Tuesday, 19 September 2017

Ancient Egyptian Musical Instruments

Like any other civilisation, Egyptians too enjoyed dance and music. The Egyptian state promoted and patronised musicians and dancers. They made enormous Egyptian Musical Instruments like percussion, wind and strung. Hathor was the patron of music. More information on Ancient Egypt Music.

Stringed Egyptian Musical Instruments:

Major stringed instruments were Harps, Kinnor, lyre and Lutes. Harps were originally developed from hunting bows in the Old Kingdom. Harps were grouped into angular harps and arched harps. Harps and other instruments were used for praise singing and entertainment at ritual, court, and military events.

Harps were favourite Egyptian

Musical Instruments during the New Kingdom and were shown in the hands of professional female musicians performing alone or in ensembles with singers, wind instruments and rattles. Harps varied greatly in form, size and the number of their strings.

There were three types of lyre consisting of thin, thick and giant.The lyres were introduced around 2500 BC in nearby Syria. Lutes were typically made with a long oval resonating body made from wood and perhaps partially covered with leather and partially by a thin sheet of wood with an opening to release the sound. They were plucked rather than bowed.

Percussion Instruments:

Percussion was basic to the orchestra, with various types of rattles and clappers in use as well as drums of different sizes. Cymbals, Bells, Castanets, Hand-held drums form the group of Percussion instruments.
Cymbals were used in temples in the Ptolemaic period. It consists of a pair of slightly concave metal plates which produce a vibrant sound of indeterminate pitch.

Wind instruments:

Wind instruments consisted of flutes called Ugab, Trumpets, Shofar, double pipes, Trumpets etc. Flutes, the oldest had a sharp wedge resting just outside of the lips. Pipes had a loosely fitting mouthpiece furnished with double and single vibrating lamellae.

Trumpets were made of silver and bronze, with mouthpieces of gold or silver. They were generally 60 to 90 cm long, and made of bronze, with mouthpieces, and with bells at the other end.

Ancient Egyptians used very long flutes 90 cm in length and about 1.5 cm wide, the performer generally sat on the ground. They were made of Nile bamboo, though later were imitated in bronze. Flutes had usually five to seven finger-holes.

Traditional Music : Concept and Controversy

In Francophone Africa, there is a controversy among experts regarding the definition of "traditional music" versus "folk music." Some experts believe that, in the name of a tradition which is dynamic by essence, traditional music belongs to a particular region but is in constant evolution because of the challenges of urbanization and modernity.
On the other hand, the term "folk music" designates 'tribal' music confined as is in its original terroir. 

Other specialists think just the opposite. To make things easier, we will refer to the latter meaning of traditional music. Therefore, traditional music is synonym with "tribal" music in this text. Traditional music varies according to different life events: birth, including birth of twins, rites of passage, the dynastic rituals, planting and hunting, war, death and bereavement.

Research On Traditional Music

Traditional music has been extensively studied in conjunction with the vehicular and vernacular national languages because of the natural link between these languages ​​and music. So far, the most important themes addressed by scientists and academics from the Democratic Republic of Congo institutions (Faculty of Anthropology and the National Institute of Arts) are ethnomusicology (the study of "first peoples" music), 'drumology' (study of drums, tom-toms, and traditional instruments common in Africa, and their rhythmic function), organology (study of traditional instruments in general), anthropology of traditional music and their social function through its use, typology and diversity.

It is difficult to have a complete picture of DRC traditional music genres in all their varieties because new styles and rhythms are constantly being produced not only by the tribes, but also by the clans or even families. We can only pick the most representative areas indicating trends and recurring themes. We are therefore required to use the existing administrative and geographical distributions as points of reference.

Urbanization has been so rapid in the last twenty years due to rural exodus and conflicts that almost 60% of the population lives in cities. Urbanization has impacted more and more villages, and gradually transformed lifestyles. It is therefore difficult today to listen or dance to traditional music that is 'pure'.

Representative areas of Traditional Music in DR Congo

The table below is more indicative than exhaustive:
Bas-Congo Province: This province includes four big ethnic groups: Yombe, Nyanga, Ntandu, Besingombe. The 'masikulu' music and dance show of the Nyanga's is probably the most picturesque and the most well preserved. The music is performed and danced to the rhythm of elephants' trumps.

The Bandudu Province is home to tens of ethnic groups from north to south: Ekonda, Nkundo, Ntomba, Sengele, Sakata, Boma, Teke, Banunu, Mbala, Yansi, Mbuni, Pende, Yaka, Suku, Cokwe.. Dances and music of the Ekonda people are based mostly on the 'bobongo', a sort of carnival with successive exhibition showcasing royal inauguration hymns, acrobatics shows, and satiric songs denouncing social issues or even traditional leaders. The diversity of instruments and traditional sounds contribute to the frenzy of the 'bobongo'. We can also mention the 'mingazi' music and dances of the Pende people in the south of the Bandudu province. Those music and dances are performed during initiation ceremonies along with games and masquerades.

The province of Equateur includes mostly the Mongo, Mbuza, Ngombe, Akula, Ngbandi, Azande, Ngbaka. The 'Engundele' of music and dance of the Mbuza people are originally war and conflicts songs and dances; they are characterized by provoking guttural sounds and war dances.

The province of Kasai with the Luba, Lulua, Songue, Tetela, Shilele, Kuba, Cokwe is located in the center of the country. Some of its most known music is the 'kasala', a poetic type of songs that is performed during mourning periods or during royal successions.

Mourners or 'griots' recite the heroic acts of the deceased dignitary. We can also mention the 'mutswashi' which are lascivious dances and songs that honor fertility. Let's also mention the specificity of the "bedibamiyenga", mourners' songs of the Luba people and the "lokombe" which are Tetela's hymn praising local chiefs.

The province of Katanga is inhabited by the Bemba, Hemba, Luba, Lunda and Tshokwe ethnic groups. The 'Balubwilu' are warriors' songs and dances performed by the Luba people of Katanga. The performers wear impressive costumes made of animals' skins and feathers; the males' chants are accompanied by various drum instruments.

