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local
ICH Elements 64
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Yeongsan Juldarigi (Tug-of-war of Yeongsan)
National Intangible Cultural Heritage, Republic of Korea For the event, the village is divided into two teams: the East Team (symbolizing males) and the West Team (symbolizing females). The village will reportedly enjoy better harvest in the year if the West Team (females giving birth to children) wins. The tug-of-war is also called galjeon, which is associated with the use of arrowroot vines for the rope. The event had been handed down as a rite held in farming provinces south of the central area of the country. At present, it is performed as part of the March 1 Cultural Festival. The rope used for the event is 40 - 50m long. The diameter of the main section of the straw rope made in a year comes to larger than 1m; if you sit down on it, your legs do not touch the ground. Many thinner straw ropes are tied to the main section for people to tug. Each team makes its own rope, with the two ropes connected right before the event. The leaders of the two teams stand on the main section of the rope to give the necessary signals. Farmers’ music is played joyously to cheer for the people. The event is a rite held to pray for good harvest and build a spirit of collaboration among villagers based on the belief associated with dragon and snake.
South Korea 2015 -
Gangnyeong Talchum (Mask Dance Drama of Gangnyeong)
National Intangible Cultural Heritage, Republic of Korea Talchum (mask dance) was performed across the country up to the early Joseon Period (1392 – 1910). Gangnyeong Talchum (Mask Dance Drama of Gangneung) is a type of Sandae Dogamgeuk, which was performed at the Royal Palace. After the mask dance drama came to be no longer performed there by 1634 (the 12th year of King Injo’s reign), it was still enjoyed as a pastime by ordinary people. The Mask Dance Drama of Gangnyeong is performed on Dano (May 5 on the lunar calendar) in Gangnyeong-eup, Hwanghaenam-do, and dates perhaps from the late Joseon Period. The event is composed of seven acts, Lion Dance, Malttugi Dance, Mokjung Dance, Sangjwa Dance, Dance of the Nobleman and Malttugi, Dance of Chwibari and the Old Monk, and Dance of the Old Couple. Prior to the performance, the 20 members of the troupe march, playing music to entertain spectators along the road. The play includes satire about such issues as nobles harassing commoners, depraved monks, and male chauvinism as shown in the custom of allowing a man to take plural wives. Dance movements are slow. The main dance is Jangsamchum (Long Sleeve Dance). The rhythms used are dodeuri, taryeong, and jajin gutgeori. Thirty-plus types of narration are used, each of them using its unique rhythm. The parts concerning three brothers of a noble family talking about the essentials of the noble class or calling Malttugi, or Malttugi’s gag are similar to those of Ogwangdae (Mask Dance Drama) of Gyeongnam-do. The scene of an old female clown turning a spinning wheel is similar to that of Ogwangdae of Gasan. These similarities have a very important significance in the handing-down of mask dance in the country. Performers wearing masks displaying realistic facial expressions and engaging in elegant and slow dancing movements are features of Gangnyeong Talchum, which distinguish it from Bongsan Talchum, another kind of mask dance performed in Hwanghae-do.
South Korea -
Enchorom: Warding-off Evils by Teens
Enchoro or Enchorom is a native festival of a Kalizingkha village under Tseza Gewog (block) in Dagana with unique lyrics and melodies. It is performed by the people of Kalizingkha particularly by the children (both boys and girls) aged below 12 on the 30th day of the 11th Bhutanese month every year. Even today, the festival is still vibrant and popular in the community without any major transformations. There are minor transformations in terms of the path followed by children from the starting point until the village temple (traditionally from school campus but now from the way which leads to Gophu Gonpa (monastery) from Dzong (Fortress) and the meals served during the three days celebration. However, owing to the current pandemic and the government policies, the community could not celebrate this festival for the past two years but the locals are now very much hopeful that everything will become normal again with the government's new normal policies. The origin of this festival remains unknown. The locals believed in performing this festival mainly to drive away the evil forces, diseases and misfortunes from their household and their community and to wish for a successful and prosperous year and good luck for the people living in the locality.
Bhutan -
Chalipa kha: A unique language spoken by Chali community
Chali kha is a language spoken only by Chali Gewog (block) people and few older citizen of Tsakaling gewog under Mongar Dzongkhag (district). It is believed to be originated from sino-tibetan language as per the research published in Dzongkha grammar book on language. Gewog Mangmi (Community Representative) coined that till date Chali language haven’t transformed or influenced by other languages. They still speak in the same tone which was there during their grandparents time just new words were borrowed for new things and equipment’s which were not in their language. As per the recollecting of Memey (Grandpa) Tenzin Norbu who is 81 years of age, Chalipa (People of Chali) language hasn’t change in its tune and meaning of words till date. Chalipa language is a widely spoken language among the community for any type of functions, gathering or to communicate amongst themselves. Chali kha got the name from a place chali and the people from the Chali gewog are known as Chalipas. Though language is spoken only by 2,385 people in the world its status is still good and has preserved all the values in it.
