Carpe Diem Haiku Kai is the place to be if you like to write and share Japanese poetry forms like haiku and tanka. It’s a warmhearted family of haiku poets created by Chèvrefeuille, a Dutch haiku poet. Japanese poetry is the poetry of nature and it gives an impression of a moment as short as the sound of a pebble thrown into water. ++ ALL WORKS PUBLISHED ARE COPYRIGHTED AND THE RIGHTS BELONG TO THE AUTHORS ++ !!! Anonymous comments will be seen as SPAM !!!
Yesterday we visited Argentina and listened to their wonderful Tango music and it was a joy. Today we will go further on our journey around the world on a quest for folkmusic. What will be our new destination? Well ... we will visit the Faroe Islands and one of their renown musicians is Eivor Palsdottir. I think we have had one of her songs earlier in our rich history. I think it was in a CD Special written by our Hamish Managua Gunn about Shaman Haiku, a kind of haiku inspired on the ancient rituals of the shaman. A nice CD Special to read again with a lot of wonderful "shaman"-haiku.
Awesome music from the Faroe Islands by renown singer Eivor. Enjoy listening and watching this beautiful music video.
Here is a "shaman"-haiku from my archives:
sound of the earth an eagle points the path of the shaman finally free
This episode is NOW OPEN for your submissions and will remain open until September 4th at noon (CEST). I will try to publish our penultimate episode later on.
Don't forget our 2nd edition of the Troiku Kukai. You can find the link to it at the left of our Kai. This Troiku Kukai runs until September 15th at 10:00 PM (CEST).
What a wonderful month this is. All those different kinds of music full of joy and sadness that inspire us to create haiku and tanka (or other form of Japanese poetry). Yesterday we listened to a wonderful Inuit song about the Goddess of the Sea and today I love to inspire you through American folkmusic. Let me tell you a little bit more about the American folkmusic.
American folk music has no precise nameable origin because it organically grew out of a communal tradition more than for entertainment or profit. There are folk songs that date so far back they can be considered oral histories. Certainly, in America, songs by traditional American folk singers like Leadbelly and Woody Guthrie tell stories that often don’t even appear in history books.
From its origins, folk music has been the music of the working class. It is community-focused and has rarely enjoyed commercial success. By definition, it is something anyone can understand and in which everyone is welcome to participate. Folk songs range in subject matter from war, work, civil rights and economic hardship to nonsense, satire and, of course, love songs.
From the onset of American history, folk music has shown up at times when the people needed it most. The earliest folk songs rose from slave fields as spirituals such as “Down by the Riverside” and “We Shall Overcome.” These are songs about struggle and hardship but are also full of hope. They sprang from the need of the worker to go to a place in her brain where she knew there was more to the world than the hardships she was facing at the time.
I hope you enjoyed this piece of American folkmusic and that it inspires you to create Japanese poetry.
This episode is NOW OPEN for your submissions and will remain open until August 30th at noon (CEST). I will try to publish our new weekend-meditation later on. For now ... have fun!
This will be again a small episode I think, but it's a nice one too I think. Today I have a nice piece of folkmusic from the Inuit, a race living in the Northern parts of Canada and Greenland. I am late with this episode because I had a very busy evening shift at work. So my excuses for being this late with publishing.
The above Inuit song is titled "Sedna". Sedna is the Inuit Goddess of the Sea. Listen to this beautiful music with respect for Sedna.
This episode is NOW OPEN for your submissions and will remain open until August 29th at noon (CEST). I hope to publish our next episode later on if work isn't to busy I hope.
I have a short episode for you today, just because I have not a lot of time today. We are leaving Iceland and travel on to Canada. To make it myself a bit easy I will give you only a music video.
It's a Canadian folksong titled "The Star of Logy Bay", that's why this episode has that title.
I hope you did enjoy this Canadian folksong. And that it will inspire you to create haiku, tanka or other Japanese poetry form.
This episode is NOW OPEN for your submissions and will remain open until August 28th at noon (CEST). I will try to publish our new episode later on. For now ... have fun!
Today we arrive at Iceland on our quest around the world for folkmusic. The music of Iceland can be traced back to the 14th century. The "oldest" known folkmusic of Iceland is the so called Rimur. What is Rimur? Let me tell you a little about it.
