ALL
pagoda
ICH Elements 18
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Chapei Dang Veng
Chapei Dang Veng (hereafter Chapei) is a popular musical tradition found in Cambodian society. The singing of Chapei is accompanied by a long necked lute Chapei from which the tradition takes its name. Chapei is closely interwoven with the life, traditional customs and beliefs of the Cambodian people. The instrument itself is used in two eminent ancient ensembles,'Pleng Araek' (Spirit Music) and 'Pleng Kar Boran' (Traditional Wedding Music) both of which are endangered forms themselves. Chapei performers are generally male, although there are no restrictions regarding gender or social class. Chapei players are not only musically adept, but also witty, intelligent, and quick to adapt and improvise. They should be well-versed in language, literature, and poetry, and a good story teller. From 1975 to 1979, the Khmer Rouge regime systematically annihilated and destroyed any form of intellectual activity including traditional arts. As a result many traditions such as Chapei disappeared from the scene together with the people performing them. Only two grand masters of Chapei survived this gruesome period and together with some other masters and their students are trying to revive the art form today.
Cambodia 2016 -
Noken multifunctional knotted or woven bag, handcraft of the people of Papua
Noken is a knotted net bag or woven bag made from wood fibre or leaves, sometimes coloured and decorated. Noken is a traditional handcraft of all communities of Papua and West Papua Provinces, Indonesia. The day-to-day function of large size noken is for carrying plantation produce, catch from the sea or lake, wood, babies, small animals, shopping, etc., and for hanging at home to store things. Small size noken is for carrying personal effects such as betel nut, food, books, etc. Noken may be used to cover the head or body. For nearly all (275/311) respondents, noken is an accessory to their traditional dress, and according to most (290/311) is used in traditional ceremonies or celebrations, such as marriage proposals, marriage ceremonies, initiation of children, appointment of community leaders, welcoming guests and for keeping sacred heirlooms.. Among mountain communities, noken had been given along with other presentations to make peace between disputing parties. Drs. H. Rahimin Katjong, Deputy Governor of West Papua, recalled wearing a small noken containing betel nut etc at the time of his appointment as a traditional community leader at Fak Fak, West Papua. Nearly all (276/311) respondents explained that noken is used by all age groups, and most (282/311) observed that noken is used by both sexes. As soon as babies learn to walk, their mothers give them a small noken containing food such as sweet potatoes, thus instilling the habit of carrying one’s own needs, which may also be used to help others, inside a noken which is always close at hand. Three quarters of respondents (235/311) said that noken is generally made by women-- ”the Mamas of Papua”--usually adults according to most respondents (250/311). Women thus play a special role in safeguarding noken culture. At Epouto village in Paniai District, we found male orchid-noken craftsmen. Asmat community men also make noken. Most craftspersons make noken in their spare time from agriculture, fishing, and household duties, though some make noken full time. Noken making goes on yearround, but will increase in times leading up to traditional festivals. The method of making noken varies between communities. A basic outline is as follows. Branches or stems or bark of certain small trees or shrubs are cut, sometimes heated over a fire, and soaked in water for some days. After soaking, only wood fibre remains. The Dani/Hugula in Wamena peel bark from sticks of certain trees and then beat the sticks till only fibres remain. The wood fibre is dried, and then spun with the palm of the hand on the thigh of the craftsperson to make a strong thread or string, which is sometimes coloured using natural dyes. This string is knotted by hand to make net bags with various patterns and sizes. The same technique is used to make vests, hats, belts, etc.. In Paniai District we find noken interwoven with special decoration made from fibres from yellow, brown and black. orchid stems. Besides knotting, there are communities which make noken by weaving tree bark, wood fibre, pandan leaf, young sago leaf, or grass from swamps. Some select grasses with contrasting colours (Inanwatan, Metemani, Kais and Kokoda (Imeko) communities). Maybrat community craftspersons colour the fibres with natural colours. The fibres, leaves or grass are woven in various attractive patterns with symbolic meanings. To make noken requires great manual skill, care, artistic sense and inner satisfaction. Craftspersons often make noken while singing traditional songs of Papua. To become proficient in making noken takes up to several months of informal training. A skilled noken craftsperson will be much appreciated within her (or his) community. The diversity of making, wearing and use of noken continues to develop and be recreated as the response of the people of Papua to nature and their environment.
