“Sigangli ” – Creation Myths of Wa Ethnic Minority 佤族神话《司岗里》
http://www.ynich.cn/view-ml-11111-1109.html
“King Alujuri” – Epic Poem of Yi Ethnic Minority in Yuanmou County, Chuxiong 元谋县彝族史诗《阿鲁举热》
http://www.ynich.cn/view-ml-11111-1111.html
“Gengu” – Epic Poem of Lahu Ethnic Minority in Lancang County, Puer 澜沧县拉祜族史诗《根古》
http://www.ynich.cn/view-ml-11111-1112.html
Lang’e and Sangluo (《朗娥与桑洛》) is a long narrative poem passed down orally among the Dai (傣族) people. It represents a precious cultural legacy of the Dai community. The epic recounts a tragic love story between two devoted Dai youths, embodying the people’s longing for love and happiness, and their resistance to feudal ethics and patriarchal authority.
Comrade Ding Shaosong (丁绍松) lived and worked for many years among the Dai people in our county. Through numerous visits to elder folk singers, he faithfully recorded, carefully translated, and compiled this poem—a significant contribution to the collection and preservation of our county’s ethnic folk literature.
Current Preservation Status
The long narrative poem Lang’e and Sangluo (《朗娥与桑洛》), originating from the Dai (specifically the Flowery-Waist Dai or 花腰傣) communities of Gasa Town (嘎洒镇) and Shuitang Town (水塘镇) in Xinping Yi and Dai Autonomous County (新平彝族傣族自治县), Yuxi City (玉溪市), is a complete and lengthy tragic epic. The story touches on social structures, political systems, class relations, ethical norms, and romantic ideals of its time. Various versions of the poem are still orally transmitted among local people, and in recent years, literary enthusiasts have begun compiling and organizing some of them.
The narrative portrays the doomed love between the Flowery-Waist Dai maiden Lang’e (朗娥) and the young man Sangluo (桑洛). Through their tragic separation and eventual joint suicide in pursuit of true love, the poem reflects the defiance of feudal norms and the patriarchal system by Dai youth, as well as their yearning for romantic freedom and a joyful life. Their sacrifice leaves a hauntingly beautiful story in the hearts of the people.
The poem is rich in meaning, melancholic yet moving, with a clear storyline filled with twists and metaphors. It draws vivid parallels from daily life, using analogies and symbolic imagery to comment on both historical and contemporary society. Each poetic line carries deep significance, featuring elegant, fluent language and well-structured verses.
Performance and Musical Tradition
Lang’e and Sangluo (《朗娥与桑洛》) is traditionally performed by a group of 3 to 5 Moha (摩哈), meaning skilled folk singers. They chant the epic over the course of three days and nights, accompanied by the dingxie (定些), a four-stringed fiddle unique to the Dai people, and even by playing tree leaves as instruments.
Today, most remaining Moha capable of performing the entire poem are already advanced in age—many nearing their seventies—and very few can still recite the poem in full.
Prologue
The sun hides behind the vast foothills,
The moon retreats into the silent, deep valley,
A basket of glittering pearls scatters across the blue sky,
A string of sorrowful tales remains in the mortal world…
Legend tells of nine hundred ninety-nine stars in the eastern sky,
Among them, one sparkles like a gemstone;
Another shines as brightly as gold.
The two stars gaze into each other’s eyes,
Speaking through their tender glances,
Communing through graceful dance.
These two stars become companions,
Descending together onto the plains of Mengsa (勐洒坝子).
The star from the east lands in Jingduan Village (景端寨),
And Jingduan Village grandly welcomes the birth of Luobo Ling Lang’e (洛卜领朗娥).
The star from the west lands in Jinglong Village (景龙寨),
And Jinglong Village joyfully celebrates the birth of Luobo Zai Sangluo (洛卜宰桑洛).
The two villages gaze longingly at each other from afar,
With the Mengsa River (勐洒河) flowing in between.
The Mengsa River is the mother river,
Brilliant flowers bloom along both banks,
Hardworking Dai Sa (傣洒) people live and thrive along its shores,
Rare birds and exotic beasts wander through the forests,
Fragrant, sweet fruits ripen on the trees.
