Materials
violin
ICH Materials 82
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Gendang Melayu Sarawak(Sarawak Malay Drums)
This documentary on Gendang Melayu (Malay Drums) Sarawak highlights the maker of the drums ; Hj Umar Tomik and his younger brother Safuan Tomik. Makers of these Gendang Melayu Sarawak are unfortunately decreasing due to many factors, the most crucial being the lack of interest among the youths. In this documentary we’ll get to see how the drums are made, how they are different from the drums in other parts of Malaysia, the types of wood used to make them (including the unique Belian wood which can only be found in the Borneo Islands), methods of hitting the drums, types of hits, and reason behind the design of the Gendang Melayu Sarawak’s shape.
Malaysia -
Gendang Melayu Sarawak(Sarawak Malay Drums)
This documentary on Gendang Melayu (Malay Drums) Sarawak highlights the maker of the drums ; Hj Umar Tomik and his younger brother Safuan Tomik. Makers of these Gendang Melayu Sarawak are unfortunately decreasing due to many factors, the most crucial being the lack of interest among the youths. In this documentary we’ll get to see how the drums are made, how they are different from the drums in other parts of Malaysia, the types of wood used to make them (including the unique Belian wood which can only be found in the Borneo Islands), methods of hitting the drums, types of hits, and reason behind the design of the Gendang Melayu Sarawak’s shape.
Malaysia -
Gendang Melayu Sarawak(Sarawak Malay Drums)
This documentary on Gendang Melayu (Malay Drums) Sarawak highlights the maker of the drums ; Hj Umar Tomik and his younger brother Safuan Tomik. Makers of these Gendang Melayu Sarawak are unfortunately decreasing due to many factors, the most crucial being the lack of interest among the youths. In this documentary we’ll get to see how the drums are made, how they are different from the drums in other parts of Malaysia, the types of wood used to make them (including the unique Belian wood which can only be found in the Borneo Islands), methods of hitting the drums, types of hits, and reason behind the design of the Gendang Melayu Sarawak’s shape.
Malaysia -
Artist Đào Bạch Linh transmits how to play the two –string violin at Hà Thị Cầu xẩm club of Yên Phong commune, Yên Mô district, Ninh Bình province.
Xẩm singing in Ninh Bình province\n\nXẩm is a folk performing art form of Vietnam with unique and typical lyrics. Among the national traditional art forms, only Xẩm singing is regarded as an occupation for its artists to earn for a living.\n
Viet Nam
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Gendang: Traditional Malay Drums
The gendang is a traditional drum from Sarawak, Malaysia. This video demonstrates the challenges stemming from the discrepancy between the reality of a decreasing number of gendang-makers and the necessity of maintaining the tradi\u0002tion through the lives of two gendang-makers, Umar Tomik and his younger brother Safuan Tomik. \n\nIt also encompasses the methods of producing gendang, the types of wood used, the difference between gendang and drums from other regions of Malaysia, the method of playing the drum, types of drum performances, and stories behind the design of the drum.
Malaysia 2019 -
Mongol - Joroon Joro
Joroon Joroo depicts couples dancing while riding on horses strolling at a leisurely pace. This dance originates from the Mongolian folk dance Bii Biyelgee. Bii Biyelgee is a dance arising from the nomadic lifestyle, and was traditionally performed in a small confined space within the ger, next to the stove. The choregraphy is primarily performed using the chest, shoulders, head and wrists, to avoid raising dust indoors. The legs are in a half-sitting position or crossed, only acting to support the torso. It is characterized by the raising of the arms and shaking of the shoulders. It is primarily accompanied by the ekil (violin-like traditional instrument) and the choreography is relatively short in length.\n\nThe various ethnic groups of Mongolia each perform their own unique and creative form of Biyelgee, which all go by different names. As Biyelgee is not just a dance but a form of pantomime which involves wit, emotions and expressions, it requires a high level of technical expertise and patience to master. Biyelgee plays an important role in the Mongolian society composed of a wide range of communities, as a cultural asset reflecting the customs and lifestyles of Mongolian nomads, and a common ground connecting the various ethnic communities. The viability of Biyelgee had been under threat in the recent past, due to a continued decline in the number of transmitters and performing communities, the numbers of trainees and transmitters have been showing stable growth with safeguarding efforts by the UNESCO and the Mongolian government.\n\nCharacteristics:\n∙A branch of Biyelgee dance which uses horses as a motif\n∙Biyelgee was inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2009\n\nperformed by Mongolian National Song and Dance Academic Ensemble\ndirected by Tseden-Ish Altangerel\nchoreographed by Davaakhuu Altangerel
Mongolia Sep 3, 2016 -
Dondang Sayang
Dondang Sayang is a Malay traditional music and song that is well-known in the State of Malacca and still practiced by four communities such as the Malay, Baba Nyonya, Chitty and Portuguese. The performances are accompanied by violin, rebana, gong and accordion and sing by two singers of the opposite sex, who sing in quatrains. It has received UNESCO’s recognition as a Representative List of The Intangible Cultural Heritage of Humanity on 29th November 2018.
Malaysia -
Playing Lawraw Pohuang with Singing
Lawraw Pohuang is two-stringed violin of Lawraw people. In this video, a man is playing Lawraw Pohuang with singing.
