ALL
violin
ICH Elements 14
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Peking opera
Integrating singing, reciting, dancing and martial arts performing, Peking Opera is a comprehensive performing art of traditional opera. In mid 19th Century, having incorporated elements of various opera forms from both northern and southern China, Peking Opera came into being. It was first created by civilians. Its development was then greatly promoted by the royal family, and reached its peak in the capital city of Beijing. Peking Opera is the most widespread and influential among over 300 opera forms in China. Hence it is also called the “National Opera”. Beijing dialect is used in the singing and reciting of Peking Opera where rhyme is of great importance. There is also a strict set of rules and forms of libretto composition. Peking Opera is based on Xipi tune and Erhuang tune. Xipi tune is applied to express passion, joy and ecstasy, whereas Erhuang tune is used to depict sadness and grief. Music (singing) plays a key role in setting the pace of the show, creating a proper atmosphere, shaping the characters, and smoothing the progress of the story. Traditional musical instruments are used in Peking Opera shows, where the drummer plays the role of a conductor and the “Jinghu” player acts as the first violinist in an orchestra. Strings and pipes, such as Jinghu, Yueqin and Sanxian, are known for their tender and melodious sounds, which are called “Wen Yue”, or civilian music. Whereas percussions including Bangu and Daluo make brisk and powerful beats, which are called “Wu Yue”, or military music. Singing and dancing are equally important to the performance of Peking Opera, which is characterized by its formularized and symbolic style. Performers have to follow the established format of movements of hands, eyes, body, and feet. Peking Opera only requires simple stage settings and props, following the principle of abstract presentation of big items (for example houses and walls are not necessary on stage) and specific presentation of small items (tables, chairs, cups and saucers, for instance, are used as props on stage). The exquisite and skilful acting of the performers can also help to unfold a virtual yet vivid stage setting to the audience. The costume and headdress in Peking Opera are flamboyant. The facial make-up is exaggerative and delicate. The lively opera face shows the character’s personality and social identity with concise symbols, colours and patterns, expressing the traditional Chinese aesthetic ideals. The storylines of Peking Opera originate from history, anecdotes and folk legends. About 100 of more than 3,000 Peking Opera shows are still being performed frequently today, such as “The Twin Bliss of Dragon and Phoenix”, “The Tipsy Imperial Concubine”, and “The Orphan of Zhao”. Over the process of its transmission, over 30 schools of Peking Opera with different singing characteristics have been gradually developed. The most famous schools include the Mei School (founded by Mei Lanfang) and the Tan School (created by Tan Xinpei). The Mei School, a performance system named after Mei Lanfang, is regarded as a representative of China’s opera performance systems, and one of the three major opera performance systems of the world. Nowadays, it is mostly the practitioners of professional and amateur troupes who shoulder the mission of passing down Peking Opera. Beijing Peking Opera House, Tianjin Peking Opera House, and Shanghai Peking Opera House play the most significant role in the transmission and development of Peking Opera. Prestigious Peking Opera artists, such as Wang Jinlu, Tan Yuanshou, Mei Baojiu, Li Changchun, Zhao Baoxiu, not only inherit their respective schools in a creative way, but also shoulder the responsibility of training performers of a younger generation. The traditional performing art of Peking Opera is still well received by the public. In Beijing alone it attracts over one million audiences every year. Some Peking Opera fans can not only appreciate it, but also practice it. They are also making a special contribution to the survival and development of Peking Opera. Opera towers and guild halls dedicated to staging Peking Opera shows, such as Huguang Guild Hall in Beijing and Tianchan Yifu Stage in Shanghai, are important cultural venues for relative communities and their “spiritual wonderland”. The major mode of transmission of Peking Opera is to “conduct oral teaching and inspire true understanding of the trainee”. In the past, the master of an opera troupe applied such a method to train his disciples. Even today, this mode is still being extensively used in opera trainings. As an inheritor and practitioner, each Peking Opera performer has to go through a series of rigorous and systematic training at a young age. A trainee will gradually master basic skills including reciting, singing, dancing, and martial arts performing through taking oral instructions from the master, and observing the master’s behaviour. A performing artist of Peking Opera will need to constantly improve his or her artistic attainments through a long-term practice, so as to enrich and solidify the heritage. The representative bearers of Peking Opera typically have mastery of various forms of traditional Chinese culture, such as calligraphy and history, and they are very respected by the public. Peking Opera is unique in its perfect, romantic and abstract way of performing. It is the practitioners’ special expression of their feelings and aesthetic ideals. It is also an important symbol of Chinese cultural identity.
