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A <i>piphat</i> is a kind of ensemble in the classical music of Thailand, which features wind and percussion instruments. It is considered the primary form of ensemble for the interpretation of the most sacred and 'high-class' compositions of the Thai classical repertoire, including the Buddhist invocation entitled <i>sathukan</i> as well as the suites called <i>phleng rueang</i>. It is also used to accompany traditional Thai theatrical and dance forms including <i>khon</i> (masked dance-drama), <i>lakhon</i> (classical dance), and shadow puppet theater.
The <i>khong mon</i> is a gong-circle instrument that is associated with the Mon people of mainland Southeast Asia. It produces the same range of pitches as the more common <i>khong wong</i> gong circle, but rather than resting on the ground, the wooden frame of the <i>khong mon</i> extends into the air in the shape of a horseshoe.<br/><br/> The image of a half-man, half-bird figure carved onto the frame is traditional, and is meant to symbolize a celestial musician. The frame is also typically decorated lavishly in gold paint and glass inlay.<br/><br/><i>Khong mon</i> are featured in a special type of Thai ensemble called <i>pi phat</i>.
The <i>khong mon</i> is a gong-circle instrument that is associated with the Mon people of mainland Southeast Asia. It produces the same range of pitches as the more common <i>khong wong</i> gong circle, but rather than resting on the ground, the wooden frame of the <i>khong mon</i> extends into the air in the shape of a horseshoe.<br/><br/> The image of a half-man, half-bird figure carved onto the frame is traditional, and is meant to symbolize a celestial musician. The frame is also typically decorated lavishly in gold paint and glass inlay.<br/><br/><i>Khong mon</i> are featured in a special type of Thai ensemble called <i>pi phat</i>.
The <i>khong mon</i> is a gong-circle instrument that is associated with the Mon people of mainland Southeast Asia. It produces the same range of pitches as the more common <i>khong wong</i> gong circle, but rather than resting on the ground, the wooden frame of the <i>khong mon</i> extends into the air in the shape of a horseshoe.<br/><br/> The image of a half-man, half-bird figure carved onto the frame is traditional, and is meant to symbolize a celestial musician. The frame is also typically decorated lavishly in gold paint and glass inlay.<br/><br/><i>Khong mon</i> are featured in a special type of Thai ensemble called <i>pi phat</i>.
The <i>khong mon</i> is a gong-circle instrument that is associated with the Mon people of mainland Southeast Asia. It produces the same range of pitches as the more common <i>khong wong</i> gong circle, but rather than resting on the ground, the wooden frame of the <i>khong mon</i> extends into the air in the shape of a horseshoe.<br/><br/> The image of a half-man, half-bird figure carved onto the frame is traditional, and is meant to symbolize a celestial musician. The frame is also typically decorated lavishly in gold paint and glass inlay.<br/><br/><i>Khong mon</i> are featured in a special type of Thai ensemble called <i>pi phat</i>.
Water Puppetry or Múa rối nước, literally 'puppets that dance on water' originated in the Red River Delta. The puppets are carved from water-resistant wood to represent traditional rural lifestyles and mythical creatures. Standing behind the watery stage, waist-deep in water, the hidden puppeteers skillfully manoeuvre their wooden charges to the music of a traditional orchestra.
Water Puppetry or Múa rối nước, literally 'puppets that dance on water' originated in the Red River Delta. The puppets are carved from water-resistant wood to represent traditional rural lifestyles and mythical creatures. Standing behind the watery stage, waist-deep in water, the hidden puppeteers skillfully manoeuvre their wooden charges to the music of a traditional orchestra.
Susuhunan, or in short version Sunan, is a title used by the kings of Mataram and then by the hereditary rulers of Surakarta, Indonesia.<br/><br/> The rulers of Surakarta traditionally adopt the reign name Pakubuwono (also spelled Pakubuwana). Susuhunan is specific to the rulers of Surakarta; the rulers of Yogyakarta, who are also descended from the Mataram dynasty have the title Sultan.<br/><br/> The full title of the Susuhunan in Javanese is Sampeyan Dalem ingkang Sinuhun Kanjeng Susuhunan Prabhu Sri Paku Buwana Senapati ing Alaga Ngabdulrahman Sayidin Panatagama (His Exalted Majesty, The Susuhunan, King Paku Buwana, Commander-in-chief in war, Servant of the Most Gracious, Caliph who safeguards the Religion).
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Vietnam has a long tradition of music and theatre that combines indigenous and foreign influences. The earliest known instruments are the frog drums of the Dong Son Period from around 250BC. This was followed by a millennium of immersion in Chinese cultural traditions which remains very apparent.<br/><br/> In 981, after the reassertion of national independence, King Le Dai Hanh invaded neighbouring Champa and carried the royal court dancers and musicians back to his capital. Consequently traditional Vietnamese music is considered to blend Dong Son techniques with those of China as well as, through the Hinduised Kingdom of Champa, Indian musical forms. It is based a five-tone scale in contrast to the eight-tone scale generally used in the West.
