Saturday, February 7, 2009
Sunday, January 25, 2009
Fiji - Traditional Fijian Dances 1999
20th January 1999
Meke is the Fijian expression for a traditional dance, usually performed by a group a dancer arranged in one or more rows, with music provided by singers and instrumentalists seated behind them. It is by far the most impressive and spectacular expression of Fijian performing artistry. The dancers still dress in colourful traditional costumes with floral garlands and ornaments, and liberal use of bright red and black face and body paint, though there have been some adaptations to changing times, especially for women. The most common accessory is the iri ni meke, an ornamental fan made of the leaf of the fan-palm (Pritchardia sp) that is tucked in at the back of the waist when not in use.
The words of meke are often historical, telling the story of a remarkable event or a prominent person’s life, though some are prophetic. The tradition is very much alive – meke are still being composed regularly by hereditary composers (daunivucu or vuniduvu). They also still function as a focus of traditional identity and cohesion, with the positioning of performers determined in part by hereditary status.
The harmony is in at least three parts, usually four, and is typically accompanied by one lali ni meke (small drum of a hollowed out log with slit opening), with rhythm provided by a number of derua (bamboo stamping tubes) and cobo (clapping with hollowed hands).
Most meke begin with a distinct stanza to accompany the dancers as they emerge in single file to take up their places. During the performance, the audience show their appreciation not by applause, but by shouting words of thanks and going to the performers and draping over them lengths of cloth, or give them sweets, chewing gum, or cash, or shower them with perfumed oil or talcum powder.
Meke are still loved by all people of Fiji, and are an indispensable part of any grand occasion.
The different types of meke featured in this set of stamps are as follows:
13c
Vakamalolo (sitting dance). A lively dance in which performers sit in a line, often using an iri ni meke (ornamental fan). It is performed by men or women, rarely if ever mixed. At the beginning, the dancers often have their backs turned to the audience, then gradually turn (taiki) to face them.
81c
Meke i Wau (club dance). A war-like meke for men, said to have originated as a preparation for warfare, lively and gymnastic. The performers are dressed as traditional warriors and each carries a particular type of club with a curved end.
87c
Seasea (women’s fan dance). The most graceful of Fijian meke, performed only by women. There is very little movement of the feet, most of the action being with the iri ni meke and with subtle movements of the head and upper body.
$3.00
Meke ni yaqona - Formal chant accompanying the chiefly kava ceremony, solemn and rich in harmonies. All participants are seated, except for the man who serves the kava, who is also the main performer. Many meke ni yaqona are so old that the meaning of the words is largely lost. It is very impressive in its sacredness.
Title: Traditional Fijian Dances
Values: 13c, 81c, 87c, $3
Designer: Terry Crilley
Printer: Southern Colour Print - NZ
Process: Litho Offset
Stamp Size: 27.94 x 44.45 mm
Stamp Format: Landscape
Set: 50 (2 x 25)
Perforation Gauge: 14.32 x 14.85 mm
Paper: Peterborough Paper Converters
Sunday, January 11, 2009
Thailand 2005 - 50th Anniversary of the Relationship between Thailand and Argentina, Dances
Issue Name: 50th Anniversary of the Relationship between Thailand and Argentina
Issue Date: 02 February 2005
Perforation : N/A
Denomination : 3.00 Baht (2 Designs)
Size: 36x51 mm (vertical)
Printer: Thai British Security Printing Public Company Limited, Thailand
Details: To commemorate the 50th anniversary of the establishment of Argentina - Thai diplomatic relationship snd to promote the relationship btween the people of the two countries which shall serve as a foundation of our cordial bilateral cooperation.
Illustrates a tango dance which is originated in Argentina and a classical Thai Klong Yao dance
USA 1996 - American Indian Dances
Ceremonial and social dance is a core traditional value among American Indian peoples.
“When we dance, we enter a totally Indian world, and we shake the earth and touch the sky as we continue our culture.”