The province-city of Kinshasa is cosmopolitan, with a rich multicultural dialogue. But there are active niches of indigenous Teke people. Their contact with and their immersion in the city has heavily influenced their lifestyle so much that their songs' style and titles- such as 'ban'odéon', 'zekete-zekete', 'sukuma'' 'kebo'- are largely urbanized and inspired by the rumba music.

The greater Kivu region (North Kivu, South Kivu, and Maniema) is home to the Bashi, Rega, Hunde, Nande, Kusu, Twa. The 'omunde' is the Nande's'song and dance of the sparrowhawk' imitating the bird singing for hunting purpose.

'Matackyo' of the Nande people is a song performed to celebrate newlyweds, it is usually sung by women. The 'intore' song and dance belong to the Bashi people, with influences from Hutus and Tutsi people of Rwanda.

The Oriental Province is home to the Lokele, Wagenia, Azande, Lendu, Hema, Mangbetu, Basoko, Mingado and Topoke people. 'Kponingo is a Zande song performed during joyful celebrations and accompanied with a xylophone made from a banana trunk.

Traditional Music in Urban Areas

Some would think that traditional music has been long forgotten because of the success of modern music and its consequences on a consumer society. But it's not the case. Traditional music is still relevant today. We're talking here about the traditional music fundamentally rooted in a region while remaining open to evolutions of modern folklore.

Historic background

The trend of city-dwellers resorting to villages' traditions is not new. Since the beginning of the urbanization process in the '20ies, the colonial administration had arranged for the 'native' people ( called 'Indigènes') dedicated spaces for entertainment and fun competitions in cities that were becoming more and more multiethnic.

For instance, the colonial city of Leopoldville (now the capital city of Kinshasa) was divided into five zones. 1) The city center -named Kalina- was an area reserved for 'real whites' (Belgian, French and American citizens). This residential area was spread along the Congo River and also included administrative offices. 2) The commercial area, situated in the south of the city beyond Albert I boulevard (today called Boulevard du 30 Juin), was reserved for the 'semi-whites' (Portuguese, Greeks and Israelites). Most of them were owners of clothes, appliances and disks shops. 3) A 'no-man's land separating the 'European' city and the 'Indigène city' (Natives city) included a golf course, the General Hospital of Kinshasa plus the zoological and botanical gardens.

Between these two cities, the colonial authorities built a center for the 'mulattos' and an open space called 'Place Ruwet' (Ruwet Square). Every weekend, different ethnic communities gathered there and engaged in different games, singing and dancing exhibitions including traditional wrestling competitions.

During the '50ies, with the rise of folk music groups headed by autonomous and creative leaders such as Albert Mongita, Justin Dissassi, or 'Maitre Taureau' ('Bull Master' aka Ngombe Baseko), popular itinerant shows were created. Every Saturday, trucks traveled through the different neighborhoods offering shows and attractions. These types of shows survived until the '60ies, when the then ruling party, called 'Mouvement Populaire de la Revolution' (Popular Movement of the Revolution) started to use them for its political purpose. They had to re-write their repertory to honor the 'Guide of the Revolution', the 'Founder of the Nation', the president Mobutu Sese-Seko.

Cultural and political animations
Between 1970 and 1990, the various expressions of the folklore of the different regions of "Zaire" (now Democratic Republic of Congo) were reworked, "re-created" so to speak, and popularized on a large scale under the exclusive label of the 'Parti-Etat' (State-Party). Basic rhythms were kept but variations were added with the contribution of traditional modern instruments. The themes were highly politicized. A song like "Djalelo", which was part of the ritual induction of the Baluba chiefs of North-Katanga was recomposed and dedicated to the "Guide" Mobutu.

Festive Animation of New Urban Generations

This tradition of popularizing folklore by mixing it with the rhythms of modern music has stayed even after the fall of the ruling party, but with original and new features. Nowadays at political rallies with regional connotation, during mourning ceremonies or weddings, animators use original folklore and adapt it to the context and regional origins of the guests or audience. Thus these performers have a stronghold in society and enjoy a huge success. Traditional bands or bands with semi-traditional repertories include: "Bayuda Congo" (of Luba origins in the Kasai Oriental), "Basokin" ("Basongue of Kinshasa) "Kintueni" (Yombe of Bas-Congo), "Kibandanzila" (Kwilu of Bandundu), "Engundele" (Mbuza from Equateur), Lokombe (Tetela from Kasai Oriental) Ban'Odeon "(Teke, Kinshasa)," Mabele Elisi "(Mongo, Equateur," Minganzi "(Pende 0f Bandundu), etc..

Even Gospel bands draw inspiration in the traditional rhythms of their terroir. For example, the gospel singers Thomas Lokofe is inspired by the Mongo culture; Micheline Shabani by the Ekonda people and Mike Kalambayi by the Luba people. Furthermore, the repertoire of Congolese Rumba artists is heavily influenced by the local ethnic folklore. Papa Wemba has made famous the "Lokombe" rhythms of the Tetela people.

Similarly, Tshala Muana and Nyoka Longo have respectively made famous the "mutuashi" of  the Lulua of Western Kasai and the rhythms of the Bakongo from the Bas-Congo provinve.

By Lye M. YOKA

*culled from www.musicinafrica.net

Monday, 18 September 2017

Mooncake Festival in Singapore

The leaves are turning red, the moon's at its brightest - and it's time for the Chinese to celebrate the Mid-Autumn Festival. It's a time for family reunions, for moon-watching sessions, and, most importantly, for feasting (which festival, after all, is complete without feasting?!). And at the Mooncake Festival, the star of the feasting is the much-loved, dripping-with-calories delight, the mooncake.

The legends about the festival are a dime a dozen, but among the most popular traditions is that of a lovely 'Moon Lady' who lives in the moon, and whose beauty is at its peak at this time - which is why everybody gazes up at the moon, hoping for a glimpse of the mythical stunner. Another tradition - this one with historical associations- links mooncakes to a 14th-century uprising against the Yuan Dynasty, when plans for the rebellion were hidden in mooncakes and circulated amidst the conspirators.