Vietnam has a long tradition of music and theatre that combines indigenous and foreign influences. The earliest known instruments are the frog drums of the Dong Son Period from around 250BC. This was followed by a millennium of immersion in Chinese cultural traditions which remains very apparent.<br/><br/> In 981, after the reassertion of national independence, King Le Dai Hanh invaded neighbouring Champa and carried the royal court dancers and musicians back to his capital. Consequently traditional Vietnamese music is considered to blend Dong Son techniques with those of China as well as, through the Hinduised Kingdom of Champa, Indian musical forms. It is based a five-tone scale in contrast to the eight-tone scale generally used in the West.
Vietnam has a long tradition of music and theatre that combines indigenous and foreign influences. The earliest known instruments are the frog drums of the Dong Son Period from around 250BC. This was followed by a millennium of immersion in Chinese cultural traditions which remains very apparent.<br/><br/> In 981, after the reassertion of national independence, King Le Dai Hanh invaded neighbouring Champa and carried the royal court dancers and musicians back to his capital. Consequently traditional Vietnamese music is considered to blend Dong Son techniques with those of China as well as, through the Hinduised Kingdom of Champa, Indian musical forms. It is based a five-tone scale in contrast to the eight-tone scale generally used in the West.
Vietnam has a long tradition of music and theatre that combines indigenous and foreign influences. The earliest known instruments are the frog drums of the Dong Son Period from around 250BC. This was followed by a millennium of immersion in Chinese cultural traditions which remains very apparent.<br/><br/> In 981, after the reassertion of national independence, King Le Dai Hanh invaded neighbouring Champa and carried the royal court dancers and musicians back to his capital. Consequently traditional Vietnamese music is considered to blend Dong Son techniques with those of China as well as, through the Hinduised Kingdom of Champa, Indian musical forms. It is based a five-tone scale in contrast to the eight-tone scale generally used in the West.
Vietnam has a long tradition of music and theatre that combines indigenous and foreign influences. The earliest known instruments are the frog drums of the Dong Son Period from around 250BC. This was followed by a millennium of immersion in Chinese cultural traditions which remains very apparent.<br/><br/> In 981, after the reassertion of national independence, King Le Dai Hanh invaded neighbouring Champa and carried the royal court dancers and musicians back to his capital. Consequently traditional Vietnamese music is considered to blend Dong Son techniques with those of China as well as, through the Hinduised Kingdom of Champa, Indian musical forms. It is based a five-tone scale in contrast to the eight-tone scale generally used in the West.
Vietnam has a long tradition of music and theatre that combines indigenous and foreign influences. The earliest known instruments are the frog drums of the Dong Son Period from around 250BC. This was followed by a millennium of immersion in Chinese cultural traditions which remains very apparent.<br/><br/> In 981, after the reassertion of national independence, King Le Dai Hanh invaded neighbouring Champa and carried the royal court dancers and musicians back to his capital. Consequently traditional Vietnamese music is considered to blend Dong Son techniques with those of China as well as, through the Hinduised Kingdom of Champa, Indian musical forms. It is based a five-tone scale in contrast to the eight-tone scale generally used in the West.
Vietnam has a long tradition of music and theatre that combines indigenous and foreign influences. The earliest known instruments are the frog drums of the Dong Son Period from around 250BC. This was followed by a millennium of immersion in Chinese cultural traditions which remains very apparent.<br/><br/> In 981, after the reassertion of national independence, King Le Dai Hanh invaded neighbouring Champa and carried the royal court dancers and musicians back to his capital. Consequently traditional Vietnamese music is considered to blend Dong Son techniques with those of China as well as, through the Hinduised Kingdom of Champa, Indian musical forms. It is based a five-tone scale in contrast to the eight-tone scale generally used in the West.
The Temple of Literature or Van Mieu is one of Vietnam’s foremost cultural treasures. Founded in 1070 by King Ly Thanh Tong of the Early Ly Dynasty, the temple was originally dedicated both to Confucius and to Chu Cong, a member of the Chinese royal family credited with originating many of the teachings that Confucius developed five hundred years later. The site was selected by Ly Dynasty geomancers to stand in harmony with the Taoist Bich Cau temple and the Buddhist One Pillar Pagoda, representing the three major fonts of Vietnamese tradition.<br/><br/> Six years later, in 1076, the Quoc Tu Giam, or ‘School for the Sons of the Nation’, was established at the same location when King Ly Nhan Tong (1072-1127) established Vietnam’s first university. The tradition of Confucian education flourished at the Temple of Literature, with the custom of offering a cloak to successful candidates beginning in 1374, whilst in 1484 the first stele bearing the names of doctoral graduates was erected.
