Ritual, religion and magic in West Mongolian (Oirad) heroic epic performance

Dancing heirs of nomadic culture. The bii biyelgèè dance and heritagisation processes in Mongolia

“…33 This view is also expressed by some biich, who readily point to the harmful influence of Mongolian stage dance, a product of socialism, on bii biyelgèè. They appear broadly in line with a statement relayed by Western researchers describing socialist cultures as deleterious to local arts: by becoming "scenic", "folk" and "national", arts such as höömii, or overtone singing (Curtet 2013), epic recitation (Pegg 1995), long song (Yoon 2011), horsehead fiddle (Marsh 2009) or dance have become detached from the pastoral-nomadic context (that is under the yurt) and ritual connotations that would have once presided over their performance, leaving us with a watered-down version of themselves (Pegg 1995(Pegg , p. 78 ff., 2001. However, what we can discern from the history of the bii biyelgèè shows that it has not been repressed to that degree.…”

“…I will argue, based on the Mongolian case, that the idiom of authenticity generally mobilised in heritage processes reflects the positioning of the bearers of heritage practices, as opposed to the local actors who make use of them from the outside -representatives of state and local authorities, choreographers and professional dancers, visitors, film-makers, researchers or tourists, etc. The paper also questions the hypotheses of discontinuity between the socialist and the post-socialist periods (see Pegg 1995Pegg , 2001Bumochir & Munkherdene 2019;Tsetsentsolmon 2015), by arguing that significant elements of continuity can be found. They even allow to rethink heritagisation processes beyond the UNESCO Convention and across the borders of political regimes.…”

“…The long song evocates the outline of rugged landscapes (Legrain 2014, p. 263 ff. ); the horsehead fiddle refers to the special relationship between a person and their horse (Pegg 1995), and so on. Legends of the bii biyelgèè origins are comparatively few and rarely told, which makes them all the more significant.…”

Witchcraft of Saluang Sirompak: Music of Broken Hearts in the Taeh Baruah Minangkabau Community

“…This research shows that music and shamanism activities have become a continuous tradition; these traditions are related to matters of power and give each other influence. This article shows the direction of discussion about music, shamanism, and hypnosis [7]. The description of the research results above is a reference for this research because the above topics lead to issues of music, witchcraft, or shamanism.…”