Rímur is a type of epic vocal poem, with fixed diatonic melodies. Rímur melodies (rímnalög, kvæðalög, stemmur) are often standard, and found throughout the country. These epic poems are written in a narrative style, using elements of Icelandic literature and folklore. The performers were lauded for their ability to tell a story in verses. A rímur verse is made up of trochaic lines which use literary techniques such as rhyme and alliteration. There are between two and four lines with a pattern of syllabic stress and alliteration. Music author Hreinn Steingrímsson describes rímur this way:
[...] "The four-line metres are a combination of two couplets with four stressed syllables in the first line of each, and two such syllables (first and third, second and third, or third and fourth) alliterate with the first stressed syllable of the second line."[...]
The earliest known text of a rímur dates to the 14th century; for the subsequent six hundred years, the rímur texts were the most prolifically produced form of Icelandic literature. Rímur melodies date back to publications by folklorist Ólafur Davíðsson and were then collected in the first Icelandic folk music collection, Íslenzk þjóðlög, by Bjarni Þorsteinsson.
Rímur, specially the short four-line metres form "ferskeytla", is still very popular today in Iceland in most social groups. It is common to put together a ríma (setja saman stöku) about current events usually in the form of a joke or ridicule. These short rhymes tend to proliferate via email. It is also common during parties that a guest may say a ríma that he has learned or composed as a form of a joke, often an insult. Skill at composing rímur is often an admired skill.
A common game is to tell the first part ("fyrri partur", the first two lines) of a ríma, and for others to complete the third and fourth lines (to "botna"), each in their own way. The one whose "botn" is the cleverest wins. This game can become a serious competition (known as "kveðast á") when two or more who are particularly skilled at composing rímur come together. It is an informal rule that if one is ridiculed or even insulted with a ríma he must answer back in kind; any other form of answer is invalid.
The above explanation of the game with rima sounds great and in a way looks similar with Tan Renga or Renga. Two nice Japanese poetry forms created by two (or more) haiku poets.
I hoped to find an example of this rami, but I didn't succeed. Therefore I love to share a nice Icelandic poem by Jonas Hallgrimmson:
Serene and warm, now southern winds come streaming to waken all the billows on the ocean, who crowd toward Iceland with an urgent motion — isle of my birth! where sand and surf are gleaming. Oh waves and winds! embrace with bold caresses the bluffs of home with all their seabirds calling! Lovingly, waves, salute the boats out trawling! Lightly, oh winds, kiss glowing cheeks and tresses! Herald of spring! oh faithful thrush, who flies fathomless heaven to reach our valleys, bearing cargoes of song to sing the hills above: there, if you meet an angel with bright eyes under the neat, red-tasseled cap she's wearing, greet her devoutly! That's the girl I love.
What a wonderful poem this is, but not really my "cup of tea". I am not a big fan of creating this kind of poetry, but I love reading poetry in all its wonderful ways.
seabirds cry without tears waves caressing the shore a warm embrace
I hope you have had a wonderful weekend and that our new weekend-meditation has awakened your muses. I had a good weekend, for the biggest part by the way in my bed, because I am on the nightshift.
I have tried to catch up with commenting, but didn't catch up with the Summer Retreat, maybe that I will do this night or this week.
Before the weekend started we visited Afghanistan and now we are traveling back to Europe, to be precise ... we are traveling to Ireland. In my salutation I use "travelers" every day and it happens to be that travelers, a kind of gypsies, are original from Ireland, so maybe they influenced the traditional folkmusic of Ireland too. This is by the way our 1500th regular episode here at CDHK. Another nice milestone I would say.
Let me tell you a little bit more about traditional Irish folkmusic. Of course I have used the online source of knowledge at Wikipedia, partially re-written or shortend.
Irish traditional music (also known as Irish trad, Irish folk music) is a genre of folk music that developed in Ireland.
In A History of Irish Music (1905), W. H. Grattan Flood wrote that, in Gaelic Ireland, there were at least ten instruments in general use. These were the cruit (a small harp) and clairseach (a bigger harp with typically 30 strings), the timpan (a small string instrument played with a bow or plectrum), the feadan (a fife), the buinne (an oboe or flute), the guthbuinne (a bassoon-type horn), the bennbuabhal and corn (hornpipes), the cuislenna (bagpipes), the stoc and sturgan (clarions or trumpets), and the cnamha (castanets). There is also evidence of the fiddle being used in the 8th century.
