Ritualism In Asia

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Ritualism In Asia by Mind Map: Ritualism In Asia

1. Traditional Form: Nat Pwe

2. Traditional Form: Beopgochum (dharma Drum Dance)

3. Contemporary Form: Modern Baris (warrior dance)

4. Explanation

5. Characteristics

6. Movement

7. Music

8. Costume

9. Characteristics

10. Music

11. Costumes

12. Movement

13. Explanation

14. Characteristics

15. Music

16. Costume

17. Movement

18. 'Beopgo' translate to mean 'a drum that disseminates Buddha's teaching

19. Deep beats of the drum is the main source of music http://www.flickriver.com/photos/perarne/3523409541/

20. Often the drum is accompanied by beompae (Buddhist chanting) with no fixed rhythm

21. dharma drum dance

22. The ritual dance has 2 elements

23. 1st element: beopgochum is a series of movements before the drum is played

24. 2nd element: Hongochum refers to the dance that accompanies the drum and the chanting

25. No fixed set of movement to the dance

26. Dancer move spontaneously to the shift of music and tone

27. Complicated rhythmic drum patterns

28. Purpose of the dance is to use the drum to awaken people to Buddha's teachings and release them from their suffering

29. As the dance is viewed as offering one's body, costume is simple monastic clothings

30. Buddhist kāṣāya https://2.bp.blogspot.com/-sR0StHaT4p8/V610qACqG-I/AAAAAAAAALo/eWEWYZmgib4wXv4k_J8hsGWa7BFixnOrgCLcB/s1600/1.jpg

31. example of movement of beopgochum in contemporary form

32. Links and references

33. http://www.xip.fi/atd/myanmar/nat-pwe-spirit-rituals.html

34. small, traditional percussion orchestra

35. dynamic music

36. The principal priest performing the actual ritual wears a simple garment, such as a shawl, or a headgear, indicating which nat he or she will be in contact with during the ritual. http://l7.alamy.com/zooms/e09b5af01f2748e3b5526ed25cdfb258/myanmar-burma-bagan-nat-pwe-a-ceremony-to-thank-the-spirits-for-a-ctwb2p.jpg

37. The priest dances ecstatically, repeating simple steps and moving arms and hands in a manner typical of Burmese dance.

38. dancing skill is of only secondary importance.

39. http://www.gomyanmartours.com/nat-pwe-performance-nat-dance/

40. http://dev.myanmarbravo.com/facts-and-factors/culture-and-tradition/Nat-Pwe

41. Gongs, drums, and xylophones

42. sometimes whirling half-consciously on the ground while in trance

43. Links and references

44. Origin: Bali

45. http://www.xip.fi/atd/indonesia/ritual-and-trance-performance.html

46. http://tribalitour.blogspot.sg/2013/01/modern-baris-dance.html

47. virtuoso solo in which the dancer portrays the emotions of a warrior departing for the battlefield.

48. gamelan gong orchestra https://www.nch.ie/ArticleMedia/Images/branding/NationalConcertHall/NEW%20-%20Education/NO-FEE-6-NCH-Gamelan-Presentation.jpg

49. modern, completely secular variant of the sacred war dance Baris Gede

50. combination of the traditional baris and various elements of Balinese classical male dance.

51. Fast, jerking movements,

52. used to convey the warrior’s rapidly changing moods, ranging from courage to fear and from doubt to determination.

53. expressive eye movements http://farm2.static.flickr.com/1212/786233417_4ad2e0a30e_o.jpg

54. tensed arm gestures

55. often based on stories from the Mahabharata and Ramayana epics

56. distinctive costume based on that of Baris Gede, with its shimmering pointed helmet. https://simomot.com/wp-content/uploads/2014/03/melasti-makassar-290314-smt-7-e1396226814493.jpg

57. basic movements have been taken from the older dance, but have been refined and embellished

58. The dancer may bear a kris, spear, bow, or other weapons, depending on the variant performed https://i.ytimg.com/vi/dLozrg0IhKQ/maxresdefault.jpg

59. http://www.gcmtoy.com/BarisTun.htm

60. relation between dancer and orchestra is an intimate one, since the gamelan must be entirely attuned to the changing moods of the dancer’s imperious will

61. triangular-shaped white headdress bedecked with white flowers or mother of pearl shells

62. red flowers fringe this unique headdress

63. white headdress may be substituted with gilded and carved leather for a more magnificent effect

64. Black leggings with gold trim are usually worn

65. adorned with a multitude of elegantly coloured stoles, which create a very dramatic effect when he whirls around