Myanmar 2014-08-15
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Kim tiền bản (Instrumental ensemble)
This is one of the ten pieces of Thập Thủ Liên Hườn. According to Đờn ca tài tử researcher Nguyễn Tấn, these ten pieces came from the reign of King Quang Trung (the end of eighteenth century) when a diplomatic delegation to the capital of the Thanh dynasty (China) attended the longevity ceremony of Càn Long King. They explored many beautiful places in China and composed ten poems to praise the Chinese scenery after returning to Vietnam. King Quang Trung appointed musical mandarins to set these poems to music for his musical enjoyment. Later, the Đờn ca tài tử circle performed these musical pieces and called them Thập Thủ Liên Hườn. Kim tiền bản musical piece has twenty-six phrases of two bars each. It was played when the diplomatic delegation attended the king’s audience and was rewarded golden coins by the king.
Viet Nam 1977 -
Nam xuân - Nam ai (Singing with accompaniment)
This song includes two melodies Nam xuân (twenty phrases) and Nam ai (twenty-eight phrases). Nam xuân, Nam ai are two out of three Nam pieces belonging to the twenty principle pieces. The piece takes on melancholic and deliberate characteristics. This musical piece is played by the bầu (monochord), the kìm (moon-shaped lute), and the violin. The bầu, a plucked string instrument made of wood, has a long rectangular resonator. A small arm made of bamboo or plastic is put through a gourd cover and attached to the resonator. At the end of the resonator, a metal or wooden peg is attached. The instrument has a metal string and has no frets. When playing the monochord, the musician creates overtones by lightly pressing the nodal points along the metal string. The violin is a western instrument that has some modifications to its strings when being used in Tài tử orchestra. For information about the kìm, please refer to the description for track 2.
Viet Nam 1977
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Kobyz: Kazakh Traditional Musical InstrumentKobyz (kyl-kobyz) is a sacred instrument embodying the spiritual world of a nomad. It is perhaps the most magical traditional musical instrument of Kazakh people. From being a sacred solo-instrument that sounded at the hands of nomads to moving to orchestras in large concert halls, kobyz went through a long journey onto the big stage.\n\nKobyz is made of a whole piece of wood, which is one of the most ancient ways of making musical instruments. It is an ancient belief that the living soul of a tree that is projected into the instrument is preserved only in the whole piece of wood. Kobyz is not a factory instrument, so it is always made by craftsmen. Making a high-quality kobyz is an extremely laborious process that requires considerable knowledge and skills. Many musicians admit that Kobyz is very selective and does not match with everyone. According to the local ethno-designers, kobyz might stop producing a proper sound if a person with negative energy is around it.\n\nKobyz Heritage: Importance of Revitalization\nMany valuable and interesting thoughts are contained in the ancient sounds and memories that come to life through the traditional musical instruments. As such, it contains morals about mutual respect, loyalty, justice, love for the motherland, and caring attitude towards elders. Therefore, it is necessary to carefully study and use those knowledge, traditions and customs in our lives today. Korkyt-ata himself, who is creator of kobyz and a legendary historical figure in Turkic world, became a symbol of national revival, the personification of high ideals of spirituality, morality, and love for the motherland.\n\nIt is believed that kobyz has a beneficial and healing effect to its surroundings. Traditionally, kobyz melodies were believed to have an ability to banish evil spirits, sicknesses and death. Sometimes the sound of a kobyz resembles a person’s speech coming from the depths of the soul. It is capable of transmitting the sounds of the wind, the voices of birds and animals, as well as the modern acoustics of the cities. However, the main point is a person’s feelings and soul hidden behind the melody. Having heard a kobyz play once, it is hard to forget its sound.\n\nSafeguarding and Popularization of Kobyz in Modern Musical Culture\n\nAncient ‘kyl-kobyz’ underwent several improvements, and the ‘kobyz-prima’ was born in the bowels of the orchestra. Like many folk instruments, kobyz defended its right to be placed among the popular classic instruments in an orchestra and has demonstrated its ability to adapt to any musical situation. the 20th century became a turning point for many ethnic groups with a predominant vector towards the tendency to rethink folklore within the framework of new aesthetic views. There was a transition from old traditions of solo performance to polyphonic orchestral sounding, which allowed the entrance into the big stage and entailed the improvements of Kazakh folk musical instruments.\n\nRevitalization of kobyz in the 20th century was contradictory: the pursuit of original traditions in national music was accompanied by the intensification of research in the field of folklore ethnography. However, people do not think of adaptation of traditional kobyz to contemporary time as a negative influence, rather they look at it with gratitude that this is how kobyz did not completely extinct as many other instruments. In fact, contemporary kobyz was constantly brought closer to the violin, which made it possible to present the instrument to the whole world, gain international recognition and move on to a new era – the era of reviving the “original ” traditional kyl-kobyz in the 21st century.\n\nphoto 1 : © Jean-Plerre Dalbera\nphoto 2 : “Playing on Kobyz-prima at friend’s wedding celebration” © Zhansulu Issayeva\nphoto 3 : “Kobyz-prima” © Zhansulu IssayevaYear2021NationKazakhstan
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Dondang SayangDondang Sayang is a Malay traditional music and song that is well-known in the State of Malacca and still practised by four communities such as the Malay, Baba Nyonya, Chitty and Portuguese. The performances are accompanied by violin, rebana, gong and accordion and sing by two singers of the opposite sex, who sing in quatrains. It has received UNESCO’s recognition as a Representative List of The Intangible Cultural Heritage of Humanity on 29th November 2018.YearNationMalaysia