Đờn ca tài tử is a musical art that has both scholarly and folk roots. It developed in southern Việt Nam in the late nineteenth century. People in southern Việt Nam consider Đờn ca tài tử to be an indispensible spiritual cultural activity and a highly valued part of their cultural heritage. It is performed at numerous events such as festivals, ‘death anniversary' rituals such as the Death Anniversary of the Ancestors held annually on the twelfth day of the eighth lunar month, and celebratory social events like weddings and birthdays. The performers express their feelings by improvising, ornamenting and varying the ‘skeletal melody’ and main rhythmic patterns of these pieces. The audience can join practicing, making comments or creating new song texts. Đờn ca tài tử is played on a variety of different instruments, including the moon-shaped lute, two-stringed fiddle, sixteen-stringed zither, pear-shaped lute, percussion, monochord and bamboo flute. Its repertoire is based on twenty principal songs and seventy-two classical songs.

Viet Nam 2013

The predominant form of cultural expression among the Kyrgyz nomads is the narration of epics. The art of the Akyns, the Kyrgyz epic tellers, combines singing, improvisation and musical composition. The epics are performed at religious and private festivities, seasonal ceremonies and national holidays and have survived over the centuries by oral transmission. The value of the Kyrgyz epics lies largely in their dramatic plots and philosophical underpinnings. They represent an oral encyclopedia of Kyrgyz social values, cultural knowledge and history. The pre-eminent Kyrgyz epic is the 1000-year-old Manas trilogy, which is noteworthy not only for its great length (sixteen times longer than Homer’s Iliad and Odyssey), but also for its rich content. Blending fact and legend, the Manas immortalizes important events in Kyrgyz’s history since the ninth century. The Kyrgyzs have also preserved over forty “smaller” epics. While the Manas is a solo narration, these shorter works are generally performed to the accompaniment of the komuz, the three-stringed Kyrgyz lute. Each epic possesses a distinctive theme, melody and narrative style. Akyns were once highly respected figures who toured from region to region and frequently participated in storytelling contests. They were appreciated for their proficiency in narration, expressive gestures, intonation and lively facial expressions, so well suited to the epics’ emotionally charged content.

Kyrgyzstan 2008

Kompang Jidor traditionally encompasses twelve interlocking kompang beats that create composite rhythms. It is usually performed with vocal accompaniment of selawat based on the Kitab Barzanji, a book of praises to the Prophet Muhammad composed in the 18th century. The selawat, sung in Arabic, is structured into verses (rawi) and refrains (jawapan). The twelve beats of the Kompang Jidor are: jidor, babon, banggen, nelon, ngelimo, ngorapati, anak babon, paron, ngapati, ngentong, nyalahi, nyelangi. Kompang Jidor is performed by a group of kompang (Malay frame drum) players and a single player who strikes the jidor (large double-headed barrel drum). Once a tradition that flourished throughout Johor, this older form of kompang is becoming increasingly rare. Because of its complex rhythms, the art of the twelve-beat Kompang Jidor takes more time to learn and master than the more common four-beat Kompang Melayu.

This jaw’s harp is made from the outer skin of a palm known as polod among the Kadazandusuns. A skilful hand is needed to fashion a good one. The lamella in the centre is made to vibrate by striking the end of the instrument with the thumb. The vibrating strip makes very little sound by itself, but if held before the opened mouth, the player can gently magnify the sound by resonance. A wide range of frequencies can be obtained by varying the shape of the mouth and the position of the tongue. When not in use, it is usually encased in and attached to a bamboo tube to keep it clean and free from damage.

