ALL
performance
ICH Elements 275
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Shawa Sha-khe/che Chham: The Dance of the Stag and Hounds
Shawa Sha-khe/chi Chham (the mask dance of the stag and the hounds) or also called as Acho Phen-to (the Hunter and the servant) by its character is one of the mask dances that falls under the Nam-thar zhi-chol gi gar-chham (biography-based mask dances) category of three broad classifications of mask dances in the Bhutan. This mask dance has a characteristic of theatrical play extracted from the life story of Milarepa (1052-1135) and has various characters and episodes basically conveying the Buddhist principals of compassion, arising faith and human values that lead to a harmonious life. The origin of the mask dance dates back to the 11th century when Jetsun (venerable) Milarepa the great yogi from Tibet, converted Gonpo Dorji, a fierce hunter as his disciple who later listed as became one of his principal followers named as Khe-rawa Gonpo Dorji. In brief, the story goes as follows: While Milarepa was meditating in a cave known as Katya in Nyishangkurta (on the present-day border between the Tibetan autonomous region of China and Nepal), he heard a couple of hounds barking somewhere near to his hermitage. In a short while, a stag glistening with sweat and exhausted bounds into his cave indirectly seeking refuge from the lean and thin meditator Milarepa. Out of great and compassion and pity, Milarepa sangs a song to calm the terrified stag, which eventually laid down peacefully near to the great yogi in the cave. Led by the scent of the stag, two ferocious hounds; a red and a black-coloured appeared in lightning speed, rushed inside the cave in pursuit of the stag. Milarepa also calms them by singing yet another stanza of song dedicating to the hounds which subsides its rage and calmly sits beside Milarepa waggling its tail alike to their owner. Subsequently, the merciless hunter, the owner of the dogs, Gonpo Dorje soon arrives in pursuit of his target, the hounds, and steped into the cave frustrated, drenched in sweats, tired and a bow and arrow ready to release the trigger. The sight of his hounds and the stag calmly sitting together with Milarepa infuriates him, thinking that the yogi has used some kind of black magic on the animals. Dragged by his rage, he shoots an arrow at Milarepa which in-turn slips the arrow from his bowstring. Milarepa then sings the hunter a song to calm his mind and open it to the Dharma, but the hunter remains uncertain whether Milarepa is a great saint or else a black magic practitioner. Gonpo Dorje inspected Milarepa’s cave, and upon noticing nothing in it but an empty bowl surprised him. Overwhelmed by feelings of profound respect for Milarepa, feled deep remorse for all his past sinful actions and thereafter vowed never to commit such acts and became a faithful disciple. The mask dance has various characters such as; Shawa (the Stag), Sha-khi/che (two hounds), Acho (the hunter), Phen-to (servant), Milarepa (the Saint) and a package of Atsa-ra (clowns). The mask dance is performed only during the annual Tshe-chu (Mask Dance Festival) with several episodes portraying different scenes. The element is still vibrant in the country.
Bhutan -
Epic art of Gorogly
The entire epos includes a historical range of the legendary achievements of the ancient national hero of Gorogly and his 40 cavalrymen by recording all major events of traditional lifespan of the Turkmen people. The aspiration of the Turkmen nation for a happy life, unification, freedom and justice as well as their features such as bravery, honesty, partiotism, freindship, tolerance and fairness have been reflected in the epos. The element is a combined genre of oral traditions and performing art incorporating narrating, singing, vocal improvisation and musical composition, where a prose and poetry are alternated in its perforamnce. Its bearers and practitioners are epic performers-dessanchy bagshy specialized in the Gorogly epic. It is by tradition performed by one dessanchy bagshy playing the dutar (a two stringed, long-necked lute) in a sitting position, while narrating prose and reciting poetry in a way to deliver the characters' feelings and emotions to the accompaniment to the traditional musical instruments such as dutar and gyjak (a fiddle-like Turkmen musical instrument). It is traditionally performed at social gatherings, celebrations, national ceremonies, life rituals, national festivals and special "Folklore Festivals". The element provides related communities with a sense of social and cultural identity and it is considered as a main symbol of Turkmen people to sustain their cultural identity being as an oral encyclopedia and it remains the inexhaustible fountain-head to nurture their cultural psychology, national character, mentality, creative capacity and artistic skills.
