ichLinks

Water Puppetry in Nguyên Xá and Đông Các
With a history of about 700 years, founded by farmers. The art of Water Puppetry in Nguyen Xa and Dong Cac is associated with the water stage and traditional Cheo art. The plays are closely associated with the lives of farmers in the North. They created and preserved many special plays such as: Bat Tien Dance, Couple Swing, Ngu Phuong Play. The "lion dance" of Water Puppetry in Nguyen Xa and Dong Cac is unique in the whole country. The uniqueness right from the name "Water Puppetry" is that water is used as the stage for the performance. The surface of the pond is both the stage, the environment, the scenery, and a supporting character for the puppets to operate under the skillful control of the artists. In the art of water puppetry, the puppets are the direct actors and the most important technical facilities contributing to the success of the plays. The most diverse types of puppets from Uncle Tieu to Master Duong Tang, from large unicorns to small, cute ducks and fish... Uncle Teu from Nguyen village (Nguyen Xa commune) has become a familiar character, with the image of a healthy, plump, plump, rosy-skinned farmer with a cheerful smile without a trace of thought. Teu is a character that often appears at the beginning of the show, controlling the program, teaching students, maintaining order... very close to the optimistic and life-loving farmers who know how to take advantage of laughter in production and combat. In theory, they control the puppets with strings and poles, but they have their own secret to create the liveliness and charm of the water play. There is also a special puppet-making technique here. They do not pass on the profession to outsiders and girls. This is the cradle of training and teaching students for the Central Puppetry Theater. They are also invited to perform diplomatically in many places around the world. The art of water puppetry is a synthesis and multifaceted combination of many elements, creating uniqueness, magic and attraction from the stage, the play room, the puppets to other magical elements such as the machines controlling the artists, the plays and the stories. The art of Water Puppetry in Thai Binh is the crystallization of the creativity, intelligence and ingenuity of the people created over many generations and lasting over time.

Viet Nam

Eunsan Byeolsinje (Village Ritual of Eunsan)
National Intangible Cultural Heritage, Republic of Korea Eunsan Byeolsinje is a shamanic rite held to honor the guardian deity of Eunsan Village at the village shrine in Eunsan-myeon, Buyeo-gun. The rite is connected with a legend about a severe epidemic that led to the loss of many lives and with the strange dream of an elderly village leader. In his dream he met a Baekje general who had been killed during a battle fought to protect Baekje and was asked to bury the general and his men in a sunny place in exchange for a ‘magical intervention’ to repel the epidemic. Upon awakening from the dream, he visited the place mentioned by the general in the dream and found many bones scattered there. The village people collected and buried them in an auspicious site and performed an exorcism to console their spirits. The burial was followed by the end of the epidemic which, in turn, led the villagers to hold rites to honor their heroic deaths. The tradition gradually developed into the festival event of Eunsan Byeolsinje, which was initially held for about fifteen days between January and February once every three years. As the date of the rite approaches, the village elders select those who will officiate over the event and assign military titles such as General, Colonel, Lieutenant, and Private to the designated officiants. In addition, the chief officiant is requested to use the utmost care in preparing the sacrificial offerings and to preserve the ritual venue from any signs of impurity or evil by, for example, covering the well to be used in the rite with a straw mat, and by encircling the venue with an “evil-repelling rope” and scattering yellow and black grains of sand around it. The villagers then cut down trees to support the village guardian poles and make paper flowers to offer to the village guardian, and hold pieces of white paper in their mouths as they move to the shrine as a symbolic action to repel evil spirits. The main part of the rite usually starts in the evening and ends at dawn with the process of erecting the village guardian pole and praying for the safety and prosperity of the village.

#shamanic #rite #village shrine #local #region

South Korea

Forest Spirit Worship Ritual of the Pu Péo
The community worships the forest god in the forbidden forest according to their legend. They hold the Feast on June 6 at the edge of the forest behind the village. The altar is made from small branches and returns to the forbidden forest. Presiding over the worshiping ceremony is a shaman chosen by the villagers according to their own principles. There are two main rituals, as follows: Offering offerings: The villagers present an offering of live chickens and goats along with other offerings. The priest prays according to the set steps so that the gods can witness the ceremony, then let the people slaughter chickens and goats in turn. Main offering: The goat is charred, leaving the internal organs to serve the main ritual. The goat blood is blessed by the sorcerer to save the lost soul. In the end, they cook and eat on the spot together. The ceremony shows the community's sense of forest protection.

