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Nati Tsesems New Ladakhi Song 2024 (feat. Stanzin Lundup & Padma Yangchan) - Single

17 February 2024 1 Song, 5 minutes ℗ 2024 STANZIN LUNDUP

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Dance & Music of Ladakh

Traditional dances of ladakh.

Of many types of dances, most are slow, simple and performed leisurely. They are enacted in complete harmony with the rich folk music assisted by the drums ( Dhaman ) and oboe ( Surna ) pair. The best of performances can be seen on the occasions of religious festivals , wedding ceremonies, cultural festivals and harvest season. The folk dances usually begin with paying homage to the 'Three Gems' - the Buddha, Dharma and Sangha. Some dances are assigned exclusively to women called Pomey-rtses , whereas the men perform the Butsey-rtses . Here, we are listing out some the variety common in Ladakh.

Kathok Chenmo

Kathok Chenmo is a dance style for the nobility in celebration of the glory and dynasty of Ladakh. Khathok Chenmo translates as the 'large roof'. It’s a reference to the huge balcony of the seven storied Leh Palace, which could be visited even today. During the reign of the kings, this dance was exclusively performed in honour of the kings of Ladakh and their families. The Kathok Chenmo dancers were handpicked and are often patronized by the kings as their personal entertainers.

Kompa Tsum-Tsag

Spao means warrior in Ladakhi language . Spao-tses or Warrior Dance is associated with the legendary Ling Gyalam Kesar of the famed folklore prevalent in Ladakh. Often considered as 'the Mahabarta epic of the Central Asia', the legends of the King Kesar and his divine horse can be found in many countries and cultures. Orally transmitted for generations, its versions could be traced from Mongolia, Tibet to Ladakh. And, interestingly, every region and area of the vastness it influenced has a different version. Even in Ladakh, we could find a variety of Galam Kesar lore. In the olden days, prior to the onset of television and radio, it was performed in the winters when people were inbound and found ample time for such leisure. The epic, traditionally performed orally, took to dance routines and even in the written form. Depicting episodes of the epic, which stretches in more than seven volumes, the dancers glorify the righteous and valorous warrior with implements such as swords, quiver and bow-arrows.

Mentok Stanmo

Dha-Hanu is located some 160 km north west of Leh. The villagers with distinct facial and physical features are considered decedents of the retreating army of Alexander the Great. Mentok Stanmo is performed in Dha-Hanu as a celebration of flower bloom in their valley. The dancers offer the first harvest of the floors to the Buddha, Gods and local deities. Needless to say, the performance draws a crowd of locals, and with the opening of Ladakh for visitors, the tourists too throng the flower festival.

Koshan Dance of Leh

Horse Sport is a tradition of Ladakh. It features in different communities of the region with their own variety and distinction. However, horse racing is the staple competition that forms an integral part of the equine affair. To compliment the thrill and excitement of such a gathering, Koshan Dance is performed. The artists don beautiful dresses decked with colorful brocade silk with an assortment of jewellery. Therefore, it’s also known as the Brocade Dance.

Shondol Dance

Takshon or Shon Dance

Takshon or Shon was an exclusive dance for the royal families of Ladakh. The women from noble families would perform it in the honour of the king on the eve of the New Year. Back in days, the commoners were not allowed to practice this dance. However, with the advent of the modern times, Shon is available for anyone to practice and indulge.

Nyopa Dance

Yellow gowns and pointed shimmery hats are distinctive features of Nyopa Dance . It’s performed primarily during marriages in the Buddhist community. A group of young men ( Nyopas ) from the groom’s side performs this dance while completing the rituals of the conjugal ceremony. They are responsible to get the bride from her home to the groom’s house where the marriage proceedings take place. Along the way, they perform Nyopa Dance and sing a plethora of folk songs. It’s only upon successful rendition of marriage songs that they are allowed access to the bride. The entertaining and playful event is much to be witnessed than to put in words. Don’t miss your friend’s marriage, if he or she’s from Ladakh!

