Playful ASEAN

팒켆팖줆풞 믾헒킪

풞

2018.9.14.–12.2.

쭎칾뫟펻킪

뽎핂쁢 팒켆팖

팒켆팖줆풞 믾헒킪킲 핂 헒킪쁢 팒켆팖

10맪묻픦 샎칺뫎, 헣쭎 짝 펺얺 믾뫎픦 혾옪 핂욶펂혚킃삖삲. 쯚욶빦핂 삲욶캂앚 �쫂싢팒 퐣묻

핆솒뻲킪팒 뫃묻

않폲핆짊짊훊뫃묻 잞엖핂킪팒

짆퍎잖펾짷뫃묻 읺뫃묻

킿많읂 뫃묻 �핂퐣묻

쩮빶칺훊픦뫃묻 쫆 헒킪 훎찒펞 엳훊킮 팒앦 묻뺂·푆 믾뫎펞 쪒 맞칺슪잋삖삲.

킿많읂 묻잋줆퓮칾퓒풞

킿많읂 줆·힎펻맪짪·�콚뼒쭎 �묻 줆쭎

쩮빶 줆�퓯뫎뫟쭎

읺 팒젪읺팒 않빦 쫂삖킪폲 핆믇 짣줊뫎

퓮뻲큲�팒�줂퓮칾켊� 팒킪팒�줆펾묺콚 쭎칾폏캏퓒풞

쭎칾팒킪팒폏묞 묻묻헪엳삶

KOICA힎묺��뫎

훊않폲큲줆풞

훊�쫂싢팒샎짊묻샎칺뫎 훊킿많읂샎짊묻샎칺뫎

KF뽆핂칺줂콚, 훊쩮빶샎짊묻샎칺뫎

푆묞쭎

훊�·훊뫎

묻묻헪묞윦핺삶 팒켆팖줆풞

ASEAN Culture House Special Exhibition Playful ASEAN -ASEAN Seen Through Traditional Leisure Activities 2018.9.14.–12.2.

ASEAN Culture House, Special Exhibition Gallery

This exhibition was made possible by the generous support and contributions of the embassies and governments of the 10 ASEAN Member States.

Brunei Darussalam The Kingdom of Cambodia The Republic of Indonesia Lao Peoples Democratic Republic Malaysia The Republic of the Union of Myanmar The Republic of the Philippines The Republic of Singapore The Kingdom of Thailand The Socialist Republic of Viet Nam Special thanks to following institutions for their support and cooperation in the preparation of the exhibition Playful ASEAN .

The National Heritage Board, Singapore The Ministry of Culture, Community and Youth, Singapore The Ministry of Culture, Thailand The Ministry of Culture, Sports and Tourism, Viet Nam The Amelia Lapeña-Bonifacio Teatro Papet Museo in the Philippines The International Information and Networking Centre for Intangible Cultural Heritage in the AsiaPacific Region under the auspices of UNESCO Asia Dance Culture Institute Busan Film Commission Busan Asian Film School Korea International Cooperation Agency KOICA Global Village Lao Cultural Center in Korea

Embassy of the Republic of Korea in Phnom Penh, Cambodia Embassy of the Republic of Korea in Singapore, Singapore The Korea Foundation Hanoi Office, Embassy of the Republic of Korea in Hanoi, Viet Nam Support Korean Ministry of Foreign Affairs Busan Metropolitan City Organizers The Korea Foundation The ASEAN Culture House

í•Šě–şěˆžëŻž

1.

í•‚ 핆잒줊픎 íŒ’ěź†íŒ–ě¤†î?˘í’žíŽžěťŞ ë§ŞíŹŞîŒŞ â€šë˝Ží•‚îŒŚě ˘ íŒ’ěź†íŒ–â€ş

(2018.9.14.-12.2.)플 í—’í‚Şě†’ě˜Ťí•‚ě‚˛.

2. íŒ’ěź†íŒ– 10맪돝플 돝많쥓 îˆŞëŻžě ˘ í??줆 íŒšîƒšěŞ ěżŞěťŞě?Š 싞앞삲.

Please Note 1. This publication is the catalogue for the exhibition Playful ASEAN held at the ASEAN Culture House.

2. The names of the 10 ASEAN countries appear in alphabetical order.

2

6

핆욺잞

Foreword

8

믞플 믎

Curatorď˜§s Note

48

ěŒ“í”Šě˜Ş

Low to the Ground 64

îŒŚě Śě˜Ş

Up Above 70

í’ží”Šě˜Ş ěšşě§ˇí”Šě˜Ş

In a Circle Out and About

1

14

íŒ’ěź†íŒ– 뽎핂힎솒

Playful Map of ASEAN 22 돝몋픒 띌픎 헒힃, íŒ’ěź†íŒ– 뽎핂 Nori Across ASEAN

3

94

î?&#x;ě—łí•&#x;펓

Collaborative Works 116

í—’í‚Şí•ł ěˆŚě–şěŤ‚ëŻž

View of Installation

핆칺잞

팒켆팖줆풞픦 맪풞 1훊뼒픒 믾뼞펺 믾헒킪 ‹뽎핂쁢 팒켆팖›헒픒 맪�멚 쇦펂 잲푾 믾츦멚 캫맏삖삲.

1989뼒 샎뫎몒 쿦잋 핂 묻뫊 팒켆팖픦 뫎몒쁢 몋헪, 칺줆, 핆헏 묞윦 슿

삲퍟 짷졂펞컪 찒퍋헏픊옪 짪헒퐢킃삖삲. 팒풆얺 푾읺 헣쭎쁢 팒켆팖뫊픦 엳픒 � 칺앚 훟킺픦 뫃솧�읊 벦 핂욶펂많믾읊 잫몮 핖킃삖삲.

묻묻헪묞윦핺삶픎 1991뼒 �잋 핂앦 팒켆팖 묻많 뺂 묻 흫힒, 줆폖쿮 묞윦 슿 삲퍟 쭒퍊픦 뫃뫃푆묞 칺펓픒 힒 폲몮 핖킃삖삲. 믆 핊픊옪 힎빪 2017뼒 9풢

탛짷 묻헪 줆·쿮묞윦 앹픊옪 맪풞 팒켆팖줆풞 풂폏픒 � 묻뫊 팒켆팖 풞묻 묻짊슲 칺핂픦 캏킮왾퐎 푾�컮 흫힒펞 섢푿 믾펺몮 핖킃삖삲.

팒켆팖줆풞픎 잲뼒 10맪묻 뺂 뫃�헏픊옪 홂핺쁢 줆푢콚읊 컮헣 믾헒킪읊

맪�픊옪턶 짷줆맫슲펞멚 팒켆팖픦 줆읊 캫캫멚 � 쿦 핖쁢 믾읊 헪뫃몮 핖킃삖삲. 핂쩖 헒킪 ‹뽎핂쁢 팒켆팖›픎 핆맒픦 핊캏헏핂몮솒 �믊 솧 훟 빦핆

6

뽎핂읊 훊헪옪 캊팒 팒켆팖 10맪묻픦 줆읊 혾잫몮, 팒켆팖 맏묻뫊 푾읺픦 뽎핂줆펞 샂밂 뫃�헞뫊 �핂헞, 쫂컿뫊 쿦컿픒 슲펺삲쫂몮핞 믾쇦펖킃삖삲. 푾읺빦않픦

헒�뽎핂퐎 믆 짷킫핂빦 캫밎캖많 퓮칺졂컪솒 솓 �핂읊 힎삖쁢 팒켆팖 맏묻픦

헒�뽎핂읊 � 팒켆팖픦 펻칺퐎 핞펾몋, 믆읺몮 믆뫁펞컪 캂팒많쁢 칺앚슲픦 캄 콛펞 밑슮 힎읊 폍쫊 쿦 핖킃삖삲.

핂쩖 헒킪픦 컿뫃헏핆 맪�읊 퓒 맏묻픦 뽎핂줆펞 샎 핞줆픎 줊옮 헒킪픦 믾흫뫊

샎펺 슿 팒빚펔쁢 힎풞픒 훊킮 훊 팒켆팖 10맪묻 샎칺뫎 뫎몒핞 펺얺쭒벦 쪒 맞칺읊 헒삖삲. 쏞 헒킪펞 �펺훊킮 엳핟많퐎 맏몒 헒줆많읊 찒옽펺, 뮎 핞욚슲픒

믾벊핂 헪뫃훊킮 묻뫊 팒켆팖 맏묻픦 엳믾뫎 뫎몒핞 펺얺쭒, 핞줆퓒풞슲벦솒 맞칺픦 잖픚픒 헒삖삲. 핂쩖 헒킪많 묻뫊 팒켆팖핂 컪옪읊 � 섢 반핂 핂몮, �짎힎쁢 몒믾많 쇦믾읊 짢앛삖삲.

묻묻헪묞윦핺삶 핂칺핳 핂킪

Foreword

It gives me a great pleasure to host the Playful ASEAN-ASEAN Seen through Traditional Leisure Activities exhibition celebrating the first anniversary of the opening of the ASEAN Culture House.

Ever since the establishment of their sectoral dialogue partnership in 1989, the Republic of Korea and ASEAN have developed a remarkable relationship in many areas and fostered economic, sociocultural and people-to-people exchanges. Furthermore, the Korean government hopes to create a peoplecentered peace community together with ASEAN. Since its founding in 1991, The Korea Foundation has conducted a diverse array of public diplomacy projects, including promoting Korean studies in ASEAN countries as well as nurturing arts and cultural exchanges. In addition, the Korea Foundation has been contributing to promoting mutual trust and friendship between the peoples of ASEAN and Korea through operating the ASEAN Culture House, which opened in September 2017 as an interactive platform for cultural and academic exchanges between Korea and ASEAN.

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The ASEAN Culture House has been selecting common cultural themes existing in ASEAN countries and holding special exhibitions in order to offer visitors various opportunities to experience vivid cultures of the region. The special exhibition Playful ASEAN , highlights the similarities and differences as well as universality and individuality among the national cultures of each ASEAN country and Korea through the medium of their traditional leisure activities.

Through showcasing these activities, at once familiar and yet unmistakably distinct, the exhibition sheds light on the regions history and natural environment, as well as the wisdom of the people that have dwelled here since time immemorial.

I would like to express my sincere gratitude to the 10 ASEAN embassies to Korea for generously supporting this exhibition by not only giving advice on the leisure activities of their countries but also contributing a number of wonderful exhibits.

I would also like to thank all the collaborating artists, experts and partner institutions who offered their invaluable contributions. I hope this exhibition can play a role in deepening mutual understanding between Korea and ASEAN, further cementing our friendship.

Sihyung Lee President The Korea Foundation

믾픦 믎

�앟 l 맫풞�엖핂�

뽎핂(펺얺 칺앚핂 졶펺컪 흞멏멚 뽆쁢 핊 쏞쁢 믆얾 솧 – 묻잋묻펂풞)쁢 퓮읊 �묺쁢 핆맒홓픦 쫆쁳픒 흫졓쁢 핊캏헏핂젾 풞�헏 퓒핂삲. 짊혿핂빦 묻많, 힎펻픒 �풢

쫂헏픊옪 홂핺쁢 뽎핂쁢 샎쭎쭒 칺줆헏 푢핆슲뫊 짎헟 뫎몒 콛펞컪 컿쇦몮 힎콛쇦펂 퐢삲.

팒켆팖줆풞 맪뫎 1훊뼒핂않쁢 씉반픎 킪믾펞 재�펂 폂읾 믾헒킪 ‹뽎핂쁢 팒켆팖›픎, 핂퐎 맧픎 핆킫펞 믾짦펺 팒켆팖 묻많슲픦 헒�뽎핂펞 �쇪 줆헏 콛컿펞 훊졷몮핞

삲. 뽎핂많 핆맒픦 핊캏 캄핂빦 몋 싾퓒퐎 쭒읺쇮 쿦 펔삲졂, 뽎핂읊 � 헣 뫃솧�많 폏퓒몮 핖쁢 캄픦 삶졂, 픎 캄픦 짷킫뫊 �솒, 많�뫎 슿픒 폍쫊 쿦 핖픊읺않 쫂팦믾 쌚줆핂삲.

맧픎 뫎헞펞컪, �캫헏픊옪 팒켆팖 10맪묻핂않쁢 � 쿧헪읊 픎 핂 헒킪많 픟샇 잖훊퍊 ,

팒켆팖 묻많슲 맒픦 줆헏 퓮칺컿뫊 쫂컿, 맪쪒컿뫊 쿦컿펞 뫎 뽊픦 펻킪 뽎핂읊 � 벊뺊쿦 핖삲몮 쫂팦삲. 힎읺헏픊옪 핆헟 묻많슲핒펞솒, 핂슲픦 헒�뽎핂많 퓮칺컿 핂캏픦 삲퍟컿뫊 �쪒컿픒 많혚삲쁢 칺킲픒 핆 쿦 핖펖믾 쌚줆핂삲.

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퓮칺졂컪솒 삲읆, 핃쿧 쫂핂졂컪솒 캫몋 팒켆팖픦 뽎핂읊 �믊멚 콚맪믾 퓒,

헒킪 묺컿펞컪 몮짊 멑픎 숞 많힎 �졂핂펖삲. 빦쁢 팒켆팖 헒�뽎핂슲픦 솒묺퐎 뽎핂

퓒않쁢 몮퓮픦 킫헏 컿픒 빮멑 믆샎옪 헒킪펞 폼믾쁢 멑핂펖픊젾, 삲읆 빦쁢 뽎핂펞 샂밂 핊캏헏 핂퍊믾읊 � 섢 반픎 �퓒펞 홂핺쁢 줆헏 컿픒 혾잫쁢 멑핂펖삲.

헒핞퐎 뫎엶, 뽎핂 킲펞 쿦헏핂몮 믾쫆헏핆 뽎핂 솒묺퐎 퓒읊 뽎핂 몮퓮픦 풎힏핒뫊 짷컿픊옪 묺쭒 헒삺�핞 삲. 핂얺 믾훎펞컪 ‹쌓픊옪›, ‹쁦옪›, ‹풞픊옪 칺짷픊옪›퐎 맧픎 3쭎 묺컿픎 뽎핂많 많힒 쫆펾픦 킫펞 싾읆 묺컿캏픦 멾뫊핂졂컪, 솧킪펞 뽎핂픦 줂샎핂핞 믊맒핆 핞펾 뫃맒, 뽎핂픦 펻칺헏 힒, 몮혾쇦쁢 헒킪픦 컪칺 슿픒 픦짆쁢 멑핂믾솒 삲.

픊옪, 뽎핂픦 핊캏헏 픎 펻칺헏 잳앋픊옪쭎� 캫쇪 헣 컪칺읊 븚펂뺂믾 퓒,

삲퍟 몋옪옪 쿦힟 펾묺줊뫊 핞욚, 믆읺몮 펺얺 훊�퐎 펓 잚슮 �핟줊픒 콚맪몮핞 삲. 핞, 묞퓯핞, 폏맞솓, 폖쿮많, 싢핞핂뻖 슿 맏믾 삲읆 캫맏뫊 졷헏픒 많힒 훊�슲픦 킪맏픒 � 컫쇦몮 헪킪쇪 뺂푷슲픎 헒킪픦 �퓒읊 쫃헏픊옪 잚슲펂 뫎맫픦 컫픒 삲�옻멚 핂븚 쿦 핖픒 멑핂않 쫂팦삲.

숞 많힎 푆펞 맏쪒 픦킫 멑픎 �핂펖삲. 뽎핂읊 삲욺 헒킪옪컪 맞캏픒 뻦펂컮 �픦 뮎훟 믾읊 짾헪컪쁢 팖쇪삲몮 쫂팦믾 쌚줆핂삲. 쌚줆펞 헒킪핳 잞짆펞 쪒솒픦 뫃맒픒 잖엶 팒켆팖 헒�뽎핂퐎픦 힏헟헏핂몮 줊읺헏핆 묞맞픒 퓮솒엲 삲. 뽎핂 솒묺읊 힏헟

잚힎몮 뽎핂 솧핟픒 좆콚 �픊옪턶, 폲앪 킪맒 뽎핂펞 ��핂 탡펺 폶 줆퐎 펻칺픦 쿶멾픒 쭎옪 쁞빊쁢 믾읊 빦뿒몮핞 삲.

헒킪 묺컿픦 줆헪 푆펞솒 헒킪많 잖훊 믊쫆헏 빪헪슲픎 펺얺많힎폎삲. 믆훟 빦쁢 쩢퓒 줆헪폎삲. 핂 헒킪많 팒켆팖핂않쁢 뫟쩢 힎펻뫊 줆퐎 맧픎 �캏헏 맪뼞픒 뻦빦슪쁢 핂퓮옪, 졕 많힎 푷펂퐎 맪뼞펞 샎 헒헪많 푢섦 멑핂삲. 폖�샎 뽎핂픦 쩢퓒읊

펂싢밚힎옪 쫊 멑핆많퐎 맧픎 힖줆픎, 헒킪많 뫒 샎캏픒 뮪헣힡쁢 믊쫆헏핂몮솒

훟푢 줆헪폎삲. 묻펂 뽎핂쁢 칺헒헏 헣픦 춞 팒삖않 �푷쇦쁢 픦짆 쩢퓒많 뻡펂 펺얺

핊캏 솧픒 숞욶 쁢 짦졂, 팒켆팖 묻많슲픦 펆펂 픎 폏펂펞컪 핂퐎 맧픎 맪뼞핂빦 푷펂읊 �믾 펂엲풮섦 멑핂삲. 멾옮헏픊옪, 뽎핂읊 줆픦 뫎헞픊옪 짢않쫂몮핞 쁢

잳앋펞컪, 묻펂 뽎핂펞 샂밂 뫟쩢 픦짆 쩢퓒펞 믾샎쁢 핂 헏삲몮 쫂팦삲. 폏펂

멚핒(game)뫊 엖핂(play), 읺헎 팯찒(leisure activities)펞 샇쁢 삲퍟 솧

펻킪 벦 삲웒퍊믾 쌚줆핂삲. 맧픎 픦짆펞컪, 헒킪 헪졷 ‹뽎핂쁢 팒켆팖›핂 묻펂 맪뼞펞 믾샒 묻헏 킪맏픊옪 팒켆팖픦 줆읊 슲펺삲쫂쁢 핂 헒킪픦 뫎헞픒 뮪헣쁢 멑핂않쁢 컲졓솒 많쁳삲.

헒�픒 펂쎉멚 쫊 멑핆많픦 줆헪펞 샎컪솒 잖�많힎폎삲. 헒�픎 홓홓 �핞퐎 묺쭒쇦쁢 �졂펞컪 폲앦쇪 몮퓮 멑픒 힎�믾 퓒 튾핂젾, 쿪쿦 멑픊옪 폲짩믾솒 삲. 믆얾섾

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핦 팚엲혆 핖삲킪 솧빶팒킪팒 힎펻픎 폲앪믾맒 핆솒, 훟묻, 훟솧, 퓮엋 슿 켆몒 펺얺 힎펻뫊 폏픒 훊몮 짩팒퐢픊젾 폲쁦빮밚힎 삲퍟 짊혿뫊 핆홓, 펆펂, 홓묞 슿핂 뫃홂몮 핖쁢

힣픒 많힎몮 핖삲. 싾않컪 뽎핂않쁢 헪헏 콚핺읊 삲웆펞솒 쭖묺몮, 헒�픒 펂싢밚힎옪 핂몮 �짪 멑핆많픦 줆헪쁢 캫맏쫂삲 삶쿪힎 팘픎 줆헪핂믾솒 삲.

헒킪많 삲욶몮핞 쁢 샎캏 쩢퓒픦 뫟쩢뫊 졶뫊 맧픎 푢콚슲픎 펒짎몮 헣묞 헒킪펞 샎 믾샎읊 �혿킪�믾 펂옃멚 잚슪쁢 빪헪슲핂펖삲. 핂읊 픦킫 뫎헞뫊 잳앋핂 삲읆 펺얺

컮펾묺펞 믾샒 졕졕 뺂푷슲핂 쌚옪쁢 핆퓒헏픊옪 찒�힖 쿦솒 핖픒 멑핂않 쫆삲. 펺얺 뽆엳뫊 킪솒펞솒 쭖묺몮 짪멺쇦쁢 쭎혿뫊 찖핂 핖삲졂, 핂 헒킪많 홎 섢 �쿧멚 팒켆팖펞

삲많많쁢섾 훊엳 빦읒픦 킪솒핂핞 컫핒픒 뻖믆얺풂 잖픚픊옪 팒엲훊킪밆 잫삲.

Curator’s note Horang Choi l Guest Curator

Nori (뽎핂, an activity taken part by two or more people for their amusement, National Institute of Korean Language) is the most primitive and common act that demonstrates the human races basic desire to seek amusement. Nori that exist ubiquitously regardless of ethnicity, nation, and region are mostly developed and maintained in close relation with sociocultural elements.

The special exhibition Playful ASEAN , which opens around the time of the first anniversary of the ASEAN Culture House, showcases the nori of ASEAN. It also focuses on their cultural aspects, which is befitting because nori reflect the communities values and attitudes towards life, and embody the most natural and general aspects of life.

This show provides a lively stage for illustrating the lives of the people of ASEAN through their nori. It also highlights the cultural similarities and universality, as well as the individual characteristics of the geographic neighbors that is ASEAN.

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The foreign yet familiar nori are conveyed by means of two different strategies to emphasize their diversity: the first by introducing the actions and tools of ASEAN nori, and the second by delving into the everyday stories through the contexts behind nori.

Nori are introduced based on their action and movement, their two most essential and basic elements. The direction of the movement unique to each of the nori is used to categorize them into three groups, Down Low, Up Above, and In a Circle, Out and About, which also hints at the natural environments of their origins and evolution throughout history, marking the climax of the narrative of the exhibition.

Research and archive materials collected from various sources, and creative works produced in collaboration with various artists and groups, are also displayed to portray the everyday and historical contexts and narratives.

Contents that are interpreted through the perspectives of academics, educators, film directors, artists and designersˋwho each have their own different thoughts and objectivesˋadd depth to the show, allowing viewers to develop diverse and extensive interpretations of their own.

The exhibition comes to a close with an area dedicated to hands-on experience. Viewers are encouraged to play with some of the collected items and artwork, and to physically engage in ASEAN nori culture. Viewers can experience, albeit for a short while, the distinctly ASEAN culture and history that are layered little by little onto their nori.

Now, considering the regionally and culturally comprehensive purview of the exhibition, one must set forth the premise of certain terminology and concepts. A particularly finicky yet important issue was defining the scope of nori. The Korean word nori is not only extensive in its definition, but also in its common usage, and includes various daily activities. However, it is difficult to find the equivalent term in English or any ASEAN languages.

Therefore, actions applicable to the English termsˋgames, play, leisure activitiesˋwere included with the Korean usage for nori as the touchstone.

In this sense, the Korean title of this exhibition, Norihaneun ASEAN (뽎핂쁢 팒켆팖, Noriing ASEAN) establishes and hints that the culture of ASEAN is observed somewhat from a Korean perspective.

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A similar issue ensued in defining tradition. This term is often used to refer to the old and indigenous that differentiates one from the others, and is often mistaken for being pure. However, South East Asia was influenced by various regional cultures such as those of India, China, the Middle East, and Europe, and vice versa, making it a salad bowl of numerous races, languages, and religion. Then, to what extent must this exhibition, which aims to introduce the traditional nori of ASEAN, consider as traditional?

