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grain
ICH Elements 35
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Hezhen Yimakan storytelling
The Hezhen people, once known as “Hejen,” have long inhabited the reaches of the significant “three rivers”—Amur River (Heilongjiang), Sungari River (Songhuajiang), and Ussri River (Wusulijiang)—in northeast China. With a population of approximately 4600 people, they are one of the smallest ethnic minorities in China. Yimakan storytelling is a multi-canto oral genre performed in the Hezhen language, or “Nanay” in linguistic terms, which belongs to the Manchu-Tungusic branch of the Altaic language family. It can be traced back many centuries, and is closely connected with the Hezhen people's life-world, which depends for its existence on fishing and hunting. In China, the Hezhen Yimakan Storytelling was first reported by Ling Chunsheng, an anthropologist, in his work entitled, The Hezhen People Living in the Lower Reaches of the Sungari River, in 1934. Yimakan storytelling varies in themes and story-pattern, and resembles an extended narrative tradition celebrating heroic feats and tribal alliances. The ‘mergen’ or hero is perhaps the most iconic and enduring superhero ever created, and likewise heroic narratives, centering on depicting ancient warriors, are also among the most popular tales. The basic storyline is devoted to narrating how the hero becomes the tribal chieftain after enduring many trials and tribulations, and how he finally rehabilitates the Hezhens’ homeland, leading his people to undertake a peaceful life. So far, one of the most ancient stories is the Sirdalu Mergen, which is considered “the very first heroic story since the creation of the world” by local people. Other stories take shape at later stages, such as Antu Mergen, Mandu Mergen, and Shensu Mergen. Apart from heroic narratives, other stories about hunting and fishing, beauty and bravery, love and wisdom, local knowledge and daily chores can also be found, such as Gimtekewe Anaburan and Muzhurin Mergen. Thus far about fifty cantos have been recorded, including Mandu Mergen, Yargu, Shirgu, and Princess Yingtu Flying to the Moon, etc. The episodes of Mandu Mergen may last as long as 8 to 9 hours. The Yimakan performance is a mixture of singing and narrating, and is conducted by an experienced storyteller, with no instrumental accompaniment. Generally speaking, the tradition can be roughly divided into two types: ‘sagdi jarimku’ and ‘uskuli jarimku,’ or BIG SONG and SMALL SONG, respectively, in terms of thematic content and the length of the storytelling. The Big Songs are longer, dealing primarily with heroic stories and creation myths, and they occur mostly in the form of narration; the Small Songs are shorter, depicting love stories, fishing and hunting lifestyles, and the like, and they are rendered with specific melodies. The solo voice of storytelling differs according to gender and age. For this reason, youth melodies, elderly melodies, female melodies, and similar phenomena, can be applied to particular characters and plots. Melodies of narration typically vary from place to place and continually adapt to match up with the given scene and ad hoc plots, thus producing a vivid spectrum of narrative tones in combination of the sonorous or prolonged strains, slow or quick movements. The formulaic singing and reciting can be identified as “traditional” in many facets, though improvisational elements are still quite common and vary according to the level of emotive interaction between storyteller and audience. The traditional performers of Yimakan, called ‘Yimakanqi mafa,’ are usually amateurs, trained in a master-apprentice relationship by a clan or a family. During the first half of the 20th century, master storytellers emerged in rapid succession within a clan or a family. At present, however, outsiders are more and more often accepted for apprenticeship. In the Hezhen context, Yimakanqi mafa refers to a personage with high language skills and a quick mind, who is thus highly respected by the folk. Being a small group of wordsmiths, they can smoothly improvise during the performance, while carefully following the traditional story-patterns, motifs and formulaic diction. Embedded within its society and culture, Yimakan has been the major form of entertainment in the native regions. The Hezhens always enjoy listening to this storytelling during hunting and fishing, upon wedding or house-building ceremonies, and on feast and festival occasions. In particular, the cold and long winter has traditionally ushered in a special time for storytelling. Accordingly, the oral storytelling, as a cultural complex, has been deeply ingrained in the Hezhens’ hearts. In current times, it also supplies a vehicle for younger generations to learn about their history and culture, while opening a window for outsiders to access the Hezhen communities. Since there is no writing system available for these particular communities, Yimakan plays a key role in preserving Hezhens’ past through oral means. This traditional storytelling, as an ideological form of living oral history, reflects the Hezhens’ historical development, social situatedness, and conceptual systems, along with vivid portrayals of daily life, nature worship, shamanic practice, customs, folkways, and remnants of matriarchal kinship, and to a certain extent has made up for the few written records of the Hezhens that exist. It not only manifests almost all aspects of their cultural creativities, but also plays a core function in maintaining the Hezhens’ mother tongue—a ‘severely endangered language’ as reported in ATLAS OF THE WORLD’S LANGUAGES IN DANGER (UNESCO 2010, p.54)—as well. Through practicing Yimakan, the Hezhens’ everyday language, sacred songs, and divine chants have been easier to keep intact, and the transmission and development of the mother tongue has become a more realistic possibility to cultural resurgence. By and large, Yimakan storytelling will undoubtedly have a profound influence on the Hezhens’ traditions, history, values, and ethos. Since it has long been the major carrier of the Hezhens’ historic memory and cultural expression, this time-honoured oral tradition possesses irreplaceable social functions for enhancing ethnic cohesion and identity. Furthermore, having linked the past to the present through an unbroken corpus of living memory and culture, Yimakan serves as a treasure house for the maintenance of the Hezhen language. For all of these reasons, Yimakan presents a specific example of a living and thriving cultural diversity that is under threat of extinction.
