Theatricalisation of Religious Ideology in Vietnam: The Case of Mục Liên, Thanh Đề Performance in the Northern Delta Region

The funeral music of the Vietnamese people in the Northern Delta represents unique type of traditional musical heritage practiced and passed down by many generations of Vietnamese people to this day. Vietnamese people often say: “Sống dầu đèn, chết kèn trống” (If you live with lamp oil, die with trumpets and drums) - meaning that the sound of drums and trumpets at the funeral of the dead is like fire and oil in human life. However, this unique artistic heritage is facing a risk of change, as many traditional qualities in this type of music are gradually hybridizing and disappearing. The main research method of this study is qualitative research, focusing on in-depth interviews with elite artisans - elderly people with good memories and the ability to excel in practicing funeral music. In-depth interviews are done with artisans in families who have practiced and taught funeral music for generations. Research results show that the funeral music of Vietnamese people in the Northern Delta has changed quite a lot compared to tradition; Modern compositions songs are gradually being practiced in the Vietnamese funeral space here. The main reason is that the local cultural heritage management and preservation policy, for many years, was not given much attention. At the same time, pragmatic economic factors resulting from these artisans practicing this heritage in the face of the impact of the new economic context of society - are also the central cause of this transformation. The need to preserve this precious heritage in the cultural and social life of contemporary Vietnamese people is also an issue discussed in this study.

Isan folk performance or Molum is about the folk singing performance narrated by the verse of song composing of words, rhyming with different styles of singing from the beginning of performance to the end of performance.This folk performance has been deep-rooted for many decades in the Northeast Thailand.However, it cannot maintain its traditional styles of performance as it used to be in the past.As for the postmodern era, it is necessary for the owner of Morlum band to adapt his or her performance up-to-date and being attractive to the audience.The question is what modernity in this age is incorporated into this folk performance and which factor is considered as the main factor causing this modernity happen.This paper aims to analyse the modernization of Isan folk performance in the Northeast Thailand.How Isan folk performance adapts itself to the postmodern era to maintain its cultural root will be studied.In this paper, the factors that force this folk performance into modernity will be described as well.The data used in this paper were collected from the four famous Isan folk performances (Morlum troupe) in Northeastern Thailand namely: Rattanasilapa Intathaiyaraj, Rabiab Watasilapa, Prathom Bantheongsilapa, Silapinphuthai.The observation and in-depth interviews of Morlum performers are the key qualitative methods employed in this study.And the modernization theory is proposed as a conceptual framework to analyse the social phenomenon and a new technology incorporated in this folk performance.The findings reveal that All Morlum bands in particular have developed their traditional folk performance into a modern style by incorporating a social phenomenon and new technology into their performances.It has been found that all three main parts of the particular folk performance namely: a luk thung performance, a comedy show and a lumruengtorklorn or 'storytelling' with special rhythmic and melodious music, are modernized in order to attract the audiences and to maintain their folk culture.The modernization incorporated into Isan folk performance can be analysed into many aspects such as the rhythmic and melodious music, the Isan folk songs, the storytelling, the modern stage of performance, the light and sounds, the new high technology of the performance and so on and so forth.The most important factor that forces this folk performance changing to modernization is the financial factor.

Incentives and disincentives of mangrove conservation on local livelihoods in the Rufiji Delta, Tanzania

Promoting local community participation in recognition of their indigenous knowledge is important for effective resource conservation. The aims of this study were to evaluate local community willingness and drivers of participation in mangrove conservation activities in the Rufiji Delta. Data were collected through focus group discussions, key informant interviews, semi-structured household interviews and participant and non-participant observations, across three designated management blocks - Northern delta (ND), Central delta (CD) and Southern delta (SD). Qualitative data were analysed using content analysis while quantitative data were analysed for descriptive and inferential statistics. Overall, the majority of respondents (88 %) agreed that it was important for the community to participate in mangrove conservation activities and 50 % of them expressed immediate readiness to participate if called upon. Zone wise, 50 % of respondents in ND and CD, and 42 % in SD indicated a moderate level of community willingness to participate in conservation. Age of household head, education level, source of income and awareness of mangrove governing laws were the most significant drivers positively associated with community willingness to participate in conservation activities. These findings suggest that for long-term management of mangroves, local communities should be adequately recognized as partners rather than as foes.