The extensive scope and ambiguous nature of this exhibition makes it difficult to achieve academic rigor and depth as may be expected. Therefore, the contents that are based on precedent research and data may come across as contrived or arbitrary. I hope this exhibition can be considered as an interpretation and attempt to take a step closer to the ASEAN nations notwithstanding any shortcomings and gaps that may be noticed despite the concerted efforts.

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íŒ’ěź†íŒ–

Playful Map of ASEAN

뽎핂힎솒 돝몋픒 띌픎 헒힃,

Nori Across ASEAN

íŒ’ěź†íŒ– 뽎핂

Chapter 1

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헒킪많 î†şëŤ’îŒŚě ˘ íŒ’ěź†íŒ– 뽎핂플 ěƒŽěş? 슢훊ě?Š

ëŽŞí—ŁîŒŚëŞŽ íŒ’ěź†íŒ– 10맪돝 뽎핂 줆î?˘ě?Š ë§ŞëŤ’îŒŞě‚˛. 핂슲 돝많슲 맒펞 돝몋픒 퍖풢î?‚ ëťžě?ş î…Šíž’ ěƒŽîˆŞí—? 뽎핂슲픒 봋팒 ě˝šë§ŞîŒŞě‚˛.

An outline of the scope of ASEAN nori, and overview of the ASEAN countriesď˜§ nori culture, and an introduction to the most common nori of ASEAN.

Chapter 1

íŒ’ěź†íŒ– 뽎핂힎솒

Playful Map of ASEAN

íŒ’ěź†íŒ–í”Ž 몋헪î?&#x;ě—łíŞ‚ í•‚ěş?플 플짆ě?Š ëş‚î†şîŒŞě‚˛. ě†§ëšśíŒ’í‚ŞíŒ’ě ˘ 힎ě?şí—?í”Šě˜Ş 믊í—&#x;î?‚í•–í”’ ěśž íŒ’ě‚–ě•Š

í?˛ě•Ş 킪맒펞 ëŠ†íŞž 펺얺 줆î?˘ë­šëŤŠ í??î?łí”’ í›ŠëŞŽě§ŠíŒ’í?ś ëŤƒížƒí”Ś 펝욺ě?Š 많힎몎 í•–í”Šě ž, 삲í?&#x;îŒŞ ě§Ší˜żëŤŠ

핆홓, 펆펂, 홓돞많 쉲읏펺 í•–ě‚˛ě ˘ í˜žëŠ‚ě†’ í“ŽěšşîŒŚě‚˛. î?Ší™“읿덊 삲í?&#x;ěťżí”’ î†şëŤ’îŒŚě ˘ 많풂섞 í™‚í•şîŒŚě ˘ 퓎욺읿픎 íŒ’ěź†íŒ– 줆î?˘í”Ś í¸ž 힣핂삲.

íŒ’ěź†íŒ–í”Ś 뽎핂ě?Š ě˝šë§ŞîŒŚëŻžíŽž íŒŹěťŞ, 뽎핂 줆î?˘ î?ŁěťżíŽž 믊맒핂 ě‡Śě ˘ íŒ’ěź†íŒ– ë§?돝플 혞늂î?ŚëŞ‹íŽž

ëŤŽě—śîŒŞ 맪덒í—? 헣썂ě?Š ě˝šë§ŞîŒŚëŞŽ, ëŹťë§ŽěŞ’ě˜Ş 뚌뿖 뽎핂 ěĄˇě˜Ťí”’ í—Şí‚ŞîŒŞě‚˛. 뽎핂플 슢훊í?Ž 믞훎픒 쥓î?Łî•– îŒŚëŻž í“’î?‚, 쥕쥕 믞덎펞읪 íŽžëŹşîŒŚëŞŽ ě­’ěœŚîŒŞ 뺂푡펞 믊먞î?‚ íŒ’ěź†íŒ– ë§?돝플 í—’ížƒë˝Ží•‚ě?Š

í­˘ě˜†ě‚˛. í•‚ ěĄˇě˜Ťí”Ž í“Žëť˛í ˛í´˘ íŒ’íşŞě¤‚î?Łě¤†î?˘í“ŽěšžěźŠíťž(ICHCAP)많 ěťŽí—ŁîŒŞ ě†§ëšśíŒ’í‚ŞíŒ’ í—’ížƒë˝Ží•‚í?Ž

ë§?돝 덎ëŤ&#x;튝 슿플 헣쭎믞덎덊 펺얺 íŽ†ě˜ŽěšşíŽžěťŞ í•&#x;ěťżîŒŞ 핞욚펞 킲ě?ž í—’ížƒë˝Ží•‚ěŠ˛í”’ í­˘í­ŞîŒŞ ëŠ‘í”Šě˜Ş, ë§?돝 ěƒŽěšşëŤŽí”Ś î?Łí•†í”’ ë¨žíŞ˛ě‚˛.

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ASEAN is more than an economic cooperation community. Southeast Asia is not only geographically close, but also has a shared history of culturally influencing one another, with a variety of different peoples, race, language and religion. One of the most prominent characteristics of ASEAN culture is its similarity amidst its hybridity and diversity.

In prelude to introducing the nori of ASEAN, lets take a look at the general geographical, environmental facts that form the basis of nori culture, and the list of nori by country. This list is compiled by referencing the list of Southeast Asian traditional games and activities put together by the ICHCAP, various institutions and government agencies of each country such as the tourism ministries and the press, and finally received consultation from the Embassies of each nation.

í¨†ëŞŽ ěƒŽîŒŞě§ŠëŹť 푆돞쭎 í›ŠîŒŞ íŒ’ěź†íŒ– 10맪돝 ěƒŽěšşëŤŽ íŒ’ěź†íŒ–ě¤†î?˘í’ž 슎뚜 덎ëŤ&#x;튝 í“Žëť˛í ˛í´˘íŒ’íşŞě¤‚î?Łě¤†î?˘í“ŽěšžěźŠíťž í“Žëť˛í ˛í´˘ ě§ˇí´Ł 짆í?Žěž– íşŽí•’í?– 쯚욜뚌핂 íşŽí•’í?– íŒ’íą‚í•‚ěŻš

References Ministry of Foreign Affairs, Republic of Korea Embassies of 10 ASEAN Countries to Korea ASEAN Culture House Viet Nam National Administration of Tourism

The International Information and Networking, Center for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO UNESCO Bangkok The Myanmar Times The Brunei Times Archive

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ÔŞ 뽎핂 ěĄ“í°ťí”Ž ď˜ŚëŹťě¤† ě§Şí”šîˆŞëŻž(ě˜Şěž–í•ž îˆŞëŻž, 돝줆 핂)ď˜§ě˜Ş îˆŞëŻžîŒŚëŞŽ, íŒšîƒšěŞ ěżŞěťŞě˜Ş 짞í?‚îŒŚí?Žě‚˛. í•žěšší­ŞíŠŚ: ěƒŽîŒŞě§ŠëŹť 푆돞쭎 î?–핂힎(2018ëź’ 12í’˘ 믞훎) ÔŞ

The names of nori are written in ď˜ŚKorean pronunciation (Romanization or Latin script, Korean interpreatation)ď˜§, and in alphabetical order.

Reference: Countries Information on the ROK MOFA website (December 2018)

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1

쯚욜뚌핂 삲욜캂앚 Brunei Darussalam

쿌솒 핆돺 쥂í—? ě§Ší˜żëŹşěťż 홓돞 펆펂

짌삲� 쟆� 슎많� � 43잚 쥓

5,770km²

잞엖핂몒(65.7%), í›&#x;돝몒(10.3%), ëŻžíşŽ(24%) í•‚í şě•šëŹž(ěżŚě‚–îƒš) í??펂, 잞엖핂펂

Capital Population Area Ethnicity

Bandar Seri Begawan 430 thousand 5,770km² Malay (65.7%), Chinese (10.3%), Other (24%) Religion Islam (Sunni) Language English, Malay

훊푢 뽎핂 짢쑪 틎짌(batu simban, ëŤƒëŻžë˝Ží•‚), 쯢앒ě•&#x; 쯢않쑍(belalang belatuk, ě ˘ě‘ŞëŻž 싿싞돺ě?ş 뽎핂), 힪않 íŒ’í•‚í ˛ / 힪않 싞(carah ais / carah tapuk, 쿎알핯믞), 힪않 밚뚊(carah kaki, ě§Şě˜Ş 쿎알핯믞), í˘&#x;ë°›(congkak, ěžšíąŠě•Š), ěƒ‚(dam, ěŞ&#x;ě‘Şë˛&#x; í°ŚëŻž), 많팋(gasing, î„‹í•‚í°ŚëŻž), ë­‚ě?ş(guli, ëŹşí şí°ŚëŻž), 밚뚊 씎많(kaki tiga, í şě?şî…Š 섌힎믞 뽎핂), 뚊뚋(kikik, 펞뚎ě?şëŻž), 뚊찎튞 ě‹žě?ť / í‘žě‹žě?‚-í‘žě‹žě?‚(kipas tarik / utar-utar, î‹’ě˜Şî…Žě–ş 솚ě?şëŻž), ě—Šěą ëŻ†ě‹ž(lompat gatah, 몎줂훒띌믞), ě°Žíƒ›(pasang), 튞찯 ě‹ží¸şě˜Ş(sepak takraw, 슿뚌줂 ëŤƒí§śëŻž), (tinting, ěšşě§ˇí°ŚëŻž) 슿

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íą’ěŤ‚ě‹˘íŒ’ Kingdom of Cambodia

쿌솒 핆돺 쥂í—? ě§Ší˜żëŹşěťż 홓돞 펆펂

뽖 � 1,600잚 쥓

181,035km²

í¸şě ˘ě?‚í˜ż(90%), ě˝šěżŚě§Ší˜ż(슎뚜, í›&#x;돝, í¨†í˜ż, ëŞŽěšží˜ż 슿) 뚜짡쭖돞 í¸şě ˘ě?‚펂

Capital Population Area Ethnicity

Phnom Penh 16 million 181,035km² Khmer (90%), other minority groups (Vietnamese, Chinese, Cham, Formosans, etc.)

Religion Theravada Buddhism Language Khmer

훊푢 뽎핂 ě°˛ íš‚ě?ş(banh kli , ëŹşí şí°ŚëŻž), 짢핂 í¸şí‘˛(bay khom , ěžšíąŠě•Š), 슎핂 ě„Ł 줂핂 (bei daok mouy , í’žî?Łí”Šě˜Ş 읪읪 쿎알핯믞), 슒 펗뜊(bos ongkunh , 펗뜊뚌줂í?‚잲 섌힎믞), 힍 í˘&#x; 줂핂(chak cheung muoy , ěšşě§ˇí°ŚëŻž), í§śíŒ“ ě˜Ťě•‹(chak loklak , 콞많앋 쿎알핯믞), 슒 íŻŽí’“(bos chhoung , 줄픎 í ˛íą‚î‹’ 섌힎믞), (heung , í•ží°ŚëŻž), íš‚ě•Š 횂욡(klah klok , 훊욺퓒 뽎핂), ëś— í„śí•‚(kup sey , í—ŞëŻží§śëŻž), ě˜˝ ë°ší?˛íˆ˛(lot kaosou , 몎줂훒띌믞), í?ł 힪쓜ě—?(ouk chatrang , íą’ěŤ‚ě‹˘íŒ’ íŞ‚í ˛ë˝Ží•‚), í ˛ěŠŻ ě?Ž(sbek thom , 믆잊핞 핆î?ŁëŻ‡), ěź†îƒ›íşŽí¸şě˜Ş(sepaktakraw , 슿뚌줂 ëŤƒí§śëŻž), 씲 ě¸Śě˜˝(teanh prot , 훒삲ě?şëŻž), 씲 í?˛í”’ě–ť(tinh ovleuk , 쿌짣 욺믞 뽎핂), ě“śě—–(tress , 솚 섌힎몎 ěž—ěƒŽëŻž í?źëŻžëŻž), í’š(voo , î„‹í•‚í°ŚëŻž) 슿

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í•†ě†’ëť˛í‚ŞíŒ’ Republic of Indonesia

쿌솒 핆돺 쥂í—? ě§Ší˜żëŹşěťż 홓돞 펆펂

í•žíą‚ě?‚íşŽ 2펃 6,399ěžš 쥓 190ěžškm² í•žě§˘í˜ż(45%), ěżŞě‚˛í˜ż(13.6%) 슿 300펺 í™“í˜ż í•‚í şě•šëŹž, 맪킎돞, î•šěˆžëŹž, 쭖돞, 퓎돞 í•†ě†’ëť˛í‚ŞíŒ’íŽ‚

Capital Population Area Ethnicity

Jakarta 263.99 million 1,900,000km² About 300 ethnic groups including Javanese (45%), and Sundanese (13.6%) Religion Islam, Christianity, Hinduism, Buddhism, Confucianism Language Indonesian

훊푢 뽎핂 짢ě?&#x; 븚않찎(batok kelapa , í´˘í´˘ëťŠ 벛섞믞 짭몎 ě°śě?ş 늅믞), ě‚˛í´Ś(dakon , ěžšíąŠě•Š), 펞믆ě•&#x;(egrang , 훋잖), 펳븚엗(engklek , ěšşě§ˇí°ŚëŻž), 많팋(gasing , î„‹í•‚í°ŚëŻž), 많쓜ě?ť(gatrik , í•ží°ŚëŻž), 몎짣 톌솒ě?‚(gobak sodor , 읎 퓒펞읪 쿎알핯믞), 븚엖엍(kelereng , ëŹşí şí°ŚëŻž), 뜆삲 웆욳 (kuda lumping , 뚡í•&#x;îŒŞ ěžž 쥜î?Ł íşŽëŻž), ě•Ší?&#x;(layang , 펞뚎ě?şëŻž), ě?—맣 ě˜ŞěŒ‚(lenggang rotan , î’šě•Šî’’î‹’), ě—Šěą ěŒ†ě?ş(lompat tali , 몎줊훒띌믞), í”&#x;ë§Žěˆž 쌒ힿ(ngadu muncang , 몎줂 í?‚잲 발믞), 츪핹 ěšžëšť(panjat pinang , 믞ě?’í°ŽîŒŞ ěƒŽëšŚě¤‚ í•łěƒŽ í?şě•Šë§ŽěťŞ 읎줊 싞믞), 튞찯 않몎(sepak rago , í´˘í´˘ëťŠëšŚě¤‚ ëŤƒí§śëŻž), ěŒ‚ěŠş ě§˘ëšŠíŒ“(tandem bakiak , ë°‚ 뚌잗킎 킎몎 ě°śě?ş 늅믞), í?Ží?&#x; 몜엗 (wayang golek , 핆î?ŁëŻ‡), í?Ží?&#x; 뜎ěž?(wayang kulit , 믆잊핞 핆î?ŁëŻ‡) 슿

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4

ě•Ší?˛í ˛ Lao People’s Democratic Republic

쿌솒 핆돺 쥂í—? ě§Ší˜żëŹşěťż 홓돞 펆펂

ě°’íŽ˘î‚žíŒ– í?‹ 686잚쥓 23.6ěžškm² ě•Ší?˛ě›†(53.2%), í¸şě¤‚í˜ż(11%), îŽ–ě˘‹í˜ż(9.2%), ëŻžíşŽ(26.6%) 쭖돞, 짊맒 홓돞, 맪킎돞 ě•Ší?˛í ˛íŽ‚

Capital Population Area Ethnicity

Vientiane 6.86 million 236,000km² Lao (53.2%), Khmu (11%), Hmong (9.2%), Other (26.6%) Religion Buddhism, Folk, Christianity Language Lao

훊푢 뽎핂 횲잖(chaij nees , 훋잖), 펞(e-pok , 핆î?ŁëŻ‡), íą‚í˝Ž(kator , 슿뚌줂 ëŤƒí§śëŻž), íśž 휯 íśž í¸‚(koom kook koom kuee , 솚 í¨ŒëŻž 뽎핂), ě?ž ěž— 쭎펞(lin maak vue , ěŞ&#x;ě‘Şë˛&#x; 솚ě?şëŻž), ěž–íą‚í?&#x;(makyang , îŒŞě§Ş 쿎알핯믞), ěž–í‘ž í?‚ í‘ž(maw om aw , 욺짪 잚슲믞), ëšťí?&#x;(nangyang , 캖퍍),  ěž–í‘ž íą—(pin maw khang , 콞핯몎 í’žî?Ł 솚믞), 쯚 (pov pa , ěž—ěƒŽ ëŤƒëŻžë˝Ží•‚), 쯚 쯚 (pov pob , ëŤƒ 섌힎믞), 쟆푞 ě•Ší•‚ 쥜푞(seua lai mou , î?†ě•&#x;í•‚ 쇊힎 쿎알핯믞), íŠžíŒ§ěĄş(seuangmohn , ížŽí‘žë§Şě˜Ş îŒŚě ˘ 쿌늂솚ě?şëŻž),  ěž–í•‚(teen mai , ěƒŽëšŚě¤‚ 쒞펂 띌믞), í‘ž 짢쯚 ě˜ŞëŻ†(ua bav loog , 읎 퓒펞읪 쿎알핯믞), 짢í?˛(vao , 펞뚎ě?şëŻž), í•ží•‚ í°Ś(zai qe , 몒앎 쿜믞믞 뽎핂) 슿

5

ěžžě—–í•‚í‚ŞíŒ’ Malaysia

쿌솒 핆돺 쥂í—? ě§Ší˜żëŹşěťż 홓돞 펆펂

íśŽíŒšě•Šě›†î‰†ě?‚ í?‹ 3,162ěžš 쥓

330,252km²

잞엖핂몒(62%), í›&#x;돝몒(22%), 핆솒몒(7%), ëŻžíşŽ(1%), 푆돝핆(8%) í•‚í şě•šëŹž(돝돞), 쭖돞, î•šěˆžëŹž(홓돞플 í•ží“Žě?Š îŽšěŠŁí”Šě˜Ş 썂핳) 잞엖핂펂(ëŤƒí‘ˇíŽ‚), í??펂, í›&#x;돝펂

Capital Population Area Ethnicity

Kuala Lumpur 31.62 million 330,252km² Malay (62%), Chinese (22%), Indian (7%), others (9%) Religion Muslim (official religion), Buddhism, Hinduism (Freedom of religion guaranteed) Language Malay (official), English, Chinese

훊푢 뽎핂 짢쑪 튞ě?’짌(batu seremban , ëŤƒëŻžë˝Ží•‚), 썊않 쯚않파(bola beracun , îŒŠëŹş), 힝쎊(capteh , í—ŞëŻží§śëŻž), 힪ě?ş í¤–í¤–(cari cucu , îŒŽě †ě‚– 콞핞 핯믞 뽎핂), í˘&#x;ë°›(congkak , ěžšíąŠě•Š), 맖않 찲핳(galah panjang , 읎 퓒펞읪 쿎알핯믞), 많팋(gasing , î„‹í•‚í°ŚëŻž), ë­‚ě?ş(guli , ëŹşí şí°ŚëŻž), îŒśěŻšě?‚믆ě?‚(hamburger , 콞 î?’슒먞 뽎핂), íŒ’í•‚í ˛ěžś(iceman , 쿎알핯믞), 밚짢싢(kabbadi , í??펝 힎횲믞), ë˛Śě•ƒě•ƒ(ketingting , ěšşě§ˇí°ŚëŻž), 볞삲 볞싢(konda kondi , ěž—ěƒŽëŻž í°ŚëŻž 뽎핂), 엊첹 믆싞(lompat getah , 몎줂훒띌믞), 튞찯 않많(sepak raga , 슿뚌줂 ëŤƒí§śëŻž), ě‹žě?ť í‘žî…Ś (tarik upeh , í?Ší•žěżŚí•œ 븚믞 뽎핂), ě‘Şěˆł 씲(tudung tin , ěŞ&#x;ě‘Şë˛&#x; í°ŚëŻž), 쑪훊 씲(tuju tin , ëŤƒí”Šě˜Ş íą˘ 줂띖쓜ě?şëŻž), í?Ží‘ž(wau , 펞뚎ě?şëŻž), í?Ží?&#x;(wayang , 믆잊핞 핆î?ŁëŻ‡) 슿

6

짆�잖 Republic of the Union of Myanmar

쿌솒 핆돺 쥂í—? ě§Ší˜żëŹşěťż 홓돞 펆펂

ëť˛îŒŠě†’ 5,337ěžš 쥓 67.7ěžškm² ěŠ’ěž–í˜ż(70%), ě˝šěżŚí˜ż(25%, ěşś, íą‚ě—š, íą‚í°Ş 슿), ëŻžíşŽ(5%, í›&#x;돝몒, 핆솒몒 슿) 쭖돞(89%), 믞솓돞(5%), í•‚í şě•š(4%) 슿 짆í?Žěž–펂(ëŤƒí‘ˇíŽ‚), ëŻžíşŽ 콚쿌펂

Capital Population Area Ethnicity

Neypyidaw 53.37 million 676,578km² Bamar (70%), minority groups (25%), others (5%) Religion Buddhism (89%), Christianity (5%), Muslim (4%), etc.

