ALL
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ICH Elements 385
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Ca trù singing
Ca Trù singing has other names such as: A Dao singing, Dao nuong ca, Co Tou singing, Nha tro singing, communal house singing, Nha To singing..., derived from folk songs, folk music plus a number of performances and games. folk dance. From the way of worshiping at the communal house door, singing the congee, singing the crowd... Ca trù has gradually been professionalized. Belonging to a folk performance art form, the uniqueness of Ca Trù is that it is an art that combines poetry, music and sometimes dance and performance. The performance space of Ca Trù is diverse, each with its own singing style and performance method. Ca Trù singing has 5 main performance spaces: hát cửa đình (hát thờ), hát cửa quyền (hat cung đình hay hát chúc hỗ), singing at home (hát nhà tơ), singing Thi, and singing ca quan (hát chơi). The performance form of ca trù is a chanting consisting of three main components: a female vocalist (called "dao" or "ca Nuong") using a percussion set to take the beat; a male musician (referred to as "kép") plays the bass lute to accompany the singing, sometimes singing and dancing in both hat su and hat giai singing styles; people who enjoy ca trù (called "quan vien", connoisseurs of sound law, vocal music, and dance) beat drums to punctuate sentences and express their satisfaction with drum sounds. Both the singer, the man, the listener participate in the singing. Ca Trù's greatest contribution to Vietnamese culture is the birth of spoken poetry. In terms of music, the characteristic of Ca Trù is that there are three types of musical instruments: bottom lute, beat and drum, which have contributed to making Ca Trù become a special musical genre of Vietnam.
Viet Nam 2009 -
The art of Bài Chòi in Central Viet Nam
Bài Chòi is a diverse art form combining music, poetry, stage acting, painting and literature. It takes two main forms: "Bài Chòi games" and "Bài Chòi performance". "Bài Chòi games" are played during Lunar New Year by Việt people of Central Việt Nam. To play Bài Chòi, nine or eleven bamboo huts are built in a U-shape within a temple yard or in a vacant ground. The hut placed at the bottom of the U shape is called "main hut" (chòi cái), and the game leaders, who can be either male or female, are called Hiệu artists. The game leader takes a card out of a tube of cards, and then sings for people to guess what the card is. This part is called "Hô Thai". Players buy three cards and wait in the hut. Anyone whose three cards match the cards sung by the Hiệu artists will be declared the winner and given the prize. A new session will then restart. "Bài Chòi performance", male and female Hiệu artists perform on a rattan mat. They either travel from place to place to perform, or otherwise are invited to play for private families, forming rattan-peforming or mobile Bài Chòi styles. A single artist may also perform "solo Bài Chòi". In this case, the artists performs a number of theatrical roles. For some artists, Bài Chòi performances are a mean of earning a living. Musical instruments accompanying Bài Chòi include the two-stringed fiddle, clappers, shawm and war drums.
Viet Nam 2017 -
Tradition of kimchi-making in the Democratic People's Republic of Korea
Kimchi is a vegetable dish which is made by seasoning various vegetables or wild edible greens with spices, fruits, meat, fish or fermented seafood before undergoing lactic fermentation. In this course, tastes of the ingredients blend well producing a unique flavour. The tradition of Kimchi-making dates back to the 10th century and it has hundreds of variants. As rice typifies the staple food of the Koreans, so does Kimchi, the Korean’s side dish. It is served not only at every meal but also on special occasions such as weddings, holidays, birthday parties and memorial services for the deceased as well as state banquets. The daily consumption of Kimchi by Koreans is great in amount. Each Kimchi variant differs in ingredients and recipes according to seasons and localities. It has remarkable nutrition values as well. Koreans take it for granted that they help each other in Kimchi-making among neighbours, relatives or workplace colleagues. In this practice they boast their Kimchi, give advices on skills and congratulate each other on their successful Kimchi-making.