There are several collections of Irish folk music from the 18th century, but it was not until the 19th century that ballad printers became established in Dublin.Though solo performance is preferred in the folk tradition, bands or at least small ensembles have probably been a part of Irish music since at least the mid-19th century, although this is a point of much contention among ethnomusicologists.
Irish traditional music has endured more strongly against the forces of cinema, radio and the mass media than the indigenous folk music of most European countries. This was possibly because the country was not a geographical battleground in either of the two world wars. Another potential factor was that the economy was largely agricultural, where oral tradition usually thrives. From the end of the second world war until the late fifties folk music was held in low regard. Comhaltas Ceoltóirí Éireann (an Irish traditional music association) and the popularity of the Fleadh Cheoil (music festival) helped lead the revival of the music. The English Folk music scene also encouraged and gave self-confidence to many Irish musicians. Following the success of The Clancy Brothers and Tommy Makem in the USA in 1959, Irish folk music became fashionable again. The lush sentimental style of singers such as Delia Murphy was replaced by guitar-driven male groups such as The Dubliners. Irish showbands presented a mixture of pop music and folk dance tunes, though these died out during the seventies. The international success of The Chieftains and subsequent musicians and groups has made Irish folk music a global brand.
Historically much old-time music of the USA grew out of the music of Ireland, England and Scotland, as a result of cultural diffusion.
I love this kind of music it makes me happy.
pot of gold not at the end of the Rainbow lucky music
(C) Chèvrefeuille
Well ... I am late with publishing, but I hadn't enough time to create an episode. So this episode is NOW OPEN for your submissions and will remain open until August 26th at noon (CEST). I will try to publish our new episode later on.
We are on a journey around the world on a quest for folkmusic. Yesterday we visited Tibet and listened to the throat singing monks of Tibet. Today we are going further and we will arrive in Mongolia.
Back in our history we have visited Mongolia a few times and today we are doing that again, because in Mongolia we also find what is called "throat singing". (More about throat-singing in Mongolia you can find HERE.)
Because of lack of time this will be a short episode with only a video of Throat singing from Mongolia.
Isn't it wonderful how this throat singing sounds great? It's really a joy to listen to it. Enjoy the music.
This episode is open for your submissions tonight at 7:00 PM (CEST) and will remain open until August 22nd at noon (CEST). I will try to publish our new episode later on.
Welcome at our new stage in our journey around the world on a quest for folkmusic. Yesterday and the day before yesterday we visited India and today we are going further on our journey to Tibet. Tibet was once a free country, but was annexated by China back in the fifties of the 20th century. I am still praying that Tibet will become a free country again and that the Dalai Lama can return to His home.
Tibet is a wonderful country in the Himalayan Mountains and in one of my new novels part of the story takes place in the Himalayan Mountains, because of legendary Shamballa, a heavenly place on earth, but that's not the issue today.
His Holiness the 14th Dalai Lama
Tibet has a rich history in music. The music of Tibet is (in my opinion) the most religious music on earth and it was "created" by the Tibetan Buddhist monks, known as Lamas. Let me tell you a little bit more about Tibetan music.
The music of Tibet reflects the cultural heritage of the trans-Himalayan region, centered in Tibet but also known wherever ethnic Tibetan groups are found in Nepal, Bhutan, India and further abroad. First and foremost Tibetan music is religious music, reflecting the profound influence of Tibetan Buddhism on the culture.
The Lama Mani tradition – the telling of Buddhist parables through song — dates back to the 12th century. The songs were performed by wandering storytellers, who travelled from village to village, drawing on their own often humble origins to relate to people from all backgrounds. Vividly illustrated Buddhist thangka paintings depicted the narrative and helped the audience understand what was essentially a teaching.
Tibetan "street songs" were a traditional form of expression particularly popular as a means of political and other commentary in a country that was previously without newspapers or other means of mass communication. They provided political and social commentary and satire and are a good example of a bardic tradition, akin to that in medieval Europe or, more recently, the role calypsos played in the West Indies. As song lyrics in Tibet usually contained stanzas of 4 lines of 6 syllables each, the lyrics could be easily adapted to almost any melody.
Secular Tibetan music has been promoted by organizations like the Dalai Lama's Tibetan Institute of Performing Arts. This organization specialized in the lhamo, an operatic style, before branching out into other styles, including dance music like toeshey and nangma. Nangma is especially popular in the karaoke bars of the urban center of Tibet, Lhasa. Another form of popular music is the classical gar style, which is performed at rituals and ceremonies. Lu are a type of songs that feature glottal vibrations and high pitches. There are also epic bards who sing of Tibet's national hero Gesar.