China 2010 -
Traditional Sohbet meetings
Seemingly regarded as a leisure time activity today, “Traditional Sohbet Meetings” tradition with its historical background and institutional structure has a crucial role in social life. In some regions of Turkey, since the tradition is at the risk of disappearing practiced solely among the elderly, though it is preserved in some other parts of Turkey in accordance with the changing conditions of life. As seen in Çankırı case, the element has a significant role within the local culture, therefore Çankırı is defined as “Land of Yâran” by the residents of Çankırı. Although “Traditional Sohbet Meetings” meetings have different names in different regions of Turkey, they all have the same function. In a discipline of teach and delight, the primary aim is to have conversations and talks in leisure times. “Traditional Sohbet Meetings” talks, through the concepts of love, fellowship, brotherhood and respect for each other, ensure safeguarding and conservation of traditions as well as creating a sense of neighborhood. The participants admitted to “Traditional Sohbet Meetings” communities vary from region to region. While in some regions only single men are admitted to the community, in some other regions, participants of the community are from different age groups and professions. For example, the groups in Manisa-Soma and Balıkesir-Dursunbey are classified as the youth, the middle aged and the elderly. Hence, in Soma, the meeting place of the young men is named as “Delikanlı Odası”, as “Köşe Odası” for the middle aged and “Koca Oda” for the aged. “Traditional Sohbet Meetings” are characterized as patriarchal meetings; however the mothers and wives encourage those male members who take the advantage of those meetings in respect to its social and cultural benefits. “Traditional Sohbet Meetings” communities gather at regular periods particularly in winter. For instance, “Sıra Gezmeleri” in Şanlıurfa, is held once a week preferably in Saturday evenings. The beginning and ending month as well as the time schedule concerning the dates and hours of the meeting are decided jointly. Non-participation except for the excuses such as death, illness etc. is subjected to penalty and the non- participant members not obeying the rules of procedures are also fined. The penalization practiced today has mainly turned into punishing with a fine. The total sum is allocated for organizing the following meetings, for the people in need as well as building fountains and roads. These communities usually compose of 5-30 persons and those members are guided by 3-5 community leaders, whose names vary from region to region. The community leaders are appointed via election or through proposals made by the elderly who are highly respected and designated by the consensus of all Yârans. The duty of community leader is to arrange in-group relations and to control the flow of the meetings. In this context, he has sanction power and the members are expected to obey the decisions made by the community leader. The titles of the community leaders can be summarized as follows: “Bayraktar” in Soma, Manisa; “Büyük Baranabaşı, Küçük Baranabaşı, Sohbet Çavuşu” in Balıkesir; “Büyük Yâranbaşı, Küçük Yâranbaşı, Köşe İhtiyarı” in Kütahya; “Delikanlıbaşı” in Ankara; “Efe, Saki” in Kırşehir; “Yiğitbaşı, Gönüller Ağası, Bayraktar” in Niğde; “Efrad” in Isparta, and “Büyük Başağa, Küçük Başağa, Çavuş” in Çankırı and ""Başkan"" in Şanlıurfa. Admission to Traditional Sohbet Meetings is of high dignity; nevertheless dismissal from the community is concerned as indignity. Certain procedures, which differ in each locality, are followed for the admission to or dismissal from or becoming a regular member or quitting the membership of the community. Being honest and modest, keeping secrets, not gambling, not wandering drunken around are accepted as the basic virtues and common rules in every locality. The members of the community have equal rights and commitments. There is no difference in social status among the members. The members of the community are taught and controlled by the leaders and by the other elder members in their daily lives. They also take the advantages of being a member of the community in physical and emotional support, if needed. The characteristics aforementioned contribute greatly to the members, the locality and to the society as well. The meetings are open to guests. The members sometimes bring their children along with them, which ensure the transmission of the tradition to future generations. Learns laying the table by her mother Learns joining in Sohbet by his father Traditional Sohbet Meetings are indoor activities. Those places can be the houses of the community members, be commonly-shared places called “köy odaları”, which has traditional features in Turkey, or rented places called “oda” for which expenses are shared as in Şanlıurfa case. Today, the meetings are held in the places allocated by local authorities. Interior design and setting differ in some regions yet generally sofa and floor cushion