North Korea 2015 -
Epic art of Gorogly
The entire epos includes a historical range of the legendary achievements of the ancient national hero of Gorogly and his 40 cavalrymen by recording all major events of traditional lifespan of the Turkmen people. The aspiration of the Turkmen nation for a happy life, unification, freedom and justice as well as their features such as bravery, honesty, partiotism, freindship, tolerance and fairness have been reflected in the epos. The element is a combined genre of oral traditions and performing art incorporating narrating, singing, vocal improvisation and musical composition, where a prose and poetry are alternated in its perforamnce. Its bearers and practitioners are epic performers-dessanchy bagshy specialized in the Gorogly epic. It is by tradition performed by one dessanchy bagshy playing the dutar (a two stringed, long-necked lute) in a sitting position, while narrating prose and reciting poetry in a way to deliver the characters' feelings and emotions to the accompaniment to the traditional musical instruments such as dutar and gyjak (a fiddle-like Turkmen musical instrument). It is traditionally performed at social gatherings, celebrations, national ceremonies, life rituals, national festivals and special "Folklore Festivals". The element provides related communities with a sense of social and cultural identity and it is considered as a main symbol of Turkmen people to sustain their cultural identity being as an oral encyclopedia and it remains the inexhaustible fountain-head to nurture their cultural psychology, national character, mentality, creative capacity and artistic skills.
Turkmenistan 2015 -
Aitysh/Aitys, art of improvisation
Aitys (in Kazakh language), Aitysh (in Kyrgyz) is an improvised competition of two akyns, the form of oral poetry performed in a singing manner, poetic contest of improvisations or a poetic duel of wits. The element is performed to the accompaniment of traditional musical instruments: Kazakh dombra or Kyrgyz komuz. Two akyns compete with each other in improvisation of verses on topical themes in a wit-sparkling manner alternating humour and deep philosophic reflections. During the competition two akyns sitting opposite each other develop a song-like dialogue catching up the opponent’s words and performing in turn their improvisations on the spur of the moment. Songs performed during the aitysh-aitys are improvised on whatever topics which come up depending on the wish of the audience. The winner of the competition is the one considered to have demonstrated the most musical skills, rhythm, originality, resourcefulness, wisdom and wit. The element is very popular among people and is considered as a “folk tribune”. In fact, all regions of the countries have bearers and practitioners who often represent their local communities at the poetic competitions raising up topical and urgent problems of social life and criticizing all kinds of vices. The element is practiced at various events from local festivities to nation-wide events. Aitysh/Aitys presents the art of a dialogue participated not only by the performers but by their listeners as well. It is an essential part of life for the communities of tokmo-akyns and aityskers.
Kyrgyzstan,Kazakhstan 2015 -
Kazakh traditional art of Dombra Kuy
Traditional Kazakh dombra kuy (kaz 'kuy') - instrumental play performed on dombra - a traditional pear-shaped musical instrument with two strings and a long neck. The true meaning of kuy execution dates back to the sacred relationship with the Creator and the desire to establish the internal harmony of the individual. Kazakhs say 'Kuy - Tanyrdyn sybyry' ('Kuy - a whisper of Tengri'). Dombra had been hung on the wall of each nomad house (yurta) for the play before guests and home owners. The art of DombraKuy refers to a short solo composition performed on a traditional pear-shaped, long-necked, two-stringed, plucked musical instrument known as a dombra. The music aims to connect people to their historic roots and traditions through classical and improvised pieces that engage the audience at a spiritual and emotional level. Public engagement in the performance serves as one of the most important means of social communication between people and contributes to the transfer of knowledge and skills related to Kazakh culture. The music is usually accompanied by narrated stories and legends. It is traditionally performed at social gatherings, holidays and festive celebrations, amid a rich variety of food and musical entertainment. It serves as a vital social and cultural experience, strengthening people’s identity and promoting solidarity and mutual understanding in society. Aspiring and talented musicians are apprenticed to masters from the moment a child demonstrates an interest in the philosophy and virtuosity of traditional music and performance. Amateur musicians then apprentice themselves to other more experienced and talented performers from their region to increase their skills and repertoire.
