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ICH Elements 358
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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 -
Drametse Ngacham: The Masked Drum Dance of Drametse
The Masked Dance of the Drametse community is a sacred dance performed during the Drametse festival in honor of Guru Padmasambhava, a Buddhist master. The dance performance also commemorates the founder of the Tegchok Namdroel Ogyen Choeling Monastery, Ani Choeten Zangmo; and venerable Khedurp Kuenga Gyeltshen (1505-/) who introduced the Masked Dance. These two are the eldest daughter and the fourth son respectively of the great treasure revealer, Terton Pema Lingpa (1450-1521). According to oral accounts, Drametse Ngacham was introduced in 1518, just three years before the death of Pema Lingpa. The name of the mask dance is derived from the Drametse village community, which falls within the Drametse gewog village block of Mongar Dzongkhag district in the eastern part of Bhutan. The term Ngacham refers to the dance implements held by performers, a hand-held circular flat drum and mallet. Tegchok Namdroel Ogyen Choeling Monastery was established in 1530. The three-day Drametse Tshechu festival takes place twice a year, organized by the monastery administration. The dancers include monks from the monastery as well as laymen. The origin of the mask dance, its characteristic choreography, masks, and costumes are specified in detail in the Kabum, Collected Works, of Pema Lingpa. Pema Lingpa have seven siblings and Sangdag is one of his sons who fathered Tenzin Chogyal and gave birth to Ani (Nun) Choeten Zangmo. Therefore, Ani Choeten Zangmo is the great grand daughter of Pema Lingpa. Though Ani Choeten Zangmo has no intention to indulge in the leading a family, she was forced to marry Yeshey Gyalpo, son of Sumthrang Choeje Sherab Drakpa. Driven by her destiny, she became renunciate and later established her permanent seat at Drametse where she recognized a place of peace and tranquility, Dra-me “No Obstructions” to her meditational practices at the summit of a Tse, small ridge. During her stay, her brother Kuenga Gyeltshen who is popularly known as Khedrub Kuenga Wangpo visited her. Kuenga Wangpo is highly revered by spiritual masters for his outstanding philosophical knowledge and realization of the true nature of mind, thus he was given a title of Khedrup, great and realized scholar. He encountered Guru Padmasambhava several times while in meditational states, and had visited Zangdok Pelri, the Copper Colored Mountain, spiritual realm of Guru Padmasambhava. While staying at Drametse, an auspicious event happened in his early morning meditation on the 17th day of the 8th month of Iron Male Tiger year 1530—while the Drametse Lhakhang Monastery was under construction. In this state, three khadroma celestial maidens with white complexion, decorated with colorful silken robes, ornaments and flower garlands, invited Kuenga Wangpo to Zangdok Pelri, saying they had come to take him for a tour of the realm’s palaces. He asked, “What should I take for the long journey?” The maiden responded, “While you are experiencing pure vision without doubts, come along with us.” They took him to the realm, and into a palace called Pema yoe ki Phodrang where Kuenga Wangpo saw King Indra Bhuti. Then the maidens took Kuenga Wangpo to the majestic palace of Zangdok Pelri, where he saw Guru Padmasambhava in a youthful form smiling and telling him “I am happy to see you here.” Instantly, Guru manifested to a Jalue, Rainbow Body, and thereupon Kuenga Wangpo was entertained by a splendid dance performed by many gods and goddesses transforming themselves into Dampa Rigja (Hundred Guardian Deities); forty-two peaceful forms, and others in wrathful appearance or in human form with various animals’ heads. All wore exquisite robes and a melodious sound of Choe-ngai dra, Buddhist teachings, resonated from the beating of their drums. It is also believed that the sound of the drum signifies victory over evils and celebrates joy as Buddha’s teachings flourish. Kuenga Wangpo was then told to introduce this dance in Jigten me-yul, the human realm, and that conducting the Masked Dance would liberate sentient beings. Coming out of this meditation, he jotted down the detailed choreography, masks, and costumes. The first introduction of this Masked Dance was at the sacred place of Drametse, thus giving it the name Drametse Ngacham. Due to the significance embedded in the dance, Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive Je Khenpo spiritual leaders, as well as the Druk Desi temporary leaders—these spiritual masters and farsighted monarchs all propagated the Masked Dance across various monasteries and Dzong fortresses around the country.