Alas, the celestial deity Ba Ying (叭英) cannot restrain the common folk—
The chiefs (Bugan, 布干) on both sides are locked in a deep-seated feud,
Frequently drawing bows and brandishing spears,
Fighting east and west in endless conflict…
II. The Golden Peacock
The golden peacock perches upon golden and silver branches,
Lang’e (朗娥) is born in the bamboo stilt house of the Bugan (布干) family.
The waxing moon grows fuller with each passing day,
And Luobo Ling (洛卜领) grows taller and more graceful every day.
At fifteen, Lang’e is as beautiful as the Gouge bird (够格鸟)④.
Charming flower butterflies
Dare not flutter their wings before her;
Diligent little bees
Cannot match her quick hands and graceful ways.
She is like the mountain spring water
Flowing always toward the river—
Wherever she goes,
All the Luobo Zai (卜宰) gather around her.
Dense bamboo forests are trampled into wide paths,
Love songs and praise fill her little home:
“Oh, enchanting Luobo girl,
You are the moon in the sky,
You are the dazzling peacock,
You are the morning glow of dawn,
You are the flower in full bloom.
Even the shadow you cast
Could be sipped like sweet rice wine.”
Clever and skillful Lang’e
Spins threads long and fine,
Weaves cloth both beautiful and strong.
She weaves a garden where bees come to gather nectar,
She weaves a forest where birds come to sing.
The floral fabric she weaves—
When sewn into a tongpa (筒帕)⑤, it can hold water,
Rolled into a bilin (苾灵)⑥, it can be played to sing songs.
III. The Golden Deer
Freshly sprouted bamboo shoots are trampled by wild boars,
Tender flower buds are battered by heavy storms.
Sangluo, born into the Bugan family,
Brought no happiness to the Luobo Zai.
The wild wind howled three times,
The torrential rain poured for three days,
The bamboo stilt house swayed thrice,
His mother groaned in pain for three nights.
Poor Sangluo—
He lost his mother at the age of nine.
A footless venomous snake
Can move faster than a bird with wings.
On the third day after his mother’s death,
Mosuan○22 barged into their home.
“Respected Bugan,
Among the ninety-nine village chiefs,
You are always the one seated first;
When the people of ninety-nine villages sacrifice to the Dragon,
You are the one who eats the rooster’s head.
Your loss of a wife is a tragedy—
Wherever the river flows,
People weep for your sorrow.
One piece of firewood cannot start a flame,
One household alone does not make a village,
Without a bow, no arrow can be shot,
And without a wife, there is no home.
My sister Yisha is virtuous and capable of managing a household,
Let her come serve you, like ox and horse.”
Mosuan’s words moved Bugan’s heart,
And so he married Yisha into the family.
An old horse brings a foal,
Floodwaters carry silt—
Sangluo now had a stepmother,
And the stepmother brought her daughter, Yanla.
The heart of Jinzhu Biao⑧ is the cruelest,
And Yisha’s heart was no less ruthless.
The fragrant, steamed bianmi (扁米)—
Sangluo wasn’t allowed a single bite,
All was saved for Yanla.
The tangy, sour fish zha—
Sangluo didn’t get a single tail,
All was reserved for Yanla.
Yanla went to the market,
Wrapped grilled nuo⑨ in banana leaves;
Sangluo went to catch fish,
Wrapped grilled an⑩ in banana leaves.
She dwelled in the bamboo house in comfort,
Sheltered from storms by yellow bark thatch,
While Sangluo grew taller with each passing day,
Nourished by the waters of the Mengsa River.
At fifteen,
Sangluo was as valiant as a golden deer.
When a Luobo girl (卜少) secretly stole a glance at him,
She couldn’t spin a single thread for three days,
Nor weave a bolt of cloth in nine.
When fetching water, she’d take a detour past his house;
At the market, she’d use thirst as an excuse to ask for water.
Affectionately, the Luobo girl sang softly:
“Handsome Luobo youth,
You are the sun in the sky,
You are the strong and agile golden deer.
In the crickets’ chirping deep night,
In the mist-shrouded jungle,
I wish to sing you a tune sweeter than honey.”
IV. Blue Sky and White Clouds
Golden dawn arrives at Mengsa Plain,
The morning breeze blows the sound of gongs into the phoenix bamboo grove.
