Ritual Dance Research Articles

Traditional Dance Practices of the Bukidnon Karul-anon

This research study aimed to identify the most influential social activities that developed the dances; the historical background of such dances; their classifications; and their implications for the lives of the indigenous people of Barangay Carol-an. The Historical Method was used in this study. The researcher sought the assistance of the IP leader to establish trust with the members of the Indigenous people. Thus, this study underwent evaluation and approval from the National Commission for Indigenous People. Furthermore, the researcher immersed herself in the community to thoroughly understand their dances. Thoughts, findings, and results from the study gave more understanding on the different cultural practices of the people, such as rituals and beliefs, customs and traditions, and traditional personal values. There were five identified folk dances of the Indigenous People (IP) of Carol – an, namely, the Sinugabin, Pandango, Binuy-u, Inagong, and Balitaw. These traditional dances were performed by the indigenous people as part of their rituals, beliefs, customs, and traditions. They were classified as courtship and ritual dances performed by the IPs during and after their ritual ceremony called "Buhat". The documentaries gathered may be made as instructional materials for the K-12 program in teaching local dances in grade schools in the future.

:What Kind of a Thing Is a Middle English Lyric?

A “Chapbook” of “New Medieval Lyrics” (371–82) offers eight short poems in medieval styles, written by recent poets. One of them, “What the Eagle Fan Says,” by the late Carter Revard, concerns a Native American fan made of eagle’s feathers and used in a ritual dance in Arizona. After notes, references, and a list of contributors, a well-built index rounds out the volume.

Archaeological evidence for initial migration of Neolithic Proto Sino-Tibetan speakers from Yellow River valley to Tibetan Plateau

Sino-Tibetan is the second largest language family in the world. Recent linguistic and genetic studies have traced its origin to Neolithic millet farmers in the Yellow River region of China around 8,000 y ago and also suggested that initial divergence among branches of Sino-Tibetan coincided with expansion of the Neolithic Yangshao culture to the west and southwest during the sixth millennium BP. However, archaeological investigations to date have been insufficient to understand the lifeways of these migrant Proto Sino-Tibetan speakers. Here, we present the results of the interdisciplinary research on the material culture and ritual activities related to the initial southwestward migration of Yangshao populations, based on evidence from microfossil remains on ceramics at three sites in Gansu and Sichuan, regional archaeological contexts, and ethnographic accounts of modern Gyalrong Tibetans. The first Yangshao migrants may have integrated with indigenous hunter-gatherers in the NW Sichuan highlands, and adopted broad-spectrum subsistence strategies, consisting of both millet farming and foraging for local wild resources. Meanwhile, the migrants appear to have retained important ritual traditions previously established in their Yellow River homelands. They prepared qu starter with Monascus mold and rice for brewing alcoholic beverages, which may have been consumed in communal drinking festivals associated with the performance of ritual dancing. Such ritual activities, which to some extent have survived in the skorbro-zajiu ceremonies in SW China, may have then played a central role in maintaining and reinforcing cultural identities, social values, and connections with the homelands of the Proto Sino-Tibetan migrants.

Integrating traditional ritual dance and minority culture of Western Hunan into dance instruction: Utilizing information technology to preserve China’s intangible heritage

Abstract The goals of this study were to design an online platform devoted to preserving and studying China’s intangible cultural heritage (ICH) within the limits of ritual and minority dances of western Hunan, obtain experimental data on the usefulness of the developed platform in the preservation and study of Chinese ritual and folk dances, assess dance instructors’ participation in ICH preservation through information technology (IT), and identify IT means able to preserve China’s ICH within the framework of higher education dance instruction in China. For these aims to be achieved, the layout and structure of the platform with audio/video/photo materials, animations, and 3D models were developed, and a number of educators teaching various dance disciplines at universities of China were surveyed. Overall, the study sample comprised 114 people. The platform’s database was compiled by Art History postgraduates from the National Center for the Performing Arts, while its backbone was created by Beijing IT specialists. According to the carried-out assessment, photo/video materials were identified as the most popular IT means capable of preserving China’s ICH as a part of dance instruction in higher education (68.4%). 3D technology was preferred by 19.3% of respondents, textual documents—by 9.6%, and virtual reality technology—by 2.7%. The practical significance of the collected data lies in the possibility of their usage in the process of creating university dance instruction curricula, modernizing instruction materials, developing online webinars, and improving the process of teaching traditional Chinese and world culture.