I got goose-bumps as I listened to this wonderful OM mantra chant by Tibetan monks. It gave me a feeling of happiness and relaxation. I hope you will have that same experience.
deep throat sounds resonate through the Himalayan Mountains tears of monks
Maybe the above haiku/senryu has somewhat political "tones", but I am still praying for a free Tibet. I hope that there will become a day that China decides to give Tibet back to their rightful owners. If that's happening than finally the Dalai Lama can return home.
This episode is open for your submissions tonight at 7:00 PM (CEST) and will remain open until August 21st at noon (CEST). For now ... be inspired and share your inspired Japanese poetry with us all.
Yesterday we started our trip through India and today we will stay in India too. Today we will visit the region known as Bengal (Bangladesh and India). In this region there is a kind of music that has only words written by Rabindranath Tagore (1861-1941) this music is known as Rabindra Sangeet.
Let me tell you first a little bit more about Rabindranath Tagore:
Rabindranath Tagore was a Bengali polymath, a poet, musician and artist who reshaped Bengali literature and music, as well as Indian art with Contextual Modernism in the late 19th and early 20th centuries. Author of Gitanjali and its "profoundly sensitive, fresh and beautiful verse", he became in 1913 the first non-European to win the Nobel Prize in Literature.
Tagore's poetic songs were viewed as spiritual and mercurial; however, his "elegant prose and magical poetry" remain largely unknown outside Bengal. He is sometimes referred to as "the Bard of Bengal".
Rabindranath Tagore (1861-1941)
Tagore has written wonderful poems and I love to give you one to read before we are going to listen to the music known as Rabindra Sangeet, the music of Bengal.
In the
morning I cast my net into the sea.
I dragged up from the dark abyss things of strange aspect and strange beauty --
some shone like a smile, some glistened like tears, and some were flushed like
the cheeks of a bride.
When with the day's burden I went home, my love was sitting in the garden idly
tearing the leaves of a flower.
I hesitated for a moment, and then placed at her feet all that I had dragged
up, and stood silent.
She glanced at them and said, 'What strange things are these? I know not of
what use they are!'
I bowed my head in shame and thought, 'I have not fought for these, I did not
buy them in the market; they are not fit gifts for her.'
Then the whole night through I flung them one by one into the street.
In the morning travelers came; they picked them up and carried them into far
countries.
Awesome poem I would say, but I am a big fan of Tagore's prose and poetry, so maybe I am prejudiced. He has written wonderful poems. (Maybe we can do a whole month about Tagaore's prose and poetry?)
Rabindra Sangeet also known as Tagore Songs, are songs written and composed by Tagore. He wrote more than 2000 songs. The songs have distinctive characteristics in the music of Bengal, popular in India and Bangladesh. It is characterised by its distinctive rendition while singing which includes a significant amount of ornamentation like meend, murki, etc. and is filled with expressions of romanticism. The music is mostly based on Hindustani classical music, Carnatic Classical Music, Western tunes and the inherent Folkmusic of Bengal.
What a nice beautiful song. I hope it will inspire you to create haiku, tanka or other form of Japanese poetry.
This episode is NOW OPEN for your submissions and will remain open until August 20th at noon (CEST). I will try to publish our next episode later on.
Welcome at our Haiku Kai. This month we are on a journey around the world searching for all kinds of folkmusic. Last Friday we were in the southern region of Japan on the island Okinawa and today we will stay in Asia, but we will go further on our journey around the world and we are going to visit Kashmir, India. We are exploring the folkmusic of Kashmir ... Kashmiri music.
Kashmiri music reflects the rich musical heritage and cultural legacy of Kashmir. Traditionally the music composed by ethnic Kashmiris has a wide range of musical influences in composition. Due to Kashmir's close proximity to Central Asia, Eastern Asia and Southern Asia, a unique blend of music has evolved encompassing the music of the three regions. But, overall, Kashmiri Valley music is closer to Central Asian music, using traditional Central Asian instruments and musical scales, while music from Jammu is similar to that of North India and Ladakhi music is similar to the music of Tibet.
Especially the music genre known as Sufiana Kalam. Sufiana Kalam is the classical music of Kashmir, which uses its own ragas (known as maqam), and is accompanied by a hundred-stringed instrument called the santoor, along with the Kashmiri saz, the setar, the wasool and the dokra. The dance based on the sofiyiana kalam is the hafiz nagma.