But the crux of the matter is not whether the festival's a tribute to a lunar beauty or a re-enactment of a historical event: what matters is that it's a time to get together with family and friends; a time to hang up pretty lanterns around the house- and to consume huge quantities of mooncakes, bursting with red beans, lotus seeds, dates, and virtually anything that's good to eat!

*culled from www.journeymart.com

Traditional Music in Congo Brazzaville

Traditional music covers all music associated with national, regional culture or geographical area. It is the first form of music. It has been around for ages and is associated with community life. In the case of Congo-Brazzaville, there are many forms of traditional music as several ethnic groups make up the country and each group has its music and dance. Music and dance are closely related in the Congolese tradition. 

Traditional music is passed on by ear, although some current bands and musicians prefer to compose the melodies for a performance or cataloguing. In recent years a new genre emerged from traditional music: modern traditional music.

Traditional music and social life
In every ethnic group, music and dance permeate daily life: birth, initiation rite, marriage, farm work, housework, death... It is therefore quite difficult to date the origin of traditional music. 

What is certain is that traditional music was passed on from generation to generation and still exists today. Several music groups are listed in Congo namely Moukoukoulou National, Ndzobi Okoa, Elélé Ndzoro, Kongo Butiélé, Mvitsié, Okouakassa, Kingoli Akwa, Groupe traditionnel les Makandas, Ndima, Vocal Bantou, or la compagnie Punta Negra who perform through dancing, singing and laughter.
Each represents an ethnic group; the rhythm, repertoire and heritage are unique to each particular ethnic group. 

It is true that through the years they have evolved and undergone some changes but, the fundamentals remain the same. When we listen to these groups sing, we can easily identify their ethnicity. During its evolution, Congolese traditional music used almost the same instruments: the ngoma or mbonda (drums), the ngonfi, the string guitar, the gong, the maracas made ​​of gourds or dried spherical balls cored in and filled with hard and dry grain producing specific sounds when shaken, the balafon, the long, short, thick or thin drums.

Besides the Bantu people, there are also indigenous people called pygmies. Their music is different from the Bantu music. The pygmies make what we call contrapuntal polyphony (or counterpoint) meaning "note against note". They also use yodelling, a vocal technique which involves rapid changes of pitch between the chest voice and the head register. This is not the case among the Bantus. The pygmies use the harp-zither, the single-stringed musical bow, the two-stringed musical bow, the flute and whistles.

The natural and the supernatural

In Congolese society, the natural and supernatural are closely linked and it is quite normal for music to permeate everyday life through songs and dances. Some music is intended to build bridges between the natural and the supernatural world particularly in initiation, healing or harvesting rituals.
"Congolese traditional music has had an esoteric, mystical and sacred character since the dawn of time, having two closely interlinked dimensions and permanent dialectical interaction; two dimensions relating to the visible and invisible worlds, that is to the matter-spirit which is the basis of the mystery of the human being, "declares Jean - Oba Bouya.

One sings and dances to seek the intervention of the gods. There are warrior, hunter and women dances, (for example the vilis have the Tchikumbi and the tékés have the Nkira). This typically feminine music was played during rituals in which pubescent girls became responsible women, wives or priestesses. They were also used for therapeutic purposes such as treating infertility.

Modern traditional music
Congolese traditional music has not evolved in isolation. It is enriched with external contributions, merging with other cultures while introducing different instruments creating a new musical genre called traditional modern. This genre, which began to emerge in the 90s, with groups such as BBGM and Bane B'Siane in Pointe -Noire, boomed in the early 2000s with TH Musica who sang in bembé. 

Whether in Brazzaville or Pointe-Noire, traditional modern music groups flourished: Kingoli Authentique, Kibur'Kiri, Otswéré, Lang'i, and N'Kota...
The success of these groups has revived traditional music which, in some respects, had become monotonous. The contribution of modern instruments gave the genre a fresh sound without being distorted! Purists considered the new genre to be problematic. However, like other kinds of music, traditional music had a hard time existing and asserting itself on the record market. 

Production is low-scale and often of poor quality making it impossible to ever make an impact on the small national market.

In this far from perfect background, TV Congo through its shows Mbonda elela,
Feux de Brazza and the Festival Populaire et International des Musiques Traditionnelles which as its name suggests takes place in Brazzaville twice a year since 2005, supports traditional music.

By Anthony Mouyoungui

Traditional Music in Southern Nigeria

Southern Nigeria covers a geographical area of over 206 000 square kilometres and is home to over 130 ethnic groups, many with different languages and dialects, with tonal influence on the varied forms of music prevalent in the sub-region. As a result, the traditional music of these areas is as diverse as the peoples therein.

However, the common ethnomusicology of the varied peoples of southern Nigeria is as striking as its ethnic diversity.

Music in traditional societies in southern Nigeria was employed for the broad purpose of socio-cultural expression. It is deployed in virtually all areas of interaction – work, social events from birth to death, religious and ritual ceremonies, state and court ceremonies, leisure and entertainment, and even for martial (military) purposes.

The common instrumental platform of West African music in general, of which southern Nigerian music is a part, is the rhythm. Rhythmic influence is at the heart of the music of this region, with the drum being the key instrumental driver of the traditional music of Southern Nigeria. Almost every traditional form of music in southern Nigeria has the drum as a central force. 
While exceptions do exist, these are few and largely found in purely vocal arrangements.

Traditional Instruments:

Traditional instruments in southern Nigeria naturally display regional variations in form and tone, based on the specific ethnic origins of a people. There are different drum types in Southern Nigeria, which vary in both design and sound. In the Yoruba-speaking part of south-western Nigeria, the most common drum is the Talking Drum ( Gangan/Omele ), a medium-sized drum consisting of a wooden core and leather-skinned on two ends. The drum is designed to produced tonal variations (the voice), based on the manipulation of leather strings, verged in even length across the span of the wooden core and attached to the edge of both sides, which produced sound variations when struck with the curved wooden drum stick. The other drum-type unique to Yoruba-speaking southern Nigeria is the multi-drum composite called the Bata drums. 