is used at the meetings. Traditional Sohbet Meetings consist of many elements but the main element is ""Talk"". This ""Talk"" has a wide range of topics, anything relevant to social life. Other elements of these meetings are folk music, folk dances, indoor plays, village spectacle plays and dining. There is not a certain order for practicing the elements; nonetheless, in each meeting there can be a specifically drawn order. List of dishes can show differences from region to region; nevertheless, not creating a difference in social status as well as not being costly for the host is carefully taken into consideration when preparing the dishes. For instance, the dish list is composed of çiğ köfte, deserts (künefe, şıllık, etc.) and strong coffee, known as mırra, in Şanlıurfa. In Çankırı, soup, güveç (casserole), rice and baklava are main dishes served in Yâran meetings. One of the most important elements of this tradition is music. Şanlıurfa Sıra Gecesi and Elazığ Kürsübaşı meetings, in a master-apprentice discipline, function as a conservatory for the traditionally trained performers. The musical performance begins with the pieces in rast and divan maqams; continues by other maqams if requested; and finalizes by kürdi and rast maqams. The instruments used in these meetings vary from region to region, but the main instruments are the bağlama, cümbüş (mandolin with a metal body), def (tambourine), violin, ud, kanun (zither) and kaval (end-blown flute). The local tunes are performed by the master bearers. Listening to music is also as important as performing the music. “Traditional Sohbet Meetings”, including music, dining, plays and talks, last until the early morning. Therefore, Traditional Sohbet Meetings compose all elements of life and culture. Owing to changing living conditions and migration from rural to urban area, Traditional Sohbet Meetings tradition is transmitted by its bearers to other cities.
Turkey 2010 -
Radif of Iranian music
The Radif is the traditional model repertory of Iranian classical music. It comprises more than 250 melodic modules, named gushes, arranged in special orders into seven primary and five (or six) secondary collections on the basis of their modal and melodic affinities. The primary and secondary collections are respectively called the dastgāh and the āvāz. Each dastgāh/āvāz is a collection of melodic models arranged in a multi-modal cycle, i.e. embracing several maqāms, beginning and ending on the same mode while modulating to a number of other modes. The structure of each cycle can be analyzed in terms of two layers. The underlying, fundamental, layer provides the modal infrastructure upon which a variety of melodic and/or rhythmic motifs are set. The seven dastgāhs are shūr, segāh, chahārgāh, māhūr, homāyūn, navā and rāstpanjgāh. The āvāzes are considered as derivatives of two dastgāhs. The satellites of shūr are abū‘atā, dashti, bayāt-e tork, afshāri (and bayāt-e kord), while āvāz-e bayāt-e esfahān is regarded as the satellite of dastgāh-e homāyūn. Each gushe has also a specific name which refers to its function in the cycle, a technical feature, an area, an ethnic group, a mood, a poetic genre, or a musician, as well as other descriptive or expressive titles. Some nominal and structural counterparts of the constituent parts of the contemporary radif can be found in the musical systems of the ancient and medieval Persia. Although the radif per se was the product of the Qajar epoch (1785-1925), the history of the dastgāh, as the main component of the radif, dates back to the mid-Safavid period (1501-1722), when the old modes or maqāms were gradually transformed into multi-modal cycles in terms of the main shadds (chains) and later dastgāhs (systems). Indeed, the radif can be regarded as the reformulation of an older musical system, which dates back to earlier centuries. There are various versions of the radif as interpreted and performed by prestigious masters of Persian music. There are two main types of the radif, i.e. vocal and instrumental versions. The latter is, in turn, translated into the technical language of various instruments, slightly differing in performance techniques while retaining the same structural foundations. The radif is sung and also performed on the traditional instruments of Persian classical music: tār (double-chested skinned long-necked lute), setār (long-necked lute), santur (hammered dulcimer), kamānche (fiddle) and ney (reed pipe). It is also performed on other musical instruments such as the ‘ud, qānun, and violin. The radif, as a model repertory, serves as a point of departure for actual musical performances in terms of improvisation and composition in Persian classical music. The main performance practice of Iranian traditional music unfolds through improvisation, which is the spontaneous creation of music according the mood of the performer and in response to the audience, inspired by the spatial and temporal context of performance. All performances of Persian classical music rely on the rich treasury of melodic modes of the radif.
