ALL
festivals
ICH Elements 36
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Practices of Then by Tày, Nùng and Thái ethnic groups in Viet Nam
Then a ritual practice indispensable in Tày, Nùng and Thái ethnic groups' spiritual life, reflects concepts about human beings, natural world and the universe (the Earth realm, the 3-layer Heaven realm). Then ceremonies describe a journey in which Then Master (Male/Female) controls ghost soldiers travelling from the Earth realm to the Heaven realm, the residing place of the gods, to offer worshipping items and show their praying requests for peace, bad luck relief, illness treatment, good crops, new house inauguration, initiation/title-conferring ritual (cấp sắc), blessings and happy new year. Then Masters start the journey by singing and plucking the tính lute (two or three-string lute). Depending on worshipping purposes, Then Masters will arrange worshipping trays to pray different native Gods, among whom Ngoc Hoang is the highest God. Then Masters often use a summoning tablet, a seal, a demon-expelling sword, a yin and yang rod, a bell, a fan and items such as pork, chicken, wine, rice, fruits and votive papers to perform Then ceremonies in the believer’s house, outdoor or at Then altar of the Master’s house. While practising, Then Master wears ceremonial dress, sings the language of his ethnic group and plays the tính lute, shakes the chùm xóc nhạc (rattle-bells), waves a fan. In some ceremonies, a female dancing group will accompany. Then rituals performances express Tày, Nùng and Thái’s cultural identities, from customs to musical instruments, dance and music. Then is always transmitted orally while its rituals are being conducted, reflecting the succession between generations.
Viet Nam 2019 -
Naadam, Mongolian traditional festival
The Mongolian Naadam is inseparably connected to the nomadic civilization of the Mongols who have practiced pastoralism on Central Asia’s vast steppe for centuries. Mongols’ traditional Naadam festival consisting of three manly games is considered as one of major cultural heritage elements which Mongols contributed to the nomadic civilizations. The three types of sports games – archery, horserace and wrestling – are directly linked with lifestyles and living conditions of Mongols and thus become the authentic cultural traditions among nomads. National Naadam is celebrated from July 11 to 13 throughout the country, in soums (counties), aimags (provinces), and the capital, Ulaanbaatar. Naadam represents distinct features of Mongolians’ nomadic culture and traditions, with expression of their unique cultural characteristics and images to become an identity of Mongolian people to the outside world. Thus, Mongolian Naadam has served a key factor to unite the Mongolian people and an important symbol of national solidarity. Mongolian people develop their physical strength, strong will power, patience, space and time related sensitivity and friendly hospitality from the three manly games which provides the cognitive and moral education basis. Main bearers of this cultural heritage are practitioners of the three games. i.e. those who significant part of the Mongolia population. Currently, over 100,000 people practice the traditional wrestling in various clubs and training courses, in addition to 3,000 students studying in several wrestling universities and colleges. Besides, the home schooling is considered one of most effecient forms, as it is the main traditional method to teach and learn the wrestling. Youths who practice wrestling would develop postive personalities such as being friendly, caring to the elderly and modest, besides strong will power, physical strength and courage. The main bearers of horserace appear racehorse trainers and jokey-children. Nowadays, about 400-500 horserace tournaments take place annually and altogether 200,000 horses (some recounted across tournaments) participate in them. About 100,000 racehorse trainers normally train these horses, while over 70,000 children ride and race. Besides, the audience of those tournaments would reach over 300,000 people. The Mongolian traditional home schooling provides extensive knowledge and skills, traditions and customs, culture and art elements of horserace. Compared to other two forms, relatively fewer people (about 10,000) practice and are interested in archery. Similarly, home schooling methods tend to dominate in learning and transmitting archery that family members and relatives become archers a lot. There are hundreds of thousand artisans and craftmen who make various tools and items used in the three manly games through employing meticulous skills and design to make them as collections of various art pieces. For instance, wrestling outfits – hat, boots and shorts, racehorse saddles and jokey’s outfits, and bows and arrows used in archery competitions have specific traditional technology and techniques each. These three sports games make a core blend of traditional arts and sports. Title-singing of horses and wrestlers indicate musical elements embracing songs and melodies. • Wrestling. After the wrestling site has been chosen based on the quality of the grass and the flatness of the site, the wrestling matches begin. Judges in groups of 8, 16, or 32 are divided into two groups which line up at the right and left side of the wrestling site and the wrestlers are divided into two groups at the left and right wings. To present the wrestler to the audience, judges will hold the participant's hat and sing praise songs while the wrestler performs an eagle dance before assuming the position to begin. Wrestling is not only a display of strength and bravery; it is also a competition of skill and technique. The object of the match is to make one’s competitor to fall on the ground with his elbows, knees or any other part of the body