War dances and cultural identities: a study of the Ogbo dance of Ahaba community in Delta State

Ritual Dance is an indispensable performance in the Ahaba community in Delta State because it serves as the connecting link between the world of the living, the dead, and the unborn. Unfortunately, ritual dance has received myopic interpretation as a performance that is totally against the Westernized belief system on morality and idolatry, thereby making some ritualistic dances go into extinction. This debased ideology on ritual dance triggered the aim of this study, to sensitize people that all ritual dances are culturally inspired. The researcher sets to examine the different iconic symbols used in the performance, which made each community where they existed stand out and to interrogate why these ageless ritualistic dances are going into extinction and the possible ways of reviving them. The methodology suitable for this research is descriptive and interpretative design methods, where the researcher will collect data and analysed them accordingly. The theoretical framework for this research is the Cultural Identification theory. Findings exposed how some people dread the selected dance because of its initiation style, form, beliefs cum principles, while some who are members already want to denounce their membership, thereby creating more worrisome impressions on the true image of the dance. In conclusion, ritual dance should not be written off out rightly as being mundane, but empirical studies make it communally appreciated and valued. Historically Ahaba communities are made of warriors who fought for the safety of their community during the warrior. A lot of people were killed during the war by Ahaba warriors. But years later the blood of people they killed during wars started tormenting them and causing a lot of havoc among the warriors, especially when they retired. So Ogho ritual dance was introduced as a purification means to cleanse and separate the living warriors from the spirits of the dead.

Crip/Mad Archive Dances

Petra Kuppers reflects on her work in the crip/mad archive, which explores the work of mad, queer, and disabled predecessors in the fields of dance and performance. Kuppers consider how her personal relationship to therapeutic dance has changed (particularly therapeutic practices led by nondisabled artists such as Anne Wilson Wangh) and the importance of movement and embodiment in Kuppers’s own work—including a close description of ritual dance reenactments she conducted alongside her archival work at Lincoln Center in New York in 2021.

Can Pollution Bring Balance to the Hidden Land?

Cham, a distinctive masked ritual dance, is undertaken biannually at Pemayangtse Monastery, a Buddhist institution in Sikkim, a Himalayan state in northeast India. These ritual performances are intended to dispel negative forces and create the conditions of prosperity and health for all of the beings – including humans, spirits and deities – resident in Sikkim’s sacred landscape and throughout the cosmos. The efficacy of ritual dances is intertwined with the context of the performances and the materiality of the dancers’ costumes. This article will engage debates over cham’s changing materiality. In particular, it will focus on the recent introduction of fibreglass masks in Pemayangtse’s ritual dances to explore connections between changing ecologies, notions of toxicity and pollution and ritual economies in Sikkim. While Buddhist authorities express anxiety about the substances involved in creating fibreglass, they also appreciate its affordability and durability. Artists who work in fibreglass see the material as a fast way to work. The dancers, on the other hand, express concern about how changes in the physicality of dancing with these masks may interfere with ritual efficacy. These debates are illustrative of broader concerns about the impact of changing ecosystems on interdimensional relations in the Himalayas.

An ethnobotanical survey of medicinal plants used by the "NALIKE" community in the Bantwala taluk of Dakshina Kannada District, Karnataka, India

The "Nalike" community, also known as Panar, is one of the tribal communities in the Bantwala taluk in Karnataka's Dakshina Kannada district. In addition to the practise of ritual dance, the majority of the families in this community embrace traditional medication as a source of income. For the ethnobotanical survey, a total of 25 informants were chosen and documented 160 medicinal plant species from 65 families including their botanical name, trivial name, family name, plant parts used, and medicinal uses. The most frequent families are Leguminosae (17 species), Rubiaceae (9 species), Apocynaceae (7 species), Myrtaceae (7 species), and Lamiaceae (7 species). To cure various disorders, different portions of medicinal plants are employed in the manufacture of various types of traditional medicine such as decoction, infusion, paste, or powder. A total of 39 diseases were identified and classified into nine disease categories. All informants treat paralysis with Syzygium aromaticum, Cinnamomum verum, and Glycyrrhiza glabra, as well as other medicinal plants in various combinations, in the category of neurological illnesses.

