CHAPTER 1
1.1 Background of Study
The study on the gong music among Rungus community is very important to identify the value of this gong music to the community. Rungus community is one of the community in Sabah which possess a lot of unique traditions and culture. Rungus community also well- known with unique and sacred rituals such as mogorunduk and monogit. (Kitingan, Hussin & Baptist, 2011)
Gong-making and metal crafting were activities carried out by the Rungus community in Kudat, Sabah. The items were traded into other communities in Sabah. That includes the Iranun, Dusun community, Lotud and kadazandusun as well as many others. In Kudat, gong-making was a man’s activity. This shows how important is the gong music to most of the communities in Sabah, specifically the Rungus community. (Pugh- Kitingan, 2011)
The ceremony such as wedding, engagement, birth and even death are usually accompanied by the gong music (Ongkili, J.P. 1969). All the ceremonies are usually accompanied by gong music except of funeral. The gong music accompaniment is upon the person’s request whether to play the gong during his or her funeral. It shows the importance of the gong music in their tradition.
For certain districts in Sabah such as Kota Belud, can be seen that gong-making and metal crafting were activities carried out by high-class Datu families of the Iranun of Tempasuk. (Pugh- Kitingan, 2011)
In today’s current situation, the Rungus dance which is called sumundai is still performed
“Rifles, Blankets, and Beads” delivers an entertaining perspective on the Northern Athapaskan village of Tanacross. This book is an outstanding resource for anthropologists, students, and educators. In reviewing this book, the author brings a descriptive writing style when analyzing the Northern Athapaskan village of Tanacross culture and history with a focus on the potlatch giving us insight details how the potlatch celebrated among the Tanacross people. The author, William E. Simeone, is a great source for the Northern Athapaskan village of Tanacross because he lived there among the people. In addition to living there he also attended ceremonies in both Tanacross and surrounding villages, and participated in potlatches within the villages.
“Rifles, Blankets, and Beads” delivers an entertaining perspective on the Northern Athapaskan village of Tanacross. This book is an outstanding resource to anthropologists, students, and educators. In reviewing this book, the author brings a descriptive writing style when analyzing the Northern Athapaskan village of Tanacross culture and history with a focus on the potlatch giving us insight details how the potlatch is seen and celebrated among the Tanacross people. The author, William E. Simeone, is a great source on the Northern Athapaskan village of Tanacross because he lived there among the people. In addition to living there he also attended ceremonies in both Tanacross and surrounding villages, and participated in potlatches within
Weddings are an extremely valued ritual to the Igbo people, especially since the whole village is invited to come. Weddings are primarily thought of as a women’s ceremony, especially since the bride’s mother is expected to do all of the cooking for the invited guests (Achebe, 110). For weddings in Umuofia, the husband of the bride is expected to pay a bride price to the family of the bride in order to marry her (Achebe 65). Men will sometimes help with the slaughtering of animals for the wedding feast (Achebe 113).Throughout feasts, women do work such as cleaning and cooking while men provide entertainment and company. “The Feast of the New Yam was held every year before the harvest began, to honor the earth goddess and the ancestral spirits of the clan” (Achebe, 36).
The didgeridoo is one of Australia’s most famous instruments, and possibly one of the world’s oldest instruments. The didgeridoo’s history dates back 40 thousand years ago and tells a lot about Australia’s culture. It represents a time called “dreamtime” which is known as the time before time when the world took on it’s present-day forms, and the gods were still actively existent in the world.
Jarabe Tapatio (Traditional Hat Dance) just to name a few. Dancing and representing my culture has allowed me to dispose of my nervousness and to take pride in my cultural background as if it’s second nature. Culture consists of our internal identity that continually binds us together. It provides insight to the unique and distinct customs of our place of origin. I have contributed an immense amount of time and energy into the project.
