Folk Dance of Nepal_Mushar Naach\n\nPerformers: Chandra Bahadur Mahara, Chandra Hazara, Joshu Ram, Bhajan Paswan, Mahanga Paswan \nCaste: Musahr \nDate of Recording: 1998 \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\nMushar is a unique caste residing in various districts of the Terai region of Nepal, including Saptari, Siraha, Udaipur, Dhanusa, Janakpur, Morang, Sarlahi, Malangwa, Mahottari, Gaur, Rautahat, and Sunsari. This group has its own culture and tradition. Netwa is the most popular dance for festivals in their society. Here, dancers are seen wearing traditional attire. This dance is performed during special festivals, at birth ceremonies, wedding ceremonies, on the ninth day of Dashain, and other occasions. Five male artists take part in this dance. The rhythms are initiated by the guru (the master). Epics, stories about gods, the origin of earth, and life and family issues are the main topics of the song. It is performed either as a solo or in a duet. This dance is in vulnerable condition.\n

Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.

Simple in design but rich in cultural significance, the Lakadou is a traditional musical instrument made entirely from bamboo, found in various rural communities of Timor-Leste. Often carved from a single stalk, it stands as a testament to the ingenuity of ancestral craftsmanship—an instrument that produces sound not with strings or metal, but with tensioned strips of its own body.\n\nThe process of making a Lakadou begins with selecting the right kind of bamboo—neither too young nor too old—so that it is flexible yet strong. Using only a knife or a small carving tool, the outer layer of the bamboo is partially sliced into thin, horizontal strips along the stalk, which remain attached at both ends. These strips act as the instrument’s “strings.” Small wooden pegs or bridges are then inserted beneath them to lift the strips slightly, allowing them to vibrate when plucked.\n\nWhen played, the Lakadou emits a warm, buzzing resonance that can be heard clearly in quiet, open-air settings. The tones are soft yet sharp, melodic yet earthy—reflecting both the material and the environment from which it is made. Each Lakadou has its own pitch and personality, depending on the size of the bamboo and the placement of the tuning pegs.\n\nTraditionally, the Lakadou was played during rituals, agricultural festivals, and informal gatherings. It could accompany dance, storytelling, or simply be enjoyed as a solo instrument under the shade of a tree. It was sometimes played to express emotions—joy, longing, or sorrow—or to pass the time during communal labor in the fields.\n\nWhat makes the Lakadou especially significant is its status as a self-contained instrument. It does not require any additional materials beyond the bamboo itself—no strings, no nails, no external fasteners—just natural design and human skill. This reflects a traditional ethos of sustainability and resourcefulness, values still highly regarded in rural Timorese life.\n\nWhile the instrument is still known in some communities today, its presence is fading. Younger generations are more familiar with modern instruments, and the skill of crafting Lakadou is no longer widely practiced or passed down. In some places, only a handful of elders remember how to make and play it, and the sound of the Lakadou has become rare in daily village life.\n\nEfforts to preserve the Lakadou are growing, however. Cultural festivals, school workshops, and local storytelling events have begun reintroducing the instrument as a piece of Timor-Leste’s musical heritage. Some artisans are even experimenting with new forms, adapting traditional techniques to contemporary performances.\n\nAs a musical tool, the Lakadou is humble. But as an expression of cultural identity, it speaks volumes. In its structure, sound, and spirit, it tells the story of a people who shaped their art from the land around them—and who, with care, may yet continue to do so for generations to come.

