"Trud" Dance is originated in rural communities and is now only found in Siem Reap and some villages of Battambang adjacent to Siem Reap. "Trud" in Sanskrit means “The act of cutting, detachment) The locals play this dance only during the Khmer New Year, in the sense of cutting off the old year to move on to the new year, as well as expelling evil spirits in order to get good fortune. However, during the dry season, this dance is also performed to pray for rainfall. In addition, the importance of playing this dance is to raise funds to build and repair communal infrastructures in the community, especially in the pagoda, which is not for personal gain. This dance can be joined by more or fewer dancers according to the preferences of the village or the number of volunteers. The equipment also depends on the number of dancers. The equipment is also doubled as the props and accompaniment to the dance. The complete Trud Dance can consist of instruments such as: Kanh Chhe (bamboo mast with bells on top), Changkrang Dombe, ChangKrang Rong, Sko Arak (hand drum), Bei Pok (flute), Tro Ou, Tro Sor (bowed strings) and Dang Santuch or Dang Doy (pulling bar of an ox cart) attached with an open bag for retrieving the donations. The main accessories for the Trud Dance are clown masks and crowns made of paper mache and lacquer, real deer and banteng antlers or artificial antlers made of paper mache, peacock feathers,s and fake long nails made of rattan. When performing, there are two or three priests leading the group and holding a fundraising bowl, and giving blessings to those who Donate. If it is played in rain asking ritual, the priest who leads the ceremony is called “Dangkhao”. The lyrics are not the same, it depends on the preference of the group or the village because some lyrics can be created immediately according to the actual situation in order to convince the donor to give more donations. But the interesting thing is that most of the "songs" contain 4 syllables in each line. 6 The following are some excerpts from the lyrics in the document of Samdech Preah Vanroth Iv Tuot, Chief of Monk from Battambang Province: Lyrics on arrival at the ceremonial ground I arrive outside your gate, calling out to you. My respected master Can I come inside? (Vocalizing) oh na neang na Can I come inside? Permit or not, Please let us know. We can come in or not, Please quickly tell us. (Vocalizing) oh na neang na Please quickly tell us. Fellow team! Fellow team! That the fire is lit Means that we are welcomed. (Vocalizing) oh na neang na Means that we are welcomed. Lyrics when asking for alms This Trud is not from here. This Trud is not from here. The master ordered us That we came here to play. (Vocalizing) oh na neang na That we came here to play. Big house with sculptures Stair steps made of silver Suiting his wealth (Vocalizing) oh na neang na sa ra mom bong. Lyrics when collecting the scattered alms Some hide, some throw, Some scoop up, Don’t talk, lads! Catch the money quietly (Vocalizing) Yeur chhai nao nao neang nan a na oun euy. Lyrics to bless the givers Fellow team! His silk and thread He gave us all We shall bless him. To have a son She weaves silk to bless regularly Officials He gave us all To get a mouthful for a daughter Soup for money. We bless him. Children as well. Sculpture land. Before performing, people prepare an offering for Lord Vishvakarman and the spirits of the land and nature. Then the priest ties holy thread to the wrists of the dancers and puts on the masks and horns for the performers. Mr. Pol Sam Oeun researched this dance in Battambang province and choreographed it as a performance on stage and performed for the first time by Mr. Meas Kok, who was the first singer to hold the Dang Santuch, and the following performers: Mr. Ros Lon, Mr. Meas Sam El, Ms. Mom Hoy, Mrs. Sieng Sivhun, Mrs. Kaing Steng, Mrs. Ok Leung, Mr. Hing Tim, Mr. Moeung Chandara, Mr. Kong Samith, Mr. Pen Lon, Mr. Put Lon, Mr. Suon Sareth, Mr. Eam Sean, Mr. Pen Yet. The dance ceased to be performed in 1975 and resumed in December 1979. Today, Trud Dance is very popular because during the period before the New Year. It is performed in government institutions, companies, or private houses to ward off evil spirits and bring prosperity.

