ALL
oral
ICH Elements 300
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Art of Đờn ca tài tử music and song in southern Viet Nam
Đờn ca tài tử is a musical art that has both scholarly and folk roots. It developed in southern Việt Nam in the late nineteenth century. People in southern Việt Nam consider Đờn ca tài tử to be an indispensible spiritual cultural activity and a highly valued part of their cultural heritage. It is performed at numerous events such as festivals, ‘death anniversary' rituals such as the Death Anniversary of the Ancestors held annually on the twelfth day of the eighth lunar month, and celebratory social events like weddings and birthdays. The performers express their feelings by improvising, ornamenting and varying the ‘skeletal melody’ and main rhythmic patterns of these pieces. The audience can join practicing, making comments or creating new song texts. Đờn ca tài tử is played on a variety of different instruments, including the moon-shaped lute, two-stringed fiddle, sixteen-stringed zither, pear-shaped lute, percussion, monochord and bamboo flute. Its repertoire is based on twenty principal songs and seventy-two classical songs.
Viet Nam 2013 -
Practices of Then by Tày, Nùng and Thái ethnic groups in Viet Nam
Then a ritual practice indispensable in Tày, Nùng and Thái ethnic groups' spiritual life, reflects concepts about human beings, natural world and the universe (the Earth realm, the 3-layer Heaven realm). Then ceremonies describe a journey in which Then Master (Male/Female) controls ghost soldiers travelling from the Earth realm to the Heaven realm, the residing place of the gods, to offer worshipping items and show their praying requests for peace, bad luck relief, illness treatment, good crops, new house inauguration, initiation/title-conferring ritual (cấp sắc), blessings and happy new year. Then Masters start the journey by singing and plucking the tính lute (two or three-string lute). Depending on worshipping purposes, Then Masters will arrange worshipping trays to pray different native Gods, among whom Ngoc Hoang is the highest God. Then Masters often use a summoning tablet, a seal, a demon-expelling sword, a yin and yang rod, a bell, a fan and items such as pork, chicken, wine, rice, fruits and votive papers to perform Then ceremonies in the believer’s house, outdoor or at Then altar of the Master’s house. While practising, Then Master wears ceremonial dress, sings the language of his ethnic group and plays the tính lute, shakes the chùm xóc nhạc (rattle-bells), waves a fan. In some ceremonies, a female dancing group will accompany. Then rituals performances express Tày, Nùng and Thái’s cultural identities, from customs to musical instruments, dance and music. Then is always transmitted orally while its rituals are being conducted, reflecting the succession between generations.
Viet Nam 2019 -
Rūkada Nātya, traditional string puppet drama in Sri Lanka
Rūkada Nātya is a type of drama performed using string puppets, traditionally meant for providing innocuous entertainment and conveying moral lessons to village communities. Themes are chosen from folktales, Buddhist stories, ancient literature, historical narratives, and the trivia with humorous anecdotes from contemporary life or from nādagam, an extinct form of ‘folk opera’. Puppeteers prepare their own handwritten scripts with dialogs and songs, and recite them, while manipulating the puppets. Puppeteers make their own wooden puppets with movable joints that represent either ‘static roles’ with fewer movable joints and of near life-size; or ‘active roles’ with many movable joints and of 3.5’ to 4.5’ in height. Puppets are dressed with colourful costumes that identify the characters they portray. Puppeteers manipulate them using strings tied to single short bars or two crossed-bars held by hand, while standing on an elevated horizontal platform and leaned onto a horizontal bar that is fixed across the stage about the shoulder-height of the puppeteers. A small band of musicians provides accompaniment using a harmonium, a violin, and a drum. Performances are held as community events at public spaces suitable for community gathering, mostly during festive times in the months of May and June, while special shows are held at schools and higher educational institutes. Makeshift stages, made of wooden frames and covered with black curtains on all sides to camouflage the strings to create an in illusion of reality. Performances are held in evenings in a well-covered space under dim light to enhance the illusion.
