ALL
oral expression
ICH Elements 27
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Performance of the Mongolian epic of Jangar
The Mongolian epic of Jangar is one of the great oral epics of the Mongolian people. The epic cycle consists of around seventy episodes of seven to eight hundred lines each. Every episode tells of one or more gifted and courageous heroes, interconnected with stories of King Jangar. The epic is cherished among ethnic groups and minorities in all provinces, particular as it emphasizes an inclusive view of Mongolian identity and pride in its homeland, language and culture.
Mongolia -
Mongolian triad
Mongolian triad is one of the phenomenal forms of Mongolian oral expressions could not be found elsewhere in the oral literature of other nations. The Mongolian triad refers to the Mongolian traditional preference for constant objects with similarities symbolizing in threes. It is usually expressed in three lines of verses usually portraying the philosophical views with wiser contents of exploration and observation. The structure and composition of the Mongolian triad is always represents the three continent of Mongol myth as heaven, earth and hell, or about earth (nature, land, earth and space) and human, and portray the scene of whole world simultaneously. For instance, 3 nice on the earth has named as: The full moon is nice (space), Flower in wild area is nice (mother land), Words of parent are nice (human sphere).
Mongolia -
The words of propitious omens (well-wishing)
The words of propitious omens are the shorter forms of benedictions used for expressing the best regards and happiness in people’s daily routine works and practices. The words of propitious omens are regarded as respect for others and widely used for greeting purposes. The words of omens are predicting the good things that can be happened in the future, and this makes the omens similar to benedictions but its function and use is different. The words of omens do not have different parts, as shorter as possible, words or poems which does not have any melody. The words of omens associated with any actions are always said same and its meaning has a connection to that actions. For instance: if somebody is writing a script, the omen word is said as “May the brush would sharpest”, if somebody is churning the Airag, the omen is said as, “More butter comes to the Airag” and so on.
Mongolia -
Heritage of Dede Qorqud/Korkyt Ata/Dede Korkut, epic culture, folk tales and music
The epic, folk and musical heritage of Dede Qorqud/ Korkyt Ata/ Dede Korkut is based on twelve heroic legends, stories and tales and 13 traditional musical compositions (in Kazakhstan, Kuys of Korkyt Ata) that have been shared and transmitted from generations to generations, through oral expressions, performing arts, cultural codes and musical compositions. The element contains social, cultural, moral values such as heroism, dialogue, physical and spiritual wellness and unity as well as respect to nature that are still maintained by all parts of society Dede Qorqud /Korkyt Ata/ Dede Korkut appears in each story as a legendary character and is a wise person, a sage of minstrels whose words, music and expressions of wisdom are related to traditions of birth, marriage and death. In Korkyt's musical compositions, the main intonations are reproduced on Kobyz (musical instrument), through the sounds of nature, and imitations of soundscapes are characteristic for this medium, e.g. imitation of the howl of a wolf, a swan's note, a horse's run, the whoosh of an arrow, a dog's yawl, a baby's cry, a lullaby, etc. The feature of Korkyt's musical compositions is their interconnection with each other through the epic stories which accompany each musical composition. The element was safeguarded due to its bearers – community of epic and tale narrators and music performers. Today, the element is transmitted in two ways: informal – within the family or community, and formal - in various educational institutions. From family events to national and international festivities the element is sustained and practiced during a wide variety of occasions in various cultural spaces and therefore it is well rooted in society. For the Turkic speaking communities, the element is the connecting thread of generations and unites them today.
