OLAC Record: Sumpyi a lam (The origin of the flute) with English translation

OLAC Record
oai:paradisec.org.au:KK1-0129

Metadata

Title: Sumpyi a lam (The origin of the flute) with English translation

Access Rights: Open (subject to agreeing to PDSC access conditions)

Bibliographic Citation: Keita Kurabe (collector), Keita Kurabe (depositor), S. Tu (speaker), 2016. Sumpyi a lam (The origin of the flute) with English translation. MPEG/X-WAV/XML. KK1-0129 at catalog.paradisec.org.au. https://dx.doi.org/10.4225/72/598890cf6e3ff

Contributor (compiler): Keita Kurabe

Contributor (depositor): Keita Kurabe

Contributor (speaker): S. Tu

Coverage (Box): northlimit=27.331; southlimit=23.137; westlimit=95.335; eastlimit=98.498

Coverage (ISO3166): MM

Date (W3CDTF): 2016-12-20

Date Created (W3CDTF): 2016-12-20

Description: Translation (Gun Mai) It is about how Jinghpaw Wunpawng people start play flute from love. A long time ago, there was a couple who loved each other very much. They used to meet in the Mayu Htingra farm every night. One night, the girl arrived first. The highland people used to spin hand spindle. So, when the girl was spinning a hand spindle on the farm hut alone, at that time, a tiger came under the hut and was pulling and releasing the thread of the girl. "My love, don't play with the thread. Come to me upstairs," the girl said. So, the girl thought it was her boyfriend and when she came down and looked, the tiger bit her to death. When the boyfriend arrived the next morning, he saw that his girlfriend was killed by the tiger. Thus, the boy said to himself that "I must catch the tiger because it killed my girlfriend. I will catch it." And, the boy just packed the rice and used to wait for the tiger every night at the farm hut where his girlfriend was killed by the tiger. After three four nights, the tiger came and the boy was pretending to spin the hand-spindle. When the tiger arrived, the boy also looked down at the tiger under the hut. When the boy came down and looked at the tiger, as he was ready with a sword, the tiger dragged the boy. As soon as the tiger dragged him, the boy slashed with his sword and he killed the tiger. After he got the tiger, the boy missed his girlfriend a lot and felt lonely with sorrowful. So, he was thinking about what to do to recover from feeling missing his girlfriend. The boy took away the skin of the tiger's tail. He used to play the bamboo flute so his girlfriend used to know when the boy came. Because the boy missed his girlfriend a lot, he covered one side of the flute with the skin of the tiger's tail and played it. He did not satisfy with it and he also covered the bottom side and played it again. The more the boy played it, the flute was also getting a better sound may be because it was included the soul of his girlfriend. The boy continued to play it to recover from mourning. Later, he played not only the closed-hole flute but also an opened-hole flute. He opened the hole of the bamboo and covered it with the skin of the tiger's tail on the left and right sides as he hugged his girlfriend, and played it. It was called Htu Reng Nda Tang in Jinghpaw. It had only one hole and played with left and right sides. That's why the Jinghpaw people say now not to play Htu Reng at night. Because it had a story, it was believed that playing Htu Reng at night was not good. Later, the boy did not satisfy only with that to recover mourning. So, he also played another type of flute called Pyi Htawt. Pyi Htawt was tightly covered with covers and opened a hole. The boy played first the Nta Dang and later was Pyi Htawt. He played and played the flute. He also did not marry again in his life. The flute was as on behalf of his girlfriend. Whenever he remembered his girlfriend, he played the flute. Later, the whole highland people also played the flute so the Nda Tang Htu Reng flute became a common instrument among them. After Htu Reng flute, the Pyi Htawt flute became popular again and nowadays, the modern Wunpawng Flute became a common instrument. It was played in every event. It is the story about how Nda Tang Htu Reng flute and Pyi Htawt flute became a musical instrument