Sri Lanka 2018 -
Khon, masked dance drama in Thailand
Khon is a highly-refined performing art that combines multiple artistic elements: musical, vocal, literary, dance, ritual and handicraft. It may have combined features of ancient genres: court ritual, martial art, and the shadow play. It tells the story of Ramakien – the localized Thai version of the Ramayana epic. Its many episodes depict the life of Rama, his journey in the forest, his love for his wife Sita, his army of monkeys, the fights with the army of Thosakan (Ravana), king of the giants, and his final victory. The dancers wear elaborately embroidered costumes. The giants and monkeys all wear masks that cover their entire head. The colours and shape of each mask are unique to each character. The drama is enacted through dancing, accompanied by a piphat classical xylophone ensemble, singing, and narration. Each major type of characters has a distinct mode of dance expression. The dance postures and movements, the music, and the repertoire have been handed down from generations since the 15th century. The masked dance performances form part of social practices such as royal cremation, cremation of high-ranking persons or revered monks, and celebration of sacred sites and temples. Dancers, musicians, craftsmen and other members of Khon community annually perform a ceremony to honour Khon masters of the past, teachers, and deities. During this ceremony, new members are initiated into the community. Khon performance is continually evolving with new interpretations, and the adoption of modern technology for stagecraft, whilst retaining its traditional intensive dance training and ritual.
Thailand 2018 -
Suri Jagek (observing the sun), traditional meteorological and astronomical practice based on the observation of the sun, moon and stars in reference to the local topography
Suri Jagek, literally translated to ‘observing the Sun’ is the traditional Kalasha meteorological and astronomical knowledge system and practice based on the observation of the Sun, Moon, Stars and Shadows with respect to the local topography. The practice of Suri Jagek demonstrates the relationship of the Kalasha people with their surroundings and the capacity of their immediate geographical context to sustain their way of life. Suri Jagek is a knowledge system which connects a long history of “events” to topographical locations. The system is a complex structure of empirically observed accumulated knowledge and is repeatedly referenced to allow the Kalasha people to predict the appropriate time for the sowing of seed, animal husbandry and natural calamities. It is also used to govern the Kalasha calendar by determining dates of important social events, festivals, feasts and religious ceremonies. It draws greatly from the rich cultural heritage and social practices of the people, therefore functioning in the capacity of a repository of the history of the people and the region at large. Visual cues existing within the periphery of the topography are used to mark the specific positions of the rising and setting Sun, and hence the collective markings are used to record the positions of the Sun throughout the year. Observatories called ‘Suri Jagaekein’, are chosen in each village to observe the rising Sun, and a separate location is assigned to observe its setting. The specific positions on which the sun casts its shadows are also marked in some people’s houses on walls or poles etc. Individual localities have their own specific knowledge, generated using the common processes of marking the positions of the Sun. Qazis, who are authorities on matters pertaining to religion, history and indigenous models of conflict resolution, farmers, some shepherds and a few village elders are the knowledge bearers of Suri Jagek and the observations at the Suri Jagaekein made by various community members are shared in communal gatherings. A general consensus is reached in a Jirga (communal forum); however, presently this is only practiced in the Rukmu valley on the 16th of December. Knowledge related to the constellations of stars, meanings of various types of rainbows and the study of clouds as well as shadows are all in the wider ambit of Suri Jagaek. The Libra constellation known as Tarazu is considered particularly important during the Spring period coinciding with the month of Amaal Mastruk. When the constellation is observed in its clarity during the month, it is indicative of the ground softening the next morning; a time considered vital for the planting of crops.
Pakistan 2018 -
Kushtdepdi rite of singing and dancing
Kushtdepdi rite of singing and dancing is a performing art combining the genres of creative poetizing focused on good feelings and wishes, its singing with vocal improvisation and dancing with movements of hands, gestures and footsteps in accordance with the tune of the song. The element serves as a tool and a medium for conveying good wishes for happiness, mutual respect, solidarity, social cohesion to the wide public and youth. The element is considered as an inseparable part of child birth ceremonies, wedding ceremonies and national celebrations. Its introductory part starts with singing poetic words of best wishes for well-being, happiness and sermon for the youth to keep close ties with elders that is performed by a seated group of respected women dressed in traditional costumes. Its next stage continues with inviting performers to start the rite and then the performance is led by singing of a couple of poetry singers (traditionally a woman and a man) with dances to the accompaniment of songs in a semi-closed or closed circles. Dancing movements start with three steps on right foot and then simultaneously tramping and clapping which are intended to drive maleficence and misfortune away from the future life. The element is performed at the end of events concluding in a positive note as a prayer to the nature for fertility, procreation, solidarity and peace.
