ALL
written
ICH Elements 98
-
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 -
Oshi Palav, a traditional meal and its social and cultural contexts in Tajikistan
Oshi Palav (pilaf) is a kind of traditional meal of the Tajik people, which is prepared regularly at homes and in celebrations, rituals, gatherings. In dining rooms, national restaurants and tea-houses the Oshi Palav is everyday favourite meal of Tajik people. The Oshi Palav is prepared from carrot, rice, meat (beef, lamb, chicken), oil, onion and water in a big pot. For better flavor, cooks add some peas, saffron, garlic, caraway seeds, pepper and barberry. During the centuries Tajik people created different kinds of this meal, like "Oshi yak ba yak", "Palavi toki", "Oshi devzira", "Bedonapalav" and etc. up to 200 kinds of the element. In traditional Tajik culture there are many customs, rituals, celebrations and social gatherings dedicated specially to the element in which participate a big number of people, for example, the rituals "maslihat-oshi" (osh for advices), "sabzirezakunon" (cutting carrot rite), "oshi nahor" (morning osh), "oshi zanho" (osh for women), "oshi harifona" (osh of friends), "oshi gapkhuri" (osh with talking) and etc. The Oshi Palav in such gatherings and rituals brings people together and has the character of social integration and unity. People of Tajikistan recognize the Oshi Palav as a part of their traditional cultural heritage and call that as "King of meals". There are many stories, legends, folksongs, proverbs and other folklore texts regarding the element, which show the importance of the element among people. Also the element created many kinds of folk dance with plate, imitating the Oshi Palav cooking, which are played by folklore dance groups.
Tajikistan 2016 -
Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan
Indonesian Batik is a traditional hand-crafted textile rich in intangible cultural values, passed down for generations in Java and elsewhere since early 19th Century, made by applying dots and lines in hot wax to cloth using a canthing tulis pen or canthing cap stamp, as a dye-resist. Patterns and motifs have deep symbolism related to social status, local community, nature, history and cultural heritage. The batik community noted the younger generation’s interest in batik is waning, and felt the need to increase efforts to transmit batik cultural heritage to guarantee its safeguarding. Thus, the following is arranged. The program is collaboration between the Batik Museum and elementary, junior, senior, vocational school and polytechnic, to include education in batik cultural values and traditional handcraft in curricula as local content or subject. The project has gone on for 3 years, and continues to expand to Pekalongan District and neighbouring Batang, Pemalang and Tegal districts. Data and interviews with headmasters, teachers and students prove that the programme is popular and successful. The project is a good example of transmission of intangible cultural values to the younger generations by including modules of cultural heritage in the curricula of educational institutions. The main objectives of the programme are: To increase the awareness and appreciation of the cultural heritage of Indonesian batik, including its history, cultural values and traditional skills, among the younger generation at elementary, junior, senior, vocational school and polytechnic educational strata. To increase the awareness of headmasters, teachers, parents and the batik community in Pelaongan, regarding the importance of transmission of batik culture to the younger generations. To involve the management and staff of the Batik Museum in educational activities for students and the general public regarding batik cultural values and training in batik traditional handcraft. The priorities of the programme are: To train staff of the Museum for teaching batik history, cultural values and traditional handcrafts to students. To prepare and distribute proposal invitations to headmasters, so that they would send their students to participate in the programme. To train school teachers to become trainers in batik local content (training of trainers), and/or to place batik craftspersons in schools to give education and training in batik. To organize tests for students participating in the programme, to evaluate the results of the transmission of batik culture
Indonesia 2009 -
Kumbh Mela
Kumbh Mela (the festival of the sacred Pitcher), is the largest peaceful congregation of pilgrims where people bathe or take a dip in a sacred river. Held at Allahabad, Haridwar, Ujjain and Nasik every four years by rotation, the Kumbh at Prayag/Allahabad is the most significant. Ardha ("Half") Kumbh Mela is held at only two places, Haridwar and Allahabad, every sixth year. It is held on the banks of the rivers - Ganga in Prayag, Saraswati in Haridwar, Godavari in Nashik and Shipra in Ujjain. A great fair is held on these occasions on the banks of the rivers. Devout believe that by bathing in the Ganges one is freed from their sins liberating them from the cycle of birth and death. A unique facet is that millions of people reach the place without any invitation. Mythology says the gods and the demons fought for the pot with the nectar of immortality. Lord Vishnu, disguising himself as an enchantress (Mohini), seized the nectar. While fleeing from the evil ones, Lord Vishnu passed the nectar on to his winged mount, Garuda. In the ensuing struggle, a few drops of the precious nectar fell on Allahabad, Nasik, Haridwar and Ujjain. Since then, the Kumbh Mela has been held in these places. The astrological sequence of the stars are the basis for the Kumbh locations. As Jupiter enters in Aquarius and Sun enters Aries the Kumbh is held at Haridwar, Jupiter enters Aries and Sun and Moon in Capricorn at Prayag and so on.