Indonesia 2012 -
Vietnamese Hat Boi (Hát Bội)
Hát bội (or can go with the name “tuồng”) is a traditional performance art form in Vietnam, it has a rich historical foundation. The oldest manuscript about Hát bội can be found back in the 18th century. However, Hát bội is believed to appear earlier than that and has become a dominating theatre practice, especially in the Inner Lands/Đàng Trong (a part of South Central area and Southern Vietnam). Just like any traditional art form, the stage of Hát bội also consists of aesthetic values of the Viet people, reflecting the life, stories, and aspirations of the common Viet people. Hát bội has charmed the audience not only for its humane storyline, but also for the sophisticated visual of face-painting, costuming, choreography, staging, and symbolic gestures. In recent times, Hát bội has slowly lost its place in public perception and became more of a spiritual performance to serve communal temples instead.
Viet Nam -
Pithi Bon Sob (Funeral Ceremony)
People in the world believe in the incarnation, and in order to be reborn, relatives and friends have to perform many ceremonies dedicated to their beliefs; however, the practice of this tradition varies from nation to nation. Even within Cambodia may vary by region. In the city or town, the body is usually cremated immediately within a few days after the death and the ashes are collected. This can be explained by the fact that the location and lifestyle required this. In some areas, after death, the body is permanently buried. In other areas, especially the Angkor region, Siem Reap, whether rich or poor, a deceased person must go through two major ceremonies. In the first stage, when death occurs, it is very important to perform a funeral one to two days, after the body is buried in the grave for at least a year. The locals understand that this is to let the earth embrace the body and feed the animals, that is, let the soil and water (adjacent to the soil) dissolve the body one step at a time. When the flesh is rotten, only the bones are left, and then the bones are burned and the air finally dissolves. This is because the human body is made up of four elements: water, earth, fire and air, and when dissolved it is made up of these four elements. According to the locals, the feeding of animals does not refer to vultures or other animals, but to earthworms. When a Chinese diplomat named Chiv Takwan arrived in Angkor in the 13th century, he wrote “a human corpse is placed in the wood to be eaten by animals”, it is believed that the soul will be incarnated faster”. Whatever the tradition, the main reason is how to get the dead person to reincarnate. The second stage is the cremation. Before the ceremony, the priest must do the ritual of "Yorng Sob" which is to remove the bones from the pit, wash them, pack them in rags, and wrap them in another mat, then place them on a tree trunk. After that, they arrange a joint cremation on the field. Because the burial was made long ago before the cremation and it is a joint cremation, so they could choose the day and the month as they wish. Cremation is usually held during the month of Phalkun, and although the ceremony lasts for several days, the day of the cremation has to be on "Ronoch". In general, this cremation is very solemn because it is held together by many families with about 10 to 100 corpses. In the case of any family with sufficient resources or the corpse of the former chief priest of the pagoda, it can be done separately, but it is very rare. The funeral lasts for 3 nights and 3 days. On the first night, they started a ritual called “stealing the corps” by taking the corpse (the package of bones from the Yorng Sob task) and hanging it on a tree or putting it in Saley cart until the evening of the third day before the corpse procession to the funeral hall or crematorium or "Phnom Yorng " or called "Meru") in the Khmer language. In the morning, on the first day, elders, priests and relatives of all the corpses prepare according to their respective duties and affordability. Achar (Priest) Yogi draws 12 soul flags, Achar organizes Buddha altars and an eight-story pavilion. Grandmas prepare Bay Betabor, Bay Sey and Sla Tor and men Jak Jek, making sand mountain, making Rean Nim Reach or Rean Puth Kun and Phnom Yong. Whereas, young women prepare spices, fish, meat for cooking and baking. On the same day, the initiator of the festival brings “Kroeung Bonlong” to a nun who has a role of "Keas Junh Jean Tbong". A priest ordains a man who will “Buos Mok Plerng”. Another priest performed the ritual of calming the coffin by measuring a banana vine and sprinkling water on the coffin. In the afternoon (around 3 PM), Acha Yogi performs Krong Pali. The next ritual is to raise the Aphitorm flag and the crocodile flag. The work is solemn as there is "Chark Ho." Later, seven monks recite prayers and performed sermons, and the next work is “Apisek” on Buddha statue. The ritual ends with a