Cha-rtses or Pigeon Dance

Cha-rtses is a recent addition to the dance forms of Ladakh. A group of women performs it wearing Sulma (a traditional gown) with a colourful drape symbolizing the wings of pigeons. Its flowy gestures and moves emulate the bird. A song describing a group of pigeons, their flight over a village and a lady feeding them accompanies the Cha-rtses renditions.

Loshon Dance

Loshon is a harvest dance, especially performed in Shey village which was once the capital of Ladakh. The villagers gather to celebrate the end of the harvest season. Both the sexes participate in the carnival of celebrations and thanksgiving towards the Buddha and other deities. The celebration is a daylong affair where you could experience the richness of their peculiar culture and tradition associated with harvesting.

Brokpa Dance

Said to be originated in Zanskar region , south-west of Ladakh, both males and females partake in this dance form. 'Alley Yato' refers to a friend, partner or a confidante that you could rely and trust with your ups and downs. The dance is accompanied with a song that exuberates with camaraderie and friendship.

Chabskyan Dance

Balti Dance

Traditional Music and Instruments

Daman (Drums) and Surna (Oboe)

A variety of vital musical instruments are employed for different dances and purposes in Ladakh, though Daman (Drums) and Surna (Oboe) are the two fundamental instruments. They are paired up to champion the beats and melody, the two important aspects of any musical composition. Historically, they were brought to Ladakh in 17th Century when Gyal Khatun, a Balti Princess, married the King Jamyang Namgyal of Ladakh. Since then they have assumed the central stage when it comes of traditional music.

Drumyan and Piwang (lute)

These instruments are popular among the Changthang community. The string based musical instruments accompany the Jabro renditions of the community. They have their origins in Tibet. Even today, the strumming pattern and the melody of composition played on these lutes have an unmistaken influence from the Tibetan culture.

Lingbu (flute)

You will also find Lingbu (flute) used extensively in our music. Made of bamboo, they come in variety of shapes and formats. This humble instrument has made its mark in the Ladakhi musical landscape for generations together. However, we see an ever decreasing flute players as we progress in modernity.

Modern Music of Ladakh

With the advent of modernity and exposure to the outside world, especially after the Information Age revolution, youth of Ladakh are also embracing modern and contemporary music, instruments and dance forms.

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• Genre Finder

Genre: ladakhi pop

Ladakhi pop music is a genre that combines traditional Ladakhi folk music with contemporary pop elements. The music often features upbeat rhythms and catchy melodies, with lyrics that touch on themes such as love, nature, and spirituality. Some Ladakhi pop songs also incorporate electronic and rock influences. The genre has gained popularity in recent years, with several artists emerging as prominent figures in the Ladakhi music scene.

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Here is a list of ladakhi pop artists on Spotify, ranked based on popularity, who exemplifies the ladakhi pop genre. You can find out what ladakhi pop genre sounds like where you can preview artists or sort them the way you want, just click the headers to sort.

ladakhi pop playlist created by Chosic

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LADAKHI TRADITIONAL SONGS: A CULTURAL, MUSICAL, AND LITERARY STUDY

This dissertation examines the place of traditional songs in the Tibetan Buddhist culture of the former Himalayan kingdom of Ladakh. I look at how Buddhism and pre-Buddhist religion informed the texts and performance contexts of traditional songs, and how Ladakhi songs represent cultural self-images through associated musical, textual, and visual tropes. Many songs of the past, both from the old royal house and the rural Buddhist populations, reflect the socio-political structure of Ladakhi society. Some songs reflect a pan-Tibetan identity, connecting the former Namgyal dynasty to both the legendary King Gesar and Nyatri Tsangpo, the historical founder of the Tibetan Yarlung dynasty. Nevertheless, a distinct Ladakhi identity is consistently asserted. A number of songs contain texts that evoke a mandala or symbolic representation of the world according to Vajrayana Buddhist iconography, ritual and meditative visualization practices. These mandala descriptions depict the social order of the kingdom, descending from the heavens, to the Buddhist clergy, to the king and nobles, to the common folk. As the region has become more integrated into modern India, Ladakhi music has moved into modern media space, being variously portrayed through scholarly works, concerts, mass media, and the internet. An examination of contemporary representations of “tradition” and ethnic identity in traditional music shows how Ladakhis from various walks of life view the music and song texts, both as producers and consumers. Situated as it was on the caravan routes between India, Tibet, China, and Central Asia, Ladakhi culture developed distinctive hybrid characteristics, including in its musical styles. Analysis of the performance practices, musical structures, form, and textual content of songs clearly indicates a fusion of characteristics of Middle Eastern, Balti, Central Asian, and Tibetan origin. Looking at songs associated with the Namgyal dynasty court, I have found them to be part of a continuum of Tibetan high literary culture, combined with complex instrumental music practices. As such, I make the argument that these genres should be considered to be art music.