Historically these drums are believed to have been designed and played for the Yoruba God of Thunder, Sango, who would perform an eponymously named dance, known as the Bata.
Other drums indigenous to the region are the Sakara drum, a flat circular drum played with the fingers or a stick, either by a single performer or as part of a larger drum orchestra, driven by the Gangan. In areas occupied by the Egun people (bordering with the Republic of Benin) can be found the giant Sato drum - a 6-foot tall, cylindrical drum played by groups of drummers and dancers in unison, according to ancient ritual. In Edo land of mid-western Nigeria, the most common drum-type is the Ema, a medium-sized, hollow drum similar in length to the ubiquitous Djembe .

In the Igbo-speaking part of south-eastern Nigeria, the most common drum is known as the Igba , a medium-sized, hollow tom-tom drum, played with sticks or hands, mostly in a larger drum orchestra. Another drum type in this area is the Ikoro drum, which can vary from medium to giant sizes. The largest example of an Ikoro drum was an eight-foot specimen at Umunze, which was sadly destroyed by Christian missionaries in the 1950s due to its association with sacrificial rituals in the late 19th century.

Amongst the Efik and Ibibio peoples (two very distinct ethnic groups in south-east Nigeria), the most common drum types are the Ekomo ( Efik) and the Ibid ( Ibibio ). Both are medium-sized, leather skin tom-tom drums, a variant of which is also used by the Ijaw people of the Niger Delta. Other commonly used drums in the south-east are the clay bass pot known by the Igbo's as Udu and the Ibibio's as Abang. This instrument is used almost exclusively by these two ethnic groups, as well as the Ijaw's.

Percussive Instruments are usually applied either as an adjunct to drum rhythms or in limited instances as a stand-alone accompaniment to voice. In Yoruba speaking south-west Nigeria, the key percussive instruments are the shekere (shakers) - generally a circular calabash bounded by a complex string of cowrie shells and Agogo (gongs), also known as Ogene. There is also the wooden block instrument with a hollow slit, known as Ekwe by the Igbo and Obodom by the Ibibio.

In terms of melodic instruments, the region's main wind instrument is the five-stop Lara (traditional flute). Also popular in the region are the three-stop flute known as Oja and the Okike (elephant tusk trumpet), as well as the Uta (cow-horn trumpet) of Ibibio-land, which is capable of producing a four-part harmony.

Other melodic instruments include the Ubo Aka (thumb piano), used in Igbo-land and the Niger Delta. The oldest example is a 1000-year old piece discovered at Igbo-Ukwu in Anambra State and held in a museum in the same town. The Ikon (xylophone) is used in Ibibio-land and although it produces melodies, it is often classified as an idiophonic (or percussive) instrument. In the same genre is the Agidigbo (large thumb piano box) of Yoruba-land, which though capable of producing melodic sounds possesses the tonal character of a percussive instrument.

Traditional genres:

In general, southern Nigerian traditional music is classified differently from Western music, particularly in terms of the instruments influencing the classifications of genres, as well as the specific purposes for which the music is intended (for example court, martial music, funeral dirges, celebrations, sport and recreational music, and ritual music. 

There were also musical forms, stylised to indigenous dances of the various peoples of southern Nigeria, which have acquired the form and stature of genres in the various areas. This is notable especially in music generated to support the dances of the various masquerade groups that are prevalent across southern Nigeria. Among the Yoruba of south-western Nigeria, genres include Bata music, named after the ancient dance; Gelede, ceremonial music performed during a festival and dance of the same name;
Biripo, a dance performed by the Ikale people; and Totogiri , music played in Owo-land during celebrations like birth and marriage.

Aside from dance music, in this same area hybrid forms influenced by Islamic religious practices arose over time. These included Were and Ajisari, musical forms used to rouse the faithful for prayer during Ramadan. Sakara and Apala , on the other hand, are more recreational in purpose.

In Edo-land in the mid-west of Nigeria, Ekassa music emerged in the 16th century, a prime example of a traditional dance giving rise to a musical genre, having been devised as a royal dance by the legendary Queen Mother Idia.

In south-eastern Nigeria, the predominant influence on genre classification was the influence of dance. With dance being an extremely important vehicle of cultural expression, music has long been an essential counterpart to it.

Examples of this being among the Igbo people. Various musical forms adapted to dance would have the indigenous prefixes " Egwu- " ('the music of..') or " Igba- " ('the drums of..'). For example, Egwu-Igede represents the backing music of the Igede dance of northern Igbo-land, while Igba Ndi-Eze represents the backing drum music played to the dances of kings. The Ikprikpi Ogu (war dance music of the Ohafia-Abam people) is another example of this. Sometimes genres would be classified according to the masquerade group they support, such as the Egwu Ijele, the music played in accompaniment to the dance of the 10-foot tall and fearsome Ijele masquerade eminent in many parts of central Igbo-land.

This is much the same in other parts of south-eastern Nigeria, with the dance-influenced pattern of music classification also seen in the Ekombi music of the Efik people, the Ukwa war dance music and the recreational Mpok-eto music (made popular recently by contemporary artiste Iyanya) of the Ibibio people. Among the Ijaw people of the Niger Delta, this trend is seen in the Owigiri and Ekegene dance music which are largely celebratory dance music.

There are certain distinct traditional forms, however, that are not necessarily related to dance, such as Ekpili music, which is music played in the Anambra area using the Ubo Aka (thumb piano) and distinctly narrative in character. The players being more focused on transmitting oral traditions and idioms (in the style of the Griots of West Africa).

Traditional Music In A Modern Context:

Despite being the product of an evolutionary process over hundreds or even thousands of years, traditional music continues to occupy an important cultural position in the lives of the people of southern Nigeria. It has been at the heart of musical innovations over the years, including emerging popular music hybrids such as highlife, Fuji, Afrobeat and even modern Nigerian hip-hop.

Nonetheless, there are several rare forms of southern traditional music that have already been rendered extinct by the sheer pressure of societal change, one prime example being the Dadakuwada of south-western Nigeria. This in itself remains the key challenge to Nigeria's cultural stakeholders – to prevent the extinction of other traditional genres - for in it lies the ancient cultural DNA of the region's people.