Language Burmese (official), other minor languages

훊푢 뽎핂 ě§Şě˜Ž 푿(balon pouk , ëŤƒ îŒŠîŒŚëŻž 뽎핂), í ś ě?Ž ě—– ě–ş(chay hter hlay hlaw , íŒ—íŒ’ěťŞ ě°śě?ş ě‚şě?şëŻž), í°Şě˜Ž(chinlone , 슿뚌줂 ëŤƒí§śëŻž), í­† ě‹Ś(chow dine , 믞ě?’í°ŽîŒŞ ěƒŽëšŚě¤‚ í•łěƒŽ í?şě•Šë§ŽěťŞ 밑짪 ě´&#x;믞), ë°ší”&#x; í?ś í••(gaung ohn yite , 믞ě?’í°ŽîŒŞ ěƒŽëšŚě¤‚ í“’ ěŠŽë§Şíƒ†í’Ž), 븒풜 펺 ě?žíŽž(gway yar htoe , ëŹşí şí°ŚëŻž), ě?&#x; í‹ś ě?ž(htoke see toe , 읎 퓒펞읪 쿎알핯믞), 뚊í?? î…Ś íˇ (kyat phe khut , íŒ—íŒ’ěťŞ 뽆알쭎ě?‚ě ž 늜욜믞), ěšş í – (lun swe pwe , 훒삲ě?şëŻž),  í´Ś(phan khone , îŒŞě§Ş ë˝ í•‚ě’žëŻž), í –í’ś íˆś í”&#x;푢(shwe sun nyo , ëłşě?şí•ŻëŻž), íˆś (soon hult , 펞뚎ě?şëŻž), í‘ľ ě“śí’ś(yoke thay , 핆î?ŁëŻ‡), í•ž 벊, 탆 벊 픊퓉 (za kaw , sa gaw ywet , ěƒŽëšŚě¤‚ 짢돺삖 핂몎 ě‚şě?şëŻž) 슿

20

7

ě?şîŒŽ Republic of the Philippines

쿌솒 핆돺 쥂í—? ě§Ší˜żëŹşěťż 홓돞 펆펂

ěž–ě‚žě•Š 1펃 490ěžš 쥓

300,400km²

잞엖핂몒많 í›Ší•†í™“í•‚ě ž í›&#x;돝, 짆돝, í ˛î…Śí•†ëŞ’ î?Šî?– 삲쿌 튪훊돞(83%), 맪킎돞(9%), í•‚í şě•šëŹž(5%), 쭖돞 ě§? ëŻžíşŽ(3%) í??펂, íşŽë§–ě˜ŞëŻ†íŽ‚

Capital Population Area Ethnicity

Manila 104.9 million 300,400km² Malay (majority), many Chinese, American, and Spanish people of mixed blood Religion atholicism (83%), Protestantism (9%), Muslim (5%), Buddhism and others (3%) Language English, Tagalog

훊푢 뽎핂 팒많í?’ ě­Ží´˘(agawan buko , ě­Ží´˘ í?‚ěž˛ě˜Ş îŒŚě ˘ ě–ťě°’), 삲잖(dama , íŞ‚í˛˛í ˛), ëŹşěœŞ(guryon , 펞뚎ě?şëŻž), îŒśîƒší ˛ îƒ˘ě•Ší‘Ł(hampas palayok , 솒핞믞 ë°śě“śě?şëŻž), î?Žě?†(holen , ëŹşí şí°ŚëŻž), íą‚ě—–ě•Š í”&#x; 짢í?‡ ěş?í´˘(karera ng baong sangko , í´˘í´˘ëťŠ 벛섞믞 짭몎 ě°śě?ş 늅믞), 욡콯 íƒ†í´˘ / ě‹żěŤ‚îŒŞ 탆 íƒ†í´˘(luksong sako / takbuhan sa sako , î†şěƒŽ 핓몎 ě°śě?ş ě‚şě?şëŻž), 욡콯 î‚žě‚—(luksong tinik , í•łíŒŽě¤Š 쒞펂띌믞), îƒšě°’îƒ‚(pabitin , 읎줊 싞믞), îƒ˘ě˜Ş 쟆썂(palo sebo , 믞ě?’í°ŽîŒŞ ěƒŽëšŚě¤‚ í•łěƒŽ í?şě•Šë§ŽěťŞ 읎줊 싞믞),  ěŽŠě˜Ş(patin tero , 읎 퓒펞읪 쿎알핯믞), 뿓(punnuk , 훒삲ě?şëŻž), í‚Şîƒš(sipa , í—ŞëŻží§śëŻž, ěŠżëšŚě¤‚ëŤƒ í§śëŻž), ěżťíą‚(sungka , ěžšíąŠě•Š), 않솒(tirador , 캖퍍), 웆(trumpo , î„‹í•‚í°ŚëŻž), 솢짡 엖콚 / 짢(tumbang preso / tumba í şě?şî…Š ë°Żížƒ 잏믞) 슿

8

킿많� Republic of Singapore

쿌솒 핆돺 쥂í—? ě§Ší˜żëŹşěťż 홓돞 펆펂

킿많� � 561잚 쥓

718km²

í›&#x;돝몒(74%), 잞엖핂몒(13%), 핆솒몒(9%), ëŻžíşŽ 쭖돞(33%), 믞솓돞(18%), í•‚í şě•š(15%), 솒돞(11%), î•šěˆžëŹž(5%) 슿 í??펂(37%), îˆŞí›Ží›&#x;돝펂(36%), 잞엖핂펂(11%), íşŽě§ŽíŽ‚(3%)플 4맪 ëŤƒí‚ŤíŽ†íŽ‚ ě§? ëŻžíşŽ 펆펂

Capital Population Area Ethnicity

Singapore 5.61 million 718km² Chinese (74%), Malay (13%), Indian (9%), others (3.3%) Religion Buddhism (33%), Christianity (18%), Muslim (15%), Taoism (11%), Hinduism (5%) Language English (37%), Mandarin (35%), Malay (11%), Tamil (3%) and other languages

훊푢 뽎핂 íŒ’ěˆž ě?ş íŒ’ěŒŽ(aadu puli attam , 썂슪늚핒), 짢쑪 튞ě?’짾(batu serembat , ëŤƒëŻžë˝Ží•‚), 힝쎊(capteh , í—ŞëŻží§śëŻž), í˘&#x;ë°›(congkak , ěžšíąŠě•Š), 많팋(gasing , î„‹í•‚í°ŚëŻž), 몜ě?ş 찲핳 (goli panjang , ëŹşí şí°ŚëŻž), 뜆씎 뜆씎(kuti kuti , ě‹żížŽí°ŚëŻž), 잖핆 ě?‚ě?—(main lereng , 핞헒먞 ě§˘í¸‚ ë­‚ě—?잎 ë­‚ě?şëŻž), ě°śě•&#x;í‘ží•‚(pallanguzhi , ěžšíąŠě•Š), ě°Žě•Šěž–ě°Žěƒ‚(paramapadham , 쨎훊욺퓒 뽎핂), ěź†îƒ›íşŽí¸şě˜Ş(sepaktakraw , 슿뚌줂 ëŤƒí§śëŻž), í˝Ż íą‚(tok kah , 쿎알핯믞), ě§˘ëšŚě§˘í ˛(vanavaas , ě•Šěž–í?ŠëšŚ 썂슪늚핒) 슿

9

íşŞëŹť Kingdom of Thailand

쿌솒 핆돺 쥂í—? ě§Ší˜żëŹşěťż 홓돞 펆펂

ě§ˇí´Ł í?‹ 6,904ěžš 쥓 51.3ěžškm² íşŽí•‚í˜ż(85%), î?˘ëŹž(12%), ěžžě—–í•‚(2%) 슿 쭖돞(95%), í•‚í şě•š(4%), 믞솓돞(1%) íşŽí•‚íŽ‚(ëŤƒí‘ˇíŽ‚), í›&#x;돝펂, 잞엖핂펂

Capital Population Area Ethnicity

Bangkok 69.04 million 513,000km² Thai (85%), Thai Chinese (12%), Malay (2%), etc.

Religion Buddhism (95%), Islam (4%), Christianity (1%) Language Thai (official), Chinese, Malay

훊푢 뽎핂 짢 íą— í?˛(ba kang wo , ěƒŽëšŚě¤‚ î„‹í•‚í°ŚëŻž), í´łíťž ěž–í•‚ 핂(copter mai pai , î‹’ě˜Şî…Žě–ş 솚ě?şëŻž), ě„Ś ë°š ě•Š(dern ka la , í´˘í´˘ëťŠ 벛섞믞 짭몎 ě°śě?ş 늅믞), ë°Ş 줆(gam moon , î‹’ě˜Şî…Žě–ş 솚ě?şëŻž), î’– 븒않 슓(hoon kra bok , 핆î?ŁëŻ‡), 횲 ěž– ë°ž 븚욜í?Ží•‚(khee ma karn kluay , 짢뚌뚌 í•œěƒŽě˜Ş 잚슎 ěžžíşŽëŻž), 븒않솙 íŻŽíŒ“(kradod chuek , 몎줂훒띌믞), ě—š í?Ží‘ž(len wow , 펞뚎ě?şëŻž), ě–ş ëłž í¸şě˜Ť(lor kon krok , í´˘í´˘ëťŠ ëŤƒ ë­‚ě?şëŻž), ěž— í´˛(mak khom , ěžšíąŠě•Š), 잗욡(makruk , íşŞëŹť íŞ‚í ˛), 쥺 í„ş (mon son pa , í?…í”Šě˜Ş 쿌늂솚ě?şëŻž), ëšť 싞웋(nang talung , 믆잊핞 핆î?ŁëŻ‡), í”&#x;í‘ž 뚎 îŒť(ngoo kin hang , 쨎 ëłşě?ş 핯믞), 츪 ë°ž 븚욜í?Ží•‚(peun karn khuay , 짢뚌뚌 í•œěƒŽě˜Ş 잚슎 퍍뽎핂), ě?ş ě?ş íą‚í?˛ ěšž(ree ree khao sarn , íŒ’í°Ś 줆 ěšşí•‚ě˜Ş ížƒëŤŠîŒŚëŻž), ě‹ží‘ž ë°šě•Š(tao kala , í´˘í´˘ëťŠ 먞ě­?í•‚) 슿

21

10

슎뚜 Socialist Republic of Viet Nam

쿌솒 핆돺 쥂í—? ě§Ší˜żëŹşěťż 홓돞 펆펂

îŒŚë˝†í•‚

9,554ěžš 쥓 330,341km² ě°’íŽąí˜ż(86%) 푆 53맪 ě˝šěżŚě§Ší˜ż 쭖돞(12%), 튪훊돞(7%) 슿 슎뚜펂(ëŤƒí‘ˇíŽ‚)

Capital Population Area Ethnicity

Hanoi 95.54 million 330,341km² Vietnamese (86%), 53 minority groups Religion Buddhism (12%), Catholicism (7%), etc.

Language Vietnamese (official)

훊푢 뽎핂 짾 잊 짾 í—Ş(bit mat bat de , í?Šě˝ší•ŻëŻž), í ší•‚ í¤–íŽ˘(choi chuyen , íźšě‚–í ˛ëŤƒ 섌힎몎 ěž—ěƒŽí•ŻëŻž), 벊 í”&#x;펂핂(co nguoi , 핆맒 핳믞), 벎 ëś†íŒ’í•‚(con quay , î„‹í•‚í°ŚëŻž), 삲 ëłşí‘ž(da cau , í—ŞëŻží§śëŻž), 삲핗 ěˆž(danh du , ěƒŽëšŚě¤‚ 믆띲), 섢푞 슼(dau vat , 헒힃 í‹śě?’), 많 í ší•‚(ga choi , íżşëŞ’), 벌í?˛ 벊 (keo co , 훒삲ě?şëŻž), 벌푞 븒펂 ě?‚펂 ěş–(keo cua lua xe , 뚌줂 íłŞě ˘ 뽆알), ě ˘í‘ž ěˆží?˛í•‚ í¤–í?… (meo duoi chuot , 몎í?&#x;í•‚ 휞 뽎핂), 줂펂 ě˜Şí•‚ ě žíŽƒ(mua roi nuoc , 쿌ěş? 핆î?ŁëŻ‡), ëź‚ 벎(nem con , í‚ŽěťŽîŒŞ ëŤƒ 섌힎믞), ëşží•‚ 탗(nhay sap , ěƒŽëšŚě¤‚ 띌믞), ëż’ 뚌 뽆 ë˝›(nu na nu nong , 솧푢 ě­Žě?‚믞), í?˛ 팖 ë´š(o an quan , ěžšíąŠě•Š), íşŽ 힎펞푞(tha dieu , 펞뚎ě?şëŻž), íşŽí•‚ 삲(thay da , ëŤƒëŻžë˝Ží•‚), î‚ž í˝Ží•‚ 벚(thi thoi com , 짳 힥믞 뽎핂) 슿

Chapter 1

돝몋픒 띌픎 헒힃, íŒ’ěź†íŒ– 뽎핂

Nori Across ASEAN

돝몋픒 퍖풢î?‚ íŒ’ěź†íŒ– 힎펝펞 ëťžě?ş î…Ší˜†í•–ě ˘ ěƒŽîˆŞí—?핆 뽎핂슲픒 ě˝šë§ŞîŒŞě‚˛.

An introduction to nori that are commonly found in ASEAN

23

ëŤƒ 섌힎믞

Ball Tossing

íą’ěŤ‚ě‹˘íŒ’íŽžěťŞě ˘ 슒 íŻŽí’“(bos chhoung),

ě•Ší?˛í ˛í?Ž íşŞëŹť 슿힎펞 î…Ší—Ží•–ě ˘ ě˘‹í˜żěŠ˛ ěšşí•‚íŽžěťŞě ˘

쯚 쯚(pov pob), ěŠŽî‚†ëšśíŽžěťŞě ˘ ëź‚ 벎(nem con) í•‚ě•Š ě­–ě?şě ˘ ë˝Ží•‚ě˜Ş ě†§ëšśíŒ’í‚ŞíŒ’ ěƒŽěœ§ëŤŠ ëšśí›&#x;돝 슿힎펞 î…Ší˜†í•–ě‚˛. 뽎핂플 퓎알펞 ěƒŽî?‚ěťŞě ˘ 쥓î?Łî•– 짍î?Žíž’ 짢많 펔픊뚌, ěƒŽë§Ş 뽛욺플 í‚Şí•&#x;í”’ 팚ě?şě ˘ 썒 í­Łí—Ş ěŒšëšŚ í‚Žëź’í”’ í­ŁîŒŚîŒŚě ˘ î?—ěšş ěŒš

îŒŚě ž, 헒킇 힎펝플 쭒많 쿌솒몋í•&#x;(ĺŽ?ç?§ď‘“⥲)

힎펝덊 펞덎읿핂 ë°˜ě‚˛ě ˘ 펞돺 뺂푡핂 í—’î?‚힒삲. ëŤƒ 섌힎믞 ë˝Ží•‚ě ˘ ěƒŽě­Žě­’í”Ś 힎펝펞읪

늞î?Ší•‚뚌 í?‹î?Š 콛덊 짎í—&#x;îŒŞ 펞덎읿픒 많힒삲. ěŒšě¤†íŽž 퓎쭎럎í?Ž 덊쭎 슿플 í¨†íŽşě?Š í—ŞîŒŞîŒŚě ˘

í™“í˜żě†’ 핖삲. 뽎핂펞 í¨†íŽşîŒŞ 짆î?ŠëšśëźŽě ˘ ëŤƒí”’

í›ŠëŞŽě§Ší”Šě ž ëŹşíŒŽí”Ś í‚Žî?†ě?Š ěŤ‚ëş‚ě ˘ě„ž 믆 í‚Žî?†ě ˘

힎펝덊 í™“í˜żíŽž ě‹žě•Š 삲ě?‚뚌 ěƒŽë§Ş ěş?ěƒŽě?Š 짢뜆힎

íŒ˜ëŞŽ 몒콛î?‚읪 ëŤƒí”’ ě„ŚížŽě ˘ 뚜럎많 캍밆 ěŒš, î?‡í”Ž

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ëšśěťżí•‚ 잖픚펞 ěŠŞě ˘ 펺읿펞늚 힎콛í—?í”Šě˜Ş ëŤƒí”’

íşŞëŹť ě˘‹í˜żí”Ś ëŤƒě„ŚížŽëŻž 뽎핂, 쯚쯚

The ball tossing nori which is called bos chhoung in Cambodia, pov pob among the Hmong People in Laos and Thailand, and nem con in Vietnam, is widespread across continental Southeast Asia such as Cambodia, Laos, Thailand, and Vietnam as well as Southern China. The exact origin of this nori is unknown however, it is often played during the spring festival that marks the start of the farming season.

There are researches that trace the roots of this game to the rice paddy farming region.

Ball tossing nori are often strongly related to the marriage and courtship cultures of the region. That is why married women and widows are prohibited from playing in some cultures. The participating unmarried youth toss the ball to each other to send signals of affection. It is

Ball tossing nori of the Thai Hmong people, pov pob

ě„Śí˜† 펺읿핂 섢핂ěş? ëŤƒí”’ 쇌솚엲훊힎 팘픒 ěŒš

ëŹşíŒŽíŽž ěťżëŤƒîŒŞ ëŠ‘í”Šě˜Ş 펺늜힒삲. ě§ŚěƒŽě˜Ş 펺읿핂 짊픎 ëŤƒí”’ ě?śíŽ‚ě“śě?şěĄ‚ ëŹşíŒŽě?Š ë¨žě­ŽîŒŚě ˘ ëŠ‘í”Šě˜Ş 썆삲.

ě˘‹í˜żí”Ś ëŤƒ 섌힎믞 뽎핂 쯚 쯚(pov pob)ě ˘ 뚜읿덊 펺읿핂 픒 뚌뿒먞뚌 1ěƒŽ 1ě˜Ş

잖훊 썂몎 읪읪 ëŤƒí”’ í›ŠëŞŽě§Šě ˘ ě§ˇí‚Ťí”Šě˜Ş íž’î?—쇪삲. 펺읿픎 잏픎 펞 í•–ě ˘ 펺읿 î?‡í”Ž 뚜읿펞늚 ëŤƒí”’ ě„Śíž– 쿌 핖픊뚌, 뚜읿픎 펺읿펞늚잚 ëŤƒí”’ ě„Śíž–

쿌 í•–ě ˘ ëŽŞí°§í•‚ 핖삲. ě?žîŒŞ 맧픎 ě­Ží˜żíŽžëŠšě˜Ş ëŤƒí”’ ě„ŚížŽě ˘ 늑픎 ëŻ–ëŻží‚ŞîŒŚě ˘ě„ž, í•‚ě ˘ ě˘‹í˜żí•‚ 맧픎 ě­Ží˜żëŤŠ 늞î?ŠîŒŚížŽ íŒ˜ëŻž ěŒšě¤†í•‚ě‚˛.

ëŤƒ 섌힎믞 ë˝Ží•‚ě ˘ ěšşě•&#x;플 뽆알ě?Š ě†§ě§ŚîŒŚě ˘

몋푞많 ěžœí”Šě ž, 짌엲핞 ěťŽíşŤí”Ś 쥡í—?í”’ ë§ŽížŽě ˘ 늑핂 핊짌í—?핂뚌, 쪎î?Łě‡Ş î?ŁíşŞě˜Ş 힎콛쇌믞솒 îŒŞě‚˛. í•Šě­Ž ížŽíŽťíŽžěťŞě ˘ 뽛욺플 í‚Şí•&#x;í”’ 팚ě?şě ˘ í­Łí—Ş ěŒš 럒픒

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ëŻží’žîŒŚě ˘ í”Śě§†ě˜Ş ëŤƒí”’ ě„ŚížŽě ˘ě„ž, í•łěƒŽ 븍펞 잲펂 ě‚ś 몎ě?şíŽž 튝럒 îƒŽëŤŠ 튌럎  í›&#x;펞읪 ě Ší—Ž ëŤƒí”’ 띹픎 핂 í•‚ëŻžě ˘ ě§ˇí‚Ťí”Šě˜Ş íž’î?—쇪삲. 슎뚜 ě‹ží•‚í˜ż(Tay people)플 킎럒헪많 í•‚í?Ž 맧픎 î?ŁíşŞě˜Ş íž’î?—쇪삲.

덊먞í?Ž ě‚şě?ş ëŤƒ 섌힎믞 뽎핂펞 밑슎 ëŹşíŒŽí”Ś

읿늡픎 í?˛ě ŚëšŽ ěžœí•‚ íż‚ěş—ě‡ŚíŽ–ëŞŽ, 뽎핂펞 ěšşí‘ˇîŒŚě ˘ ëŤƒ ě?žîŒŞ 쥓훊뚌 ě°’ě‚śí”Šě˜Ş 잚슎 ëŤƒí•‚ íŒ’ě‚š, íźšě‚–í ˛ ëŤƒ ěŠżí”Šě˜Ş ěƒŽíŞ‚îŒŚëŞŽ 핖삲.

í¨†ëŞŽ 콚푞많í?Ž 튞띲í?˛ 『뽎핂플 íŽťěšşě§Ší˜żîŒ§ă€?, 짊콛풞, 2005 슎뚜 덎ëŤ&#x;튝

different in each ethnic group, but it is generally considered a success when a couple tosses the ball only to each other, or when a girl no longer returns the ball after the boy tosses it to her many times.

However, it is considered a rejection if a girl drops a ball that is thrown well.

The girls and boys of the Hmong people play pov pob by standing in two rows facing each other. The girls are allowed to toss the tall to another girl, but the boys are only allowed to toss the ball to girls. Also, it is taboo to toss the ball to a member of the same clan, because the Hmong cannot marry within the same clan.

Ball tossing games are often accompanied by singing, and are mostly played for the purposes of courtship, however there are other variants of the game. In some areas, it is played to wish for a good year of harvest at the festival marking the start of the farming season, and the team of either girls or boys that throws the ball into a ring tied to the top of a pole wins. The Tay People of Vietnam celebrate their New Year with this game.

Nowadays, the courtship aspect of the game has faded somewhat, and the traditional cotton or silk balls are replaced with tennis balls.

슿뚌줂 ëŤƒí§śëŻž

Rattan Ball

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ěžžě—–í•‚í‚ŞíŒ’í”Ś ěŠżëšŚě¤‚ëŤƒí§śëŻž, ěź†îƒ›íşŽí¸şě˜Ş

Malaysian rattan ball nori, sepaktakraw

슿뚌줂 ëŤƒí§śëŻžě ˘ íą’ěŤ‚ě‹˘íŒ’, í•†ě†’ëť˛í‚ŞíŒ’, ě•Ší?˛í ˛, ěžžě—–í•‚í‚ŞíŒ’, 짆í?Žěž–, íşŞëŹť, 슎뚜픒 ě°’ě˜˝îŒŞ

ě†§ëšśíŒ’í‚ŞíŒ’ 헒펝펞 ëťžě?ş î…Ší˜†í•–í”Šě ž, 힎펝펞 ě‹žě•Š 뽎핂플 í•‚ě?’덊 짡킍핂 삲ě?‚늚 ëšŚíşŽëšŞě‚˛. 뽎핂플

î?Łí‚Ťí”Ž 짪덊 ě †ě?şě?Š 욺푡î?‚ í?˛ě•šě†§íŒ– ëŤƒí”’ î ŽëŠś 믆 ěżší•žě?Š ěź†ě ˘ 섞읪 í“Žě•ŚîŒŚí?Žě‚˛.

í•‚ 뽎핂플 í•‚ě?’픎 힎펝펞 ě‹žě•Š 삲í?&#x;îŒŚëŠš

ëšŚíşŽëšŚě ˘ě„ž, 쯚욜뚌핂 ě‚˛ěšśěş‚ě•šíŽžěťŞě ˘ 튞찯

ě‹ží¸şě˜Ş(sepak takraw), í•†ě†’ëť˛í‚ŞíŒ’íŽžěťŞě ˘ 튞찯 않몎(sepak rago)ě˜Ş, 짆í?Žěž–íŽžěťŞě ˘

í°Şě˜Ž(chinlone) ěŠżí”Šě˜Ş í°ťîŒŞě‚˛. 뽎핂플 ěĄśí‚ƒí”Ž 솒돺ě?Š í§śě ˘ 짡킍펞읪 ě?şîŒŽí”Ś í‚Şîƒš(sipa)í?Ž 슎뚜플 삲 ëłşí‘ž(da cau)í?Žě†’ í“ŽěšşîŒŚě‚˛.

헒힃í—?í”Šě˜Ş ě•Ší?˛í ˛íŽžěťŞě ˘ íą‚í˝Ž(kator),

ěžžě—–í•‚í‚ŞíŒ’íŽžěťŞě ˘ 튞찯 않많(sepak

Rattan ball nori are common across Southeast Asian countries including Cambodia, Indonesia, Laos, Malaysia, Myanmar, Thailand and Vietnam, however the way they are played differs from region to region. It is said that the original game was played by using the head or feet to bounce the ball as many times as possible while counting the number of bounces.