#forest #worship #ritual #offerings #chickens #goats #forest protection

Viet Nam

Water Puppetry in Nguyên Xá and Đông Các
With a history of about 700 years, founded by farmers. The art of Water Puppetry in Nguyen Xa and Dong Cac is associated with the water stage and traditional Cheo art. The plays are closely associated with the lives of farmers in the North. They created and preserved many special plays such as: Bat Tien Dance, Couple Swing, Ngu Phuong Play. The "lion dance" of Water Puppetry in Nguyen Xa and Dong Cac is unique in the whole country. The uniqueness right from the name "Water Puppetry" is that water is used as the stage for the performance. The surface of the pond is both the stage, the environment, the scenery, and a supporting character for the puppets to operate under the skillful control of the artists. In the art of water puppetry, the puppets are the direct actors and the most important technical facilities contributing to the success of the plays. The most diverse types of puppets from Uncle Tieu to Master Duong Tang, from large unicorns to small, cute ducks and fish... Uncle Teu from Nguyen village (Nguyen Xa commune) has become a familiar character, with the image of a healthy, plump, plump, rosy-skinned farmer with a cheerful smile without a trace of thought. Teu is a character that often appears at the beginning of the show, controlling the program, teaching students, maintaining order... very close to the optimistic and life-loving farmers who know how to take advantage of laughter in production and combat. In theory, they control the puppets with strings and poles, but they have their own secret to create the liveliness and charm of the water play. There is also a special puppet-making technique here. They do not pass on the profession to outsiders and girls. This is the cradle of training and teaching students for the Central Puppetry Theater. They are also invited to perform diplomatically in many places around the world. The art of water puppetry is a synthesis and multifaceted combination of many elements, creating uniqueness, magic and attraction from the stage, the play room, the puppets to other magical elements such as the machines controlling the artists, the plays and the stories. The art of Water Puppetry in Thai Binh is the crystallization of the creativity, intelligence and ingenuity of the people created over many generations and lasting over time.

Viet Nam

Eunsan Byeolsinje (Village Ritual of Eunsan)
National Intangible Cultural Heritage, Republic of Korea Eunsan Byeolsinje is a shamanic rite held to honor the guardian deity of Eunsan Village at the village shrine in Eunsan-myeon, Buyeo-gun. The rite is connected with a legend about a severe epidemic that led to the loss of many lives and with the strange dream of an elderly village leader. In his dream he met a Baekje general who had been killed during a battle fought to protect Baekje and was asked to bury the general and his men in a sunny place in exchange for a ‘magical intervention’ to repel the epidemic. Upon awakening from the dream, he visited the place mentioned by the general in the dream and found many bones scattered there. The village people collected and buried them in an auspicious site and performed an exorcism to console their spirits. The burial was followed by the end of the epidemic which, in turn, led the villagers to hold rites to honor their heroic deaths. The tradition gradually developed into the festival event of Eunsan Byeolsinje, which was initially held for about fifteen days between January and February once every three years. As the date of the rite approaches, the village elders select those who will officiate over the event and assign military titles such as General, Colonel, Lieutenant, and Private to the designated officiants. In addition, the chief officiant is requested to use the utmost care in preparing the sacrificial offerings and to preserve the ritual venue from any signs of impurity or evil by, for example, covering the well to be used in the rite with a straw mat, and by encircling the venue with an “evil-repelling rope” and scattering yellow and black grains of sand around it. The villagers then cut down trees to support the village guardian poles and make paper flowers to offer to the village guardian, and hold pieces of white paper in their mouths as they move to the shrine as a symbolic action to repel evil spirits. The main part of the rite usually starts in the evening and ends at dawn with the process of erecting the village guardian pole and praying for the safety and prosperity of the village.