Bhutan
ICH Materials 36
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Neypo (Invocation of a Local Deity)
Neypo is celebrated on the 15 and 16th day of the 6th month in Bhutanese calendar. As agreed with Neypo to offer him a bull every year, people of Khoma had to slaughter an ox for the festival. Later lam (Spiritual master) Chonying Rangdrol visited Khoma during one of the Neypo festivals, at which time he saw people slaughtered an ox and he felt mercy for that ox from that day lama told people not to kill animal instead of killing, make effigy/ransom of Ox with the wheat flour and offered to Neypo.
Bhutan -
Neypo (Invocation of a Local Deity)
Neypo is celebrated on the 15 and 16th day of the 6th month in Bhutanese calendar. As agreed with Neypo to offer him a bull every year, people of Khoma had to slaughter an ox for the festival. Later lam (Spiritual master) Chonying Rangdrol visited Khoma during one of the Neypo festivals, at which time he saw people slaughtered an ox and he felt mercy for that ox from that day lama told people not to kill animal instead of killing, make effigy/ransom of Ox with the wheat flour and offered to Neypo.\n
Bhutan
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5. Identifying Ways to Develop Intangible Heritage Festivals through Community Networks (Focusing on the Case of the Gijisi Tug-of-War Festival)
The tug-of-war is widely spread throughout the world, especially in agricultural communities. The Gijisi Tug-of-War Festival is highly regarded. Held on the second weekend in April, it has a five-hundred-year history. The event, which is based on agriculture, fishery, and merchant traditions, is held to wish for prosperity and good luck for the coming year. The tug-of-war represents the agricultural, rural, and social characteristics of the region. The rope used for the event is two hundred meters long and one meter thick, so it is truly a community event. Similar tug-of-war games are also held in other nations. After creating a museum for Gijisi tug-of-war, members discovered that it could be a symbol of the region, so the local government invested into the museum. After building the museum, we wanted to expand our knowledge of tug-of-war events in other countries. In the past, there wasn’t much communication among the different communities celebrating tug-of-war festivities. However, after building the museum, we had the opportunity to invite other countries as a sort of network that allows research into other types of tug-of-war in the Asia-Pacific region. As Gijisi tug-of-war is well known, we thought that having a festival to display other cultures’ traditional tug-of-war through a networked festival. \n\nTug-of-war (juldarigi in Korean) is an intangible heritage that is commonly found in various regions across the world. In particular, it is a popular activity that takes place with the aim to foster harmony and solidarity among communities in rice-farming regions across Korea, Japan,and various Southeast Asian countries.
South Korea 2020-11-19 -
Chundu Soelchod or Soelkha (Invoking Chundu, a Local Deity)
Chundu Soelchod is a native offering practiced by people of Haa and Paro. During the Soelkha, dances and Zhey are performed by the people of Yangthang Gewog with unique dress, lyric and steps. The male artists are locally called pazerpa or pazaap.\n\nIn the 8th century, Guru Rinpoche visited Bhutan thrice from Tibet and subdued the local deities and transformed them as protecting deity of dharma in every region. Chundue soelkha is mainly celebrated for thanking Ap Chundu (local deity of Haa) for helping people of Haa during the battle time. It was originated during the time of when Zhandrung Ngawang Namgyel had conflict with Tsang Desi of Tibet. During that time group of Tibetan (Boe ma) reached at Haa, Gyensa. It was said that during night, those Boe ma (Tibetan) who reached Gyensa had seen fire and noises in Jangkhakha (Ap Chundu ground). Due to the light and reflection from Jangkhakha those Tibetan couldn’t attract the enemies instead they fell down in the river below Gyensa. That group of Tibetan was defected and the battle was won by the Haaps. Therefore people of Haa started with Ap Chundu soelchod to remember and thank Ap Chundu for his superstitious power and supporting them to win the battle.\n\nPeople also say as Ap Chudu’s birthday. It is celebrated toward the end of the year that is ninth month of the Bhutanese’s calendar. Regarded as manifestation of the warmth Chagna Dorji, Ap Chundu is not just localized to Haa district but he is and important deity of the country itself.\n\nIn Bon-nag tradition (animal sacrifice is required to appease the deities. People use to sacrifice the yak during the festival until 2013. They did because they were feared so much that Ap Chundu will punish them with diseases and natural calamities if they missed it. How ever since killing is sinful act in Buddhism in the year 2013, Haaps local guardian deity has been appeased by scarifying a yak after consulting with the dzongkhag and gewog staff, and the family who carried out the tradition for years, the authorities decided to seek Ap Chundu’s permission to stop killing yaks to appease him. So they rolled the dice and according to the astrologer, got his affirmation.