The Mengsa River sparkles with golden ripples,
Waterbirds rise and fall above the river.
Sanluo and Lijiang cast their nets in the water,
Three casts yield no fish,
Nine casts yield no shrimp.
Two parrots sing by the riverbank:
“Sanluo, Sanluo,
Hundred flowers go searching for spring,
Colorful clouds go chasing the blue sky.
There are hidden reefs downstream,
Upstream lies Lang’e.”
To find flowers, follow their scent,
To collect honey, follow the bees’ hum.
Lijiang drifts toward the dangerous shoals,
Sanluo heads upstream in search of Lang’e.
Is it that all earthly flowers bloom at once?
Or have celestial flowers come down to earth?
It turns out Lang’e is grooming herself by the rocks,
Her hair bun is as glossy as black gemstones,
Her floral comb as fresh as red tea,
Her earrings sparkle like stars,
Her figure is like a newly budded willow veiled in mist.
Sanluo’s heart surges like joyous waves,
His voice of praise flows like a cascading spring:
“The enchanting moon is far above in the sky,
Yet people can see it clearly.
The beautiful jade maiden lives on earth,
How could I ever overlook her?
Congratulations to my lucky day,
To behold the pure and flawless Bushao,
Like a ray of dawn breaking through clouds,
Illuminating the mountains and waters.
Please open your lips,
And tell me your sweet name,
Or I shall carry lifelong sorrow.”
Lang’e’s bright eyes shine with intelligence,
Her beautiful face blooms like mountain flowers,
Her voice flows like spring water through a ravine:
“Handsome brother,
Thank you for your praise,
Your charming song has stirred my heart.
No wonder the sky is so bright,
A jade qilin has flown from afar,
Radiating brilliance.
The footprints you left behind,
Shine with clarity too.
Hearing your praise,
My cheeks burn as if scorched by fire,
My heart flutters like a startled fawn.
If you don’t mind my request,
I wish to carry your image home,
And call to it in my dreams.”
“Oh beautiful and wise Bushao,
Just as the rainbow belongs with the blue sky,
The phoenix can be kept in a golden cage.
But alas, I cannot weave a golden cage,
Jinglong Village cannot raise a phoenix.
If I could only receive one feather,
I would press it to my burning heart.
If it chose to perch in my bamboo house,
I would give it my heart and share my joy.”
Pluck the strings of the love harp,
And it chimes with sweet, clear notes;
Speak to Bushao’s heart,
And it feels like drinking three bowls of honey.
“A colorful cloud must have brilliant hues,
To serve as the robe of the sun;
A betel nut tree must stand tall and straight,
To grow on a high cliff.
If a golden cage would feed a little Nongbi bird,
The bird would sing the songs of its heart with joy.
If a jade basin would plant a humble foxtail grass,
Even the foxtail would bloom with fragrance to please its keeper.”
Colorful clouds pair with the blue sky,
The golden deer nestles with the phoenix.
Lang’e and Sanluo,
Stroll along the fragrant path.
The flowers nod at them,
The butterflies dance for them.
Both feel their tongues too clumsy,
Unable to fully express the weight of love.
Love blossoms like twin lotus flowers blooming side by side,
Once in love, one longs
Like thirsty land waiting for sweet rain from the sky,
Like a drenched earth awaiting the warm sun.
Quick, build a hut with green bamboo leaves,
Quick, lay a bed with wide banana leaves,
Quick, pull out the shining red thread—
For two lovers are ready to tie the knot.
V. Rain, Dew, and Blossoms
Leaving behind the tender bamboo grove,
Feels like a sharp knife twisting the heart;
Parting from the one I love,
Is as painful as scraping against rough tree bark.
Sunlight returns to the treetop of the great green tree,
The mist and dew have already dispersed.
Lang’e returns to Jingduan Village,
But her heart, full of longing,
Cannot be calmed or cleared.
She boils a duck egg, but eats only half,
Embroidering a pillow, but rests on only one side.
“Sanluo, oh Sanluo,
If you want a phoenix feather,
Go pick one beneath the parasol tree.
If you want twin lotus blossoms,
Go gather them from the river’s heart.
If you seek true love,
Why haven’t you come yet?”
