Traditional Knowledge can also be referred to as indigenous or local knowledge, however for the sake of consistency, Traditional Knowledge will be used. Traditional Knowledge refers to the holistic total of an indigenous people’s understanding of the world. While the term is often used in relation to oral history, its bounds are much broader. ‘Traditional Knowledge can refer to knowledge of past events, but also encompasses peoples’ embodied practices, spirituality, morality, ideologies, modes of artistic (or abstract) expression, and the ways in which knowledge is acquired and passed on through generations. Traditional Knowledge systems extend into the present, and are alive and constantly adapted in order to remain relevant to contemporary indigenous life. The term is predominantly used to designate those knowledge systems that are markedly different from the dominant Western systems of knowledge. Traditional or Indigenous knowledge is a: body of information passed down through generations in a given locality and acquired through the accumulation of experiences, relationships with the surrounding environment, and traditional community rituals, practices and institutions. In light of that, the iTaukei people from Fiji, have traditional knowledge of identifying early signs of natural disasters.

The word ‘madrai’ is an old fijian terminology refereing to a traditional food with its unique process, prepared at particular seasons, and certain parts of Fiji regard it as traditonal obligations. The vanua Nabulebulewa at Qoma island Fiji are fisherfolks, and part of their traditional role is the presentation of turtle accomapnied with a basket of madrainiviti. Sailasa Naisele of Qoma mentioned the word ‘madrã’ is a verb, meaning to pinch out madrainiviti from the davuke (food pit) while leaving the rest for later. Traditional fermented bread in Fiji has significantly declined over the years. This is different from the bread also called madrai which is baked and sold nowadays. Before the introduction of wheat bread, our forefathers were already enjoying their traditional bread. Upon its arrival and its wide consumption, the wheat bread now adopts the name madrai while the traditional bread has extended its name into madrainiviti. Fermanted fruits and crops are preserved food for post-disasters and food sacristy (Dau, 1986), also for drought and can be preserved up to 4 years (Pollock, 1984). Bread fermentation varies in Fiji. Bila (fermentaed cassava) and sikiviro (fermented Tahitian chestnuts) are commonly practiced for commercial purpose nowadays.

The craft of mounding and bronze casting has been present in Đại Bái since the 10th century, under the Lý Dynasty, associated with the name and merit of the craft's ancestor Nguyễn Công Truyền. To create a bronze casting product, the craftsman must perform many complex and complex technical operations. The first step is to build the furnace (floating furnace and submerged furnace; the structure of the furnace includes the furnace body, a lid - cyclone, and an annular iron ring - rotating; the raw materials for making the furnace are pond mud and rice husks). Next is the product creation process including shaping to create a product model; creating molds to cast into bronze; preparing, cooking and pouring copper; engraving and arranging patterns on the surface of the product; polishing and coloring the product. When smelting copper, combine the appropriate ratio of copper, zinc, and a very small amount of lead; molding: creating a mold according to the shape of the item to be manufactured; inlaid: create an additional round inlaid sheet, hammer the product with a specialized hammer (awl - inlaid awl, mounding awl, barrier awl, parasol awl, patting awl), touch with a tick (brake tick, cupped tick, sharp tick), round, circle, pat the gums, roast, flatten, and cure. The finished product will be husked, washed to create shine, and burned with ironwood charcoal. The final step to create the finished product is flowering (which professionals call this). Techniques such as inlaid molding, copper manipulation, engraving embossed patterns, engraving sunken patterns, inlaying green copper, black copper on red copper, inlaying gold and silver on copper, etc are very good techniques, high in their bronze mounds. Products of Đại Bái bronze mound craft village are very diverse, such as household items (pots, trays, bowls, pots, urns), worship items, fine arts items, and musical instruments. Page themes are often chrysanthemums, clouds, patterns, string flowers, seal lines, stylized flowers and leaves, stylized animals, geometric shapes, bold lines, and thin lines. Products mainly serve religious and decorative needs. Dai Bai people always avoid "offending" the profession's ancestors.