ALL
musical
ICH Elements 199
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Practices related to the Việt beliefs in the Mother Goddesses of Three Realms
Beliefs in the Mother Goddesses focus on the worship of mother spirits of three realms, which are heavenly realm, realm of water and realm of mountains and forests. Since the 16th century, Beliefs in the Goddesses have developed into a spiritual and cultural activity that has had a profound influence on social life and consciousness of the people. Followers worship Mother Goddess Liễu Hạnh as well as other spirits who are historical or legendary heroes. According to legends, Liễu Hạnh was a nymph who descended to earth, lived as a human being and became a Buddhist nun. She is worshiped as “The Mother of the World” and as one of the four immortals of the Việt. At temples, daily worship is organized by temple guardians. Main practices of the Beliefs include spirit possession rituals and traditional festivals among which the most notable is Phủ Dầy festival in Kim Thái commune, Nam Định province. The festival lasts from the third day to the tenth day of the third lunar month and includes rituals, folk performances, a procession of the Buddhist scripture and a “word arrangement”. Through folk cultural expressions including costumes, chầu văn songs, and dance in spirit possession rituals and folk performance in festivals, the Việt express their views on history, cultural heritage, gender roles and ethnic cultural identities. The power and meaning of the Beliefs resides in their ability to meet spiritual demands and everyday desires and to help them achieve good fortune in health, work and business.
Viet Nam 2016 -
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 -
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 -
Arirang, lyrical folk song in the Republic of Korea
Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nearly every Korean knows and enjoys singing Arirang, which is not just one song but a variety of local versions handed down throughout Korea. Experts estimate the total number of folk songs carrying the title ""Arirang"" at some 3,600 variations belonging to about 60 versions. Arirang is essentially a simple song, consisting of the universal refrain Arirang, arirang, arariyo, and lyrics that have developed differently from region to region. The most typical lines express a universal sentiment: Arirang, arirang, arariyo; Over the Arirang hill you go. (refrain) Leaving me, my love, you'd go lame before three miles. (lyrics) The lyrics were not created by any particular individual, but an outcome of collective contributions made by ordinary Koreans through generations. They convey joys and sorrows of common people arising from love, parting with the beloved, troublesome in-laws, or national struggle against foreign invaders. Affection for Arirang is evident throughout today's ultra-modern Korean culture, well beyond the realm of traditional music. Arirang has been rearranged into modern ballads, rock 'n roll and hip-hop, as well as symphonic pieces, appealing to a wide array of audiences and striking a chord with Koreans; it is often described as their unofficial national anthem. Olympic champion Kim Yu-na skated to an Arirang theme, ""Homage to Korea,"" at the 2011 World Figure Skating Championships. Arirang is also one of the most recognized cultural symbols and is widely used as a theme for movies, dramas and soap operas, and names of commodities, restaurants, and broadcasting companies.
South Korea 2012 -
Mongol Biyelgee, Mongolian traditional folk dance
Mongolian traditional folk dance “Bii Biyelgee” is an outstanding form among traditional performing arts of Mongolia, and unique and distinguished art expression which has embodied and originated from the nomadic living style of Mongols. Bii Biyelgee expresses the customs, traditions and spiritual practices through dancing elements, and its movements are typically confided to small space inside the Nomad’s dwelling-ger. Biyelgee is performed while half sitting or cross-legged sitting, coupled with fist and hand opening and waving, stiff and swift movements of chest and shoulders, shrugging and shaking them, crossing legs, steps and walks, as well as flexible body movements involved in prevalence. In doing so, biyelgee performers imitate the expressions of their lifestyle, household activities, courage, love, prides and livestock to the accompaniment of morin khuur, ikel khuur, tovshuur, tsuur, coupled with ethnic costumes.