Turkmenistan 2015 -
Royal ballet of Cambodia
Renowned for its graceful hand gestures and stunning costumes, the Royal Ballet of Cambodia, also known as Khmer Classical Dance, has been closely associated with the Khmer court for over one thousand years. Performances would traditionally accompany royal ceremonies and observances such as coronations, marriages, funerals or Khmer holidays. This art form, which narrowly escaped annihilation in the 1970s, is cherished by many Cambodians. Infused with a sacred and symbolic role, the dance embodies the traditional values of refinement, respect and spirituality. Its repertory perpetuates the legends associated with the origins of the Khmer people. Consequently, Cambodians have long esteemed this tradition as the emblem of Khmer culture. Four distinct character types exist in the classical repertory: Neang the woman, Neayrong the man, Yeak the giant, and Sva the monkey. Each possesses distinctive colours, costumes, makeup and masks. The gestures and poses, mastered by the dancers only after years of intensive training, evoke the gamut of human emotions, from fear and rage to love and joy. An orchestra accompanies the dance, and a female chorus provides a running commentary on the plot, highlighting the emotions mimed by the dancers, who were considered the kings’ messengers to the gods and to the ancestors.
Cambodia 2008 -
Aitysh/Aitys, art of improvisation
Aitys (in Kazakh language), Aitysh (in Kyrgyz) is an improvised competition of two akyns, the form of oral poetry performed in a singing manner, poetic contest of improvisations or a poetic duel of wits. The element is performed to the accompaniment of traditional musical instruments: Kazakh dombra or Kyrgyz komuz. Two akyns compete with each other in improvisation of verses on topical themes in a wit-sparkling manner alternating humour and deep philosophic reflections. During the competition two akyns sitting opposite each other develop a song-like dialogue catching up the opponent’s words and performing in turn their improvisations on the spur of the moment. Songs performed during the aitysh-aitys are improvised on whatever topics which come up depending on the wish of the audience. The winner of the competition is the one considered to have demonstrated the most musical skills, rhythm, originality, resourcefulness, wisdom and wit. The element is very popular among people and is considered as a “folk tribune”. In fact, all regions of the countries have bearers and practitioners who often represent their local communities at the poetic competitions raising up topical and urgent problems of social life and criticizing all kinds of vices. The element is practiced at various events from local festivities to nation-wide events. Aitysh/Aitys presents the art of a dialogue participated not only by the performers but by their listeners as well. It is an essential part of life for the communities of tokmo-akyns and aityskers.
Kyrgyzstan,Kazakhstan 2015
ICH Stakeholders 6
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The Koryo Saram Dance Troupes of Uzbekistan
The Koryo Saram living in Uzbekistan are descendants of Koreans who resettled from Primorsky Krai and Khabarovsk Krai in Russia to Central Asia around 1937. However, unlike the majority of Korean diaspora communities that were formed through voluntary migration, the Koryo Saram of Central Asia were forcibly resettled as a consequence of political decisions. And as a result the Koryo Saram who settled in Central Asia faced huge challenges adapting to their new geographical and sociocultural environment, and as ethnic minorities these challenges were intensified. The establishment and growth of the Korean diaspora community of Uzbekistan took place within this context. nOf the post-Soviet activities to safeguard and transmit intangible cultural heritage, the efforts of the Koryo Saram dance troupes deserve special mention, especially with the somewhat recently established Samjiyeon Dance Troupe, Asadal Dance Troupe, and Koryo Dance Troupe under the Central Koryo Saram Culture Association of Uzbekistan (Koryo Association). Established in 1998, Koryo Dance Troupe is the oldest of the three while the Samjiyeon Dance Troupe and Asadal Dance Troupe were established in 2014 and 2015, respectively. With the exception of Koryo Dance Troupe, young people (in their twenties and thirties) head up these troupes and the dancers are in their teens and twenties. Key activities of all the troupes include both dance education and performance.\nThese Koryo Saram dance troupes perform at various events, including the traditional Koryo Saram festivals of Chuseok (a harvest holiday) and Seolnal (Lunar New Year), and thus play a central role in the continued transmission of intangible cultural heritage. The dance troupes also perform at events alongside various other ethnic groups, promoting the Koryo Saram community’s place within Uzbek society as an ethnic group with a unique and honorable heritage, living harmoniously with its neighbors.y of Uzbekistan took place within this context.