Azerbaijan,Kazakhstan,Turkey 2018
ICH Materials 43
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Aytiz
Aytiz is one unique form of oral expressions of Kazakh people to sing in pairs. According to its contents, aytiz is classified into basic aytiz, jar jar aytiz, aytiz of animals and humans, aytiz for this life and the life after death, riddle aytiz and aytiz for rituals and practices. Among these forms, the aytiz for rituals and practices is well developed and widely spread. Dombor (Kazakh traditional stringed instrument) players with good voices compete with each other in poetic manners. When pairs are singing Aytiz, they reflect good and bad personality of each other, and compliments the good things and criticize the failures in their community /bagh, soum, city and country/ in a way of debating to compromise the opposite person. n
Mongolia -
Aytiz
Aytiz is one unique form of oral expressions of Kazakh people to sing in pairs. According to its contents, aytiz is classified into basic aytiz, jar jar aytiz, aytiz of animals and humans, aytiz for this life and the life after death, riddle aytiz and aytiz for rituals and practices. Among these forms, the aytiz for rituals and practices is well developed and widely spread. Dombor (Kazakh traditional stringed instrument) players with good voices compete with each other in poetic manners. When pairs are singing Aytiz, they reflect good and bad personality of each other, and compliments the good things and criticize the failures in their community /bagh, soum, city and country/ in a way of debating to compromise the opposite person. n
Mongolia
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The words of propitious omens (well-wishing)
The words of propitious omens are the shorter forms of benedictions used for expressing the best regards and happiness in people’s daily routine works and practices. The words of propitious omens are regarded as respect for others and widely used for greeting purposes. The words of omens are predicting the good things that can be happened in the future, and this makes the omens similar to benedictions but its function and use is different. The words of omens do not have different parts, as shorter as possible, words or poems which does not have any melody. The words of omens associated with any actions are always said same and its meaning has a connection to that actions. For instance: if somebody is writing a script, the omen word is said as “May the brush would sharpest”, if somebody is churning the Airag, the omen is said as, “More butter comes to the Airag” and so on.
Mongolia -
Benediction
Benediction is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Benedictions propitiate people’s future happiness and well-being through skillfully composed and recited poems. It is unique in a way that minstrels sing the benediction completely from memory, and also by adding their own versions of words or improvising totally new verses to fit particular situations or events. By the invitation of people, a person who knows the order of feast and ceremonies well and mastered in the benediction and its melody says the benediction with use of the holly silk scarf, milk in the silver bowl, and Airag in bowl. The benediction is oral poetry which contains a beginning, main part and ending part.
Mongolia
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Benediction of Party, Nariin Yuruul
Mongolian well-wishing is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Briefly, benedictions (well-wishing) propitiate people’s future happiness and well-being through skilfully composed and recited poems. There are thousands of benedictions on various subjects. For instance there are benedictions recited while beating the sweat cloth of a saddle, while distilling milk vodka, while celebrating a birth, and while cutting an infant’s hair for the first time. Besides ancient benedictions, many contemporary benedictions are being kept at the ILL. These include benedictions for a new ger, weddings, a child’s first haircut, endowment practices, mare-milking ceremonies, foal-branding ceremonies, the People’s Revolution, and others for the military.
Mongolia 1905 -
Benediction of Bringing Mare’s Forth, Guunii Urs Gargah Yuruul
Mongolian well-wishing is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Briefly, benedictions (well-wishing) propitiate people’s future happiness and well-being through skilfully composed and recited poems. There are thousands of benedictions on various subjects. For instance there are benedictions recited while beating the sweat cloth of a saddle, while distilling milk vodka, while celebrating a birth, and while cutting an infant’s hair for the first time. Besides ancient benedictions, many contemporary benedictions are being kept at the ILL. These include benedictions for a new ger, weddings, a child’s first haircut, endowment practices, mare-milking ceremonies, foal-branding ceremonies, the People’s Revolution, and others for the military.
Mongolia 1905
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Benedictions
Benedictions\n\nMongolian well-wishing is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Briefly, benedictions (well-wishing) propitiate people’s future happiness and well-being through skilfully composed and recited poems. There are thousands of benedictions on various subjects. For instance there are benedictions recited while beating the sweat cloth of a saddle, while distilling milk vodka, while celebrating a birth, and while cutting an infant’s hair for the first time. Besides ancient benedictions, many contemporary benedictions are being kept at the ILL. These include benedictions for a new ger, weddings, a child’s first haircut, endowment practices, mare-milking ceremonies, foal-branding ceremonies, the People’s Revolution, and others for the military.
