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ICH Elements 82
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Mongolian knuckle-bone shooting
Mongolians revere certain parts of bones of their domestic livestock animals and use them in their religious rites, plays and traditional games. One such popular team-based game is knucklebone shooting. Players flick thirty domino-like marble tablets on a smooth wooden surface towards a target of sheep knuckle-bones, aiming to knock them into a target zone. Each shooter possesses their own (arrow, chair, etc.) adjusted shooting tools and instruments especially made by hand and wear costumes embossed with distinguished characteristics depending on their rank and merits. All the equipment is made by traditional craftsmen. Its technique demands high levels of endurance and accuracy. Singers communicate their opinions to the shooters by singing traditional Knucklebone Shooting melodies and songs. Each competition's opening and closing ceremony has several specific rituals. National competitions tournaments involve 400-600 shooters; there are 30 or more competitions per year. Shooters build their own communities depending on their interest and affinity. This community is recognized as part of the cultural heritage. According to established rules teams consist of six to eight men, among which one or two have to be youngsters. Team members are tied by unbreakable internal bonds and follow clear ethical rules of mutual respect and dignity. A senior member who possesses well ethical and traditional knowledge and experiences will become the team leader. The Association is the principle representatives of bearers, preserving and promoting this heritage and ensuring continuous training and transmission of knowledge from senior to younger shooters.
Mongolia 2014 -
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 -
Art of miniature
Miniature - in fine art, a small picture of careful and elegant decoration, with a thin overlay of colors. A special type of miniature is painting with varnish, oil or tempera on the surface of small varnish products. In the art of miniature, there are various schools and directions. In the ХV–ХVII centuries portrait genre and the description of historical events became consistent and basic theme in art schools of Central Asia. Coming exactly to this century, such creative schools as “Samarkand school of miniature”, “Gerat School of miniature”, “Baburids’ school of miniature” has been formed.
Azerbaijan,Iran,Turkey,Uzbekistan 2020 -
Stone carving
Stone carving (stone cutting) is an ancient art of Uzbeks as well. Artefacts found during archaeological excavations say, that the very first treated stones in Uzbekistan belong to the Paleolithic, Neolithic and Bronze Age. The masters of those times knew how to process the stone, knew the techniques for transporting heavy solid stones, used lever devices to lift them, knew which stones were lighter and which were more difficult to process, already had tools to give pattern and relief to the stone. Their wide use of granite, marble, limestone and gypsum is indicated by excavations of ancient monuments in southern Uzbekistan - in the towns of Koratepe, Fayaztepe, Ayritash. Here Buddhist temples were decorated with carved stone, sculptures were created from stone. Later, stone cutting became a craft, and the art of stone carving reached its height in Maverannahr, Khorasan, Khorezm and other territories. For example, during the reign of Amir Temur, architectural masterpieces such as Gor-Emir, Shahi-Zinda, the Bibihanum mosque, the Ahmad Yassawi mausoleum and much more were created, where magnificent sculptures and carved stone with letters are presented. The displaced stone is magnificent - the tombstone of the great Temur and the grates carved from marble in Gori Emir. A lot of stone and marble was used in the architecture of ancient Khiva. The entire foundation of the palaces is laid out there by them, and they are all carved from geometric and floral figures. The stone-cutting walls of the Khiva Palace of Tashavli can be considered a magnificent example of beautiful stone carving, it is therefore called the Stone Courtyard. There are several types of stone carving: line threads, chain, lattice, deep, multi-layer, flat threads, etc. It also matters which stone works with - soft, pliable, medium hardness or hard.
Uzbekistan
ICH Materials 330
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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 -
Types of Vietnamese's Hát bội(Hat Boi) characters - A quick guide
“Hát bội” is a traditional performance art in Vietnam, it has a rich historical foundation, and quite an influence to the community. The stage of Hát Bội also consists of Viet aesthetic values, reflecting the life, stories, and aspirations of the Vietnamese. Hát bội characters contain a fine selection of multiple human characteristics. With those qualities - every plot, every movement, technique and performing elements are conveyed in a holistic sense. Let's learn about the details of each character type so we can fully appreciate this traditional art form. Check out ichlinks.com to learn more about Hat boi essential types of characters. \n\nCredit:\nProduced in ICHCAP - Cultura Fish (Hiếu Văn Ngư) partnership. \n\nContent development: Vuong Hoai Lam (Researcher), Luc Pham Quynh Nhi (Coordinator, editor), Ha Hoang Minh Trang (Translator)\n\nContributors : \n- Cultura Fish team: Ha Thuc Duc Tung, Nguyen Le Thanh Thao, Nguyen Le Nhat Anh, Tran Thi Minh Thuy\n- Ho Chi Minh city Theatre of Hat boi: Vu Ho Hoang Vu, Ha Tri Nhon, Linh Hien, Bao Chau, Hoang Tuan, Thanh Binh, Dong Ho, Kieu My, Anh Thi, Ngoc Giau, Thanh Trang, Hoang Ha, Huu Danh, Linh Phuoc, Nguyen Tuan, Minh Khuong, Ngo van Tong, Nguyen Van Do, Ho Tuan Dung, Le Minh Tan, Tran Thanh Hung, Nguyen Tran Thanh Tuan. \nProduction: Cao Trung Thao and Pham Anh Nguyet\nPhoto by Giang Pham