Mongolia 2009 -
Awang Batil
Awang Batil is a story-teller only found in the state of Perlis. Originally he was known with the name ‘Awang Belanga’ because he used the ‘belanga’ or cooking pot as his music accompaniment. As cooking pot is covered with charcoal, it was then replaced with ‘batil’ that is copper water container. Thus the story-teller is called ‘Awang Batil’. The storyteller also plays other instruments such as the violin, serunai, rebana and gendang terinai. In yesteryears, Awang Batil travelled village to village and from house to house, especially houses that held wedding feasts, to tell his stories. Awang Batil inherits lots of folk stories. A story is in series and with continuities that drags to many evenings. Comedy elements are inserted in his story-telling while beating the copper water container with his fingers. The most commonly told stories of the Awang Batil are Raja Dewa Lok, Raja Bersiung, Raja Berdarah Putih, Anak Lang Pak Belang, Jabat Jabit, Abu Nawas, Cerita Angan-Angan and Awang Ada Duit Semua Jadi. At certain Acts Awang Batil wears a mask to relate the character of a ‘Hulubalang’ (Soldier) and the ‘Wak Nujum’ (Fortune Teller). Both are used when suitable characters appear in the stories to attract the audiences’ attention. The mask is made of wood and usually painted red and white. At a house that holds wedding feast Awang Batil performs in a small hut with a height of three to four meters. The audiences sit encircling the hut listening to his stories with laughter.
Malaysia -
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 -
Chhau dance
Chhau is a major dance tradition of eastern India. It enacts episodes from epics Mahabharata, Ramayana, Puranas, traditional folklore,local legends and abstract themes through the idiom of dance and a music ensembles that consists primarily of indigenous drums. It is seen in its distinct styles in Seraikella, Mayurbhanj and Purulia that are neighbouring areas of the states of Jharkhand, Orissa and West Bengal respectively. Chhau of Seraikella uses masks. Its technique and its repertoire was developed by the erstwhile nobility who were both performers and choreographers. Mayurbhanj Chhau is performed without masks and has a technique similar to Seraikella. The Chhau of Purulia retains the spontaneity of folk art. It is also performed with masks. The population is largely agricultural, though with urbanization and an increasing pressure on land, people have come to depend on other means of livelihood, mainly as unskilled labour in small towns. Predominantly Hindus, their religious beliefs, festivals and rituals have been influenced by the pre-existing tribal customs. The Chhau Dance in its traditional context is intimately connected to the festivals and rituals of this region. Important among these is the Chaitra Parva held in the month of April. The month of Chaitra in the Hindu calendar celebrates the advent of spring and the beginning of the harvesting season. Thirteen days of dance-like rituals of Jatra Ghat, Mangla Ghat, Kalika Ghat and Brindabani are dedicated to Shiva and Shakti as the source of all cosmic creation. These culminate in a vibrant festival of dance. Support of the erstwhile rulers made it an important event. In present times, the festival is supported by funding provided by the provincial government. Any paucity in funds is fulfilled by garnering support from local sponsors. All the arrangements for this festival are done by an organizing committee that is constituted by the people themselves and has representation from all sections of the society. Various communities, according to their occupations were responsible for different aspects of the dance. This division, though blurred with time is still to be seen in activities like instrumentmaking, music, mask and headgear-making. While royal patronage was extended to the Chhau of Seraikella and Mayurbhanj, the Chhau of Purulia was sustained and developed by the people themselves. This whole exercise promoted popular participation and fostered a sense of commitment to the art that is still palpable among the people of these regions. Chhau traces its origin to indigenous forms of dance and martial practices. Important among these was the Paika tradition. Paikas were soldiers brought up by the native rulers of Orissa. The Parikhand khela (play of the sword and shield) in Seraikella Chhau and the ruk-mar-naach (meaning the dance of attack and defence) in Mayurbhanj Chhau clearly point to these martial moorings. The basic stances of Chowk and Dharan are common and have an inherent strong martial character. Some of the dancers that excelled in these techniques, for example the Parikhars in the Seraikella tradition were invited to perform at social/religious ceremonies. It is a people’s art as it involves the entire community. Performed by male dancers of families of traditional artists, or those trained under Gurus or Ustads (masters). It traces its origin to indigenous forms of dance and martial practices. Khel (mock combat techniques), chalis and topkas (stylized gaits of birds and animals) and uflis (movements modeled on the daily chores of a village housewife) constitute the fundamental vocabulary of Chhau dance. It is performed in an open space called akhada or asar and lasts through the night. The dancers perform a repertoire that explores a variety of subjects: local legends, folklore and episodes from the epics Ramayana/ Mahabharata and abstract themes. The vibrant music is characterized by the rhythm of indigenous drums like the dhol, dhumsa and kharka and the melody of the mohuri and shehnai. Rhythm is vital to the rendering of Chhau. Some of the rhythms of Chhau are from the repertory of drummers playing at births, deaths and other life-cycle ceremonies in households of this region. The composition of the rhythm is so structured that it is independently capable of expressing the emotive content of the dance.