Mongolia 2012 -
Narrative Traditions - Oral Epics and Ballads Vol. II_ the Jagar and the Epic of Alha
CD5_NARRATIVE TRADITIONS – ORAL EPICS AND BALLADS VOL. II: THE JAGAR AND THE EPIC OF ALHA\n\nOral epics, ballads, and narratives form a major part of the background of rituals, storytelling, and local mythologies – all an important part of the intangible cultural heritage of India. The vast range of oral epics in India, most often sung, also contain recitation and prose that explain the text. The meters vary greatly, and they all have different definitions and terms. For instance, the meter and singing of the Alha is called Alha Chhand. A wide variety of types of performances and expression of this genre exist. Some stories are narrated with scrolls that illustrate episodes. Sometimes, they are acted out, and sometimes sung, as in the case of the paddanas, which are performed while transplanting rice. Stuart Blackburn and Joyce Flueckiger distinguish three kinds of oral epics in India: martial, sacrificial, and romantic. \n\nSome epics tell a story with multiple episodes and characters, and some are “multi-story” oral epics. Oral epics in India are very closely tied to communities, with performers, audience, and participants all belonging to the same community. Most oral epics are associated to rituals, the performance of some being the ritual itself. Caste also plays an important role in the performance or patronage of the oral epic traditions in India. The great epics of Ramayana and Mahabharata in some cases, enter the world of these local oral epics, where the performers are considered to be reincarnations of heroes and gods from these epics. According to Komal Kothari, an eminent folklorist of India, this phenomenon happens when the impact of the oral epic spreads beyond its initial local boundaries. Though we are not able to present full performances of all the oral epics, we believe that these recordings provide a good glimpse into the variety of meters, singing styles, and contexts that exist within these traditions. Three oral epics are presented in this volume. They are all part of larger collections, and each one is contributed by an expert on the genre who has done extensive research. The paddanas were contributed by Peter Claus, the Nanda Devi jagar by William Sax, and Alha by Karine Schomer. This album presents extracts from two kinds of narrative traditions that are part of the intangible cultural heritage of two very different traditions and regions of India.
India 2016
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Current Status and Safeguarding Measures of Oral Traditions and Epics in MongoliaCentral Asia is a region that has served as the centre of social and economic, in particular cultural interrelations of East and West. The nations of this region have a rich cultural heritage and ancient traditions like any nation in the world. The nations of Central Asia - Mongolia, Kazakhstan, Kyrgyzstan, Uzbekistan, Turkmenistan and Tajikistan – make up a unified cultural space, defined by great grassland steppes and famous mountains, nomadic culture and common history, relics and traditions. Throughout this region we find petroglyphs, keregsur, steles, ruins and other monuments attesting to the mingling of peoples in the Central Asian steppe since prehistory. The territory of our own nation, Mongolia, has indeed been the centre several nomadic empires at various stages in history, established by different peoples of Central Asia sharing a similar cultural origin – Hunnu, Khitan, Turks, Uighurs, Kyrgyz and Mongols.Year2015NationSouth Korea
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The Pangalay or Igal, Ancient Dance Tradition of the Philippines A Case Study in Safeguarding Traditional Performing ArtsSoutheast Asia boasts an astounding assemblage of traditional performing arts, varied in form, style or genre, time or period, and geographical source. Through the performing arts people assert ethnic identity, a dignifying and unifying force in a community. A performing art tradition conjures continuity; it is history. To lose such tradition is therefore to lose history. Dance, like other performing art traditions, is the expression of a people’s soul captured in motion. To safeguard such forms, they must be studied and documented, including the artistic material resources, oral traditions, beliefs, and practices embodied in them. These traditions are not museum pieces, but art forms that must be nurtured as artifacts that grow or transform as societies change.Year2021NationSouth Korea