#shamanic #rite #village shrine #local #region

South Korea

Kin Chiêng Boọc Mạy Dancing and Singing Celebrations under Bông Ritual Pole of the Tai
Originating from the worship of General Trần Công Bát at Cấm Temple, the Kin Chiêng Boọc Mạy Dancing and Singing Celebrations under Bông Ritual Pole is held annually by the Tai people in Xuan Phuc Commune on the 15th day of the first lunar month to express gratitude to their ancestors, heaven and earth, and gods, and to pray for favorable weather, a prosperous, peaceful, and happy life. The Tai people consider this a cultural and artistic activity of the community, so everyone in the village participates in full force. This ceremony usually lasts from 1 to 3 days and nights, to satisfy the spiritual needs of all classes of people in the village. The Bông Ritual Pole is the centerpiece of the festival, symbolizing the life of the village and nature. The most unique feature of the “Kin Chiêng Boọc Mạy” Festival is the singing and dancing under the Bông Ritual Pole. The Bông Ritual Pole is made of bamboo or bamboo, the Bông Ritual Pole flowers are made from mulberry trees, cassava trees, and tens of platforms with shapes of birds, animals, and production tools. Depending on the generation of the Mo family, the Bông Ritual Pole is made from 3, 5, 7 to 9 or 12 floors. Currently, the Bông Ritual Pole in the "Kin Chiêng Boọc Mạy" Festival in Roọc Răm village, Xuân Phúc commune is allowed to be 9 floors (meaning it has gone through 9 generations of Mo masters), with thousands of gerbera flowers from 30 to 40 petals. Each Bông Ritual Pole is compared by the people to a human destiny, each flower is a crop season. The festival is divided into two parts: The ceremony part is the spiritual rituals - the basic prayers told by the Mo masters about the story of establishing the village, establishing the village, praising ancestors, and those who have contributed. The person who plays the role of "God", plays the role of "Muong Troi" in the "Kin Chiêng Boọc Mạy" Festival - Singing and dancing to celebrate under the Bông Ritual Pole has borrowed the "power" of the god to teach people to do good things, not to do evil, and to love each other. The festival is a system of 26-50 performances performed by Shamans or "Shaman Guests" such as: chopping wood, farming, sword dancing, sweeping the house, people playing the khene... each performance has a god from Muong Troi participating (played by the Shaman). In addition, there is also the playing of traditional musical instruments: Gongs, bamboo flutes, drums, boong bu, khene, flute; along with folk games such as: Hat khap, jumping on bamboo poles, beating mats, tug of war, throwing con... and cultural and culinary exchange. All rituals and performances take place under the Bông Ritual Pole. The Dancing and Singing Celebrations under Bông Ritual Pole has the meaning of community consolidation, and has a high traditional education value in the community. Through this ritual, the entire life of the community is recreated, including production activities, behavioral culture, beliefs... creating a unique and distinctive cultural and artistic form. From the long-standing spiritual and cultural values, the "Kin Chiêng Boọc Mạy" Festival - Singing and dancing to celebrate under the Bông Ritual Pole of Roọc Răm cultural village, Xuan Phuc commune, Nhu Thanh district, Thanh Hoa province was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage in 2017.

Viet Nam

Traditional art of wood engraving
Wood engraving has two main types: half engraving and whole engraving. There is a template of engraving that is called tsoi in Mongolia. Whole engraving is used for making a variety of items, such as the horse currycomb, chest, tiger-legged table, bed, and a cast of traditional cookie, as well as an arrow, pieces of a chess game, toys, and religious items and idols. Animals such as lion, tiger, dragon, and elephant, all of which symbolize strength and power, are engraved on the wooden doors of gers, while religious symbols and ornaments are engraved on the doors of temples and monasteries. Carving a pair of intertwined dragons on top of poles in gers and temples is common.

#wood #engraving #furniture #woodworking

Mongolia

Traditional art of wood engraving
Wood engraving has two main types: half engraving and whole engraving. There is a template of engraving that is called tsoi in Mongolia. Whole engraving is used for making a variety of items, such as the horse currycomb, chest, tiger-legged table, bed, and a cast of traditional cookie, as well as an arrow, pieces of a chess game, toys, and religious items and idols. Animals such as lion, tiger, dragon, and elephant, all of which symbolize strength and power, are engraved on the wooden doors of gers, while religious symbols and ornaments are engraved on the doors of temples and monasteries. Carving a pair of intertwined dragons on top of poles in gers and temples is common.

#wood #engraving #furniture #woodworking

Mongolia

Traditional craftsmanship of Mongol ger
Craftsmanship of the Mongol Ger is a traditional enterprise involving the labour of a household or group, with men carving the wood and both women and men engaged in painting, sewing and stitching, and felt-making. Wooden frames comprise the crown, roof poles, wall lattices, door, two pillars and furniture produced by separate carpenters specialized for each. Traditional craftsmanship of Mongol ger is indeed reflects the nomadic culture, national identity which stands for the name card of Mongols to the world. Traditional craftsmanship is taught to the younger generations, principally through mentoring by a senior craftsperson. Dismantling and reassembling the Ger are always family operations, with children learning by watching their elders. Cutting and preparing sheep’s wool, making felt, stitching canvas and preparing woodwork are usually communal endeavours. As a traditional dwelling, the Mongol Ger plays an important social and cultural role for nomadic families and its makers are highly respected.\n

Mongolia

Traditional Craftsmanship of the Mongolian Ger and Associated Customs
Traditional Craftsmanship of the Mongolian Ger and Associated Customs (Representative List of the Intangible Cultural Heritage of Humanity, 2013)\nThe Mongolian ger is composed of wooden frames, canvas, and ropes. The wooden frames comprise the crown, roof poles, wall lattices, door, and two pillars; each wooden element is produced by separate, specialized carpenters. The traditional craftsmanship of the Mongol ger reflects the nomadic culture and national identity of Mongolia.

#mobile homes #traditional knowledge #craftsmanship #traditional architecture #wood #felt #nomadism #ger #warming #blessing #ceremony #feast

Mongolia 2017

poles