66. Explanation

67. Traditional Form: Teyyam

68. Characteristics

69. Music

70. Costume

71. Movement

72. Origin: Korea

73. Links and references

74. https://books.google.com.sg/books?id=dEgkCwAAQBAJ&pg=PT41&lpg=PT41&dq=Beopgochum&source=bl&ots=GHf8j6NKva&sig=ovJD-VyltlnZz-bSjSVmlw_P-w0&hl=en&sa=X&ved=0ahUKEwjLro-j99jSAhVFM48KHTbYCA8Q6AEIKTAD#v=onepage&q=Beopgochum&f=false

75. https://books.google.com.sg/books?id=6xOGBgAAQBAJ&pg=PA161&lpg=PA161&dq=Beopgochum+dance+ritual&source=bl&ots=0NSU-YrCIC&sig=uv80aNabjxPzufYnks_7D17VY6s&hl=en&sa=X&ved=0ahUKEwikxOa8_djSAhWMPI8KHWnqB-kQ6AEIOzAG#v=onepage&q=Beopgochum%20dance%20ritual&f=false

76. https://www.gugak.go.kr/site/inc/file/fileDownload?dirname=/sites/gugak/files/site/20150122&filename=Chapter%203.The%20Concept%20of%20Korean%20Folk%20Dance1.pdf&type=E&boardid=1170

77. http://www.chinabuddhismencyclopedia.com/en/index.php/Korean_Buddhism_and_Art

78. Origin: Kerala, Southwest India

79. Explanation

80. Links and references

81. http://www.japantimes.co.jp/life/2011/09/11/travel/theyyam-trance-dances-in-the-indian-countryside/#.WMq11G-GOUk

82. http://www.keralapicnicspot.com/theyyam/kandanar-kelan-theyyam?utm_source=youtube&utm_medium=social&utm_content=wallpost&utm_campaign=smo

83. http://www.keralapicnicspot.com/theyyam?utm_source=youtube&utm_medium=social&utm_content=wallpost&utm_campaign=smo

84. trance ritual which man takes the role of Gods and perform the dance and give blessings to Devotees.

85. trance element has been assimilated into theatrical forms

86. settings

87. performed in places where there's presence of Gods (Temples and Ancestoral home)

88. no stages or curtain

89. performed infornt of the idols of Gods

90. Fire has an important role in the performance

91. people can watch and at the end get blessings from (dancing Gods) Theyyams.

92. can include fire dance

93. dress of Theyyam is known as ‘Theyyakolam’. beautiful and brightly coloured

94. headgear and other ornamental decorations are spectacular in sheer size and appearance. https://s-media-cache-ak0.pinimg.com/564x/fe/8c/e6/fe8ce695afb9b4d303e5e6b37cce81aa.jpg

95. makeups and facial drawings are very beautiful and complicated and are done by trained artists. https://s-media-cache-ak0.pinimg.com/564x/46/4a/2e/464a2e0cc03a768ea552d1f783e9a27b.jpg

96. Mostly the Theyyams are brightly red in coloured and the dressings including coconut leaf and flowers. https://s-media-cache-ak0.pinimg.com/564x/86/2c/8b/862c8b9d88fc29d9ad64aacb245a8655.jpg

97. traditional music instruments of Kerala are used

98. Chenda (a wooden cylindrical drum) https://layaloka.files.wordpress.com/2014/02/chenda.jpg

99. Chengila (an Indian gong) http://asiantheatre.wikispaces.com/file/view/Chengila-Percussion.jpg/91281911/Chengila-Percussion.jpg

100. Elathalam (metallic musical instrument which resembles a miniature pair of cymbals) https://c1.staticflickr.com/8/7151/6817746481_f6d9aa2dd5_b.jpg

101. Karum Kuzhal (a double reed wind instrument) https://virali.files.wordpress.com/2010/02/u-k-kunjirama-paniker-theyyam-and-kurunkuzhal-artiste.jpg

102. holy men throwing glittering dust, chanting and thrusting talismans about

103. dancer comes in front of the shrine and gradually “metamorphoses” into the particular deity of the shrine.

104. has different steps known as Kalaasams. Each Kalaasam is repeated systematically from the first to the eighth step of footwork.

105. http://www.xip.fi/atd/introduction/1-rituals.html

106. Origin: Myanmar

107. animistic, spirit ritual

108. Spirits are called nat in Myanmar

109. 'pwe' means play or performance

110. Fruits, food, cigarettes, rum, and beer are offered to the nat statues https://upload.wikimedia.org/wikipedia/commons/9/93/Offerings_of_alcohol_to_Burmese_nat.jpg

111. One or more nat priests with their assistants arrive on the scene, dancing in a relaxed manner and partaking of the offerings.

112. procedures during ritual

113. The priest sings while dancing and recites scenes from the life of the nat being portrayed.

114. At the climax of the ritual, the priest falls into a trance and “becomes” the nat in question.

115. priest announces prophecies to the assistants, who interpret them to the audience.