Iran 2009 -
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 -
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 -
Boria
Boria is a traditional arts form that is very popular in northern Peninsular Malaysia, linked to the Karbala event that is the killing of Saidina Hussein, the grandson of Prophet Muhammad. Boria, meaning ‘a game of merriment’, was established in Penang Island in the 19th century. There are parties that claim that Boria was brought by the Indian Muslims into Malaya through business activities in the 19th century. Boria is an entertainment channel combining sketches and dances as well as poetic songs led by a singer called ‘Tukang Karang’, literally translated as ‘Storyteller’. A performance has two segments that are sketches and songs. The dialogues for sketches are full of advice and insinuation while comedy elements are considered important. During a performance sometimes the audience can interact with the actors. The musical instruments are not specific; more important is the musicians’ ability to play rhythms that can accompany the Tukang Karang’s song. Among the instruments are violin, oud, drum, accordion, harmonica and guitar, while commonly used props are lamp, flag, kris, umbrella, tall decorative flowers and walking stick. Previously Boria’s costume is resemblance of the Mamak (Indian-Muslim) ethnic; green belt with sarong and fez to maintain ethnic identity. This identity is experiencing evolution since the 1970s with its costume made uniformed using bright colours with sequin to portray merriment. Nowadays, Boria performances are greatly influenced by western, Hindustani and pop rhythms.
Malaysia -
Pleng Mahoari (Mahoari music)
"Pleng Mahoari" is for accompanying traditional dances, Mahoari plays, Pramochtey plays and other entertaining ceremonies. The melody is light, full of emotion, soft, passionate, and emotional. When singing, some instruments are paused and one or two songs are sung and then repeated once or twice. Based on research, there are more than 600 different melodies. Some of the Mahoari instruments are the same as the Pin Peat instruments. Mahoari music can be divided into 3 types: ordinary (or original) music, Mohoari Chneay or newly creative Mohoari and Mohoari Preah Reach Troub or Royal Mohoari. These three types of Mahoari music ensembles have some different instruments. Typical Mahoari music consists of instruments such as: Roneat Ek, Roneath Thong, Crocodile (Take), Flute, Tro Ou, Tro Duong (Tro So), Tro Chhao, Drum Thorn-Romnea, Ching. Mahoari Chneay or new composed Mohoari is a combination of classic western music instruments such as: violin, guitar, bongo alto, small ammonium, large ammonium, antifouling. For Mohoari Preah Reach Troub or Royal Mohoari Music ensemble has up to 14 instruments such as: Raneath Ek, Roneath Thong, Kong Vong Toch, Kong Vong Thom, Tro Khmer, Tro Ou, Tro Chhe, Flute, Chapei Dang Veng, Krapeu Ek, Krapeu Thong, Krab, Ching, Drum Thon-Romnea. The musicians and singers who are still remembered: Teacher Sek Poy (deceased), Teacher Meng Hun(deceased), Teacher Thuk Phan(deceased), Teacher Phi Pheoun (deceased), Teacher Yem Sem (deceased), Teacher Horm Nom (deceased), Teacher Sin Sisamouth (deceased), Teacher Sos Mat (deceased), Teacher Eb Chea, Teacher Yim Saing, Teacher Bun Chhom, Teacher Mao Poeung, Teacher Sangha Khon, Teacher Dek Khim, Ms. Samrith, Ms. Tong (Sophon Neary / Sophany).