For Chinese version please go to:
http://www.ynich.cn/view-ml-11111-1113.html
“Forword of Wenyangdun” – Folk Song Popular in Heshun Town, Tengchong City 腾冲市民间歌谣《阳温暾小引》
http://www.ynich.cn/view-ml-11111-1114.html
Baisha Xiyue Music of Naxi Ethnic Minority 纳西族白沙细乐
http://www.ynich.cn/view-ml-11111-1115.html
Brief Introduction
Tie-dyeing, known as “valerian”(絞缬) in ancient times, is an ancient textile dyeing process in China. Dali City, Zhou Town, Xizhou Town(喜洲镇) , Weishan Yi Hui Autonomous County, Dacang(大仓), and other places still retain this traditional craft, of which the Bai ethnic minority tie-dyeing in Zhoucheng(周城白) is the most famous, named by the Ministry of Culture in 1996 as “the home of national tie-dyeing art”. Tie-dyed fabrics are widely used in clothing, home decoration, etc. They have high aesthetic value and practical functions. The products are well received by domestic and foreign consumers, and are one of the main types of export products of Dali.
Characteristics of the Tie-dyeing
Bai People’s tie-dyeing is known as “pimple dyeing” in the folk, that is, before dyeing, the white cloth is overlapped or tightened with needles and threads according to the designed pattern, presenting a “pimple” shape. After repeated impregnation, the untreated “knots” are separated into various flower shapes. The finished products are blue or white flowers with blue background. They are fresh, elegant, unique flavor and very artistic appeal. Tie-dyeing has a variety of varieties, rich patterns and good luck. It mainly includes flowers, plants, birds, animals, fish and insects, patterns and graphics, natural scenery, font symbols and so on. More than 1,000 patterns and patterns contain Bai people’s profound historical and cultural accumulation, reflecting Bai people’s customs and aesthetic taste.
Tie-dyeing Making Process
Tie-dyeing materials are generally white cotton or cotton-linen blended white cloth. The main dyes are plant indigo or Indigo (commonly known as Banlangen板蓝根). The main steps of traditional tie-dyeing include tie-up, soaking, dyeing, drying, thread removal, rinsing and grinding. The key technology of tie-dyeing is tie-up technique and dip-dyeing process. The tie-up process is very complicated. The patterns of each tie-dyed cloth adopt several different tie-up needles, such as tie, pinch, crepe, bundle, wrap, twist, fold, fold, sew and pick. For repeated dyeing, it is necessary to go through many processes, sometimes several days before dyeing a piece of cloth. Besides the number of times of dyeing, the color of the dyed cloth is also related to the dyeing technology, the distribution of dyes, drying, climate and so on. Dyeing cylinder, dyeing rod, drying rack, stone mill and so on are its main tools.
Inheritance and Protection
In recent years, although the prospect of tie-dyeing of Bai nationality is good, there are still some worries about its protection and inheritance, such as: some traditional techniques and tools are gradually being replaced by modern techniques and machinery; plant dye Banlangen has a long planting cycle and a small number of planting, which can not meet the needs of large-scale and industrial development; pollution caused by tie-dyeing; The confusion of market operation and the dilution of folk characteristics need to be further solved.
Chinese Version: http://www.ynich.cn/view-ml-11110-1251.html
Translated by Winnie/张赢
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Brief Introduction
Dai Ethnic Minority have been fond of pottery since ancient time . Up to now, traditional pottery manufacturing skills have been reserved in many villages of Xishuangbanna Dai Autonomous Prefecture.The slow-wheel pottery manufacturing skills entered the list of national intangible cultural heritages in 2006. Dai people is widely used in daily production, life and Buddhist activities.
Materials And Production Process
Pottery making tools generally consist of wooden pottery pats, pebbles, bamboo slices, boards, wooden hammers and small dustpans with different sizes and patterns. The materials are clay which is abundant everywhere. Generally, it passes through several processes, such as taking soil, drying soil, sieving soil, Gaza and mud, installing turntable, making billet, cooling and drying, firing, etc. Mud and gravel are used in the material, open-air roasting and closed semi-roasting are used, and embryo-forming methods are diversified. The embryo is made by runner, toe-pulling slow wheel, hand-pulling runner, etc. These technological processes fully prove that Dai ceramics preserved the ancient pottery-making technology.