among Jinghpaw Wunpawng people. It is all. Transcription (Lu Awng) Sumtsaw sumra ngu ai dai kaw na ndai anhte jinghpaw wunpawng sha ni pyi htawt dum chye wa ai i dai ning da, moi shawng de grai grai tsawra hkat ai sumtsaw numsha lasha 2 nga ai da. Dai shana shagu oh yi kaw mayu htingra yi kaw hkrum hkrum re ma ai da. Dai lana mi gaw numsha shawng du taw re nna she bumga na ni gaw kabang ri ri ai le i, yi wa ntsa kaw kabang ri ri na nga taw re yang she numsha shi hkrai sha naw re la wa karai ndu ai, sharaw she numsha jan a kabang hpe she sa ginsup sup le npu hku le i npu de gang shabang dat bat dat dat di, e kabang gaw hkum sa ginsup le e tsaw e ntsa de lung wa u le ngu da. Shaloi she shi sumtsaw lasha shabrang wa rai sam ai ngu yi wa kaw she wa gum yu dat jang sharaw e she shawt kawa sat kau ya. Dai she shi sumtsaw brang wa gaw hpang jahpawt bai du sa wa yang gaw sharaw e she ma dai hku kawa sat sha kau ya ai da. Ndai gaw sharaw ndai gaw nlu nmai nye sumtsaw jan e kawa sat ya ai lu hkra gyam na, lasha dai gaw shat makai sha gun rai na she shana shagu dai shi sumtsaw jan hpe dai sharaw kawa sat kau ai yi wa kaw sa gyam taw nga ai da. Gyam re she 3, 4 na rai jang she sa wa ra ai da sharaw dai, sharaw dai sa wa na she lasha dai gaw kabang ri ri ai zawn di na gasup chyai masu di na she, sharaw du sa i nga jang she shi mung num kasha zawn di na she yi wa ntsa kaw na wa gum yu masu ai da. Yi wa ntsa na wa gum yu masu nna she shi gaw nhtu hte jen da ai re majaw sharaw shi e garawt ai hte kalang ta galun kabai kau dat, kahtam re she sharaw lu la sai da. Sharaw lu la jang she shi sumtsaw jan hpe myit dum let garen ai i, grai yawn hkyen ai hte, garen ai hte rai ganing di yang mai na ngu di ndai sumtsaw jan hpe myit dum ai, sumtsaw sumra nra rut rut taw ai, mat na matu shi myityu re she, sharaw ningmai kaw na ah hpyi she gawng la ningmai kaw na gawng, dai e dai gawng la nna she shi gaw kawa ndum dai dumhkawm hkawm rai re nga ai, dai dum jang gaw numsha mung shabrang wa sa wa ra ai ngu na chye na na hku, dai hku dum re she, dai e she nang sumtsaw jan hpe grau myit dum jang she nang dum ai n gup maga n dum magup maga de she dai sharaw ningmai kaw na hpyi dai bai di bai gayawp let bai dum. Dai hte sha nngut, le htum pa de mung bai gayawp bai dum. Dai ndum kasha dai mung je dum yang je pyaw wa da e, hpa majaw nga yang gaw oh madu jan ai sumtsaw sumra jan a madu jan a wenyi wa shang wa sam nga, dai she dai hku dum dum shayung shayawt hkawm she, hpang jahtum gaw ndum dumlawng masha dum ai sha nrai sa, hku hpaw nna bai dum. Hku hpaw nna dum nna she lapai lahkra shi sumtsaw jan e moi ah hpum chyai ai zawn le i, lapai lahkra sharaw ningmai hpyi dai bai shachyawp na she bai dum, nda tang jinghpaw hku ya nda tang ngu re nga, htu reng nda tang dai a hku langai sha hpaw ai, dai hpaw nna she dum lapai lahkra dai hku dum. Dai majaw ya jinghpaw ni gaw shana htu reng hkum dum nga rai nga, yi ningwa hkan e, shana htu reng dum jang gaw dai moi na maumwi nga ai re majaw i, maubung nga ai re majaw shanhte a makam le i, e dai hku byin ai. Hpang e rai jang gaw aw, dai hte sha nngut, grau pyaw hkra shayung shayawt ai myit wa gara hku nchye shaprai re nna she dai pi htawt bai wawt, pyit htawt wawt nna she dai kaw e magap htep di bang di na she hku bai jahku, nnan e gaw nda tang shawng ai hku rai nga, hpang e she pyi htawt bai wawt nna bai dum. Dum hkrai dum nna, shi prat tup kaga num mung nla ai, sumpyi dai shi a sumtsaw jan a malai re ngu hku rai nga. Sakse sumtsaw dai shi dum wa jang dai sumpyi wa hta dum dum hku rai nga. Dai hku nga lai mat wa rai she, bumga ting dai sumpyi dum ai dai yawng yawng she ohra wa dum ai pyi grai pyaw ai, yawng dum, yawng wawt dum, wawt ya wawt ya rai nna yawng wawt dum dum re kaw na ndai nda tang htu reng sumpyi hpung pru wa sai da. Dai htu reng sumpyi kaw nna bai grau kaja ai hku le ya pyi htawt dum ai le i, dai ni gaw ya madang tsaw ai htawt lawt wunpawng sumpyi ngu mi she ba gale mat sai hku, ya poi shara shagu dum ai gaw. Dai gaw anhte jinghpaw wunpawng sha ni kaw e ndai pyi htawt sumpyi nda htang htu reng pru wa ai ngu maumwi bung re hku rai nga i, maumwi gaw dai hte re sai. . Language as given: Jinghpaw

