Materials
communities
ICH Materials 1,391
Audios
(6)-
Rogon Ni Sum e Mag Nu Waab(History of Yapese Tying Techniques and Patterns)
This is the history of how Yapese learned several tying patterns and techniques and about where they came from. It was read by Alukan, Bapilung, and Gaangin from the Old Age Program in Yap back in the late 1970s. The tying techniques, along with other traditional knowledge and skills, were handed down from up above, or, some may say, from heavens. The canoe was a gift from above as a means to pass knowledge and skills from heavens to humans in Yap. It is said that the canoe was lowered down on Gacham, a savannah in Tamil municipality. Native Yapese called it “canoe of knowledge” (ba m’uw i llowaen). Even today, you can still see the figure of the canoe and its outrigger that have turned into red dirt. In Yapese traditional culture, knowledge and skills are considered resources of a village. The chief of the village has the authority over the person or the village possessing the knowledge and skills. Therefore, people have to get approval from the chief of the village to learn or access such knowledge and skills. Yapese have used several old tying techniques up until today that are considered to have come from a spider. Legend has it that a nameless man from Nimar village in Weloy municipality observed and mastered all kinds of tying patterns and techniques from the spider on a canoe. These tying patterns and techniques are said to have been applied by the man to build a huge community meeting house named Wedbon in the northern part of Rull municipality. The people from Rull municipality asked this tying master from Nimar village if he could share his knowledge to help build the community meeting house, but he did not consult his chief in advance. The chief was furious that the tying master had never asked for his approval, and scolded him for not taking the proper steps. From then on, all other requests by other communities were channeled through the chief for his approval. Makiy village in Gagil municipality and Malon village in Maap’ municipality gained the approval from the chief to get the knowledge. The techniques and pattern later spread to the southern part of the island, namely Lamear and Ngariy villages in Rull municipality. Soon after, they were passed on from Ngariy to Kanif village in Dalipe Binaew municipality.
Micronesia 1970 -
Long ngâm (Instrumental ensemble)
While Thập thủ liên hoàn is the medley with ten musical pieces, taken from Ca Huế by musical mandarins to be performed in the court, Long ngâm is contrary. It originates from royal music and then followed Ca Huế to spread in common communities. Long ngâm has a solemn nuance but little sympathy. It has the integration between sorrowfulness and happiness.
Viet Nam 1998 -
Baalan
“Kasko Hukum Pais” is a baalan bhajan, a type of musical drama with a long-standing tradition performed exclusively by men from the Brahmin and Chettri communities. There are always two groups of singers singing in a question-andanswer form about the Hindu epic poem Raamayana.
Nepal 1905 -
Pregnancy song
This song is sung for women in their sixth or seventh month of pregnancy, in a ritual that is celebrated in communities all over India. The lyrics describe all the food that is prepared for the expectant mother, who eats her favorite dishes. A group of women from Wadagaon in Karnataka sing in this track.
India 1938 -
Gond Karma dance
Karma is a festival celebrated by the tribal communities of Central India from Madhya Pradesh and Chhattisgarh to Jharkhand. An important aspect of the festival is dancing through the night after a Karma tree is planted. Men and women dance together. This is a Karma dance of the Gond community. In this track, five women are dancing with a group of three men, accompanied by musicians. The instruments are the mandar (drum), timki (small kettle drum), and manjira (brass cymbals). The dance consists of men and women dancing in rows facing one another, going three steps backwards and forwards.
India 1982 -
Kati Ramro Dhaulagiri
This traditional folk song originated in communities living below Dhaulagiri Mountain in the Parbat district of the Dhaulagiri zone in the western region of Nepal. The lyrics express the people’s pleasure, and praise the majestic mountain and its god.\nInstruments: maadal, baansuri, saarangi
Nepal 1905