Turkmenistan 2017 -
Traditional turkmen carpet making art in Turkmenistan
The traditional turkmen carpets and carpet products are the hand-woven woollen textile goods of ornamental art with quadrangular shape in different sizes with dense texture ornamented with characteristic colored patterns pertaining each separately to one of five main turkmen tribes (tekke, yomut, ersary, saryk and salor). Their designs form patterns from clear linear geometric ornaments (dots, lines and figures). Compositional decision of the turkmen carpets has characteristic features: the central field with major patterns ("gels") in octagonal forms is limited with the borders, patterns which differ from that of the central field. The alternation of recurrence of designs represented with combination of the belt and centric ornamental compositions. Reality surrounding a carpet weaver (local flora, fauna and environment) has been reflected in a combination of the threads, pictures and colours creating carpet designs. The turkmen carpets are created on horizontal or vertical looms mainly using different coloured wool threads. Weavers use both types of knotting; double knots with double weft or one-and-a half knot with double weft. Carpets serve both as a floor covering and a wall decoration functions and substitute furniture to satisfy everyday aesthetic needs of turkmen people. There are also special carpets woven for the birth of a child, for wedding ceremonies, for prayers and for mourning rituals. Carpet products such as chuvals (sacks), khorjuns (saddle-bags), torbas (bags) are destined for clothing, transportation of various household paraphernalia and used for decorations of camels, horses, nomad tents, wedding processions etc.
Turkmenistan 2019 -
Lkhon Khol Wat Svay Andet
Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana. Lkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.
Cambodia 2018 -
Kazakh Kuresi – Traditional wrestling
Kazakh Kuresi represents ancient form and style of Kazakh traditional wrestling, essential element of all festive events, celebrations and integral part of modern Kazakhstani national identity. Since ancient times, the beauty of this sports and strength of the hero-wrestlers “Baluans” have been reflected in folk epics, fairy legends, Kazakh literature like the poem of Iliyas Zhansugurov “Kulager” and Gabit Musrepov’s novel “Ulpan”, and archaeological findings. Wrestling of two opponents is performed on 12m.x 12m. sized mat. The opponents are matched according to their weight category ranging from 60 kg and above 90 kg. All techniques are performed above the waist – wrestlers must fight on foot, making it more difficult. Wrestling on the ground is prohibited. The purpose is to lay the opponent on shoulders. Duration of the match is 5 minutes with extra time of 3 minutes which is offered in case of even number of points. Evaluation of matches is counted by: a) “Buk” – if the opponent touches the mat with abdomen, knee or both knees; b) “Zhambas” is given for three “Buks” or when the opponent touches the mat with one side of pelvis or both; b) “Zhartylay zhenis” is awarded for the technique when the opponent touches the mat with both shoulders.
Kazakhstan 2016 -
Traditional skills of carpet weaving in Fars
Carpet weaving is one of the world's most traditional, conceptual, applied arts. Iranians enjoy a global reputation in carpet weaving and its skills; and carpets of Fars with nomadic and rural characteristics constitute a genuine example. Historically, carpet weaving in Fars province dates back to the seventh century(AH). Carpets of Fars are known as either «Qashqai» or «Khamseh Tribes» carpets. These are the nomads moving between Esfahan and Persian Gulf coasts. Among the tribes of Qashqais, the more prominent are Darre-Shuri, Kashkuli-ye Bozorg, Kashkoli-ye Kuchak, Shesh-Boluki, and Gharache. Due to the immigration requirements, the size of nomadic rugs is usually small; they are, however, beautiful. The stages of Carpet Weaving in Fars Province - Wool cutting The carpets usually utilize wool as the basic material. The men cut the wool of their sheep, skillfully, in spring or autumn. The quality of the wool on each of the eleven sections of the sheep body, and the related colors are different. - Frame(loom) Making The portable frame of nomadic carpets is rectangle in shape, with a metal or wood support; it is placed on the ground. The act of knitting is performed on it. The men construct the frame, too. - Weaving The women convert the wool into strings on spinning wheels or weaving machines. They, masterfully, take care to obtain the best qualities. The spinning wheel is a wooden tool that resembles a big spin; the wool is turned around it from the hand of the knitter, then weaved. The spindle wheel is a wooden structure with the wool being placed in its middle to turn into strings when the wheel turns. - Painting Colors are mainly natural; the main colors are laquer, painted blue, dark blue, brown and white. The plants from whichthe colors are extracted include Madder, Indigo, lettuce leaf, walnut skin, Jashyr, cherry stem and skin of pomegranate. The pigments, so called, Dandane, are elements which