Gamelan is the percussion orchestra of Indonesia. Gamelan is a set of traditional music instruments mostly made of hand-forged metal (bronze, brass, and iron). Gamelan consist of slab-type (wilahan) instruments: saron/sarun/pemade, demung/sarun ganal, gender/kiliningan, slenthem/selentem/jegogan, peking/sarun paking/kantilan, kecrek/keprak, and gong-type (pencon) instruments: gong, kempul, kenong, bonang, trompong, kethuk, and kempyang. Other instruments, e.g., zither and seruling (bamboo flute). Gamelan instruments are played by beating (gong, saron, demung, slenthem, kecer); plucking and strumming (siter, kecapi, rebab); tapping (kendang); and blowing (flute). The pitch and tuning of gamelan are slendro and/or pelog (pentatonic and/or heptatonic), each has its own frequency and interval pattern. Lower and higher pitched instrument pairs, together, they produce Indonesian Gamelan melodies, which resonate the sound of ombak (beats) or pelayangan (vibrato). Gamelan music has its own techniques and forms, i.e., one melody performed simultaneously by the different instruments (heterophony), the technique of interlocking multiple instruments to structure their rhythms (interlocking part), and the rhythmic and metric patterns of beat and punctuation (colotomic punctuation). Gamelan is used for human life-cycle rituals and ceremonies, mental-health therapy and other purposes, e.g., to refine character, develop life skills, increase study concentration, self-confidence and motivation. As entertainment, Gamelan is performed at music concerts, theatres, and other artistic expressions. Archaeological evidence of gamelan was found in the bas-reliefs of the 8th-century Borobudur temple. Gamelan is widely known in Indonesia and abroad.

Indonesia 2021

Jewellery art (kaz. 'zergerlyk') - is knowledge and skills in the field of traditional Kazakh art manufacturing of silverware. Since ancient times, there were produced a variety of silver jewelry: rings, earrings, necklaces, bracelets, pendants, buckles and much more. Especially highly prized precious silver vessels, such as jugs, bowls, mugs, decorated with engraved images. Archeological findings suggest that Kazakh people achieved a higher level in the development of jewellery making. Chylik findings were made using such techniques as stamping, engraving, true grain, incrustation (VII-V century BC); Issyk finding included “Golden warrior” (IV-III century BC); Berel kurgan findings (IV-VI century BC) from Eastern Kazakhstan are the testimony of a unique “animal style” in jewellery making. Jewellery is mainly made with silver. This craft is widespread across Kazakhstan but each region has its specifications concerning technique and design. Jewelry sets are made for men, women, and children; as well jewellery making is used for decorating musical instruments, household items, weaponry and horse gears; some made for rituals, others have symbolic or sacred value. Zergerlyk used for making details in men’s clothing, rider’s gear, horse riding gear, for example, horse equipment (er-tuman), traditional belts (beldyk, kyseh beldyk and kyemer belbeu), sword and knives’ handles and scabbards, powder flask (okhshantai), snuffboxes (nasybai). Women’s decorative items include forehead jewellery (shekelyk), braid jewellery (shashbau), earrings (syrgha), necklaces (alkhah, onirzhiyek, tumar), bracelets and cuffs (bilezyk), rings (zhuzyk), belt buckles (khapsyrmah), buttons (tyuime), personal hygiene items (tyss tazlaghysh, khulakh tazlaghysh), tools for crafting, spindle (urshykh), thimble (oymakh). Zergers also make child’s cradle set: bessyk (cradle), shumek (tube to flow urine), syldyrmakh (rattle), yemyzik (pacifier), tumar (amulet, charm) and other items. The jewelry pieces in the form of circle, oval, triangle, half oval, rectangular, petal, peak and beak are frequently combined to make a larger piece, for example pectoral decorative items onzhyrek and alkah are made of several triangle and rectangular plates, khudaghy zhuzik (a special large double ring presented when marriage brokerage occurs) and bes-blezyk (a bracelet connected with chains with three rings). Geometric style from Western Kazakhstan is famous for large-scale decorative items that are assembled from pre-made pieces that are joined together by soldering (plates, borders, solar symbols, grain). Most common techniques include true grain, plated filigree, stamping, embossing, engraving, niello, enamel, casting, forging, and incrustation with precious and semi-precious stones. Stone (tas) are sliced flat and are called eye (koz) as they considered to be protection charms. The most popular stone is cornelian (akhykh) as it symbolizes prosperity and joy.