PERISTIWA TUTUR DALAM RITUAL TARI SEBLANG MASYARAKAT USING BANYUWANGI

AbstractThis study aims to determine the form of speech and the socio-cultural function of aspeech event in the Seblang dance ritual ceremony of the Using community inBanyuwangi Regency. The research method used is descriptive with a qualitativeresearch form. The data source of this research is the participant community whofollows the events and activities directly from the object focused by the targetresearcher.The results showed that there were two types of speech forms in theSeblang dance ritual, namely, speech in preparation for the implementation of theSeblang dance ritual and speech in the implementation of the Seblang dance ritual. Asfor the speeches in preparation for the implementation of the ritual, there are fourtypes of speech events, namely speech during a meeting at the village head’s house,speech during a visit to the grave, speech during a visit to a spring, speech during themaking of Omprok Seblang. Furthermore, the speech during the implementation oftraditional rituals is that there is one type of speech that follows the ritual process tothe end.Then the social function of the traditional Seblang dance ritual is as a socialglue and as a medium of socialization. The traditional cultural functions of theSeblang dance, namely as a clean village salvation, inviting fertility, a means oftreating illnesses, and honoring ancestors. This research also discusses theimportance of traditional dance in the implementation of Indonesian languagelearning in SMA in the 2013 curriculum based on the observation report text.Keywords: Speech Event, Traditional Ceremony, Seblang Dance, Using Society,Learning Implementation.

Violence, Ritual, and Vogue: Black Queer Feminist Praxis in Motion

Abstract As an unapologetically Black feminist artist, Ntozake Shange furthered the cause of black girl representation on Broadway stages with the 1976 debut of for colored girls who have considered suicide / when the rainbow is enuf. Shange’s award-winning choreopoem eschews the masculinist liberation discourse of the Black Power era and instead centers the concerns of Black girls within the freedom struggle. Using twenty poems interlaced with dance and music, Shange illuminates the subjectivity of seven “colored girls” who experience sexual, emotional, and physical violence in their communities. Committed to the health and safety of the entire Black community, Shange concludes the performance with a ritual dance to foster unity and community healing from violence. Her early Black feminist intervention serves as a foundation for the artistic work of Black Lives Matter activists today, many of whom continue to use ritual performances to promote community healing in the wake of white-authored violence. Black Lives Matter movement artists and activists Gorgeous Mother Karma Gucci, Adonte Prodigy, and Amya Miyake-Mugler, for example, performed ritual Voguing at a Chicago demonstration on 3 June 2020 to bring greater visibility to the intracultural violence reaped upon Black queer and transgender girls. Their ritual Voguing, which I situate as Black queer feminist praxis in motion, reimagines the Black radical tradition as collective liberation. Collectively, the work of Shange, Gucci, Prodigy, and Mugler affirms the vital truth that none of us are free until all of us are free.

Translation or Divination? Sacred Languages and Bilingualism in Judaism and Lucumí Traditions

I compare the status of a sacred language in two very different religious traditions. In Judaism, the Hebrew language is the language of liturgy, prayer, and the Written Law. The traditional way of reading Torah passages involved translating them into Aramaic, the everyday language of communication in the Middle East in the first half of the first millennium CE. Later, other Jewish languages, such as Yiddish, played a role similar to that of Aramaic in the Talmudic period, constituting a system referred to as the “Traditional Jewish Bilingualism”. Hebrew lexemes had denotations related to the realm of Biblical texts, while Aramaic/Yiddish lexemes had everyday references. Therefore, the act of translation connected the two realms or domains. The Lucumí (Santería) Afro-Cuban religion is a syncretic tradition combining Roman Catholicism with the Ifá tradition, which does not have a corpus of written sacred texts, however, it has its sacred language, the Lucumí (Anagó) language related to the Yoruba language of West Africa. While the Spanish-Lucumí bilingualism plays an important role in Santería rituals, the mechanisms of reference are very different from those of the Hebrew-Yiddish bilingualism in Judaism. In Santería, divinations about the meaning of Lucumí words play a role similar to the translations from Hebrew in Judaism. I further discuss the role of ritual dances in Santería for the transition from the sacred to the secular domain and a function of Hebrew epitaphs to connect the ideal world of Hebrew sacred texts to the everyday life of a Jewish community.