Uzbekistan -
Tholpavakoothu Community
Tholpavakoothu is a form of shadow puppetry unique to central Kerala, in southern India. It is performed in permanent temple theatres as a form of ritual primarily honouring the Goddess of Bhadrakali. It enacts the Hindu epic Ramayana in a version based on the Tamil Ramayana of Kambar. A highly flexible narrative allows a typical cycle of Tholpavakoothu to extend between seven and twenty-one nights, depending on the performance commissioned and sponsored locally. After remaining largely unknown to the West, until the twentieth century, recent scholarship has established its ancient beginnings, while also highlighting the absence of a detailed account of the art in performance over centuries of its existence.\nMr. Vipin V was born into a traditional family with a rich historical background. With his father for Guru/ teacher, he started a dedicated study of Pavakoothu. He soon achieved extraordinary skills in all aspects of the art form within a short span of time. It is believed that Chinnathambi Pulavar who lived 2000 years ago was the first prominent performer of Tholpavakoothu.
India
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Bhabanagara Foundation
The Bhabanagara Foundation aims at articulating age-old multidimensional language, literature, education procedure, and cultural performances locally and globally. Committed to revitalization of cultural origins, they conduct events and workshops for the safeguarding of Bengali intangible cultural heritage (ICH) such as Charya Songs. In addition to their Weekly Sadhusanga (discussion and performance on Wednesday afternoon) for the youth, scholars, and practitioners, they publish Bhābanagara: International Journal of Bengali Studies. The foundation has translated and published the Convention for the Safeguarding of the ICH. They hold an inventory of four thousand Bangladeshi living Folk Artists and Artisans.
Bangladesh -
Vietnam National Academy of Music
The Vietnam National Academy of Music is an institution under the Ministry of Culture, Sports andnTourism. The academy provides training programs at undergraduate, graduate and lower levels innmany professional musical disciplines. The academy has the mission to train music personnel andnartists in music composition, performance, research, criticism (musicology), and pedagogy.
Viet Nam
ICH Materials 850
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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 -
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
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One Asia In Dance
I remember the dancers of Asia, who flew in from far and wide each year without hesitation. Meeting these dancers, united in their passion for keeping the beauty of traditional dances alive against the impending threat of rapid urbanization and globalization, was a deeply moving and happy experience for me. Their joy, talent, earnestness and pure intent were what made "One Asia in Dance" possible.\n\nDance is a living and breathing art form. In performance, it goes beyond the preservation of the fixed original form, to connect the past, present and future, evolving and developing. 'One Asia in Dance' showed not only the transmission of traditions but also the continuing reinvention of traditions to reflect contemporary sentiments in the traditional dances of Asia. I sincerely hope that a wider audience will find an opportunity to rediscover the value of cultural heritage in the Asia Pacific through the window of dance.\n\n*This collection is donated by the Asia Dance Culture Institute in Korea
South Korea 2017 -
Webinar: Life, Environment, and ICH along the Silk Roads & Strategic Meeting on Silk Roads ICH Networking