The names of this ball are different in each country, it is called sepak takraw in Brunei Darussalam, sepak rago in Indonesia, and chinlone in Myanmar. The Vietnamese da cau , and Filipino sipa , are also in the same family in the way they are played. Traditionally, the nori is called kator in Laos, sepak raga in Malaysia,

raga)ě˜Ş, íşŞëŹťíŽžěťŞě ˘ íşŽí¸şě˜Ş(takraw)ě•Š 쭖엎픊뚌, 핂슲 3맪돝덊 킿많ě?‚ě?Š î†şîŒśîŒŞ 4맪돝픎 1965럒펞 헣 ëŤƒë˝Ží•‚í”Ś ěĄ“í°ťí”’ ď˜Śěź†îƒ›íşŽí¸şě˜Ş(sepaktakraw)ď˜§ě˜Ş í—ŁîŒŚëŞŽ 몋믞플 ëŽŞí°§í”’ îŒˇí”ŚîŒŞ 짢 í•–í”Šě ž, ď˜Śěź†îƒ›íşŽí¸şě˜Şď˜§ě ˘ 1990ëź’ í•‚î’’ íŒ’í‚ŞíŒ–ëŠší•’ í—Łí‚Ť í™“ěĄˇí”Šě˜Ş 򔪍쇌펖삲. 펺믞읪 ď˜Śěź†îƒ›(sepak)ď˜§í”Ž ěžžě—–í•‚í‚ŞíŒ’íŽ‚ě˜Ş ď˜Śí§śě‚˛ď˜§ě?Š, ď˜ŚíşŽí¸şě˜Ş(takraw)ď˜§ě ˘ íşŞëŹťíŽ‚ě˜Ş ëŤƒí”’ í”Śě§†îŒŞě‚˛. 훊푢 뽎핂솒돺핆 ëŤƒí”Ž 슿뚌줂 î?‡í”Ž í´˘í´˘ëťŠ

뚌줂플 í•œëŤŠ 훒믞 슿픒 ě˝ží”Šě˜Ş ëŹží§śîŒŚíŽş 잚슎삲.

ěƒŽë§Ş 핞펞 슿뚌줂 ëŤƒí”Ž 9맪펞읪 11맪플 í›’ě˜Ş 펟펂 ěžšěŠ˛ě ž, ëŤƒí‚Ť 홓쥡핆 ěź†îƒ›íşŽí¸şě˜Şí”Ś ëŤƒí”Ž 12맪플

ëŹşě ›ëŤŠ 20맪플 ëŹží§śí—ží•‚ ěşŤëŻžě†’ě˜Ť 펟펂 잚슎삲.

íŹŞëŻŠíŽžě ˘ í•†í˜žěťşí“Ží?Ž î‹šě•Ší ˛î‚ż 콚핺ě?Š ěšşí‘ˇîŒŚëŻžě†’ îŒŞě‚˛. 뽎핂플 짡킍픎 í¸şëŠš 몋믞, 뽎핂, î…Šî†şě Ší ˛ě˜Ş 뚌쀪삲. ď˜ŚëŞ‹ëŻžď˜§ě ˘ 짞돺튌엊 ëŤƒí”’ ě§Şě˜Ş í§śěťŞ

ě§ŚěƒŽî†† ëŹşíŽťí”Šě˜Ş 띌믞몎 헞쿌ě?Š íŽ‰ě ˘ ě§ˇí‚Ťí•‚ě ž,

ď˜Śë˝Ží•‚ď˜§ě ˘ ě†šíŒ’ë§Žě ž ëŤƒí”’ ě†“î‚‡îŒŞ ëŻžěżŽě˜Ş í›ŠëŞŽě§Šě ˘ 핊홓플 í­˛ëŤŠ í“ŽěšşîŒŞ 짡킍핂삲. ď˜Śî…Šî†şě Ší ˛ď˜§ě ˘

í°Şě˜Ž(chinlone)플 íşŽîƒžě‚˛í•—(tapandaing)덊

맧핂 î?Žě˜Ş 죌믞ě?Š ě­Žě?şě ˘ 짡킍핂삲. ë˝Ží•‚ě ˘ í›Šě˜Ş

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ěšşë§?î?Ł î?‡í”Ž í’žî?Ł î‹’ě—–í•’ íŒ–íŽžěťŞ 핂욜펂힎몎, îŒŞěĄ“ î?‡í”Ž 쟆 쥓펞읪 펺읽 쥓플 욺앚슲핂 ëŤƒí”’ í§śě ž í›ŠëŞŽě§Šě ˘ě‚˛.

ëŤƒí§śëŻžíŽž í¨†íŽşîŒŚě ˘ 욺앚슲플 읿쪒덊

íŽžě˜‡í°ƒí”Ž 삲í?&#x;îŒŚě ž, 욺앚슲픎 헣 î?—ěšşí?Ž

í­Łí—Şěśžěžš íŒ’ě‚–ě•Š í•Šěş?캍î?Ş ě˝›íŽžěťŞě†’ 핳콚펞

ëŹşíŒŽě§ŠížŽ íŒ˜ëŞŽ ëŤƒí§śëŻžě?Š í•ží“Žě˜ťëŠš í?žë°‚삲. ë§?

ëšŚě•ŠíŽžěťŞě ˘ ëŞŽí“ŽîŒŞ 펝욺í?Ž 읿픒 힎삚 핞돝플

ëŤƒí§śëŻž 뽎핂줆î?˘ě?Š 짪헒킪횲몎, í—’í‚‡îŒŚě ˘ ě„ž ěžœí”Ž 뽆엳픒 믞풆핂몎 핖삲.

and takraw in Thailand however, these three countries and Singapore came to an accord to call the game sepaktakraw , as well as establish the rules of the game in 1965, and it became an official sport in the 1990 Asian Games. Sepak means ď˜Śto kickď˜§ in Malay, and takraw means ď˜Śballď˜§ in Thai.

The ball which is the main tool of this nori is usually made by hand weaving rattan or coconut leaves and stalks. Balls made of rattan are usually woven with 9 or 11 strands, and the official ball for sepaktakraw is woven to form 12 holes, and 20 intersections. More recently, they are made with synthetic fiber and plastic. The way the nori is played can be categorized into sport, nori, and performance. The ď˜Śsportď˜§ is played like volleyball, with the ball kicked to either sides of the net; the players walk in circles to engage in the ď˜Śnoriď˜§ style by kicking the ball to each other using various techniques in dance-like movements; and finally, the ď˜Śperformanceď˜§ aspect refers to nori like the chinlone tapandaing , in which one person performs elaborate tricks alone. This nori is most commonly played in a circular or square shaped court alone, or among 3, and even up to 6 people kicking and passing the ball to each other.

The age and gender of the players may vary, and it is enjoyed not only on special occasions but whenever players can find the time and place. Each country is making great effort to develop and maintain its heritage of the rattan ball nori.

í¨†ëŞŽ ěƒŽîŒŞěź†îƒ›íşŽí¸şě˜Ş î?&#x;î‘š

Olympic Council of Asia Crego, Robert, Sports and Games of the 18th and 19th Centuries , Greenwood Press (CT), 2003 www.aseantourism.travel www.indonesiantraditionalgames.wordpress.com

ěŠżëšŚě¤‚ě˜Ş 잚슎 ëŤƒ

Rattan balls

펞뚎ě?şëŻž 펞뚎ě?şëŻžě ˘ 짢앚픒 핂푡î?‚ îŒŚě Ś ë˝ í•‚ 펞픒 ě”’í‘žě ˘ ë˝Ží•‚ě˜Ş 쯚욜뚌핂 ě‚˛ěšśěş‚ě•šíŽžěťŞě ˘ 뚊뚋(kikik),

í•†ě†’ëť˛í‚ŞíŒ’íŽžěťŞě ˘ ě•Ší?&#x;(layang), ě•Ší?˛í ˛íŽžěťŞě ˘ 짢í?˛(vao), ěžžě—–í•‚í‚ŞíŒ’íŽžěťŞě ˘ í?Ží‘ž(wau),

짆í?Žěž–íŽžěťŞě ˘ íˆś (soon hult), ě?şîŒŽíŽžěťŞě ˘ ëŹşěœŞ(guryon), íşŞëŹťíŽžěťŞě ˘ ě—š í?Ží‘ž(len wow),

ěŠŽî‚†ëšśíŽžěťŞě ˘ íşŽ 힎펞푞(tha dieu)ě˜Ş ě­Žě?†ě‚˛. ëŞŽěƒŽ í›&#x;돝덊 믆ě?şí ˛í”Ś ëŻžě˜ŤíŽžěťŞ 믞풞픒 í¨ŒíŒ’ěŤŠ 쿌 í•–ě ˘

펞뚎ě?şëŻžě ˘ 뚜럎뽆콚많 í?žëŻžě ˘ 썂í—?핆 뽎핂줆î?˘ í›&#x; îŒŚëšŚě˜Ş íŒ’ěź†íŒ– í—’ 힎펝펞읪 짪늺쇪삲. íŒ’ěź†íŒ–í”Ś 펞픎 힎펝덊 î?ŚëŞ‹íŽž ě‹žě•Š ëŞŽí“ŽîŒŞ 줆î?˘ě?Š 짌í??îŒśëŤŠ

솧킪펞 펞플 î?ŁíşŞí?Ž 줆í?&#x;, 뚎ě?şě ˘ 핳콚í?Ž 킪믞펞읪 퓎욺읿덊 í§śí•‚í—ží•‚ ëšŚíşŽëšŞě‚˛.

펞픒 뚎ě?şëŻžíŽž í—?îŒˇîŒŞ í•łě˝šě ˘ 펞훒픒 밆늚 

쿌 핖몎 í•łíŒŽě¤Ší•‚ íŽ”ě ˘ ëŤ í•‚ě‚˛. íŒ’ěź†íŒ– ížŽíŽťíŽžěťŞě ˘ ěş–î?‚ î?‡í”Ž 뽛욺튎핂 í‚Şí•&#x;쇌먞뚌 í­˘ěżŚë§Ž ë¸ŤëšŚě ˘

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킪믞 슿 ížŽíŽťěŞ’ě˜Ş í›&#x;í‘˘îŒŞ î?—ěšşí?Ž í­Łí—Şë§Ž í?‚ě?şě ˘ 킪믞펞 펞픒 뚎ě?şě ž, í›Šě˜Ş 쥺쿪(monsoon)덊

맧핂 짢앚핂 ěžœí•‚ ě­Žě ˘ 몒헖펞 î?‚íŒ–ížŽěƒŽíŽžěťŞ 펞픒 뚎ě?žě‚˛.

íŒ’ěź†íŒ– 힎펝플 펞픎 핞펞줊덊 덎엜쇪

í•‚ě?’í”’ 쭧핂먞뚌 î?ŁíşŞě?Š ěžšěŠŞě ˘ 늑핂 핊짌í—?핆섞, 믆 í™“ěœŚíŽžě ˘ ěş– 쥜í?&#x; 펞, 줊몎믞펞, 퍖캍삺펞,

ě‚˛í•‚íŒ’ěĄşěŠŞ 쥜í?&#x; 펞, 몎í?&#x;핂펞, 뚌찒펞, 많í?˛ě?şíŽž

슿핂 핖삲. 펞플 ěł–ěƒŽě?Š í•‚ěšśě ˘ 캂픎 í›Šě˜Ş ěƒŽëšŚě¤‚ě?Š ěšşí‘ˇîŒŚëŞŽ, í•Ś ěž–ě?† 늑픒 í™?늚 í˘Šë§ŞíŽ‚ î?Şí‘ˇîŒŞě‚˛.

í?–ě?Š 슲펂 ěžžě—–í•‚í‚ŞíŒ’íŽžěťŞě ˘ ď˜Śě­–ěšś ěˆžě?ş(buluh duri)ď˜§ě•Šě ˘ í™“ěœŚí”Ś ěƒŽëšŚě¤‚ě?Š 많핳 ěžœí•‚ ěšşí‘ˇîŒŚíŽş, 킍줊펞 í??î?Ší•‚ 밑슎삲몎 ě§?믞 ěŒšě¤†íŽž î?‚ě?Š î?łî?‚ í•žě•Ž ěƒŽëšŚě¤‚ě?Š 읎î?†îŒŚě ˘ 킃핂 핖삲.

펞뚎ě?şëŻžě ˘ í¸şëŠš ď˜ŚíŽž ë˝ ëŠš 뚎ě?şëŻžď˜§í?Ž ď˜ŚíŽží›’

ë¸˜ëŻžď˜§ě˜Ş 뚌쀪삲. 펞픒 ë˝ ëŠš 뚎ě?şě ˘ 늑핂 펞뚎ě?şëŻží”Ś 믞썆í—?핆 뽎핂 짡킍핂않쥂, ď˜ŚíŽží›’ ë¸˜ëŻžď˜§ě ˘ 펞훒펞 솚많욜, í“Žě?şë§Žěšś, 돺ě?şë§Žěšś 슿픒 펞 읏펂 짪않

ěş?ěƒŽě§ˇí”Ś 펞훒픒 ë¸˜ě ˘ 뽎핂 짡킍핂삲. 펞뚎ě?şëŻžě ˘ 뽛펓덊 î?‚ěş? î?Şě†§í”’ í›&#x;í‚şí”Šě˜Ş îŒŚě ˘ í•Šě­Ž íŒ’ěź†íŒ–

힎펝펞읪 íŒŻí”’ í˘ĄëŞŽ ěŤƒí”’ ëŻží’žîŒŚě ˘ 훊쿎í—? 플짆ě?Š ěş?ížŁîŒŚëŻžě†’ îŒŞě‚˛.

Kite Flying

Kite flying is a nori of which aims to make the kite fly in the wind, and is called kikik in Brunei Darussalam, layang in Indonesia, vao in Laos, wau in Malaysia, soon hult in Myanmar, guryon in the Philippines, len wow in Thailand, and tha dieu in Vietnam.

The kite which can be traced to ancient China and Greece, is enjoyed by everyone, and is commonly found all across ASEAN. The shape, pattern, when and where they are flown reflect the environment and culture of each region.

The best place to fly kites is an open area where the string can be unwound.

They are flown during special occasions and festivals such as the New Year when farming season begins or harvest ends.

They are mostly played along the coastal areas during the monsoon season when it is windy.

The kites of ASEAN are usually named after what they are shaped like, such as bird, fish, crescent moon, diamond, cat, butterfly, and sting ray kites.

The frame is usually made of well dried bamboo split to thin slivers. For example, in Malaysia, a special type of bamboo called buluh duri , is considered the best, and bamboos that are grown towards the ocean are preferred as they believe that spirits dwell in plants.

In general, there are two types of kite flying nori based on the goalˋone is to fly them as high as possible, and the other is to break the string of the kite of the opponent by coating the kite string in a glass or rock power paste. While the first type is the most basic way to enjoy this nori, there is an element of competition to the second type. In some countries there is a shamanistic character to kite flying, especially in fishing and agricultural regions, and are known to draw out bad luck and draw in good fortune.

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ěžžě—–í•‚í‚ŞíŒ’í”Ś 펞뚎ě?şëŻž, í?Ží‘ž

Malaysian kite, wau

í¨†ëŞŽ 핂풓뎪 푆 ëŤƒí—Ž, 『쟆몒플 짊콛줆î?˘ă€?, ěƒŽí?Łěšş, 2003 ë°ŽëŤ&#x;펆, ă€Žě†§íŒ’í‚ŞíŒ’í”Ś 뽎핂ă€?, 짊콛풞, 2004

핆�믇

Puppetry

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íą’ěŤ‚ě‹˘íŒ’í”Ś 믆잊핞 핆î?ŁëŻ‡, í ˛ěŠŻ ě?Ž

Cambodian shadow puppetry, sbek thom

ě†§ëšśíŒ’í‚ŞíŒ’í”Ś 핆î?ŁëŻ‡í”Ž í?–ěżŽě˜Ş 킇î?˘ě‡Ş 뽎핂플

콛읿픒 썂펺훎삲. 펞믇플 ëŤƒíŽží•žëšŚ 핆î?Ł 혞홓핞, 뽎핂 솒돺 í—Şí•&#x;í•žě ˘ ěƒŽě­Žě­’ 몎솒플 믞쿎덊

헒줆읿픒 많힒 힎킍핆핂핞 í•łí•†í”Šě˜Ş ěƒŽí‘žě§Šě ˘ě‚˛. í ˛ěŠŻ ě?Ž(sbek thom)픎 ë§Ží›‹í”Šě˜Ş 잚슎

2m ë˝ í•‚í”Ś 덎헖 íŽ”ě ˘ ëłťěˆžë§?í‚Şě?Š ě†’ëŹşě˜Ş îŒŚě ˘

믆잊핞믇 뽎핂핂삲. í ˛ěŠŻ ě?Ž ëŤƒíŽží”Ž ë­?í›&#x; í­˛ ě§? 많쥂믇덊 îŒśë˛Ś í‚ŽěťżîŒŞ ëŤƒíŽží”Šě˜Ş íŽşëŠśí˜ší”Šě ž,

í¸şě ˘ě?‚ í‚Žëź’ í­Łí—ŞëšŚ í?Łí”Ś íş’ěşŤí•Š, 퓎쥓핆욺플

ëŞ‹í­Łí•Š 슿 1럒펞 3~4î‘š 헣솒잚 ëŤƒíŽžě‡ŚíŽ–ě‚˛. ëŤƒíŽž 뺂푡픎 í¸şě ˘ě?‚í‚Ť ě•Šěž–í?ŠëšŚí•† ěžŠí˛˛(Reamker)ě?Š ě˝ší•şě˜Ş îŒŞě‚˛.

헒힃í—?í”Šě˜Ş 짲í›&#x;펞 뽊핂뚌 íş&#x; 훊쪎플

í?Ší‘†íŽžěťŞ ëŤƒíŽžîŒŚě ž,  í ˛í¸şě?ží”’ ěť˛í°ŚîŒŚëŞŽ í ˛í¸şě?ž 쉲펞 í´˘í´˘ëťŠ 벛힖픒 íşŞí’š í˛˛ě‚˛ě•Ž ě­–í”’ 짍î?Ž

믆잊핞많 í ˛í¸şě?žíŽž ě°’í­žížŽě†’ě˜Ť îŒŞě‚˛. ëłťěˆžë§?í‚Şě?Š

í’Žíž?í•‚ě ˘ 욺앚픎 ëłťěˆžë§?í‚Şě?Š 슲몎 î‚‡í—ŁîŒŞ 솧í•&#x;덊 í ˛íźŤí”’ 썂펺훊믞솒 îŒŞě‚˛. ëŤƒíŽžíŽžě ˘ ěŤ‚ížƒ 헒힃

덎î?’íŒ“ě‚śëŤŠ 2쥓플 돺쿎 í?–ě łí•†í•‚ ě‹žě?†ě‚˛. í ˛ěŠŻ

ě?Ží”Ž í“Žëť˛í ˛í´˘ í•†ěœŚě¤‚î?Łě¤†î?˘í“Žěšží”Šě˜Ş 슿핺쇌펖삲. í?Ží?&#x; 뜎ěž?(wayang kulit)픎 í•†ě†’ëť˛í‚ŞíŒ’

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핞짢읺덊 짪ě?şěťş, 쿌잖않읺, 썂ě?‚띲í?˛ ěťş, 믆ě?şëŞŽ ěžžě—–í•‚í‚ŞíŒ’í?Ž í›&#x;돝 ëšśě­Ž í•ŠěƒŽíŽžěťŞ 썊 쿌 í•–ě ˘ 뽎핂핂핞 í™“îŒˇ í?–쿎핂삲.

í•†ě†’ëť˛í‚ŞíŒ’ í•žě§˘íŽ‚ě˜Ş ď˜Śí?Ží?&#x;(wayang)ď˜§í”Ž

ď˜ŚëŻ†ěžŠí•žď˜§ě?Š, ď˜ŚëśŽěž?(kulit)ď˜§í”Ž ď˜Śë§Ží›‹ď˜§í”’ ě”‰îŒŚě ž, í?Ží?&#x; 뜎ěž?픎 ë§Ží›‹í”Šě˜Ş 잚슎 핆î?Łí”’ í•‚í‘ˇîŒŞ

믆잊핞 핆î?ŁëŻ‡í”’ í”Śě§†îŒŞě‚˛. í›Šě˜Ş 핆솒플 ëŞŽěƒŽ 읪욺킪 ď˜Śěž–îŒŚě§˘ě•ŠíşŽ(Mahabharata)ď˜§í?Ž

ě•Šěž–í?ŠëšŚ(Ramayana)ě?Š ě˝ší•şě˜Ş îŒŚě ž 힎짡잖삲 í”šíŒ“ëŤŠ ëŤƒíŽž 짡킍, í•‚í?ŠëŻž 돺읿플 힣핂 삲ě?‚삲. 핆î?Łí”’ í˜ží™“îŒŚě ž ëŤƒíŽží”’ íž’î?—îŒŚě ˘ ěšşě•ší”’

ď˜Šě‚şě•&#x;(dalang)ď˜Şí•‚ě•Š îŒŞě‚˛. ě‚şě•&#x;픎 핆î?Łí”’

혞홓 ěśžěžš íŒ’ě‚–ě•Š 핆î?ŁěŠ˛í”Ś ěƒŽěšşě†’ 픘혞ě?şě ž, 픚팓 짌훊í?Ž 덊솒 ížŽí‚ŞîŒŚě ˘ í™“îŒˇ í?–쿎많핂핞 ížŽí‚Ťí•†í”Šě˜Ş 펺늜힒삲. í•†ě†’ëť˛í‚ŞíŒ’í”Ś í?Ží?&#x;픎

í“Žëť˛í ˛í´˘ í•†ěœŚě¤‚î?Łě¤†î?˘í“Žěšží”Šě˜Ş 슿핺쇌펖삲.

짆í?Žěž–플 핆î?ŁëŻ‡ í‘ľ ě“śí’ś(yoke thay)ě ˘ 18쟆믞 ěžž í?Łí‚˛ěƒŽí‚Ž í‘ž ě?ž(U Thaw)많 ëŞŽíŒ–îŒŞ 늑핂않 í—’î?‚힒삲. 핆돺플 85% 많얗핂 쭖돞 킎핞핆 짆í?Žěž–펞읪 í‘ľ ě“śí’śě ˘ í›Šě˜Ş 쭎튌플

í•‚í?ŠëŻžě?Š ě˝ší•şě˜Ş ě‚˛ěšśě ž, 쭖돞 돞ě?şě?Š ěť˛îƒšîŒŚě ˘ ëŻžě łí”’ ěƒ‚ěƒ‡î?–삲. 핆î?ŁëŻ‡í”Ś î?Łí‚Ťí”’ 힃î?‚ ěšşě•ší•‚

íž?í—&#x; 쭎튌플 î”—ëş‚ě?Š ëş‚ě ˘ ëŠžě˜Žě?Š  쿌 핖펖섌

Puppetry of Southeast Asia is a type of nori that is elevated to an art form. The performers or the puppetmasters are usually highly trained to have the highest level of technical skills and expertise, and are revered as artisans and intellects.

Sbek thom is performed with nonarticulated leather shadow puppets that are about 2 meters in height. It is considered sacred along with the royal ballet and mask theater. It is performed about 3 to 4 times a year on occasions such as the Khmer New Year, the Monarchď˜§s birthday, and the veneration of prominent figures. The theme is usually the Reamker, the Khmer version of the Ramayana.

It is traditionally performed at night next to rice paddies or around pagodas, with a white screen held up between two bamboo poles, and an open fire of burning coconut peels so that the silhouettes of the puppets can be cast onto the screen. The sbek thom is unique in that the shadows of the puppeteers are also clearly visible. Normally, two vocalists are accompanied by a traditional orchestra. Sbek thom is designated as a UNESCO Intangible Heritage.