Format: Digitised: no Media: Audio

Identifier: KK1-0129

Identifier (URI): http://catalog.paradisec.org.au/repository/KK1/0129

Language: Kachin

Language (ISO639): kac

Rights: Open (subject to agreeing to PDSC access conditions)

Subject: Kachin language

Subject (ISO639): kac

Subject (OLAC): language_documentation

text_and_corpus_linguistics

Table Of Contents (URI): http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-A.mp3

http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-B.mp3

http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-B.wav

http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-A.wav

http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-A.eaf

http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-B.eaf

Type (DCMI): Sound

Type (OLAC): primary_text

OLAC Info

Archive: Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC)

Description: http://www.language-archives.org/archive/paradisec.org.au

GetRecord: OAI-PMH request for OLAC format

GetRecord: Pre-generated XML file

OAI Info

OaiIdentifier: oai:paradisec.org.au:KK1-0129

DateStamp: 2021-09-01

GetRecord: OAI-PMH request for simple DC format

Search Info
Citation: Keita Kurabe (compiler); Keita Kurabe (depositor); S. Tu (speaker). 2016. Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC).
Terms: area_Asia country_MM dcmi_Sound iso639_kac olac_language_documentation olac_primary_text olac_text_and_corpus_linguistics

Inferred Metadata
Country: Myanmar
Area: Asia

http://www.language-archives.org/item.php/oai:paradisec.org.au:KK1-0129
Up-to-date as of: Fri Sep 29 1:54:39 EDT 2023