Webinar: “Life, Environment, and ICH along the Silk Roads”\n\n<Day 1>\n\n1. 'The Need to Shift from Global to Local' by Helena Norberg-Hodge\n2. 'On Cooperative Mechanism for the Silk Roads ICH toward Sustainable Development' by Seong-Yong Park\n3. 'Vitality and Sustainability of the Silk Roads ICH Festivals' by Alisher Ikramov\n4. 'The Water-Performance Installation Project—Art Practice for the Coexistence of Humanity and Nature in the Silk Roads Region' by Dong-jo Yoo\n\nㅇ Panel Discussion\n\nSession1 : Online Strategic Meeting on Silk Roads ICH Networking\n: Case Studies on the Vitalization of the Silk Roads ICH: ICH Festivals & Sustainable Development\n\n1. 'Case of Tajikistan : Role of Festivals for ICH Safeguarding Within Local Communities' by Dilshod Rahimi\n2. 'Case of Kyrgyzstan: Influences and Effects of ICH Festivals on Local Communities' by Sabira Soltongeldieva\n3. 'Case of Kazakhstan: ICH Festivals’ Influence and Effects on Local Communities' by Khanzada Yessenova\n4. 'Andong International Mask Dance Festival: Realization of Folkloric Values and Transmission of ICH' by Ju Ho Kim\n5. 'Case of Turukmenistan : Future of ICH Safeguarding' by Shohrat Jumayev\n\n<Day 2>\n\nSession2: Cooperation and Solidarity for Operating the ICH Network along the Silk Roads\n\n1. 'On the Feasibility of the Silk Roads ICH Network' by Sangcheol Kim\n2. 'Operational Issues of the Network' by Alim Feyzulayev\n3. 'Cultural Context of a CIOFF Festival' by Philippe Beaussant\n4. 'ICH Festivals in Specific Goal and Task' by Kaloyan Nikolov\n5. 'Identifying Ways to Develop Intangible Heritage Festivals through Community Networks (Focusing on the Case of the Gijisi Tug-of-War Festival)' by Daeyoung Ko\n\nㅇ Panel Discussion\n\nSession3: Collaborative Work and Benefits through Activities of the Silk Roads ICH Network\n\n1. 'Scope and Definition of Collaborative Work through Activities of the Silk Roads ICH Network' by Kwon Huh\n2. 'Cooperative Measures for Festivals in the Silk Road Region' by Jahangir Selimkhanov\n3. 'ichLinks: Information-Sharing Platform as a Key Base for Safeguarding and Use of Intangible Cultural Heritage in the Asia-Pacific' by Sangmook Park\n4. 'Case Study: Silk Roads Heritage Corridor - Afghanistan, Central Asia, and Iran' by Krista Pikkat\n5. 'UNESCO Silk Road Online Platform' by Mehrdad Shabahang\n\nㅇ Panel Discussion
South Korea 2020
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Catfish song
Reaching hands into the catfish pouch\nYou live in strange waters and faraway lands\nIn the dark of night with the mysterious moon on high\nWhere do you live? Can you tell me again?
Viet Nam October, 2021 -
Luffa song
It's in the afternoon, where I'm cooking soup with the melon\nI saw that you came around to drop some scallions with it \n- \nIt's the green of the melon vine\nHow can one greet a stranger when they're first met?
Viet Nam October, 2021
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Meke II (Songs composed for traditional itaukei dance)
Meke, a type of traditional Fijian dance, is the repository of Fijian oral culture and served as a unifying factor in Fijian society before the arrival of Christianity. The musical form of meke is a Fijian polyphony composed around tonal center. It has short intervals and comprises seconds (major and minor), thirds (major), fourths, and occasionally fifths. The melodic movement is small and mostly stepwise with the laga (principal line) in the middle. The laga is the lead singer of the meke and sets the tempo and pitch. \n\nAbove the laga is the tagica (meaning “to chime in”) and below is the druku (bass). There are duet riffs involving the laga and tagica sung in a close polyphony of seconds, thirds, occasionally fourths, and unison. The chorus involves all the singers and is usually in a block chordal pattern. There may be two more parts: vakasalavoavoa (a descant), the highest part, sung above the tagica; and the vaqiqivatu (tenor part), weaving a polyphonic line between the bass and the laga and providing harmonic interest without being integral to the whole. \n\nThere are meke for every occasion. Some are regional (i.e., a collaboration of villages and districts) and some are collective: from those sung within the family and extended groups to the very large and impressive dance meke involving hundreds of participants. All of them form the Fijian musical canon together with instruments such as lali (large slit drums), lali ni meke (small lali for meke), derua (bamboo stamping tubes), and cobo (clapping with cupped hands). \n\nThere are other instruments such as the davui (end-blown triton shell) and the dulali (nose flute), but these instruments are not included in meke performance. The actual singing of meke involves a number of performers: men, women, and children in any combination, sitting in a tight circle around the leaders. Texts of meke are arranged in stanzas and composed in an indigenous, oral poetic style. There are no limits to the number or the length of the stanzas; rhythm and rhyme are paramount.