India 2017 -
“Sanjyra”
Sanjyra is the oral listing of ancestors on the straight male-line. It was compulsory for everyone to know his ancestors as the Kyrgyz identified themselves through a link with clan and tribe. Sanjyra provided answers to the questions such as: “Who are you?”, “Who were your father, grandfather?”, “From which family are you?”. That is why there is a saying: “Those who do not now their ancestors will become slaves”. The Kyrgyz genealogy consists of three large groups: right wing (on), left wing (sol) and the ichkilik (inner) group. Similar to many genealogies of other nations, it represents a sprawling crown of a tree (tree of life). Intertribal hierarchy was built on the male-line by giving the male names to the titles of tribal clans.
Kyrgyzstan -
Folk knowledge and method of upbringing and educating children
The one and main principle for upbringing and educating children and youth is to direct them to have respect towards their elders and to follow and venerate their teachings. It is accustomed to employ the combination of variety folk upbringing and educating methods such as approving and supporting, encouraging and praising, disapproving and prohibiting, reproving and criticizing, serving as an example and causing to follow. Folk aphorisms, proverbs, folk oral literature, traditional games and toys are commonly used as well. Mongol herders have been educating and nurturing their children and youths from very young age by engaging in the labor activities which appropriate to their age, and working together with their parents and siblings; playing traditional games, engaging with nature and to make a disciple of well-educated person.
Mongolia -
Traditional craftsmanship of Çini-making
Glazed tile and ceramic household stuffs or wallboards of several colours and motifs made by firing the pulped clay soil are called “çini”. Çini-making means the craftsmanship shaped around traditional Turkish art of çini since 12th century with its own specific production and adornment techniques like “minai”, “luster”, “polishing”, “underglaze”. Çini craftspeople generally have used “underglaze technique” since 16th century in their production pursuant to the prescriptions they prepare with their traditional production knowledge about nature. In this technique clay is pulped. Having shaped, the clay is lined and dried. Next, it is fired in çini ovens smooth surface called “biscuit” appears. Patterns prepared by drilling on the paper with openwork technique are transformed to the surface with coal dust and the outer contours are drawn by hand with black paint and brush. Later, patterns are dyed with dyes prepared according to the prescription. The surface of çini is covered with glaze and after it is fired at 900-940°C the çini-making is completed. Among çini adornments generally geometric shapes, plants and animal figures symbolizing cosmic thoughts and beliefs are used in different colours. Using red, cobalt blue, turquoise and green on white or navy blue background is the characteristic feature of traditional çinis. The basic element that characterizes the art of çini is traditional craftsmanship manifested in the applications and the knowledge transmitted from generations to generations about the supply of the raw material, preparation of dyes, production and usage of the tools, firing process, adornment techniques and aesthetics.
Turkey 2016 -
Xi’an wind and percussion ensemble
Xi’an wind and percussion ensemble, which has been played for more than a millennium in China’s ancient capital of Xi’an, in Shaanxi Province, is a type of music integrating drums and wind instruments, sometimes with a male chorus. The content of the verses is mostly related to local life and religious belief and the music is mainly played on religious occasions such as temple fairs or funerals.
China 2009 -
Mongolian language
Mongolian language belongs to the Altaic language family. It is an ancient and independent language with rich history of thousands of years which has been transmitted through generations to ours. Over 20 ethnic groups in Mongolia are divided in to 2 different language groups, for instance over 90 % of these 20 ethnic groups are speak in Khalkh, Bayad, Barga, Buriad, Dariganga, Darkhad, Dorvod, Zakhchin, Myagngad, Oold, Torguud, Uzemchin, Khamnigan. Kharchin, Khotgoid, Eljigen, Sartuul and Tsakhar dialects of Mongolian langugage group. The Kazakh, Uriankhai, Tuva and Khoton are classified into Turkic language group. The marvel of the Mongolian language is its phonemic, morphological and syntactic harmony, its flexibility, and its unusually rich lexicology. Mongols have created innumerable oral and intangible expressions in Mongolian language which manifested in the forms of folk literature, folklore, traditional performing arts, customs and practices.