•Culled from www.musicinafrica.net

Friday, 15 September 2017

15 Filipino Wedding Traditions You Won’t Believe

Wedding traditions in the
Philippines became heavily influenced by Catholicism after the country was colonised by the Spanish in the 18th Century, meaning nowadays, Filipino weddings are an interesting combination of Christian-ceremonies dotted with superstitions and folklore.
To find out how this culture celebrates its traditions, I spoke with Jane Khouri, a first generation Filipino woman to shed some light and explain the origins on some of the more common customs.

1. They Know How to Party with a 3-Day 

Long Wedding Celebration
Jane: Traditionally, Filipino weddings would have a 3-day event and bring the family and guests home for a celebration. My Mother had her own 3-day wedding, so this is a tradition that is still around.

2. As Part of the Ceremony, the Priest Draws Blood from the Couple

Jane: The bride and groom would bring the priest to their home to do a blessing which involves the couple joining hands over a container. The priest then pricks the chests of the bride and groom and catch their blood in a container. We have a very religious culture and anything to do with superstitions is still absolutely important.

3. Family is Key in the Wedding

Jane: Family is absolutely important in a Filipino wedding. Instead of a bridal party, we have 'sponsors'. 1 st sponsors are close friends or family to the bride and groom and would be similar to the best-man and the maid of honour, these sponsors are chosen by the family of the couple.

2 nd sponsors are generally three couples, who are similar to the bridesmaids and groomsmen. These sponsors each have their own duty at the wedding. One pair are chosen to light the wedding candles during the ceremony, another handle the veil and the third wrap the cord around the couple.

4. The Groom Should Pay-up to Prove his Devotion

The 1 st sponsor, or the coin sponsor give the groom 13 pieces of gold or silver coins in a bag as a promise that the groom can look after the bride. This is a symbol of good luck.

5.The Wedding Candle can Predict Death

During the ceremony, the sponsors light a pair of candles, one on each side of the bride and groom. This is a Christian practice that has been introduced into Filipino culture. We have put our own spin on it, however, and have a superstition that if one of the candles blows out during the rite, the person beside it will die before their spouse.

6.The Groom Dons a Veil Too

As part of the ceremony, the 2 nd sponsors place a veil over the bride and the groom which signifies two people becoming one.

7. The Cord and the Infinity Sign
After the veiling, 2 nd sponsors will wrap a cord of material, flowers, chained coins or a rosary around the collars of the bride and groom in a figure '8'. This again, signifies two becoming one.

8. The Wedding Dress isn't a Dress

Jane: Traditional Filipino brides wore a Baro't Saya, which is a long skirt which sits high on the waist and a cropped box top with puffy long sleeves. Some modern brides still choose to wear the traditional dress and if this happens, the groom will usually wear a Barong Tagalog. My Father wore this to his wedding!

9. Never Buy a Set of Kitchen Knives for the Couple!

Jane: This is still true in modern Filipino culture. You should never buy the bride and groom sharp objects like knives and scissors as a wedding gift because it is bad luck.

10. Brides Pray for Rain on their Wedding Day

Jane: Rain on your wedding day is a sign for prosperity, so most Filipino couples would be happy to have bad weather.

11. Brides Stomp on their Groom

Jane: After the ceremony, the bride should walk ahead of her groom or step on his foot in order to prevent being dominated by him throughout the marriage. This is something that is still practised today.

12. It's Bad Luck for the Bride to Try on her Wedding Dress

Jane: A bride should never try on her wedding gown just for the sake of trying it on. It's considered very bad luck.

13. Don't Drop the Ring!

Jane: If someone accidently drops the ring, the veil or the 13 coins, it's a sign that the marriage will be miserable. The couple had best choose a wedding party who has steady hands!

14. Only One Wedding Per Year

Jane: Siblings aren't permitted to get married in the same calendar year as it's considered bad luck.

15. The Groom Still Asks the Bride's 

Parents For Permission
Jane: Before a groom proposes, he would go with someone to the house of the bride's family and bring a gift, as well some food as a gesture to say 'yes I want to take your daughter's hand'. Traditionally, the groom would come with some members of his own family, but if his parents didn't.

Philippines Holidays and Festivals

The Philippines is a predominantly Catholic nation so many of the annual festivals such as the Mariones Holy Week are related to important events on the religious calendar. There are several celebrations with roots in pagan times, such as the Ati-Atihan festival which preserves costumes and rituals that have been modified over time to reflect more recent Christian beliefs. Experiencing Philippines holidays are a first-hand look into their diverse culture and harried past.

Festival of the Black Nazarene

The Black Nazarene is a status of Jesus that is believed by many to have light skin but turned dark after surviving a ship fire as it arrived to the Philippines from Mexico. On January 9th every year, the statue is taken from its resting place in the Minor Basilica of the Black Nazarene in Quiapo, for a procession. The festival begins in the morning with a Holy Mass at the Quirino Grandstand in Rizal Park, and then the statue is put on a cart back to Quiapo, carried by maroon wearing, barefoot penitents. Several million devotees take part, creating some risk of injury, crowding and heat related problems.

Ati-Atihan

This week long Mardi Gras style celebration originated in the 13th century with a group of fair skinned Malay immigrants paying homage to the darker Ati locals who accommodated their arrival. The event was augmented during Spanish rule to include paying tribute to Santo Niño (Jesus the child). The festival takes place in Kaliba during the third week of January and culminates in a massive Sunday parade where bright costumed revelers with their skin painted black transport a revered icon of Santo Niño from Kaliba Cathedral to the nearby Pastrana Park.

Sinulog Festival

A thanksgiving celebration that takes place on the third Sunday of January in Cebu City, this is one of the Philippines largest festivals to honor Santo Niño and recognize the acceptance of Christianity. The main event is a shuffling dance prayer carried out in a grand parade by brightly costumed participants.

Dinagyang Festival

This Filipino festival is very similar to the Ati-Atihan celebration taking place in Iloilo City on the fourth Sunday of January. Parades of people painted black and dressed in tribal warrior-wear dance, chant, stomp and beat drums long into the night in honor of Santo Nino and the Christianization of the local people.