performance on the scene which “Socheata took honey “Mathubayeas” to give to the Buddha. In the early morning of the second day, arriving at the funeral hall, they piled up the sand, from a nearby pond to build a mountain with perfect decoration. According to the elders, the sand mountains represent the stupas in the Trinity. After that, the priests and elders performed the ordination ceremony of the sand mountain. On the second day, from about 3 to 4 pm, they prepare a reception. Traditionally, they often make Num Banjok “Khmer noodles” for the reception. It was about 4:30 when the corpse procession leaves the place where it was kept and enter the festival hall. The procession was followed by ritual items. The nun wears a gem ring, sitting in the front row, while the relatives of the corpse carry pole of Balong, and there is a monk sitting on a wheelless cart carried by men. Next, relatives were strapped by Sbov Pleang knot to a Somley cart, and four monks sit on the cart. If it is a procession of the body of the King or the body of the high priest, chariot is decorated and designed as a dragon or phoenix. Upon entering the Pnum Yorng, they process three rounds around the mountain. Then, Achar Yogi and Achar Phluk, they perform prayers and prayers in front of the Rean Puth Kun. Relatives of the corpses placed fragrant vines under the coffin. They make gods to come down and offer fire, and firecrackers were set on fire to run and set the coffin on fire. While worshiping, the Acha-yogi sits chanting dharma on the east side. As for the four Achar Pluk, they sit and chant dharma in the halls of each direction. The Keas Jun Jean Tbong nun meditates next to the funeral hall. This meditation session is to see which corpses have been received Balong and which corpses have not yet been received. After the cremation, Achar Yogi and Achar Phluk take banana leaves and a krama to cover the bones mixed with charcoal and rotate the Popil for the corpse. Later, the "transformation" ritual is the most important, Achar Yogi draw a human form and start a ritual for the corpse. Then Popil rotation ritual will be started, the relatives of the corpse collect the ashes, wash them with coconut water and put the ashes in a Krama hammock, and sing a lullaby to put the ashes to sleep as if putting the baby to sleep too. All ashes will be taken by relatives to keep at home for a while. The main rituals can be said to be over now, but the cremation ceremony will be completed on the morning of the third day, Rorb Bart ceremony and unrope sand mountain. So far, it is believed that the souls are not in peace yet, it is required to have one more ritual called interment of ashes. However, some families could not afford to keep the ashes at the stupa or under the temple grounds, they only do minor ritual. But if the family of the deceased has a prosperous life, they will hold another burial ceremony.
Cambodia -
Lkhon Sbaek Thom (Large Shadow Theatre)
There are three types of "shadow theater: large shadow theater, small shadow theater, and colored shadow theatre. "Large Shadow Puppet or Lkhon Sbaek Thom" is one of the oldest and most revered theaters in the country. It is interesting that in the inscription of Wat Baseth (K, 78) written in AD. 668 and 677 with the word "tokkatak" and the inscription of Kork Chak temple (K. 155) in the 7th century CE, there was the word "tokk tor", which are now called "tokkaktar". A picture that can be held up or down or a drawing that plays a story. Although it is not possible to confirm that this word is an ancient Khmer word called for "shadow theater", but it is also a proof or idea for consideration. The Lkhon Sbaek Thom only plays the story of Reamker, which is an ancient epic, and because the story of Reamker is too long, the whole story is never performed. Therefore, it is only excerpted the scene only. Traditionally, Lkhon Sbaek Thom is performed only in large ceremonies that are characterized by faith, devotion, prayer, and so on. Major ceremonies with large shadows include the Royal Cremation Ceremony and the Royal Family, Samdech Preah Sangkhareach, Chao Athikar Wat, Coronation Ceremony, and Birthday Celebration of the King, Chao Athikar Wat .... As for the ceremonies in the villages and districts, there are burial ceremonies in Khan Seima, the Inauguration Ceremony of the Buddha Statue, the ceremony for various achievements in the pagoda, Bon Phum, and so on. Lkhon Sbaek Thom is performed with a white canvas, about 2-3 meters wide, about 8-10 meters long, stretching about 1 meter above the ground. Behind the white cloth, there is a fireplace about 1 meter above the ground for lighting to illuminate the skin on the white cloth. Before the performance, they have to hold a ceremony to offer and pray to the masters and the souls. In that ceremony, a puppet shadow is put in front of the stage, and the most important image is Ey Sei, which is placed in the center and accompanied by the main