Kazakhstan 2014 -
Three genres of traditional dance in Bali
Traditional Balinese dances are performed by male and female dancers dressed in exquisite traditional costumes consisting of brightly coloured cloths painted with gold motifs of flora and fauna, and gold leafed and jewelled accessories. The dances are inspired by nature and symbolize the traditions, customs and religious values, composed in four elements: agem, basic body posture with knees turned out and stocmach pushed in; tandang, locomotive movements in different tempo and directions; tangkis, transitional movements with dynamic changes; and tangkep, facial expression with eyes movements showing happiness, sadness, anger, love, fear, etc. They are accompanied by music of Balinese gamelan instruments with symphonic poems that contain moral messages taken from religious teachings. Dancers portray various characters as strong or refine male role, female role, and mixed role. For Balinese, dance is a part of religious ceremonies conducted periodically according to the Balinese calendar. A dancer should also have taksu, charisma, a special spiritual energy which makes the performance become alive (dynamic). Balinese dances can be categorized as Wali (sacred), Bebali (semi-sacred) or Balih-balihan (entertainment). The three categories is applied with respect all over Bali using different dance forms according to the principle of desa (place), kala (time), and patra (occasion). In Balinese communities, dances are mainly transmitted informally to children from early ages in traditional groups (sekaa) and at formal schools in various levels. Traditional Balinese dances are rich in noble values and are an important part of the Balinese cultural heritage and identity, now studied almost all over Indonesia.
Indonesia 2015 -
Ramman, religious festival and ritual theatre of the Garhwal Himalayas, India
The Ramman is a form of traditional ritual theatre celebrated every year in the courtyard of the temple of Bhumiyal Devta situated in Saloor Dungra Village in Painkhanda valley of Chamoli district, Uttarakhand, India. The village deity of Saloor Dungra is Bhumichetrapal, also known as Bhumiyal Devta. Historical accounts of the preexisting tradition are available since 1911. In the Hindu month, Baisakh (April-May), on the sankranti day, Bhumiyal Devta comes out in a procession to the temple. On the second day of the festival, people offer hariyali (sprouted barley plants), to the deity, which has ecological reference. Every day, the Bhumiyal Devta takes a round of the village. The main components of the masked performance are as follows: ▶Celestial Aspect -Dance of Ganesh-Kalinki (Parvati) -The dance of Sun God: Enactment of creation-myth and birth of Brahma and Ganesh. -Bur Deva (Narad): Rani-Radhika dance. -Bur Deva Raja dances along with Gopi Chand (Sri Krishna) and Rani Radhika (Gopis) on different beats and gestures. ▶Temporal Mwar-Mwarin Dance: The dance shows the travails of the buffalo herders in their hazardous journey through the jungle to the hills. A tiger is shown attacking and injuring the Mwar. Baniya-Baniyain Nritya (Dance of the Trader-Couple): It shows hardships of the common people. The episode shows robbers attacking and looting the merchant couple. ▶Performance The performance then shifts towards the enactment of the local Ramkatha, the core Rama story. Episodes from Rama’s life are sung. The dance is performed on 18 different beats yielding a total 324 beats and steps. The episodes enacted and sung are: -Ram-Lakshman’s visit to Janakpur -Sita’s Swyamwar -Hanuman Milan (Meeting with Hanuman) -Swarna Mrig Vadh (killing of the Golden deer) -Sita Haran (Abduction of Sita) -Lanka Dahan (Burning of Lanka) -Raj Tilak (Coronation ) There are other dances and episodes like Maal Nritya, Koorjogi and Narsingh Pattar Nritya. ▶Historical Aspect -Maal Nritya: Rama story is followed by the historical battle between the Gurkhas of Nepal and the local Garhwalis. Two dancers carrying weapons move on to the central performing arena, enacting a battle scene. They are comical in looks, attire and gestures. -Maal artists are four in number, two red and two white, respectively representing the Gorkhas and the Garhwalis. It is mandatory to have a red Maal from the Kunwar caste of the Rot hamlet, Saloor village, as it is believed that this hamlet supported the Gorkhas. The other three are selected by the Gram Panchas. One white Maal each is chosen from the twin villages and the remaining red Maal comes from village Dungra. This performance manifests past valour and bravery, sums up the total religious and aesthetic experience of the community, and renegotiates its identity and place in the bigger cosmic drama every year. ▶Ecological Aspect Ramman is an agrarian festival in celebration of ties between man, nature and the divine. Maize and barley seeds, sprouted in ritual pots, are offered to Bhumiyal Devta who, in turn, promises prosperity to all, including agricultural yield and forest produce. -Koorjogi: This episode is of immense ecological relevance. Various harmful weeds (koor) in the village fields are pulled out by Koorjogi (character who carries a sack full of these weeds). One of the most joyous moments in the series is throwing thorny weeds on each other, creating a mayhem of goodwill and merriment, establishing a sense of community and harmony. -Make-up of Artists: The Ramman performance involves use of masks and make-up using sheep’s wool, honey, vermilion, wheat flour, oil, turmeric, soot and locally grown plants and vegetables. -Masks are made from wood of local trees and this involves lengthy rituals. ▶Musical Aspect -Drumming Tradition: The performance revolves around playing of drums by Das drummers from the lowest caste, whose status is elevated during the performance. -Jagar Tradition: Jagaris or Bhallas of Rajput caste are professional bards and sing oral epics and legends (Jagars). The festival ends with a feast where the prasada of the deity is distributed as sacrament.
