Tshar-zo, the age-old tradition of working with bamboo and cane is a popular art, spread and practiced throughout Bhutan. The availability of numerous species of bamboo and cane has enabled the Bhutanese to master the skill of weaving these raw materials into a variety of articles for various uses. Throughout Bhutan, the use of bamboo and cane products has always complemented the use of wooden items, forming an integral part of the lifestyle and economy of the people. Bhutanese farmers weave a variety of functional bamboo and cane articles used for a variety of domestic, agricultural and commercial purposes. Bamboo (Neomicrocalamus andropogonifolius), is locally named Ringshu in Dzongkha and as Yula in Khengkha. Cane (Calamus acanthospathus) is locally known as Munzi in Sharchopkha, and as krath or gren in Khengkha. These are the two common species used in the production of a variety of articles. Bamboo and cane strips are used in their natural colour or dyed into yellow, black, red, green, maroon and brown, to weave colourful articles with geometric designs.

A unique female-dominated performance held only on the 8th and 9th day of the 7th lunar month in the two communities of Ura-ma-krong (main village of Ura) and Shingkhar, the farthest settlement under Ura gewog (block) in Bumthang Dzongkhag (district). In Ura dialect, Intangible Cultural Heritage (ICH) is usually called Saang (smoke offering). It is said that in the old days, when there were yak herders who usually came from their village to raise the yaks at Purshey la (one of the mountains overlooking Ura village), they welcomed the female performers by burning sang at Korgang (the place believed to be the place where the deity descends or dwells and where the female performers circumambulate the stupa). Hence, community members refer to the festival as Sang or Sang na gai-sang (on the way to the Sang offering). Another interpretation states that the female participants begin their offering by making various medicinal herbs and other fresh offerings go up in smoke while appeasing the main female deity named A-shey Lhamo and her entourage, namely Gawa Lhamo, Kiba Lhamo, Champa Lhamo, and Dropa Lhamo. However, in addition to the aforementioned attendant goddesses, Shingkhar A-zhi (pronounced locally) Lhamo has Lam-dron Lhamo forming five attendant goddesses. Therefore, the festival and performance were called Sang from the first offering. The other name of the festival, A-shey Lhamo, is interpreted literally by outsiders and some learned community members as the lyrics of the religious song sung and danced in honor of the deity A-shey Lhamo. Colloquially, the term A-shey is addressed to either the queen or the elder sisters, and Lhamo is a general term for the divine goddess. The origin of Sang or A-shey Lhamo is that during the Dung Lhawang Rabgay (local ruler), not long before the emergence of the Dung caste system in Bhutan around the 10th-11th century, there was a misfortune of Shey-ned (diarrheal infection) that spread among the children of the Ura community. People sought the advice of their ruler as there was no tradition of performing rituals or treatments. Thus, Dung Lhawang introduced Drakpa, who had a divine bloodline, to appease the female local deity by performing dances. He composed the lyrics in the typical Ura dialect and ordered that they be performed by female members of the community. The Lord also determined the place: Pur-shey la (written Pur-gyal la) along with the things to be sacrificed and also the steps. Following the advice, the women performed the dance, which gradually helped the children recover from the epidemic. After that, the performance of A-shey Lhamo was practiced. According to the origin, A-shey Lhamo and the goddesses accompanying her are both the deities of the place and deities of the Bon khar tradition. Perhaps they are the other form of Tshering chey nga (the five sisters of longevity) who appeared in the Bon tradition before they were introduced by Guru Padsambava as the tutelary deity of Buddhism, just as many Bonpo deities were later transformed as protectors of the sacred teachings of the Buddha. In the poetry of A-shey Lhamo, it is mentioned that they reside in the high mountains Gang-toed thoen po. The road to their citadel is like a mule track, filled with the sweet fragrance of Ba-loo (Rhododendron ciliatum) and Su-loo (Rhododendron setosum). She delights in the first share of Mar-chang Ara (locally brewed wine) and Kara and Buram (honey and brown sugar) and sits down on the white sheepskin mat. She resides gracefully in a palace of precious gems with golden columns and silver windows. Apart from the above description of her residence, there is no text describing her appearance, only the names of her sisters and the goddess herself. This ICh element is still alive in Ura and Singkhar communities. However, there are some changes: The sang is now prepared and offered by themselves since there are no more highlanders at Pur-shey la, and the other is that, according to tradition, the sang is generally performed on the 8th and 9th day of the lunar month but, the community members decided to either coordinate the festival on 15th day if the time and weather is not favourable.

