Materials
costumes
ICH Materials 245
Videos
(22)-
Kyrgyzstan Komuz&Kalpak Dignifies the Man (Highlight)
The film is dedicated to the Kyrgyz folk instrument komuz. An expert on making and playing komuz shares an komuz origin story. The film shows the interconnectedness between the models and melodies of komuz. Outstanding komuz makers and players as well as komuz beginners present some classical komuz melodies in the film. \nThis film is dedicated to kalpak—a traditional male felt hat. Knowledgeable people (a teacher, a journalist, an activist, and craftswomen) talk about the social functions and spiritual meanings behind kalpak. The film shows traditional and modern methods of making kalpak.
Kyrgyzstan 2017 -
Kalpak Dignifies the Man
This film is dedicated to kalpak—a traditional male felt hat. Knowledgeable people (a teacher, a journalist, an activist, and craftswomen) talk about the social functions and spiritual meanings behind kalpak. The film shows traditional and modern methods of making kalpak.
Kyrgyzstan 2017 -
Lkhon Khol Wat Svay Andet
Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana.\nLkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.
Cambodia -
China - Hyeonja Dance
Xuanzi Dance is performed at gatherings such as holiday celebrations and weddings in regions populated by the Zang people such as the Sichuan and Yunnan provinces. Everyone participates in this communal dance, coming into a large circle. Xuanzi dance is an expression of the unique sentiments and emotions of the Zang, passed down over generations and recognized as the pinnacle of traditional Zang dances.\n\nXuanzi dance is characterized by the four qualities of lightness, softness, bouncing and spontaneity. The dancers keep bouncing up and down on their knees throughout the dance. The movements of the upper body include flailing the arms while wearing the traditional long-sleeved costume of the Zangs, waving the sleeves, covering the arms with the sleeves and throwing the sleeves. These movements create the elegant and beautiful lines of Xuanzi. The line is a crucial element in Chinese aesthetics and the aesthetics of Chinese dance. This aesthetic of lines is clearly visible in Xuanzi dance.\n\nCharacteristics:\n∙Waving or shaking arms while wearing traditional costumes with long sleeves\n∙Light, soft and relaxed movements\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu
China Nov 21, 2011 -
Mongol Biyelgee, Mongolian traditional folk dance
Mongolian traditional folk dance “Bii Biyelgee” is an outstanding form among traditional performing arts of Mongolia, and unique and distinguished art expression which has embodied and originated from the nomadic living style of Mongols. Bii Biyelgee expresses the customs, traditions and spiritual practices through dancing elements, and its movements are typically confided to small space inside the Nomad’s dwelling-ger. Biyelgee is performed while half sitting or cross-legged sitting, coupled with fist and hand opening and waving, stiff and swift movements of chest and shoulders, shrugging and shaking them, crossing legs, steps and walks, as well as flexible body movements involved in prevalence. In doing so, biyelgee performers imitate the expressions of their lifestyle, household activities, courage, love, prides and livestock to the accompaniment of morin khuur, ikel khuur, tovshuur, tsuur, coupled with ethnic costumes.\n
Mongolia -
Bhutan - Pa Cham, Dance of the Heroes
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
Bhutan Oct 3, 2013 -
Indonesia - Balinese Dance ‘Sanghyang Surya
This is an original dance reconstructed based on traditional dances of Bali. To the Balinese, dance is a form of religious ritual performed according to the Balinese calendar. The traditional dances of Bali are inspired by nature and represent traditions, customs and religious value. The Balinese believe that the movements of traditional dances express the views of nature, while the mudra (hand movements) are related to their daily lives, laws, faith and customs. Traditional Balinese dances can be performed by both male and female dancers, who wear elaborate traditional costumes of bright colors, imprinted with flora and fauna patterns in gold foil, and decorated with accessories adorned by golden leaves and jewelry. The dance moves are very complex and precisely detailed. Dancers are required to possess not just skill, but also inner beauty (taksu), charisma, modesty and restraint, along with special spiritual power to bring the dances to life.\n\nDances performed in the many communities of Bali are typically transmitted through unofficial channels from elders to children in the traditional sekaa groups. The traditional dances of Bali are cultural heritage containing the customs and culture of the Balinese, and an important part of the identity of a community. The three genres of traditional Balinese dances were inscribed to the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2015.\n\nCharacteristics:\n∙An original dance reconstructed from the three genres of traditional dance in Bali inscribed to the Representative List of the Intangible Cultural Heritage of Humanity in 2015.\n\nPerformed by Dance Company of Jakarta State University\nDirected by Ida Bagus Ketut Sudiasa
Indonesia Sep 3, 2016 -
Cambodia - Apsara