India 2009 -
Kumbh Mela
Kumbh Mela (the festival of the sacred Pitcher), is the largest peaceful congregation of pilgrims where people bathe or take a dip in a sacred river. Held at Allahabad, Haridwar, Ujjain and Nasik every four years by rotation, the Kumbh at Prayag/Allahabad is the most significant. Ardha ("Half") Kumbh Mela is held at only two places, Haridwar and Allahabad, every sixth year. It is held on the banks of the rivers - Ganga in Prayag, Saraswati in Haridwar, Godavari in Nashik and Shipra in Ujjain. A great fair is held on these occasions on the banks of the rivers. Devout believe that by bathing in the Ganges one is freed from their sins liberating them from the cycle of birth and death. A unique facet is that millions of people reach the place without any invitation. Mythology says the gods and the demons fought for the pot with the nectar of immortality. Lord Vishnu, disguising himself as an enchantress (Mohini), seized the nectar. While fleeing from the evil ones, Lord Vishnu passed the nectar on to his winged mount, Garuda. In the ensuing struggle, a few drops of the precious nectar fell on Allahabad, Nasik, Haridwar and Ujjain. Since then, the Kumbh Mela has been held in these places. The astrological sequence of the stars are the basis for the Kumbh locations. As Jupiter enters in Aquarius and Sun enters Aries the Kumbh is held at Haridwar, Jupiter enters Aries and Sun and Moon in Capricorn at Prayag and so on.
India 2017 -
Qālišuyān rituals of Mašhad-e Ardehāl in Kāšān
Denoting ""carpet-washing ceremony"" (qāli""carpet""-šuyān""washing ceremony""), Qālišuyān manifests as a huge gathering in Ardehāl, at a 800m-long site, between Emāmzāde Soltān Ali ebn Mohammad Bāqer Mausoleum (abbreviated as Soltān Ali) and the holy stream beside Šāhzāde Hoseyn Mausoleum yard, where a holy carpet is washed as part of a live ritualistic procedure. Unlike the majority of Iranian rituals that follow a rotating lunar calendar, Qālišuyān is attended according to a fixed solar-agricultural calendar, requiring it around the nearest Friday to the 17th day of the month of Mehr (October 8th), called Jom'e-ye Qāli (""carpet Friday""). Thousands of people of Fin and Xāve constitute the practitioners; a greater crowd attends as witnesses. On Jom'e-ye Qāli morning, the people of Xāve gather at Soltān Ali to sprinkle rose-flower on a donated carpet they select. Having done the wrapping rituals, they, then, deliver it to the people of Fin outside. Holding neatly cut and beautifully decorated wooden sticks, the people of Fin run to take the lead in getting a grasp of the carpet, and carrying it to the running water, cleaned of pollutions and mixed with rose-water. A corner of the carpet is rinsed; the rest is covered with drops sprinkled with the sticks. The carpet is, then, returned to the mausoleum and delivered to the servants inside. The rituals are to express love and loyalty toward Soltān Ali, who is claimed to have been martyred in the same place and carried to his resting place on a carpet, instead of a shroud. Asserted, mainly, through oral history, Soltān Ali enjoyed a holy stance among the people of Kāšān and Fin of 1,300 years ago, who depended on his spiritual guidance. He was, finally, murdered by jealous governors. The story continues that the corpse was found, three days later, by the people of Fin who carried it in a carpet to the stream of Šāhzāde Hoseyn Mausoleum, Ardehāl, where the people of Xāve joined in washing and burying him. The present-day carpet-washing rituals are to commemorate the sad burial. A number of peripheral activities have emerged alongside Qālišuyān, too: - J ār: Oral proclamation of the ""carpet-Friday"" date by an elder; - Donated food: Distributed by witnessing people - Ta'ziye and other ritualistic performing arts: Performed peripheral to the main rituals; - Gatherings of people on the site, which last for several days.