Related Papers

Noé Dinnerstein

This article examines how Ladakhi songs represent cultural self-images through associated musical, textual, and visual tropes. Many songs of the past, both from the old royal house and the rural Buddhist populations, reflect the socio-political structure of Ladakhi society. Although some songs, past and present, reflect a pan-Tibetan identity, a distinct Ladakhi identity is nevertheless consistently asserted. Situated on the caravan routes between India, Tibet, China, and Central Asia, Ladakhi culture developed distinctive hybrid characteristics, including in its musical styles. The article discusses this tradition of hybridity from the 17th Century to the present day. Ladakhi music has moved into modern media space, portrayed through scholarly works, concerts, mass media, and the internet. The article examines various contemporary representations of “tradition” and ethnic identity in both traditional and popular music. Looking at Ladakhi popular music, we see further hybridity base...

Proceedings of the 11th Seminar of the International …

Anna Morcom

The SAGE International Encyclopedia of Music and Culture

Gerald Roche

'Tibet and Tibetans'. Entry for the SAGE Encyclopaedia of Music and Culture. Gerald Roche and Rinchen Khar (rin chen mkhar). Draft version as at 25th of August, 2015. Accepted for publication 13th of August, 2016.

Himalaya the Journal of the Association For Nepal and Himalayan Studies

Noe Dinnerstein

Baima Tibetan folk songs are an integral part of the Baima Tibetan music culture. They are performed in diverse styles, including solo, duet, lead singing, round singing, and chorus. The objective of the study was to explore the significance of Baima Tibetan folk songs as a resource for literacy education in Chinese music history. By engaging with key informants divided into three groups - scholar informants, casual informants, and general informants. The result of this study reveals that ritual music holds deep roots in religious beliefs and is performed during sacrificial ceremonies, marriage ceremonies, and funeral ceremonies. Dance music culture reflects the collective nature and community cohesion of the Baima people, with dances like the fire circle dance serving as prominent expressions. Folk songs encompass a wide range of themes, including labor, wine, wedding, and love, showcasing the diverse musical expressions within Baima Tibetan society. The unique rituals, dances, and songs of the Baima people contribute significantly to the preservation and celebration of their rich cultural heritage. This study highlights the educational potential of Baima Tibetan folk songs as valuable resources for promoting literacy and understanding in the context of Chinese music history.

Himalaya: The Journal of the Association for Nepal and Himalayan Studies

Author Biography Noé Dinnerstein is Adjunct Assistant Professor at John Jay College of Criminal Justice, City University of New York. As an ethnomusicologist, his areas of interest are in music of Ladakh, North India, and Latin America. His research in Ladakh focuses primarily on tradition and popular songs, and their evolution through process of crossroads hybridity, past and present. In addition to his scholarly pursuits, he is an active performer and teacher of Hindustani sitar and khayal singing, as well as a composer. He is currently finishing up a book, Traditional Songs in Buddhist Ladakh, which will include translations, transcriptions, and recordings.

