Meó culture: Difference between revisions

Latest revision as of 04:45, 3 January 2022

Clothing (Meó Ni)

Clothing (nizÿ [nʲiʐɨ]) in Meó has been heavily influenced by the clothing of the Htaevic cultures, but with a few uniquely Meó innovations. Examples of Htaevic influence include social norms such as it being very common for Meó people to go shirtless in day to day life, being socially acceptable for people to show their bare breasts regardless of gender. The exception to this is in formal occasions, where one must be fully covered. In extremely formal circumstances, one must conceal the entirety of the body, except for the eyes (even the eyes may be covered with a translucent cloth or transparent visor nonetheless).

Lyokava

The lyokava [lʲɵkɐvɐ] is a Meó form of poncho worn in many different contexts, it is generally regard as acceptable attire in all but the most formal of occasions. There are several subtypes of lyokava, mostly differing in the formality. There are a few different ways to wear the lyokava but the most common is to drape it over the shoulders and clip it to itself (as with togas) and the poncho is joined by a series of special pins/holes called byet [bʲet]. The poncho generally drapes over the elbows, though some variants may differ. Some (generally merchants, artisans), may opt to wear a belt around the poncho called the mavye [mɐvʲeː]. Almost all lyokava have multiple colours, and usually stick to just two colours in intricate patterns, though a third or fourth may be added for embellishment. The lyokava generally extends to just below the pelvis, although it occasionally goes as low as the knees.

Chapi

The Chapi [tɕʰapʲi] is a uniquely Meó form of clothing, it is essentially a form of baggy pants that are two very wide tubes of the same length along. They resemble Palazzo pants. As they are thought to have been invented in Meó they are a source of national pride and worn often.

Dyozy

The Dyozy [dʲɵʐɨ] is a small skirt-like construction with many diverse forms that can be worn over top the Chapi, and its length varies from just below the pelvis or as far as the knee. They are primarily used to store things.

Music

Meó music is characterised by its sombre, often mournful tone, and its heavy use of voice. Few instruments are used to create powerful pieces. Meó music makes use of a wide range of microtones, adeptly constructing pieces with these.

Jali

The Jali is an instrument similar to the didgeridoo, it is made out of the hollowed out trunk of a tree. It is the least used instrument in Meó pieces, but the most religious. It is believed that its sounds blur the lines between the physical and spiritual worlds, and that it is also capable of transcending the soul to Haki. It may be the only instrument played in a piece, or it may be used to punctuate other pieces.

Manzo

The manzo is most similar to the duduk, it is a Meó flute with a deep sombre tone. It is generally made of wood in modern times, although historically bone manzo were not uncommon. It has a "reed" made from the leaves of the Kalincha tree.

Zazana

The zazana is the most diverse of the Meó instruments, it is like a cross between a cello and an erhu, and its sound varies from the warm tones of the cello to the lamentful whines of the erhu. Generally, two zazana are used in most pieces, a lower pitched and a higher pitched one. However, the lower pitched zazana is replaced with a manzo in many pieces.

Navaden

The navaden are Meó drums and drumsticks, which are both utilised as instruments, though considered the same instrument. The navaden is a heavy and powerful drum, and is often used sparingly through out pieces, to "punctuate" the melody. The drumsticks may also be banged together as their own instruments (cf. clapsticks). Some styles, however, make heavy use of the navaden in a fast paced rhythmic manner, often accompanied by chanting and high pitched zazana.

Chazei

The voice, or chazei, is often considered the most important part of Meó music, with both lyrics and various vocalisations being utilised. Often pieces start with only the voice, adding instruments later. There is a diverse range of use of voice in Meó music, though it is often low-pitched and powerful.