Nang Talung is a unique Southern Thai folk tradition that combines various art forms, including the craftsmanship of carving patterns out of buffalo skin and the performance of Nai Nang (puppeteer) and troupes playing music behind a backlit screen. With roots in shadow puppet performances found in China, India, and Indonesia, Nang Talung has evolved and survived in contemporary Thai society. In this research paper, two strategies used by Nang Talung troupes to promote this folk art among modern audiences are explored. Interviews and observations of live shows were conducted to assess the adaptability of this art form. The study reveals how the two popular Nang Talung troupes, Nang Sak Serisil and Nong Deaw, adapted and revitalized this folk art for different groups of audience in contemporary Thailand. Nang Sak Troupe successfully combines traditional with modern elements to attract wider audience online and through social media, referencing current issues that cater to the interest of the Thai public. Meanwhile, Nong Deaw Troupe tailors Nang Talung performances to local audiences' interests and preferences. Via the show, current social and political issues are satirized and commoners’ criticism of the authorities are voiced, while interactive sessions between performers and audience, dirty jokes, and magical rituals further enliven the show. The study highlights the significance of folk performance in serving important social and cultural functions, as Nang Talung performance becomes a channel for criticizing the authorities, a psychological outlet, and a means to consolidate local community. In conclusion, this study demonstrates how Nang Talung, through the creativity and adaptability of Nai Nang and their troupes, is able to respond to current challenges and stay relevant in contemporary Thai society. The study's findings have important implications not only for Nang Talung but also for other traditional folk arts in present-day Thailand. By revealing the strategies used by Nai Nang to keep Nang Talung alive in modern Thailand, this study offers valuable insights into the revitalization of other timeless arts and the preservation of cultural heritage for future generations.

Heritage in its very diverse forms has become a significant force in contemporary society. This is manifested by the importance of heritage in shaping identities, the use of heritage by political forces, and the increasing interconnectedness of heritage, the entertainment business and tourism. Heritage is a part of tangible reality while at the same time being an intangible phenomenon. Heritage connects people to each other and to the environment, both its material and natural aspects, therefore forming part of our world. By relying on heritage, recreating it and attributing important meanings to it, people shape the way societies function. The aim of this article is to create a conceptual framework for treating the preservation of intangible cultural heritage. In order to do that, I will use the concept of heritage on the one hand and the information ecological approach on the other hand. The article proposes to create a clearer conceptual framework for treating intangible cultural heritage, with the main emphasis on the preservation aspect. Heritage can be considered from very different aspects, from its philosophical meaning to highly technical conservation proceedings. In this article, I proceed from the idea that heritage is a phenomenon currently being created by people, i.e. from the principle of socio-cultural construction. Of course, this is just one possible way to interpret and utilise the past. It is clear that the treatment of heritage in this way poses a serious challenge to preservation – how should the heritage process be preserved? In my discussion of the heritage process, I use the information ecology framework, mainly drawing on ideas of Bonnie Nardi and Vicky O’Day. Information ecology is a system of people, activities, and technologies in a specific local environment. The information ecologic system is an intertwined network of a specific group of people and their tools and activities. The information ecological approach is characterised by systematicity, diversity, co-evolution and locality. All these aspects are also very important when it comes to intangible heritage. It is evident from the information ecological perspective that preservation of heritage is not a neutral technical activity but rather a social process, in the course of which values and meanings are created, changed and preserved. In preserving heritage, it is important to consider both the heritage itself and the level of society in the framework of which the management takes place. With intangible heritage, it is important to differentiate between individuals and families, groups and communities who practice it. At the national and international levels, specific heritage practices can be recognised and supported, but determining these practices and their actual preservation takes place at the community and individual levels. In order to preserve intangible heritage, we need to support the people, groups and communities who use and develop the given tradition. This means supporting a social and cultural process, in the event that such support is needed in the first place. Communities use intangible heritage to fix their current problems. These aims might not overlap with the national and international goals of preservation. To sum up information ecological principles from the aspect of preserving intangible heritage, what has to be emphasised is the importance of systemic treatment. People practicing heritage skills, their clients, researchers, preservers of heritage and community activists, to name just a few stakeholders, should form an integral system. Different parties are bound to see the system from different perspectives; on the one hand, this cannot be avoided, on the other hand, it is a barrier that needs to be overcome. What is extremely important is the reflection of the so-called grass-roots level perspective, expressed in the subjective view of the person with heritage skills, when determining and preserving heritage. When treating the functions of heritage skills, in addition to their economic significance, which often prevails, what needs to be observed is also the role of these skills in shaping community identities and in creating and preserving social cohesion, but also as parts of education and the wider social communication system. Via heritage skills, meanings are created and values are presented to the community and to society as a whole. I think the fact that heritage participates in the creation of value environments is what guarantees heritage a place in contemporary information society.