Sufiana Kalam has its roots in Sufism, the mystic branch of Islam.
I hope you enjoyed the music ... I certainly did. It's amazing how beautiful this kind of music is. I love the Indian ragas ... so this was a treat for my ears and I hope you have that same experience.
one hundred strings create heavenly music a birds choir
This episode is NOW OPEN for your submissions and will remain open until August 19th at noon (CEST). I hope to publish our new episode later on. For now .... have fun!
Today we stay another day in the land of Haiku, Japan, and we are exploring the oldest known Japanese music, Gagaku. Gagaku is court music, and is the oldest traditional music in Japan. Gagaku music includes songs, dances, and a mixture of other Asian music. Gagaku has two styles; these are instrumental music kigaku and vocal music seigaku.
So are you ready to listen to Japanese court music, also a kind of folkmusic, but than for the high society so to say (smiles).
I hope you enjoyed this music, because it's the oldest known music from Japan, land of the haiku.
sakura blossoms around the imperial palace birds sing their song
This episode is NOW OPEN for your submissions and will remain open until August 16th at noon (CEST). I will try to publish our new weekend-meditation later on. For now ... have fun!
PS.: I am a little behind with commenting I hope to catch up a.s.a.p.
Well ... yesterday we were in the Northern region of Japan listening to the music of the Ainu and today we will stay in Japan, but we will visit the Southern region ... Today we will visit Okinawa.
Let me tell you a little bit about the folkmusic of this region of Japan, Okinawa:
Okinawan music (Okinawa ongaku), also known as Ryukyuan music (Ryūkyū ongaku), is the music of the Okinawa Islands of southwestern Japan.
Created and sung by the commoners, folk music gained positive evaluation with the rise of folklorists led by Yanagita Kunio. Folk music is described by the Japanese term min'yō. Since the kingdom was annexed, some members of the former Yukatchu class spread Shuri-based high culture to other areas of Okinawa. Some of such new elements are today seen as part of folk culture.
Okinawa's folk songs are generally accompanied by one (or more) sanshin.
Yunta is a genre of folk song originating in the Yaeyama Islands. The verses and choruses of the song are sung alternately by the men and the women. The word origin of yunta is said to be from yumi uta ("reading song") or yui uta ("tying/knotting song").
Sounds great ... so here is our music video for this episode about Okinawa's folkmusic:
I hope you did like this wonderful music from Okinawa and of course I hope it will inspire you to create Japanese poetry.
Enjoy the music and become inspired.
This episode is NOW OPEN for your submissions and will remain open until August 15th at noon (CEST). I will try to publish our new episode later on.
Yesterday we visited the Berbers of Northern Africa and their wonderful music. At first I thought we going further into Africa, but just a few minutes ago I decided to go to the home of haiku ... to Japan. We are visiting the ancient Ainu, a Japanese group of people who are living in the Northern region of Japan.
Ainu music is the musical tradition of the Ainu people of northern Japan.
The oral Ainu culture includes various genres, of which upopo, lighthearted ballads on daily affairs and rituals often accompanied by traditional Ainu instruments, and yukar (mimicry), a form of rhythmic epic poetry often supported by light percussion, are most prominently covered in writings on this oral Ainu culture.
Ainu music carries spiritual resonance in almost all of its forms, and it has played an important role in both the cultural history and the cultural renaissance of the Ainu people. Almost every type of Ainu song is sacred, and even the musical instruments are said to be imbued with souls. Traditional Ainu music can be divided into two major groups — everyday songs and epic songs. Everyday songs in Ainu tradition were sung in many situations and on an impromptu basis. They were often accompanied by the two most prevalent Ainu musical instruments: the tonkori, a plucked zither, and the mukkuri, a jaw harp played by women.
Enjoy the music and let it inspire you ... this is the original music of the Ainu ... a group of people living in the land of haiku ... Japan
This episode is NOW OPEN for your submissions and will remain open until August 14th at noon (CEST). I will try to publish our new episode later on.
What a joy to write a new episode for our wonderful Haiku Kai, the place to be if you like to write and share Japanese poetry like haiku and tanka. This month we are on a journey around the world searching for folkmusic for our inspiration. Yesterday we visited Lapland and listened to Sami music and today we are going south. Today we will visit Algeria especially the region known as Kabyle, the land of the Berbers. Kabyle is not only a region to live in, but it's also the name of the music of that region.