Features of Pottery Making
Pottery making is also called “plate mill” in Dai language , commonly known as “earthen pot”. The main varieties are pots, pots, steamers, pots and so on, among which earthen pots are the most famous. The earthen pot cooked by traditional pottery method is easy to cook and delicious, while the water is refreshing and refreshing. The decoction can maintain the best medicinal properties, and is popular with local people. The craftsmanship is characterized by slow wheel hand craftsmanship, and the surface of the objects is printed with engraved wooden pats, which is very similar to the Neolithic pottery unearthed in the south.
Impart And Inherit
Dai People’s pottery is made by women. In order not to spread its skills, some places still follow the custom of making pottery, which is not passed on to their children, but only to their daughters-in-law. Up to now, archaeologists and ethnologists at home and abroad have investigated this technology. It is generally believed that traditional Dai ceramics have become a breakthrough in understanding Chinese Neolithic ceramics technology and represent the oldest ceramics in China.
Chinese Version: http://www.ynich.cn/view-ml-11110-1252.html
Translated by Winnie Zhang /张赢
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Raosanling Ceremony
Raosanling Ceremony is one of the important folk festivals of Bai Ethnic Minority in Dali region, which originated from Nanzhao and was originally a ritual of Bai nationality’s ancient religious sacrifice. Raosanling is called “Guanshanglan”(逛山林)( “strolling through mountains and forests). It is spread in Bai villages in Cangshan(苍山) urhai(洱海) area of Dali Bai Autonomous Prefecture. So far, it has a history of more than 1000 years. In 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list.
The Origin And Meaning of the Celebrate
“Three spirits” refers to the three God symbols on the West Bank of Erhai Lake. They are the important masters worshiped by Bai nationality and the Buddhist gods introduced into Dali area. The temples dedicated to them are called “Buddha Capital” (Dali Holy Temple), “Shendu神都” (Duan Zongbang Temple段宗榜) and “Xiandu仙都” (Duan Chicheng’s Erhe Temple段赤诚的洱河神祠). There are different legends about the origins of the three spirits. It is more common to say that the villagers of 71 villages in Dali worship the central master of the “god capital” on behalf of the “owner”, and pray for a ceremony held in good years. Confused by witchcraft, praying for offspring and disaster. “Rao” is the meaning of singing and dancing.
When And How To Celebrate
Every year, from April 23 to 25 of the lunar calendar, men, women and children in Bai villages around Erhai Lake, led by a pair of singers dressed in disguise, sing and dance, begin to move around three flexible movements.
From Chongsheng Temple (Buddha Capital) , along Cangshan foothill “around” to Shengyuan Temple (Shendu) in Xizhou Qingdong(喜洲庆洞), the team carried out religious activities such as praying for the New Year in Shengyuan Temple(圣源寺) during the day, and at night they sang and danced in the fields and woods near Shengyuan Temle.
The next day, starting from Qingdong(庆洞), arrived at Jingui Temple (金圭寺) in Yicheng Village(矣城村), Riverside of Erhai Lake, offering sacrifices to the Lingdi Emperor of Erhe River. At night, they were still singing and dancing to entertaining gods.
On the third day, we walked south along the West Bank of Erhai Lake and returned to Majiuyi village(马久邑村) near Chongsheng Temple in Dali. During the three spirits period, tens of thousands of people participated and danced with men, women and children. Bai tune, Daben tune crificial tune, Sanxian(三弦), Suona(唢呐) tune were heard all the time. Money drum and tyrant whip rose and fell one after another.
Social Impact And Important Significance
Raosanling Ceremony has a long history of inheritance, a deep mass base, a large scale of activities, a vast space for visiting sacrifices, and pious attitudes of the participants, reflecting the Bai people’s ability to absorb and innovate in culture. They have a strong practical role in enhancing cultural identity and cohesion of the Bai people. They are symbols of Bai culture with symbolic significance. One of them is of great historical, scientific and artistic value. Its religious color is increasingly weak, and the content of cultural activities is increasingly rich and colorful. It has become a festival for Bai people’s spring outings and social activities.