National Intangible Cultural Heritage, Republic of Korea Okjang refers to the skill of jade carving or an artisan with such a skill. Jade, set in gold and silver, was a favorite gemstone for Asians. Jade was used as an accessory symbolizing the five virtues, courage, benevolence, wisdom, rectitude and honesty. It was also used to make ceremonial utensils, hanging accessories indicating the wearer’s social status, okgyeong (jade chimes), medicinal materials, and medical tools. The use of jade as an important accessory for upper class people is testified to by the jade artifacts found at the sites dating from the Bronze Age, the curved jade, jade beads, and tubular jade unearthed from tombs of Three Kingdoms Period, and the jade waist belt of King Jinpyeong, which is said to be one of the top three treasures of Silla. Up to the Joseon Period, jade artifacts could be used only by members of the Royal Family and upper class people. It was difficult to acquire jade and the government limited the number of jade artisans. The work of jade processing, from quarrying to design, cutting, formation, detailed carving, and lustering requires careful handling and exquisite artistic skills.

The kris or keris is a distinctive, asymmetrical dagger from Indonesia. Both weapon and spiritual object, the kris is considered to possess magical powers. The earliest known kris go back to the tenth century and most probably spread from the island of Java throughout South-East Asia. Kris blades are usually narrow with a wide, asymmetrical base. The e 40 variants), the pamor (the pattern of metal alloy decoration on the blade, with approximately 120 variants), and tangguh referring to the age and origin of a kris. A bladesmith, or empu, makes the blade in layers of different iron ores and meteorite nickel. In high quality kris blades, the metal is folded dozens or hundreds of times and handled with the utmost precision. Empus are highly respected craftsmen with additional knowledge in literature, history and occult sciences. Kris were worn everyday and at special ceremonies, and heirloom blades are handed down through successive generations. Both men and women wear them. A rich spirituality and mythology developed around this dagger. Kris are used for display, as talismans with magical powers, weapons, sanctified heirlooms, auxiliary equipment for court soldiers, accessories for ceremonial dress, an indicator of social status, a symbol of heroism, etc.

Indonesia 2008

National Intangible Cultural Heritage, Republic of Korea There are several types of strings used to make decorative knots. Circular strings used in accessories or pouches are called dongdahoe. Wide and flat strings used in waist belts are called gwangdahoe, whereas knots used in attire or ceremonial accessories are called gyeokdap or gyeolja. It is not easy to clarify precisely when and where the knot, a field of Korean traditional crafts, originated. However, it is speculated that Korea's knots and tassel decorations were influenced by China due to frequent exchanges between the two countries. And it is presumed that the knot craft in Korea affected that of Japan. Chinese knots are characterized by their variety and their extravagant style, whereas Japan focused on the functionality of the string rather than the decorativeness of the knot itself. In contrast, Korean traditional knots are characterized by pursuing proportional and rhythmic beauty by forming a shape using monochromatic strings and hanging tassels underneath. In addition, there are many forms and names derived from animals and plants, such as the lotus bud knot, chrysanthemum knot, and dragonfly knot. It can be stated that the Korean knot is not only functional but also plays a decorative role that highlights the subject but is expressed in elegant elegance rather than in extravagance. During the Joseon Period, the government designated knot craftsmen. As for the materials used to make knots, there are threads made of silk, ramie, mulberry, hemp, and woolen yarn. Knot shapes vary depending on the color, thickness, and methods used for tying. The names used to call them differ from region to region. The names were based on household items, flowers, or insects, such as ginger piece, butterfly, dragonfly, chrysanthemum, etc. Tassels were attached to the lower end of the decorative knots used for musical instruments, vehicles, or Buddhist ceremonies. There were diverse types and levels of tassels depending on their use, i.e., whether they were for the Royal Palace or ordinary households.