Vat-gine or crescent-shaped gong is one of the Mon traditional musical instruments that has been used since the ancient time. The original crescent-shaped gong was consisted of 14 gongs and used to be played only in Nat (Spirit) propitiation ceremony. But, an additional gong tuned to Nga Pauk (Fifth Note) is added to play since the late 1962. The Crescent-shaped gong consists of 14 gongs which are arranged in ascending order from right to left. The pitch of gongs is higher from left to right and the player has to strike them with two mallets. This crescent-shaped gong is played in Mon national celebrations, Hin-tha dance, solo dance performance, Mon traditional dance and national ceremonies such as Union Day and Mon National day.\nFirstly, the two ends of fine Yamanay wood is smeared with mud. After its bark is stripped off, the log is smeared with mud again and left for six months to dry by itself so that the wood becomes well seasoned. The rattans are attached to arrange the 13 crescent-shaped gongs. It is painted with the original color of the wood and embellished in Mon traditional decorations. The left side of instrument is carved into head of Kainnayi bird and the right one its tail. The stands are carved into the two legs of this bird.\n-68 inches in length\n-46 inches in height\n-9.25 inches in the breadth of middle hollow\n-9 inches in length of Kainnayi Head\n-7.25 inches in tail

Lazgi is the most popular Khoresm dance, which is energetic and full of passion. It is performed equally by both male and female dancers. "Lazgi" dance was usually accompanied by instrumental and dancy melodies. Although song versions of "lazgi" (which use various poetic texts) became widespread later on, the nature and character of melody remained the same. There are several versions of "lazgi" dance. These are: dance on a tray, dance on a brick, solo as well as group dance. In these, refined dance movements are replaced consequently by passionate and accelerated dance. The dance starts from steady movements of fingers of one hand and then another. Then simultaneously and slowly includes entire torso. The tempo gets accelerated and dancers snap fingers in time with dance with the help of stone castanets. In a group dance each participant dances in his or her own style. In ensemble.

Odissi, a dance which developed in the East Indian state of Orissa is rooted in the dances performed by temple dancers (devadasi). It is usually performed by a solo female dancer, who acts out all the roles in legends from ancient epics. In the modern day, it may be performed together by 2 or more dancers. The Odissi dance depicts stories about the 8 incarnations of the Hindu god Vishnu, expressing deep love and strong faith in him.\n\nThe detailed expressiveness of Odissi is comparable to that of Bharatanatyam, a traditional dance from the South Indian region. Its movements are restrained in scale, and a half-sitting posture with the legs bent at the knees is maintained during the dance. Unlike Khattak which involves the stretching of the arms, the arms remain curved in Odissi and there are over 50 different traditional hand gestures. The head, chest and torso are used to accentuate femininity, and the curves of the dance are emotive and sensual. The movements of the eyes and facial expressions are highly important. It is one of the oldest dances in India together with Bharatanatyam.\n\nCharacteristics:\n∙One of the 8 major traditional dances recognized by the Indian government\n∙Originates from a religious dance performed by Devadasi female dancers in Hindu temples\n\nPerformed by Papia Desai\nDirected by Papia Desai\nChoreographed by Papia Desai

The dombra, a two-stringed plucked instrument, has played an integral part of Kazakh culture since ancient times. By performing kuy (a short solo composition) on the dombra, the nomad expressed his feelings. The only harmonic material for dombra that fully meets the traditions and rules is the tree. The tradition of hollowing out the instrument from a single piece of wood relates to mythological ideas about the sacredness and inviolability of the tree. The entire process of manufacturing dombra in ancient times took four years, and each instrument was custom made based on the player’s physique, voice, repertoire, gender, and was endowed with a special spiritual content.

At the age of 72, Sarsenbai Kotyrashev, a retired blacksmith from the village of Ulytau in Kazakhstan, set out on a remarkable solo journey — walking over 8,000 kilometers across all 17 regions of the country. With a handmade cart and the flag of Kazakhstan waving behind him, Sarsenbai’s mission was not only personal but deeply patriotic. His goal was to promote Ulytau, the historical and spiritual heart of Kazakhstan, and revive cultural traditions such as the Kokmaysa festival and the ancient koumiss ritual Kymyzmuryndyk.\n\nAlong the way, he shared stories of Ulytau’s rich heritage, sacred sites, and the legacy of Kazakh craftsmanship, working in collaboration with UNESCO to document intangible cultural heritage. Despite his age, Sarsenbai averaged 40 kilometers a day, enduring harsh weather, rough terrain, and physical challenges—all while being supported by a small team of medics monitoring him remotely.\n\nHis journey captivated the nation and turned him into a cultural icon. But Sarsenbai didn’t stop there. In 2023, at 73, he announced an even more ambitious dream: to walk around the world. Starting from Atyrau, Kazakhstan, his planned route spans Europe, the United States, China, and back to Central Asia. Through every step, he continues to raise awareness of Kazakh culture, identity, and resilience, proving that it’s never too late to follow your dreams — and inspire a nation in the process.