China 2011 -
The Twenty-Four Solar Terms, knowledge in China of time and practices developed through observation of the sun’s annual motion
Ancient Chinese divided the circle of the annual motion of the sun into 24 equal segments; each segment was called a “jie qi” or solar term. Hence the 24 segments are collectively called the Twenty-four Solar Terms. This system of time embodies the traditional knowledge and the social practices through which Chinese organize their perception of the regularity of seasons, of astronomical laws and of other local natural phenomena occurring in the course of the year. It is an indispensable component of the traditional Chinese calendrics and its living applications, serving as a time-frame for agricultural activities and daily life. In International circle of meteorology, this cognitive system has been honored as the Fifth Great Invention of China. Transmitted through generations, the element has profoundly influenced Chinese people’s way of thinking and code of conduct. Upon a specific solar term, people spontaneously arrange farming and daily routine as well as basic necessities of life. Thus this knowledge continuum of time is sustained through a variety of ritual practices and folk activities. Thereby the Twenty-four Solar Terms is an important carrier of Chinese cultural identity.
China 2016 -
Oshi Palav, a traditional meal and its social and cultural contexts in Tajikistan
Oshi Palav (pilaf) is a kind of traditional meal of the Tajik people, which is prepared regularly at homes and in celebrations, rituals, gatherings. In dining rooms, national restaurants and tea-houses the Oshi Palav is everyday favourite meal of Tajik people. The Oshi Palav is prepared from carrot, rice, meat (beef, lamb, chicken), oil, onion and water in a big pot. For better flavor, cooks add some peas, saffron, garlic, caraway seeds, pepper and barberry. During the centuries Tajik people created different kinds of this meal, like "Oshi yak ba yak", "Palavi toki", "Oshi devzira", "Bedonapalav" and etc. up to 200 kinds of the element. In traditional Tajik culture there are many customs, rituals, celebrations and social gatherings dedicated specially to the element in which participate a big number of people, for example, the rituals "maslihat-oshi" (osh for advices), "sabzirezakunon" (cutting carrot rite), "oshi nahor" (morning osh), "oshi zanho" (osh for women), "oshi harifona" (osh of friends), "oshi gapkhuri" (osh with talking) and etc. The Oshi Palav in such gatherings and rituals brings people together and has the character of social integration and unity. People of Tajikistan recognize the Oshi Palav as a part of their traditional cultural heritage and call that as "King of meals". There are many stories, legends, folksongs, proverbs and other folklore texts regarding the element, which show the importance of the element among people. Also the element created many kinds of folk dance with plate, imitating the Oshi Palav cooking, which are played by folklore dance groups.
Tajikistan 2016 -
Turkish coffee culture and tradition
Turkish coffee culture and tradition goes back to the 16th century when coffee started to be served at coffeehouses in Istanbul. The tradition has two distinguished aspects which make its taste unique and provide means toward socialization. As a beverage Turkish coffee carries special preparation and brewing techniques. It is one of the oldest coffee making methods still in use. The traditional techniques used in preparing coffee led to development of special tools and silverware such as like the boiling pot (cezve), coffee cup (fincan), mortars which have artistic value. Turkish Coffee leaves a long lasting taste at someone’s palate due to its preparation techniques which require time and its freshness. It is softer, more aromatic and more concentrated than other types of coffee. It is easy to distinguish from other coffees with its aroma, ground and foam peculiar to it. Turkish Coffee is not only a beverage but also a communal practice that brings together cultural spaces, social values and beliefs within a context of socialization process. Its role socialization can be traced back to opening of the first coffeehouses with its noticeable decorations in Istanbul. Coffee houses were then, and still are the places where people drink coffee, converse, share news, read books and socialize. The tradition itself is a symbol of hospitality, friendship, delicacy, and entertainment. All these are reflected in the famous Turkish proverb “the memory of a cup of coffee lasts for forty years.” This saying represents how important and profound coffee is in Turkish culture.