Metadata
Title:		Sumpyi a lam (The origin of the flute) with English translation
Access Rights:		Open (subject to agreeing to PDSC access conditions)
Bibliographic Citation:		Keita Kurabe (collector), Keita Kurabe (depositor), S. Tu (speaker), 2016. Sumpyi a lam (The origin of the flute) with English translation. MPEG/X-WAV/XML. KK1-0129 at catalog.paradisec.org.au. https://dx.doi.org/10.4225/72/598890cf6e3ff
Contributor (compiler):		Keita Kurabe
Contributor (depositor):		Keita Kurabe
Contributor (speaker):		S. Tu
Coverage (Box):		northlimit=27.331; southlimit=23.137; westlimit=95.335; eastlimit=98.498
Coverage (ISO3166):		MM
Date (W3CDTF):		2016-12-20
Date Created (W3CDTF):		2016-12-20
Description:		Translation (Gun Mai) It is about how Jinghpaw Wunpawng people start play flute from love. A long time ago, there was a couple who loved each other very much. They used to meet in the Mayu Htingra farm every night. One night, the girl arrived first. The highland people used to spin hand spindle. So, when the girl was spinning a hand spindle on the farm hut alone, at that time, a tiger came under the hut and was pulling and releasing the thread of the girl. "My love, don't play with the thread. Come to me upstairs," the girl said. So, the girl thought it was her boyfriend and when she came down and looked, the tiger bit her to death. When the boyfriend arrived the next morning, he saw that his girlfriend was killed by the tiger. Thus, the boy said to himself that "I must catch the tiger because it killed my girlfriend. I will catch it." And, the boy just packed the rice and used to wait for the tiger every night at the farm hut where his girlfriend was killed by the tiger. After three four nights, the tiger came and the boy was pretending to spin the hand-spindle. When the tiger arrived, the boy also looked down at the tiger under the hut. When the boy came down and looked at the tiger, as he was ready with a sword, the tiger dragged the boy. As soon as the tiger dragged him, the boy slashed with his sword and he killed the tiger. After he got the tiger, the boy missed his girlfriend a lot and felt lonely with sorrowful. So, he was thinking about what to do to recover from feeling missing his girlfriend. The boy took away the skin of the tiger's tail. He used to play the bamboo flute so his girlfriend used to know when the boy came. Because the boy missed his girlfriend a lot, he covered one side of the flute with the skin of the tiger's tail and played it. He did not satisfy with it and he also covered the bottom side and played it again. The more the boy played it, the flute was also getting a better sound may be because it was included the soul of his girlfriend. The boy continued to play it to recover from mourning. Later, he played not only the closed-hole flute but also an opened-hole flute. He opened the hole of the bamboo and covered it with the skin of the tiger's tail on the left and right sides as he hugged his girlfriend, and played it. It was called Htu Reng Nda Tang in Jinghpaw. It had only one hole and played with left and right sides. That's why the Jinghpaw people say now not to play Htu Reng at night. Because it had a story, it was believed that playing Htu Reng at night was not good. Later, the boy did not satisfy only with that to recover mourning. So, he also played another type of flute called Pyi Htawt. Pyi Htawt was tightly covered with covers and opened a hole. The boy played first the Nta Dang and later was Pyi Htawt. He played and played the flute. He also did not marry again in his life. The flute was as on behalf of his girlfriend. Whenever he remembered his girlfriend, he played the flute. Later, the whole highland people also played the flute so the Nda Tang Htu Reng flute became a common instrument among them. After Htu Reng flute, the Pyi Htawt flute became popular again and nowadays, the modern Wunpawng Flute became a common instrument. It was played in every event. It is the story about how Nda Tang Htu Reng flute and Pyi Htawt flute became a musical instrument among Jinghpaw Wunpawng people. It is all. Transcription (Lu Awng) Sumtsaw sumra ngu ai dai kaw na ndai anhte jinghpaw wunpawng sha ni pyi htawt dum chye wa ai i dai ning da, moi shawng de grai grai tsawra hkat ai sumtsaw numsha lasha 2 nga ai da. Dai shana shagu oh yi kaw mayu htingra yi kaw hkrum hkrum re ma ai da. Dai lana mi gaw numsha shawng du taw re nna she bumga na ni gaw kabang ri ri ai le i, yi wa ntsa kaw kabang ri ri na nga taw re yang she numsha shi hkrai sha naw re la wa karai ndu ai, sharaw she numsha jan a kabang hpe she sa ginsup sup le npu hku le i npu de gang shabang dat bat dat dat di, e kabang gaw hkum sa ginsup le e tsaw e ntsa de lung wa u le ngu da. Shaloi she shi sumtsaw lasha shabrang wa rai sam ai ngu yi wa kaw she wa gum yu dat jang sharaw e she shawt kawa sat kau ya. Dai she shi sumtsaw brang