characters, such as Noreay Pleng Sor, Preah Ream, Krong Reap, Hanuman, etc. In front of the skin, they prepare offerings of Bay Sei, Sla Thor, bananas, Mlu Sla, flowers, candles, incense, and rice ... as well as a bowl of blessing water. During the ceremony, all the performers must come and light candles and incense, with a teacher leading the prayer ceremony. At the end of the ceremony, the performance begins with the performer (also known as the "Neak Jert Sbaek") picking up a piece of Sbaek that is already arranged according to the story, places it next to the white cloth to reflect the shadows, and move it up and down with the rhythm of the music, accompanied by a narrative voice. In a fighting scene, the Sbaek are placed one on top of the other, or sometimes the two Sbaek are pressed against each other, slightly apart from the canvas, in order to make the fighting scene more realistic, leaving the two skins behind the performers to turn to a fight, pretend that the Sbaek is fighting like that. The audience can easily understand the story of the large shadow drama because of the narrator. That is why the narrator has a very important role. The narrators are usually old people who know the story well, although sometimes they have to look to the Sastra for help. Narrators sometimes have one and sometimes two to correspond. The words that are said are a collection of words, a poem and a list of words. The best narrator is one who uses humorous words to make the audience laugh. The fire that accompanies the large shadow theater is the music of Pin Peat ensemble. Usually, the skins for the large shadow theatre are made of cow skin, but according to some opinions, the main characters such as Ey Sei, Eyso and Noreay in ancient times were made from the skins of big tigers or bears, because these characters have higher power than the other characters. Freshly peeled skin is first cleaned and "killed" by staining the ashes and soaking in boiling water. The type of wood that is used to soak the leather is mixed with a strong sour and bitter wood so that it gives the leather color, lasts a long time and prevents insects from eating. Then the leather is carved into pictures according to the desired story. When carved, the bark is boiled to make ink to turn the leather brown, and the most important bark is the middle bark. Finally, a bamboo stick is used to tie the leather vertically, using one or two bamboo strips the size of the figure to hold the skin so that the leather can be held for the performance. According to research reports, between the 1960s-70s, there are large shadow theater groups in Phnom Penh, Siem Reap and Battambang. In 1965, the large shadow theater troupe was formed in the traditional dance troupe under the "National Preservation of Performance" and later become the "Department of Performing Arts", now under the Ministry of Culture and Fine Arts. In addition to the large shadow theater group of the Department of Performing Arts, there are also large shadow groups of the Arts Associations and Communities such as large shadow group, Sovannaphum Arts Association (Phnom Penh), Kork Thlok Arts Association (Phnom Penh), Wat Reach Bo (Siem Reap), Large shadow troupe Lok Ta Ty Chien (Siem Reap), large shadow group Lok Ta Hing (Siem Reap) and Banteay Meanchey Provincial Department of Culture.
Cambodia -
Sbek Thom, Khmer shadow theatre
The Sbek Thom is a Khmer shadow theatre featuring two metre high, non-articulated puppets made of leather openwork. Dating from before the Angkorian period, the Sbek Thom, along with the Royal Ballet and mask theatre, is considered sacred. Dedicated to the divinities, performances could only take place on specific occasions three or four times a year, such as the Khmer New Year, the King’s birthday or the veneration of famous people. After the fall of Angkor in the fifteenth century, the shadow theatre evolved beyond a ritualistic activity to become an artistic form, while retaining its ceremonial dimension. The puppets are made from a single piece of leather in a special ceremony for each character representing gods and deities. The hides are dyed with a solution made from the bark of the Kandaol tree. The artisan draws the desired figure on the tanned hide, then cuts it out and paints it before attaching it to two bamboo sticks enabling the dancer to control the puppet. The performances traditionally take place at night outdoors beside a rice-field or pagoda. A large white backdrop is held between two tall bamboo screens in front of a large fire or, nowadays, projectors. The shadows of the puppet’s silhouettes are projected onto the white screen. The animators bring the puppets to life with precise and specific dance steps. The performance is accompanied by an orchestra and two narrators. Inspired from the Reamker, the Khmer version of the Ramayana, the performances stage scenes of this epic, which may last several nights and require up to 160 puppets for a single presentation.