Iran 2012 -
Naadam, Mongolian traditional festival
The Mongolian Naadam is inseparably connected to the nomadic civilization of the Mongols who have practiced pastoralism on Central Asia’s vast steppe for centuries. Mongols’ traditional Naadam festival consisting of three manly games is considered as one of major cultural heritage elements which Mongols contributed to the nomadic civilizations. The three types of sports games – archery, horserace and wrestling – are directly linked with lifestyles and living conditions of Mongols and thus become the authentic cultural traditions among nomads. National Naadam is celebrated from July 11 to 13 throughout the country, in soums (counties), aimags (provinces), and the capital, Ulaanbaatar. Naadam represents distinct features of Mongolians’ nomadic culture and traditions, with expression of their unique cultural characteristics and images to become an identity of Mongolian people to the outside world. Thus, Mongolian Naadam has served a key factor to unite the Mongolian people and an important symbol of national solidarity. Mongolian people develop their physical strength, strong will power, patience, space and time related sensitivity and friendly hospitality from the three manly games which provides the cognitive and moral education basis. Main bearers of this cultural heritage are practitioners of the three games. i.e. those who significant part of the Mongolia population. Currently, over 100,000 people practice the traditional wrestling in various clubs and training courses, in addition to 3,000 students studying in several wrestling universities and colleges. Besides, the home schooling is considered one of most effecient forms, as it is the main traditional method to teach and learn the wrestling. Youths who practice wrestling would develop postive personalities such as being friendly, caring to the elderly and modest, besides strong will power, physical strength and courage. The main bearers of horserace appear racehorse trainers and jokey-children. Nowadays, about 400-500 horserace tournaments take place annually and altogether 200,000 horses (some recounted across tournaments) participate in them. About 100,000 racehorse trainers normally train these horses, while over 70,000 children ride and race. Besides, the audience of those tournaments would reach over 300,000 people. The Mongolian traditional home schooling provides extensive knowledge and skills, traditions and customs, culture and art elements of horserace. Compared to other two forms, relatively fewer people (about 10,000) practice and are interested in archery. Similarly, home schooling methods tend to dominate in learning and transmitting archery that family members and relatives become archers a lot. There are hundreds of thousand artisans and craftmen who make various tools and items used in the three manly games through employing meticulous skills and design to make them as collections of various art pieces. For instance, wrestling outfits – hat, boots and shorts, racehorse saddles and jokey’s outfits, and bows and arrows used in archery competitions have specific traditional technology and techniques each. These three sports games make a core blend of traditional arts and sports. Title-singing of horses and wrestlers indicate musical elements embracing songs and melodies. • Wrestling. After the wrestling site has been chosen based on the quality of the grass and the flatness of the site, the wrestling matches begin. Judges in groups of 8, 16, or 32 are divided into two groups which line up at the right and left side of the wrestling site and the wrestlers are divided into two groups at the left and right wings. To present the wrestler to the audience, judges will hold the participant's hat and sing praise songs while the wrestler performs an eagle dance before assuming the position to begin. Wrestling is not only a display of strength and bravery; it is also a competition of skill and technique. The object of the match is to make one’s competitor to fall on the ground with his elbows, knees or any other part of the body touching the ground, at which point he loses. Wrestlers who lose in each round will get eliminated from the tournament. The number of rounds differs from tournament to tournament. There are often 9 rounds at the national festival which takes place on July 11-12 annually and altogether 512 wrestlers wrestle. A half leaves after each round. From the fifth round, winning wrestlers can earn titles starting from hawk, falcon, elephant, garuda /mythical bird/, and lion, to the coveted champion. Wrestlers are divided into two groups or so-called ‘wings’ that the highest ranking wrestlers are listed at the top depending on their titles, such as first grand champions, then champions, lions, garudas, elephants, hawks, falcons etc. • Horserace. Horse-trainers choose potential race horses among horse flocks and train them meticulously, carefully adjusting their daily training and diet. Horse races are grouped in age-specific categories such as stallions, adults, 4-years old, 3-years old, 2-years old and 1-year old which race in different distance categories from 10 km to 30 km. Race horses have their mane and tails trimmed to improve their appearance while their trainers use specially crafted wooden sticks or a brush to remove the sweat from the horse after the race. These sweat-removing tools are often carved and decorated with traditional patterns and images of horses to symbolize their strength. Young riders wear special clothing including the deel and hat. Typically, children aged 6-10 years old jockey racehorses. When registration of the applicant horses is completed, the race administrator rides around the Naadam site three times, while children riding race horses sing ‘Giingoo’ to raise spirits of horses before racing. The winning horse is given the title of ‘Tumnii ekh’ (the mightiest of all), whereas the last horse in the race is given a nickname ‘Buren jargal’ “complete happiness”. The praise song is performed to congratulate winning horses and is called ‘singing titles’. • Archery. This competition is divided into two categories; Khana sur (big bow) and Khasaa sur (small bow). Men shoot from a distance of 75 meters to the target, and women from 65 meters. The target is called ‘zurkhai’, and is made of leather balls neatly lined along the flat ground in two rows. Each archer shoots 40 arrows and the one who shoots the most targets wins.