Bhutan 2008 -
Shawa Sha-khe/che Chham: The Dance of the Stag and Hounds
Shawa Sha-khe/chi Chham (the mask dance of the stag and the hounds) or also called as Acho Phen-to (the Hunter and the servant) by its character is one of the mask dances that falls under the Nam-thar zhi-chol gi gar-chham (biography-based mask dances) category of three broad classifications of mask dances in the Bhutan. This mask dance has a characteristic of theatrical play extracted from the life story of Milarepa (1052-1135) and has various characters and episodes basically conveying the Buddhist principals of compassion, arising faith and human values that lead to a harmonious life. The origin of the mask dance dates back to the 11th century when Jetsun (venerable) Milarepa the great yogi from Tibet, converted Gonpo Dorji, a fierce hunter as his disciple who later listed as became one of his principal followers named as Khe-rawa Gonpo Dorji. In brief, the story goes as follows: While Milarepa was meditating in a cave known as Katya in Nyishangkurta (on the present-day border between the Tibetan autonomous region of China and Nepal), he heard a couple of hounds barking somewhere near to his hermitage. In a short while, a stag glistening with sweat and exhausted bounds into his cave indirectly seeking refuge from the lean and thin meditator Milarepa. Out of great and compassion and pity, Milarepa sangs a song to calm the terrified stag, which eventually laid down peacefully near to the great yogi in the cave. Led by the scent of the stag, two ferocious hounds; a red and a black-coloured appeared in lightning speed, rushed inside the cave in pursuit of the stag. Milarepa also calms them by singing yet another stanza of song dedicating to the hounds which subsides its rage and calmly sits beside Milarepa waggling its tail alike to their owner. Subsequently, the merciless hunter, the owner of the dogs, Gonpo Dorje soon arrives in pursuit of his target, the hounds, and steped into the cave frustrated, drenched in sweats, tired and a bow and arrow ready to release the trigger. The sight of his hounds and the stag calmly sitting together with Milarepa infuriates him, thinking that the yogi has used some kind of black magic on the animals. Dragged by his rage, he shoots an arrow at Milarepa which in-turn slips the arrow from his bowstring. Milarepa then sings the hunter a song to calm his mind and open it to the Dharma, but the hunter remains uncertain whether Milarepa is a great saint or else a black magic practitioner. Gonpo Dorje inspected Milarepa’s cave, and upon noticing nothing in it but an empty bowl surprised him. Overwhelmed by feelings of profound respect for Milarepa, feled deep remorse for all his past sinful actions and thereafter vowed never to commit such acts and became a faithful disciple. The mask dance has various characters such as; Shawa (the Stag), Sha-khi/che (two hounds), Acho (the hunter), Phen-to (servant), Milarepa (the Saint) and a package of Atsa-ra (clowns). The mask dance is performed only during the annual Tshe-chu (Mask Dance Festival) with several episodes portraying different scenes. The element is still vibrant in the country.
Bhutan -
Rigma Chudruk Cham: Dance of the Sixteen Wisdom Goddesses
Rigma Chudruk Cham is a pacifying dance, performed solely by monks wearing exquisite costumes to represent the sixteen goddesses that make various offerings to enlightened beings. Generally, the dance has two types: Rigma Chudruk Cham and Rigma Chudruk Nga Cham. Though the costumes are identical, these dances can be easily differentiated by the instruments they use. The first Rigma Chudruk Cham performs with Drilbu, bell, and Daru or Damaru, a small two-headed drum. The latter dance exclusively plays Nga drums with Ne-tok, drum-stick. The dance is known by various names across different Buddhist traditions: Rigma Chudruk Cham; Khandro-mai Cham Dance of Dakinis; Zhe-wai Cham pacifying dance; Dorji Lhamo chudruk sixteen Vajra Dakinis; Choe-pai Lhamo Chudruk Sixteen Offering Goddesses; and Dodyon-gi Lhamo Chudruk Sixteen Pleasurable Goddesses. The sixteen goddesses not only bestow wisdom but also entertain and bring enjoyable offerings to the enlightened spiritual beings. These goddesses are generally classified into three groups: Outer, Inner, Secret Offering Goddesses. The first group consists of four members: 1. Gegmo-ma, Skt. Lasya, Goddess of Grace 2. Threngwa-ma, Skt. Mala, Garland Goddess 3. Lu-ma, Skt. Gita, Singer 4. Gar-ma, Skt. Nirti, Dancer The second group has also four members: 1. Meto-ma, skt. Pushpe, Flower Offering Goddess 2. Dhugpe-ma, Skt. Dhupa, Incense Offering Goddess 3. Nangsel-ma, Skt. Aloka, Lamp offering Goddess 4. Drichab-ma, Perfume Offering Goddess The third group has five goddesses: 1. Piwang-ma, Violin player 2. Lingbu-ma, flute player 3. Ngadum-ma, Drum player 4. Zanga-ma, Skt. Muranyyaze, Clay-drum player 5. Zuk Dorji-ma, Skt. Vajra Dakini, Vajra Form Goddess The last group has three. 1. Ro Dorj- ma, Taste Vajra Goddess 2. Rek-ja Dorji ma, Feeling Vajra Goddess 3. Choying Dorji ma, Skt. Dharmadatu Vajra Dakini, Vajra Goddess of unfabricated awareness.