The Buddhist teaching referred to asSaryg Shazhyn(Yellow Hat Faith) on the territory of Tuva and among the Tuvans, has always been a unique phenomenon in their Old and modern history. It absorbed the fundamental religious principles and some of the cultural heritage of Tibet and Mongolia, as well as national traditional beliefs, shamanistic, with its old foundations. In its turn, the Tuvan shamanism (known askam / kham) was enriched by unique Buddhist practices and formulations. The special interest in the modern interaction of Buddhism and shamanism among the Tuvans of the Russian Federation and the PRC is based upon the fact, that these spiritual phenomena still have both separate and common influences on traditional holidays and cults. At the same time, cultural and country differences and certain historical backgrounds have corrected their impact on the traditions and society of Tuvans. The article examines the influence of traditional beliefs, Buddhism and shamanism on the culture of modern Tuvans of the Russian Federation and China. It is based upon the sources such as the main holidays, rituals and cults, the design of temples. highlights the general and distinctive tendencies, as well as syncretism in the development of religious ideas. It also shows the significance of historical background and the influence of the cultural environment. As a special case of the projection of the religious and spiritual ideas, a derivative of the historical and cultural past of the Tuvans, seasonal and religious traditions, the authors studied the cults of Subutai and Genghis Khan. These cults should be considered as supra-religious and extra-territorial phenomena capable of giving new perspectives to society and a special level of communication between the Tuvan communities in the Russian Federation and the PRC.

The art of composing: between autonomy and heteronomy

Artifacts from the Perspective of Effutu Masquerade Performance: An Aesthetic Album

The culture of a community plays a major role in narrating the history and life of that particular community. This culture includes various aspects such as religion, ritual, faith, food, customs or practices as well as art and culture. Among these aspects, art is not only for entertainment; but it is also for exposing the social character and tradition of that particular community. The undeniable thing here is the factor that art forms in every country, and in every region are not only to create entertainment but also to preserve the antiquity of their existence up to now. In that respect, Vasanthan Kooththu, one of the Sri Lankan Tamil art forms, is a notable art form in that category. Even though this art form is found in Batticaloa and Jaffna areas, they have differences between each other. This study focuses on the songs of Vasanthan Kooththu performed in the Katuthavalai area of ​​Batticaloa. This type of Kooththu is an art form of tapping and dancing with two sticks in the hands; however, these sticks are also used to express the function of the meaning of the song with dance. Even though this type of Kooththu is a dance form, the greatness of the songs used in this Kooththu is significant. There are 62 types of Vasanthan poems have been in use in the Art Form performances. These have been compiled around the year 1940. These 62 genres of songs are divided into six genres and compiled, namely 'Kattiyam', 'Thoththiram', 'Sariththiram', 'Tholil', 'Vedikkai', 'Vilaiyaattu' and are still in the practice during Kooththu performance. As mentioned earlier, these Kooththu song systems emphasize the art expression of the culture of a community. The songs related to the professions or job involved in these Kooththu songs express the whole series of activities of the agricultural industry. The reason that these Kooththu songs to aim to explore only a specific industry is to be explored. It is vital to discover this factor; and this article explores about how these Kooththu songs are still in operation today as a popular form of folk music performance to describe a particular social professional life, beyond globalization trends, imposition and blends of colonization thinking. This article also explores the significance of these Kooththu songs hold, the importance they have gained in the life of people as well as the value that these Kooththu songs have even today.

Urban Street Art a Sign of Representing Culture, Economics & Politics of the Cities.