Turkey 2013 -
Bibaha/Vivah: Marriage custom in southern Bhutan
Bibaha/Vivah has been in practice for hundreds of years with its first documentation in one of the Hindu epics. As per the epic, the first official marriage was celebrated between Lord Ram and Sita (Hindhu gods). It was also practiced by RISHIS, the great saints who existed in the Ganges valley civilization, before it reached down to the common people. This practice came down in line through religious texts and personals, in the eight different types mentioned above. The Bibaha/Vivah system then spread into other parts of the world with migrating people.
Bhutan -
Tala Choedpa: Tala Annual Ritual Festival of Zung-ngey community
Held from the 10th through the 15th days of the second lunar month, main foci of this festival are paying tribute to Guru Rinpoche and the performance of ritual prayers dedicated to Tshepamed (Buddha of Long Life) and local protective deities on the 10th and the 11th days. Events take place in community temples and are presided over by lamas and monks, and/or locally-based gomchens (Leymen). On the 12th to 15th days, games and sports are organized, especially archery and Khuru (Traditional dart) are played. At night, the Blessing Round or Changkor (Wandering) takes place as a presiding lama or monk leads a group to visit every household in their respective villages and bless them with auspiciousness. The community members drink, sing and dance, and relish good foods during the period. The festival is not only meant to pay tribute to Guru Rinpoche and the protective deities but is also an occasion for community members to get together to relax away from the usual toils of agrarian life. During Tala Chodpa, most of the villages conduct certain ritual prayers. Often the dagkey, or main ritual prayer, is either the Lama Norbu Jamtsho of Pema Lingpa or dedicated to Tshepamed, the Buddha of Long Life. These are often followed by ritual prayers conducted on the individual household level or at the community’s choesung, and include Guru Soeldeb, prayers to Guru Rinpoche. Groups of seven or eight monks from Nyimalung Dratshang preside over the Chodpa ritual prayers and rituals in different villages. The monks of Buli Gonpa also preside over Chodpa ritual prayers in upper Chume. It is said that previously monks from Tharpaling Monastery also presided over the Chodpa rituals in the upper villages of Chume like Uruk and Gaytsa, but now they are no longer available due to activities in their home monastery. Wherever monks are not available, local gomchens take their places. It is said that gomchens are playing an increasingly prominent role as monks are busy with their monastic activities as well as due to other disciplinary issues. In all the community Lhakhangs (Temple), the ritual prayers take place on the 10th and 11th days, followed by associated programming that continues through the 15th day. Between the 12th and 15th days, different villages organize traditional games, including archery, Doegor (stone-throwing) and khuru (darts), as well as singing and dancing by almost all the local residents. At night, they organize the Changkor, during which they bring Torma or sacrificial cakes from their respective community temples and carry them from house to house, spreading blessings.
Bhutan -
Shag-zo: Wood Turning
Wood turned utensils and dishes were present in Bhutan since ancient times. Communities from different parts of Bhutan have a similar type of craft as cups and plates are necessary for all household meals. However, the labour-intensive wood turned lacquer wares from Yangtse earned a considerable reputation in the kingdom. About a century-old traditional woodturning art (Shag-zo) in Yangtse is still a vibrant and popular means of family business and occupation. The present young artisans in Yangtse who are in their 20s and early 30s are the fifth-generation descendants of Lobazang from Kham in Tibet. Like other crafts of Bhutan, Shagzo demands a long process. The extracted wood knots and burls have to be dried; soaked in water; roughly shaped (first turned); roughly turned bowls are boiled; dried again; final turned bowls are smoothened with sandpapers and dried leaves of Trema politoria (locally known as Sog sogpa-shing). After colouring them yellow or red, it becomes ready for the next step – lacquering. Lacquering is another time-consuming process. Traditionally, lacquerers mostly use an urushiol-based lacquer common in East Asia derived primarily from toxic wax trees known as Sey Shing in Yangtse. These wooden bowls are an integral part of both the Bhutanese and Tibetan lifestyles and this explains the high demand for these products in Tibet. In the medieval period, people from Yangtse and Bumdeling traded wooden plates (not Dhapas) and bowls (cups) to Assam (India) and Go-phors (wooden bowl with lid), Lha-phor (bowl with lid used by monks), Dra-phor (bigger than other Phobs originally used by Tibetan Drapas), and Bay-phor (used by Tibetans, and has a deeper interior than Bhutanese hobs) to people of Tibet. Other than products historically exported to Assam and Tibet, Shagzopas make varieties of wood-turned products.