Death is often considered as a great loss but not more than the fear incurred from the unnatural deaths; such as accidents from falling off a tree or death caused due to an encounter with wild animals as they strongly believe that death has been caused from dishonoring the deities or by evil spirits or by bad spells from somebody. They conduct very elaborate ceremonies to appease the spirit of the deceased and deities, especially the deceased with food and drinks so as to prevent misfortune to the surviving people. Lhops believe in the dual existence; that when death occurs, the soul, Se-hok, leaves the body and dwells in the emptiness for certain period and later joins the world of Sim-pu (death).

Tabekasere is traditional basket made from a local species of bamboo. It is an iconic heritage craft in Navatusila, a highland tribe on mainland Vitilevu, located about 4 - 6 hours away from Suva.

The origin of basketry in the Pacific can be traced back to the early European exploration that changed the islanders’ way of living. Intensive European exploration changed the attitude and economy of the indigenous people that ultimately led to the change in the nature of the artifacts made. Baskets during these early times were mainly used in trading. Basketry in the Pacific Islands share similar characteristics in one-way or another, whether it be similar designs or similarity in raw materials used. Mostly across the Pacific, coconut leaves are used to make baskets; from simple designs to complicated ones. Many Pacific Islands use reed or vines to make baskets as well, and in rare cases, from bamboo stems. Traditional baskets woven from bamboo stems can be found from a district in Fiji called Navatusila. This traditional basket shares some similar and different features in comparison to other traditional baskets across the Pacific. Navatusila, a district in the mountains inland on the main island of the archipelago, Vitilevu, is known throughout Fiji and perhaps around the world for its past that many believed was a turning point in Fiji’s Christian history. However, this event is part of history and needed not hinder the fact that Navatusila, like many Fijian traditional settlements, still practice traditional skills and knowledge that is unique to the people in expressing social and cultural identity. Nubutautau, a village in Navatusila, has a bearer of high knowledge and skills in weaving a traditional craft known as tabekasere. The knowledge and skills in weaving the tabekasere is only held in Nubutautau in all the Fiji Islands. This unique craft came to light post Cultural Mapping Program held in February 2016 by the Ministry of iTaukei Affairs, iTaukei Institute of Language and Culture. Thus, the bearer of knowledge and skills in making the itabekasere is recognized as a Living Human Treasure, as it was discovered at that time that a lone person possessed the knowledge and skills.

Bamboo weaving is a traditional business and an extra earn income besides farming for farmers. Everyday use tools are woven from bamboo (local bamboo and Pingpong bamboo) including varieties of baskets like Chang-er, La ey, Tao, Kanhjer, Kanhche, Kanh Jreng, Jeal, Kantrok, Kongtrong Brohotk...etc. There are also bamboo fishing gear such as Chhneang, Angrut, Lop, Tru, Proul and so on. Some tools’ names are found in ancient inscriptions, for example, Residents in Banteay Meanchey Province. The word "Chhneang" is found in the K.56 inscriptions, 10th century, "Kanh" (basket) is found in the K. 353 and K. 158 inscriptions, 11th century, "Kcheang" (basket) in the K. 353 inscription, 11th century, and so on. It takes a lot of effort and time to make each tool. They first have to cut bamboo trees and cut them into pieces before thinning them into strips. Strips’ sizes or shapes are made according to the materials which needed to be made. The strips are then soaked in water for 2 to 3 days protecting them from worms called (Proy) before starting to weave as a tool. Today, although some appliances are made of plastic from the factory, all those traditional tools are still popular with Cambodians.

