pazab. As the time passes, 25 Pazab are required for the day which are mostly performed voluntarily. The community fears that the next celebration wouldn’t happen as there is no Phajo for the day. The previous one is unable to perform due to his illness.
Bhutan -
Iri Nongak (Farmers' Performance of Iri)
National Intangible Cultural Heritage, Republic of Korea Referring to farmers’ music that has been handed down in Iksan (previously called “Iri”), Iri Nongak belongs to Honam Udo Nongak (Farmers’ Performance of the Eastern Jeolla-do). Nongak (farmers’ performance) has developed briskly in Saesil Village in Iksan. The village brought people who learned farmers’ music from experts in nearby areas like Gimje and Jeongeup and who trained a high-quality farmers’ music troupe as we see today. An Iri nongak troupe is composed of yonggi (dragon flag), nonggi (farmers’ flag), swaenap (conical wooden oboe), trumpet, samul four percussion instruments, i.e., two kkwaenggwari (small gongs), two jing (large gongs), two buk (drums), and four janggo (hourglass-shaped drums), beopgo (Buddhist drum), and japsaek referring to a group composed of yangban (nobleman), daeposu (drummer), jorijung (masked clown), changbu (male clown), gaksi (young girl), and mudong (dancing boys). Troupe members who are called chibae or gunchong wear black vest over white jacket, white trousers, and sangmo (hat with feathers or strings attached), with bands in three colors tied around the head. Kkwaenggwari (small gong)-based rhythms include those related to ilche, ichae, samchae, oemachijilgut, pungnyugut, ochaejilgut, jwajilgut, yangsando garak, hohogut, and obangjin garak. Pangut (entertainment-oriented performance) proceeds in the order of insagut, ochaejilgut, jwajilgut, pungnyugut, yangsando, ginmaedoji (joint performance of kkwaenggwari and janggo), sambangjingut, banguljingut, hohogut, dallachigi, short maedoji, jjakdeureum, ilgwang nori, gujeong nori (individual play), and gi sseulgi. There are diverse forms of bupo nori (hat dance) performed by sangsoe (leader of the farmers’ music troupe). Well-developed janggo rhythms and dances are mixed with the music. The performance also features sogochum (small drum dances) and jinpuri march. Many rhythms are relatively slow. The music makes colorful rhythms, each played to meticulously transformed tunes. Pungnyugut and deongdeokgungi-related rhythms showcase highly sophisticated techniques. Iri Nongak is a folk art performance that has been handed down along with the village history, playing an important role as an event that provides consolation in the hard life of farmers and helps villagers get along with each other well.
South Korea 2014 -
Mak Yong theatre
This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices. Experts believe that Mak Yong appeared well before the Islamization of the country. It was performed as a royal theatre under the direct patronage of the Kelantan Sultanate until the 1920s. Hence, the tradition was perpetuated in a rural context without forsaking the numerous refinements acquired at court, such as sophisticated costume design. A typical Mak Yong performance opens with an offering followed by dances, acting and music as well as improvised monologues and dialogues. A single story can be presented over several consecutive nights in a series of three-hour performances. In the traditional village setting, the performances are held on a temporary open stage built of wood and palm leaves. The audience sits on three sides of the stage, the fourth side being reserved for the orchestra consisting of a three-stringed spiked fiddle (rebab), a pair of doubleheaded barrel drums (gendang) and hanging knobbed gongs (tetawak). Most roles are performed by women, and the stories are based on ancient Malay folk tales peopled with royal characters, divinities and clowns. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance and spirit possession.
Malaysia 2008 -
Baul songs
The Bauls are mystic minstrels living in rural Bangladesh and West Bengal, India. The Baul movement, at its peak in the nineteenth and early twentieth centuries, has now regained popularity among the rural population of Bangladesh. Their music and way of life have influenced a large segment of Bengali culture, and particularly the compositions of Nobel Prize laureate Rabindranath Tagore. Bauls either live near a village or travel from places to places and earn their living from singing to the accompaniment of the ektara, the lute dotara, a simple one-stringed instrument, and a drum called dubki. Bauls belong to an unorthodox devotional tradition, influenced by Hinduism, Buddhism, Bengali, Vasinavism and Sufi Islam, yet distinctly different from them. Bauls neither identify with any organized religion nor with the caste system, special deities, temples or sacred places. Their emphasis lies on the importance of a person’s physical body as the place where God resides. Bauls are admired for this freedom from convention as well as their music and poetry. Baul poetry, music, song and dance are devoted to finding humankind’s relationship to God, and to achieving spiritual liberation. Their devotional songs can be traced back to the fifteenth century when they first appeared in Bengali literature. Baul music represents a particular type of folk song, carrying influences of Hindu bhakti movements as well as the shuphi, a form of Sufi song. Songs are also used by the spiritual leader to instruct disciples in Baul philosophy, and are transmitted orally. The language of the songs is continuously modernized thus endowing it with contemporary relevance.
Bangladesh 2008 -
Water Puppetry (Múa rối nước) of Hong Phong in Hai Duong
The tradition-bearers of the element are communities in the three water-puppetry guilds of Bồ Dương Village (in Hồng Phong Commune, Ninh Giang District), An Liệt Village (in Thanh Hải Commune, Thanh Hà District) and Bùi Thượng Village (in Lê Lợi Commune, Gia Lộc District). Water puppetry is a form of amusement for villagers during village festivals. Performances often takes place in a small nhà trò or thủy đình stage in a pond at the village’s communal house. Performers submerge themselves in the water, behind a bamboo screen, to maneuver wooden puppets with poles and robes. A show often includes short playful scenes with various puppet characters, such as the Tễu clown, dragon, turtle, lion, snake, fish, dragon boat, and so on. Puppets are made of sung wood (cluster fig), meticulously sculptured and ornately decorated. The puppet’s base, attached with a manual mechanism that allows maneuvering underwater, is always heavier than the top so that it can float halfway without sinking. Music, rooted from North folk songs and chèo music is an important component. Popular excerpts and scenes are intro by Tễu, wrestling, fishing, dragon dance, the Eight Fairies, so on. In order to accommodate new audience tastes in contemporary life, water puppet artists create new scenes and excerpt with more sophisticated techniques.
Viet Nam -
NAGHORA-BAZM
A kind of traditional dance played by man and woman accompanied with melody of folk music instruments.
Tajikistan -
POLKAI KHUJANDI
Man dance played with melody of folk music instruments, especially with doira.
Tajikistan