wa gaw hpang jahpawt bai du sa wa yang gaw sharaw e she ma dai hku kawa sat sha kau ya ai da. Ndai gaw sharaw ndai gaw nlu nmai nye sumtsaw jan e kawa sat ya ai lu hkra gyam na, lasha dai gaw shat makai sha gun rai na she shana shagu dai shi sumtsaw jan hpe dai sharaw kawa sat kau ai yi wa kaw sa gyam taw nga ai da. Gyam re she 3, 4 na rai jang she sa wa ra ai da sharaw dai, sharaw dai sa wa na she lasha dai gaw kabang ri ri ai zawn di na gasup chyai masu di na she, sharaw du sa i nga jang she shi mung num kasha zawn di na she yi wa ntsa kaw na wa gum yu masu ai da. Yi wa ntsa na wa gum yu masu nna she shi gaw nhtu hte jen da ai re majaw sharaw shi e garawt ai hte kalang ta galun kabai kau dat, kahtam re she sharaw lu la sai da. Sharaw lu la jang she shi sumtsaw jan hpe myit dum let garen ai i, grai yawn hkyen ai hte, garen ai hte rai ganing di yang mai na ngu di ndai sumtsaw jan hpe myit dum ai, sumtsaw sumra nra rut rut taw ai, mat na matu shi myityu re she, sharaw ningmai kaw na ah hpyi she gawng la ningmai kaw na gawng, dai e dai gawng la nna she shi gaw kawa ndum dai dumhkawm hkawm rai re nga ai, dai dum jang gaw numsha mung shabrang wa sa wa ra ai ngu na chye na na hku, dai hku dum re she, dai e she nang sumtsaw jan hpe grau myit dum jang she nang dum ai n gup maga n dum magup maga de she dai sharaw ningmai kaw na hpyi dai bai di bai gayawp let bai dum. Dai hte sha nngut, le htum pa de mung bai gayawp bai dum. Dai ndum kasha dai mung je dum yang je pyaw wa da e, hpa majaw nga yang gaw oh madu jan ai sumtsaw sumra jan a madu jan a wenyi wa shang wa sam nga, dai she dai hku dum dum shayung shayawt hkawm she, hpang jahtum gaw ndum dumlawng masha dum ai sha nrai sa, hku hpaw nna bai dum. Hku hpaw nna dum nna she lapai lahkra shi sumtsaw jan e moi ah hpum chyai ai zawn le i, lapai lahkra sharaw ningmai hpyi dai bai shachyawp na she bai dum, nda tang jinghpaw hku ya nda tang ngu re nga, htu reng nda tang dai a hku langai sha hpaw ai, dai hpaw nna she dum lapai lahkra dai hku dum. Dai majaw ya jinghpaw ni gaw shana htu reng hkum dum nga rai nga, yi ningwa hkan e, shana htu reng dum jang gaw dai moi na maumwi nga ai re majaw i, maubung nga ai re majaw shanhte a makam le i, e dai hku byin ai. Hpang e rai jang gaw aw, dai hte sha nngut, grau pyaw hkra shayung shayawt ai myit wa gara hku nchye shaprai re nna she dai pi htawt bai wawt, pyit htawt wawt nna she dai kaw e magap htep di bang di na she hku bai jahku, nnan e gaw nda tang shawng ai hku rai nga, hpang e she pyi htawt bai wawt nna bai dum. Dum hkrai dum nna, shi prat tup kaga num mung nla ai, sumpyi dai shi a sumtsaw jan a malai re ngu hku rai nga. Sakse sumtsaw dai shi dum wa jang dai sumpyi wa hta dum dum hku rai nga. Dai hku nga lai mat wa rai she, bumga ting dai sumpyi dum ai dai yawng yawng she ohra wa dum ai pyi grai pyaw ai, yawng dum, yawng wawt dum, wawt ya wawt ya rai nna yawng wawt dum dum re kaw na ndai nda tang htu reng sumpyi hpung pru wa sai da. Dai htu reng sumpyi kaw nna bai grau kaja ai hku le ya pyi htawt dum ai le i, dai ni gaw ya madang tsaw ai htawt lawt wunpawng sumpyi ngu mi she ba gale mat sai hku, ya poi shara shagu dum ai gaw. Dai gaw anhte jinghpaw wunpawng sha ni kaw e ndai pyi htawt sumpyi nda htang htu reng pru wa ai ngu maumwi bung re hku rai nga i, maumwi gaw dai hte re sai. . Language as given: Jinghpaw
Format:		Digitised: no Media: Audio
Identifier:		KK1-0129
Identifier (URI):		http://catalog.paradisec.org.au/repository/KK1/0129
Language:		Kachin
Language (ISO639):		kac
Rights:		Open (subject to agreeing to PDSC access conditions)
Subject:		Kachin language
Subject (ISO639):		kac
Subject (OLAC):		language_documentation
Subject (OLAC):		text_and_corpus_linguistics
Table Of Contents (URI):		http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-A.mp3
		http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-B.mp3
		http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-B.wav
		http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-A.wav
		http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-A.eaf
		http://catalog.paradisec.org.au/repository/KK1/0129/KK1-0129-B.eaf
Type (DCMI):		Sound
Type (OLAC):		primary_text
OLAC Info
Archive:		Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC)
Description:		http://www.language-archives.org/archive/paradisec.org.au
GetRecord:		OAI-PMH request for OLAC format
GetRecord:		Pre-generated XML file
OAI Info
OaiIdentifier:		oai:paradisec.org.au:KK1-0129
DateStamp:		2021-09-01
GetRecord:		OAI-PMH request for simple DC format
Search Info
Citation:		Keita Kurabe (compiler); Keita Kurabe (depositor); S. Tu (speaker). 2016. Pacific And Regional Archive for Digital Sources in Endangered Cultures (PARADISEC).
Terms:		area_Asia country_MM dcmi_Sound iso639_kac olac_language_documentation olac_primary_text olac_text_and_corpus_linguistics
Inferred Metadata
Country:		Myanmar
Area:		Asia