Wadangmet, also known as Papani, is one of the greatest festivals of the Chhiling Rai people from the eastern hills of Nepal. Just after the Nepali Tihar festival (Sep/Oct) is celebrated, every Rai household in the community takes out the Dhol and Jhymta, musical instruments which are kept hidden in the house for a whole year. Pulling out these instruments signals the beginning of the festival which lasts for 1-2 weeks. My 80-year-old grandmother loved telling this and many other stories about the Rai culture. It is believed that divine Rai deities, Ambirahang and Rexihang, children of Budahang come to the village and shower their blessings on the people. Budahang is the king of the gods. According to the Chhiling legend, Budahang’s children ran away and secretly got married, a serious violation of Rai social and traditional norms. For breaking the taboo, they were banished from the village. The villagers, however, decided that couple could visit the village for one week every year. Wadangmet is celebrated to welcome the return of the banished couple with singing and dancing. During their stay, the community does not perform any other rituals or worship other souls and spirits. The celebrations begin on the full moon in November. As an offering, the locals take one half kilogram of rice (mana dhurne) to the local priest’s house. This offering, on the first day of the festival, is made to the unholy couple to encourage their blessings of eternal life for family members. On the second day the people gather at the priest’s house and, during puja, offer a pig and two chickens to the siblings. The same day, they clean and worship in the village courtyards. On the third day, the villagers gather at the Mukhiya’s (the head of the village) house with Dhol and Jhyampta to perform traditional dancing. They cut another pig and share the feast. On the fourth day, every household offers a pig to Ashik Hang (the king of blessing) for a long and healthy life. At this time the household’s future for the coming year is forecasted by performing the “Tharkibahal or Mangla” ritual; a chicken is offered to gods. If a chicken bleeds it is believed that family members will have a peaceful and healthy life for the coming year. If the chicken doesn’t bleed the family will have one year of uncertainty. The celebration continues for a fifth day in another village. On the sixth day the raucous celebration continues at the Mukhiya’s house in another village. Traditionally, the day also used to be an occasion for joking and courting among boys and girls. They would meet, fall in love and many would practice bhagibibaha; they would elope and be considered married. Wadangmet is the happiest time of the year. It’s a festival to celebrate life, community, friendship, love, music and dance. The final day of the festival is MangPankha; seeing off the deities. This is a week-long celebration at the Priest’s house that includes more rice and chicken puja, singing, dancing and playing the hidden musical instruments. People dance for whole night (and drink) and when the sun rises, they once again bid farewell to forbidden couple. Achita, rice used for the pujas, is considered to cure diseases. They save it for medicinal use throughout the coming year. No one knows how or when this festival began. My grandmother was filled with myths and fascinating stories about ancestors and how they lived. Regrettably, many of these stories are being forgotten but, Wadangmet is alive and well. Long live the Chhilings Rai people!

Karen (Pgaz K' Nyau) tribe’s unique culture has remained largely intact because of its isolation. The traditions are deeply connected with the forest and the tones of the music echo their histrionic landscape that ranges from deep wild and valleys. Their main way of living is living with and taking care of the forest. The Karen musical instrument called “Tae Na Gu”, has its own sound and character with a very long history. A soft sound, bright and gentle is the colour that would paint your heart in light colours. The root of this instrument could trace back to more than 200 years ago. Its name usually appeared in tribal's ancient rhymes. From generation to generation this ancient instrument has been transferred. It has significant changes. For example, the strings used to be 9 - 12 with a minor scale, now it has only 6-9 strings in major scale so they could play with other musical instruments perfectly. Also, many new generations of Pgaz K' Nyau musicians bring it back to life by designing, changing colours and forms. But one thing that would not change is it exquisitely represents the character of the Pgaz K' Nyau people. Gentle, adaptive and caring for their inheritance.

In the Thailand context, we are fully aware that the indigenous people have been looked down on for a very long time because of fallacious news and social media which represent only one side of the story. As a consequence, indigenous kids have been bullied in the school, only because they’re wearing their indigenous dresses. They are afraid to tell other people about who they really are. With this problem, we were inspired that “if we could use the beauty of their culture to communicate with people to solve this problem”. And if we do not want our generation to lose the chance to know about who they really are. By having these concepts in mind, we are trying to let people learn more about other cultures, music, language and local wisdom. We started to hear their songs and found that these songs can be used as a tool to share their untold stories. Just recently, we’re creating an online platform as a medium to share their music and stories. The objective of our work is not only about building public awareness, but we also aim to preserve the beauty of cultural diversity in order to let the audiences create value from the culture as to how they perceive it. What we offer on the platform is music, sound, and story while the indigenous musician earns more income.