National Intangible Cultural Heritage, Republic of Korea Yugijang refers to a brassware making skill, or to an artisan with such a skill. On the Korean Peninsula, brassware was first made during the Bronze Age. During the Silla Period (57 BC – AD 935), there was a government agency in charge of production of brassware. The skill continued to develop, and thin brassware with beautiful luster came to be made during the Goryeo Period (877 – 1394). Then, there was a lull in development, but brassware enjoyed popularity again by the 18th Century. Anseong, Gyeonggi-do was known for the production of good-quality brassware items, and noble class people placed orders for custom-made brassware goods with producers there. Brass may be any one of a broad range of copper alloys, usually with zinc as the main additive. Brassware displays a yellowish color with subdued luster. Cupronickel ware displays a white color. There are three types of yugi (brassware), depending on the production technique used. To make bangjja yugi, ingots are first made with melted brass and then people strike them with hammers. Examples of articles made with this method are jing (large gong), kkwaenggwari (small gong), food bowls and wash basins. Jumul yugi (forged brassware) is made by using molds. The term Anseong Machum was coined to refer to an object or item that was custom-made for a particular situation, as brassware made in Anseong satisfied specific needs of customers. Semi bangjja yugi refers to brassware made using both bangjja and forging methods. Yugijang is the country’s leading traditional metal artifact-making skill with wide practical applications.

Gar-zo (Blacksmith/iron craft) is one of the Bhutan's 13 traditional crafts and is considered as one of the earliest crafts/arts of the Bhutanese people. It is believed that it was introduced by a Tibetan saint known as Dupthob Thangtong Gyalpo in the 14th Century. He is revered by the Bhutanese people as a master engineer for his skill in casting iron chains and erecting them as bridges over gorges. He is supposed to have built eight suspension bridges in Bhutan. One can still see one of the bridges crossing over the Paro Chu, on the road from Paro to Thimphu, and linking the highway to the famous Tachog lhakhang (temple). The remains of another bridge can be viewed at the National Museum in Paro. However, J. LaRocca,D (2006) in his book mentioned that Dupthob Thangthong Gyalpo came to Bhutan for the first time in 1433-44 to gather the iron ore to build bridges in Tibet. The iron he collected was forged into 7000 links by a team of 18 blacksmiths from five villages near Paro, one of the village was Woochu where the art is still practiced today. It was believed that Thangthong Gyalpo distributed 18 anvils as a token of gratitude among the blacksmiths gathered and blessed them to earn their livelihood and flourish the craft. The donation of iron chain links to Dupthob was an evidence that the people of Woochu practiced the iron craft way before Thangthong Gyalpo’s visit. Unfortunately there are no records and even the oldest living master blacksmith had nothing to substantiate on this matter. There were many places in Bhutan that manufactured iron handicrafts before but with passing time the art and skills faded and only few places are still practicing it today, one of it being Woochu. The origin of black smithy in Woochu is lost in antiquity. There are no records or documents to trace the origin of the art. However, oral accounts of some elderly people posits that the art might have started out of necessity. Before Woochu was known for its famous blades, it manufactured agricultural tools that were used by the locals. Moreover, recent findings showed that a large forging took place near the place where the iron formation was found. Gaw (Blacksmith) Phajo also believes that the founding of black smithy will not be possible without the iron ore. So he supports the idea of the foundation of black smithy due to the iron ore that was found in the area. The blacksmiths of Woochu manufactured and repaired agriculture tools for the locals before it became known for the famous Woochu blades. Woochu blades are very popular and are known for their tensile strength and durability. There were only three iron craftsmen with traditional knowledge and skills before, all are officially retired now. Blacksmithing, a traditional craftsmanship handed down for several hundred years, was on the verge of extinction. With not many blacksmiths remaining and even lesser apprentices showing interest in learning the skill. Those who used to practice the trade has died and some were retired. The younger generations seemed disinterested in taking up the art. Initially the blacksmiths in the area took up the art as part of earning daily wage. It was like any other job that fetched money. Moreover, the job of a blacksmith was physically tiring, and the social stigma that the trade carried was perhaps another reason why it has failed to attract the attention of the younger generations in the community. The blacksmiths were looked down in the community. The art of crafting fine Bhutanese swords was on the decline. In 2016, His Majesty the King commanded for a training center to be set up in Woochu to revive the dying art. Reviving the centuries-old trade was challenging but not impossible. Royal Metal Craft Center (RMCC) was an intervention aimed at reviving and promoting dying crafts and reinstating it as a source of livelihood. The center is now established and works are underway to further develop it.