Mamanwa Ritual Dances of Surigao del Sur

Mamanwa ritual dances do not only define but also, more importantly, direct the choreographic ideas and history of the Mamanwas. The purpose of this ethnographic study was to ascertain the fundamental characteristics of Mamanwa ritual dances in terms of their nature, clothing, accessories and equipment, dance patterns, musical accompaniment, tempo, and the cultural values expressed in each ritual dance. The ethnographic approach was employed in this study to gain a thorough understanding of the ritual dances. It extensively used observations, analytical description, and qualitative judgment or interpretation in order to provide a comprehensive picture of Mamanwa ritual dances in Lanuza, Cortes, and Buenavista. Mamanwa ritual dances are conducted to express gratitude, thanksgiving and beseech favors from Tahaw, their supreme god. They make extensive use of altars and offerings. As a result of their wandering lifestyle, they were unable to retain or maintain even one of their traditional costumes. Tap, leap, close step, parallel tortilier, hop, stamp, slide, kick, mincing, and shuffling are the dance steps utilized. All their ritual dances are accompanied by the gimbar/gimbe-e and gong's percussive sound. All three ritual dances are characterized by dedication, reverence, and humility, which are expressed through the dance steps and arm and body movements. This choreographic history will instil in the youths an appreciation for our race's history, motivate our artists to be more active and engaged, and enlighten our society's cultural inclinations and beliefs.

The motive of initiation and the problem of evil in W. Golding’s novel “Lord of the Flies”

The article explores traces of the motive of initiation in the given literary work. The relevance of the study is that the motive of initiation in the novel “Lord of the Flies” has not yet been traced by any of the researchers of the writer’s literary path. The aim of the research is to reveal the motive of initiation in the novel, which, owing to the revealed motive of the ritual transition, acquires a new in-depth coverage. The authors of the study trace in the work allusions to certain symbolic signs of the initiation ritual, in particular, the allocation of a group of adolescent boys, a territory closed to outsiders (in this case it is an uninhabited coral island), the performance of a ritual dance (dance of the hunters), the application of signs to the initiating persons (painted faces – masks in Jack’s tribe) etc. The novel even features the image of a beast’s head (a boar’s head), and the writer casually uses a phrase that is important for the symbolic meaning of initiation: swallowing by the mouth (at the moment when Simon loses consciousness). This article draws attention to the specifics of initiation in the work: we have a group initiation of adolescents without a mentor, without a shaman. Instead, two leaders appear among the boys, two chiefs who lead the teenagers in completely opposite directions in the development of their small island society. One of them, Ralph, tries to worry about their possible rescue by adults, tries to take care of the little ones, and is also based on a completely democratic version of governance and humanity. The second boy, Jack Meridue, is offended that he was not chosen as the leader; he becomes the leader of hunters’ group. He is very ambitious, gaining prestige by hunting wild pigs and holding meat-eating banquets; he violates Ralph’s orders regarding the boys doing their duty (for example, maintenance of a fire on a mountain for a smoke signal when a ship appears on the horizon), incites them to games and entertainment etc. As a result, most of the boys follow Jack and create a tribe in which the boys paint their faces, dance ritual dances, hunt wild pigs, and tolerate a tyrant little chief, who hates dissent. Eventually, the tribe kills Piggy, and then hunts the only “dissident”, the only owner of “common sense” Ralph. In order to “smoke” Ralph out of the forest, the jungle is set on fire, turning the green island into black ashes. Before us there is the degradation of well-bred English boys into a tribe of cruel savages. Such degradation is confirmed both by the religious motifs present in the novel and by the symbolic features of the ritual – an initiation that turned out to be unsuccessful. Instead of developing and improving, a group of boys on a deserted island degrades as a result of life’s trials, turning into a herd of selfish and cruel savages. Looking for an answer to the question of where evil comes from in the world and why even cultured European nations often forget about spirituality and culture and become cruel killers and often even sadists (as it happened to the SS in World War II), the writer in his novel-experiment comes to the conclusion that evil is created not only by society, the environment, but it is inherent in the potential state of human nature; and under certain conditions, when indulging mundane desires and interests, a person becomes a carrier of evil, which we see in the novel “Lord of the Flies”.

