Materials
performance
ICH Materials 850
Videos
(80)-
The Art of Making Traditional Kazakh Dombra
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.
Kazakhstan 2017 -
Rope Walking in Uzbekistan
Uzbek rope walking art is very ancient and has its own traditions. Uzbekistan is considered the only country where this art has been preserved in its current form. This video gives us a look at the lifestyle of the rope walkers as they travel from early spring to late autumn with their families and teams while demonstrating their art. Currently more than forty ropewalkers’ groups perform in Uzbekistan. They are exempt from income tax.\n\nPerformances by the Madamin Dorboz team from the Paxtaobod district, Andijan, and by the Mukhiddin Ismailov team from the Bukhara region as well as interviews from members of the Vodil Dorboz team of Fergana region are in the present film.
Uzbekistan 2017 -
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 -
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 -
Kazakhstan Orteke(Dance of the Wooden Goat) (Highlight)
Orteke(mountain goat) is the name of an indigenous Kazakh performing art in which flexible wooden figure of a mountain goat is placed on a traditional drum called dauylpaz. Orteke’s originality comes from it being a combination of theater, music, and puppet dance. The expressive puppet figure, called teke (goat), seems to come to life when the master starts playing the drum.\n The figure makes funny dance movements in time with the rhythm of the music being played. It is also said that the orteke figure once came different shapes and sizes that were created individually, each with a different number of moving limbs, depending on which kyu was performed.
Kazakhstan 2017 -
Tajikistan Naburz and children's highlight
Representative List of the Intangible Cultural Heritage of Humanity, 2016 Navruz is celebrated in Iranian cultures such as Tajikistan. As it is a happy festive day to welcome the spring after the long winter, the children enjoy various games. This video shows the children at play. Girls wear traditional Tajik costumes, and boys wear formal clothes while playing games like pebꠓble tossing and catching, kite flying, stick tossing, skipping rope, hacky sack, arm wrestling, swinging, breaking eggs. They also sing, allowing viewers to also feel cheerfulness of a festive day and become quite comfortable.\nLabchang, a musical instrument known from ancient times, received its name because it is placed between the lips and is played by a finger. Some old people in a few areas of Tajikistan continue to play labchang, so the art of playing has almost disappeared. The young generation generally doesn’t even now about the instrument. This film is dedicated to the methods of play on various types of labchangs in different parts of Tajikistan.\nVarious dance forms are performed in relation to nature throughout Tajikistan. The dances are varied, mainly having an imitating character. Performed by folk artists, the dances are transferred from generation to generation. Some of the rare dances are gone with their performers. The Pamiri people perform a rare mourning dance that is currently performed only in Bartang Valley and is on the verge of disappearances. Other dance forms are being revived day by day.
Tajikistan 2017 -
Orteke—Traditional Kazakh Puppet-Musical Performing Art
Orteke (mountain goat) is the name of an indigenous Kazakh performing art in which flexible wooden figure of a mountain goat is placed on a traditional drum called dauylpaz. Orteke’s originality comes from it being a combination of theater, music, and puppet dance. The expressive puppet figure, called teke (goat), seems to come to life when the master starts playing the drum. The figure makes funny dance movements in time with the rhythm of the music being played. It is also said that the orteke figure once came different shapes and sizes that were created individually, each with a different number of moving limbs, depending on which kyu was performed.
Kazakhstan 2017 -
Gunla Baajan, A Traditional Devotional Music
I am Alina Tamrakar. I am an architect currently working in documentation and restoration of heritage structures affected by the massive earthquake of 2015. I belong to Newa community who are the indigenous people of Kathmandu valley. Kathmandu is the capital of Nepal. Born and raised in a typical Newa family who has always put rituals and tradition in the first place, I was always very connected to the cultural heritage of Kathmandu. As I grew up being part of the festivals and rituals, there were always numbers of questions running inside: why do we celebrate these festivals, what is the story behind it, who initiated the traditions and so on. After the devastating earthquake took down so many monuments, some of which carried centuries-old history, it gave me time to reflect on the rich knowledge and skills that our ancestors held and handed it down to our generation. It also explained how tangible and intangible heritage are interlinked with each other. Also, a realization that there is still so much to learn from our heritage and to pass on to the next generation.\nAmong the Newa community, Tamrakars are one of such communities, who follow Buddhism. Gunla is one of many festivals celebrated in Kathmandu valley. It is the tenth month in Nepal Sambat lunar calendar, in which devotees from all around Kathmandu valley visit Swayambhu Stupa that is also one of UNESCO’s World Heritage Sites. The festival of Gunla last for one whole month. In addition to this, devotees also take a visit to different Buddhist courtyards called Baha-bahi and other stupas and chaityas. The devotees in the process recite Holy Scriptures and play devotional gunla music. Music groups from different communities take part in the procession. Like other numerous communities, Tamrakar community also has the musical group named “Tamrakar Gunla Baajan Khala” who have been taking part in playing gunla music and reciting Holy Scriptures from time immemorial. The procession starts from a traditional courtyard called “Piganani” in Maru, near Kathmandu Durbar Square. Piganani is the centre point of the location where Tamrakars initially settled in Kathmandu. Every day for the month of gunla, the community of around 20- 25 (on Saturdays and holidays the number increased to around 50 attendees) start the procession from Piganani at 5:30 am and visit the Swayambhu stupa and come back to Piganani and end the tour at around 8:00 am. On holidays, the team takes a longer route covering other major Buddhist monasteries, chaityas and stupas on the way. During the procession, the devotees and practitioners cover a distance of 6 kilometres.