Bhutan Sunday, December 26, 2021
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A Look into Jeju: Living in Harmony with NatureJeju is a volcanic island filled with stones. Previous eruptions have produced volcanic bombs (large volcanic rocks) scattered around, covering the whole island. This is why it is difficult to cultivate crops in Jeju. Since the thirteenth century, the people of Jeju have been making stone walls to secure farmlands. The total length of stone walls is estimated at 22,100 km. These stone walls look like they are heaped up randomly. However, Jeju people’s wisdom is time-tested, unassumingly sturdy, hidden in those walls. Because the island is prone to strong winds all throughout the year, taking note of typhoons in the summer, they built the stone walls like roughly-heaped stones with holes to let the wind pass through, weakening the possibility of structural collapse.\n\nTamna is Jeju’s old name. The beginning of Tamna is illustrated by Samseong myth. Legend has it that three demigods emerged from holes in the ground. The ground is called samseonghyeol, which is still considered as a sacred place. The emergence from the ground shows difference in cultural archetype from the birth myth of the mainland involving the egg from the heavens. There are 18,000 gods and goddesses in Jeju. Jeju people believe that god lives in everything. Such belief is shaped by Jeju’s naturally difficult tendencies. As people in Jeju battle with endless wind and water shortage due to the island’s barren volcanic environment, they rely on gods to adapt to the roughness of Jeju.\n\nThere are Bonhyangdang Shrines, the house of gods protecting people’s livelihoods. simbangs (shaman in Jeju dialect) act as intermediary between Jeju people and gods. They perform yeongdeunggut in the second lunar month for haenyeo (female divers) and fishermen who depend on the sea for a living. The Yeongdeung is the goddess of the wind, who can raise the waves, which is why she is deemed important for the safety of people pursuing the sea. Jeju Chilmeoridang Yeongdeunggut, the representative yeongdeunggut in Jeju, was listed as an Intangible Cultural Heritage of Humanity of UNESCO in 2009. There are many other rituals for gods and goddesses of the sea, which are held in roughly 30 areas in Jeju during the same month. There are many stories related to goddesses in Jeju. Different from goddesses in other countries, Jeju goddesses neither depend on nor belong to gods. This is a characteristic shown by Grandmother Seolmundae, the giant who created the island by carrying soil in her skirts; Grandmother Samseung, the goddess of babies; and Jacheongbi, the goddess of farming. Jeju women have high self-esteem unlike those in patriarchal East Asian societies following Confucian teachings. They also participate in the economy more actively than their counterparts in other regions in Korea. Jeju haenyeo is a representative example of women’s participation in the economy. In 2016, the Culture of Jeju Haenyeo was inscribed on the Representative the List of the Intangible Cultural Heritage of Humanity by UNESCO during the eleventh Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage in Addis Ababa, Ethiopia. It shows matriarchal characteristics of Jeju. In Jeju where the soil is not fit for rice farming, many women became divers to find food from the sea and learned how to cooperate with each other.\n\nDespite the unique challenges in the island, Jeju people have used nature without destroying it, depending on 18,000 gods and neighbors. Such characteristics form the core of the Jeju culture.\n\nPhoto : Jeju haenyeo (female divers) crossing low stone walls to get to the sea © Jeju Haenyeo MuseumYear2017NationSouth Korea
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Jeju Chilmeoridang YeongdeunggutJeju Yeongdeunggut is a shamanic ritual performed during the second lunar month to greet and see off the goddess Yeongdeung. Yeongdeung, the goddess of wind, is typically recognized in the form of Yeongdeunghalmang (Grandmother Yeongdeung). In winter, when the cold wind blows from the northwest, she brings prosperity to the land and sea. It was the custom for the Yeongdeung Welcoming Ritual to be performed to celebrate her arrival and the Yeongdeung Farewell Ritual to be performed fifteen days later to mark her departure.Year2021NationSouth Korea
Open Archive 5
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Kathin
The offering of Kathin cloth or Kathin cloth is a ritual that believers or even monks perform rituals in temples to make Kathin cloth. There are two kinds of Kathin as "Choun la Kathin" is small Kathin and "Ma Ha Kathin" is big Kathin. Kathin has a fixed time for offerings. cannot be offered forever like any other cloth. This time, with only one month from the waning days of the first lunar month to the 11th day of the 15th lunar month 12 (12 lunar months), this period is called the transitional period Katin ceremony or festival. We also take place in the temple. Laotians march around the church three times carrying money trees and cloth for the monks. According to the beliefs of the Lao people, This acacia festival is organized for remedies or utilitarian benefits: (1) maintaining traditional good not to cease (2) is followed Buddha draws upon the breed of the Prophet (3) of the Securities and life with Russell kernels night (4) creates solidarity between Buddhist agency (5) a road to heaven and nirvana for themselves.