Wayang kulit is performed on the Indonesian Java, Bali, Sumatra, and Borneo Islands, Malaysia, and certain parts of Southern China. Wayang means ď˜Śshadowď˜§, and kulit means ď˜Śleatherď˜§ in Javanese, and the two words are put together to form wayang kulit , or ď˜Śshadow puppetď˜§. The theme is usually either a form of the ancient Indian epics, Mahabharata, or Ramayana, and the music, method of performance and plot varies from region to region.

The puppeteer or dalang , not only controls the puppets, but also chants the dialogues, as well as conducts the music and sound effects. The dalang whose role is to deliver the hidden messages of philosophy, moral, and aesthetic values of the performance is considered the intellectual and wiseman of the village, and are respected as the teacher, and political satirist of each community.

핆솒뻲킪팒픦 믆잊핞 핆믇, 퐎퍟 붎잍

Indonesian shadow puppetry, wayang kulit

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쩮빶픦 쿦캏핆믇, 줂펂 옪핂 쁞펃

Vietnamese water puppet theatre, mua roi nuoc

늑핂 í‘ľ 쓜풜많 ëťžě?ş 힎늚 쇪 í•‚í“Ž í›&#x; îŒŚëšŚě˜Ş 봋믞솒 îŒŞě‚˛.

íşŞëŹťí”Ś ëšť 싞웋(nang talung)픎 솧줊플

많훋펞 ëŹşě ›í”’ 뺂먞뚌 핌않읪 잚슎 쥜í?&#x;í”’ í•‚í‘ˇîŒŞ 믆잊핞 펞믇핂삲. 콞헒슿핂뚌 쥜삳쭖펞읪 뚌í?˛ě ˘ ě°Ší”’ 슿힎몎 솒돺슲픒 핂푡î?‚ í’Žíž?핂쥂 íŒŹí”Ś

î?˘ěĄ‚펞 믆잊핞많 ěşŤëŻžě ˘ í’žě?şě?Š í•‚í‘ˇîŒŞě‚˛. ě?žîŒŞ ëšť 싞웋픎 뺂엖핂쟌덊 ěƒŽî?˘, 픚팓핂 펂푞얺힒 í—ŁëŹžîŒŞ í™“îŒˇí?–쿎핂믞솒 îŒŚě‚˛.

슎뚜플 ě†“î‚‡îŒŞ 뽎핂 줆î?˘ í›&#x; îŒŚëšŚí•† 줂펂

ě˜Şí•‚ ě žíŽƒ(mua roi nuoc)픎 ěšşě•ší•‚ 쿌í›&#x;ě¤‚ěƒŽ

쉲펞읪 ěƒŽëšŚě¤‚ě˜Ş íŽžëŠžîŒŞ 핆î?Łí”’ í˜ží™“îŒŚě ˘ î?ŁíşŞí”Ś 핆î?ŁëŻ‡í•‚삲. í•‚ 핆î?ŁëŻ‡í”Ž 슎뚜 ě­?쭎힎펝 î?›îŒŚ

퓎펝펞읪 í‚Şí•&#x;쇪 ëŠ‘í”Šě˜Ş íŒšě—˛í˜† í•–í”Šě ž, 뽊뽛욺 줆î?˘í?Ž 덎엜핂 반픎 ëŠ‘í”Šě˜Ş íŒšě—˛í˜† 핖삲. ěŤ‚ížƒ 읲뚎핂뚌 쥓헖 슿 î‚‡ěŞ’îŒŞ 뚎펞 ëŤƒíŽžě‡ŚíŽ–í”Šě ž,

뽆알í?Ž í­˛, ěƒŽěšşë§Ž 펂푞얺힒 í™“îŒˇ ëŤƒíŽží?–쿎플 읿늡픒 많힒삲.

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Indonesiaď˜§s wayang kulit is designated as a UNESCO Intangible Heritage.

Yoke thay , the Burmese puppet theater is said to be created by U Thaw a minister at the end of the 18th century.

It usually portrays stories about Buddha, and is used to spread the Buddhist teachings, since 85% of the population in Myanmar is Buddhist. One major reason yoke thay gained popularity, was because it was the perfect solution to avoid disrespecting Buddha by impersonating him.

Nang talung is the Thai shadow puppet that is made by cutting and piercing leather. It is performed behind a screen in front of a light source such as a torch or open fire so that the silhouettes of the puppets are projected onto the screen.

It is an artform that consists of narration, dialogue, and music.

Mua roi nuoc is Vietnamď˜§s unique puppet theater performed on a water stage with puppets that are connected to bamboo sticks. It is said to be originated from the Red River Valley and is deep rooted in their agricultural culture. It is normally performed on special occasions such as during the New Year festivities, and the performance is an art that is accompanied by song, dance, and dialogue.

í¨†ëŞŽ ë°Žěťżí’ž, 『짆í?Žěž–플 í•‚î?‚ă€?, ě­Žěšží‘†ëŹťíŽ‚ěƒŽîŒ§ëŹž í­Şîƒžě­Ž, 2002 ë°Ží??쿪, í”&#x;í’ş 짌 펞푞 푆, 『슎뚜 줆î?˘í”Ś í?˛ě‹˘ěź†í•‚ă€?, ě­?í´˘ě?şíŒ’, 2013 훊몋짆, ă€Œí•†ě†’ëť˛í‚ŞíŒ’í”Ś í?Ží?&#x; 뜎ěž?ă€?, ă€Žě­Žěšží‘†ëŹťíŽ‚ěƒŽîŒ§ëŹž ě†§ëšśíŒ’ížŽíŽťí’ž 펞돺쟎ă€?, 2015 í“Žëť˛í ˛í´˘ îŒŞëŹťí“’í’žî‘š, ă€Œí ˛ěŠŻ í˝ž, í¸şě ˘ě?‚ 믆잊핞믇ă€?, ă€Ží“Žëť˛í ˛í´˘ í•†ěœŚě¤‚î?Łě¤†î?˘í“Žěšžă€?, í“Žëť˛í ˛í´˘íŒ’íşŞě¤‚î?Łí“ŽěšžěźŠíťž e-힎킍덎, http://www.ichcap.org/kor/ek/sub6/sub.php#2

í•łěƒŽí?˛ě?‚믞 ě?şîŒŽí”Ś îƒ˘ě˜Ş 쟆썂(palo sebo)ě ˘ í­Łí—Ş 믞맒펞

îŒŚě ˘ ěƒŽîˆŞí—? í—’ížƒë˝Ží•‚ě˜Ş, 5-6짆흞 ë˝ í•‚í”Ś ěƒŽëšŚě¤‚ í•łěƒŽíŽž 믞펂í?şě•Š 븍펞 ě‚şě—˛í•–ě ˘ ěş?픒 íŽ‰ě ˘

ě§ˇí‚Ťí”Šě˜Ş íž’î?—쇪삲. í›Šě˜Ş 10ěƒŽ 콚럒슲핂 뽎핂펞 í¨†ë§ŽîŒŚě ˘ě„ž í•łěƒŽíŽžě ˘ 쇊힎믞ě?’í”’ 짪않 í?˛ě?‚믞

íŽ‚ě˜ƒëŠš 잚슲몎, í¨†ë§Ží•žěŠ˛í”Ž 짆븒얺힞픒 훒핂믞

í“’î?‚ 콞펞 핂뚌 쥜알 슿픒 줉î?Ž í•łěƒŽíŽž í?˛ě?†ě‚˛. í•†ě†’ëť˛í‚ŞíŒ’íŽ‚ě˜Ş ď˜Śë˝ í”Ž í?Ší•žěżŚ í?˛ě?‚ëŻžď˜§ě•Šě ˘

플짆� 많힒 츪핹 욞뚝(panjat pinang)픎

í•†ě†’ëť˛í‚ŞíŒ’ 솓잋믞럞핊(8í’˘ 17í•Š)펞 헒돝펞읪 쥜펺슎 ěżŚěžœí”Ž ěšşě•ší•‚ í¨†ë§ŽîŒŚě ˘ ěƒŽîˆŞí—?핆

뽎핂핂삲. 믞ě?’í°ŽîŒŞ í?Ší•žěżŚ ëŻžěˆłí”’ íşŽëŞŽ í?şě•Š ëŻžěˆł 퓒펞 ě‚şě—˛í•–ě ˘ ěş?픒 íŽ‰ě ˘ ě§ˇí‚Ťí”Šě˜Ş íž’î?—ě‡Śě ž,

í›Šě˜Ş 4-6쥓 헣솒플 뚜읿슲핂 픒 í•‚ě›’ í¨†íŽşîŒŚě ˘ 늑핂 핊짌í—?핂삲.

í•łěƒŽí?˛ě?‚ëŻžě ˘ 짆í?Žěž–펞읪 í­† ě‹Ś(chow

34

dine)í•‚ě•Ž í•‚ě?’í”Šě˜Ş íŒšě—˛í˜† 핖삲. 솓잋믞럞핊 (1í’˘ 4í•Š)펞 í›Šě˜Ş îŒŚě ˘ í•‚ ë˝Ží•‚ě ˘, 믞ě?’í°ŽîŒŞ 13(í?‹ 4짆흞) í•‚ěş?플 ěƒŽëšŚě¤‚ í•łěƒŽě?Š 믞펂í?şě•Š ëłťěƒŽëŻžíŽž 잲삺ě?ž 밑짪픒 î‘›ěŠŤîŒŚě ˘ 늑핂 뽎핂플 ěĄˇîˆŞě‚˛. 뽎핂 짡킍픎 맪핆헒덊 3쥓핂 픒

í•‚ě›’ îƒŽěŞ’ě˜Ş 킇쭎ě?Š ëŠśěšśě ˘ 짡킍 ěˆž 많힎많

í•–ě ˘ě„ž, í•łěƒŽě?Š 믞펂í?˛ě?Š ěŒš 뚜럎플 돺쭒 펔핂

짆í?Žěž–핆슲핂 í?žëŠś í•“ě ˘ í°Śěž– î?ŁíşŞí”Ś í—’ížƒí”Śěş?

ě˜żížŽ(longyi)ě?Š î?Şí‘ˇîŒŚëŻžě†’ îŒŞě‚˛. ě‚ś, 맪핆헒덊

ě‚şě?ş 3핆  ëŞ‹ëŻžíŽžěťŞě ˘ ěžś íŒ’ě•ŚíŽž í•–ě ˘ ěšşě•šěžš ě˜żížŽě?Š ěƒŽëšŚě¤‚íŽž 맞탎 쿌 í•–ě‚˛ě ˘ ëŽŞí°§í•‚ 핖삲.

돝많펞 싞않 믆 핂�픎 삲�힎잚 믆 짡킍핂

í“ŽěšşîŒŞ í•łěƒŽí?˛ě?‚믞 ë˝Ží•‚ě ˘ 퓎엋펞읪 늂띖í?ś ëŠ‘í”Šě˜Ş íŒšě—˛í˜† 핖삲. ě?şîŒŽí”Ś îƒ˘ě˜Ş ěź†ěŤ‚ě ˘

í ˛î…Śí•†í”Šě˜Şě­Žíťž, í•†ě†’ëť˛í‚ŞíŒ’í”Ś 츪핹 욞뚝픎 ëť˛ě„Şě•ŽěŠŞě˜Şě­Žíťž í—’î?‚í˜šě‚˛ëŞŽ îŒŞě‚˛.

í¨†ëŞŽ 짆í?Žěž– íşŽí•’í?–

Pole Climbing

The Filipino palo sebo is one of their most common nori usually played during festivals. The aim is to climb to the top of a 5 to 6 meter tall bamboo pole to collect a prize hanging from the top and is usually played by boys in their teens. The poles are greased with lard to make it difficult to climb, and the players coat their hands with sand to get a better grip.

Panjat pinang means ď˜Śto climb a tall palm treeď˜§ in Indonesian, and people gather from all around the country on Independence Day (August 17th) to play.

The aim is to climb up to the top of a greased palm tree trunk to collect prizes and is usually played by a team of 4 to 6 men.

There is a similar game in Myanmar called chow dine . It is also played on Independence Day (January 4th) and the aim of this game is to collect a handkerchief or flag that is hung from the top of a tall greased bamboo pole, usually about 4 meters. It can be played by one person or in groups of 3 people racing each other. Sometimes the traditional wrap skirt, longyi can be used when climbing, however in group games only the person on the very bottom can wrap the longyi around the bamboo pole.

The names may differ by country however, how they are played are nearly identical, and it is said to be originated from Europe. Palo sebo was introduced to the Philippines from Spain, and panjat pinang to Indonesia from the Netherlands.

Such European influences are related to the 300-year history of colonialism from the 16th century.

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핆솒뻲킪팒픦 핳샎폲읂믾, 츪핱 칞빻

Indonesian pole climbing, panjat pinang

í—ªë¯¾í§¶ë¯¾

Shuttlecock

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í±’ì«‚ì‹¢íŒ’í”¦ í—ªë¯¾í§¶ë¯¾, 붗 턶핂

Camboidan shuttlecock nori, kup sey

í—ŞëŻží§śëŻžě ˘ íą’ěŤ‚ě‹˘íŒ’í”Ś ëś— í„śí•‚(kup sey),

ěžžě—–í•‚í‚ŞíŒ’í?Ž 킿많ě?‚플 힝쎊(capteh), ě?şîŒŽí”Ś í‚Şîƒš(sipa), 슎뚜플 삲 ëłşí‘ž(da cau) 슿플

삲í?&#x;îŒŞ í•‚ě?’í”Šě˜Ş ě­–ě?şě ž, ěƒŽí›&#x;í—?핆 헒힃 ë˝Ží•‚ě˜Ş ěšşě•&#x;짊몎 핖삲. 헒힃 í—ŞëŻžě ˘ í?‹í—’핂뚌 ëŹşě › 뚪

훊î?˘ě?Š í?•ëŞŽ íž–ë°‚ îŒŞížŽëšŚ ě°’ě‚śí”Šě˜Ş ë§žíƒ†ëŞŽ, ëŹşě ›íŽž 뜞펂읪 믆 븍픒 펺얺 ë§–ě•Śě˜Ş 뚌뿒먞뚌, 삝핂뚌 뜡, í?˛ě?şí”Ś 밑ퟆ픒 삺먞뚌 쭧펺읪 잚슲펖삲. í•‚ě–şîŒŞ í—Şí•&#x; 짡킍픎 íŒ’ěź†íŒ– 힎펝펞 í—’î?‚혆 ížŽíŽťěŞ’ě˜Ş

í“ŽěšşîŒŚěĄ‚ěťŞě†’ 삲í?&#x;îŒŞ 헪믞플 î?ŁíşŞë§Ž ěžšěŠ˛íŽ‚ížŽě ˘

ě„ž 믞펺î?–삲. í?˛ě ŚëšŽí”Ž 몎줂í?Ž î‹šě•Ší ˛î‚żí”’ 헪믞플

ě †ě?şě˜Ş î?Şí‘ˇîŒŚëŞŽ, 밑ퟆ î?‡í”Ž 찒삞덊 î‹šě•Ší ˛î‚żí”Šě˜Ş ě˘†ížƒ ě­Žě­’í”’ 잚슲펂 ěšşí‘ˇîŒŞě‚˛.

ě†§ëšśíŒ’í‚ŞíŒ’í”Ś ëŤƒí§śëŻž 뽎핂핆 ď˜ŚíŠžě°Żě‹ží¸şě˜Şď˜§í?Ž

맧핂 ěˆž î††í”Šě˜Ş 뚌뿎 ëŠśěšśě ˘ 짡킍덊 í’žî?Łí”Šě˜Ş 펺얺 쥓핂 ěˆŚě–şěťŞěťŞ îƒ˘ëś–í°Śí?Ž îƒ˘, 짪, 줂ě?œ 슿픒 핂푡î?‚ ěş?ěƒŽě§ˇíŽžëŠš 헪믞ě?Š í—’ě‚şîŒŚě ˘ 짡킍핂 핖삲. î?Ší•ž 뽎핂ě?Š  몋푞 îŒŞěŠ– í§ž ěŒšěž–ě‚˛ 헞쿌ě?Š íŽ‰í”Šě ž,

뎎î?Łë§žë§?í”’ í•Ś 퓎힎î?‚읪 헪믞많 ěŒ“íŽž ě?śíŽ‚힎힎

íŒ˜ě†’ě˜Ť í?˛ě•šě†§íŒ– ěžœí•‚ í§śě ˘ 늑핂 í›&#x;í‘˘îŒŚě‚˛. 삲í?&#x;îŒŞ

íŽžě˜‡í°ƒí”Ś 욺앚슲핂 ěĄśěˆž í—ŞëŻží§śëŻžě?Š í?žëŻžížŽěžš í›Šě˜Ş

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펂ě?ží•‚슲덊 뚜핞슲핂 ěžœí•‚ îŒŞě‚˛.

í›ŠëŞŽě§Šě ˘ 뽎핂ě?Š  ěŒšě ˘ 슿 쉲플 잏핯픎 콞

ěšşí•‚ě˜Ş 헪믞ě?Š ížƒëŤŠí‚ŞíłŞ ě§Šě ˘ 핺훊ě?Š ě­Žě?şëŻžě†’ îŒŞě‚˛. 뽎핂ě?Š ížŽíłŞěŤ‚ě ˘ 돺몋뜊슲픎 뽎핂뜊핂

ě†“í¨‹í—?핆 ě§ˇí‚Ťí”Šě˜Ş 헪믞ě?Š í§śë¨žëšŚ 핺훊ě?Š ě­Žěž‚ ěŒš, 짣쿌ě?Š í°Śě ž 뽎핂뜊덊 î?†í”&#x;îŒŞě‚˛.

í¨†ëŞŽ

www.aseantourism.travel ě˜Şě—–íşŽ ě ˘ě‹˘ëšŚ, ă€Œě§Ťí”Ž íşŞí?&#x;, í‚ŽěťŽîŒŞ ëŤƒëŻž, í?žë¨ží’‚ 뽎핂 믆ě?şëŞŽ í‘ží—Łă€?, 『돝헪핂î?‚돞퓯ă€?, í—Ş 19î?†, 2007

The shuttlecock nori is called kup sey in Cambodia, capteh in Malaysia and Singapore, sipa in the Philippines, and da cau in Vietnam, and is one of the most loved traditional games. The shuttlecock shares its origin with the rattan ball but is passed down as a nori using a shuttlecock instead of a ball. Traditional shuttlecocks are made from coins with holes in the middle, wrapped in sturdy mulberry paper or silk which is then passed through the hole, and cut into a tassel. Chicken, pheasant, or duck feathers can also be attached. This method of making shuttlecocks is spread throughout the ASEAN countries and developed into the various modern-day shuttlecocks. The weights are made of rubber or plastic nowadays, with either feathers, or plastic for the body.

There are many ways to play, including dividing into two teams to compete much like sepaktakraw , or passing the shuttlecock to each other while standing around in a circle, using the elbows, knees, feet, knees and other body parts. It can even be played alone in which case, and the aim is to keep it in the air for as long as possible with points gained every time it is kicked into the air. Anyone can play this nori, but it is especially popular among children and men.

When the shuttlecock is passed between two or more people, it can be received through oneď˜§s arms held like a ring behind oneď˜§s back. The viewers watching the shuttlecock ď˜Śperformanceď˜§ clap and cheer when a particularly flamboyant or unique move is made.

훒삲ě?şëŻž íą’ěŤ‚ě‹˘íŒ’íŽžěťŞě ˘ 씲 ě¸Śě˜˝(teanh prot),

짆í?Žěž–íŽžěťŞě ˘ ě˜Ž í – (lun swe pwe),

ě?şîŒŽíŽžěťŞě ˘ 뿓(punnuk), ěŠŽî‚†ëšśíŽžěťŞě ˘

벌í?˛ 벊(keo co)않몎 ě­Žě?‚ě ˘ 훒삲ě?şëŻžě ˘ í›’í”’ ěƒ‡ëŠś î•Śí”’ ëŠśěšśě ˘ íž&#x;ě‚śë˝Ží•‚ě˜Ş ěƒŽë§Ş ěˆž î††í”Šě˜Ş 뚌쀌펂

ěžœí”Ž í›’í”’ ěƒ‡ë°‚ í˘‹í•‚ í‘ží‚‡îŒŚëŠš 쇪삲. ěžœí”Ž ě†§ëšśíŒ’

돝많펞읪 훒삲ě?şëŻžě ˘ 홓 헒핂뚌 홓 íž?î’’, î?‡í”Ž í‚Žëź’í­Łí—ŞëšŚ í?Łí”Ś íş’ěşŤí•ŠíŽž îŒŚě ˘ 뽎핂핂삲. 픒

많ě?Š ěŒšě ˘ í›Šě˜Ş 읿쪒덊 힎ě?şí—? 푢늂픒 ëŻží›Ží”Šě˜Ş îŒŞě‚˛. 훒삲ě?şëŻžě ˘ í›’í”’ 잚슲펂 í’‚ě§ŚîŒŚëŞŽ 뽎핂 펞 í›’í”’ 튌ě?şîŒŚě ˘ 덊헣펞 í•‚ě?‚믞밚힎 힎펝

돺읿풞플 î?&#x;í‚ş 펔핂 핂욜펂힖 쿌 íŽ”ě ˘ 욺줆î?˘í—?

뽎핂핂삲. í—’ 쟆몒펞 몎욜 ě­’î†şîŒŚížŽěžš, 믆í›&#x;펞읪솒 ě†§ëšśíŒ’í‚ŞíŒ’í?Ž 솧ě­?íŒ’í‚ŞíŒ’í”Ś 뽛몋 줆î?˘ë­šëŤŠ 펞팖 힎펝펞 íž&#x;í›&#x;í—?í”Šě˜Ş 쭒쇌펂핖삲.

훒삲ě?şëŻžě ˘ 뽛몋욺핆 ě†§ëšśíŒ’í‚ŞíŒ’íŽžěťŞ

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í“Žě•Śě‡ŚíŽ–ě‚˛ě ˘ 읲덊 섢쭖펂 삲í?&#x;îŒŞ 믞풞읲핂

í™‚í•şîŒŞě‚˛. ě†§ëšśíŒ’í‚ŞíŒ’ 믞풞읲픎 ě†§ëšśíŒ’í‚ŞíŒ’ë§Ž

뽊쪊 줆î?˘ë­ší•† 늑펞 믊먞î?‚ 훒삲ě?şëŻžë§Ž íą’ěŤ‚ě‹˘íŒ’, í•†ě†’ëť˛í‚ŞíŒ’, ě•Ší?˛í ˛, 짆í?Žěž–펞읪 ě°’ě˜˝ě‡ŚíŽ–ě‚˛ëŞŽ 짍몎 í•–í”Šě ž, 핂푆펞솒 훒삲ě?şëŻží?Ž 덎엜쇪

많핳 í?˛ě•Śě‡Ş ëŻžě˜Ťí•‚ 짪늺쇪 í›&#x;돝 믞풞읲덊 핆솒 믞풞읲핂 핖삲. íą’ěŤ‚ě‹˘íŒ’í”Ś íŒ§í´˘ě?‚í?Žî‚† ěšşí’ž

슎뚜플 훒삲�믞

Vietnamese tug-of-war

Tug-of-war

The game of tug-of-war which is called teanh prot in Cambodia, lun swe pwe in Myanmar, punnuk in the Philippines, and keo co in Vietnam is usually played by two teams by pulling a long length of rope, and the team that pulls more wins. In many countries this nori is often played before or after the sowing season, and during special occasions like the New Year celebrations, and the Monarchď˜§s birthday. The teams may be divided by gender or region. It is a socio-cultural game that requires the cooperation of the community membersË‹from making the rope, carrying the completed rope to the venue, to putting the rope away after the game is finished. One form or other of this game is spread across the world, however it is especially prominent in the agriculture-based society of South East and Northeast Asia, and its neighbors.