\nUntil three years back, I used to take part in the procession just as an audience listening to people reciting the scriptures and watching the team of young members playing the drums and cymbals to play devotional gunla music. Three years back, I enrolled as one of the practitioners and started taking part in the procession. I came to know that earlier, women were not allowed to play musical instruments in the gunla procession, but only take part as devotees. However, as time passed on, the society opened the doors for women as well. In today’s time, there are a huge number of women practitioners who have taken the initiative to be a part of the team.\nThe tradition of playing gunla music, according to local experts is thousands of years old practice. As much as this musical tour is interesting, it is equally full of knowledge regarding our culture and tradition. Such practices of cultural heritage are not only a matter of pride that an individual or the whole nation takes in but also a major affirmation that such huge collection of knowledge, skill and accomplishment that our ancestors have developed are being transferred to the next generation. Apart from carrying on the tradition, it is also very necessary that we understand the depth of each of these practices in order to keep the tradition alive in the long run. It is equally necessary that we know where our roots lie while we soar up to reach the sky. This is only possible when youths take the initiative to participate in these practices and talk about the “why”, “what” and “how” while they do so.\nDuring Gunla procession different traditional musical instruments are played. “Dhā” and “Nayo khin:” are drums played on one side by bare palm and with a wooden stick on the other are the main musical instruments played during the procession. The small cymbals called “tā” give the beat to the drums and big cymbals and trumpets are played along. For the first time, starting this year, flutes have also been added to the band. The music performance begins with “Dyo lhayegu”, which is a small introductory piece played in order to invoke the “Nāsa dya”, a deity of performing arts. There are separate pieces especially played depending upon the time and place in the procession. For example, the piece played while revolving a chaitya or stupa is different from a one played while beginning the procession.\nThe practice session for each year, begin one or two months prior to gunla month. Anyone who is capable of learning to play the instruments is eligible to participate. The members of Tamrakar community enrol their younger ones once they are ready to take part, while people from other communities are also welcomed to participate in learning and later take part in the procession. The practice sessions take place each evening in the courtyard of Piganani where a guru, a teacher takes a lead in taking music classes. In addition to a regular teacher, the elders in the Tamrakar Gunla Baajan community also offer their presence as well as their knowledge so that the learners get all the support they need. The sessions are one of such encouraging steps that the elder generation in the Tamrakar Gunla Baajan Khala take that make sure that the centuries-old tradition of playing gunla music is safely being transferred to the next generation.
Nepal 2019 -
Uwang Ahadas - A Yakan Virtuoso
▶ Play Video 8. Uwang Ahadas A Yakan Virtuoso\nCourtesy of the Gawad sa Manlilikha ng Bayan Executive Committee\n\nThe Yakan inhabit the island of Basilan just off the southern tip of the Zamboanga Peninsula of western Mindanao, particularly in the municipalities of Tipo, Lamitan, Sumisip, and Tuburan, and the islands of Sacol, Malanipa, and Tumalutab east of Zamboanga. The Yakan belong to the widespread Sama group, and their culture has become too specialized to be distinguished as a distinct group.\n\nThe Yakan’s language is closely related to the Sama, but their culture is more land orientated rather than the sea based. Agriculture consists largely of upland rice, although copra is also widespread. The main religion is Islam with syncretic elements from traditional and indigenous beliefs.\n\nThe Yakan are well-known for their elaborate dress, which is similar for males and females. For instance, both wear trousers. Noteworthy articles include the kandit, a fifteen-meter-long red sash worn by men, and the pinantupan, the women’s overskirt. Textile weaving done on the backstrap loom is much sought after, especially because of the intricate and beautiful motifs. The Yakan is one of the few groups that use tapestry loom producing the sophisticatedly woven pis syabit (headscarf for men) and seputangan (head cloth for women).\n\nThe Yakan have a rich musical tradition based on the pentatonic scale. Their musical instruments are usually made of bamboo, wood, and metal. The daluppak is a digging stick with a bamboo clapper. The kopak-kopak is a bamboo clapper on a stick. The kwintangan kayu is a percussion instrument consisting of five wooden beams suspended horizontally. The ends of the beams are tapered, and these are beaten. It is associated with planting and played to enhance plant growth. The wooden tuntungan is a suspended wooden ercussion plank with jar resonators, played with a pole during the harvest season for the purpose of giving thanks. The gabbang is a bamboo xylophone with five bars. The suling is a bamboo mouth flute used by men in courting. Another used by men to express love or admiration is the kulaing. The kulintangan or kwintangan consists of five bronze gongs arranged according to size and used during celebrations. The agung is a large deep gong used in ensemble performance.
Philippines 1996 -
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 -
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 -
Vietnam Kin Pang Then Highlight
The Tai communities live in Son La, Lai Chau, Yen Bai and Dien Bien provinces in the Northwest of Viet Nam. Kin Pang Then is one of Then's important rituals of the Tai people. This is the occasion where the Then master and his followers perform a thanksgiving ritual for the Then god. The ritual includes songs and music that symbolically express the journey of the Then Master to travel to the other world to look for the lost souls of the disciples/clients and to call the souls coming back to their bodies. The film is about the destined ritual Master and his ritual performance with Xoe dance for healing, good luck and well being for the local people. The film demonstrates the spiritual life and religious Then practice of the Tai in Northwestern religion in Viet Nam.
Viet Nam 2019