Folk Dances of Nepal_Kami Nach\n\nPerformer: Unknown \nDate of Recording: 1991 \nCaste: Kami \nCollector: Dan Bahadur Nepali\n\nNepalese communities express their emotions through the rhythms of various folk dances. Folk dances, in fact, are an inseparable part of rural life. On the other hand, the religious influence can easily be observed in the songs and dances, which are often performed to please deities responsible for the well-being of humans and cattle, favorable climate, and good harvest. As the country has widely differing topographical features, so does it have vast variances in cultural aspects. Folk songs and dances depend on cultures, cas-tes, seasons, and geographical features. For example, a sherpa living in the Himalayan region sings and dances differently from a Tharu living in the Terai region. Similarly, songs and dances performed in the spring season express joyous emotions, whereas those performed in the winter season express sadness. This collection includes the most famous folk dances of the different indigenous communities of Nepal dwelling in various environments. These dances are a part of their daily life.\n\nThe Kami Naach is a traditional sword and shield dance from Jumla. It is performed in memory of Purichandra Tiruwa Kami, a famous Kami who was the military chief of King Bali (crowned in 1461) of Jumla. The dance is performed for various important life event ceremonies, including those of birth and marriage, but not death. Kami, people also known as bishwokarma, make weapons and tools for a living. In ancient times, this dance was performed by warriors as a rehearsal for war. Performers exhibit various positions of a soldier fighting in battle in this dance.

Kerala is a land where its cultural diversity is relieved by plentiful of traditional and ritual art forms. Vayali is a folklore group born at Arangottukara, a small village in Thrissur district, on 2004 with the sole aim to preserve the traditional and indigenous folklore of Kerala especially the rich cultural treasure along the banks of River Bharathapuzha. And they envisaged their dream by reviving the alienating “Darika Vadham Ritual Art”. The traditional ritual art form of Paraya Comunity, “Darika Vadham” portrays the rigorous battle between the Mother Goddess, Kali and the demon king, Darika.\n\nDirector of the Film : Bhagyanath M / Script & Camera : Bhagyanath M\nEdit : Anup Puthumana / Subtitles: Bhadra S\nOn screen presentation: Fidha & Megha Krishnada

This dance is a modern reinterpretation of the traditional Haka dance, performed by the Maori in New Zealand. Haka was a ritual performed by Maori warriors to strengthen their resolve and the solidarity of the group, while displaying their might to the enemy before going into battle.\n\nMaori people are taught the Haka from an early age to build confidence and pride in their identity. Haka is officially taught in many schools in New Zealand as well. Through a long process of adaptation to the times and situations while remaining rooted in tradition, Haka has become a cultural symbol of New Zealand in the present day.\n\nCharacteristics:\n∙Modern reinterpretation of Haka, a traditional Maori dance\n\nPerformed by Atamira Dance Company\nDirected by Moss Patterson\nChoreographed by Moss Patterson

Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practiced on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitys and use the contest to express women’s aspirations and viewpoints.

Chundu Soelchod is a native offering practiced by people of Haa and Paro. During the Soelkha, dances and Zhey are performed by the people of Yangthang Gewog with unique dress, lyric and steps. The male artists are locally called pazerpa or pazaap.\n\nIn the 8th century, Guru Rinpoche visited Bhutan thrice from Tibet and subdued the local deities and transformed them as protecting deity of dharma in every region. Chundue soelkha is mainly celebrated for thanking Ap Chundu (local deity of Haa) for helping people of Haa during the battle time. It was originated during the time of when Zhandrung Ngawang Namgyel had conflict with Tsang Desi of Tibet. During that time group of Tibetan (Boe ma) reached at Haa, Gyensa. It was said that during night, those Boe ma (Tibetan) who reached Gyensa had seen fire and noises in Jangkhakha (Ap Chundu ground). Due to the light and reflection from Jangkhakha those Tibetan couldn’t attract the enemies instead they fell down in the river below Gyensa. That group of Tibetan was defected and the battle was won by the Haaps. Therefore people of Haa started with Ap Chundu soelchod to remember and thank Ap Chundu for his superstitious power and supporting them to win the battle.\n\nPeople also say as Ap Chudu’s birthday. It is celebrated toward the end of the year that is ninth month of the Bhutanese’s calendar. Regarded as manifestation of the warmth Chagna Dorji, Ap Chundu is not just localized to Haa district but he is and important deity of the country itself.\n\nIn Bon-nag tradition (animal sacrifice is required to appease the deities. People use to sacrifice the yak during the festival until 2013. They did because they were feared so much that Ap Chundu will punish them with diseases and natural calamities if they missed it. How ever since killing is sinful act in Buddhism in the year 2013, Haaps local guardian deity has been appeased by scarifying a yak after consulting with the dzongkhag and gewog staff, and the family who carried out the tradition for years, the authorities decided to seek Ap Chundu’s permission to stop killing yaks to appease him. So they rolled the dice and according to the astrologer, got his affirmation.