There are many theories as to where the game of tug-of-war began, including the agricultural region of Southeast Asia.

This particular theory is based on the fact that this area is of rice farming culture,

í—Ş1î‘šě•&#x; 쪋쥂펞 í•–ě ˘ í“Žî?‚돞짌(ďˆ‰î—žäźşäŹ›)펞

ëšŚíşŽëšŞ 훒삲ě?şëŻž ěŁŚěšşě ˘ î•šěˆžëŹžë§Ž í—’îƒšě‡Ş 펝욺í?Ž ëŤŽě—śí•–í”Šě ž, 핆솒 믞풞읲플 ëŻŠë¨žě˜Ş 삲웒힒삲.

훒삲ě?şëŻží”Ś í›Ší•şěššě ˘ ěŞ?힨핂힎잚 íŒ’ěź†íŒ–

ížŽíŽťíŽžěťŞě ˘ 믆 푆 펺얺 í•şěššě˜Şě†’ í›’í”’ 잚슎삲. í?–ě?Š 슲펂 ě?şîŒŽëŤŠ ěžžě—–í•‚í‚ŞíŒ’ 썂ě?‚띲í?˛,

íą’ěŤ‚ě‹˘íŒ’, ě•Ší?˛í ˛, íşŞëŹťí”Ś í•Šě­Ž í™“í˜żěŠ˛í”Ž 캊픒, í•†ě†’ëť˛í‚ŞíŒ’ í•Šě­Ž 힎펝덊 ěŠŽî‚†ëšśíŽžěťŞě ˘ 슿뚌줂 훒믞ě?Š, í•†ě†’ëť˛í‚ŞíŒ’ 짪ě?şíŽžěťŞě ˘ 홓엲뚌줂í?Ž

맧픎 í•şěššě˜Ş í›’í”’ 잚슎삲. ěƒŽë§Ş 훒삲ě?şëŻží”Ś 훒픎 삲í?&#x;îŒŞ íž?홓펞 í™“ěšşîŒŚě ˘ 힎펝짊플 î?&#x;솧펞 플î?‚ ěžšěŠ˛íŽ‚ížŽě ˘ě„ž,  펂펓펞읪 ěšşí‘ˇě‡Śě ˘ 짾훒플 믞쿎핂 짌í??쇌펖삲. í•‚ě ˘ 훒삲ě?şëŻžë§Ž í•&#x;덊

펂ě?Š ëŻží’žîŒŚě ˘ 줆î?˘í?Ž 늞콛쇌펂 핖믞 ěŒšě¤†í•‚ě‚˛. 훒플 í™“ěœŚíŽžě ˘ 푆훒, 탛훒, 늚훒(믞훒)

슿핂 í•–ě ˘ě„ž ě†§ëšśíŒ’í‚ŞíŒ’ ížŽíŽťíŽžěťŞě ˘ í›Šě˜Ş 푆훒핂 욺푡쇌몎 í•–í”Šě ž, 솧ě­?íŒ’í‚ŞíŒ’íŽžěťŞ

ěšşí‘ˇě‡Śě ˘ 훒썂삲 í?•í”Ž 핂삲. ě?žîŒŞ 훒플 ë°†í•‚ě ˘ 훒삲ě?şëŻžíŽž í¨†íŽşîŒŚě ˘ 핆풞플 뎪쥜í?Ž ěş?í”&#x;îŒŚě ž,

í›’ í•žíŞ‚ě ˘ 쿌킎(ĺŽ?î—”)í”’ ěş?ížŁîŒŚë¨žëšŚ 푡덊 ě¨Ží”Šě˜Ş 펺늜힎믞솒 îŒŞě‚˛. ě†§ëšśíŒ’í‚ŞíŒ’ í•Šě­Ž ížŽíŽťíŽžěťŞě ˘

39

힎펝덊 읿쪒픒 ëŻží›Ží”Šě˜Ş 픒 뚌뿒몎 î‚‡í—ŁîŒŞ 플 푞킇픒 힃î?‚ îŒŞ î?‚플 밆픒 í—ží°Śě ž,

훒삲ě?şëŻž í•žíŞ‚ě?Š 푢í?Ž 삲욞픒 ěş?ížŁîŒŚě ˘

î?—í“’ě˜Ş ě§ŠíŒ’ěŠ˛í•†ě‚˛. 핂튌엊 íŒ’ěź†íŒ–í”Ś 훒삲ě?şëŻžě ˘ 뽛몋욺플 푢í?Ž 슖í??í”’ ëŻží’žîŒŚě ˘ 훊쿎읿덊 뽎핂읿핂 ëŠžîŒˇîŒŞ 뽎핂줆î?˘í•‚삲. íą’ěŤ‚ě‹˘íŒ’,

ě?şîŒŽ, ěƒŽîŒŞě§ŠëŹť, 슎뚜플 훒삲ě?şëŻžě ˘ í“Žëť˛í ˛í´˘ í•†ěœŚě¤‚î?Łě¤†î?˘í“Žěšží”Šě˜Ş ëŤƒě†§ 슿핺쇪 짢 핖삲.

í¨†ëŞŽ 콚푞많í?Ž 튞띲í?˛, 『뽎핂플 íŽťěšşě§Ší˜żîŒ§ă€?, 짊콛풞, 2005 콯î?˘ěťť, ă€Œě†§íŒ’í‚ŞíŒ’ 훒삲ě?şëŻží?Ž îŒŞëŹť 훒삲ě?şëŻží”Ś í“Žî?ŁëŤŠ ëŞ’ížƒ 펞돺ă€?, ă€ŽíŽťěšşě§Šě˝›îŒ§ă€?, îŒŞëŹťíŽťěšşě§Šě˝›îŒ§î‘š, 2015 í—ŁíŽžîŒ§, ă€Œě†§ě­?Âˇě†§ëšśíŒ’í‚ŞíŒ’ 헒힃 훒삲ě?şëŻží”Ś ëŤƒí“ŽěťżëŤŠ 삲í?&#x;ěťżă€?, ă€Žě§Šě˝›îŒ§íŽžëŹşă€?, í—Ş 34î?†, 2014

and argues that this game originated from Cambodia, Indonesia, Laos, and Myanmar. However, those who believe that it originates from China base their ideas on the fact that the oldest record of tug-of-war was discovered in China. Meanwhile, those who believe this game originated from India claim as such because the carvings of the ď˜ŚChurning of the Ocean of Milkď˜§ on the East Gallery Wall of Angkor Wat, Cambodia depicts the gods and demons pulling a rope, a scene from the Hindu mythology that spread to Cambodia.

The most common material that is used to make the rope is rice straw, however it is also made with a variety of plants. For example, certain peoples of Cambodia, Laos, Malaysia (Borneo), the Philippines, and Thailand use hemp; rattan stalks are used in certain parts of Indonesia, and Vietnam; while palm trees are used in Bali, Indonesia. The rope is usually made cooperatively by the regional residents, who have different professions, and is influenced by fishing rope making technology. This well reflects the culture of wishing for a good harvest and abundant fish.

Many different types of ropes are used for this nori, including the single rope, twin rope, and multiple rope. The single rope is the most common type used in Southeast Asia, which are much thinner than those used in Northeast Asia. The length of the rope changes with the number of players and is sometimes considered as dragons or snakes, or the water god. In certain parts of the Southeast Asian region, the teams are divided according to gender, and region, and the victory of one team over the other is used to tell the yearď˜§s fortune. It can also signify good harvest and fertility. As such, the tug-of-war of ASEAN is a combination of divination and nori that is played to wish for bounty and prosperity in agricultural society. The tug-of-war of Cambodia, Korea, the Philippines, and Vietnam have been co-designated as UNESCO Intangible Heritages.

í¢&#x;ë°›

Congkak

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잞엖핂킪팒픦 í¢&#x;ë°›

Malaysian mancala, congkak

í˘&#x;ë°›(congkak)픎 ěžšíąŠě•Š 뽎핂플 îŒŞ í™“ěœŚě˜Ş

ëŞŽěƒŽ í•‚íž&#x;î‚†ě˜Şě­Žíťž í“Žě•ŚîŒŞ 늑핂않 í—’î?‚ížŽě ž,

쟆몒펞읪 펝욺많 í?˛ě•Śě‡Ş 뽎핂 í›&#x; îŒŚëšŚí•‚ě‚˛. í•‚

ë˝Ží•‚ě ˘ 쿌 쟆믞 í—’ 핆솒í?Ž íŒ’ě•›í”Ś ěş?핆슲펞 플î?‚ í•†ě†’ëť˛í‚ŞíŒ’ 핞짢 읺펞 콚맪쇪 ëŠ‘í”Šě˜Ş íŒšě—˛í˜†

핖삲. íŒ’ěź†íŒ– 돝많슲픒 î†şîŒśî?‚ 쟆몒í—?í”Šě˜Ş 삲í?&#x;îŒŞ 뽎핂플 쪎î?ŁěŠ˛í•‚ í™‚í•şîŒŚě ˘ě„ž 쯚욜뚌핂 삲욜캂앚, ěžžě—–í•‚í‚ŞíŒ’, 킿많ě?‚íŽžěťŞě ˘ í˘&#x;ë°›(congkak) î?‡í”Ž í˘&#x;븚앋(congklak), í•†ě†’ëť˛í‚ŞíŒ’íŽžěťŞě ˘ í˘&#x;븚앋(congklak) î?‡í”Ž ě‚˛í´Ś(dakon),

ě?şîŒŽíŽžěťŞě ˘ ěżťíą‚(sungka), ěŠŽî‚†ëšśíŽžěťŞě ˘

í?˛ 팖 ë´š(o an quan), íą’ěŤ‚ě‹˘íŒ’íŽžěťŞě ˘ 짢핂

í¸şí‘˛(bay khom), íşŞëŹť ëšśě­ŽíŽžěťŞě ˘ ěž— í´˛(mak

khom)í”Šě˜Ş ě­–ě?žě‚˛. ď˜Śí˘&#x;ë°›ď˜§í•‚ě•Šě ˘ í•‚ě?’픎 ëŞŽěƒŽ

ěžžě•Ší•‚íŽ‚ě˜Ş ď˜ŚëŞ’ěšžîŒŚě‚˛ď˜§ě ˘ í”Śě§†í•‚ě ž, íą‚í?˛ě?ş 콚않벛힖픒 í”Śě§†îŒŚëŻžě†’ îŒŞě‚˛.

í˘&#x;받픎 핊짌í—?í”Šě˜Ş ěˆž 훒플 ëŹşě ›ëŤŠ í?&#x;

븍플 í¸ž ëŹşě ›(헎핳몎)í•‚ í•–ě ˘ ë°‚ ëšŚě¤‚îƒží”Šě˜Ş

îŒŚě ˘ 뽎핂핂삲. í•‚ ë˝Ží•‚ě ˘ íą‚í?˛ě?ş 콚않벛힖핂뚌 í•&#x;픎 솚, í“Žě?şëŹşí ş, íşŽěž–ě?žěŠŞ í‹śíŒĽëŤŠ 맧픎 í•&#x;픎

혞ë§?í”’ ěšşí‘ˇîŒŞě‚˛. ë§? 훒펞 뚌 í•–ě ˘ ëŹşě ›í”Ś ěżší•žě ˘

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삲í?&#x;îŒŚëšŚ, ěƒŽě­Žě­’ 훒잖삲 핊몿맪플 ëŹşě ›í•‚ 핖몎 ë§? ëŹşě ›íŽžě ˘ 핊몿 혞ë§?í•‚ ěƒ‚ëŠś í•–ě ˘ î?ŁíşŞí•‚삲. ë˝Ží•‚îƒží”Ž 잲푞 í—ŁëŹžîŒŞ 늑펞읪 ě‚śěżŞîŒŞ 늑밚힎

삲í?&#x;îŒŚě ž, í?˛ 팖 봚플 몋푞 ěŒ“íŽž 믆엲 îŒŚëŻž ěŒšě¤†íŽž ëšŚě¤‚îƒží”’ îŒ’í‘˘ě˜Ş îŒŚížŽ íŒ˜ě ˘ě‚˛.

í¨†ëŞŽ

Jill Forshee, Culture and Customs of Indonesia, Greenwood Press , 2006 Alex de Voogt, Mancala: Games that Count

Congkak , is a type of mancala game which is said to be traced back to ancient Egypt and is one of the oldest known games in the world. It is believed that it was introduced to the island of Java, Indonesia centuries ago by Indian or Arab traders.

There are many variants of this game all around the world including ASEAN countries which are called congkak or congklak in Brunei Darussalam, Malaysia, and Singapore, congklak or dakon in Indonesia, sungka in the Philippines, o an quan in Vietnam, bay khom in Cambodia, and mak khom in Southern Thailand. The name congkak means ď˜Śto calculateď˜§ in old Malay, and also means ď˜Ścowrie shellsď˜§.

Congkak is generally made of long wooden boards, with two rows of smaller cup like holes carved out and one larger hole at each end of the board that are ď˜Śstore housesď˜§. The game is played with small bead-like pieces such as cowrie shells, small stones, glass marbles, and tamarind seeds. The number of holes per row and the number of pieces in each hole may vary however, the most common has two rows of seven, with seven pieces in each hole. The boards can be both very elaborate or simpleË‹the o an quan variation doesnď˜§t even require a board, as it is played by drawing the board on the ground.

There are many variations to how the games are played, but in general, the objective is to collect the greatest number of pieces.

э┤вэ┤вы╗й ы▓ЫьД╛ып╛ ьзныко ь░╢ьЭ║ ыйЕып╛

Coconut Stilts Race

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э║кым╗эФж э┤вэ┤вы╗й ьзныко ь░╢ьЭ║ ыйЕып╛ ы╜ОэХВ, ьДж ы░Ъ ьХК

Thai coconut stilts race, dern ka la

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븖픒 잲삜 í´˘í´˘ëťŠí”’ 킎몎 ě°Žě?‚늚 í•‚ě†§îŒŚě ˘

ěšşě•ší•‚ 킇ě?şîŒŚě ˘ ë˝Ží•‚ě˜Ş í•†ě†’ëť˛í‚ŞíŒ’íŽžěťŞě ˘ 짢ě?&#x; 븚않찎(batok kelapa), ě?şîŒŽíŽžěťŞě ˘ íą‚ě—–ě•Š í”&#x; 짢í?‡ ěş?í´˘(karera ng baong sangko),

íşŞëŹťíŽžěťŞě ˘ ě„Ś ë°š ě•Š(dern ka la)ě•Š ě­Žě?†ě‚˛.

믆 퓎알펞 ěƒŽî?‚ěťŞě ˘ 쪒 íŒšě—˛íž’ 짢많 펔픊뚌 í›Šě˜Ş 7쟆펞읪 10ěƒŽ 퍖짌펞 í•‚ě?‚ě ˘ 펂ě?ž 콚럒덊 콚럎슲핂 í?žëŠśîŒŚě ˘ í•‚ ë˝Ží•‚ě ˘ ě†§ëšśíŒ’ížŽíŽťíŽžěťŞ

í ‹ëŠš ě§ŞëŠşîŒŽ 쿌 í•–ě ˘ í´˘í´˘ëťŠ í?‚잲ě?Š í•şěššě˜Ş í‹‚ě‚˛ě ˘ 헞펞읪 ě†“î‚‡îŒŚě‚˛. 힎펝펞 ě‹žě•ŠěťŞě ˘ í´˘í´˘ëťŠ 벛섞믞 ěƒŽí‚Ž ěƒŽëšŚě¤‚ě?Š í•‚í‘ˇîŒŚëŻžě†’ îŒŞě‚˛.

뽎핂 짡슣픎 ě‚śěżŞîŒŚě‚˛. ěˆž 짪픒 í´˘í´˘ëťŠ

벛섞믞 퓒펞 뽥몎 í?şě•Šíş’ ěş?íşŞíŽžěťŞ ě?śíŽ‚힎힎

íŒ˜ě†’ě˜Ť 벛섞믞í?Ž íŽžëŠžîŒŞ í›’í”’ ě˝ží”Šě˜Ş 핯몎 ëŠ…ě ˘ě‚˛. 짌î?Śí—ží”’ ě°Žě?‚늚 ě†šíŒ’ í­Şě§Şí—ží”Šě˜Ş ě Ší—Ž ě†’í§ˇîŒŚě ˘ ěšşě•ší•‚ 킇ě?şîŒŞě‚˛. 뽎핂 솒돺ě?Š 잚슲믞솒 íŽ‚ě˜ƒížŽ

íŒ˜ě‚˛. í´˘í´˘ëťŠí”’ ě§Śí”Šě˜Ş í•Śě•Š ě˝ží”Šě˜Ş í•Żí”’ 쿌 í•–ě†’ě˜Ť 밆늚 븖픒 íŽžëŠžîŒŚěĄ‚ 뽎핂 훎찒많 븍뚪삲.

The coconut stilts race is a nori that is played by wearing coconut shells like stilts and racing with an opponent, and is called batok kelapa in Indonesia, karera ng baong sangko in the Philippines, and dern ka la in Thailand. The exact origin of this game is unknown however, it is played by children around the age of 7 to the early teens. It is characteristic in that it is made with coconut shells that are commonly found all across the Southeast Asian region. In some regions, bamboo is used instead of coconut shells.

It is easy to play Ë‹ place the feet on the coconut shells while holding the strings taut so that they do not detach from the bottom of the feet and walk.

The first person to make it back around the turning point wins. Making the stilts is not difficult either, simply cut a coconut in half and attach a piece of string on the halves long enough to hold in each hand.

î„‹í•‚í°ŚëŻž î„‹í•‚í°ŚëŻžě ˘ î†—î†—îŒŞ 짢삳펞 í’ží­˘î?Ł 쥜í?&#x;플 î„‹í•‚ě?Š í¨’ě˜Ş í°Śë¨žëšŚ í¨’ě?Š ě˘†íŞ‚íŽž ë§žíŒŚě‚˛ë§Ž 쥂읪

솚ě?şě ˘ 뽎핂핂삲. î„‹í•‚í¨’ě ˘ îŽŤëŠ˜í•‚ëšŚ í›’í”’ ëŻ†ěƒŽě˜Ş ěšşí‘ˇîŒŚë¨žëšŚ ěž—ěƒŽëŻžíŽž íŽžëŠžîŒŚíŽş ěšşí‘ˇîŒŞě‚˛. î„‹í•‚ě ˘ í?‹ 6,000펺 ëź’ í—’ í‘žě?‚(Ur)ě•Šě ˘ í?˛ě ŚëšŽí”Ś

í•‚ě•Ší¸ş 힎펝덊 í›&#x;돝펞읪 íŠŚí”ší”Šě˜Ş 짪늺쇌펖삲몎 í—’î?‚ížŽě ž, 쟆몒 í—’ 힎펝펞읪 ě§ŞëŠşě‡Śě ˘ 썂í—?핆 뽎핂핂삲. íŒ’ěź†íŒ– 힎펝펞읪솒 ëŤƒížƒí—?í”Šě˜Ş

ě§ŞëŠşě‡Śě ˘ î„‹í•‚í°ŚëŻžě ˘ 쯚욜뚌핂 삲욜캂앚덊 í•†ě†’ëť˛í‚ŞíŒ’, ěžžě—–í•‚í‚ŞíŒ’, 킿많ě?‚ 슿펞읪

많팋(gasing)í”Šě˜Ş, íą’ěŤ‚ě‹˘íŒ’íŽžěťŞ í’š(voo)ě˜Ş,

ě?şîŒŽíŽžěťŞ 웆(trumpo)ě˜Ş, íşŞëŹťíŽžěťŞ 짢 íą— í?˛(ba kang wo), 슎뚜펞읪 벎 ëś†íŒ’í•‚(con

quay) ěŠżí”Šě˜Ş ě­–ě?žě‚˛.

íŒ’ěź†íŒ– ížŽíŽťíŽžěťŞě ˘ 욞맒힎펝플 î?˘í—’짊슲핂

î„‹í•‚ě?Š 핞훊 ě†šě˜†í”Šě ž, îŒŚëšŚí”Ś í”Śě˜Ží•‚í•ž ë˝Ží•‚ě˜Ş

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헒킇쇌펖삲. 썂ě?‚띲í?˛ 읺플 íą‚í?Ží˜ż(Kayan People)픎 홓 ěŒš î„‹í•‚ě?Š ě†šě˜†í”Šě ž, íşŞëŹťí”Ś ě•Šî’’í˜ż(Lahu People)픎 í—Łě˜‡ěŠ˛í•‚ î„‹í•‚ě?Š

í™™íŒ’îŒŞě‚˛ëŞŽ 펺늜 핞훊 î„‹í•‚ě?Š íŞ˛ě‚˛ëŞŽ í—’î?‚힒삲. í•‚ě–şîŒŞ 읿픎 íŒ’ěź†íŒ– 힎펝펞읪 î„‹í•‚ě?Š í°Śě ˘ î?—퓒많 ë˝›ëŞ‹í”Śě˜Ží”Ś îŒŚëšŚě˜Ş ě§ŠíŒ’ěŠ˛íŽşí˜ší”ší”’

썂펺훎삲. íŒ’ěź†íŒ–í”Ś î„‹í•‚ě ˘ ěƒŽëšŚě¤‚, ëŹşíŒ’ě§˘, 짢않짎(jackfruit) 슿덊 맧픎 뚌줂뚌 잎í?Ž

î‹šě•Ší ˛î‚żí”’ í•şěššě˜Ş ěšşí‘ˇîŒŚëŞŽ 맣솒많 ë˝ í”Ž 솧줊플 ěł–ě?Š 발팒 잚슲믞솒 îŒŞě‚˛. ěžžě—–í•‚í‚ŞíŒ’íŽžěťŞě ˘

ě ˘ě?‚짢푞(merbau)ě•Šě ˘ 맣솒많 ë˝ í”Ž ëšŚě¤‚ě˜Ş

헒힃 î„‹í•‚ě?Š ěžšěŠŞě ˘ě„ž 믆 í›&#x;펞읪솒 많핳 ě‚śě‚śîŒŞ 뚌줂플 ě§&#x;솧덊 ěśšě?ş ě­Žě­’í”’ 핂플 í›Ší•şěššě˜Ş ěšşí‘ˇîŒŞě‚˛. í•†ě†’ëť˛í‚ŞíŒ’íŽžěťŞě ˘ 몒앎픒 핂푡î?‚

î„‹í•‚ě?Š 잚슲믞솒 îŒŚí?Ží”Šě ž, í?˛ě ŚëšŽíŽžě ˘ ěƒŽëšŚě¤‚ě˜Ş î„‹í•‚ě?Š 잚슎삲. íşŞëŹťíŽžě†’ í•–ě ˘ í•‚ ěƒŽëšŚě¤‚ î„‹í•‚ě ˘

ëšŚě¤‚ěž—ěƒŽíŽž í›’í”’ 뚊풚 핂펞 맞몎 솚ě?şě ˘ě„ž, 솚잂 ěŒš ď˜Śí‘ž(wooooo)ď˜§îŒŚě ˘ 콚ě?şě?Š ëş‚ě ž ě†’ě ˘ 늑핂 힣핂삲.