Viet Nam 2021-10-25
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Wall of the Lord: Famed Pilgrimage Temple Branches into ICH PromotionNathdwara is a famed Vaishnavite pilgrimage site in the Aravalli Hills, fifty kilometers northeast of Udaipur, Rajasthan. Hundreds of thousands of devotees annually visit its central Shrinathji Temple to worship a fourteenth century icon of Shrinathji, a beloved child incarnation of Lord Krishna.\n\nBesides Shrinathji’s sanctum, Nathdwara was also widely known for its unique regional arts—the worship-related pichwai paintings that depict Krishna’s life stories for the unlettered and the reverential semiclassical haveli sangeet music that was sung and played directly to Krishna. The area was also famous for delightful terracotta sculptures that portray sacred images from the countryside and touching scenes of village life.\n\nIn recent years, however, haveli sangeet has lost its following, and few young musicians try to learn its demanding dhrupad-based songs. Similarly pichwai painting and local terracotta arts have fallen on hard times. While there is still a bit of tourist interest in these ancient traditions, the impact of western fashion, mass advertising, and globalized culture have driven both out of vogue domestically.\n\nMost of India’s religious institutions confine their efforts to purely spiritual endeavors, but given Shrinathji’s long intimate relations with the town’s cultural life, the temple took notice of its artists’ plight. The Nathdwara Temple Board, Shrinathji’s managing trust, and trustee Sri Vishal Bava suggested providing some kind of innovative platform for artists to showcase their paintings and crafts on the crowded streets outside the temple.\n\nSri Dinesh Kothari, Nathdwara Temple Board CEO, took this concept and designed a project called Wall of the Lord that used a broad empty stretch on the temple’s own outer wall as a public gallery. Approximately 140 pichwai painters have now completed 63 masterful paintings on this 180 meter expanse, in styles ranging from traditional and devotional to expressively modern. Three exquisite large terracotta murals have also been installed there, and together, these exhibits not only beautify the temple but also offer dramatic visibility, hopefully renewing market demand for struggling local ICH artists.\n\nLaunched on 26 January 2017, the novel Wall of the Lord initiative has already started attracting its own audience as a must-see site of the Nathdwara pilgrimage that reminds visiting devotees of the splendor of their heritage and the inseparable nature of creativity and the divine.\n\nPhoto : Nathdwara painters adorning the temple wall © Lokesh PaliwalYear2017NationIndia
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Lintas Nusantara: Dance Forms from the Malay WorldSingapore’s Malay Heritage Centre (MHC) organizes Lintas Nusantara, an annual dance festival that serves as a platform for dance masters and troupes from Singapore, Malaysia, Indonesia, and other countries in the region to showcase their work and capabilities and to facilitate cultural exchanges among the countries involved.\n\nTo commemorate the tenth anniversary of the festival, MHC will be launching a publication entitled Lintas Nusantara: A Spectacle of Dance and Music in October 2021. The publication will provide a visual record of all the dances performed at the festival and include several essays that aim to provide a deeper understanding of the various dance forms as well as their origins, development, and evolution.\n\nIt will cover a total of twenty-three Malay dance forms performed in Singapore, different states in Malaysia, and different regions of Indonesia. These dance forms include Zapin Sungai Kallang from Singapore; Mak Yong and Tari Asyik from Malaysia; and Pajaga Makkunrai (Bugis), Tari Golek Menak (Yogyakarta) and Tari Gending Sriwijaya (Palembang) from Indonesia.\n\nAs part of the publication’s aim to foster more extensive research into dances from the Malay Archipelago, it will feature twenty-seven essays by academics and researchers from Singapore, Malaysia, Indonesia, East Timor, and the Philippines. These essays will cover topics such as preserving dance and community traditions; spirituality in dance and movement; forging cultural and community identity through dance; cultural borrowings as expressed through music, costumes, and movements.\n\nLintas Nusantara: A Spectacle of Dance and Music will also include reflections regarding the importance of cultural exchanges in the growth and evolution of dance and music as well as the development of a dynamic Malay dance ecosystem from musicians Thow Xin Wei (Gamelan Singa Nglaras) and Fadhli Ramlee (aluNada Muzik) as well as an interview with Mr. Osman Abdul Hamid, a dance practitioner renowned for his artistic contributions to the Malay dance scene in Singapore since the late 1970s.\n\nThrough this publication, MHC hopes to provide an overview of the wide spectrum of Malay dance forms, contribute to existing research and documentation on Malay performing arts, and promote greater cross-cultural understanding and appreciation of the diverse dance forms from the Malay world.\n\nLintas Nusantara: A Spectacle of Dance and Music is a bilingual publication written in both English and Malay, and interested parties can send their inquiries to Jamal_Mohamad@nhb.gov.sg.\n\nPhoto 1 : Dancers from Guntur Mataram Dance Company (Jakarta) performing the Tari Golek Asmaradana Bawaraga. Photograph courtesy of Malay Heritage Centre\nPhoto 2 : Artist Seni Budaya (Singapore) performing the Tari Gending Sriwijaya with dancers from Universitas PGRI Palembang (Indonesia). Photograph courtesy of Malay Heritage CentreYear2021NationMalaysia