Bhutan -
Lakalaka, dances and sung speeches of Tonga
The Tonga archipelago lies in the South Pacific approximately 2,000 kilometres north-east of New Zealand. It is the only constitutional monarchy in the Pacific region. Often considered Tonga’s national dance, Lakalaka is a blend of choreography, oratory, and vocal and instrumental polyphony. This cultural expression is practised by communities throughout the islands and features prominently at important celebrations such as the coronation of the monarch and anniversaries of the constitution.The term lakalaka means “to step briskly or carefully” in the Tongan language, and its origins can be traced to a dance known as the me’elaufola. The tradition developed in the nineteenth century and, thanks to the continuous transmission and the patronage of the royal family, it underwent a revival in the twentieth century. Performances last approximately thirty minutes and involve large groups of up to several hundred people. Participants are aligned in rows, men on the right and women on the left.The men dance in rapid and energetic movements, while the women execute graceful dance steps co-ordinated with elegant hand gestures. Both groups clap and sing as they move, and a chorus often provides vocal accompaniment.The polyphonic singing coupled with the synchronized movements of hundreds of dancers offers an impressive spectacle.The creative force behind the performance is the punake who is at the same time poet, composer, choreographer and performance director. Punakes are expected to continually renew the Lakalaka repertory, by exploring themes related to Tongan history, legends, values and social structure.
Tonga 2008 -
Darangen epic of the Maranao people of Lake Lanao
The Darangen is an ancient epic song that encompasses a wealth of knowledge of the Maranao people who live in the Lake Lanao region of Mindanao. This southernmost island of the Philippine archipelago is the traditional homeland of the Maranao, one of the country’s three main Muslim groups. Comprising 17 cycles and a total of 72,000 lines, the Darangen celebrates episodes from Maranao history and the tribulations of mythical heroes. In addition to having a compelling narrative content, the epic explores the underlying themes of life and death, courtship, love and politics through symbol, metaphor, irony and satire. The Darangen also encodes customary law, standards of social and ethical behaviour, notions of aesthetic beauty, and social values specific to the Maranao. To this day, elders refer to this time-honoured text in the administration of customary law. Meaning literally “to narrate in song”, the Darangen existed before the Islamization of the Philippines in the fourteenth century and is part of a wider epic culture connected to early Sanskrit traditions extending through most of Mindanao. Specialized female and male performers sing the Darangen during wedding celebrations that typically last several nights. Performers must possess a prodigious memory, improvisational skills, poetic imagination, knowledge of customary law and genealogy, a flawless and elegant vocal technique, and the ability to engage an audience during long hours of performance. Music and dance sometimes accompany the chanting.
Philippines 2008 -
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 -
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 -
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 -
Kymyz muryndyk ('initiation of koumiss') Traditional spring festive rites of the Kazakh horse breeders
Kazakh spring horse-breeding rites mark the end of the old and the beginning of the new yearly horse-breeding cycle. Rooted in the traditional knowledge of nature and in the millennia-aged close relations between man and horse, these rites involve skills inherited from the nomadic ancestors and adapted to the present-day reality. The main constituents of the element are: 1.‘Biye baylau’ (literally, ‘tethering mares’), the ancient 'first milking'; rite encompassing the separation of mares and foals from herds, tethering them, greasing ropes and pegs, milking mares, greasing and smoking vessels for koumiss, fermenting the first-day milk, and celebrating with songs, dances and games. 2. ‘Ayghyr kosu’ (figuratively, ‘stallion’s marriage’) is a rite for adjoining stallions in herds. taking place on the same day. This rite is considered as a recent one that emerged in response to shifting from nomadic life to settling. 3. ‘Kymyz muryndyk’ (metaphorically, ‘initiation of koumiss’) is the 'first koumiss sharing'; rite, opening a season of its making and drinking. The above rite names are equally used also for their scope. The preparations go all year round (cutting wool and horse hair, getting good stallions for herds, weaving ropes and foal slips, repairing ware, cutting juniper for smoking vessels, cooking ritual food). Blessed by the elders, the ‘first milking’ day comes in early May, when mares have foaled and grass grown. In total the rites take about 3 weeks until the koumiss sharing ceremonies, taking place in every house of the village, are over.
Kazakhstan 2018 -
Saman dance
The Saman dance is cultural heritage of the Gayo people traceable to the 13th century, developed later by Syeh Saman incorporating religious messages. Saman is performed by boys and young men, always in odd numbers, sitting on their heels or kneeling in tight rows. The players wear black costumes embroidered with colourful Gayo motifs, symbolizing nature and noble values. The trainer or leader, called penangkat sits in the middle of the line and leads singing of verses containing messages about tradition, development, religion, advice, sarcasm, humor and even romance. Players clap their hands, slap their chests, thighs and the ground, click their fingers, sway and twist their bodies and heads forward and backward, left and right, synchronizing with the rhythm, sometimes slow, sometimes fast and energetic, in unison or with alternate dancers making opposite moves. Saman movements symbolize nature, the environment, and daily lives of Gayo people. Villages invite each other for Saman competitions to build friendly relationships. Saman is performed to celebrate national and religious holidays, and is a game among village children, who learn it informally. The frequency of Saman performances and transmission are decreasing, despite community and government efforts. Therefore safeguarding is urgently needed. A Saman performance consists of 7 parts, called: Rengum, Salam, Dering, Uluni Lagu, Lagu, Anak ni Lagu, and Lagu Penutup (closing song). According to other sources, there are 9 parts: Keketar (introduction), Rengum, Salam, Gerakan Tari, Anak ni Lagu, Saur, Syair, Guncang and Penutup, or only 4 parts.
Indonesia 2011