Materials
wooden sticks
ICH Materials 22
Photos
(15)-
Than Pa’Tala (Iron Xylophone)
19 iron slates in different sizes are drilled with the hole, so the strings will hold them together and can be passed through in order to attached on the wooden frame. The player has to strike with two sticks wrapped with cloth at top to the iron slates to make the different harmonious melody or sound. The xylophone can be played from the crescendo to the bases or from the bases to the crescendo according to the music.\n-4 feet 5 inches in length\n-6 inches in height\n-11 inches in length of maximum iron slate\n-6.5 inches in length of minimum iron slate
Myanmar -
Gone Shan Traditional Xylophone
22 iron slates in different sizes are drilled with the hole, so the strings will hold them together and can be passed through in order to attached on the wooden frame. The player has to strike with two sticks wrapped with cloth at top to the iron slates to make the different harmonious melody or sound. The xylophone can be played from the crescendo to the bases or from the bases to the crescendo according to the music.\n-4 feet 1 inch in length \n-3 feet 9 inches in length of total iron slate \n-8 inches in height \n-11 inches in length of maximum iron slate \n-6 inches in length of minimum iron slate
Myanmar -
Taaung Palaung Maun: Sai Tan (Traditional Gong ensemble)
5 gongs made of brass are arranged in order in the wooden frame. A player strikes the bosses of the gongs with two sticks wrapped with cloth at top. 5 gongs are made in different size. The gongs must be played by striking their bosses.
Myanmar -
Gone Shan Maun: Sai Tan,Traditional Gong Cycle
6 gongs made of brass are arranged in order in the wooden frame. A player strikes the bosses of the gongs with two sticks wrapped with cloth at top. The gongs must be played by striking their surfaces.\n-1 feet 1 inch in diameter of No.1 gong\n-9 inches in diameter of No.2 gong\n-7 inches in diameter of No.3 gong\n-7 inches in diameter of No.4 gong\n-5 inches in diameter of No.5 gong\n-5 inches in diameter of No.6 gong
Myanmar -
Gone Shan Maun Sai (Traditional Gong Circle)
15 gongs in different sizes are arranged in wooden frame. It has to be played with two sticks wrapped with cloth at top.\n-3 feet 1 inch in length of gong circle\n-1 feet 8 inches in width\n-10 inches in height\n-7.5 inches in diameter of No.1 gong\n-7 inches in diameter of No.2 gong\n-6.5 inches in diameter of No.3 gong\n-7.5 inches in diameter of No.4 gong\n-5.5 inches in diameter of No.5 gong\n-5 inches in diameter of No.6 gong\n-5 inches in diameter of No.7 gong\n-4.5 inches in diameter of No.8 gong\n-0.5 inches in diameter of No.9 gong\n-4 inches in diameter of No.10 gong\n-8 inches in diameter of No.11 gong\n-6.5 inches in diameter of No.12 gong\n-6 inches in diameter of No.13 gong\n-6 inches in diameter of No.14 gong\n-5.5 inches in diameter of No.15 gong
Myanmar -
Maun: Sai (Gong Circle)
10 gongs in different sizes are arranged in wooden frame for Big Gong Circle. 7 gongs in different sizes are arranged in wooden frame for Small Gong Circle. It has to be played with two sticks wrapped with cloth at top.\n\nBig Gong Circle\n-2 feet 7 inches in length of gong circle\n-1 feet 6 inches in width\n-1 feet 6 inches in height\n-10 inches in diameter of No.1 gong\n-9 inches in diameter of No.2 gong\n-9 inches in diameter of No.3 gong\n-8 inches in diameter of No.4 gong\n-8 inches in diameter of No.5 gong\n-7.5 inches in diameter of No.6 gong\n-7.5 inches in diameter of No.7 gong\n-7.5 inches in diameter of No.8 gong\n-7 inches in diameter of No.9 gong\n-6 inches in diameter of No.10 gong\n\nSmall Gong Circle\n-1 feet 10 inches in length of gong circle\n-1 feet in width (Left)\n-1 feet and 2 inches in width (Right)\n-1 feet and 6 inches in height\n-6 inches in diameter of No.1 gong\n-5.5 inches in diameter of No.2 gong\n-5 inches in diameter of No.3 gong\n-4.5 inches in diameter of No.4 gong\n-4 inches in diameter of No.5 gong\n-4 inches in diameter of No.6 gong\n-4.5 inches in diameter of No.7 gong
Myanmar -
Pi-bar (Bamboo Flute)
May-Pa-We (a) Htan-Hae bamboo is cut into 14 piece of sticks in different length. And then, these bamboo sticks are tied together in ascending order. All joints of instrument are made hollow, except the lowest joint. 14 bamboo sticks are perforated and fixed on the instrument with the distance of 7 inches from its base. And the reeds made of bronze or silver are inserted inside these holes. The additional holes are perforated with the distance of 4 fingers from reed-inserted holes. One end of wooden pipe which is used as a mouthpiece is tapered off and another end is indented. The top bamboo pipes with inserted-reeds are fixed into the holes perforated on other side of wooden pipe by plastering with beeswax. These bamboo pipes are tied with the ropes twisted with the fiber of Lun tree in top, middle and low. The Pi-bar pan flute makes a sound like accordion does. This instrument was played for traditional songs in congregational singing, national celebrations, wedding ceremonies, New Year festival and harvesting festivals.