ěƒŽë§Ş 펂ě?ž ëšśí•žíŒ’í•‚ěŠ˛í•‚ í•&#x;픎 í¸şëŻží”Ś î„‹í•‚ě˜Ş

핂뽎핂ě?Š îŒŚě ž, í“’îŽŚîŒŚëŞŽ 펝솧í—?í•Š 쿌 í•–ě ˘

î„‹í•‚í°ŚëŻž ëŞ‹ëŻžě ˘ 펂ě?†ěŠ˛í”’ í›&#x;í‚şí”Šě˜Ş 핂욜펂힒삲.

ěžžě—–í•‚í‚ŞíŒ’íŽžěťŞě ˘ î„‹í•‚ě?Š 솚ě?şě ˘ 욺앚덊 믆ě?Š ě†Łě ˘

Spinning Top

The spinning top is played by hitting a cone shaped top with a string or winding the string around the body of the top and whipping it free to spin it.

The string or sometimes a piece of cloth can be used as it is or attached to a stick. It is said to originate from an area called Urˋmodern day Iraq, and China about 6,000 years ago, and is a toy that is found all around the world. In ASEAN countries, it is called gasing in Brunei Darussalam, Indonesia, Malaysia, and Singapore, voo in Cambodia, trumpo in the Philippines, ba kang wo in Thailand, and con quay in Vietnam.

The spinning top is most commonly enjoyed by the slash-and-burn farmers in the mountainous regions and is passed down as a form of nori and ceremony.

The Kayan People of Borneo spin the top during sowing season, while the Lahu People of Thailand believe that the spirits like the spinning top and spin them often.

Such characteristics demonstrate that the spinning top has become an agricultural ceremony of sorts. Southeast Asian spinning tops are made from bamboo, guava, jackfruit and other plants or metal and plastic, and sometimes even carved out of hard animal bone. In Malaysia, traditional tops are made from a hardwood called merbau , especially the lower part of the trunk and the roots which are the hardest, however, bamboo is also used more recently. Thai tops can also be made of bamboo which are spun by wrapping a piece of string attached to a stick around the top, and it makes a characteristic ď˜Śwoooooď˜§ sound when it spins.

Little boys are usually given small spinning tops to play with, and the more dynamic and dangerous tops are enjoyed by adults. In Malaysia, it is a team game, with one spinner, and two assistants, and they use large pointed tops that can

í•†ě†’ëť˛í‚ŞíŒ’í”Ś î„‹í•‚í°ŚëŻž, 많팋

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Indonesian top spinning nori, gasing

ěšşě•š ěˆž ěĄ“í”Šě˜Ş 픒 돺읿î?‚ î„‹í•‚í°ŚëŻž 몋믞ě?Š îŒŚě ž,

5.5kg밚힎 ëšŚë§Žě ˘ í¸şëŞŽ ěľží˜żîŒŞ î„‹í•‚ě˜Ş 몋믞ě?Š îŒŞě‚˛. í•‚ě–şîŒŞ 몋믞푡 î„‹í•‚ě ˘ 많팋 í‘žě?ş(gasing uri)ě•Š îŒŚě ˘ě„ž, 펂ě?žíŒ’핂슲픎 ě‚˛í°Ž 푞엲많 핖믞 ěŒšě¤†íŽž 많팋 í‘žě?şě?Š 좉 잚힎늚 îŒŚë¨žëšŚ ěź†í‚şîŒŞ

훊플ě?Š 훎삲. 늜풆튎펞 펊픚 퓒펞읪 î„‹í•‚ě?Š íŞ˛ě„Ś

îŒŞëŹťí”Ś 헒힃 핂뽎핂í?Ž ě‚şě?ş íŒ’ěź†íŒ– ížŽíŽťíŽžěťŞě ˘ í›Šě˜Ş 펺ě?’펞 î„‹í•‚ě?Š í°Śě ž, 먞ě?şíŽžěťŞ î„‹í•‚ě?Š í°Śě ˘ 욺앚슲픒 íŽ‚ě˜ƒížŽ 팘늚 잚뚎 쿌 핖삲.

í¨†ëŞŽ ë°ŽëŤ&#x;펆, ă€Žě†§íŒ’í‚ŞíŒ’í”Ś 뽎핂ă€?, 짊콛풞, 2004. 핂풓뎪, 『쟆몒플 짊콛줆î?˘ă€?, ěƒŽí?Łěšş, 2003.

www.vietnamtourism.com www.aseantourism.travel

weigh up to 5.5kg. Children are sometimes prohibited from playing with these large tops, or gasing uri , due to safety reasons.

Unlike Korean tops, which are spun on ice during the winter, ASEAN tops are spun during the summer and can be commonly seen in the streets.

Low to the Ground

쌓픊옪 쁦옪

Up Above In a Circle Out and About

46

Chapter 2

풞픊옪 칺짷픊옪

팒켆팖 10맪묻픦 뽎핂솒묺슲픒 믆 짷컿뫊 풎힏핒펞 싾않 빦뿒펂 콚맪삲.

An introduction to the nori of the 10 ASEAN countries according to the direction and movement in which they are played

47

Chapter 2

쌓픊옪

Low to the Ground

쌓뫊 펾뫎컿픒 많힎쁢 뽎핂, 힎졂펞컪 쿦헏픊옪 핂욶펂힎쁢 풎힏핒픒 많힒 뽎핂퐎 믆 솒묺슲픒 콚맪삲.

Ground-oriented nori and their tools that are mostly based on horizontal motion

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ëŤƒ 섌힎믞 Ball Tossing 뚜읿덊 펺읿핂 ěťŞě˜Ş ëŤƒí”’ 훊몎 ě§Ší”Šě ž ëŹşíŒŽîŒŚě ˘ 뽎핂

Balls or balled scarves are thrown between girls and boys with the aim of courtship 01 02

슒 íŻŽí’“ | íą’ěŤ‚ě‹˘íŒ’ 쯚 쯚 | ě•Ší?˛í ˛

Bos chhoung | Cambodia Pov pob | Lao PDR

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뫃믾뽎핂 Jacks 솚핂빦 뫃밑솚, 뫃, 빦줂잗샎 슿픒 콞픊옪 힟몮, 섦힎젾 짩쁢 뽎핂 Counters ˋ usually stones, small beanbags, balls, or sticks

are scattered on the floor, then picked up before a stone thrown into the air is caught 03 04 05

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짢쑪 튾읒짦 | 잞엖핂킪팒 짢쑪 튾읒짵 | 킿많읂 쫊않 쩒븚 | 핆솒뻲킪팒

Batu seremban | Malaysia Batu serembat | Singapore Bola bekel | Indonesia

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í—ŞëŻží§śëŻž Shuttlecock 헪믞ě?Š 짪, 줂ě?œ, îƒ˘ëś–í°Ś 슿픒 핂푡î?‚ 짢삳펞 ě?śíŽ‚힎힎 팘늚 í§śě ˘ 뽎핂

Shuttlecocks are maneuvered with the feet, knees, or elbows to keep them in the air as long as possible 06 07 08

ëś— í„śí•‚ | íą’ěŤ‚ě‹˘íŒ’ 힝쎊 | ěžžě—–í•‚í‚ŞíŒ’ 힝쎊 | 킿많ě?‚

Kup sey | Cambodia Capteh | Malaysia Capteh | Singapore

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î„‹í•‚í°ŚëŻž Spinning Top 삲í?&#x;îŒŞ 쥜í?&#x;덊 í¸şëŻží”Ś î„‹í•‚ě?Š í›’(î„‹í•‚í¨’)ě˜Ş 맞먞뚌 íŞžěťŞ 솚ě?şě ˘ 뽎핂

Various tops are spun using a piece of string, or string attached to a stick 9 10 11 12 13 14

í’š | íą’ěŤ‚ě‹˘íŒ’ 많팋 | í•†ě†’ëť˛í‚ŞíŒ’ 많팋 | 킿많ě?‚ 많팋 | ěžžě—–í•‚í‚ŞíŒ’ 웆 | ě?şîŒŽ 짢 íą— í?˛ | íşŞëŹť

Voo | Cambodia Gasing | Indonesia Gasing | Singapore Gasing | Malaysia Trumpo | Philippines Ba kang wo | Thailand

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몮줂훒뻦믾 Jumping Over Rubber Band 숞 칺앚핂 재핯몮 핖쁢 몮줂훒픒 쒾펂뻦쁢 뽎핂. 컿뫃 쌚잖삲 몮줂훒픦 뽠핂쁢 혾믖틷 뽠팒힒삲.

Players jump over a rubber band held by two people.

The rubber band is held higher each round.

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엊챁 믆싾 | 쯚욶빦핂 삲욶캂앚

Lompat gatah | Brunei Darussalam

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ëŹşí şí°ŚëŻž Marbles ěŒ“íŽž 읎픒 믙먞뚌 믞훎픒 í—ŁîŒŞ î’’, ëŹşí şě˜Ş ëŹşí şí”’ íŞžěťŞ 헞쿌ě?Š íŽ‰ě ˘ 뽎핂

Glass marbles are flicked over a line drawn on the ground to hit other playersď˜§ marbles î?Žě?† | ě?şîŒŽ 몜ě?ş 찲핳 | 킿많ě?‚ ë­‚ě?ş | ěžžě—–í•‚í‚ŞíŒ’

Holen | Philippines Goli panjang | Singapore Guli | Malaysia

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í şě?şî…Š 섌힎믞 뽎핂 Slippers Throwing ěˆž îƒŽí”Šě˜Ş 뚌뿒펂 îŒŚě ˘ 뽎핂. ěˆž  ěĄśěˆž í şě?şî…Š 쟆 맪ě?Š 맪읪 îŒŠě•Šě§†ěŠŞě?Š 쟆푞몎, ěş?ěƒŽîƒŽí”Ž í şě?şî…Š îŒŠě•Šě§†ěŠŞě?Š ěź†í‘žě—˛ě ˘ 풞픒 í şě?şî…ŠëšŚ íźšě‚–í ˛ëŤƒí”’ ě„Śí˜† 짡î?‚îŒŞě‚˛. ěˆž  í›&#x;펞읪 ě Ší—Ž îŒŠě•Šě§†ěŠŞě?Š 쟆푞먞뚌, 풞픒 삲 잏쥂 핂밂삲.

People are divided into two teams to play. Both teams build pyramids by leaning the slippers against each other.

The opposing team throws a slipper or tennis ball to stop the other team members from rebuilding the slipper pyramid. The team that rebuilds the pyramid, or hits all the other team members first wins.

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밚뚊 씎많 | 쯚욜뚌핂 삲욜캂앚

Kaki tiga | Brunei Darussalam

펗뜊뚌줂í?‚잲 섌힎믞 Ongkunh Tossing îŒŞëŹťí”Ś ě°’ěťŤí°ŚëŻží?Ž í“ŽěšşîŒŞ 뽎핂. ď˜ŚěŠ’íŽ— ëśŠď˜§í”Ž í¸şě ˘ě?‚íŽ‚ě˜Ş ď˜ŚíŽ—ëśŠ í?‚잲(Ongkunh)ě?Š 섌힎삲(Bos)ď˜§ě•Šě ˘ 씉핂삲.

Bos ongkunh means to throw (bos) the ongkunh seed in Khmer. Ongkunh seeds are stuck in the ground, and a player throws another ongkunh to hit the ones on the ground.

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슒 펗뜊 | íą’ěŤ‚ě‹˘íŒ’

Bos ongkunh | Cambodia

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í´˘í´˘ëťŠ 벛섞믞 짭몎 ě°śě?ş 늅믞 Coconut Stilts Race 븖픒 잲삜 í´˘í´˘ëťŠ 벛섞믞ě?Š 짭몎, ě°Žě?‚늚 í•‚ě†§îŒŚě ˘ ěšşě•ší•‚ 킇ě?şîŒŚě ˘ 뽎핂

Coconut shells are used as stilts to race one another 19 20 21

íą‚ě—–ě•Š í”&#x; 짢í?‡ ěş?í´˘ | ě?şîŒŽ 짢ě?&#x; 븚않찎 | í•†ě†’ëť˛í‚ŞíŒ’ ě„Ś ë°š ě•Š | íşŞëŹť

Karera ng baong sangko | Philippines Batok kelapa | Indonesia Dern ka la | Thailand

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í´˘í´˘ëťŠ 먞ě­?í•‚ 뽎핂 Coconut Turtle í´˘í´˘ëťŠ ë˛›ě„žëŻžě˜Ş 먞ě­?í•‚ě?Š 잚슲몎 킲픒 맞팒 ě°Žě?† ě˝›ě†’ě˜Ş íŒŹí”Šě˜Ş ëšŚíŒ’ë§Žě†’ě˜Ť îŒŞ 뽎핂 믞돺

A halved coconut shell is used to make a turtle, and a long piece of string is wound to make the turtle move forward 22

ě‹ží‘ž ë°šě•Š | íşŞëŹť

Tao kala | Thailand

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ěƒŽëšŚě¤‚ 짢돺삖 핂몎 ě‚şě?şëŻž

Bamboo Baskets Race

핞헒먞 ě§˘í¸‚ ë­‚ě—?잎 ë­‚ě?şëŻž

Bicycle Rim Rolling

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í•ž 벊, 탆 벊 픊퓉 | 짆í?Žěž–

잖핆 �� | 킿많�

밂 뚌잗킎 킎몎 찜� 늅믞

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Main lereng | Singapore

Long Wooden Shoes Race

ěŒ‚ěŠş ě§˘ëšŠíŒ“ | í•†ě†’ëť˛í‚ŞíŒ’

í´˘í´˘ëťŠ ëŤƒ ë­‚ě?şëŻž

Za kaw, Sa gaw ywet | Myanmar

Tandem bakiak | Indonesia

Coconut Ball Rolling

ě–ş ëłž í¸şě˜Ť | íşŞëŹť

Lor kon krok | Thailand

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슎맪 탆풎 Pillow Fight 믞ě?’í°ŽîŒŞ ěƒŽëšŚě¤‚ 퓒펞 ěˆž ěšşě•ší•‚ í?şě•Šë§Ž ěŠŽë§Şě˜Ş íƒ†í’ŽîŒŚíŽş 킇쭎ě?Š 많ě?‚ě ˘ 뽎핂

Two people straddle a log of greased bamboo and hit each other with pillows 27

ë°ší”&#x; í?ś í•• | 짆í?Žěž–

Gaung ohn yite | Myanmar

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Chapter 2

쁦옪

Up Above

쁦옪 쁢 짷컿픒 많힎먾빦 쿦힏헏 풎힏핒핂 맣혾쇦쁢 팒켆팖픦 뽎핂퐎 믆 솒묺슲픒 콚맪삲.

Sky-oriented nori and their tools that are mostly based on vertical motion

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í•łěƒŽí?˛ě?‚믞 Pole Climbing 솓잋믞럞핊덊 맧픎 í­Łí—Şí?Ž î?—ěšş 믞맒 í›&#x;펞 믞ě?’í°ŽîŒŞ í•łěƒŽíŽž í?şě•Š 밑짪픒 ě´&#x;먞뚌 읎줊픒 î‘›ěŠŤîŒŚě ˘ 뽎핂

Players climb greased bamboo poles to retrieve prizes or a flag, and is often played on special occasions and festivals such as Independence Day 츪핹 ěšžëšť | í•†ě†’ëť˛í‚ŞíŒ’ í­† ě‹Ś | 짆í?Žěž– îƒ˘ě˜Ş 쟆썂 | ě?şîŒŽ

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Panjat pinang | Indonesia Chow dine | Myanmar Palo sebo | Philippines

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33 펞뚎ě?şëŻž Kite Flying 짢앚픒 핂푡î?‚ îŒŚě Ś ë˝ í•‚ 펞픒 ě”’í‘žě ˘ ë˝Ží•‚ě˜Ş 뚜럎뽆콚많 í?žëŻžě ˘ íŒ’ěź†íŒ–í”Ś 썂í—?핆 뽎핂

Kites are flown high up in the sky on a windy day. It is common across ASEAN and is loved by people of all gender and age.

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í?Ží‘ž | ěžžě—–í•‚í‚ŞíŒ’ ëŹşěœŞ | ě?şîŒŽ ě•Ší?&#x; | í•†ě†’ëť˛í‚ŞíŒ’ íşŽ 힎펞푞 | 슎뚜 짢í?˛ | ě•Ší?˛í ˛ 뚊뚋 | 쯚욜뚌핂 삲욜캂앚 ě—š í?Ží‘ž | íşŞëŹť

Wau | Malaysia Guryon | Philippines Layang | Indonesia Tha dieu | Viet Nam Vao | Lao PDR Kikik | Brunei Darussalam Len wow | Thailand

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Chapter 2

풞픊옪 칺짷픊옪

In a Circle Out and About

쿦힏뫊 쿦픦 힏컮헏 솧핟픒 뻦펂 풞뫊 찒헣픦 짷컿픒 많힒 뽎핂펞 훊졷삲.

Nori that are mostly based on circular or irregular motions

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í˘&#x;ë°› Congkak ěžšíąŠě•Ší”Ś í•Ší™“í”Šě˜Ş, íŒ’ěź†íŒ–í”Ś 썂í—?핆 뽎핂. í˘&#x;받픎 ěˆž 훒플 ëŹşě ›ëŤŠ í¸ž ëŹşě ›(헎핳몎)í•‚ í•–ě ˘ ëšŚě¤‚îƒžíŽž ëŹşí şí•‚ëšŚ í˜žë§Şë˛›íž–í”’ í?źëŻžě ž 헞쿌ě?Š íŽ‰ě ˘ě‚˛.

Mancala type games are common across ASEAN. Usually there are two rows of smaller holes with two larger holes at either ends on a wooden board. The player who gains the greatest number of glass marbles or cowrie shells wins.

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í˘&#x;ë°› | 킿많ě?‚ í˘&#x;ë°› | ěžžě—–í•‚í‚ŞíŒ’ ěżťíą‚ | ě?şîŒŽ í˘&#x;ë°› | 쯚욜뚌핂 삲욜캂앚 ě‚˛í´Ś | í•†ě†’ëť˛í‚ŞíŒ’

Congkak | Singapore Congkak | Malaysia Sungka | Philippines Congkak | Brunei Darussalam Dakon | Indonesia

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뜆삲 웆욳 Kuda Lumping ěƒŽëšŚě¤‚ě˜Ş 잚슎 ěžží”’ íşŽëŞŽ í­˛í”’ í­˘ě ˘ í•†ě†’ëť˛í‚ŞíŒ’í”Ś 뽎핂

Thin slivers of bamboo are weaved to make flat horse dolls, and are used as dance props.

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뜆삲 웆욳 | í•†ě†’ëť˛í‚ŞíŒ’

Kuda lumping | Indonesia

슿뚌줂 ëŤƒí§śëŻž Rattan Ball 슿뚌줂뚌 ěƒŽëšŚě¤‚ě?Š 펟펂 잚슎 ëŤƒí”’ 짪덊 줂ě?œí”’ 핂푡î?‚ ěş?ěƒŽě§ˇí”Ś ëŹşíŽťí”Šě˜Ş 띌믞먞뚌, 삲í?&#x;îŒŞ 솧í•&#x;í”Šě˜Ş ëŤƒí”’ í§śěťŞ 훊몎 ě§Šě ˘ 뽎핂

Hollow balls are made by intersecting rattan or thin slivers of bamboo. The ball is passed to the opposing side or passed between players in elaborate moves.

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í‚Şîƒš | ě?şîŒŽ ěź†îƒ›íşŽí¸şě˜Ş(íą‚í˝Ž) | ě•Ší?˛í ˛ ěź†îƒ›íşŽí¸şě˜Ş | íą’ěŤ‚ě‹˘íŒ’ í°Şě˜Ž | 짆í?Žěž– ěź†îƒ›íşŽí¸şě˜Ş(튞찯 않많) | ěžžě—–í•‚í‚ŞíŒ’

Sipa | Philippines Sepaktakraw (Kator) | Lao PDR Sepaktakraw | Cambodia Chinlone | Myanmar Sepaktakraw (Sepak raga) | Malaysia

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썂슪늚핒 Board Games 쥡핺뚌 홓핂 퓒펞읪 훊욺퓒ě?Š 섌힎먞뚌, 솚핂뚌 ěžží”’ í•Ší—ŁîŒŞ ëŽŞí°§íŽž ě‹žě•Š í’Žíž?펺읪 íž’î?—îŒŚě ˘ 뽎핂

Players move small stones or pieces according to certain rules on wooden or paper game boards 47 48 49

íš‚ě•Š 횂욡 | íą’ěŤ‚ě‹˘íŒ’ íŒ’ěˆž ě?ş íŒ’ěŒŽ | 킿많ě?‚ ě°Žě•Šěž–ě°Žěƒ‚ | 킿많ě?‚

Klah klok | Cambodia Aadu puli attam | Singapore Paramapadham | Singapore

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삲잖 | ě?şîŒŽ 잗욡 | íşŞëŹť ě°Žíƒ› | 쯚욜뚌핂 삲욜캂앚 í?ł 힪쓜ě—? | íą’ěŤ‚ě‹˘íŒ’

Dama | Philippines Makruk | Thailand Pasang | Brunei Darussalam Ouk chatrang | Cambodia

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î‹’ě˜Şî…Žě–ş 솚ě?şëŻž Propeller Spinning ď˜Śí´łíťž ěž–í•‚ îƒší•‚ď˜§í?Ž ď˜Śë°Ş ě¤†ď˜§í”Ž 콞픒 핂푡î?‚ í•&#x;픎 ěƒŽëšŚě¤‚ î‹’ě˜Şî…Žě–şě?Š 솚ě?şě ˘ 뽎핂

Small bamboo propellers are spun with the hands í´łíťž ěž–í•‚ 핂 | íşŞëŹť ë°Ş 줆 | íşŞëŹť

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콚ě?şëšŚě ˘ 핳뚪맞

Copter mai pai | Thailand Gam moon | Thailand

Noise Maker

í?˛ě˜Ť 짲쭎 | í•†ě†’ëť˛í‚ŞíŒ’

Orog bambu | Indonesia

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캖퍍 Slingshot ě†šě ˇí•‚ ě‹ží“’ě?Š ëŞŽě¤‚í›’ě˜Ş 뚎엲 ěĄˇîˆŞě¤Ší”’ 잏 쿌 í•–ě ˘ 뽎핂 솒돺

Small objects such as a small piece of stone is catapulted using the rubber band.

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ëšťí?&#x; | ě•Ší?˛í ˛ 않솒 | ě?şîŒŽ

Nangyang | Lao PDR Tirador | Philippines

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팒켆팖픦 핆믇뫊 볻숞맏킪 솧빶팒킪팒픦 핆믇픎 폖쿮옪 킇쇪 뽎핂픦 콛컿픒 쫂펺훎삲. 펾믇픦 뫃펾핞빦 핆 혾홓핞, 뽎핂 솒묺 헪핟핞쁢 샎쭎쭒 몮솒픦 믾쿮뫊 헒줆컿픒 많힒 힎킫핆핂핞 핳핆픊옪 샎푾짩쁢삲.