Lao People's Democratic Republic -
Tae Na Gu - Karan musical instrument
Karen (Pgaz K' Nyau) tribe’s unique culture has remained largely intact because of its isolation. The traditions are deeply connected with the forest and the tones of the music echo their histrionic landscape that ranges from deep wild and valleys. Their main way of living is living with and taking care of the forest. The Karen musical instrument called “Tae Na Gu”, has its own sound and character with a very long history. A soft sound, bright and gentle is the colour that would paint your heart in light colours. The root of this instrument could trace back to more than 200 years ago. Its name usually appeared in tribal's ancient rhymes. From generation to generation this ancient instrument has been transferred. It has significant changes. For example, the strings used to be 9 - 12 with a minor scale, now it has only 6-9 strings in major scale so they could play with other musical instruments perfectly. Also, many new generations of Pgaz K' Nyau musicians bring it back to life by designing, changing colours and forms. But one thing that would not change is it exquisitely represents the character of the Pgaz K' Nyau people. Gentle, adaptive and caring for their inheritance.
Thailand -
Wadangmet: The Dancing festival of Chhilings
Wadangmet, also known as Papani, is one of the greatest festivals of the Chhiling Rai people from the eastern hills of Nepal. Just after the Nepali Tihar festival (Sep/Oct) is celebrated, every Rai household in the community takes out the Dhol and Jhymta, musical instruments which are kept hidden in the house for a whole year. Pulling out these instruments signals the beginning of the festival which lasts for 1-2 weeks. My 80-year-old grandmother loved telling this and many other stories about the Rai culture. It is believed that divine Rai deities, Ambirahang and Rexihang, children of Budahang come to the village and shower their blessings on the people. Budahang is the king of the gods. According to the Chhiling legend, Budahang’s children ran away and secretly got married, a serious violation of Rai social and traditional norms. For breaking the taboo, they were banished from the village. The villagers, however, decided that couple could visit the village for one week every year. Wadangmet is celebrated to welcome the return of the banished couple with singing and dancing. During their stay, the community does not perform any other rituals or worship other souls and spirits. The celebrations begin on the full moon in November. As an offering, the locals take one half kilogram of rice (mana dhurne) to the local priest’s house. This offering, on the first day of the festival, is made to the unholy couple to encourage their blessings of eternal life for family members. On the second day the people gather at the priest’s house and, during puja, offer a pig and two chickens to the siblings. The same day, they clean and worship in the village courtyards. On the third day, the villagers gather at the Mukhiya’s (the head of the village) house with Dhol and Jhyampta to perform traditional dancing. They cut another pig and share the feast. On the fourth day, every household offers a pig to Ashik Hang (the king of blessing) for a long and healthy life. At this time the household’s future for the coming year is forecasted by performing the “Tharkibahal or Mangla” ritual; a chicken is offered to gods. If a chicken bleeds it is believed that family members will have a peaceful and healthy life for the coming year. If the chicken doesn’t bleed the family will have one year of uncertainty. The celebration continues for a fifth day in another village. On the sixth day the raucous celebration continues at the Mukhiya’s house in another village. Traditionally, the day also used to be an occasion for joking and courting among boys and girls. They would meet, fall in love and many would practice bhagibibaha; they would elope and be considered married. Wadangmet is the happiest time of the year. It’s a festival to celebrate life, community, friendship, love, music and dance. The final day of the festival is MangPankha; seeing off the deities. This is a week-long celebration at the Priest’s house that includes more rice and chicken puja, singing, dancing and playing the hidden musical instruments. People dance for whole night (and drink) and when the sun rises, they once again bid farewell to forbidden couple. Achita, rice used for the pujas, is considered to cure diseases. They save it for medicinal use throughout the coming year. No one knows how or when this festival began. My grandmother was filled with myths and fascinating stories about ancestors and how they lived. Regrettably, many of these stories are being forgotten but, Wadangmet is alive and well. Long live the Chhilings Rai people!
Nepal -
Boun Hhor khao
The festival is one of the 12 annual festivals and a local festival that takes place every year all around the country in Laos, and it’s a festival made to dedicate merit to expedite or relative. It takes place on the 14th day of the 9th lunar month at around 3-5 o’clock in the morning. Prepare materials like sticky rice, Betel leaf, tobacco, food, and sweet wrapped it in banana leaves before the nighttime. Lao people will bring the wrapped food at night time and put it on the ground, distribute it around the temple, under the tree, in front of the house with burning candles, and tell the spirits to come and receive the items.
Lao People's Democratic Republic