allow color stabilization and imprint on the fibers; the most important modants include Alum (Double Aluminum Sulfate), Green Vitriol (Cut Blue), Double Copper Sulfate, Black Vitriol (Double Iron Sulfate). - Knitting While knitting, the women tie the colored strings on the wool web to cover the frame and give shape to the carpet. Two types of ties are common: The ""Persian tie"", an assymetric tie, usually used in places where Persian Language is spoken, where it is referred to as, so called, Farsi-Baf (done in the Persian style), and the Turkish tie, a symmetric tie, in that the two webs are of the same size and the tie is made in the middle; this second tie is more popular in places where Turkish is in use, so the name Torki-Baf (done in the Turkish style). - Completion Completion refers to the activities done for final furnishing. These include sewing the sides (so called, Dowrduzi: Some products will be sewn on the sides to be used as bags, called ""khorjin's"" or ""chante's"" on the region); burning the extra wool to make the designs vivid and enhance the quality of the product (so called, Porzsuzi); double tied roots, and final cleaning. Nomadic Gilims Wraps of Fars are not painted with painted woofs; both sides of the product can be used. Limited materials have led these products to be more geometric in both texture and margin, mirroring the local culture of the community. The most important characteristic of Fars carpet weaving is the unique method of weaving without any maps. One weaver will not be able to weave two carpets of the same design, especially, if she does not enough time to consider the details. Fars carpets include the following types: Simple Gilim(one sided or two sided): A carpet made through passing the colored wool strings, called ""Pud's"" between the vertical strings, called ""Taar's"", without maps. Rug: A carpet with thinner ""Pud's"" and thicker ""Taar's"". The product is thicker in diameter, compared to Gilim's, and is one-sided. Ghaaliche: A rug of smaller dimensions (measuring to less than three square meters). Jaajim: A product of woolen ""Taar's"" and ""Pud's"", with simple and attractive designs, and a variety of usages, including those of carpets, beds, pillows, etc. Gilim-e Naghsh-barjaste(Goljajimi Gilim): A one sided gilom with its main motifs embossed. Somak (Rendy): A one-sided Gilim, out of which ""Ghali's"" (rugs) are believed to have been evolved. Shishe Derme: A Gilim with a simple pattern; it has no knots and naps, is two sided in a way that the mirror patterns of its face are weaved on its back side. Gabbe: A gross nomadic carpet, vastly verified, and done without any map. There are both colored Gabbe's, and Gabbe's of natural colors. So called, ""Shiri"" Gabbe's of Fars mark nomadic courage for the owner.
Iran 2010 -
Music of the Bakhshis of Khorasan
In Khorasan of today a special music known as the music of “Bakhshis” is widespread. It is played by a master-musician playing Dotār (the regional long-lute type instrument with two strings). The music constitutes the local music of the region, played as solo, and accompanied by improvisations. Bakhshis sing epic and Sufic poems, containing mythological and historical themes. Presently, they perform in various gatherings of the locals, both cheerful and mourning; in the past other types of celebrations were attended by them, too. They perform their Maghams in Turkish, Kurdish, Turcoman and Persian. The contents the music of Bakhshis consists of legends, and historical and ethnic narrations containing epic, religious and romantic themes, performed as singing, ordinary speech, and citation in a repetitious manner. The events of the story are cited; and the poems are sung. Accordingly, the music of Bakhshis can be considered as a combination of music (vocal and instrumental) and verbal dramatic arts. DEFINITIONS: “BAKHSHI” In Persian, the word “Bakhshi” derives from the gerund “Bakhshish” meaning “granting”, conveying the impression that the Bakhshi is an exception in character, whom God has granted a gift. Accordingly, “Bakhshis should be able to sing, play, versify, narrate and make their own musical instruments.” MAGHAM: Bakhshis play regional Maghams, and their music is known as Maghami. Magham consists of pieces of instrumental and/or vocal music, influenced by the regional locals’ culture and beliefs. “Magham” is a popular word in other regions of Iran and some neighboring countries. However, the content and performances define Bakhshis music as especial in identity, while enjoying shared roots with the traditional music of the region, and the Repertory of Iranian Traditional Music, as well. TYPES OF MAGHAMS: The common Maghams of Bakhshis Music are as follows: Navāyī Navāyī is the most widespread Magham of the music of Bakhshis. It is diverse, vocal, rhythmless, accompanied by Sufic poems. The performer shall not be known a Bakhshi, unless he is competent in playing Navāyī. Modulations are observed in variations of Navāyī. Tajnīs A Turkish Magham, Tajnīs enjoys many intricacies which mark competent Bakhshis once performed. Tajnīs is vocal and rhythmless, accompanied by Sufic poems. In comparison with Navāyī, Tajnīs