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-== Clothing (Meónyi) ==
+== Clothing (Meó Ni) ==
-Clothing (''nyise'' [nɥiːɕɵ]) in Meó is heavily influenced from the clothing of the Htaevic cultures, but with a few uniquely Meó innovations. Evidence of Htaevic influence. It is very common for Meó people to go shirtless in day to day life, and it is socially acceptable for people to show their bare breasts regardless of gender. The exception to this is in formal occasions, where one must be fully covered. In extremely formal circumstances, one must conceal all of the body but the face.
+Clothing (''nizÿ'' [nʲiʐɨ]) in Meó has been heavily influenced by the clothing of the Htaevic cultures, but with a few uniquely Meó innovations. Examples of Htaevic influence include social norms such as it being very common for Meó people to go shirtless in day to day life, being socially acceptable for people to show their bare breasts regardless of gender. The exception to this is in formal occasions, where one must be fully covered. In extremely formal circumstances, one must conceal the entirety of the body, except for the eyes (even the eyes may be covered with a translucent cloth or transparent visor nonetheless).
-=== Loekava ===
+=== Lyokava ===
-The ''loekava'' [lɵːkɑvɑ] is a Meó form of the poncho worn in many different contexts, it is generally regard as acceptable attire in all but the most formal of occasions. There are several subtypes of ''loekava'', mostly differing in the formality. There are a few different ways to wear the ''loekava'' but the most common is the "twist" method, a sheet is draped from the left arm over the front of the body, and then twisted and thrown over the right shoulder (the reverse - right arm, left shoulder - is used only for funerals) to the back. Once thrown over the back, the sheet still on the left arm is thrown over the left shoulder and the poncho is joined by a series of special pins/holes called ''bies'' [bjeːt̪]. The poncho generally drapes over the elbows, though some variants may differ. Some (generally merchants, artisans), may opt to wear a belt around the poncho called the ''mavié'' [mɑvjeː]. Almost all ''loekava'' have different colouring on each side (generally black and white), and usually stick to just two colours in intricate patterns, though a third or fourth may be added for embellishment.
+The ''lyokava'' [lʲɵkɐvɐ] is a Meó form of poncho worn in many different contexts, it is generally regard as acceptable attire in all but the most formal of occasions. There are several subtypes of ''lyokava'', mostly differing in the formality. There are a few different ways to wear the ''lyokava'' but the most common is to drape it over the shoulders and clip it to itself (as with togas) and the poncho is joined by a series of special pins/holes called ''byet'' [bʲet]. The poncho generally drapes over the elbows, though some variants may differ. Some (generally merchants, artisans), may opt to wear a belt around the poncho called the ''mavye'' [mɐvʲeː]. Almost all ''lyokava'' have multiple colours, and usually stick to just two colours in intricate patterns, though a third or fourth may be added for embellishment. The lyokava generally extends to just below the pelvis, although it occasionally goes as low as the knees.
-=== Śapyi ===
+=== Chapi ===
-The ''śapyi'' [tɕɑːpɥi] is a uniquely Meó form of clothing. Influenced by the baggy pants of the Htaevic cultures, the ''śapyi'' is a single rectangular sheet of cloth that is wrapped around the legs in an "s" or "yin-yang" shape and joined again to itself using ''bies''. The edge of the cloth is first placed at the right of the body and then is draped to the left leg, it is taken to the back and then under the legs to the front. Then, it is wrapped around the right leg and then taken back to the left hip. The first edge of the cloth is then joined to the right side of the body using ''bies'' and the other edge likewise is joined to the left side with ''bies''.
+The ''Chapi'' [tɕʰapʲi] is a uniquely Meó form of clothing, it is essentially a form of baggy pants that are two very wide tubes of the same length along. They resemble Palazzo pants. As they are thought to have been invented in Meó they are a source of national pride and worn often.
-As the most basic ''śapyi'' do not offer full covering of the genitals, undergarments such as the ''dośe'' [dzoːɕjɵ] may be worn, while more sophisticated ''śapyi'' have an undergarment compartment built in. The ''śapyi'' was developed as a piece of clothing that could over more motility then a simple skirt like construct, while still having the openness that a skirt provides.