—George Horse Capture, Àani (Gros Ventre) culture-bearer, traditional dancer, museum professional.
This stamp series, designed by Keith Birdsong of Muskogee, Oklahoma, was issued during the Red Earth Festival, one of the largest celebrations of Native American culture. Issued in Oklahoma City, Oklahoma, June 7, 1996.
32-cent Fancy Dance stamp
The Fancy Dance, an energetic and spirited dance involving spinning is regularly seen at powwows.
32-cent Butterfly Dance stamp
The Butterfly Dance of the Southwestern Pueblos is a prayer for new beginnings, regeneration and agricultural success.
32-cent Traditional Dance stamp
The Traditional Dance for men acts out stories of bravery and the hunt; for women, beauty, Mother Earth, grace and elegance.
32-cent Raven Dance stamp
The Raven Dance of North Pacific Coast involves an elaborately masked dancer mimicking the movements and sounds of the raven. For many groups this dance is filled with sacred meaning and perform it to honor the Raven clan.
32-cent Hoop Dance stamp
The Hoop Dance is an especially challenging powwow performance, in which the the dancer jumps through hoops in continually changing patterns
Malaysia - Kebaya Nyonya
Technical Details:
Date of Issue: 02 November 2002
Denomination :30 Cent (2 designs); 50 Cent (2 designs)
Stamp Size: 28.46mm x 42.58mm
Miniature Sheet Denomination: RM2.00
Miniature Sheet Size: 70mm x 100mm
Stamp Size in Miniature Sheet: 35mm x 70mm
Perforation: 13
Sheet Content: 10 Stamps
Paper: SPM Watermarked, Phosphor Coated
Printing Process: Lithography
Kebaya Nyonya:
When the Nyonyas first donned the baju panjang, the long, Arab-inspired top made of woven cotton (known in Arabic as habaya), little did they know that the garment would become the Malaysian fashion icon that it is today. Through the years, the progeny of those first ladies have creatively taken the best of influences around them and adapted this garment. Unwittingly or not, they have taken a costume that was once traditional, plain and have straight in cut, and turned it into a shapely, decorative work of sensual art. This evolution was in part facilitated by the availability of new fabrics. With the advent of softer and synthetically colored voile, the baju panjang gradually evolved into more comfortable garment as compared to her highly starched predecessor. With the hot climate and their exposure to European blouses and lace, the practical Nyonyas shortened the dress top to hip length and enhanced its beauty with lace trimming along the fringes of the tunic.
This became the kebaya (be) rendah. Attracted by the colorful Nyonyas picked up their embroidery needles and multi-hued treads and sought to carry the patterns from the sarongs over onto the top. Thus was born the embroidered voile kebaya.
Initial pieces were painstakingly and lovingly hand-embroidered but this process was later quickened with the apperance of sewing machines. Such fine handiwork - usually with one-off designs that made them exclusively to the owner - became the pride of the wearer. Most of the embroidered motifs were repetitive and adapted from either single or an assortment of flowers, insects, fishes, and fruits while some were thematic and based on certain festivities such as weddings, Easter, and other festivities. The main motifs were further highlighted when set against an intricate web-like base of time-consuming embroidered cut-work. Heavily embroidered kebayas are worn during festive gatherings while simple scallop-edged ones are for daily activities. Brightly colored fabric and exuberant embroidery are said to suit younger maidens while older womenfolk prefer more subdued tones. White, blue or green ones are reserved for mourning or to attend wakes.
This lovely piece of art is traditionally worn with matching batek kerosang. Sadly, the artisans producing these lovely kebayas are diminishing as tastes and fashions change. With this in mind, YA Bhg Datin Seri Endon Mahmood, wife of Deputy Prime Minister YAB Dato' Seri Abdullah Ahmad Badawi, has been collecting them over the past decade and taken the liberty to record these cultural treasures for posterity in her book entitled The Nyonya Kebaya. It is hoped that with this book, interest in this cultural heritage of ours will be rejuvenated and interest in wearing the Nyonya Kebaya rekindled.