Bhutan -
Ubhauli (Going up) and Udhauli (Going down) Puja
Generally, the people of Limbu. Rai and Sunware (commonly known as Kiratis) celebrate Ubhauli and Udhauli festival. It is believed that there are two phases in one year – that are a Ubauli (Going up) and Udhuali (Going down) While the Ubhauli puja is usually conducted during the month of March and April (belief of onset of summer); Udhauli puja is a celebration of descending of season and is conducted during the month of November indicating the onset of winter season. It is believed that from November the winter season starts where people, birds, and animals migrate from cold regions to warmer regions. Udhauli and Ubhauli festivals are conducted in two different seasons – one in summer and the other one in winter- of the year. Kiratis are believed to be the worshipers of nature and agriculture being the sustenance of this community, the Kirats celebrate the Udhauli festival to thank Mother Nature for providing them with bountiful harvest during the current season. During the Ubhuali festival, as it marks the time of the year for cultivation, they pray to Mother Nature for timely rain, healthy crops and protection from natural calamities. In short, Ubhauli marks the beginning of cultivation, and Udhauli marks the harvest period. Although, in the past, Udhuali and Ubhauli festivals were conducted separately, the community today has started conducting these two festivals at one go in the month of March and April, calling this festival as Udhauli Ubhauli Puja. This community festival is conducted at the Diana River. This festival brings together all the people in the limbu community to observe a ritual of praying for a timely rain, good harvest and asking for good harvest at the end of the year. When: In the past, their ancestors used to celebrate Udhauli and Ubhauli puja in two different seasons (summer and winter) of the year. While Udhauli puja used to be conducted in the months of November and December, Ubhauli Puja was conducted in the months of March and April. However, with modernization and globalization, it has become difficult for the community to gather twice a year, they have started conducting this Udhauli and Ubhauli puja at the same time between March and April Month on any of the suitable days – Fridays and Saturdays, thus called this festival as Udhauli Ubhauli Puja. This festival is performed for a day. Where: Today, Udhaulu Ubhauli Puja is performed annually by the bank of River Diana. The reason why they perform this puja at the river is they being the worshiper of nature, they believe that the river is clean and is occupied by tutelary deities. People of the community gather together every year to pay homage to their deities, and pray for timely rain, good cultivation and bountiful harvest. Number of Performers: A paw initiates the festival with the help of one helper. It is said that the helper should be someone who would be able to understand the language of the initiator in a state of trance. The community makes merry, praying simultaneously for a smooth and successful entire crop cycle period starting from sowing seeds to harvest of the crop and protection from natural calamities.
Bhutan -
Nang-zhey or Ngang bi Zhey
Nang-zhey or Ngang pi Zhey is a native folk dance of a particular chiwog under Chokor Gewog in Bumthang with unique dress, lyrics, melodies and steps performed only by the male artists locally called Pazer-pa (soldiers or guards). The zhey is believed to be a sacred performance composed by their spiritual master Namkha Samdrup aka Tshampai Lama. Namkha Samdrub was born in 1398 on the 14th day of the third lunar month of the 7th Rabjung to Jamyang Drakpa Yoezer, one of the twin sons of the 22nd Sumthrang Choeje Palden Sengge and his partner Bumkyi, who belonged to the lineage of Ngangpai Dung. At the age of four, Namkha Samdrub was recognized as the reincarnation of Zhigpo Trashi Sengge, the 19th successor of Sumthrang Choeje. From the age of six to thirteen, he learned the basic Buddhist teachings and received empowerments and oral transmissions from his uncle Tennyi. He continued to seek further teachings and empowerments from various masters, including Drubwang Montsepa (d.u.), Lama Kunga Palden (d.u.), Gyalwang Choeje (d.u.), 6th Karmapa Thongwa Donden (1416-1453), and Terton (treasure discoverer) Ratna Lingpa (1403-1478). Namkha Samdrub eventually became a high-ranking master of the Drigung Kagyu (one of the Tibetan schools) and spent much of his life in solitude in the area bordering Tibet called Longtoe District, which is why he is sometimes called Longtoe Lama by Tibetans. He later moved to Tshampa on the Bhutanese side, where he took up extensive meditation practices, so he became known as Tshampai Lama. Later, he founded the Ngang Lhakhang (temple) in the Ngang community, which consisted mainly of his followers. After the completion of the temple, the Rabney (consecration ceremony) on the 15th day of the tenth lunar month was conducted by Lama himself. During the Rabney, Lama introduced mask dances as well as Ngang-zhey, which are performed every year on the 15th and 17th days of the tenth lunar month to sanctify the physical space and bestow blessings on the audience, coinciding with the eve of Karma nyadzom (conjunction with the Pleiades constellation). Although zhey is performed, the community faces problem of finding male performers, and since it is an indigenous art, if the trend remains the same every year, there is a high probability that the performance will be discontinued.
