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Download Free PDFDong Son Culture.pdfMiriam Stark

2012, The Oxford Companion to Archaeology (Second Edition) Ed: Neil A. Silberman

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Abstract

This entry describes the Southeast Asian Dong Son culture, known for its large bronze drums (and with parallels in SW China).

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The Dongson Culture and cultural centers in the Metal Age in VietnamHoang Chinh

Asian Perspectives Honolulu, Hawaï, 1983

Etude de quelques centres de la culture Dongson au Vietnam(Age des métaux). Description du développement de trois centres principaux: dans le Vietnam nord, culture de Dong Son sur les côtes du centre du Vietnam, culture de Sahuynh| dans le sud Vietnam, culture de ...

downloadDownload free PDFView PDFchevron_rightData from Multiple Disciplines Connecting Vietic with the Dong Son CultureMark Alves

“Contact Zones & Colonialism in China's South” Pennsylvania State University, May 10-12, 2019, 2019

This presentation provides linguistic, archaeological (material culture, genetic, and dental/cranial), and ethnonym data to explore possible language scenarios of the Dong Son culture (600 BCE to 200 CE) in the Red River Delta. The most well-supported scenario is one in which Austroasiatic was present in the RRD from 4000 BP, and that by the Dong Son, Vietic was the dominant language group spoken there, but there is substantial evidence of a Tai presence and Tai-Vietic contact, though the details of such contact remains unclear.

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Viet Khe Burial 2 yielded not only the largest boat-shaped coffin, but also the most abundant mortuary objects among the boat-shaped coffin burials of the Bronze Age Dong Son Culture in Vietnam. A group of exotic bronze wares unearthed from Viet Khe Burial 2, including a tripod pot, spouted vessel, bell, sword, spearhead, ring-ended handle paring knife, and scraping knife, were previously misidentified and can now be identified as artifacts of the Yue Culture of southern China. This discovery is significant in terms of exploring the relationship between the Dong Son and Yue cultures. We suggest that the exotic bronzes originated from the Wuyue and Baiyue cultural areas, and the burial could thus be cross-dated to between the 3rd and 2nd centuries BC.After looking into the Yue bronzes of Viet Khe Burial 2 and other Yue bronze wares with Dong Son features found in southern China, we would like to argue that there might exist direct contact and exchange between the Dong Son and Baiyue cultures, but there have been little possibility for cultural interaction between the Dong Son and Wuyue culture.

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This paper presents a brief personal interpretation of the taotie image, a motif widely used during the Shang dynasty and believed to have roots in the Liangzhu culture-one of the most advanced Neolithic civilizations of the Yangtze River Delta. Through close visual analysis and comparison with known Liangzhu artifacts and motifs, this study explores the possible meanings and cultural significance embedded within the design. The "eyes" of the taotie are reinterpreted as gongs, which bear a striking resemblance to modern South Asian instruments. Consequently, the entire image may depict a seated shaman or musician positioned before a stand placed between the legs, upon which two gongs rest-each struck by the performer's outstretched arms. Recent studies indicate that the Liangzhu people abandoned their homeland following catastrophic flooding and that part of their population was genetically related to Austronesian groups. This potential connection between Austronesian peoples and the gong traditions of South Asia strengthens the hypothesis that gongs could have played a role in Liangzhu ritual, communication and cultural practices.

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Faculty of Performing Arts Indonesia Institute of the Arts Yogyakarta, Indonesia, 2017

This paper investigates the role of drumming as part of the Tai people’s culture in the old Lanna kingdom (1269-1899 AD) which is now a part of northern Thailand. Three main Lanna cultural areas are involved in this study; 1) the Eastern area of the Lanna kingdom which includes Nan, Phrae and Phayao provinces, 2) the Western area which include Chiang Mai, Chiang Rai, Lamphun and Lampang provinces, and 3) the Western end of the Lanna kingdom which is located mainly in the Maehongsorn province. The discipline of ethnomusicology is used as a fundamental method in terms of the fieldwork. In addition, we make use of participant observation of the musical process, and formal and informal interviews undertaken between May, 2014 and April, 2015. The result of this research shows that there are almost twenty-six different kinds of drum played in these areas. These can be divided into four genres in the form of hand- beaten drums, barrel-shaped drum, tubular drums, and double-headed drums. The Tai people moved to the Northern part of Thailand after the re-establishment of Chiang Mai by King Kawila in 1796 AD. The people who moved to this area included five significant ethnic groups including Tai Lue, Tai Kheun, Tai Yai, Tai Yong and Tai Yuan. Each group has a drum culture identity of its own. Cultural drumming skills are inherited and learned in specific ethnic groups. These skills include, for instance, local knowledge when it comes to making instruments, local beliefs and ritual drumming, and local drum playing techniques. In conclusion, the culture of drumming within each Tai group in northern Thailand identifies the differences in term of each cultural identity. Tai people use traditional drums to create meaning by playing rhythmic patterns to communicate with each other and to transmit their identity from the past to the present. Keywords: drumming;Lanna;NorthernThailand;ethnicpeople;culturalidentity;Taipeople; music; ethnomusicology study

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The enormous sound amplitude of the 24 Festive Drums is a thrilling performative spectacle in Malaysia's cultural scene. Being native to the Malaysian sonic landscape, the drums exhibit distinguishable Chinese characteristics in nature: it was established in 1988 when renowned Malaysian intellectuals Tan Chai Puan (陳再藩) and the late Tan Hooi Song (陳徽崇) integrated the conception of the "jieling" (節令) into the drum design and the stylistic performance. The spirited, captivating rhythm of the membranophones was then an instant success as a well-received cultural feast, eventually making the performing art a highly regarded national heritage. This ethnographic study examines explicitly the 24 Festive Drums that flourished in Malaysia and China. Based on in-depth interviews with 15 professionals involved in the 24 Festive Drums in China and Malaysia, this study investigates how the performance with Chinese cultural characteristics displays a combination of globalization and localization. The findings indicate that, in the context of globalization, the drum demonstrates "glocal" attributes in the process of Chinese cultural dissemination and reflects these characteristics in the "glocal" identity construction among the practitioners. It suggests that the identity is not an isolated individuality, but a composite identity constantly constructed and reshaped in the cultural flow of integration between global and local cultures.

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ORAL TRADITION, 2013

The Dai ethnic group in China and the Thai people in Southeast Asia can all be broadly divided into two cultural groups: a Buddhist cultural circle and another circle centered around indigenous religion. Within the Buddhist circle, the Dai people practice Theravada Buddhism, celebrating the Songkran Festival and using a writing system created by their ancestors long ago with the result that poems were often recorded as written texts or books very early in their history. Within the indigenous circle, the Dai communities in China are generally referred to as “Hua-Yao Dai” (“Colorful-Waistband Dai,” in connection with their vivid clothing), and they adhere to folk belief or animism. These communities have little or no literacy education; consequently, their poetry has been handed down orally from generation to generation. Interestingly, in both of these Dai cultural circles, the poetry employs a key technique that can be termed “waist-feet rhyme” wherein the last syllable of one line rhymes with an internal syllable in the succeeding line. This feature—which is discussed in detail below—is embedded in both the oral and written traditions and is an important enabling device within the poetry of the Dai people.

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