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Ladakhi Songs

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• The Musafir Stories - India Travel Podcast

Untravel Ladakh with Abhishek Vaid

Untravel Ladakh with Abhishek Vaid | The Musafir Stories - India Travel Podcast

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About Untravel Ladakh with Abhishek Vaid Episode

This week, The Musafir Stories speaks to traveller, entrepreneur and content creator Abhishek Vaid from the Untravel Show!Today's destination: Ladakh, a Union Territory in India Nearest Airport: Kushok Bakula Rimpochee Airport - IXLNearest Railway Station: Jammu Tawi Railway Station (JAT)Prerequisites - Inner line permit may be required depending on your itineraryPacking - Pack warm clothes, depending on the time of the year; medications for AMSTime of the year - Winter (November to Jan) and monsoons (June to Aug) are ideal time to visitLength of the itinerary: 8-10 daysItinerary Highlights: Abhishek takes us on another untravel expedition, exploring Ladakh in his signature “untravel” style - soaking in experiences rather than checking off bucket lists. But first things first - acclimatisation in order to avoid AMSHe talks about his experience starting off in Leh - walking through lesser known bakers’ street trying out the local breads from Kashmir; meeting a young Ice hockey star who is also an art conservator during the day; meeting young entrepreneurs who are trying to revive local couture and cuisines.Next stop is to a small village close to the capital Leh called Phyang! The idea was to spend time in a village that promotes decongestion of Leh via agri tourism. Abhishek spends time with the family, learning about their livelihoods, living the simple village life and exploring the local points of interest. Some interesting local cuisine and dishes Abhishek tries include Thukpa (soupy noodles), momos or mokmoks, Chuttagi (soupy pasta), Yarkhandi Pulao (originating from China and brought to India through the silk route), Churpee (dried cheese based chips), Apricot jams, Changg (local beer) and much more. Another stop on the untravel experience includes a visit to Nubra but looking at experiences beyond camel rides and ATV rides. The experience includes living in a luxury property called KyagarFollow the Untravel show on Youtube to see other experiences in Ladakh including Pangong Tso, Stok Village and more food experiences in Leh.Links:Untravel Show on Instagram: https://www.instagram.com/the.untravel.show/Untravel Show on Facebook: https://www.facebook.com/TheUntravelShow/Untravel Show on Youtube: https://www.youtube.com/c/THEUNTRAVELSHOWUntravel Ladakh Series: https://www.youtube.com/playlist?list=PL76-1IsJMwJLRB1UouRSi9RRfzW07HFAEUntravel with Abhishek: Apply here - https://forms.gle/aFQaUf9DvP3vWfuWAThe Musafir Stories - Kartarpur Sahib with Abhishek Vaid: https://open.spotify.com/episode/58dGzqrVyeHhDv4adUlYKl?si=M6OxoIscTD2eTKn9HBwz_APhoto by Hans-Jurgen Mager on UnsplashFollow the Musafir stories on:Twitter : https://twitter.com/musafirstories?lang=enFacebook: https://www.facebook.com/themusafirstories/Instagram: https://www.instagram.com/musafirstoriespodcast/?hl=enwebsite: www.themusafirstories.comemail: [email protected] can listen to this show and other awesome shows on the IVM Podcasts app on Android: https://ivm.today/android or iOS: https://ivm.today/ios, or any other podcast app.You can check out our website at https://shows.ivmpodcasts.com/featuredDo follow IVM Podcasts on social media.We are @IVMPodcasts on Facebook, Twitter, & Instagram.https://twitter.com/IVMPodcastshttps://www.instagram.com/ivmpodcasts/?hl=enhttps://www.facebook.com/ivmpodcasts/Follow the show across platforms:Spotify, Google Podcasts, Apple Podcasts, JioSaavn, Gaana, Amazon MusicDo share the word with you folks!See omnystudio.com/listener for privacy information.

Related Tags - Untravel Ladakh with Abhishek Vaid, Untravel Ladakh with Abhishek Vaid from The Musafir Stories - India Travel Podcast - season - 1, The Musafir Stories - India Travel Podcast - season - 1 Untravel Ladakh with Abhishek Vaid, Untravel Ladakh with Abhishek Vaid, Listen Untravel Ladakh with Abhishek Vaid

by Indio (Trance) Album   ·   657 Play s   ·   2 Song s   ·   16:06

© 2018 SY Records

Indio (Trance)

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Ladakh is and English album released in 2018. There are a total of 2 songs in Ladakh. The songs were composed by Indio (Trance), a talented musician. Listen to all of Ladakh online on JioSaavn.

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