This dance is a reconstruction of the masked dance performed in the Drametse region, rearranged for a solo performance. ‘Nga’ means drum, and ‘Cham’ means ‘masked ritual dance’. The Drametse Nga Cham is a dance performed during the Drametse festival to commemorate the great teacher ‘Padmasambhava’, who brought Tibetan Buddhism to Bhutan in the 8th century.\n\nIt is said that Drametse Nga Cham originated from a dance performed by legendary male and female heroes living in the celestial world. Traditionally, it was performed by 10 musicians and 16 male dancers. The dancers wear monk’s robes and wooden masks depicting real or legendary animals, and dance in the temple yard.\n\nDrametse Nga Cham has an important place in the Bhutanese society, with religious and cultural significance. The Bhutanese see this dance as the source of their spiritual strength and a symbol of their national identity. However, there have been challenges in its transmission in recent years, with a decline in the number of practitioners and students.\n\nCharacteristics:\n∙Inscribed to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008\n∙Cham, a type of masked ritual dance\n\nPerformed by Ngawang Tencin\nDirected by Ngawang Tencin

The kan is a traditional Thai instrument from the northeastern region of Isan, which can be played solo or as an accompanying instrument. During the reign of King Rama IV, playing the kan was prohibited in Bangkok due to concerns that it might surpass in popularity the traditional Thai ensemble music of the central region. The kan consists of bamboo pipes, a metal reed, and a windchest (tao) made from the root of a hardwood tree. Today, efforts are being made to modernize the kan such as tuning it to the international standard pitch and forming ensembles alongside Western instruments.

This is a portion of the traditional Bhutanese masked dance of Cham, rearranged for a solo performer. It is a combination of the ‘Drum Dance’ which represents the victory of good over evil, and the ‘Hero’s Dance’ which contains a message to the god of peace and anger. In Bhutan, Buddhism is more than a religion, being a philosophy that guides its way of life and culture. In this culture of Buddhism, Cham is regarded one of the most unique elements of the Bhutanese Buddist heritage. ‘Cham’ which refers to a type of masked dance performed at rituals, is performed at the annual festivals of temples in the region. The people of Bhutan regard the act of viewing Cham as a spiritual experience, of release from worldly attachments.\n\nCham dancers wear traditional costumes made of silk in the 6 colors of red, white, yellow, green, blue and black. Each color stands for different aspects of nature, red for fire, energy and strength, white for water and peace, yellow for the ground, growth and elevation, green for air and finiteness, blue for the universe and infinity, and black for anger. The masks worn while dancing are carved from wood, depicting saints, wise men, guardian deities and legendary figures. The music is played using cymbals, drums, large and small copper horns, conches and bells.\n\nCharacteristics:\n∙An excerpt from a Cham (Bhutanese masked ritual dance) adapted for the stage\n\nPerformed by Tsering Dorji\nDirected by Tsering Dorji

Am wat is a solo instrument of the indigenous people called Bunoong in Mondulkiri province that has been around for a long time. This instrument is made up of a long necked gourd, 6 bamboo poles, about 1.5 cm in size and about 30 to 50 cm long. This instrument belongs to the group of high wind instruments. For the production of this instrument, players can make their own, because the instrument is convenient and available locally. This traditional musical instrument can be played by musicians without any specific occasion which means it can be played for entertainment purposes too, but they have to choose a specific song for a specific occasion. In the past, people used to play Am Wat in the morning to wake their children up, but now there are very few people who can use this instrument.