Раннефольклорные обрядовые жанры традиционной культуры хори-бурят

This article continues the study of the traditional musical culture of the Eastern Khori-Buryats, based on rare archival material of the audio collection of the famous orientalist Purbo Baldanovich Baldanzhapov (1921–1991). The research was started by the author in 2014 in the article “Materials of P. B. Baldanzhapov as a source for studying the song tradition of the Khori-Buryats”. The aim of this article is to represent the early folklore genres of the ceremonial traditional music of the Eastern Khori-Buryats. In the article the methods of genre and structural-typological analysis of folklore works recorded by P. B. Baldanzhapov were used. The study of the Khori-Buryat ritual song tradition, as a system, entailed the involvement of a structural and functional method, which allowed us to consider various aspects of the ritual and ritual complex of the eastern Khori-Buryats. The traditional musical culture of the Eastern Khori-Buryats can be divided into two genre groups (ceremonial and non-ceremonial). The ritual music of P.B. Baldanzhapov’s audio collection includes wedding songs (Uusyn duunuud), the ancient ritual dance Neryelge and accompanying songs (Neryelgyn or Neryeenei duunuud), the glorification of the horse by Morinoy solo, Buddhist Maani chants. The second group includes such genres of non-ritual sphere as uligers (Ulgernuud), historical songs (Tuuhyn duunuud) about Shilde Zangi, magtals to parents (Magtaalnuud), ring songs (Beheligey duunuud), comic songs (Shog duunuud). In this article, special attention is paid to the unique, but already lost genres of ritual music of Khori-Buryats – Neryelgyn duunuud, accompanying the ritual dance of Neryelge and the glorification of the horse (Morinoy solo), who won the race. The analysis of the semantics of poetic texts and musical intonations of Neryelgyn duunuud and Morinoy solo allows us to attribute these genres to the early folklore layer of the traditional musical culture of the Eastern Khori-Buryats and to reveal the semantic connection with the mythology and religion of the early nomads. Of course, in the future research it is necessary to continue studying the works of non-ritual traditional music of the Khori-Buryats from the collection of P.B. Baldanzhapov. The analyses of these samples of song folklore might allow to carry out the notation of Morinoy’s solo samples with their subsequent musical analysis and publication. One of the promising areas of research may be the reconstruction of these rare and unique genres of ritual music of the Khori-Buryats in the context of a comparative historical study of the cultural traditions of the Turkic-Mongolian peoples.

DANCE AS A MARKER OF NATURAL CYCLES CHANGE IN TERRY PRATCHETT’S FANTASY NOVELS

Against the background of a widespread tendency to diminish the sacred meaning of ritual actions, Terry Pratchett’s strive to shed light on the archetypal principles of mythological consciousness in contemporary folklore makes it possible to restorethe connection of the old rites, which have lost their original sense, with the worldview bases of modern society and to reacralize the profane. The Elements of mythological consciousness, manifested in ritual actions inherent in the modern functioning of English folklore, play a meaningful and compositional role in Terry Pratchett’s novels «The Reaper» (1991), «Lords and Ladies» (1992) and «Wintersmith» (2006). In Pratchett’s novels, Morris dance, which traditionally heralds the summer beginning, is balanced by a dance that marks the beginning of winter, indicating the natural cycles change. This manifests the functions of a sacred act: a dialogue between the world and a human, extracting the last from the flow of everyday life, and finalizing the routine work of a farmer. The study suggests the analysis of artistic means describing the Morris dance ritual as a marker of natural cycle changes and as evidence of a human establishing contact with natural forces, enshrined in the narrative and embodied in the dynamic form of dance. A common harvest festival turns into a Dance of the Death and a Maiden, which moves the process of harvesting and preserving the harvest into the realm of the sacred. The motive of the Death and a Maiden dance is being developed in the same compositional plane with the Morris dance motive, as an element of the narrative about the natural balance of life and death,fertility and harvest, about the cycle of the universe based on the love drive. The article examines the compositional elements of choreographic ekphrasis, highlights the significant elements of such a description, indicates the markers of the sacred and the profane, intrinsic to ritual dance in Pratchett’s novels. The conducted research allows to determine the role of dance in Pratchett’s literature work as a marker of the transition from one state to another, as well as season cycle changes.

