Angam (also known as angampora) is a top-level Sinhalese martial art. Included in the Sri Lankan national ICH list, the techniques of this indigenous combat performance rely on the strength of human body incorporating shots, punches, locks, jumps, and wrestling elements. Yoga, meditation, and magic are also fundamental parts of angam. Angam fighters require elevated physical strength and flexibility as well as mental strength to channel spiritual power. It improves practitioners’ personality, endurance, patience, and mental strength.\n\nLegends would tell that Sinhalese kings mastered angam and intensified their support to promote it. After the Kandyan monarchy, the last kingdom of Sri Lanka, angam was transmitted under two main generations, sudaliya and murawalliya.\n\nOlder than Sri Lanka’s written history, angam is highly endangered of disappearing as there are few practitioners left to transmit the art to future generations. Mr. Vageesha Bandara Wicramawansha is one such angam master. He and his team of roughly seventy angam masters performed at the Janakala Kendraya Premises, Battaramulla, Sri Lanka on 26 August 2017. The cultural show was organized by the ICH panel of the Art Council of Sri Lanka as a part of its monthly ICH performance program.\n\nPhoto : Angam Performance © Buddika Mahesh Kodikara

Bodu beru (literally “big drum”) is the most popular and one of the oldest surviving forms of music and dance in the Maldives. The tradition is thought to have been brought to the Maldives by African slaves in the nineteenth century. Some people also believe that it evolved as an alternative to eleventh-century court music.\n\nBodu beru is usually performed by a group of fifteen to twenty people—composed of at least a lead singer and three drummers. Goat skin is commonly used as the drum’s membrane and the wood of coconut palm as the drum’s barrel; stingray skin is also used as a substitute for goat skin. The beat is hammered out with bare hands in a slow tempo, building up into a crescendo. This intensity continues before reaching an abrupt end. The song accompanying this drumming is called baburu lava or negro song. In the olden days, the lyrics were a meaningless combination of local and African words usually sung after a hard day’s work.\n\nNowadays, songs sung with bodu beru accompaniment are written in Dhivehi, the local Maldivian language. During musical shows, performers render a dance called baburu neshun or negro dance while wearing a sarong and white short-sleeved shirt. Bodu beru is popular at weddings, Eid occasions, and events held in relation to the circumcision of young boys. Also, with many tourist resorts realizing the commercial benefit of a relatively inexpensive cultural activity for their tourists, many bodu beru groups have been formed to perform in resorts. A current and more commercial revival has been led through an annual reality show/competition known as Boduberu Challenge. Some videos of the program are available here.\n\nPhoto : Bodu beru performance by young practitioners CCBY2.0 Shafiu Hussain

A puppet festival is a public-driven performance of tradition in Muragachha Colony in the Nadia District of West Bengal, about 120 km from Kolkata. It is organized by the local people under the aegis of Banglanatak dot com, a social welfare organization. Muragachha Colony, and its neighboring village, Borboria, are home to puppeteer families who have not only plied their craft across Bengal but also traveled to many fairs and festivals across India. Masters in string puppetry, or suto putul as it is known in Bengal, they are trying their best to preserve this traditional folk theater, often referred to as putul natok or putul nach in Bengal, against stiff competition with electronic media and modern forms of amusement.\n\nMost puppeteers in these areas trace their roots to Khulna and Barishal in Bangladesh; their practice of string puppetry originated from the Kathputli of Rajasthan. According to veteran puppeteers, however, they are facing challenges as the younger generation is not keen on pursuing a life of puppetry—typically a family-driven profession—due to dwindling income.\n\nConventionally, the puppeteers travel all over the Bengal region between Durga Puja at the beginning of summer, performing at various fairs, festivals, and household functions with their portable stage and dolls. A puppet head is usually made of sholapith, a mold-able milky-white spongy plant matter, which is then painted with facial expressions that require the delicate touch of a master. Designing and tailoring the colorful and intricate puppet garments are also important.\n\nBanglanatak dot com has been working with the puppeteers for the past few years, training them to create a script and a more contemporary, more relevant stagecraft; their intervention is chiefly to provide support to revitalize Bengali puppetry in a workshop setting. This activity helps not only to discover the cultural dimensions of entertainment but also to understand the ways in which puppetry can be a tool to disseminate cultural knowledge. A writer, narrator, musicians, puppeteers, and skillful assistants work together as a team to prepare the puppet festival.\n\nWith support from the West Bengal Khadi and Village Industries Board (WBKVIB) and Rural Craft Cultural Hub—an initiative of West Bengal government’s Department of Micro, Small & Medium Enterprise & Textiles (MSME&T)—in association with UNESCO, the puppet festival, Putul Naach Mela, was held for the first time from 15 to 17 December 2017 at Muragachha Colony Primary School to spread awareness about the suto putul of Bengal.\n\nPhoto : Putul against a wall between showings © Banglanatak dot com