The pinpeat orchestra or musical ensemble performs the ceremonial music of the​ royal courts and temples of Cambodia. The orchestra consists of approximately nine or ten instruments, mainly wind and percussion (including several varieties of xylophone and drums). It accompanies court dances, masked plays, shadow plays, and religious ceremonies. The pinpeat is analogous to the piphat ensemble of Thailand. Seen here are a roneat thung or low-pitched xylophone and a kong thom or gong circle.<br/><br/> The laterite temple of Ta Prohm was built by King Jayavarman VII on top of an earlier 6th century Khmer shrine. The result is a well-preserved gem of a temple, not unduly large, but with some splendid decorative features. The main sanctuary has five chambers, in each of which is a statue or a Shiva lingam.
The pinpeat orchestra or musical ensemble performs the ceremonial music of the​ royal courts and temples of Cambodia. The orchestra consists of approximately nine or ten instruments, mainly wind and percussion (including several varieties of xylophone and drums). It accompanies court dances, masked plays, shadow plays, and religious ceremonies. The pinpeat is analogous to the piphat ensemble of Thailand. Seen here are a roneat thung or low-pitched xylophone and a kong thom or gong circle.<br/><br/> The laterite temple of Ta Prohm was built by King Jayavarman VII on top of an earlier 6th century Khmer shrine. The result is a well-preserved gem of a temple, not unduly large, but with some splendid decorative features. The main sanctuary has five chambers, in each of which is a statue or a Shiva lingam.
The Mros, also known as Murangs or Mru, are a community inhabiting the Chittagong Hill Tracts of Bangladesh and also in Burma with a population of 21,963 in Bangladesh according to the 1991 census. The Mros are the 2nd largest tribal group in Bandarban District of the Chittagong Hill Tracts. A small group of Mros also live in Rangamati Hill District.<br/><br/> They primarily speak the Mru language, a Tibeto-Burman language, and one of the recognized languages of Bangladesh. The Mru language was considered "definitely endangered" by UNESCO in June 2010. The Mru people live near the intersection of Myanmar, Bangladesh and India. Many Mru live within the Yoma District and the Arakan hills of Rakhine State in western Myanmar.
A traditional Burmese orchestra, or 'saingwaing', is composed of wind instruments, Burmese trumpets ('ne'), brass gongs ('mow') and the large barrels or drum circles also known as 'saingwaing' which are lined with hanging tambourines. Troupes are still popular today at Buddhist festivals and national events.
A traditional Burmese orchestra, or 'saingwaing', is composed of wind instruments, Burmese trumpets ('ne'), brass gongs ('mow') and the large barrels or drum circles also known as 'saingwaing' which are lined with hanging tambourines. Troupes are still popular today at Buddhist festivals and national events.
This painting, by an unknown Burmese artist, is from a watercolour sketch album dating from c.1897 that includes illustrations of Buddhist monks, the Buddha, monasteries, cremations and domestic scenes.<br/><br/> Legend attributes the first Buddhist doctrine in Burma to 228 BCE when Sohn Uttar Sthavira, one of the royal monks to Emperor Ashoka the Great of India, came to the country with other monks and sacred texts. However, the era of Buddhism truly began in the 11th century after King Anawrahta of Pagan (Bagan) was converted to Theravada Buddhism. Today, 89% of the population of Burma is Theravada Buddhist.
The Mogao Caves, or Mogao Grottoes (Chinese: Mògāo kū) (also known as the Caves of the Thousand Buddhas and Dunhuang Caves) form a system of 492 temples 25 km (15.5 miles) southeast of the center of Dunhuang, an oasis strategically located at a religious and cultural crossroads on the Silk Road, in Gansu province, China.<br/><br/> The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years. The first caves were dug out 366 CE as places of Buddhist meditation and worship. The Mogao Caves are the best known of the Chinese Buddhist grottoes and, along with Longmen Grottoes and Yungang Grottoes, are one of the three famous ancient sculptural sites of China. The caves also have famous wall paintings.
Between 1802 and 1945, Hue was the imperial capital of the Nguyen Dynasty, a feudal kingdom which dominated much of southern Vietnam from the 17th to the 19th century. In 1775 when Trinh Sam captured it, it was known as Phu Xuan. In 1802, Nguyen Phuc Anh (later Emperor Gia Long) succeeded in establishing his control over the whole of Vietnam, thereby making Hue the national capital until 1945, when Emperor Bao Dai abdicated and a communist government was established in Hanoi.
Between 1802 and 1945, Hue was the imperial capital of the Nguyen Dynasty, a feudal kingdom which dominated much of southern Vietnam from the 17th to the 19th century. In 1775 when Trinh Sam captured it, it was known as Phu Xuan. In 1802, Nguyen Phuc Anh (later Emperor Gia Long) succeeded in establishing his control over the whole of Vietnam, thereby making Hue the national capital until 1945, when Emperor Bao Dai abdicated and a communist government was established in Hanoi.