Bhutan -
Thangka Bonko: Bon Festival
Bonko is a form of Bon tradition. Bon practices existed in Bhutan in pre-Buddhist times, and were rooted in the worship of nature and the spirits or gods that inhabited it. Bonism originated in Tibet and is characteristic of animistic and shamanistic practices. The Thangka bonko is a celebration in memory of Miwo Tenpa Shenrab (Buddha of Bon), who introduced the Bon tradition to their community. The commemoration is celebrated with religious rites dedicated to and invoking the local deity Zamshingpa. Bonko literally means the practice of Bonpo, who roams the villages, teaching Bonism and blessing the people (Bon kor). Long before the arrival of Buddhism, Bon-nag was a practice that involved the sacrifice of animal life. The Bonko Thangka was a Bon-kar. Although it was a Bon practice, it did not involve animal sacrifice. In the 11th century, the first disciple of Terton (treasure discoverer) Rigzin Jatshen Nyingpo (1585–1656), Terton Dorji Lingpa (1346-1405), established Yu-tog Goenpa (monastery) and established Buddhism in the area. Later, he established his seat in the village of Zhingkana. At present, the deity Zamshingpa is pacified in the Buddhist way in Zhingkana nagtshang. And also during the Bonko, the Pazaps receive their Lha-dhar (giant prayer flag) and Tsan-dhar (deity’s flag) from the Nagtshang (manor of an aristocratic family). It is celebrated for four days, from the 13th to the 16th day of the 11th month of the Bhutanese calendar, by the villagers under Shaba Gewog. The main event is held in an open area in Thangka, locally known as Lha-chim (deity’s shrine). On the 8th day of the 11th month of the lunar calendar, the Lholinga and Jishing Bonko is held in Lholinga village. And on the 11th day of the 11th month of the lunar calendar, the Zhelngo Bonko takes place. On the 15th day, the Thangka Bonko is celebrated.
Bhutan -
Jato: Traditional Grinding Stone
Jato is a grinding stone made from hard stones mined from the river valleys. Not all stones can be used in making the element. There are two types of grinding stones. The best quality granite is called Kuring (black hard stone). The grinding stone for maize is usually big and rough and grinding stone for millet is smooth. The grinding stone for millet can be any hard big in size stones. Grinding stone for maize is obtained from the cliff of the river valley. It is a thick circular flat stone where the lower part of the element is usually bigger than the upper part. The inside surface is rough to grind maize while the Jato for grinding millet has smooth surface inside and the shapes are similar yet the size is usually smaller than the grinding stone for maize. The use of Jato dates back to time immemorial. People in the villages used the element in grinding maize and millet. It was also used for bartering essentials items when economic status was so limited. They made the element depending on the order of the customers then and now it has declined due to the emergence of electronic machines/varying gadgets.
Bhutan -
Pham: The Local Yeast
Pham is a local yeast used to brew local Bhutanese beverage known as Ara. It is made of corn flours, husks (either maize or rice) and wild herbs known as Yangrim in local dialect. Yangrims are collected from forests and are considered a vital ingredient for yeast. They are of different types and most are climbers. Types of Yangrim. 1.\tRu-Yangrim (Eponymous: ru (tshangla) means climber): The skin of the herb is peeled, then chopped in desirable lengths to fit in the large mortar, which are later pound using the mortar and pestle. Then they are dried and stored for later use. 2.\tGowakhi or Gowa Rokpu Yangrim (local name) (Scientific name: Hedyotis scandens): Whole herbs are chopped to desirable lengths and then pound in mortar and pestle to make pastes. The pastes can be directly used with corn flour and husk to make the yeasts. The leftover pastes are heated in a pan to preserve the tastes and then dried to store for later use. 3.\tGonglam daza yangrim(local name) 4.\tKarbu shing (local name) leaves 5.\tPeach leaves. Gonglam Daza Yangrim, Karbu shing leaves and peach leaves are processed in a similar manner as Hedyotis scandens to make yeast. Of all the Yangrims, Ru-Yangrim is commonly used to make yeast as it gives a flavorsome or strong alcohol.
Bhutan