Cambodia -
Dansa
Dansa is the dance of the Cocos Islanders from the Lahad Datu district on the east coast of Sabah. This dance is usually performed during weddings and often-festive occasions. The dance of Dansa or Nona Mansaya of Orang Cocos usually performed by 4 or more couples. There is much feet stomping, making it a very lively dance. Baju Kurung of the woman consists of a loose tunic (in which it refers to a long collarless shirt with a short neckline that is pinned together with a brooch) and is worn over a skirt or sarong. They wear an eclectic mix of ruffled tops and native sarongs while dancing to the beat of the rythmic drum & violin. The men wear the Songkok and leather shoes while the women wear the Kebayak with heels.
Malaysia -
Gendang Melayu Sarawak (Sarawak Malay Drum)
Gendang Melayu Sarawak is a combination of music, songs and dance inherited by the Sarawak Malay community. During a performance the women take their places behind a batik curtain to separate them from the men who sit in front of the curtain at their own leisure. The performance starts with dances performed by the group in pairs. They sing and exchange quatrains. Sometimes the dancers cover their faces with batik sarongs to conceal their identities. Commonly used musical instruments are the drum, violin, accordion and gong. Hitting the centre of the ‘gendang’ produces the ‘pak’ sound, and ‘pung’ is achieved along the edge. The clashing or combination of the ‘pak’ and ‘pung’ is what creates the unmistakable rhythm of ‘gendang Melayu’ Sarawak (Sarawak Malay drum) which typically accompanies hours of ‘joget’ numbers sung by the ‘Seh Gendang’. The lyrics of the songs are in the form of traditional or impromptu ‘pantun’ (poems). It is customary for celebrators to dance (‘nopeng’ or ‘bertandak’) to the songs, hence the terms ‘penopeng’ or ‘penandak’. A verse of ‘pantun’ usually has four lines consisting of alternating, roughly rhyming lines. The first and second lines (‘barisan pembayang’) sometimes appear completely disconnected in meaning from the third and fourth (‘barisan maksud’), but there is almost invariably a link of some sort. In addition, the ‘pantun’ normally repeats the second and the fourth couplet to beautify the melodies. This event’s main purpose is to have fun but, indirectly, it provides opportunities for youths to seek for their future life partners. Gendang Melayu Sarawak is performed during wedding feasts, prayer and circumcision ceremonies, as well as folks festivals. Gendang Melayu Sarawak was recognised as a National Heritage in 2012.
Malaysia -
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 -
Zapin
Zapin can be traced to dances introduced by the Middle Eastern missionaries who arrived in the Malay Archipelago in the 14th century. Once performed only by men, it later evolved into a dance that paired men with women as they were dressed in traditional Malay costumes. The dance is accompanied by musicians playing the gambus (short-necked lute), accordion, violin, marwas (bongos) and rebana (drum). Zapin is most popular in the state of Johor. Zapin Melayu Johor’s main structure is divided into three main parts, Taksim or Taqasim, Ragam & Kopak, and Wainab. There are in fact several types of zapin, such as Zapin Mastar, Zapin Tenglu, Zapin Putar Alam, Zapin Pekajang, Zapin Lenga, Zapin Kores, Zapin Padang Sari (Johor), Zapin Salor (Kelantan), Zapin Sindang (Sarawak), Zapin Tingkatalu (Sabah) and many more.
Malaysia -
RAQS BO CHIGHIAK
Men dance is performed with musical instrument ghizhak (a kind of violin).
Tajikistan