Materials
legs
ICH Materials 92
Videos
(7)-
Children’s Rite of Cutting the Rope “Tusau Kesu”
Highly traditional nomadic rites, such as the tusau kesu, have been preserved among the Kazakhs, but the people’s understanding of the rites has been transformed. For Kazakh forbearers, rituals like tusau kesu (cutting the rope) or ashamayga mingyzu (landing on a horse) were rituals for beginning a journey, the journey through life and the exploration of the space around them. Many Kazakh families believe that the tusau kesu rite helps accelerate the child’s physical development so that the child can walk confidently, but if the child walks weakly, the rite can be repeated. The rite also symbolizes the discovery of a life path. The rite transfers spiritual and physical qualities to the child from a respected person elected by the parents. A grandmother, for example, shows the techniques of fetter weaving to her granddaughter.
Kazakhstan 2017 -
Vat-gine (Crescent-shaped Gong) Mon Traditional Crescent Gong
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
Myanmar 2014-07-02 -
India - Odissi
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
India Oct 2, 2013 -
India - Bharatanatyam Jatis Waram
Jatis Waram is the second sequence in the Bharatanatyam, a dance comprising 7 sequences. Bharatanatyam is the oldest dance in India, originating from a religious dance performed by female dancers (Devadasis) for the gods in Hindu temples. Like majority of Indian traditional dances, it is based on a religious narrative. Although it used to be performed by a single female dancer, it is now common for 2 or more dancers or male dancers to participate in the dance.\n\nBharatanatyam is characterized by its powerful rhythms. Dancers execute complex steps and detailed hand gestures (mudra) while keeping the upper body still and bending the legs or placing the heel down on the floor. The rhythms of the ghungroo (bell instrument worn on the ankles) further elevates the mood. The dancer delivers the message of the dance through highly controlled facial expressions down to the movements of the eyebrows and eyes.\n\nBharatanatyam was an esoteric art form until the 20th century as it was traditionally performed only in temples. Today, it is taught in many schools and organizations, acting as a source of artistic inspiration in all genres of Indian art, from music to songs, poetry, painting and sculpture.\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 Divya Jay Pitel, Radhika Nemina\nDirected by Parul Shah
India Sep 26, 2011 -
Kun Lbokator
Kun Lbokator is an ancient Khmer martial arts dating back to at least the Angkorian period, which aims to inculcate and develop mental and physical strength and discipline in its practitioners, by mastering self-defense techniques, while promoting the philosophy of non-violence. It is characterized and distinguished not only a martial arts form but also embodies a certain cultural aspect. For instance, the rituals and social practices observed in Kun Lbokator require that the practitioner possesses knowledge about nature and the universe. \nPractitioners are required to train and master striking and defense techniques relying on their bare arms and legs, and only once a student can demonstrate proficiency is weapons training introduced. Another essential aspect of Kun Lbokator is that it is to be practiced with an ensemble of elements including dance, music, natural medicine, sacred objects and/or amulets, tattoos, and weapons. Masters play a crucial role in the performing aspect of Kun Lbokator because they serve as mediators between the apprentices and the guardian spirits, and thus are responsible for introducing new apprentices to them and the surrounding nature, asking for the apprentices’ protection and safety in training. In return, practitioners are required to show respect to others and take a pledge to become good citizens. \nPresently, Kun Lbokator is still actively performed as part of ritual offerings to local protective deities, Neak Ta as well as in other festive events. Kun Lbokator is an intangible tradition widely practiced among Cambodians, regardless of their age, gender and educational backgrounds or statuses.\n
Cambodia 2019 -
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 -
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