Mongolia 2010 -
Cheoyongmu
Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Cheoyongmu refers to a court dance performed by five dancers in five directions (west, east, north, south, and center). Hence it is also called Obang (quintet) Cheoyongmu. It is unique in that it is the only form of a court dance performed using human masks. Designated Important Intangible Cultural Heritage on January 8, 1971, Cheoyongmu is a grandiose, mystic dance performed by male dancers. At the end of the Silla Kingdom (57 B.C. – A.D. 935), King Heongang went on an excursion to the seaport of Gaeunpo (present-day Sejuk Village area in Hwangseong-dong) in the southeastern city of Ulsan. On his way back home, the king felt strange about the sky covered with dark clouds and fog and asked his retainers the reason. “As it is caused by the dragon in the east sea, it should be resolved by conducting good deeds,” a court astronomer replied. Therefore, when the king had a temple built for the dragon, the dark clouds disappeared and the dragon, along with his seven sons, emerged from the east sea and danced. One of the dragon’s sons, named Cheoyong, followed King Heongang to the capital, married a beautiful woman and held an official rank. One night, when Cheoyong returned home, he found the spirit of smallpox trying to attack his wife. As Cheoyong sang and danced, the smallpox spirit presented itself and kneeled in apology. Since then, people have attached an image of Cheoyong to the gate to dispel evil spirits and invite auspicious energies. Until the late Goryeo (918-1392) era, Cheoyongmu had been performed by a dancer, while by the reign of King Sejong (r. 1418-1450) of the Joseon Dynasty it was danced by five performers. According to the Akhak Gwebeom, or the Canon of Music, Cheoyongmu was performed twice at the narye ceremony, which was conducted on New Year’s Eve to ward off evil spirits and the god of death of the passing year. The five dancers are clad in white, blue, black, red and yellow, symbolizing the west, east, north, south and center respectively. Based on the theories of Yin and Yang and the Five Elements, Cheoyongmu symbolizes the repelling of misfortune. The stately and vigorous movements reveal a valiant spirit and magnanimity. Cheoyongmu begins with proceeding toward the king to the music of sujecheon (“Long Life as Eternal as the Heavens”), singing the first line of “Cheoyongga” (Song of Cheoyong) with the words “silla seongdae soseongdae” (“Silla, the period of brightness and greatness”) in the lyric song rhythm of eolnak. Then, the dancers bow to the king and move to the center of the stage to the music of hyangdang gyoju (ensemble by Korean and Tang instruments). To the slow tempo music of seryeongsan (“Mt. Seryeongsan”), they form a square to dance sanjak hwamu (“Scattering in the Form of a Flower”) and rotate to the right. As the formation is changed to a cross, the music is also changed to samhyeon dodeuri (slow 6/4 beat music by three strings). After the dances of suyang sumu (“Dangled and Raised Hands Dance”) and mureup dipimu (“Moving Knee to Change Direction”), the dancers change the formation into a circle and rotate to the left. As the formation is changed to a straight line again, they recite a verse from the Song of Cheoyong, saying “sanha cheolniguk” (“To mountains or fields that are far away”) in the lyric song rhythm of pyeonak and then leave the stage, dancing nakhwa yusu (“Falling Petals and Flowing Streams”) to the music of songgu yeojigok (a sort of dodeuri). In light wine color, the Cheoyong mask features white teeth, tin earrings with a lead bead, and a black official hat decorated with two blossoms of peonies and seven peaches. The light wine color and peaches symbolize warding off the evil spirit, while peonies signify inviting auspicious energies.
South Korea 2009