The Apsara dance is a dance inspired by the bas relief on the corridors of the Angkor Wat. It is also referred to as Khmer traditional dance and Khmer royal ballet, and was inscribed to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity under the title ‘The Royal Ballet of Cambodia’.\n\nApsaras are spirits of cloud and water in Hindu and Buddhist legends. They are also referred to as ‘celestial dancers’ or ‘dancing goddesses’. The dance is characterized by magical golden costumes, elaborate make up and accessories, and slow, elegant movements. Its detailed and elaborate hand gestures can only be performed by highly skilled dancers.\n\nThe Apsara dance has been performed at official events of the Khmer royal court such as coronations, weddings, funerals and celebrations for over 1,000 years. Today, the dance which recreates legends about the origins and history of the Khmer is regarded by Cambodians as a symbol of their culture. Although its practice was interrupted under the communist regime in the 60s and 70s, it was dramatically restored in 1979, right after the collapse of the Pol Pot regime. While its former glory has been restored to a certain extent, it still faces many challenges such as the lack of official support, difficulty in finding performance spaces, competition with popular culture and over-commercialization as a tourism product.\n\nCharacteristics:\n·Inscribed to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 (The Royal Ballet of Cambodia)\n\nPerformed by Leu Sivmeng, Leng Sreypenh, Pich Raksmey\nDirected by Yon Sokhorn
Cambodia Sep 2, 2015 -
Republic of Korea - Taepyeongmu
The Keun Taepyeongmu is a version of the Taepyeongmu, rearranged as a mass dance. Taepyeongmu is a court dance depicting the King and Queen dancing to pray for peace and prosperity in the nation. It is thought to have been created in the early 20th century by Han Seong-jun, the father of modern Korean dance, based on the shamanic music and dance of the danggut rituals from Gyeonggi Province.\n\nTaepyeongmu is visually impressive, with elaborate and grand costumes influenced by court dances. The movements are full of energy, and set to complex and precise rhythms. The steps feature techniques such as gyeob georeum, jan georeum, raising the knee, and heel stomping and raising, timed to the changing rhythms, which are mesmerizing yet restrained. The highly technical steps are unique to this dance and give it its unmistakable style.\n\nCharacteristics:\n∙ 20th century adaptation of a shamanic dance performed at danggut rituals\n\nPerformed by Mongolian National Song and Dance Academic Ensemble\nDirected by Kim, Mi-Sook
South Korea Aug 27, 2017 -
Tajikistan - Huboni Khatlon
The various forms of traditional Tajik dances can be differentiated according to region, from Pamir state, to the mountainous region, Bukhra, Khatlon region in the south, Hissar valley, and northern Tajikistan. Huboni Khatlon is a traditional dance of the Khatlon region in southern Tajikistan, bordering Afghanistan. True to the title which means ‘Beautys of Khatlon’, the dance depicts young women living in Khatlon. The dancers wear beautiful traditional costumes called ‘chakan’, which is elaborately embroidered with the bright colors of spring flowers.\n\nCharacteristics:\n·Dance performed by dancers wearing chakan, a traditional costume decorated with colorful embroidery\n\nPerformed by Bazmoro Tajikistan National Dance Ensemble\nDirected by Qurbonali Kholov
Tajikistan Sep 3, 2016 -
India - Daksha Yaagam
This is a dance in the Kathakali tradition, one of the 4 major traditional dances of India, based on the story of Daksha Yaagam, about King Daksha, father of Sathi, wife of Shiva. Kathakali is a traditional art form dating back 600 years, originating from Kerala State in Southwest India in the 17th century. It is a comprehensive theatrical performance combining dance, theatre, music, makeup and costumes in a cohesive whole. Just like the Bharatanatyam, the Kathakali is a religious play in which the performer recites stories in the form of poetry and expresses it through dance and acting. The plot of Kathakali dances are based on traditional stories such as the epics of Mahabharata, Ramayana and Shaiva which form the roots of inspiration in Indian culture. At the core of the aesthetics of Indian dance is the purpose of oneness with the supernatural or rasa.\n\nKathakali performances begin at 6 pm in outdoor stages and carry on until morning the next day. Thus, it requires great physical and mental strength, and only dancers who have gone through the toughest training are allowed to perform. Traditionally, the dance was performed only by men and male dancers played women’s roles as well. Although it was a form of high culture, only performed in the royal courts in the 17th century, it is now widely enjoyed by the general public.\n\nCharacteristics:\n∙One of the 8 major traditional dances recognized by the Indian government\n\nPerformed by Kallekulangara Kathakali Foundation\nChoreographed by P.N.Ventikattaraman
India Sep 3, 2016 -
Worshiping Goddesses: Bringing Heaven and Humans
Worshiping the Mother Goddesses of the three realms-heaven, water, and mountains (or forests)-has been a cultural activity since the sixteenth century, significantly influencing the lives of Vietnamese people. In worshiping Mother Goddess Lieu Hanh (the "Mother of the World") and other spirits of legendary heroes, followers practice spirit possession rituals and traditional festivals.\n\nThese cultural expressions combine traditional costumes, music, and dance to help maintain the community's cultural heritage. Through interviews with spirit mediums, this video shows how belief in the Mother Goddesses have united and healed the community.
Viet Nam 2019