Cambodia 2008 -
Pleng Pinpeat (Pinpeat music)
It is believed that "Pin Peat music" is a combination of two groups of music, "Pen band" and "Peat Korng band". Pen is derived from the Sansakrit word “Vina”, an ancient Khmer word written “ven or vin”, Pen is a stringed instrument that uses fingers for triggering or strumming. The word Ven or vin is found in inscriptions (inscription No. K. 600, inscription in 611 CE, inscription of Preah Ko temple, inscription K. 315, inscription in 879 CE, and inscription of Preah Enkosei temple). No. K. 263 (D) inscribed in AD 984, etc.) and on the carvings of Sambor Prei Kuk (7th century AD) as well as on the walls of Angkor Wat (12th century) and Bayon temple (13th century AD) and so on. The "Peat" or full "Pat Kong" is a type of percussion instrument using a long with 8 or 9. Peat Korng is found in the inscription Nokor Wat IMA.36 inscriptions in the 16th century. Of the gallery of Angkor Wat temple. The pagoda is still in use today in Kork Ta Chan village, Kork Chak commune, Siem Reap district, Siem Reap province. To this day, even though in Pin Peat orchestra, Pen and Peat Korng are no longer found, People still call the orchestra as "Pin Peat”. Based on observation, in today's Pin Peat orchestra, there are instruments such as: Roneat Ek, Roneath Thoung, Roneath Thong or Ronat Dek, small gong, big gong, a pair of strings (small and large strings), a pair of big drums and ching. . As for the Pin Peat orchestra, the small orchestra has instruments such as: Roneat Ek, the big gong, the strings and a pair of big drums.
Cambodia -
Pleng Chaiyam (Chaiyam Music)
"Phleng Chai Yam" is lively, and funny and captivates the audience's attention. This music is played to celebrate many festivals such as Bon Pka festivals, almsgiving, dragon baptism, and so on. Apart from this, you can also play in some other events such as marching, leading leaders or players, etc. Chaiyam musical instruments include 5, 7, and 9 long drums (may be more or less as possible), one or a pair of krab, one or a pair of chap, one gong mong (as a rhythm giver or so-called master) And sometimes there are cheong and tro to support as well. For the costume, men are wearing Kben, Sontaes shirt, using different bright colors with a scarf around their waists. Most of the characters wear funny face masks made of paper. Sometimes there is also a female character holding Chap to accompany the dance. If there is no woman, there must be a man dressed as a woman. Many festivals are held at pagodas, so each pagoda always has a Chai Yam band.