Fiji 2017 -
Paglami-lamihan Soundscapes 2
The 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.\n\n<Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble>
Philippines 2015
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Phong Hoa Ca Vinh
The genre Ru tends to perform within the familial environment, with a hypnotising nature that tends to be use to lull children.\n\nThe genre Hò originated from the working environment. The Southern part of Vietnam, where the waters are a vital element for the workers to sing on these flowing streams. Back then, the genre of hò đường thuỷ (singing on waterways) was rather popular. From traditional performing environment, hò eventually separated into different genres- hò trên cạn (hò on land) and hò dưới nước (hò on water). Based on the carrying content, reflected themes, hò continue to evolve into various genres to adapt with different forms and narratives (hò thơ, hò văn, hò tuồng, etc.) \n\nThe genre Lý is a common performance genre across all three regions of the country, although it could be the most popular in the Southern region. Pétrus Ky, a renowned Vietnamese scholar, once mentioned the saying “Southern region has lý, Huế region has hò, Northern region has thơ.” (Nam lý Huế hò Bắc thơ) as it points out how lý is a specialty of the Southern locals. In reality, lý not only has its mainstream popularity but also achieved a high level of craft and essence in traditional culture and professional life of the Southern region.\n\nThis project is sponsored by the British Council under the program Heritage of Future Past- A 2018 project which aims to conserve and cultivate the archive of Vietnamese music and film, especially focusing on the untapped values of these mediums that are under the threat of being forgotten. You can learn more about the Heritage of Future Past program via this link: https://www.britishcouncil.vn/cac-chuong-trinh/nghe-thuat/di-san-ket-noi.\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang
Viet Nam 2021 -
Music, Songs and Stories: Archival Selections from India
The Archives and Research Centre for Ethnomusicology (ARCE) is a non-governmental organization established in 1982, with the aim of creating an integrated archive in India where recordings of Indian music and performance held in archives around the world could be made available through centralized mechanism. Today ARCE houses more than 25,000 hours of audiovisual recordings, including unique materials from all over India, ranging from the classical music genres to oral narratives.\n\nIn 2016, ICHCAP supported the ARCE in digitizing around five hundred hours of analogue recordings through the Digitization Project of ICH-related Analogue Audiovisual Materials. Some of materials representative of Indian traditions were chosen and reproduced as Music, Songs and Stories: Archival Selection from India, so they can be enjoyed by more people.\n\nThe Indian collection consists of nine CDs that feature audio materials recorded between the 1930s and the 1990s. The CDs list seventy tracks, including songs of everyday life, oral epics, and tribal communities. The first and second CDs, in particular, feature tracks recorded by Arnold Adrian Bake (1899-1963), a Dutch folk musician. He recorded lullabies, work songs, and sounds of rituals and everyday life while he was traveling around India in the 1930s. Lullabies, work songs, and sounds of rituals and everyday life that he recorded while he was traveling around India in the 1930s are well presented here.\n\nThis project is particularly important as it resulted in restoring analogue recordings at risk of permanent damage and digitizing them to enhance their academic value and public visibility. ICHCAP hopes that this collection will enable not just researchers in the relevant fields but also the general public to learn more about and become familiar with Indian ICH.
India 2016
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Intangible Cultural Heritage in Tajikistan
This Promotional book is a result of researches done by researchers of the Research Institute of Culture and Information and it was published by finance assistance of the International Information and Networking Center for Intangible Cultural Heritage in the Asia-Pacific Region under auspices of UNESCO (ICHCAP). The Promotional book contains of elements of the Intangible Cultural Heritage of Tajiks described in seven chapters with fresh and colorful illustrations.