Chinese Version: http://www.ynich.cn/view-ml-11110-1402.html
Translated by Winnie/张赢
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Brief Introduction
Lusheng(芦笙), a kind of reed-pipe wind instrument prevails in Miaos’ area.The technique of making Lusheng（芦笙） of Miao nationality in Daguan（大关） is mainly spread in Tianxing Town（天星镇）, Daguan County（大关县）, Zhaotong City（昭通市). Lusheng is a traditional folk instrument loved by Miao Ethnic Minority with a long history.
Show Time
Every New Year’s Day and leisure time, Miao people hold various Lusheng dances to express their inner feelings and longings for a better life.
Lusheng-making Skills
Lusheng Making Material,Bitter bamboo, birch bark, Chinese fir and copper sheets.The production process includes several links, such as material acquisition, air drying, reed production, sound tube assembly and so on. Lusheng is usually made up of three parts: Sheng tube, Sheng bucket and reed. The common Lusheng sound tube is 6. There are press holes on the outside. Copper spring is installed at the bottom and inserted into Sheng bucket. Each reed has one sound. A bamboo tube is used as a resonance tube at the upper end of every two or three canals.
The descendants of Lusheng family in Daguan County
Wang Jiefeng’s constant innovation on the basis of traditional production has made the star “Wang Lusheng” famous in Miao villages at the junction of Yunnan and Guizhou for more than a hundred years. Most of the Lusheng produced by Miao people in the central village of Tianxing Town are ordered by the national art performance teams of various cities and counties, which plays an important role in promoting the local national culture and social progress.
Chinese Version: http://www.ynich/view-ml-11110-1250.html
Translated by Winnie/张赢
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Husa Knife Forging Techniques
A Husa knife(户撒), also sometimes called Achang knife, which is traditional forged weapon of the Achang people of China. It originated in Husa Achang Township(户撒阿昌乡), Longchuan County（陇川县), Dehong Dai Jingpo Autonomous Prefecture(德宏傣族景颇族自治州) in Yunnan Province. The Husa knife Forging Techniques of Achang Ethnic Minority has been included as a national intangible cultural heritage and is favored by domestic and foreign merchants.
Forging Process
Husa knives are made with a special process which gives the metal a pure texture, and a really sharp and durable blade.The main production tools of household spreader are hearth plate, hammer, clamp, shovel, anvil, bellows, front steel scraper, wooden cooling trough, etc. The production process of Husa knife has 10 steps:
- processing of raw materials
- billet making
- proofing
- grinding
- decorating with leaf
- quenching
- polishing
- handle-making
- belt-making
- assembling
Specialized Division of Labour
In Husha Township, different stockades are responsible for the production of different products. For example, Mandongzhai Township(曼东寨) mainly produces small sharp knives, Mandanthai(芒旦寨) Township and Laifuzhai Township(来福寨) mainly produce long knives, and Manlai Township(曼来寨) mainly produces sick knives and horseshoes. ManPai Township(曼派寨) and HuShi Township(户昔寨) are specializing in making scabbards. In addition, the famous craftsmen of the households numbered their own tool products, or put a word in their name on the blade, as a special mark.
Cultural Characteristics
Husa knife not only has distinct local ethnic characteristics, but also reflects the perfect combination of Frontier National Culture and Central Plains Han culture. For example, the sheath and handle of the silver sheath long knife have a strong national style, while the patterns of Erlong Dragon Drama Pearl.
Chinese Version: http://www.ynich.cn/view-ml-11110-1249.html
Translated by Winnie/张赢
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Dongba Paper
The Dongba paper of the Naxi Ethnic Minority is unique for its special paper-making craft,which is practiced in a village called Baidi Village(白地村) of Sanba Naxi Township(三坝纳西族乡), Shangri-la County(香格里拉县), Diqing Tibetan Autonomous(迪庆藏族自治州).Dongba paper also known as a “living character fossil” ,which is mainly used to record Dongba scriptures,but also remains extremely valuable for research on paper-making in China.
Birthplace
Baidi(白地), or Baishuitai(白水台),is where the Dongba culture of the Naxi ethnic group originated. The Dongba paper is also called the Baidi paper. Baidi paper is the most important paper in Dongba Scripture writing, and has long been famous in Northwest Yunn.