+=== Dyozy ===
+The Dyozy [dʲɵʐɨ] is a small skirt-like construction with many diverse forms that can be worn over top the Chapi, and its length varies from just below the pelvis or as far as the knee. They are primarily used to store things.
 == Music ==
 Meó music is characterised by its sombre, often mournful tone, and its heavy use of voice. Few instruments are used to create powerful pieces.
+Meó music makes use of a wide range of microtones, adeptly constructing pieces with these.
-=== Źali ===
+=== Jali ===
-The ''źali'' is an instrument similar to the didgeridoo, it is made out of the hollowed out trunk of a tree. It is the least used instrument in Meó pieces, but the most religious. It is believed that its sounds blur the lines between the physical and spiritual worlds, and that it is also capable of transcending the soul to Haki. It may be the only instrument played in a piece, or it may be used to punctuate other pieces.
+The ''Jali'' is an instrument similar to the didgeridoo, it is made out of the hollowed out trunk of a tree. It is the least used instrument in Meó pieces, but the most religious. It is believed that its sounds blur the lines between the physical and spiritual worlds, and that it is also capable of transcending the soul to Haki. It may be the only instrument played in a piece, or it may be used to punctuate other pieces.
-=== Mansó ===
+=== Manzo ===
-The ''mansó'' is most similar to the duduk, it is a Meó flute with a deep sombre tone. It is generally made of wood in modern times, although historically bone ''mansó'' were not uncommon. It has a "reed" made from the leaves of the ''Kalinśa'' tree.
+The ''manzo'' is most similar to the duduk, it is a Meó flute with a deep sombre tone. It is generally made of wood in modern times, although historically bone ''manzo'' were not uncommon. It has a "reed" made from the leaves of the ''Kalincha'' tree.
-=== Sasaná ===
+=== Zazana ===
-The ''sasaná'' is the most diverse of the Meó instruments, it is like a cross between a cello and an erhu, and its sound varies from the warm tones of the cello to the lamentful whines of the erhu. Generally, two ''sasaná'' are used in most pieces, a lower pitched and a higher pitched one. However, the lower pitched ''sasaná'' is replaced with a ''mansó'' in many pieces.
+The ''zazana'' is the most diverse of the Meó instruments, it is like a cross between a cello and an erhu, and its sound varies from the warm tones of the cello to the lamentful whines of the erhu. Generally, two ''zazana'' are used in most pieces, a lower pitched and a higher pitched one. However, the lower pitched ''zazana'' is replaced with a ''manzo'' in many pieces.
-=== Navadén ===
+=== Navaden ===
-The ''navadén'' are Meó drums and drumsticks, which are both utilised as instruments, though considered the same instrument. The ''navadén'' is a heavy and powerful drum, and is often used sparingly through out pieces, to "punctuate" the melody. The drumsticks may also be banged together as their own instruments (cf. clapsticks). Some styles, however, make heavy use of the ''navadén'' in a fast paced rhythmic manner, often accompanied by chanting and high pitched ''sasaná''.
+The ''navaden'' are Meó drums and drumsticks, which are both utilised as instruments, though considered the same instrument. The ''navaden'' is a heavy and powerful drum, and is often used sparingly through out pieces, to "punctuate" the melody. The drumsticks may also be banged together as their own instruments (cf. clapsticks). Some styles, however, make heavy use of the ''navaden'' in a fast paced rhythmic manner, often accompanied by chanting and high pitched ''zazana''.
-=== Śasei ===
+=== Chazei ===
-The voice, or ''śasei'', is often considered the most important part of Meó music, with both lyrics and various vocalisations being utilised. Often pieces start with only the voice, adding instruments later. There is a diverse range of use of voice in Meó music, though it is often low-pitched and powerful.
+The voice, or ''chazei'', is often considered the most important part of Meó music, with both lyrics and various vocalisations being utilised. Often pieces start with only the voice, adding instruments later. There is a diverse range of use of voice in Meó music, though it is often low-pitched and powerful.