Datun Julud, or ‘long dance’ dance is an Orang Ulu traditional women's dance that is popular among the Kenyah tribe of Sarawak. It means ‘long dance’ in the language of the Kenyah Dayak. It was once performed during communal celebrations but now has become a dance of formal entertainment that is often performed in the rumah panjang (longhouse) to greet visitors and tourists, accompanied by the beautiful sound of Sape’.

The Migrant Resource Centre Inc. (MRC) in Southern Tasmania has launched Inspire, an innovative and vibrant program connecting Tasmanian performing artists to a broader community. The project’s website introduces a range of artists—migrants and refugees alike—bringing multicultural creative practices to the fore. They are talented individuals and groups of musicians, dancers, and public speakers who have been selected for their exceptional cultural skills and their ability to deliver professional performances in a range of settings. Tasmanian Chinese Community, for example, can present 56 different Chinese ethnic performances incorporated with traditional Chinese instruments. The Neeraalaya School of Dance is Tasmania’s premier Bharatanatyam dance troupe while Shuang Zhang is a conservatorium trained Chinese opera singer and dancer.\n\nInspire is funded by the Tasmanian government, Department of State Growth, while its website receives funding from the Tasmanian government, Department of Premier and Cabinet, Communities, Sport and Recreation. On its website, the performing artists are shown with a brief introduction about their own stories and expertise.1. The public can access the site and request performer(s) accordingly.\n\nThe performing artists get every opportunity to showcase their talents; in return, already-existing communities can experience their distinct performance for free. They say it is generating “common benefit and mutual prosperity.” MRC is not just giving the performing artists an online platform but more importantly it is helping them receive appropriate professional training to further refine their competence. Also, bi-cultural workers and volunteers have supported Inspire participants throughout the program. It is expected that this project can contribute to settle cultural sustainable development in Tasmania.\n\nPhoto : Karen Choir Hobart - The Karen people are a culturally and linguistically diverse ethnic group

Performed by singers in rural areas of the greater Mymensigh region and greater Dhaka region, Pala Gaan is a theatrical experimentation using a combination of indigenous references and timely rhetoric. Typically the shows begin with Guru Bandana (an artistic expression of showing respect to God and then to the mentor from whom the Bayati learned the performance). It is followed by Ashon Bandana (an artistic expression that pays tribute to the audience).\n\nThe lead singer of Pala Gaan is called bayati, who narrates stories, tales, and legends through music incorporating dance and dialogues. After a short musical prelude, the bayati starts narrating the tale. A group of choristers helps the bayati in the entire performance. During the narration, the bayati enacts different characters such as king, queen, prince, rural maiden, ghost, and animal using limited props. Pillow and scarf are typically seen as the props used by the bayati. Dohar, a member of the choir, helps the bayati by giving cues during the act. In an open stage performance, the bayati singer takes the center of the stage while the choir sits aside.\n\nIn Pala Gaan, the narrative is thickened by improvisation to make it relatable, giving the audience a time to think through it. As a result, a tale may have multiple versions depending on the taste of who performs it. Though ancient texts are central to Pala Gaan narratives, serious issues such as love, position of women in a patriarchal society, discrimination, and oppression can also be addressed. And when a show is held for an urban audience, urban issues, even the ones taken from global politics, can also be artistically twisted. Charming narrations and realistic portrayals of characters are special features of Pala Gaan, enriching the use of dialects and folk rhythms.\n\nPhoto : Islamuddin Palakar from Mymensingh, presents a Pala Gaan © Mumit M