Violet Alford and the Persistence of Edwardian Thinking

Violet Alford (1881–1972) has become one of the highest profile unsung figures of twentieth-century British folklore studies. In research and publications spanning nearly eighty years she was energetic in calling for greater recognition of folklore and more effective interventions by folklorists. She was especially concerned with the degenerative popular adaptation of traditional customs and media representation. This, along with her pioneering European fieldwork in ritual dance, would place her comfortably among those younger scholars who sought to overcome the intellectual impasse in British folklore in the 1950s associated with Margaret Murray and Gerald Gardner, but Alford has slipped from view a little because her own theoretical influences were similar to those being overcome. This article seeks to restore her to view by assessing these strengths and weaknesses.

Représenter « avec » le rite : réflexivité et danse rituelle dans un tableau murui-muina

En analysant un tableau du peintre amazonien Brus Rubio Churay consacré aux bals rituels murui-muina, je montrerai le lien particulier que l’artiste établit entre l’art et le rituel : sa toile est moins une représentation du rituel qu’une représentation « avec » le rituel. En s’inspirant de la logique des bals rituels murui-muina, l’artiste crée un effet de « mise en abyme » mobilisant deux formes différentes de réflexivité : l’une chez l’artiste et l’autre chez l’observateur. Cette étude s’appuie sur des données ethnographiques recueillies pendant mes enquêtes de terrain doctorales et sur des entretiens avec l’artiste. Après avoir présenté la manière dont les Murui-Muina définissent la danse, leurs bals rituels et la façon dont ce peintre les représente, j’interrogerai la façon dont il se sert de la « condensation rituelle » pour créer son tableau, tout en soulignant le rapport particulier qui relie la toile, le rituel et l’observateur.

Yakut Ritual Dance “Pattern”: concepts of life and death

This article reviews the Yakut ritual dance called “Pattern” which is connected to archaic funeral rite and to the concepts of life and death intrinsic to Yakut culture. The purpose of this article is to find in this dance symbolic and image-bearing elements indicating major concepts in the Yakut consciousness — concepts of life and death; to show the exceptional value and significance of “life” constant in ethnos consciousness; to address the Yakut ritual dance “Pattern” as one of the ways to display life in dance images; and, analysing the meaning of dance structure and choreography, to demonstrate transformation of “death” into a new quality, a symbol of “life”. The present study reveals the meaning of ritual movements by which death “changes into” life. The methodological basis of the article consists of the analysis of bibliographic sources on Yakut ritual dance. The content and meaning of the dance movements are identical to the worldviews of the ancient Turkish people and their concepts of life and death.

CIRCULAR DANCES AS A WAY TO OVERCOME CULTURAL DEVIATION

Dance is a natural part of religious rituals and the main form of human communication with God, as well as the highest form of expression of inner feelings, the search for Divine Unity. In the dance, the first person accepted the planetary and cosmic rhythms and processes, showed and expressed them through movement. He comes into direct contact with the forces of nature. Dance as a symbolic form of culture is associated with magical rituals. Circular dances are known as a means of achieving collective harmony and communicating with the spirits of nature. The interpretation of movements and movements in the circular movements of nomads is perceived as an art and as a ritual dance. It is known that movement and dance were a form of the first language that existed before the advent of writing and music. At the individual and group level, humanity has experienced various internal states and signs of movement. Until the period when non-verbal language was invented, dance was an important way of transmitting the historical, cultural code from generation to generation. Circular dances are widespread in the Middle East, Eastern and Southern Europe. Modern circular dance combines traditional folk dances, mainly from European or Eastern countries, with dances that are synthesized and staged to various ancient and modern music. Keywords: circular dances, symbolic form, traditional dance, cultural deviation, nomad culture

The Cham ritual of Padmasambhava in Tibetan Buddhism

This paper discusses the origins of Cham or ritual dance in Tibetan Buddhism, structure»and components of the Cham ritual of Pamasambhava. The first part of the paper explains the Cham ritual dedicated to Padmasambhava and its three main sections ： the ritual of making offerings and reading scriptures; the performing of the ritual dances; and the empowerment of Padmasambhava»known as “Light of the Lotus”. The second part of the paper gives some details of the Padmasambhava Cham, which takes place on the ninth and tenth days of the eleven day ritual»with the Cham on the ninth day known as kya'cham and that on the following day as the dngos gzhi. The Padmasabhava Cham has eighteen parts and one of these parts has seventeen sub-sections»so all together there arc thirty-seven parts performed on the tenth day.