Paper-making Craft Process
Dongba paper is special because it’s made from canescent wikstroemia, a local plant. Traditionally, to make Dongba paper, one had to boil cortexes, rinse, pestle and air the plants. Made with original tools and methods Dongba paper is mothproof and resistant to natural erosion.The production of Dongba paper must be strictly kept in the home, which hinders the possible industrialized production of the paper.The whole process comprises gathering materials, soaking, stewing, beating, stirring, calendering, sun-drying and so on.
Process Characteristics
The paper made by Baidi Dongba is white, thick and easy to write scriptures. Because the materials of paper making are toxic, the paper is not moth-eaten and can be preserved for a long time. The Naxi ethnic group believes the Dongba papermaking handicraft must be passed down to sons, instead of daughters.
Chinese Version: http://www.ynich.cn/view-ml-11110-1248.html
Translated by Winnie/张赢
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“Sigangli ” – Creation Myths of Wa Ethnic Minority
“Sigangli ” – Creation Myths of Wa Ethnic Minority 佤族神话《司岗里》 http://www.ynich.cn/view-ml-11111-1109.html...
“King Alujuri” – Epic Poem of Yi Ethnic Minority in Yuanmou County, Chuxiong
“King Alujuri” – Epic Poem of Yi Ethnic Minority in Yuanmou County, Chuxiong 元谋县彝族史诗《阿鲁举热》 http://www.ynich.cn/view-ml-11111-1111.html...
“Gengu” – Epic Poem of Lahu Ethnic Minority in Lancang County, Puer
“Gengu” – Epic Poem of Lahu Ethnic Minority in Lancang County, Puer 澜沧县拉祜族史诗《根古》 http://www.ynich.cn/view-ml-11111-1112.html...
“Lang’e and Sangluo” – Narrative Poem of Dai Ethnic Minority in Xinping County, Yuxi
Lang’e and Sangluo (《朗娥与桑洛》) is a long narrative poem passed down orally among the Dai (傣族) people. It represents a precious cultural legacy of the Dai community. The epic...
“Forword of Wenyangdun” – Folk Song Popular in Heshun Town, Tengchong City
“Forword of Wenyangdun” – Folk Song Popular in Heshun Town, Tengchong City 腾冲市民间歌谣《阳温暾小引》 http://www.ynich.cn/view-ml-11111-1114.html...
Baisha Xiyue Music of Naxi Ethnic Minority
Baisha Xiyue Music of Naxi Ethnic Minority 纳西族白沙细乐 http://www.ynich.cn/view-ml-11111-1115.html...
Tie-dyeing Skills of Bai Ethnic Minority in Dali
Brief Introduction Tie-dyeing, known as “valerian”(絞缬) in ancient times, is an ancient textile dyeing process in China. Dali City, Zhou Town, Xizhou Town(喜洲镇) , Weishan Yi Hui Autonomous County,...
Slow-wheel Pottery Making Skills of Dai Ethnic Minority
Brief Introduction Dai Ethnic Minority have been fond of pottery since ancient time . Up to now, traditional pottery manufacturing skills have been reserved in many villages of Xishuangbanna Dai Autonomous Prefecture.The...
Raosanling Ceremony of Bai Ethnic Minority in Dali
Raosanling Ceremony Raosanling Ceremony is one of the important folk festivals of Bai Ethnic Minority in Dali region, which originated from Nanzhao and was originally a ritual of Bai...
Lusheng-making Skills of Miao Ethnic Minority in Daguan County, Zhaotong
Brief Introduction Lusheng(芦笙), a kind of reed-pipe wind instrument prevails in Miaos’ area.The technique of making Lusheng（芦笙） of Miao nationality in Daguan（大关） is mainly spread in Tianxing Town（天星镇）, Daguan County（大关县）,...
Husa Knife Forging Techniques of Achang Ethnic Minority in Longchuan County
Husa Knife Forging Techniques A Husa knife(户撒), also sometimes called Achang knife, which is traditional forged weapon of the Achang people of China. It originated in Husa Achang Township(户撒阿昌乡), Longchuan County（陇川县), Dehong Dai Jingpo Aut ...
Paper-making Craft of Naxi Ethnic Minority in Lijiang
Dongba Paper The Dongba paper of the Naxi Ethnic Minority is unique for its special paper-making craft,which is practiced in a village called Baidi Village(白地村) of Sanba Naxi Township(三坝纳西族乡), Shangri-la...
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