Cambodia -
Sak (tattoo)
"Tattoo" a tattoo on the body that uses a needle or a sharp metal with black or red ink to permanently mark on skin. In Cambodia, tattooing on the body is a popular tradition, especially among the army and martial arts practitioners. For them, this tattoo is not for decoration, but a combination of magic to protect themselves in battle. People who know how to get tattoos are usually shaman may be respected elders, or may even be monks who know how to teach magic from their fathers or teachers. Traditionally, almost 100% of the students (who come to get tattoos) are men. It is rare to see women getting tattoos, as mentioned above, most people who get tattoos likely are soldiers or martial art practitioners. Tattooing is done at a shaman's house or at a pagoda if the tattoo artist is a monk because there are altars in those places. They can get a tattoo on any day, but it is believed that getting a tattoo on a holy day or a full moon is even better. The sacrificial offerings for getting tattoos included chom, mlu, betel nut, cigarette, candle, incense sticks, flowers, perfume, white skirt, money, and so on. Before getting a tattoo, the student must state his/her intention to get the tattoo so that the shaman can decide which Balinese to cast. Most of the Balinese chosen for tattooing are self-defense devices, such as bullet-proofing armor, stealth, non-cutting, non-burning, anti-witchcraft, and anti-demon and charms or commercial charms which is Youn Moha Niyum, and so on. During the tattooing process, both the shaman and the student must meditate and concentrate to avoid making mistakes, otherwise, it will be difficult to erase. Not only that, students have to pray constantly to absorb Balinese. As for the shaman, he also recited the Bali word for tattoo. The ink used for the tattoo is extracted from battery ink (some burn car tyres or motorbike inner tubes to make charcoal) and mix it with wine or sugar cane juice. Tiger milk is even more special. The most advanced tattoo artist, would simply draw a line on your body and design the tattoo right away. But those who are not so good at it, need to draw the tattoo first before putting the prepared ink on the drawing. To prevent perspiration, they apply a small amount of powder over the tattoo site. In case the tattoo is complicated and cannot be completed in a day, they have to wait until the skin recover before the tattoo can be continued. After getting the tattoo, you have to recite the blessing immediately without any offerings, just light incense sticks to commemorate the shaman. But if the students want to prepare the offerings again, they can prepare a bowl of water scented with good smell flower or just with perfume smell is enough. There is no need to add any offerings more than this. After the blessing, the teacher should tell the students what to refrain from. That can vary from shaman to shaman. Some people are forbidden to eat taro, banana tree, dog meat or walk under cloth lines, under a house, or under a carambola tree. It is believed that if a student does not respect others, he or she may become insane. If so, they have to invite the tattoo shaman to come and pray for the student to recover. Nowadays, there is a new types of tattoos to beautify the body, not to protect oneself, and even women like to get tattoos. Such tendencies may be influenced by foreign factors. The tattoo is not a Roub Yant, it has all kinds of tattoos to suit your tastes. As for the tattoo, there is no need to pick a time, there is no need to prepare, there is no need to recite magic when getting a tattoo and there is no need to do anything.
Cambodia -
Robam Trud (Trud Dance)
"Trud" Dance is originated in rural communities and is now only found in Siem Reap and some villages of Battambang adjacent to Siem Reap. "Trud" in Sanskrit means “The act of cutting, detachment) The locals play this dance only during the Khmer New Year, in the sense of cutting off the old year to move on to the new year, as well as expelling evil spirits in order to get good fortune. However, during the dry season, this dance is also performed to pray for rainfall. In addition, the importance of playing this dance is to raise funds to build and repair communal infrastructures in the community, especially in the pagoda, which is not for personal gain. This dance can be joined by more or fewer dancers according to the preferences of the village or the number of volunteers. The equipment also depends on the number of dancers. The equipment is also doubled as the props and accompaniment to the dance. The complete Trud Dance can consist of instruments such as: Kanh Chhe (bamboo mast with bells on top), Changkrang Dombe, ChangKrang Rong, Sko Arak (hand drum), Bei Pok (flute), Tro Ou, Tro Sor (bowed strings) and Dang Santuch or Dang Doy (pulling bar of an ox cart) attached with an open bag for retrieving the donations. The main accessories for the Trud Dance are clown masks and crowns made of paper mache and lacquer, real deer and banteng antlers or artificial antlers made of paper mache, peacock feathers,s and fake long nails made of rattan. When performing, there are two or three priests leading the group and holding a fundraising bowl, and giving blessings to those who