Panagbenga Flower Festival

The three day Panagbenga festival takes place annually in Baguio City during February. Participants dress in colorful costumes reminiscent of the highland flowers and tribes, and celebrate the growing season with parades and native dancing.

Moriones Festival

This extravagant festival takes place on the island of Marinduque during the Easter Holy Week, usually in April. Participants dress in Roman costumes and reenact the story of the conversion of the Centurion Longuinus, who pierced the side of Jesus with his spear before being beheaded.

Masskara Festival

The colorful Masskara festival is hosted by Bacolod City in the Negros Occidental province of the Philippines. The literal translation, 'festival of many smiles' takes place the third week of October every year and celebrates the strength of the human spirit in times of adversity. A key component is a street dance competition with participants wearing richly decorated smiling masks. Other events include carnivals, a beauty pageant, music competitions, food, sports, concerts, and a garden show.

Christmas

The predominantly Catholic Philippines has the longest Christmas season in the world, which runs from mid-December through to the first week of January. Festivities start with a series of Midnight Masses known as Simbang Gabi, leading up to a Christmas Eve feast at midnight followed by Christmas Day. All big family celebrations, it is a time for eating, drinking and gift giving. There are numerous pageants, caroling and decorations made of traditional star shaped bamboo lanterns, symbolizing the Star of Bethlehem.

*culled from www.iexplore.com

Thursday, 14 September 2017

A Simple Guide to Pakistani Wedding Rituals

The traditions of Pakistani wedding explained :-

Pakistani weddings are vibrant, full of glitz and consist of glamorous celebrations. It is celebrated with great zeal and excitement. A typical Pakistani wedding has a host of pre-wedding customs and rituals.

Pakistan weddings are a colourful affair with everyone wearing dazzling outfits. When the wedding season starts large families get together and everyone is in the mood to party. Pakistani marriages are a mix of different rituals, from pre-engagement festivities to the Walima; all have their own Islamic and traditional importance.

Engagement (Mangni)

The first step in getting married is the engagement ceremony also known as Mangni in Urdu. It can be a small or large ceremony depending on the size of the family, but usually it is a small event with few important family members of would-be bride & groom's family. The future couple gets blessings from the elders and the marriage day is decided at the engagement.

Mayun

Mayun

The Mayun ritual means the bride to be is secluded from everything and is not supposed to do any chores or errands around the house. After the Mayun, the future couple can't see each other and the bride is not allowed to leave the house. The actual Mayun involves beautifying the bride by putting some oil and yellow paste known as 'uptan'. To be honest Mayun is just an excuse for the family to get together with lots food, chatter and off course dance and music.

Dholki aka Drum Beating
Dholki

The Dholki party is singing, dancing, chatting and food are part of Dholki sessions. A traditional Pakistani marriage event starts with lot of drum beating accompanied with singing and entertainment. They are usually held at houses where family and friends dance and sing traditional songs to the beat of Dholki. The bride wears a yellow outfit whereas the groom wears a white outfit with yellow scarfs.

The Most Awaited Ritual – Mehndi (Henna)

Everyone waits for the best part and the largest party of the wedding and this takes place a day before the marriage. In the Rasm-e-Mehndi (Henna Party) the bride's hands and feet are applied with Mehndi. The sisters and cousins sing, dance and bless the bride. Charity is given to protect against evil by circling money three times on the bride's head. The family organises the dinner for the guests and the bride is not allowed to take part in the celebrations and hid behind a veil. The groom also has a Mehndi ceremony where a leaf is put on his hand and his relatives put little bits of Mehndi on the leaf. The bride and groom both have to eat a lot of ladoos (an Indian sweet).

Baraat

When family, relatives and friends of groom go with the groom to the bride for the official marriage ceremony. In olden times, the groom procession used to go to the bride's house but now a days this has changed, it either goes to the wedding hall or a marquee. The groom makes his way to the bride's house on a brightly decorated horse or a car and the follow "baratees" follow in other cars. The bride side gives a warm welcome to the groom and throws rose petals and even money.

Nikah and Nikah Naama


Nikah is the official Islamic marriage ceremony that is attended by close family members, relatives and friends from the both sides. There is segregation and men and women sit in separate rooms or have a curtain between them.nikah-naama is the document of the marriage contract and has several terms and conditions that are to be respected by both parties. This marriage contract also states the "Meher", the money groom will give the bride. It also includes the bride's right to divorce her husband. The Meher acts as asafe-guard for the bride.

The fathers of groom and bride are at witnesses to the wedding contract. An Islamic religious authority (Imam) conducts the wedding by reading some selected verses from the Quran to bless the marriage. After both bride and groom have accepted the proposal and said 'I accept' three times, the nikah naama is signed and wedding becomes legal. The Imam then holds a special prayer for the newly married couple, closing the marriage ceremony. The food is served after the nikah is done and the groom is taken to sit beside his wife.

Wedding Favours (Bidh)

After the nikah ceremony is performed the groom's family distribute favours (bidh). Packets of sweet stuff such as dates and other delicacies. It's a sunnah as well.

Rukhsati

Rukhsati

The ceremony to bid farewell to the bride before departure to the groom's house is called 'rukhsati'. She says good-bye to her parents and her loved ones. To give her extra blessings, the Quran (Holy Book) is held over her head. This is a very emotional and heart touching moment.

Mooh Dikhai

The ceremony in which the bride shows her face for the first time to her new husband after the marriage is called Mooh Dikhai. The bride shows her face for the first time to her new husband which is hidden from him before nikah. The bride and groom share a piece of date and give each other gifts. The groom's shoe is stolen and the bride's sisters and cousins demand money. This ritual is called 'jootachupai' and the groom has to pay sums of money to get his shoe back.

Mooh Dikhai

Walima

Walima is a grand reception thrown by the groom's parents to announce the wedding to friend near and far. Great food is served and the walima ceremony is celebrated with all the glitz, glamour, fun and festivities.

Walima

Maklawa

The custom of bringing the bride back after the walima day back to her parents' home is called 'chauthi'. The bride's brother usually performs this ritual alongside other members of the family.

