Lakh Saam

Overview
Lakh Saam (Lakh; Principle Saam; Three) is a sect of Gensinism with a philosophy of neutrality in existence. Its teachings differ in definition from its original counterpart in terms of spiritual interpretation and principles. The fundamental concept is absolute truth and tranquility in reality and believes that only one can bring true peace among oneself. A teaching in Lakh Saam that sums up their philosophy is  'It too shall soon pass'.

The III Principles of Existence
Entity, it is a vessel in which carries the spirit, the mind. It is the base of our existence. It is the base for our mind to gain wisdom. It is the host that shelters the spirit to learn.

Spirit, it is the pupil, the scholar, the heart of all that learns of the way in life, that feels, sees and endures what life offers, Rakha (Love), Tosa (Anger), Kos (Sadness), Asi (Jealousy), Gilet (Desires), Gamae (Lust), Awah (Happiness), Gau (Fear) and so on….

Environment, it is the cause of all things. The reason, the start of what our entity perceives which ultimately leads to the effect it has on our spirits.

Without one another of Lakh Saam, reality is false.

The III Principles to Peace
''"To master peace, we must first understand the concept of our existence, the three principles. Some may stop at that and accept the fate of their unsteady spirits. However, those who seek to be enlightened may pave their way to peace with these three paths, Recognize, Reason, Surpass. You may enjoy life of its ups and downs and the colour shade it offers over the course your journeys but as all things are, it too shall soon pass." -Ongkhot''

To feel and to recognize feelings are different things. The only true duty of a Lakh Saam follower is to be at peace. As Awah (happiness) is temporary, and so are all sentiments. We must know that the only way to be enlightened and achieve the highest truth of the universe, is to accept the inevitability in the endless cycle of our emotions. We must be above our emotions, looking over from above the feelings our spirit endures. So we recognize our present spirit, we reason, and we surpass. With our spirit in control, with mastery of the knowledge that life will offer good and bad, with acceptance of inevitability, we achieve peace.

Culture
Despite being a religion, the sect does have a distinct culture for music as they encourage musicality that enriches the mind. Their rhythm and tones represent the philosophy surrounding Lakh Saam and the music can be heard often in Lakh Saam's religious ceremonies and Gensin holiday festivals.

Music
Traditionally there are two main types of musical instruments that is commonly played, woodwind and percussion. The music itself is a heterophony type harmony. Heterophony, in music, texture resulting from simultaneous performances of melodic variants of the same tune. The tonal resonance or pitch being of the native's accent, ''"The native's pitch determination in music is rather unique. They have their own interpretation of variety in the sound frequency which makes the musical scales we know of today, except they have their own. Their musical scales do not have any sharps, flats, half steps or full steps. Every single pitch is exactly 177.7 apart in frequency measures. Therefore, they can shift keys in songs very easily thus making their music heavily improvisable to which they do very much so." - Tian, musicologist.''

iibuxiisa (ee-bu ngee-sa)
A quadruple reed woodwind instrument carved out from a small jungle tree trunk and its reed is made by taking the leaves of a jungle tree to dry out in the sun while routinely rubbing them with wheat oil, then take the dried oiled leaves and cut them into a mouth piece. It has four holes on the upper part and two holes on the lower part with the bottom having a rounded shape. It has a sharp sound thus the name 'xiisa', which means sharp. The role of the instrument in a traditional band assembly is to lead the tone of the song and the music overall. The instrument is used for religious ceremonies of the Fedu and Saint Cobblestone worshippers.

iibugoma
A similar instrument with similar procedures in the making. However, the reed is more triangular and has 2 holes on the upper part and four on the lower, the opposite of iibuxiisa. The bottom of the instrument is also flat, unlike the rounded xiisa. It has a rounded sound thus the name, 'goma', which means round. It is used in traditional tribal dances to accompany the movements, used to play as an opening to a cheerful events and for everyday casual entertainment.