The Temple of Literature or Van Mieu is one of Vietnam’s foremost cultural treasures. Founded in 1070 by King Ly Thanh Tong of the Early Ly Dynasty, the temple was originally dedicated both to Confucius and to Chu Cong, a member of the Chinese royal family credited with originating many of the teachings that Confucius developed five hundred years later. The site was selected by Ly Dynasty geomancers to stand in harmony with the Taoist Bich Cau temple and the Buddhist One Pillar Pagoda, representing the three major fonts of Vietnamese tradition.<br/><br/> Six years later, in 1076, the Quoc Tu Giam, or ‘School for the Sons of the Nation’, was established at the same location when King Ly Nhan Tong (1072-1127) established Vietnam’s first university. The tradition of Confucian education flourished at the Temple of Literature, with the custom of offering a cloak to successful candidates beginning in 1374, whilst in 1484 the first stele bearing the names of doctoral graduates was erected.
Tibetan Buddhism is the body of Buddhist religious doctrine and institutions characteristic of Tibet and certain regions of the Himalayas, including northern Nepal, Bhutan, and India (particularly in Arunachal Pradesh, Ladakh, Dharamsala, Lahaul and Spiti in Himachal Pradesh, and Sikkim).<br/><br/> It is the state religion of Bhutan. It is also practiced in Mongolia and parts of Russia (Kalmykia, Buryatia, and Tuva) and Northeast China. Texts recognized as scripture and commentary are contained in the Tibetan Buddhist canon, such that Tibetan is a spiritual language of these areas.<br/><br/> A Tibetan diaspora has spread Tibetan Buddhism to many Western countries, where the tradition has gained popularity. Among its prominent exponents is the 14th Dalai Lama of Tibet. The number of its adherents is estimated to be between ten and twenty million.
Conquered by France in 1859, Saigon was influenced by the French during their colonial occupation of Vietnam, and a number of classical Western-style buildings and French villas in the city reflect this. Saigon had, in 1929, a population of 123,890, including 12,100 French.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/>First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/>Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/>Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Naxi music is 500 years old, and with its mixture of literary lyrics, poetic topics, and musical styles from the Tang, Song, and Yuan dynasties, as well as some Tibetan influences, it has developed its own unique style and traits. There are three main styles: Baisha, Dongjing, and Huangjing, all using traditional Chinese instruments.<br/><br/> The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.
Thai classical music is synonymous with those stylized court ensembles and repertoires that emerged in its present form within the royal centers of Central Thailand some 800 years ago. These ensembles, while being deeply influenced by Khmer and even older practices and repertoires from India, are today uniquely Thai expressions. While the three primary classical ensembles, the Piphat, Khruang Sai and Mahori differ in significant ways, they all share a basic instrumentation and theoretical approach.<br/><br/> Each employ the small ching hand cymbals and the krap wooden sticks to mark the primary beat reference. Several kinds of small drums (klong) are employed in these ensembles to outline the basic rhythmic structure (natab) that is punctuated at the end by the striking of a suspended gong (mong).<br/><br/> Seen in its most basic formulation, the classical Thai orchestras are very similar to the Cambodian (Khmer) pinpeat and mahori ensembles, and structurally similar to other orchestras found within the widespread Southeast Asian gong-chime musical culture, such as the large gamelan of Bali and Java, which most likely have their common roots in the diffusion of Vietnamese Dong-Son bronze drums beginning in the first century BCE
Four Chinese female musicians playing from left to right; a sanxian, a pipa, an erxian and an erhu
Ronggeng is a type of Javanese and Malay social dance in which couples exchange poetic verses as they dance to the music of a rebab or violin and a gong. Ronggeng originated in Java, but also can be found in Sumatra and the Malay peninsula.<br/><br/> Ronggeng probably has existed in Java since ancient times, the bas reliefs in Karmawibhanga section on 8th century Borobudur displays the scene of travelling entertainment troupe with musicians and female dancers. In Java, a traditional ronggeng performance features a traveling dance troupe that travels from village to village. The dance troop consists of one or several professional female dancers, accompanied by a group of musicians playing musical instruments: rebab and gong.<br/><br/> The term 'ronggeng' is also applied to the female dancers. During a ronggeng performance, the female professional dancers are expected to invite some male audiences or clients to dance with them as a couple with the exchange of some tips of money for the female dancer, given during or after the dance. The couple dances intimately and the female dancer might perform some movements that might be considered too erotic by standards of modesty in Javanese court etiquette. In the past, the erotic and sexual nuances of the dance gave ronggeng a shady reputation as prostitution disguised in the art of dance.