One thing should be kept in mind that many of these rituals are not from Islamic traditions but are taken from Hindu culture.

Pakistan Holidays and Festivals

There are many wonderful and exciting Pakistan holidays held throughout the year. Many of them have great cultural significance, like the aptly-named National Culture Festival but some are simply celebrations of live and the natural environment, like Basant, the annual kite festival.

National Cultural Festival

Kicking off the festival calendar in February, the National Cultural Festival is a celebration of Pakistan's rich and diverse cultures. Organized by the National Institute of Folk and Traditional Heritage, the festival spans nine days and is filled with a host of cultural activities including everything from traditional music and dance shows to crafts fairs where local craftsman and artisans display their goods. Travelers who are lucky to be in Islamabad during this period are bound to receive a crash course in Pakistan's culture.

Pakistan Flower Show

Also in February is the annual Pakistan flower show. Held in Karachi at Sea View Park, the flower show displays the best in flowers and plants that the region has to offer. The event is professionally organized by the Horticulture Society of Pakistan and the vibrant colors and decadent aromas are a feast for the senses.

Basant

One of the most popular festivals in the country is Basant, the annual kite festival. Held in March in Lahore, the festival takes place to welcome the arrival of spring and wave goodbye to the winter. The skies are filled with amazingly colorful kites and both adults and children have a wonderful time.

Shandur Cup

Fans of the equestrian sports will be happy with the Shandur Cup, a polo festival which takes place every year in July. Established in 1936, this festival is a Pakistani institution with people from all over the country traveling to the Shandur Pass, between Gilgit and Chitral, to partake in the fun. The world's highest polo tournament is met with great celebration in the form of musical events and folk dancing.

Chitral Festival

Taking place every year for a week in September, the Chitral Festival is a celebration of competitive sports in the country. Everything from archery, wrestling and rock climbing to sitar music, dance and the dramatic arts can be seen on display. This 'Pakistani Olympics' is extremely popular, with many tour groups placing it at the top on their itineraries.

Lahore Fashion Week

Lahore is the country's fashion capital which is why it makes sense that the annual Fashion Week is held here. Taking place every October and organized by the Pakistan Fashion Design Council, the event is well-known world wide. The festival has also garnered great attention, mainly as a result of the threats made by extremists who are opposed to it because of the skimpy clothing worn by many models.

*culled from www.iexplore.com

Wednesday, 13 September 2017

Traditional Marriage in Nepal

Remember that typical scene from a movie where the hero gets down on one knee and offers a rose to the heroine, then asks "Will you marry me?" The heroine smiles, they come closer together and hold each other in their arms. A romantic song begins and they start dancing. If you are thinking about some Hollywood movie, you may like to add something else to this story, or even change something. What would that be? Well, you know better than I do.

Marriage usually has a romantic inference. You might feel like your dream has come true with marriage. If you are in love, marriage is that opportunity to really complete your affair. If you are not, marriage can provide you with someone (a very special one indeed!) to share your pain and pleasure, your misery and majesty, your bodies and feelings. Perhaps this romantic aspect of marriage is the reason why many youngsters are attracted to it.

Marriage, however, is not only about romance. As an essential component of human civilization and an inherent part of society and culture, marriage means a lot than more than just romance between two individuals. It brings together not only two people, but also their families, societies and cultures.

Marriage as a socio-cultural 
phenomenon comprises of certain eligibility requirements, which a would-be-groom and a bride should meet. I'll share with you my observations of marriage as a Hindu in the hilly regions of Nepal.

In my region of Nepal, marriage has traditionally been one of the major responsibilities of parents towards their offspring. They look for the best suitor for their son/daughter based on their cultural norms and values. Purity is one of the major norms that Hinduism values highly. Purity in a spiritual sense is ascribed rather than achieved in Hindu culture (remember, this notion of purity is central to the hierarchical caste-system that notoriously divides people between touchable and untouchable – unfortunately, it still exists in South Asia). The would-be-spouse therefore must be pure by caste. In other words, he/she should belong to the same rank of caste; marriage is essentially hypergamous in Hindu culture.

Chastity is another norm that the Hindus value when it comes to marriage. Traditionally, a girl who has not yet menstruated is considered 'chaste'. There has, however, been a change in this belief; since child marriage is an offence, parents are not allowed to marry off their daughters before they turn 18 years old. The parents must therefore ritually bequeath a cow, or money equivalent to the price of a cow, as part of their daughter's marriage ceremony. Such a donation is thought to return the chastity that she lost when she began menstruating.

While chastity is important for women, maturity is important and valued for men. Maturity in a traditional sense is not determined by age, but in relation to the cultural practices that a man has undergone. Bratabandha is one of the major cultural practices, which a man must have undergone to be eligible for marriage. A man is not even allowed to perform the funeral rituals for his parents without undergoing a Bratabandha . It is an initiation process that is believed to be the gateway for a boy to step into manhood. During this daylong cultural event, a boy is given two options: either he chooses an ascetic life or a married life; often he'll choose the latter.

After the best suitor is identified for a woman or a man (usually with a help of a mediator called a Lami ) their families consult an astrologist to fix the date for the marriage. They make the necessary arrangements, including invitations to relatives, shopping, decorations and so on.

The Pundit (literally Priest) is one of the key figures in the marriage as he guides all the activities based on the instructions of the Holy Scriptures. The first ceremonial act, on groom's part, is called Graha Shanti . According to Hindu culture, an individual is like a microcosm of the greater cosmos; each of the nine planets called the Nava-Graha should be in his/her favor to ensure every success in his life, including his married life. The Pundit chants the holy Mantras to perform the
Graha Shanti for a groom. The immediate relatives then bless him, offering Tika (red vermillion made out of uncooked rice) and Dakshyina (gifts in cash). The father of the groom also offers Tika and Dakhyina to the relatives. All the relatives then accompany the groom as they then proceed to the bride's house. This procession is called the Janti.

As soon as the Janti reaches the bride's house, the bride is brought to the groom by her father. She then pours water around the groom three times. They perform Swayambar, where they exchange gold-rings and garlands.

