ALL
perlis
ICH Elements 10
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Harumanis Mango With Glutinous Rice
This is a dish of glutinous rice served with coconut milk and a type of mango known as harumanis. To prepare the glutinous rice with coconut milk, either the glutinous rice is cooked in the coconut milk, or the glutinous rice is cooked first before mixed with the coconut milk, or the coconut milk is served separately with the glutinous rice and the mango. This dish may be akin to that of Pulut Mangga (Glutinous Rice with Mango) in Kelantan but with a different type of mango used.
Malaysia -
Towards the Rack
The Tuju Para game is popular among the local community around the 1950's. Basically the game uses rubber seeds or rubber bands, sticks or two-branched twig, bamboo cut into four pieces and rope. The two sticks or two-branched twig are spiked in parallel onto the ground and act as the rack pillar. The bamboo pieces are tied on the sticks or twigs and act as the rack. Player turns are determined by hurling the rubber seed or rubber band towards the starting line in front of the rack. The player whose rubber seed or rubber band is closest to the starting line will start the game.
Malaysia -
Nora, dance drama in southern Thailand
Nora is a lively and acrobatic form of dance drama and improvisational singing in local Southern Thai dialect. It is accompanied by strongly rhythmic music and elaborate costumes which embody a distinctive life force in Southern Thailand. Nora derives from community rituals in Southern Thailand that assemble families who perform Nora to honor their former Nora masters and expel harmful spirits. As central part vital community ritual performance, Nora helps the community to re-connect to its ancestors, to keep strong and to re-constitute itself by initiating new Nora dancers, healing illnesses, reconciling communal disorders and blessing all participants. Performances normally include a long oral invocation, followed by a performance centering on a lead character who dances with vigorous and elaborate movements of legs, arms and fingers. The lead Nora performer sings and dances scenes that are usually based on Buddhist Jataka tales – stories about the former lives of Lord Buddha – or those tied to legendary heroes, Phra Suthon and Manohra. The music ensemble plays highly rhythmic and fast-paced southern music, with the Thai southern oboe providing the melody and strong rhythms produced by drums, gongs, cymbals and wooden clappers. The main Nora performers – whether male or female – wear colorful and decorative costumes, with crowns or ‘Serd’ ornamented headdress, beads, bird-like wings tied around the waist, ornate scarves, and ‘Hang Hong’ or swan tails on the back providing the performers a bird-like appearance. Performers also wear long metallic fingernails that curl out from the fingers.
Thailand 2021
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The Music Of The Sound Of Pestle
The music of the sound of paddy pestle is the second oldest arts performance in the state of Perlis. According to history, this arts form originated from Indo-Chinese travelers. To reach the Malay Peninsula they used boats that sail near the beaches, and they lived in the villages. They planted paddy and played the paddy pestles as entertainment during free time. This attracted the interest of the Malay paddy planters to learn it. This arts form is popular and originated from among the paddy planters. They use agricultural equipments to produce unique entertaining sounds. One of the equipments is the mortar and pestle used to pound paddy. The beating of the pestle on the mortar produces a beat nearly the same as that of the gamelan musical instrument. The mortar and pestle are usually made from hard wood. An ensemble of Alu Bunyi has 12 members. They are trained and expert in playing musical instruments. They beat the centre and side parts of the mortar using the pestle accompanied by the sound of clarinet, and this produces a harmonic rythmn. Alu Bunyi is usually performed during harvesting and harvest festivals. Other activities are also held during the festivals like making culinary dishes out of rice. According to some people’s belief, apart from as entertainment this festival is a form of appeasing the spirit of the paddy to go to the farmers’ village and stay in the paddy fields. It is also believed that the paddy spirit will obstruct paddy pests such rats and birds from destroying the farmers’ crop.
Malaysia
ICH Materials 27
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Mak Yong Theatre
Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand.\nMak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes.\nUnfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005.\nThe performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance.\nEach story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.
Malaysia -
Mak Yong Theatre
Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand.\nMak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes.\nUnfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005.\nThe performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance.\nEach story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.
Malaysia
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2017 Sub-Regional Meeting for ICH Safeguarding in Southeast Asia
The 2016 Sub-Regional Meeting for Intangible Cultural Heritage Safeguarding in Southeast Asia: Enhancing Viablity in Intangible Cultural Heritage Community, jointly organized by ICHCAP and George Town World Heritage Incorporated, was held on 18 and 19 September 2017 in George Town, Penang Malaysia.\n\nThis report is composed of twenty presentation papers delivered at the meeting by national representatives, NGOs, UNESCO Office in Bangkok, and facilitators of UNESCO Capacity Building Workshop. In addition, the outcome document of the meeting is also affixed to put it on record the adopted recommendations of the participants in moving forward together.
South Korea 2017 -
2016 Field Survey Report: Intangible Cultural Heritage Safeguarding Efforts in Malaysia
Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some South-East Asian countries (2009-2012), this summary provides a brief overview on the ICH situation in Cambodia, Thailand, Viet Nam, Indonesia, the Philippines, Laos, and Myanmar . The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. Apart from the main topic, information on the situation of intellectual property related to ICH safeguarding in each country is included. This survey report offers a large sample of the diverse ICH situations in South-East Asian countries. Each country has a different background on the issue of intangible heritage. For instance, Indonesia is the only country participating in the field survey that has a programme in the Register of Best Practices. Viet Nam developed ICH-related definitions in its Law on Cultural Heritage; whereas the Philippines has a strong legislative background and solid network of public structures protecting cultural heritage. Cambodia recognises the link between cultural heritage and development of national economy and runs relevant activities on promoting traditional culture while maximizing its economic benefits to the country. For Laos, training local artists rather than researchers in ICH safeguarding, including IPR, is deemed to be essential, as the artists are the important resources that master their arts. Among the South-East Asian participants, Thailand and Myanmar are the newest to approach ICH safeguarding. Although all countries are concerned about the threats ICH faces, most countries participating in the survey haven’t defined ICH and haven’t established national ICH lists. Meanwhile, drawing up an inventory of traditional cultural expressions in different forms—register, cultural map, or database—is a common activity in these countries. Moreover, each country expresses a high degree of motivation and encouragement for safeguarding ICH, sharing experiences, and promoting international cooperation.\n\n- Ratified the ICH Convention in 2013; conducted survey in 2016.\n- As of March 2018, has 1 ICH element on the RL and no accredited NGOs.
Malaysia 2016