Mongolia -
Xoan singing of Phú Thọ province, Viet Nam
As a form of performing arts, Xoan singing includes singing, dancing, drumming and clapper beating. It is closely attached to the Worship of the Hùng Kings, founders of the country. Phú Thọ people created Xoan singing and performed it at the village communal houses, temples and shrines worshipping the Hùng Kings in springs. “Xoan” means “spring”. Bearers and practitioners form four guilds, in which the male and female Trum play the most important role; they preserve the songs, select students, transmit the singing styles and repertoires and organize practices. They are also active in introducing and teaching Xoan singing at the four Xoan guilds, and in clubs and guilds. A full Xoan performance cycle includes 3 phases: Worship singing (Hát thờ) with songs praising the virtues of the Hùng Kings and the village guardian deities; Invocation for good health and fortune (Quả cách) with 14 repertoires praising nature, humankind, and the daily life of the community; Festive singing (hát Hội) with songs featuring the couple love. The special characteristic of Xoan is the modulation between singers and instrumentalists at the perfect fourth interval, and it has a simple structure with few ornamental notes. Xoan dance's movements have a sense of imitativeness, illustrating people's daily life activities. After singing at their communal houses from the 2nd - 5th day of the Lunar New Year, the Xoan guilds travel to other communities venerating Hùng Kings to take part in convivial cultural exchanges. Xoan practitioners are organized into music guilds called Phường. The Leader of each guild is called “Trùm”. In the past, only men could be “Trùm”, but nowadays women could also be leaders. The Leaders are in charge of transmission and organization of activities of the guilds. At present, each guild comprises of 30 - 100 members. Men are called “kép”, women are “đào”. As a community performing art, Xoan singing fosters cultural understanding, community cohesion and mutual respect. The Vietnamese Institute for Musicology has collected 31 Xoan songs, and thanks to the efforts of several Xoan artists four guilds have been established. 33 dedicated clubs also exist, and seminars are held to expand knowledge of Xoan.
Viet Nam 2017 -
Indonesian Batik
Traditional handcrafted textile rich in intangible cultural values, passed down for generations in Java and elsewhere since early 19th Century (Ref. Siksakanda, 1517AD), more widely since mid-1980s. all the steps in the making of batik are carried out by hand. The tools used to make batik are also made by hand. Firstly, the cloth must be washed, soaked and beaten with a large mallet. A pattern is drawn and dots and lines of hot wax are then applied to one or both sides of the cloth using a pen-like instrument called canthing tulis (direngsi/ngrengrengi). Alternatively there is the process of applying the hot wax to the cloth using stamps called canthing cap made of copper. The wax functions as a dye-resist. After this, the cloth is dipped in a dye bath containing the first colour. After the cloth is dry, the wax is removed by scraping or boiling the cloth (dilorod). This process is repeated as many times as the number of colours desired. For larger cloth, the wax is applied using a tool called tonyok (nemboki/mopoki). The details of the process vary between different areas. Batik patterns and motifs possess deep symbolism related to social status, local community, nature, history and cultural heritage. Expectant mothers wear batik; babies are carried in batik slings and touch batik with their feet when they first touch the ground; brides, marriage couples and family members wear batik; even corpses are covered with batik: all with appropriate patterns and motifs. Traditional dress includes batik, Batiks are collected and passed down as family heirlooms, each being a work of art with its own story. Batik craftspersons would fast and pray before making batik while meditating accompanied by traditional songs. It takes several days to make a hand-stamped batik, and at least 1 month to 1 year to complete a hand-drawn batik.
Indonesia 2009 -
Yoga
Yoga is a time honoured Indian holistic system of personal, physical, mental and spiritual wellness focused on all-round unification of body, mind and soul. Traditionally handed down over the centuries from teacher –Guru to disciple –Shishya, who after attaining mastery become a Guru to teach others. While Indian mythology traces the origin of yoga to the God Shiva as the first teacher its presence is well documented in Indian textual tradition from the Rigveda dated between c. 1500–1200 BCE to Satapatha Brahmana texts of 300 BCE to the philosophical treatises of the Upanishads – Mundaka and the Bhagvad Gita dated before fifth or fourth century BCE. The sage Patanjali systematised the text in his treatise -Yogasutras dated 400 CE while many other great sages and Yoga masters contributed to the furtherance of the system and its practice through their writings. The practice of Yoga leads to the union of individual consciousness with universal consciousness to attain harmony between the elements. The aim of Yoga is to realize the inner self, to mitigate all kinds of sufferings and to pave way for attaining the state of liberation. Yoga practices include Yama or five abstentions, Niyama-five observances, Asana –postures, Pranayama -Suspending Breath, Pratyahara –Abstraction, Dharana –Concentration, Dhyana –Meditation, Samadhi - Full integrated consciousness, Bandhas –Lock, Mudras – Gestures, Shat-karmas - Cleansing practices, Yukta-ahara - Holistic food, Yukta Karma -Right Action and MantraJapa -Chanting sacred words. Yogic practices have helped many millions learn to maintain a balanced way of life.
India 2016