Tajikistan 2017 -
Sample Data Ⅰ : Kerala, Rajasthan Cultural Atlas of India - Development of a web-based statewide database on the cultural resources of India
Kathakali (lit. story- play) is a highly sophisticated and stylized semi-classical dance drama prevalent all over Kerala. It evolved amalgamating features from all folk and classical performing art forms of Kerala. \nKathakali as a performing art evolved from Ramanattam. The King of Kottarakkara adapted eight episodes from the Ramayana as Ramanattam. However, in the 17th century, the King of Vettathu Nadu modified Ramanattam to develop a classical dance-drama, the Kathakali.\nKathakali derives its themes from the Indian epics, the Ramayana, the Mahabharata and the Bhagavata Purana. The language used for the songs in Kathakali is a mixture of Malayalam and Sanskrit (manipravalam). For theatric communication, the actor uses dance movements, a codified language of gestures and facial expressions. Kathakali displays great dexterity and potential for the actor to show his histrionic and interpretative skills through resorting to an elaborate method of acting.\nThe performance of Kathakali follows a particular sequence. At dusk, the percussionists play their instruments to announce the event (keli). The traditional lamp is lit in front of the performing area (vilakku veppu). The horizontal drum is played to signal the commencement (arangu keli or suddha manddalam), and singers recite the invocation (sloka). \nTwo performers dance a ritual invocation behind the curtain, salute the deities. \nAnother prayer dance is performed in front of the curtain, followed by the ensemble of the drums (chenda, maddalam, chengila, elathalam). The actual story (katha) begins only after these preliminaries. \nIn Kathakali, the make-up and costume represent different traits of character. The colours are symbolic; green represents satwik (pious and virtuous characters); red patch on a green face to represent rajasi’(valorous characters); and a thadi (beard) is added to represents tamasic (evil traits of a character). Elaborate costumes and intricate face make-up In Kathakali is done to mask the human face and invest it with super-human characteristics. \nKathakali has transformed over the recent years from all-night performances in temples and other sites, to three-hour presentations in contemporary settings. The plays have become abridged to suit the tastes of a new audience.
India 2009
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Dondang SayangDondang Sayang is a Malay traditional music and song that is well-known in the State of Malacca and still practised by four communities such as the Malay, Baba Nyonya, Chitty and Portuguese. The performances are accompanied by violin, rebana, gong and accordion and sing by two singers of the opposite sex, who sing in quatrains. It has received UNESCO’s recognition as a Representative List of The Intangible Cultural Heritage of Humanity on 29th November 2018.YearNationMalaysia
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GANGNEUNG DANOJE FESTIVAL, ANCIENT EVENTS REVITALISING DOWNTOWNThe Gangneung Danoje Festival has maintained typical elements of ancient festivals that were held in May (seedtime) and in October (harvest time) during the Samhan period (around 300 CE). In the fifth lunar month, which includes Dano day, local people perform rituals for driving away evil spirits and welcoming the fortune and participate in traditional games and activities. The main deities of the festival are the mountain god, Kim Yusin, who was the general of Shilla and the United Three Kingdoms, and the royal tutor tutelary deity, Beomil, who was a Shilla monk. The first documented record of Dano folklore appears in the Samguksagi (A History of the Three Kingdoms). Other records indicate that Dano has commonly been referred to as ‘Suri’ in local dialects.Year2012NationSouth Korea
Open Archive 2
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Kecak Dance of Bali
Bali Kecak Dance performance. These photos are taken during my travel in Bali in 2016.
Indonesia -
The Folk Performance of Xuan Pha
The Folk Performance of Xuan Pha (in Xuan Pha village, Xuan Truong, Tho Xuan, Thanh Hoa) is a diversity and abundant performance system which reflects the relationship between Dai Viet and other countries in the region and the world Includes 5 performances: Tu Huan, Ai Lao, Chiem Thanh, Ngo Quoc, Hoa Lang. This performance has a long history, most researchers believe that Xuan Pha was formed in the 15th century. In the process of studying this particular type of intangible cultural heritage, Researchers have found many different cultural layers, the earliest cultural layer appearing is the layer of love songs that mixed between the Viet and the Muong ethnic groups and a later cultural layer around the 16th to 17th century reflecting the integration of the Western civilization into the Vietnamese indigenous culture with the Hoa Lang performance. In the past, there was at least 43 area throughout Thanh Hoa province. Until now, only 2 places have been performing all 5 performances, including Xuan Pha. Along with the change of economy - society, Xuan Pha game is also changing gradually to survive and develop. In Xuan Pha, the show is being preserved very well by the community here and promises to develop more in the future Xuan Pha is a performance that has recorded the imprints of the relationship between Dai Viet and other foreign countries. In addition, this study also shows the important trading gateway position of Thanh Hoa province in history as well as the integration characteristics in the international relation context of Lam Kinh in particular and Dai Viet in general
Viet Nam