This study explores the tradition of calling the adhan when entering a new house in Klambir Lima Kampung Village, focusing on the religious, social, and cultural significance of the practice. Although there is no hadith that explicitly requires the adhan in a new house, this tradition is commonly carried out by the local community to seek blessings, spiritual protection, and peace. This study aims to analyze the religious basis of this tradition, its interpretation by scholars, and the social and psychological impacts it has on the residents of the house. Using a qualitative approach and case study method, this study examines the views of religious leaders, local communities, and Islamic scholars regarding the practice of adhan in new houses. Data collection was conducted through in-depth interviews, participant observation, and documentation studies, to provide a comprehensive understanding of the impact of this practice on social cohesion and individual spirituality. This study also investigates how this tradition relates to Islamic teachings, especially on the importance of dhikr and asking for protection from Allah. In addition, this study highlights the role of this tradition in strengthening social solidarity and cultural identity in the context of contemporary Islamic society. The research findings show that although this practice is not a religious obligation, it remains a meaningful and important custom, which strengthens individual faith and social relationships within the community. This study provides new insights into the relevance of local Islamic traditions in contemporary society, especially in preserving Islamic values ​​in the context of community culture. The hope is that these findings can encourage the development of a more contextual and tolerant approach to Islamic preaching, one that respects local wisdom and inspires younger generations to uphold spiritual values through cultural practices that align with Islamic principles.

The paper is a review of the work of Paolo Leon (1935-2016), Emeritus Professor of Public Economics at the University of Rome Three, in the field of cultural economics, director of this revue from 2002 to 2014. Within his broader research interests in economic policy and public economics, Paolo Leon has been a leading and influential scholar in nurturing and consolidating an Italian approach in the economics of cultural heritage and cultural activities and industries. The paper reviews his contributions during more than thirty years of academic and applied research, taking also account of a tireless and informed participation to the Italian and European public discussion on cultural policies and policies for the preservation of historic, artistic and archaeological heritage. The Paolo Leon' intellectual legacy in this field is linked not only with his academic work (culture as a Musgrave-type merit good, tools for the economic and impact evaluation of public projects in the cultural sector, cultural sector as an engine for local economic development, appraisal and contribution to the Italian national policies for culture, and more), but also with his work as an applied economist, providing expertise and consultancy to a large number of Italian institutions for the realization of public and public-private projects for the preservation of heritage and the improvement of cultural organizations.

Reflected in the more than three thousand entries in this reference work is the rigorous professional training and the maturity of a lifetime of learning by an eminent scholar. Through judicious selection, Professor MacGregor has produced an essential and highly accessible reference book While no dictionary can pretend to cover every conceivable aspect within its field, the scope of this one makes it a unique desk companion for students at every level of religious studies. In addition to its extensive presentation of religious and philosophical ideas of the Judeo-Christian heritage, the Dictionary of Religion and Philosophy also treats vast numbers of concepts that span philosophical and religious ideas from Egyptian and Indian antiquity to the Bogomils and the Druze, from the Zoroastrians to contemporary movements as diverse as scientology and the Rastafarians, from Neoplatonism to the Vienna circle, from the varieties of Buddhism to the schisms in Islam, from bioethical questions in ancient India to contemporary American discussions on euthanasia. All told, this is the most expansive one-volume desk reference work available for religious studies. Extensive bibliographies, organized by subject at the end of the book further its value as a reference work.

The theatre art of the Azerbaijani people constitutes a significant part of their centuries-old and rich cultural heritage. As an integral element of the nation’s spiritual wealth, this art form has evolved, enriched by a variety of ceremonies, games, and performances. The present article specifically investigates the types of Azerbaijani folk theatre and the role of music employed in these performances. The primary aim of the study is to analyze the characteristics and functions of music within Azerbaijani folk theatre. This theatrical tradition serves as a vivid reflection of both national culture and musical folklore. Particularly in folk performances, the musical pieces are typically short, repetitive, lively, energetic, and sometimes combative. These melodies are usually performed on the traditional wind instrument zurna. Each piece often begins with a repeated motif that functions as an intrada—a call to attention—directing the audience’s focus toward the forthcoming performance. Furthermore, turning points and significant moments in the play find vivid expression through music. Thus, folk performances are inconceivable without musical accompaniment. The research methodology is based on analysis, comparison, and empirical observation. Musical samples used in games and performances held during festivals and ceremonies across various regions were collected, transcribed into musical notation, and analyzed. The findings of the study underscore the importance of selecting music in Azerbaijani folk theatre by stage conditions and artistic requirements.