The area of the Khina culture is a plateau region in the mountains, surrounded by slopes and lots of rocks located in central Africa. The group living in the region is a pastoralism/early agriculture-based society, needing to grow food and collect supplies to prepare and cultivate their crops. It has been well documented that the transition into agriculture was very hard on humans as a whole, all around the world, and this would have been no different living where the Khina people lived. While little formal and recent archaeological excavations have been done in the area, the ethnographic record with recorded accounts from around the 1920s is extensive and provides a lot of information about what could be expected in an excavation of the area
In different parts of the world ceremonies are celebrated for different reasons and purposes, but every ceremony usually ends with smiles and
The documentary The Split Horn: The Life of a Hmong Shaman in America details the lives, rituals, and beliefs of the Hmong (Meo) shaman and the Hmong communities after relocating to the United States. While watching Split Horn, the contrasting ways in which the elders and the children adapt their religion and their lives to a new environment seem particularly relevant and especially memorable. Through the passage of time, Hmong elders and shamans struggle to maintain their significance in a vastly different world than the hills of Laos while their children convert to Christianity, get married, and have children. For the Hmong shamans, religious gift and magic bonds families and communities together, a dynamic that becomes increasingly strained
The jarabe is considered M?xicos national dance and is the best known outside the country,often called the Mexican hot dance in English. Like all folk dancing, Traditional mexican dances provide a glimpse into the culture of the region. Not only do these dances from M?xico express the rhythms of the musical, But also the vital color wovent into mexican clothing and decoration,as well as themes important to the region such as catholicism and communion with nature. Mexican culture shines through the Traditional dances of the country. Many mexican familias are planted firmly in religious faith and Rich intricacies of generacional Traditions and celebrations observed year after year.
The details of the wedding ceremony suggest a lot of information about the communication style that is taking place throughout the ceremony. One type of information that is demonstrated throughout the ceremony is the idea of the Hindu religion being part of a high context culture. High context cultures are cultures that do not explicitly transmit message but instead meaning is implied by the environment (Lustig & Koester, 2013). The Hindu wedding ceremony is full of these indirect messages that are common with the high context culture. First there are a lot of symbols used in the wedding ceremony.
1. Describe the key factors in the Sui-Tang era that made for the restoration of a strong, unified Chinese empire after centuries of turmoil? The restoration of a strong, unified Chinese empire after centuries of turmoil was made possible through the reestablishment of a centralized empire, the revival of Confucian ideas and the enhancement of the scholar-gentry administrators. The creation of a bureaucracy allowed for control from the imperial palace all the down to district level.
Hula dancing, a Polynesian dance that in traditional form dramatizes a song specifically through arm movements and hand gestures, has expanded beyond Hawaiian shores and has introduced island movements to the world. Since the early 1970’s traditional Hula dancing has provided islander communities with the ability to tie together body movements with homeland recollections and personal experiences. Originally, Hula was seen as a ritual and cultural dance which was developed by polynesians who settled in the islands of Hawaii. “Through hula dances and songs, memories of people and events endure long after they have passed” (Stillman 2001). As time passes Hula dancing has had a dramatic impact on Western cultures and as a result Hula dancing has
Ceremony Ethnography In North American culture, weddings are usually a lavish celebration of joining two families. Recently, at a wedding I attended with my family, I noticed many things about the role of music in the wedding ceremony. Usually weddings are composed of a ceremony, with a reception or celebration afterwards. In this wedding, there was a limited role of music in the actual ceremony (other than the bridal procession/ “Here Comes the Bride” and when the newlyweds exited at the end of the wedding), however the role of music was more substantial in the wedding reception (in which there was celebratory music and dancing).
As a society globalization has played a big role in shaping what it is today and will continue to shape and change the society. Globalization has become an important aspect in society that gets people to connect with one another. Music has become such an important part of globalization that critics have said that fusion music harms the authenticity of oriental music. I argue that fusion music brings diverse styles into oriental music, which enriches the quality of oriental music in many ways. It has been shown throughout history that the different styles of music have influenced others to incorporate their own style.
From this, it can be said that to Filipinos, music is more than just a means of entertainment; it is a way to communicate emotions, to tell stories, and to express feelings. This is especially the case in times of crisis, the most significant instance being during the Martial Law period in the 1970s. This dissertation aims to discuss the role of music during this period. In particular, how was music used as a vehicle to supplement change in this period?