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

In many traditional ceremonies and rituals, the use of baked clay pots and objects in Nepal is common. Even for everyday uses, these potteries include those for cooling water, cooking, flowers, curd, and many more. Until a few decades back, these potteries were more commonly used in everyday life. Pots for storing water and grains, for steaming, for carrying water, and even for washing clothes were made of various potteries. Today, many of these traditional potteries have been replaced by durable modern materials, such as plastics.\n\nBecause of the extensive use of the pottery in daily life, there used to be quarters in the cities and villages within Kathmandu Valley dedicated to pottery making. Now there are only a few places within the valley that have continued to make pottery using ancient techniques. These places are now famous due to the influx of tourists.\n\nOne of the most famous quarters for pottery in the valley is pottery square in Bhaktapur that is known to locals as Kumha Twa. Kumha are pottery makers, and twa is the quarters. Walking through this quarter we can see people making shapes out of clay on pottery wheels. Some giving finishing touches while some are busy drying pottery goods in the sun. This quarter also has communal kiln for baking. This quarter seem like an open-air museum for the pottery making, which has been continued for several generations.\n\nMr. Krishna Shyam Prajapati, 44 years old, is one of the pottery makers of the square. He has worked in this profession since the age of 13 or 14. He learned pottery-making skills from his father and his father learned from his father. This continuity has been going on for generations. According to Mr. Prajapati in the old days, they used to make pottery hand-operated wheels that had to be with the help of pole. Now, most pottery makers use electric motor wheels.\n\nThe pottery is made from the black clay, which is abundant in the valley. The clay from the field is smashed and smoothed with the help of feet. When it is smooth enough, it is ready for making pots and other things. Now machines have taken over much of the manual work. After the pottery is shaped, it is sundried and later baked in a kiln. In old days, hay was used to make fire, but now the kilns are fueled with wood. These kilns are communal, people take turns baking their pottery.\n\nWith the arrival of tourism, pottery makers shifted from the traditional pottery to products targeting tourists. The souvenirs like bells, candle stands, miniature animals, and many wares are commonplace. But with the pandemic, the lack of tourist has hampered the pottery business, so pottery makers like Mr. Prajapati have shifted back to traditional products. He has been sustaining his business in the pandemic by making piggy banks commonly known as khutruke.\n\nThe pottery-making business has been directly and indirectly affected by modernization. Consumers prefer to use plastic products instead of clay ones due to durability and economic circumstances. Also the massive growth in the city is creating difficulty for the pottery makers to get the required clay.\n\nThough tourism has given a boost in business and pottery square has contributed to tourism in the city, there is a need to recognize and value the traditional profession by state and contribute in the future sustainability.\n\nPhotos 1~4 : Pottery souvenirs displayed in shops. © Monalisa Maharjan