touching the ground, at which point he loses. Wrestlers who lose in each round will get eliminated from the tournament. The number of rounds differs from tournament to tournament. There are often 9 rounds at the national festival which takes place on July 11-12 annually and altogether 512 wrestlers wrestle. A half leaves after each round. From the fifth round, winning wrestlers can earn titles starting from hawk, falcon, elephant, garuda /mythical bird/, and lion, to the coveted champion. Wrestlers are divided into two groups or so-called ‘wings’ that the highest ranking wrestlers are listed at the top depending on their titles, such as first grand champions, then champions, lions, garudas, elephants, hawks, falcons etc. • Horserace. Horse-trainers choose potential race horses among horse flocks and train them meticulously, carefully adjusting their daily training and diet. Horse races are grouped in age-specific categories such as stallions, adults, 4-years old, 3-years old, 2-years old and 1-year old which race in different distance categories from 10 km to 30 km. Race horses have their mane and tails trimmed to improve their appearance while their trainers use specially crafted wooden sticks or a brush to remove the sweat from the horse after the race. These sweat-removing tools are often carved and decorated with traditional patterns and images of horses to symbolize their strength. Young riders wear special clothing including the deel and hat. Typically, children aged 6-10 years old jockey racehorses. When registration of the applicant horses is completed, the race administrator rides around the Naadam site three times, while children riding race horses sing ‘Giingoo’ to raise spirits of horses before racing. The winning horse is given the title of ‘Tumnii ekh’ (the mightiest of all), whereas the last horse in the race is given a nickname ‘Buren jargal’ “complete happiness”. The praise song is performed to congratulate winning horses and is called ‘singing titles’. • Archery. This competition is divided into two categories; Khana sur (big bow) and Khasaa sur (small bow). Men shoot from a distance of 75 meters to the target, and women from 65 meters. The target is called ‘zurkhai’, and is made of leather balls neatly lined along the flat ground in two rows. Each archer shoots 40 arrows and the one who shoots the most targets wins.
Mongolia 2010 -
Thổ Hà Festival
The Thổ Hà Village Festival came into being in 1685 but later endured a long period of suspension. It was revived in 1992, taking place yearly from the 20th to 22nd of the first lunar month. The four hamlets in the village take turn to play main role in the ritual procession throughout the village, which is located on a tip of land surrounded by Cầu River, bordering Bắc Ninh and Bắc Giang provinces. The festival is organized in commemoration of Mr. Đào Trí Tiến, the village’s patriarch of pottery making. The procession starts from 10:00am, beginning from Hamlet 1 and ending at noon at the Communal House. The procession is formed by many delegations dressed ornate costumes, resembling mythical and symbolic figures such as Tam Đa (three abudances) and Tiên Đồng – Ngọc Nữ fairies, or performing troupes such sên tiền dancers, Flag Master, Sword Master, Gong Master, so on. Although distance for the procession is quite short, it took two hours for the procession of the Saint’s palanquin to reach the communal house due to many activities taking place in the same narrow village road. The last ritual taking place at the communal in honoring the saint is the most solemn and sacred ceremony in the festival.
Viet Nam -
Chundu Soelchod or Soelkha: Invoking Chundu, a Local Deity
Chundu Soelchod is a native offering practiced by people of Haa and Paro. During the Soelkha, dances and Zhey are performed by the people of Yangthang Gewog with unique dress, lyric and steps. The male artists are locally called pazerpa or pazaap. In the 8th century, Guru Rinpoche visited Bhutan thrice from Tibet and subdued the local deities and transformed them as protecting deity of dharma in every region. Chundue soelkha is mainly celebrated for thanking Ap Chundu (local deity of Haa) for helping people of Haa during the battle time. It was originated during the time of when Zhandrung Ngawang Namgyel had conflict with Tsang Desi of Tibet. During that time group of Tibetan (Boe ma) reached at Haa, Gyensa. It was said that during night, those Boe ma (Tibetan) who reached Gyensa had seen fire and noises in Jangkhakha (Ap Chundu ground). Due to the light and reflection from Jangkhakha those Tibetan couldn’t attract the enemies instead they fell down in the river below Gyensa. That group of Tibetan was defected and the battle was won by the Haaps. Therefore people of Haa started with Ap Chundu soelchod to remember and thank Ap Chundu for his superstitious power and supporting them to win the battle. People also say as Ap Chudu’s birthday. It is celebrated toward the end of the year that is ninth month of the Bhutanese’s calendar. Regarded as manifestation of the warmth Chagna Dorji, Ap Chundu is not just localized to Haa district but he is and important deity of the country itself. In Bon-nag tradition (animal sacrifice is required to appease the deities. People use to sacrifice the yak during the festival until 2013. They did because they were feared so much that Ap Chundu will punish them with diseases and natural calamities if they missed it. How ever since killing is sinful act in Buddhism in the year 2013, Haaps local guardian deity has been appeased by scarifying a yak after consulting with the dzongkhag and gewog staff, and the family who carried out the tradition for years, the authorities decided to seek Ap Chundu’s permission to stop killing yaks to appease him. So they rolled the dice and according to the astrologer, got his affirmation.