Myanmar -
Wayang Kulit
Wayang Kulit (Shadow Puppet Play) is a traditional Malay theatre that utilises light and shadow of puppets. It is said to originate from Jawa, whilst others cite Patani as the source. The performance is now very popular in Kedah, Kelantan and Terengganu.\nA Wayang Kulit performance is usually conducted in the evening. The performance is led by a Tuk Dalang who maneuvers puppets behind a white screen (kelir). Tuk Dalang and the puppets are strategically positioned in front ofnthe light from a hanging light bulb or gasoline-fueled lamp. Thus, only shadows of the puppets are seen on the screen. The reputation of a Tuk Dalang depends on his expertise in mimicking different voices of the characters.\nPuppets are made from leather with movable parts (upper arms, lower arms with hands) mounted on the body with wooden sticks. Their figures are based on specific characters from collections of tales from the Ramayana and Mahabrata epics. Popular characters include Seri Rama, Sita Dewi, Wak Long, Pak Dogol and Hanuman.\nWayang Kulit performance is accompanied by a musical ensemble which consists of seven to eight members. The musical instruments used includes canang (gong), geduk, gendang (drum), rebab (violin), gedombak, serunai, and kesi (small cymbals).
Malaysia -
Wayang Kulit
Wayang Kulit (Shadow Puppet Play) is a traditional Malay theatre that utilises light and shadow of puppets. It is said to originate from Jawa, whilst others cite Patani as the source. The performance is now very popular in Kedah, Kelantan and Terengganu.\nA Wayang Kulit performance is usually conducted in the evening. The performance is led by a Tuk Dalang who maneuvers puppets behind a white screen (kelir). Tuk Dalang and the puppets are strategically positioned in front ofnthe light from a hanging light bulb or gasoline-fueled lamp. Thus, only shadows of the puppets are seen on the screen. The reputation of a Tuk Dalang depends on his expertise in mimicking different voices of the characters.\nPuppets are made from leather with movable parts (upper arms, lower arms with hands) mounted on the body with wooden sticks. Their figures are based on specific characters from collections of tales from the Ramayana and Mahabrata epics. Popular characters include Seri Rama, Sita Dewi, Wak Long, Pak Dogol and Hanuman.\nWayang Kulit performance is accompanied by a musical ensemble which consists of seven to eight members. The musical instruments used includes canang (gong), geduk, gendang (drum), rebab (violin), gedombak, serunai, and kesi (small cymbals).
Malaysia -
Wayang Kulit
Wayang Kulit (Shadow Puppet Play) is a traditional Malay theatre that utilises light and shadow of puppets. It is said to originate from Jawa, whilst others cite Patani as the source. The performance is now very popular in Kedah, Kelantan and Terengganu.\nA Wayang Kulit performance is usually conducted in the evening. The performance is led by a Tuk Dalang who maneuvers puppets behind a white screen (kelir). Tuk Dalang and the puppets are strategically positioned in front ofnthe light from a hanging light bulb or gasoline-fueled lamp. Thus, only shadows of the puppets are seen on the screen. The reputation of a Tuk Dalang depends on his expertise in mimicking different voices of the characters.\nPuppets are made from leather with movable parts (upper arms, lower arms with hands) mounted on the body with wooden sticks. Their figures are based on specific characters from collections of tales from the Ramayana and Mahabrata epics. Popular characters include Seri Rama, Sita Dewi, Wak Long, Pak Dogol and Hanuman.\nWayang Kulit performance is accompanied by a musical ensemble which consists of seven to eight members. The musical instruments used includes canang (gong), geduk, gendang (drum), rebab (violin), gedombak, serunai, and kesi (small cymbals).
Malaysia -
Wayang Kulit
Wayang Kulit (Shadow Puppet Play) is a traditional Malay theatre that utilises light and shadow of puppets. It is said to originate from Jawa, whilst others cite Patani as the source. The performance is now very popular in Kedah, Kelantan and Terengganu.\nA Wayang Kulit performance is usually conducted in the evening. The performance is led by a Tuk Dalang who maneuvers puppets behind a white screen (kelir). Tuk Dalang and the puppets are strategically positioned in front ofnthe light from a hanging light bulb or gasoline-fueled lamp. Thus, only shadows of the puppets are seen on the screen. The reputation of a Tuk Dalang depends on his expertise in mimicking different voices of the characters.\nPuppets are made from leather with movable parts (upper arms, lower arms with hands) mounted on the body with wooden sticks. Their figures are based on specific characters from collections of tales from the Ramayana and Mahabrata epics. Popular characters include Seri Rama, Sita Dewi, Wak Long, Pak Dogol and Hanuman.\nWayang Kulit performance is accompanied by a musical ensemble which consists of seven to eight members. The musical instruments used includes canang (gong), geduk, gendang (drum), rebab (violin), gedombak, serunai, and kesi (small cymbals).
Malaysia -
Wayang Kulit
Wayang Kulit (Shadow Puppet Play) is a traditional Malay theatre that utilises light and shadow of puppets. It is said to originate from Jawa, whilst others cite Patani as the source. The performance is now very popular in Kedah, Kelantan and Terengganu.\nA Wayang Kulit performance is usually conducted in the evening. The performance is led by a Tuk Dalang who maneuvers puppets behind a white screen (kelir). Tuk Dalang and the puppets are strategically positioned in front ofnthe light from a hanging light bulb or gasoline-fueled lamp. Thus, only shadows of the puppets are seen on the screen. The reputation of a Tuk Dalang depends on his expertise in mimicking different voices of the characters.\nPuppets are made from leather with movable parts (upper arms, lower arms with hands) mounted on the body with wooden sticks. Their figures are based on specific characters from collections of tales from the Ramayana and Mahabrata epics. Popular characters include Seri Rama, Sita Dewi, Wak Long, Pak Dogol and Hanuman.\nWayang Kulit performance is accompanied by a musical ensemble which consists of seven to eight members. The musical instruments used includes canang (gong), geduk, gendang (drum), rebab (violin), gedombak, serunai, and kesi (small cymbals).
Malaysia