The bride and groom are then brought to a special stage called a Biwaha Mandap. There, the Pundit reconfirms their family lineage including the clan of their ancestors. They are asked to tie a strong knot out of white cloths, called a Lagan Gantho, a symbol of their future relationship. They have to wear it together during the whole process of wedding.

After the bride and groom wear the Lagan Gantho, their immediate relatives gather together for another event called Jal Khane. During this event, the relatives drink water, touch the feet of the groom and the bride with water and offer them the Tika and Dakhyina. Following this event, the groom gives clothes, cosmetics and jewelry to the bride, as she has to dress up in a new special wedding-sari, blouse and jewelry to sit in one of the major events performed at the
Biwaha Mandap called Sindur halne. 

The Pundit chants various Mantras and instructs the bride and groom to worship different gods and goddesses by sprinkling holy water and flowers into the fire-hearth.

Then they walk around the
Mandap seven times. This signifies that they will remain together as a couple up to their seven births.
Following this, the groom puts Sindur (red vermillion powder) on the bride's forehead (pictured). No family member from the bride's side is allowed to see the bride when she wears Sindur . Sindur has a special meaning for Hindu women; only married women wear it while their husbands are alive. The Sindur halne signifies that the bride has formally (in a traditional sense) accepted the groom as her husband. 

The father of the bride then gives his daughter to the groom, which is called anmaaune. Meanwhile, the family members of the bride offer Tika and other gifts to the groom, his fathers and other relatives. Finally, the bride and the groom, along with the Janti , depart from the bride's house and go back to the groom's house.

In addition to the traditional rituals, the marriage ceremony also includes entertainment programmes. There's a lot of music and dancing. Some people invite a traditional musical band called
Naumati baza. The band accompanies the Janti. The local women and relatives sing and dance; this is called Ratyauli .
Young boys and girls also make their own fun by exchanging jokes and gossiping. Marriage is thus celebrated as an important socio-cultural event by the Hindus in the hill of Nepal.
Note: This article is based on my own observations and experiences of traditional marriage in Nepal. Marriage ceremonies might differ from place to place, even amongst the Hindus in the hilly regions of Nepal, due to local cultural differences.

By Khyam Bishwokarma

Nepal Holidays and Festivals

Nepal holidays and festivals concentrate on religious and cultural events on the Hindu and Buddhist calendars and involve traditional rituals, music and dance. Due to the number of diverse ethnic and tribal groups making up the population, the variety of celebrations is fascinating for visitors. Dashain in early September is the most important, surrounded by many other events, and the Tihar Hindu festival of lights is one of the loveliest.

Shree Panchami

This celebration of Saraswati, the goddess of learning and sister of the elephant god Ganesh, takes place in Nepal in January. Temple images are garlanded, presented with gifts and seven grains of rice are eaten by worshippers in order to gain wisdom. It's the most auspicious time for weddings with countless processions on the streets, as the marriage is blessed by the goddess herself.

Ghode Jatra

Held in mid-March, Ghode Jatra is the horse race event of Tundikhel, with a grand horse parade honoring a victory over a dangerous demon crushed by the hooves of local fillies. Legend has it, the event keep the demon's spirit from returning. Another race involves an intoxicated horse and drunk rider, with Nepalese townspeople cheering on the unsteady twosome. The rider desperately tries to hang on for as long a he can, causing universal merriment.

Holi

The joyous spring festival of Holi takes place in March, and is known as the feast of colors. Based on a victory over the female demon Holika, the celebrations last a week and are a time of eating, drinking and rejoicing in the streets to welcome the warmer weather. Citizens smear themselves with brilliant, powdered colors and throw the colors over passerby's. Bonfires and more revels end the celebration.

Mata Turtha Puja

Closely-knit families are a long-established tradition in Nepal, with the early May festival of Mata Turtha Puja the Nepalese 'Mothers Day'. Honored for their love and support with gifts, adult sons and daughters return to their family home to show appreciation.

Buddha Jayanti

Buddhist temples are packed with worshippers on Jayanti, the celebration of the Buddha's birthday. Held in June on a full moon day, the Nepalese festival honors the Buddha's birth, death, and attainment of enlightenment. Huge images of the god are displayed and parades of devotees praising his life and teachings take place.

Gaijatra

Every year in late August/early September, Gaijatra honors the god of death, Yamaraj. It's one of the most popular festivals for its procession of cows led by every person who has lost a relative during the previous year. For Hindus, cows are holy and it's believed the parade will help the souls of the departed journey to heaven.

Indra Jatra

Taking place in late August/early September for eight days, the combined Hindu and Buddhist festival of Indra Jatra happens in Kathmandu. A celebration of traditional Nepalese classical dance, each community performs its own unique sequences in honor of the king of heaven, Lord Indra. On the third day, the living goddess Kumari is paraded through the city on a chariot, the processional ending at Durbar Square.

Krishna Janmastami

Across Nepal, Sri Krishna, the eighth incarnation of Lord Vishnu, is celebrated on his birthday in September especially in Patan, home of the ancient Krishna Temple. Citizens huddle together all night long, keeping vigilant and chanting the various names of the god or singing traditional hymns. Flowers, food and money are offered to Krishna's image in the gloomy main temple.

Dashain

Held over two weeks at the end of September, Dashain is Nepal's most important festival, celebrated across the land and ending on the day of the full moon. Dashain honors the victory of the gods over a host of demons, based on tales in the Ramayana, after invoking the powers of the goddess Durga. Tantric rites are conducted as mother goddess temple offerings are made and specific rituals take place in all homes, towns and cities every day of the event.

Tihar

Tihar is the Nepalese version of the Hindu Festival of Lights, dedicated to the goddess of wealth, Lakshmi, and is the most dazzling of Nepal's festivals. It takes place for five days in October, during which every home is lit up with sparkling oil lamps. The second day is known as 'dogs' day' and every four legged friend is adorned with a floral garland, given a delicious meal and worshipped for its protection of the home. Cows are given similar treatment on the third day, as representatives of wealth.

*culled from www.iexplore.com
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