Let me tell you a little bit more about the background of the Kabyle music.
Berber music refers to the musical traditions of the Berbers, an ethnic group native to the Maghreb, as well as parts of the Sahara, Nile Valley, West Africa. Berber music varies widely across North-West Africa and some of the best known varieties can be found in Moroccan music; Kabyle, Chawi and Gasba music from Algeria; and Tuareg from Burkina Faso, Niger and Mali.
Ancient Berber music is stylistically diverse, with styles including pentatonic music, such instruments as the oboe and the bagpipes, and African rhythms along with singing. These ancient musical traditions have been kept alive by small bands of musicians traveling from village to village, entertaining at weddings and other social events with their songs, tales and poetry.
Most Berber music is of the village- and urban-folk musical variety. Berber music and culture is influenced by the Berber people's long-standing struggle to achieve basic language rights and identity recognition in modern North African societies, aside from aesthetics and style.
What a wonderful music to listen too. At first I didn't like this music, but after listening to it several times I somewhat started to really enjoy it. I hope you all will have that experience too.
Wonderful, how immodest, but I think this haiku is a beauty and gives me a real feeling of joy and the confidence that there will be a time that life will be like paradise.
This episode is open for your submissions tonight at 7:00 PM (CEST) and will remain open until August 13th at noon (CEST). I will try to publish our new episode later on. For now ... enjoy the music, become inspired and share your Japanese poetry.
I hope you all have had a wonderful weekend. I had a very busy weekend at work, so I am a little bit late with publishing our new episode. This month we are on a journey around the world to discover all kinds of folk music. We already visited Italy, Portugal and Turkey and today we are visiting Sápmi, the land of the Sami. I suppose you have never heard of Sápmi, but if I tell you that Sápmi is the sami-word for Lapland than you all will know in what part of the world you can find Sápmi.
Flag of Sápmi
The Sami people (also known as the Sámi or the Saami) are a Finno-Ugric people inhabiting Sápmi, which today encompasses large parts of Norway and Sweden, northern parts of Finland, and the Murmansk Oblast of Russia. The Sami have historically been known in English as the Lapps or the Laplanders, but these terms can be perceived as derogatory. Sami ancestral lands are not well-defined. Their traditional languages are the Sami languages and are classified as a branch of the Uralic language family.
Traditionally, the Sami have pursued a variety of livelihoods, including coastal fishing, fur trapping, and sheep herding. Their best-known means of livelihood is semi-nomadic reindeer herding. Currently about 10% of the Sami are connected to reindeer herding, providing them with meat, fur, and transportation. 2,800 Sami people are actively involved in herding on a full-time basis. For traditional, environmental, cultural, and political reasons, reindeer herding is legally reserved for only Sami people in some regions of the Nordic countries
A characteristic feature of Sami musical tradition is the singing of yoik. Yoiks are song-chants and are traditionally sung a cappella, usually sung slowly and deep in the throat with apparent emotional content of sorrow or anger. Yoiks can be dedicated to animals and birds in nature, special people or special occasions, and they can be joyous, sad or melancholic. They often are based on syllablic improvisation. In recent years, musical instruments frequently accompany yoiks. The only traditional Sami instruments that were sometimes used to accompany yoik are the "fadno" flute (made from reed-like Angelica archangelica stems) and hand drums (frame drums and bowl drums).
As the Sami culture has no written language, there are no references to how or where joik originated. According to oral traditions, the fairies and elves of the arctic lands gave joiks to the Sámi People. Just Quigstad, who recorded the Sami oral tradition, has documented this legend in several works.Music researchers believe joik is one of the longest-living music traditions in Europe. One of the reasons that joiking was controversial may be its association with noaidi (Sámi shamans) and pre-Christian mythology rituals, with joiking said to resemble magic spells. Despite this suppression, joiking was strongly rooted in the culture and its tradition was maintained. Joiking is still practiced and is used as a source of inspiration. Recently, joiks are sung in two different styles: a traditional style, known as the "mumbling" style; and a modern style sung mostly by young people, and used as an element in contemporary Sami music.
The above music video is an example of a wonderful Sami song, or joik, titled "Delvieh". Enjoy the music and let it be a source of inspiration for you.
This episode is NOW OPEN for your submissions and will remain open until August 12th at noon (CEST). I will try to publish our new episode later on today. For now have fun!
