Meó culture

Clothing (Meónyi)

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.

Loekava

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.

Śapyi

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. 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.

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.

Źali

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.

Mansó

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.

Sasaná

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.

Navadén

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.

Śasei

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.