This became the kebaya (be) rendah. Attracted by the colorful Nyonyas picked up their embroidery needles and multi-hued treads and sought to carry the patterns from the sarongs over onto the top. Thus was born the embroidered voile kebaya.
Initial pieces were painstakingly and lovingly hand-embroidered but this process was later quickened with the apperance of sewing machines. Such fine handiwork - usually with one-off designs that made them exclusively to the owner - became the pride of the wearer. Most of the embroidered motifs were repetitive and adapted from either single or an assortment of flowers, insects, fishes, and fruits while some were thematic and based on certain festivities such as weddings, Easter, and other festivities. The main motifs were further highlighted when set against an intricate web-like base of time-consuming embroidered cut-work. Heavily embroidered kebayas are worn during festive gatherings while simple scallop-edged ones are for daily activities. Brightly colored fabric and exuberant embroidery are said to suit younger maidens while older womenfolk prefer more subdued tones. White, blue or green ones are reserved for mourning or to attend wakes.
This lovely piece of art is traditionally worn with matching batek kerosang. Sadly, the artisans producing these lovely kebayas are diminishing as tastes and fashions change. With this in mind, YA Bhg Datin Seri Endon Mahmood, wife of Deputy Prime Minister YAB Dato' Seri Abdullah Ahmad Badawi, has been collecting them over the past decade and taken the liberty to record these cultural treasures for posterity in her book entitled The Nyonya Kebaya. It is hoped that with this book, interest in this cultural heritage of ours will be rejuvenated and interest in wearing the Nyonya Kebaya rekindled.
Tuesday, January 6, 2009
Vietnam - Vietnamese Long Dresses 1991
Technical Details:
Date of Issue: 26 February 1991
Stamp Size: 24 mm x 43 mm
Perforation: 13¼ x 13
Designer: Vo Luong Nhi
Sunday, January 4, 2009
Thailand 2005 - Thai Mask Play, Thailand Philatelic Exhibition THAIPEX'05
Issue Date: 03 August 2005
Denomination: 3.00 Baht (3 Designs) and 15.00 Baht
Souvenir Sheet: 30.00 Baht
First Day Cover: 35.00 Baht
Sheet Composition: 20 stamps
Size: 36 x 57 mm
Printer: Thai British Security Printing Public Company Limited, Thailand
Details: To commemorate Thailand Philatelic Exhibition 2005 (Thaipex'05) and this year illustrates are Khone (Art of Thai mask play) from Ramayana story.
The mask play or Khone dramas originated in Ayutthaya Era. The play and costume designs are influenced by the traditional play "Chuck Nark". The fighting style is inspired by Thai sword play and traditional martial arts. Music in the play is taken from traditional musicial plays. Most of the actors wear masks unless their roles are angels, humans, queens, princesses, or giants. Musical parts also include solos and choruses by both leading and supporting actors. The two most-played Khone dramas are the Ramakian and unarrud.
In this must-have stamp series, we bring the main characters from the Ramakian to life :
1. Pra Rama and Princess Sida
2. Thosakan
3. Hanuman
4. Pra Rama's battle with Thotsakan
Thailand 2004 - Bangkok Fashion City
Issue Date: 05 December 2004
Perforation: n/a
Denomination: 3.00 Baht ( 3 kinds) and 15.00 Baht
Size: 30 x 48 mm
Printer: Thai British Security Printing Public Company Limited, Thailand
Details: To publicize the activities of the Bnagkok Fashion City initive
Illustrate the colorful graphic design of male and female models
Thailand 1972 - The National Costumes of Thai Women
Issue Name: Thai National Costumes
Issue Date: 12 January 1972
Perforation: 13.5 x 14
Denomination: 0.50 Baht,1.00 Baht ,1.50 Baht, 2.00 Baht
Details: To show and make known of Thai National Costumes
Size: 27 x 45 mm
Printer: Bradbury Wilkinson Co., Ltd., England
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