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Puppetry and Marionettes of ASEAN Puppetry of Southeast Asia is a type of nori that is elevated to an art form. The performers or the puppetmasters are usually highly trained to have the highest level of technical skills and expertise, and are revered as artisans and intellects.

핆믇 볻숞맏킪

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Puppets and marionettes

퐎퍟 몶엗 | 핆솒뻲킪팒 | 볻숞맏킪 핆

Wayang golek | Indonesia | Puppets

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î’– 븒않 슓 | íşŞëŹť | ëłťěˆžë§?í‚Ş 핆î?Ł ëłťěˆžë§?í‚Ş 핆î?Ł | ě•Ší?˛í ˛

Hoon kra bok | Thailand | puppets Lao Puppet | Lao PDR

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푵 쓶풶 | 짆퍎잖 | 볻숞맏킪 핆

Yoke thay | Myanmar | Marionettes

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샎 볻숞맏킪 핆Ԫ | 읺 (읺픦 숞 폏풓, Andres Bonifacio, Jose Rizal)

Modern puppets | Philippines (National heroes, Andres Bonifacio, Jose Rizal)

Ԫ읺 팒젪읺팒 않뺞 쫂삖킪폲 핆믇 짣줊뫎 콚핳

Courtesy of The Amelia Lapeña-Bonifacio Teatro Papet Museo in the Philippines

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줂펂 옪핂 쁞펃 | 쩮빶 | 쿦캏 핆

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Mua roi nuoc | Viet Nam | Water stage puppets

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ëšť 싞웋 | íşŞëŹť | 믆잊핞 핆î?Ł í?Ží?&#x; | ěžžě—–í•‚í‚ŞíŒ’ | 믆잊핞 핆î?Ł

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Nang talung | Thailand | Shadow puppets Wayang | Malaysia | Shadow puppets

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엳핟펓

Collaborative Works

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Chapter 3

íŒ’ěź†íŒ–í”Ś 뽎핂ě?Š í›Ší—Şě˜Ş 삲í?&#x;îŒŞ í•łě?‚í—? í¨‹í•&#x; 킲픒 ě˝šë§ŞîŒŞě‚˛.

Creative experimentation across various genres under the theme of ASEAN nori

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íŒ’ěź†íŒ–í”Šě˜Ş ë§Žě ˘ 삲ě?† 줆

Different Doors to ASEAN í’ší¸şěż› í??ěş? ëŻžě˜Ťě¤ŠëŤŠ ěť˛í°Ś î?&#x;ě—ł : DD238 í??ěş?í—Şí•&#x; : Vipro

Workshop documentary and installation Collaboration: DD238 Film production: Vipro

읪풆 ě†§ěƒŽě¤†ëŹş 핂줆솧펞 í“’í°ŚîŒŞ íŒ’í•‚ěŠ˛í”Ś

í•&#x;펓킲 DD238펞읪 íŒ’í•‚ěŠ˛ëŤŠ îŒśë˛ŚîŒŞ 뽎핂 í’ší¸şěż› 늞덊줊픒 ě˝šë§ŞîŒŞě‚˛.

A documentation of a workshop held in DD238 a studio for children in Imun-dong, Dongdaemun-gu, Seoul

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뽎핂 ěž˛ě ‚íŽŠ, 뽎핂 î†şí ˛íťž

핳푞읍

Wooseok Jang

Nori Manual, Nori Poster í•Šě–şí ˛î‚†ě—–í•‚ěźŚëŤŠ ëŻ†ě•ŚîŒ‹ 싢핞핆

Illustration and Graphic Design

íŒ’ěź†íŒ– ë§?돝플 í—’ížƒë˝Ží•‚í”Ś 솒돺í?Ž í’Žíž?í•’í”’ 혞î?Łí—?í”Šě˜Ş î?‚ěťŤîŒŚíŽş ëŻ†ě•ŚîŒ‹í”Šě˜Ş 펂뺆삲.

Tools and movements of traditional ASEAN nori are visually reinterpreted into graphics.

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슅짞몋

íŹŞí™“îŒŚ

Jongha Choi

Background ěť˛í°Ś

Installation

짢삳펞 믖잚 믆픊쥂 í­ˇě­’î?–ě„Ś 펂잂í—? ěŒ“ě‹žě ‡ëŻž

ë˝Ží•‚ě ˘ ě †ěž?콛펞읪 쪋핂 쇌몎 ëŤƒë§’í•‚ 쇌펂 ě?žě‚˛ě?† î’šěœťîŒŞ ë˝Ží•‚îƒží•‚ 쇪삲.

A game of hopscotch could be played simply by drawing a few lines on the ground when we were young. This game is reimagined into walls and spaces to make an all new game.

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í•&#x;많 í ˛íłŽí°Ś

Artistď˜§s sketch

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홓핂뽎핂

í•‚í•łěťť

Jangsub Lee

Paper Play ěť˛í°Ś

Installation

5,000펺핳플 홓핂핆î?Łí”Ž ěťŞě˜Ş 펞늞쇌펂 í¸ž ëŹşí˜žě¤Šě˜Ş î?Łí•łí•‚ 쇪삲. 덎앚맍슲픎 íž?í—&#x; í•‚ î?—퓒펞 í¨†ë§ŽîŒŚíŽş í•&#x;펓픒 í?’ěťżî?‚뚌맒삲.

About 5,000 paper dolls are interconnected to from a large structure. Viewers can participate to complete the work themselves.

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쑍싿돝쿌

팒ě?şě˝Ż

Arisong

Make My Bowl 핆흞앧쯚 짆싢펂 ěť˛í°Ś

Interactive Media Installation

íŒ’ěź†íŒ– 10맪돝플 삲í?&#x;îŒŞ 줆î?˘í?Ž 헣읪ě?Š

îŒŞ 믆ě?•í”Ś 돝쿌ě?Š 잚슲펂 ě ‡ě ˘ í•Šěş?í—? î?—퓒펞 ě°ĽěƒŽíŽ‚ ěƒ‚íŒ’ëş†ě‚˛.

The mixed culture and sentiments of the 10 ASEAN countries are compared to an ordinary activity like making and eating a bowl of noodles.

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î”şě§†îŒŞ î?’í•ş

콞읎몋

Seonkyung Son

Faint Present 펞콛 íŒŽě‚–ě ˘í•‚ěźŚ 찒싢í?˛

Roofed Animated Video

TVěş?핞플 îŒŞí—Łě‡Ş ëŤƒë§’ 콛펞읪 ě’žë˝†ě ˘ 콚럒 콚럎슲픒 힃î?‚ ě¤‚îŒŞî•– ě§ŚěŤƒě‡Śě ˘ 뽎핂플

í’Žíž?í•’í”’ 줂킺 í˜ží‘ˇîŒŚëŞŽ ě¤ƒě¤ƒîŒŚëŠš ížŽě˝›ě‡Śě ˘ ě¤‚ě°§í•‚ě§†ížŽě˜Ş 썂펺훎삲.

Moving images that quietly and nonchalantly depict children playing games in infinite repetition within the limited space of TV boxes

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폏뽎핂

10졓픦 팒켆팖 맏묻 폏맞솓 10 Film Directors from the member states

Play on Movies 10 픦 삶폏

10 Short Film

팒켆팖 10맪묻 폏맞솓 10졓핂 핞묻픦 뽎핂줆펞 샎 캫맏픒 폏옪 펂뺆삲.

10 filmmakers from 10 ASEAN countires portray their thoughts and imaginations on the nori culture of their home country

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The Transition , 5:55 Nurain Abdullah Brunei Darussalam í?˛ě ŚëšŽ 쯚욜뚌핂 욺앚슲픎 헒힃í—?핆 쿌ěş?많í?łíŽžěťŞ 슼펂뚌 ěŒ“ í“’ě˜Ş 훊먞힎ě?Š í?źëŻžëŞŽ 핖삲. 훊먞î?ŁíşŞí”Ś 쪎î?˘ě ˘ ë§?믞 삲ě?† 짞몋픒 많힒 ěş–ě˜Şí’‚ 핂풑덊 잖훊î?‚í?Š îŒŚě ˘ 줆헪ě?Š î†şîŒśî?‚, ěş–ě˜Şí’‚ í˛˛ěĽ˛ě‚–î‚ž í˜žěťżí”Ś ě¤†í—Şě˜Ş 펞늞쇪삲. í??î?˘ě ˘ ěş–ě˜Şí’‚ í°ŞëŹş 잚슲믞뚌 ěş–ě˜Şí’‚ 뽎핂 î?Şě†§íŠŚě—Š ěšşî‘ší—? 쪎î?˘ë§Ž íŒ’í•‚ěŠ˛íŽžëŠš í›Šě ˘ í??î?łí”’ ě˝ší•şě˜Ş îŒŞě‚˛.

As more and more Bruneians move out from the Water Villages to live on land, especially at the housing scheme, they have to form a new community composed of neighbors from different backgrounds. The film explores the effects of such change on children who are pushed to adapt to the new environment and make new friends, play new games on land instead of in water.

The Successor , 11:00 So Chandara Cambodia

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íą’ěŤ‚ě‹˘íŒ’í”Ś 쒞펂뚪 헒힃 íŒ–ě¤‚ë§Ží•‚í•ž 힎솒핞 Sophiline펞 ěƒŽîŒŞ í•‚í?ŠëŻž. í¸şě ˘ě?‚ í?–쿎픒 ěŤ‚í™‚îŒŚě ˘ í›&#x;í‘˘îŒŞ 돞퓯믞덎핆 í¸şě ˘ě?‚ í?–쿎 íŒ’íą‚ě„žě§†ě?Š 힎횲몎핞 ě­’íżşîŒŚě ˘ 믆럎플 î?Şě†§í”’ 삲욺삲.

Donď˜§t Play Alone , 8:21 Luhki Herwanayogi Indonesia í•ƒě§Şí•‚ě•Šě ˘ 10쟆 콚럒핂 훋픎 î?Ł 캚싢플 í??î?Ší”’ 쭖얺뺂믞 í“’î?‚ ď˜Śí•Śě•&#x;íˇƒď˜§í•‚ě•Šě ˘ 뽎핂ě?Š îŒŞě‚˛. 콚럒플 íŽ’ěž–ě ˘ ěˆžě—˛í’Ží”’ ě žëšŠëŞŽ í•ƒě§Şí”Ś 뽎핂ě?Š ě –í­˘ě—˛îŒŞě‚˛.

A 10-year-old boy named Iqbal is playing jalangkung at home to call his brother Sandy who passed away to play with him.

However his mother is scared and tries to stop him from playing this dangerous game.

A story about Sophiline, an award-winning choreographer, dancer and teacher of the Cambodian classical dance.

The film is about her struggles to preserve her Khmer Arts Academy, a renowned and important platform to keep Khmer arts alive.

Lao Activites , 4:50 Thanouphet Onmavong Lao PDR 혞밓, ě‚ťíƒ†í’Ž, íŽžíŽ‚ě˜Şě°“ëŤŠ 맧픎 ě•Ší?˛í ˛ 욺앚슲플 í•Šěş?í—? 펺많î?Şě†§í”’ í?˛í—’ě­Žíťž í—Žëź?밚힎 í‚Şë§’ěƒŽě?Š 뚌뿎 ě˝šë§ŞîŒŞě‚˛.

Wau: Dancing in the Sky , 6:38 Putri Purnama Sugua Malaysia

This film introduces leisure activities widely enjoyed by Laotians such as jogging, cock fighting, and aerobics, from morning till evening.

ěžžě—–í•‚í‚ŞíŒ’í”Ś í—’ížƒë˝Ží•‚í•† ď˜Śí?Ží‘žď˜§(펞뚎ě?şëŻž)펞 í›ŠěĄˇîŒŞ ě‚˛í¸žě Śíťžě?ş. í?Ží‘žě ˘ í—’ ěź†ěƒŽë§Ž í?žëŻžě ˘ ë˝Ží•‚ě˜Ş, 펺얺 î?ŁíşŞë§Ž í•–í”Šě ž, ë§? î?ŁíşŞěž–삲 몎퓎플 플짆ě?Š 많힒삲.

A documentary that portrays the traditional Malaysian kite called wau . There are many different types and designs of wau and can be enjoyed by everyone.

Each type and design has itď˜§s own meaning.

108 Burma Chinlone , 7:40 Myat Thiri Htoo Myanmar 짆í?Žěž–í‚Ť 슿뚌줂 ëŤƒí§śëŻž 뽎핂 ď˜Śí°Şě˜Žď˜§í”’ ě˝ší•şě˜Ş îŒŞ ě‚˛í¸žě Śíťžě?ş. 짆í?Žěž– 잚삺엖핂펞읪 잲î?‚ 6풢펞 í?‚ě?şě ˘ í°Şě˜Ž ěƒŽî‘šíŽž í¨†ë§ŽîŒŚëŻž í“’î?‚ 헒돝펞읪 읎쿌슲핂 쥜핆삲. í??î?˘ě ˘ 짆í?Žěž–핆슲펞늚 í°Şě˜Ží•‚ ë§ŽížŽě ˘ 플짆ě?Š í˜žěĄ“îŒŞě‚˛.

A Day in the Sun , 5:21 Carlo Enciso Catu Philippines í•&#x;픎 퍚앋플 íł‚îŠśíťž 많늚펞 쥜펺 í?śě•Ší•† 늚핒펞 í?‚í›&#x;îŒŞ íŒ’í•‚ěŠ˛í”Ž ë§&#x;í•&#x;í ˛ě–ž 헣헒펞 ěƒ‡î?ˇîŒŞě‚˛. 킲잍î?‚ ë§?핞플 íž&#x;í”Šě˜Ş ě†šíŒ’ë§Žě—˛îŒŽ ěŒš, 뿒돞많 짤펞읪 îŒśë˛Ś 뽎 늑픒 í—ŞíŒ–îŒŞě‚˛.

Children from a small village are playing online games at the town computer cafĂŠ, when suddenly there is a power outage. The disappointed children start to head home when someone suggests that they play outside.

A documentary on the Burmese rattan ball game, chinlone .

Players from all across the country congregate in Mandalay to participate in the chinlone competition, a special feature of the chinlone festival. This film highlights the significance of this game to the people of Myanmar.

Watermelon Dragon , 5:06 Ng Phui Leng Gladys Singapore 엖슪 íš‚ě˜Şí ˛ě ˘ 몾 í•şë§Şě§Şě˜Ş ěšşě•ŠížŽě ˘ 훊먞삜힎핂삲. í•‚ ëŤ í”Ś ë˝Ží•‚íťžě ˘ í?˛ě•Ş 킪맒 ě†§íŒ– ěžœí”Ž íŒ’í•‚ěŠ˛í•‚ í­˘íŽƒí”’ íƒĄí”Ž ëŤ í•‚ě‚˛. í•‚ í??î?˘ě ˘ í•şëŠ‚í­Ł, 핺맪짪덊 맧픎 î?ŚëŞ‹ 쪎î?˘í”Ś 줆헪ě?Š íŒ’í•‚ěŠ˛í”Ś 뽎핂í?Ž í­˘íŽƒí•‚ě•Šě ˘ 덎헞펞읪 ěƒ‚ěƒ‚î•– 짢않썆삲.

Redhill Close is a residential estate that is soon to disappear because of the Enbloc scheme. Many childrenď˜§s memories have been made in the playgrounds around the estate. This film delves into the issues of redevelopment and environmental change while highlighting the childrenď˜§s times spent in the playgrounds.

Playful Thailand , 5:49 Nutthapon Rakkhatham Thailand 2018ëź’ î?’í•ş, íşŞëŹť ě§ˇí´ŁíŽž ěšşě ˘ 1990ëź’ěƒŽ 퍖짌펞 íşŞíŽ‚ëšŞ 20ěƒŽ

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Nostalgia for a Summer Day , 9:51 Nguyen Le Hoang Viet Viet Nam íŽ‚ě ž 펺ě?’뚎, îŒŞ í•&#x;많많 íž&#x;펞읪 믆플 í?˛ě•Śě‡Ş 핳뚪맞 ěş?í•žě?Š 푞펞 ě§ŞëŠşîŒŚëŞŽ, 펂잂 í—? 뽎핂펞 ěƒŽî?‚ í­˘íŽƒîŒŞě‚˛.

One summerď˜§s day, a writer finds a box full of her old toys in her house, and reminisces her childhood days spent playing games.

험픎 튝럒슲픎 핂짆 ě°Žě?‚늚 ě§˘ëˇšě ˘ 튜삜믞쿎펞 í•ƒěż§îŒŞ ěź†ěƒŽí•‚ě‚˛. 믆얺뚌 솧킪펞 싢힎ퟆ 믞믞 펔핂 ěťżí•łîŒŞ 잖힎잗 ěź†ěƒŽí•‚ëŻžě†’ îŒŚě‚˛. í??î?˘ě ˘ 핂슲플 쥡콚ě?şě?Š 힃î?‚ ěšşě•Ší˜†ë§Žě ˘ íşŞëŹťí”Ś í—’ížƒë˝Ží•‚ 몋픒 í­˘íŽƒîŒŞě‚˛.

2018 in Bangkok, Thailand, youth in their 20s who were born in the 1990s have become accustomed to rapidly changing cuttingedge technology. However, at the same time, they are the last generation to have grown up without digital devices. This film remembers the disappearing landscape of Thailandď˜§s traditional games through the voices of this generation.

íŒ’ěź†íŒ–í”Ś 짪픚뽎핂

ASEAN Tongue Twisters íź›í ˛î‚† íŒŽě‚–ě ˘í•‚ěźŚ í??ěş?í—Şí•&#x;: í’ží“˛í§ş

Text animation Film production: Yoonchan Won

íŒ’ěź†íŒ– 돝많슲플 잞핳뚪 뽎핂ě?Š ě˝šë§ŞîŒŞě‚˛.

A compilation of tongue twisters from ASEAN countries

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í­˛í”Šě˜Ş ěžšëšŚě ˘ íŒ’í‚ŞíŒ’

One Asia in Dance í•žěššî?&#x;혞 íŒ’í‚ŞíŒ’í­˛ě¤†î?˘íŽžëŹşě˝š, í“Žëť˛í ˛í´˘íŒ’íşŞě¤‚î?Łě¤†î?˘í“ŽěšžěźŠíťž

Film courtesy of Asia Dance Culture Institute, UNESCO Intangible Cultural Heritage Centre in the Asia Pacific Region

íŒ’í‚ŞíŒ’í”Ś 삲í?&#x;îŒŞ í­˛í”’ í›Ší—Şě˜Ş 잲럒 í?‚ě?şëŞŽ

í•–ě ˘ íŒ’í‚ŞíŒ’ě§Šě˝›í­˛ í­Łí—Ş í›&#x; íŒ’ěź†íŒ– 돝많슲플 ëŤƒíŽží”’ ě˝šë§ŞîŒŞě‚˛.

An Asian folk dance festival is held every year showcasing various dances.

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View of Installation

헒킪핳 숦얺쫂믾

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팒켆팖줆풞 믾헒킪

뽎핂쁢 팒켆팖

묻묻헪묞윦핺삶 핂칺핳 핂킪

묞윦엳핂칺 밎컿핆

팒켆팖줆풞핳 킇 줆칺펓쭎핳 핂짷쫃

줆칺펓쭎 퓮핆, 핒힎픎 폏줆묞폂

Simon Robinson

헒킪믾 �앟

펂킪큲� �엖핂� 밎헣퓲, 밎짆 쩖펻 밎헣퓲

컲� 뽆훎�, 핒컮폏, 읺

싢핞핆 팯켦컪풆

솒옫싢핞핆 밎읺풞

짆싢펂 옪섣켦 욶 254, 찒옪, 풞퓲� 칺힒 뭍쫂핂�큲, 헪핂옺 엳핟펓

DD238 콞컮몋 팒읺콯 핂핳컻 핳푾컫 �홓

뿒엖핆 팣숦않(쯚욶빦핂 삲욶캂앚) 콚 �삲않(�쫂싢팒)

욶� 읂퐎빦푢믾(핆솒뻲킪팒) �뿒 폶잖쫗(않폲큲)

읺 읂빦잖 쿦묺팒(잞엖핂킪팒) 짆퍝 킪읺 �(짆퍎잖)

�읊옪 펢�콚 ��(읺)

픟  엫 믎않싢큲(킿많읂) 뿒� 않��(�묻)

픟푾폚 읂 팧 찒펱(쩮빶) 풞 푆묞쭎, 쭎칾뫟펻킪

훊�·훊뫎 묻묻헪묞윦핺삶, 팒켆팖줆풞

헒킪펞 솒풎 훊킮 졶슮 쭒슲벦 맞칺슪잋삖삲.

ASEAN Culture House Special Exhibition Playful ASEANASEAN Seen Through Traditional Leisure Activities The Korea Foundation President Sihyung Lee Executive Vice President Seong-in Kim Director-General of ASEAN Culture House Seung-hoon Ham Director of ACH Exhibition Program Bangbok Lee Senior Program OfďŹ cer Hyein Yoo, Jieun Im Copy Editor Simon Robinson Curator Horang Choi Curatorial Assistant Jeongyoon Kim, Mihye Kim Translation Jeongyoon Kim Installation Coordinator Joontae Noh, Sunyoung Lim, Hyeri Hong Design Action Seoul Catalogue Design Riwon Kim Media Production route 254, Vipro, Yoonchan Won Photographic Credit (Installation View) Goodboy Picutures, J.from Collaborative Works DD238 Seonkyung Son ARISONG Jangsub Lee Wooseok Jang Jongha Choi Nurain Abdullah (Brunei Darussalam) So Chandara (Cambodia) Luhki Herwanayogi (Indonesia) Thanouphet Onmavong (Lao PDR) Putri Purnama Sugua (Malaysia) Myat Thiri Htoo (Myanmar) Carlo Enciso Catu (Philippines) Ng Phui Leng Gladys (Singapore) Nutthapon Rakkhatham (Thailand) Nguyen Le Hoang Viet (Viet Nam) Support Korean Ministry of Foreign Affairs, Busan Metropolitan City organizers The Korea Foundation, The ASEAN Culture House

Special thanks to all those who contributed to this exhibition.

짪�튌

îŒŞëŹťëŹťí—ŞëŹžěœŚí•şě‚ś íŒ’ěź†íŒ–ě¤†î?˘í’ž

싢핞핆

íŒŻěźŚěťŞí’†

짪�핆

í•‚í‚Şî?Ł

íŤ–îƒž 1ěž’ 핆잒 ě§? 짪î?— 2018ëź’ 12í’˘ íŒ’ěź†íŒ–ě¤†î?˘í’ž

ě­ŽěšžëŤ&#x;펝킪 î?‚í’‚ěƒŽëŹş í™šě†§ě˜Ş 162

T. 051 775 2024 F. 051 775 2020 H. www.ach.or.kr

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Published by The ASEAN Culture House, The Korea Foundation Sihyung Lee Publisher action seoul Design

First Printed/Published on December, 2018 ASEAN Culture House 162, Jwadong-ro, Haeundae-gu, Busan Tel. 051 775 2024 Fax. 051-775-2020 www.ach.or.kr ĎżASEAN Culture House, The Korea Foundation, 2018

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