Sing-si is a type of oil/ghee produced manually. It is purely made with locally available materials and doesn’t mix any imported ingredients unlike the oil which are available in the market today. The main ingredient used is the Se-lung- a black small oily seed. Its scientific name is Parasassafras Confertiflora. The Se-lung tree is either wild or domesticated. Usually, in bygone days, it is believed that almost many villages had a trend of processing Sing-si, however, the trend wasn’t famous unlike Thongsa village under Chongshing Gewog (block) in Pemagatshel. According to grandma Nimdaza who is seventy-four years old, processing of Sing-si was part and parcel of their lives and members from every household were engaged in performing chores of Singsi production. Further she says that the labor contribution was also done depending upon the number of members present in the household. More than one worker was engaged from the household which had more family members. The materials needed were –Tsir (a small bamboo basket), Mar-kang (wooden block), plank, stones, Neetong-ma (pestle), frying pan, Luu (pounding stone). The Sing-si was used mainly for offering butter lamps. Other secondary uses were for human and animal consumption. Humans consumed it as there weren't imported oils available those days in the shops.

"Prahok" is an essential reserve food for Cambodian farmers in rural areas because it is a kind of fermented food that can be stored for a long time. There are many Khmer dishes that use prahok as an indispensable ingredient, such as Kor Ko and Teuk Kreoung. Apart from being an ingredient, Prahok can also be made into a separate dish, by adding some ingredients to your liking, such as grilled Prahok, Prahok Ktis, Prahok Kreoung, raw Prahok, sour prahok, etc. Making prahok for ready-to-eat food has been a tradition for a long time. Most of the villagers, especially the residents living near the rivers, canals and lakes, during the low water season, which is the rich fish season, that is, from the month of Bos to the month of Phalkun or the month of Chet, they often travel by cart to the river to do fishing or buy fish to make Prahok. Therefore, there is rarely a family that does not make prahok, although some people are short of money, they try to make Prahok as much as they can afford; while some even borrow money from others to make Prahok. Some locals buy fish to make at home, while others stay by the river until the Prahok is ready before returning home. Not only Prahok makers but also fishermen have to stay there to fish day and night as it is a lucrative opportunity. Therefore, as long as it is the season for Prahok fishing, they often see many shelters along the river. Most of the fish used to make Prahok are small fish, such as Riel fish or Lihn fish. But some rich people also use big fish like Ros fish, Chdor fish, Kha Ek fish, Sorn Dai fish ... to make Prahok. It is a kind of meat Prahok (boneless Prahok) that is delicious and expensive. There are only two main ingredients for Prahok: fish and salt. First, the fish has scraped off the scale, the head is cut off, the abdomen is removed, and then the fish is placed in a Jeal or Kom Broang or jar. Prahok makers will step on it with their bare feet to remove the scale fish and fish oil in a nearby river or stream. Cleaning by stepping on it is an important step because if the fish oil is not completely removed, Prahok will smell bad and be unable to eat. Therefore, the washing process must be done several times until the fish is white. This cleaning requires a lot of water and this is also the reason for those who make a lot of prahok to stay by the river to easily wash the prahok. After washing, the fish are extracted and placed in a bamboo basket with small cells to keep the fish dry. When the fish is dry, the fish is salted. Spilling salt is not done all at once, it is done three times. First fermentation leaves it overnight to harden the fish. The next day, they put the fish under the sun for two hours. Then it is salted for the second time and then left to soak for 4-5 days, then it is salted for the third time and stuffed into a jar or jar using Ang Re, pestle. In order to make the Prahok stuffy and not cracked, you have to take a bamboo stick and snap it on top and pour salt water in. It is usually stored for 5-6 months before the Prahok tastes good and smells good. For the sellers, they shorten the storing period to 1-2 months old, which is caused the Prahok smells stinky and doesn’t taste good when it is cooked. When we take Prahok from the jar to eat, we have to press it back and sprinkle more salt on it so that it does not absorb air. Properly made Prahok can usually be stored for up to 4 or 5 years.

National Intangible Cultural Heritage, Republic of Korea Chaesangjang refers to the skill of making a basket of diverse geometric patterns with thinly cut and colored bamboo skins, or to an artisan with such a skill. Colored bamboo baskets were loved by women at the Royal Court and of the noble class since the ancient period. Toward the late Joseon Period (1392 – 1910), they became popular items even for commoners as necessary articles for marriage. They were chiefly used to contain clothes, accessories, sewing supplies, and precious items. The first thing to do in making a bamboo basket is to peel off the bamboo skin in even thickness. The skin thus peeled is soaked in water and then trimmed, dyed, and spliced. The edges and corners are wrapped with blue or black satin silk. The designs made on the surface of a bamboo basket are mostly letters or patterns associated with propitiousness.