Donate. If it is played in rain asking ritual, the priest who leads the ceremony is called “Dangkhao”. The lyrics are not the same, it depends on the preference of the group or the village because some lyrics can be created immediately according to the actual situation in order to convince the donor to give more donations. But the interesting thing is that most of the "songs" contain 4 syllables in each line. 6 The following are some excerpts from the lyrics in the document of Samdech Preah Vanroth Iv Tuot, Chief of Monk from Battambang Province: Lyrics on arrival at the ceremonial ground I arrive outside your gate, calling out to you. My respected master Can I come inside? (Vocalizing) oh na neang na Can I come inside? Permit or not, Please let us know. We can come in or not, Please quickly tell us. (Vocalizing) oh na neang na Please quickly tell us. Fellow team! Fellow team! That the fire is lit Means that we are welcomed. (Vocalizing) oh na neang na Means that we are welcomed. Lyrics when asking for alms This Trud is not from here. This Trud is not from here. The master ordered us That we came here to play. (Vocalizing) oh na neang na That we came here to play. Big house with sculptures Stair steps made of silver Suiting his wealth (Vocalizing) oh na neang na sa ra mom bong. Lyrics when collecting the scattered alms Some hide, some throw, Some scoop up, Don’t talk, lads! Catch the money quietly (Vocalizing) Yeur chhai nao nao neang nan a na oun euy. Lyrics to bless the givers Fellow team! His silk and thread He gave us all We shall bless him. To have a son She weaves silk to bless regularly Officials He gave us all To get a mouthful for a daughter Soup for money. We bless him. Children as well. Sculpture land. Before performing, people prepare an offering for Lord Vishvakarman and the spirits of the land and nature. Then the priest ties holy thread to the wrists of the dancers and puts on the masks and horns for the performers. Mr. Pol Sam Oeun researched this dance in Battambang province and choreographed it as a performance on stage and performed for the first time by Mr. Meas Kok, who was the first singer to hold the Dang Santuch, and the following performers: Mr. Ros Lon, Mr. Meas Sam El, Ms. Mom Hoy, Mrs. Sieng Sivhun, Mrs. Kaing Steng, Mrs. Ok Leung, Mr. Hing Tim, Mr. Moeung Chandara, Mr. Kong Samith, Mr. Pen Lon, Mr. Put Lon, Mr. Suon Sareth, Mr. Eam Sean, Mr. Pen Yet. The dance ceased to be performed in 1975 and resumed in December 1979. Today, Trud Dance is very popular because during the period before the New Year. It is performed in government institutions, companies, or private houses to ward off evil spirits and bring prosperity.
Cambodia -
Bon Pisak BoChea (The Buddhist Ceremony Commemorates the Birth, Enlightenment and Nirvana of the Gautama Buddha)
“Pisak Bochea” is a Buddhist festival that Buddhists all over the world, including in Cambodia, celebrate every year on the full moon day (15th Kert of the month of Pisak) to commemorate the birth, enlightenment, and Nirvana of the Buddha. Buddhists around the world believe that the Buddha was born, attained enlightenment, and entered Nirvana on the same day, the 15th Kert of the month of Pisak, only a different year. The ceremony is held in the Royal Palace, at the pagoda, and at sacred places, such as at the Shakyamuni stupa at Phnom Preah Reach Trop. At the celebration place, there are offerings such as Baysey, candles, incense, flowers, fruits, and drinks. The main task in this ceremony is in the Buddhist temples, the Buddhists invite the monks to talk about the history of the Buddha from his birth until his death. In some pagodas, especially in the Angkor area of Siem Reap province, on the day of the festival, they celebrate the celebration of Bombus Neak. The people there also have another special tradition: on that day, the villagers usually ordain their sons as priests and daughters as nuns for a week, holding a ceremony at Angkor Wat. In addition, they organize important events related to the Buddha. For example, in 2002, His Majesty Preah Borom Rathanak Kort paraded the urn of Buddha from the Sakyamuni Stupa in Phnom Penh to be kept at the Sakyamuni Stupa in Phnom Preah Reach Trop, Kampong Speu Province. Meanwhile, in 2016, there will be a parade of the urn (which was stolen from the Relics procession to celebrate Pisak Bochea.
Cambodia -
Mokjogakjang (Wood Sculpture)
National Intangible Cultural Heritage, Republic of Korea Mokjogakjang refers to the skill of wood sculpture or to an artisan with such a skill. Among the woods commonly used for this skill is paulownia, pine, fir, gingko, zelkova and pagoda wood. It is presumed that wood sculpture started on the Korean Peninsula, mostly on temples and Buddha images, with the introduction of Buddhism during the Three Kingdoms Period (circa 57 BC – 668 AD). Many of these wood sculpture works were destroyed during the frequent foreign invasions suffered by Korea. As for the process of wood sculpture production, first a sketch is made on well-dried wood and the remaining parts are cut off. When a rough form is made, the inside is gouged out to prevent cracks or to make a space for inserting ancillary objects according to the custom. Lacquer is applied to the completed object.
South Korea