Bhutan
ICH Materials 157
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Navruz
Navruz is an ancient and widespread holiday in Tajikistan, and it is celebrated on the vernal equinox, the beginning of the solar year and the new year according to the Iranian calendar, as well as calendars of several other nationalities. Navruz traditionally celebrates the awakening of nature and the beginning of agricultural work.
Tajikistan -
Ngajat
Iban Ngajat Warrior Dance.
Malaysia
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Kin Pang Then Festival: Encompassing Past and Present
Kin Pang Then is a traditional ritual of the Tai ethnic group in the northwest region of Vietnam to welcome and thank the deity known as Then. In the ritual, Then comes down to grant blessings on villagers and heal those whose souls are sick. The beneficiaries of the ritual are obliged to participate in the next Kin Pang Then ritual. The whole process of greeting and sending off the deity is intended to bring harmony and unity to all community members who participate in and enjoy the ritual. \nThis video shows the spiritual life of the Tai people and a master performing the ritual to bring good luck and wellbeing to the local people.
Viet Nam 2019 -
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
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Nepali Women and the Teej FestivalHindu Nepali women celebrate a huge festival—one of the biggest occasions in Nepal—known as teej. It takes place on the third day of Shuklapaksha in Bhadra (normally in August or early September). The mythical explanation of teej purports that Hamalay’s daughter Goddess Parvati went through a rigorous fasting for 108 years known as hari talika teej with the desire to have Lord Shiva as her husband. Having witnessed the willingness of the Goddess to be with him, Lord Shiva accepted her as his wife. Goddess Parvati’s spirit, devotion, and strong intention generally compose the story upon which teej festival is grounded. Inevitably, Nepalese women have come to see teej as a venue for them to show their devotion to their significant other. If unmarried, they celebrate teej as a symbolic prayer to someday have a good husband.\n\nIn a highly male-dominated society such as that of Nepal, this kind of festival rings the idea of female subjugation and puts women empowerment in question. Does teej, a Nepali heritage as it is, survive a misogynistic culture? How do women (re)create themselves in a festival created by men for men? To put these inquires in context, it should be noted that Nepali women have historically been regarded as inferior objects. In the old days, if married, women would not be allowed to visit their hometown; they would not be given easy access to basic needs of living such as communication and transportation. teej is, again, a festival created by men symbolically for men, but it also is, and absolutely a venue for women. Nepali women use this opportunity to be with others to share their sorrow, happiness, and other deep emotions in togetherness. It has been reported that women use Teej as an assembly to collect funds for women-centered causes, taking advantage of the big occasion to raise development issues.\n\nteej remains as an important festival in Nepal, a surviving cultural vein of the South Asian nation. It honors Nepalese folk life, folk songs, and ancient Nepali music. Wearing red attire with fancy ornaments, participating in singing, dancing, and eating dar (a particular food in Teej) are the main activities in the festival. These days, both women and men observe the festival, recognizing its cultural value\n\nPhoto : CONTRIBUTED BY ANIL GANDHARBAYear2017NationNepal
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2018 Auckland Tamaki Herenga Waka Festival: Celebrating Maori CultureThe Auckland Tamaki Herenga Waka Festival will be held on Auckland’s waterfront and harbor over the Auckland Anniversary Weekend, 27 to 29 January 2018. Traditionally, with Auckland being home to more than 180 ethnicities, the region has featured various types of Maori presence including Maori waka (canoes) during the weekend. And in the recent years, this tradition has been celebrated as a festival, a result from collaboration among the Mana Whenua; nineteen iwi (tribal groups) authorities of Tamaki Makaurau; the Auckland Tourism, Events and Economic Development (ATEED) on behalf of the Auckland Council.\n\nThroughout the three-day festival, many activities related to traditional and contemporary Maori culture will be featured. The activities are designed to boost harmonious understanding of the Maori culture to both children and adults by blending traditional and modern elements.\n\nThe program consists of music, games and craft activities, storytelling, and waka parades and rides. Sunday, 28 January, is the peak of the festival, hosting an array of waka activities such as waka paddling and a waka carving demonstration. On the same day, participants can visit village workshops to experience traditional arts and craft like toi (Maori arts), weaving, and carving. At the ANZ Viaduct events center, several art exhibitions will take place. There will also be a booth of modern digital games in the venue. Next to the Viaduct basin, people can experience waka sailing throughout the festival.\n\nThe festival has become a host of celebrated events during the Auckland Anniversary Weekend in just a short period of time. The 2018 Auckland Tamaki Herenga Waka Festival program is expected to be enjoyed by the locals and tourists, marking a scene to celebrate Maori history and heritage as well as the contemporary culture of Tamaki Makaurau.\n\nAdmission is free; however, partial payments may be collected in some tour zones and market places for food or souvenirs. The festival’s full program is available here.\n\nPhoto : Youth experiencing waka culture © Auckland Tamaki Herenga Waka FestivalYear2018NationNew Zealand