ga'u ga
A set of hand drums with different pitches tied in a row to which the player would start slow and escalate the speed very quickly to the peak of rhythm. It is made by taking the skin of a cow's belly and drying it out in the sun, then routinely rub wheat oil over the skin to not dry it out. The oiled skin is then nailed with iron nuggets onto the the body of the drums which is made of oak wood for its balanced thickness can project the resonance of the tightly fit skin. It's played solo without a large assembly and is commonly played in ritual openings as a calling to nature to come witness and accommodate such events.

kaaga
A pair of drums one with the rhythmic percussion family. The face of the drum is made from the skin of a cow's back for its toughness and the body of the drum is made from dark oak. There are no nails hammered down onto the face and the body, both sides are both held together by a tight strap made from cow belly skin wrapped over and around the exterior ring at the face of the drum made with layers of dried vines, thus the black colour. It is played in all festives and fights but never in rituals for they are considered a 'commoner's' drum and does not hold any significant holiness unlike the tabo.

tabo
A rhythmic percussion instrument used in almost every occasion and is an essential instrument in a Nul band assembly. It's process of making is similar to the gaw'ga but it is much bigger and has a more complex variation of beats. It is considered a sacred instrument among the rhythmic percussion family of the Nul instruments, therefore it is played in all kinds of rituals and would rarely be played with common festivals.

tix-juu'b (ting- jueb)
A percussion instrument played to keep a steady beat in a song. It has two beats, tin and juu'b. The instrument is made by smelting golden nuggets then forging them into bowl shapes and connecting them together with a yarn crafted from the vines of jungle trees. It is played to accompany tonal instruments and singers in all kinds of events, rituals and festivals.

shaa-wab
Similar to the tix-juu'b but has a wider plate. The process of making a shaawab also follows the making of a tix-juu'b. It is not commonly played for its role is only to extend the variety of beats which uses the tix-juu'b as its base rhythm.

moxuporoxu (mongu-prorongu)
A unique tonal percussion instrument with a high resonance radius. It's forged very similarly to the tin-juu'b by smelting the gold into the desired shape like a big bowl with a rounded bulge. However, in some cases copper can be used as an alternative. It is equipped with 16 pitches. Its role in an assembly/band is to play the base melody for all the other instruments to stick with. The Nuls like to refer to it as, the 'mother-tone' instrument.

moxuiti (mongu- iti)
An instrument relative to it's sibling, moxporox except it has higher pitch and 18 pitches all of which are an octave higher parallel to moxporox. It's role is the same with the bwo'tu but with more limitations to improvising with the rhythm because it has to play continuous melodies despite improvising, which is why it is very hard. Most players of this instrument would come up with the improvisation beforehand to be able to keep the melody going easier.

bwo'tu
A tonal percussion instrument similar to a marimba, only this one is made with bamboo and has 17 pitches, relative to the moxporox but added one higher note at the very top of the pitch. Its role in an assembly/band is to add variant textures into the music for it's the instrument that can most freely improvise its melodies and modify the rhythm of the song without effecting the other instruments.

romba'tu
A tonal percussion instrument similar to a xylophone, but made with dark oak wood and has 21 pitches at the lowest pitch being a octave higher than the lowest of a bwo'tu. The role of romba'tu in an instrument assembly is to play a continuous melody leading the the other instruments. The Nuls refer to it as 'collecting' the gaps in between the music. Similar to the moxiti, most players of this instrument would come up with the improvisation beforehand.

The Sawa'u Pat'ti (sawa'upat'ti)
In literal translation, 'Ceremonial Assembly'. This type of band is used in all religious ceremonies, events and rituals. The band consists of, tabo, tin-juu'b, moxporox, moxiti, bwo'tu, romba'tu, and iibuxiisa.

The Sawa'u Xosa (sawa'uxosa)
In literal translation, 'Festival Assembly'. This type of band is used in all kinds of festivals and celebrations. Very frequently, in a song they will go around the band doing solos one by one of each and every instrument. The band consists of, kaaga or gaw'ga, shaa-wab, tin-juu'b, moxporox, moxiti, bwo'tu, romba'tu, and iibuxiisa.