Onathallu, a martial art form of central Kerala, India, specifically on the banks of the River Nila, started as a form of entertainment for the upper castes, especially the rulers. Also known as kayyamkali, it means a martial exercise using hands. It is performed on festive occasions to show the strength of a group or village. It started as martial exercise for the soldiers who were part of the military troupe of a local landlord or king. In the old days, it was practiced in the courtyards of tharavadu (a big house where the landlords used to live). It then slowly started appearing in local festivals, adapting few steps and methods from the ancient martial art form called Kalari Payattu.\n\nOnly few artists are available to take the legacy forward; their attempts to do that bear positive results nonetheless, as young people have been inducted into training sessions. Since it requires mental and physical strength, only trained performers are allowed to participate in the show. It normally takes three to four years to become a good performer, depending on the speed and mental strength of the performer. During the initial years of the performers’ career, their opponents are from the same team or the asan (master) himself. They are allowed to select their opponents if they have enough maturity.\n\nChayikkaran (referee) controls the entire show. Traditionally, aged and experienced players take the role of the chayikkaran. The chayikkaran should know a few immediate tricks and treatment methods in case of emergencies during the show. Before they start the performance, the masters and chayikkarans bless the performers. These days, onathallu is performed only during the Onam season as a cultural show.\n\nPhoto : Onathallu demonstration © Vinod Nambiar

The Awa Dance Festival, also known as the Awa Odori Dance Festival, is the largest traditional festival in Tokushima Prefecture, Japan, and has over four hundred years of history. It is held in mid-August every year. Awa is the old administration name for Tokushima, and odori means dance. As a folk dance in the region, Awa odori originated from a Buddhist practice. It is generally believed that a collective dance style was added to a priestly dance to honor the spirits of ancestors, leading to today’s Awa odori.\n\nThe Awa Dance Festival is held as part of the Obon Festival, a major Japanese holiday. This year, festival will be held for four days, from 12 to 15 August. The main celebration starts around 6:00 p.m. in city centers and continues until 10:30 p.m. People dance in parks and stage areas and parade through the streets. Large crowds come from around the country to see and enjoy Awa Odori, which is also called “dance of fools” after old Tokushima saying:\n\nThe dancing fool and the watching fool are both fools, so why not dance?\n\nAt this time of year, over a thousand groups of choreographed dancers (ren) from around Japan register for the festival. Other non-ren dancers also gather to present voluntary performances. Spectators are also free to join the festivities. As such, Awa Odori can be better enjoyed through collective dance steps. Typically, men dance in a powerful style while women dance in a more graceful fashion.\n\nTo spur the excitement, ren dancers play hayashi, an essential part of the festival, with traditional musical instruments, such as with flutes, drums, kane gongs, and three-stringed shamisen lutes. This combination of flute and percussion instruments is called norimono. The kane player leads the group; flutes produce melody; drums provide a rhythmic base, signaling the start of the festival.\n\nDuring the festival, visitors can enjoy Awa Odori performances on stages in city centers. The Awa Odori Kaikan is one of the main indoor stages, where outstanding groups present Awa Odori demonstrations. The most notable feature of the festival is that it encourages all people, not just ren dancers, to participate in the festival; people voluntarily establish and join related associations and promote the festival themselves, which have led to the festival’s success. To take part in the festival and have a chance to dance on stage, one can join the Niwaka Ren to learn choreography.\n\nPhoto : Group of female dancers at the Awa Odori Matsuri in Tokushima. CCBY3.0 Stemu2000 (Wikimedia Commons)

Sape is one of the most identifiable traditional musical instruments in Sarawak producing a soothing sound of music. It is a traditional lute of the Orang Ulu community of Sarawak, traditionally used by the Kenyah, Kayan and Kelabit tribes.

The Giáy ethnic group belongs to the Kradai (Tai – Kadai) language family and the Tày - Tai group residing mainly in Lào Cai, Hà Giang and Lai Châu provinces, in Văn Chấn, Văn Yên districts of Yên Bái province and in Bảo Lạc district of Cao Bằng province.\nThe Giáy are occasionally called as the Nhắng, Dẳng, Pâu Thìn, Cùi Chu, Xạ, especially the Giáy in Tát Ngà commune, Mèo Vạc district, Hà Giang province are identified with such names as the Giấy, Giáy Nắm, Pu Nắm.\n