is poorer in its varieties Modulation in variations of Tajnīs are also popular. Gerāyelī/Gerye-ye Leylī (Leyli’s cry) Gerāyelī is a sorrowful Turkish magham, with poems narrating breakaways. The chanson enjoys rhythmic and rhythmless parts. Shākhatāyī A Turkish vocal and rhythmic magham, with sorrow in the vocal section, and cheer in the rhythmic one. Shākhatāyī embraces many varieties; and its long poems present religious themes. Loy Loy is an antique magham, belonging, specifically, to Kormanj Kurds of Northern Khorasan. It is a vocal and instrumental magham, with romantic and describing content. THEMES: The following provide Bakhshis Music with its common themes: (EPIC): “Kūroghlī”: An epical-historical story, narrating the gallantries of a hero named Kūroghlī in his battles against the rulers of his time; (HISTORICAL): “Shah Esmail”, narrating the gallantries of Imam Ali, the first among the Imams, utilizing the life story of Shah Esmail, founder of the Safavid Dynasty; (RELIGIOUS): “Ebrahim Adham”, the religious-Sufic life story of the Sufist, Ebrahim Adham; (ROMANTIC): “Leyli & Majnoun”, the love-story of Majnoun, and his beloved, Leyli. DOTĀR The only musical istrument accompanying the music of Bakhshis Dotār: a long-lute with two strings. (“Dotār”, in Persian, means an instrument with two strings). Traditionally, the strings were made of silk; and Bakhshis used to determine the desired thicknesses. Since around forty years ago, however, metal strings of desired diameters started to be employed instead. Bakhshis consider one string as male, and the other female. The male string remains open, while the female one is being used to play the main melody. The harmony provides the music with its unique character. The five fingers play the role of the plectrum. The bowl is pear-shaped, and is made of berry wood, as a unibody. The tall and slim handle/neck is made of stronger apricot wood. Bakhshis Dotār's hold 12 to 14 frets. Nowadays nylon has been substituted for the traditional sheep intestine as the material. PLAYING SKILLS: Khorasani Dotārs are played in different pitches. The major factors responsible for the variations include the diverse musical habits of the inhabitant ethnicities, and the verifiec “maghams” on the region. The two main pitches are, however, the, so called, Turkish and Kurdish pitches. Through the former, Navāyī, Tajnīs, Gerāyelī, and Shākhatāyī, among others, are performed, and, through the latter, Loy, Allāh-Mazār, Jafargholī, and the like.
Iran 2010 -
Art of crafting and playing with Kamantcheh/Kamancha, a bowed string musical instrument
The art of crafting and playing with Kamantcheh/kamancha (“little bow”), a bowed string instrument, has exsited for more than 1,000 years. In Iran and Azerbaijan, types of this art constitute major elements of classical and folkloric Music. Classical Iranian Music refers to the urban music with “Radif” repertoir; the Folkloric Kamantcheh Music refers to the mainly rural musical traditions of Azarbayjan, Lorestan, and Torkaman Sahra. In both countries, contemporary practitioners mainly make and use four string Kamantcheh/kamancha composed of a body (chamber, neck and pegs) and a bow with horse-hair. Some Folkloric variants with two or three strings are also popular in Lorestan, Azarbayjan, or Torkaman Sahra, Iran(also, cf.D). Craftsmanship starts with choosing wood material. Craftspeople use walnut and/or mulberry for the body, and cornel for the bow. In Azerbaijan, only ball-shaped resonating chambers are crafted. Iranian communities produce the following resonating chambers/sound-boxes: 1-Pošt-baste(""closed in the back""):A hollow oval with sheep-skin; 2-Pošt-bāz(""open in the back""):A half-cone, with sheep-skin on one end. Craftspeople create a bowl and a round fingerboard, and unite them with an iron billow that ends up with a base shaft at the bottom. The chamber’s open side is covered with sturgeon, catfish, sheep or bovine bubble skin. They very often inlay the body with mother-of-pearl or other materials to express and mark different motifs and add their personal touch to the external decoration. In Iran, calligraphy, wood carvings, or inlayed jewels and shells are also practiced. The instrument rests on the base shaft and stands vertically on performer's lap or beside them; performers move the bow horizentally on the strings, and pivote Kamantcheh round the shaft to facilitate transfers on the strings. Kamantcheh/kamancha produces strong and subtle sounds, close to human voice with the sound diapason ranging from small octave ‘A’ to the third octave ‘A’. Players perform large works and etudes using various performing techniques, individually or as part folk orchestras. Generations of performers have left invaluable heritage of Kamantcheh/kamancha works, which are reproduced by young performers, adding their own playing dynamics and colouring. Transmitted from generations to generations at professional and amateur levels, within families or professional education institutions, this art brings together a large community of Kamantcheh/kamancha music lovers and listeners and continues to be a marker of cultural belonging.
Azerbaijan,Iran 2017