India 2010 -
Traditional performance technique of folk music instruments and their repertoire
Nomadic Mongols created variety forms of music instruments, developed performance techniques and a rich repertoire over a long span of historic period. In terms of sound, Mongolian national music instruments fall into the categories of strings, wind and percussion. Bowed and plucked stringed instruments include khuur (fiddle), ekil (two-stringed wooden fiddle), khuuchir (four-stringed instrument), bivleg, tovshuur (two-stringed lute), yatga (zither), yanchir or yochin (dulcimer), shudarga (three-stringed lute) and biba (lute). Wind instruments include limbe (side-blown flute), tsoor (panpipe flute), tsuur (three-holed vertical flute), bishgüür (shawm) and ever büree (horn-trumpet). Brass instruments, which are often used in celebrations and for calling and cheering, include the ikh büree (the long trumpet) and tsordon büree (small trumpet). A variety of percussion instruments, such as khengereg (big drum), tsan (cymbals), bömbör (drum), kharanga (gong), denshig (miniature cymbals), khonkh (bells), damar (double-headed hourglass drum) and duudaram (gong-chimes), were used during wars and hunting as well as during shamanic and Buddhist rituals and practices.
Mongolia -
Aytim (Couplets)
Aytim (Couplets) is a small form of performing art used mostly by mothers while speaking with babies. Couplets are quite important in bringing up good aesthetic taste in children, introducing them to good, real. This is like appeals to the baby in song form, which he will remember for life. Naturally, Aytim contributes to the formation of hearing, the recognition of sounds and rhythms. It also has a hidden connect with the mother's soul.
Uzbekistan -
Olan (Singing)
Olan is one of the well-preserved types of folk song art in Uzbekistan. The beauty of them lies in the possibilities of improvisation, the simplicity of rhythms, and paying special attention to the text when performing. Aytys available to the brotherly Kazakh and Kyrgyz peoples has a connection with our Olan. Olans are executed without instrumenttal tracking. Olans are alternate singing and the exchange of lines between a guy and a girl. Replicas can also be exchanged between performer groups. Various topics are used, mainly love.
Uzbekistan -
Nora, dance drama in southern Thailand
Nora is a lively and acrobatic form of dance drama and improvisational singing in local Southern Thai dialect. It is accompanied by strongly rhythmic music and elaborate costumes which embody a distinctive life force in Southern Thailand. Nora derives from community rituals in Southern Thailand that assemble families who perform Nora to honor their former Nora masters and expel harmful spirits. As central part vital community ritual performance, Nora helps the community to re-connect to its ancestors, to keep strong and to re-constitute itself by initiating new Nora dancers, healing illnesses, reconciling communal disorders and blessing all participants. Performances normally include a long oral invocation, followed by a performance centering on a lead character who dances with vigorous and elaborate movements of legs, arms and fingers. The lead Nora performer sings and dances scenes that are usually based on Buddhist Jataka tales – stories about the former lives of Lord Buddha – or those tied to legendary heroes, Phra Suthon and Manohra. The music ensemble plays highly rhythmic and fast-paced southern music, with the Thai southern oboe providing the melody and strong rhythms produced by drums, gongs, cymbals and wooden clappers. The main Nora performers – whether male or female – wear colorful and decorative costumes, with crowns or ‘Serd’ ornamented headdress, beads, bird-like wings tied around the waist, ornate scarves, and ‘Hang Hong’ or swan tails on the back providing the performers a bird-like appearance. Performers also wear long metallic fingernails that curl out from the fingers.
Thailand 2021