The Khen of the Hmong is made of Pơmu wood with 6 different large, small, long, and short bamboo pipes, symbolizing the gathering of brothers. There are two types of trumpet: long trumpet (high sound) and short trumpet (low sound). Khen is a wind instrument, used by Hmong people in many different contexts such as funerals, Gầu Tào festivals, fairs, weddings, etc. Therefore, the content of Khen songs has many topics, different songs such as the farewell of the dead soul to the ancestral world, the mourning of relatives with a slow, gentle, sad sound, the confession of love between a man and a woman, the blessing of a young couple with a fast, strong, cheerful tempo. Khen dance includes a number of basic movements such as raising legs, rotating in place, spinning in place, spinning in place and moving heel (on a large rotation and gradually narrowing in a spiral shape), bending over, playing with Khen, rolling on its side, rolling on its back, squatting dance, walking forward and backward in four directions, cock fighting, horse fighting, jumping and squatting, one hand patting the other leg, the sound of clapping must be heard while the sound of Khen cannot be stop. Taking the breath and forging the breath to make it deep and long is a special technique. At the age of 10, Hmong boys begin to be taught Khen dance techniques by their grandfather, father, or older brother. Hmong Khen dance can be performed solo to show off technique, or performed in pairs, triples, or collectively. Hmong Khen Dance can be combined with women's dances.

Among the most vibrant and essential of the Indian traditions found in Malaysia is the folk tradition of the Urumee Melum. A double-headed hourglass-shaped drum from the state of Tamil Nadu, South India, the Urumee is widely believed to possess deep sacred power, and is mostly associated with the 'calling of the spirit' associated with trance rituals. In more recent times, Urumee Melum ensembles have begun to proliferate, commensurate with a new awareness of the Indian community's social history in Malaysia; forging a meeting place of working class Indian identity, principally among the youth, creating a vibrant, powerful and independent movement within the broader spectrum of Malaysian-Indian culture.

Art metal processing works made by masters found in museum funds of Kyrgyzstan and those that are passed from generation to generation shows that the Kyrgyz possessed metal processing techniques from the ancient times. The Kyrgyz metalwork masters are named as ‘usta’ or ‘zergher’. Distinct features of different techniques of metalworking can be observed in the works of the Kyrgyz masters, such as forging, molding, appliqueing, notching metal with silver, engraving, minting, pattern plating, pelleting, fretwork and black finishing. Silver is the most common metal used by the Kyrgyz. Masterpieces distinct to the Kyrgyz jewelry making have been created with a help of simple tools used in metalworking. The kit of jeweler’s main instruments included an anvil, hammers for different purposes, dies, stamps, chisels, puncheons, mandrels, cutters, poin-tools, etc. Motives of the ornaments used in jewelry and metal works are very diverse. Of a particular interest are the Kyrgyz traditions of metalworking expressed in details of the horse equipment. They are richly decorated with metal braces covering joints of belts made by embossing technique and notching. Kyrgyz jewelers broadly used the technique of denting, that is coating notched iron plates with silver. Such coated plates of different size and forms were then used to embellish harness elements, man’s belts, knives, fire stones, trunks, cases for dishes, etc. Quite often jewelry articles were framed with granules. This technique was primarily used in woman’s adornments, such as ear-rings, rings, seal-rings, bracelets, and etc. Like formerly, granulation was combined with filigreeing and incrustation. Community of craftspeople metalworking was a purely masculine craft, but women zergers are also known.

Blacksmithing traditional profession includes: forging, forge welding, casting, soldering copper hearth, heat treatment products, and so on. The main material for the blacksmith - metals: iron (steel) and copper and its alloys (bronze, ..), lead, noble metals.

National Intangible Cultural Heritage, Republic of Korea Geumsok Hwaljajang refers to the skill of making metal printing type and printing books with it, or to an artisan with such a skill. The world’s first metal printing type was made during the Goryeo Period (877 – 1394). A reprinted version of a book Nammyeong Cheon hwasangsong jeungdoga (Song of Enlightenment with Commentaries by Buddhist Monk Nammyeong) printed with metal type in Gaegyeong after the Goryeo Dynasty relocated the capital to Ganghwado in 1232 (the 19th year of the reign of King Gojong) is still extant. The printing of Sangjeong yemun (Detailed and Authentic Codes of Ritual and Etiquette) with metal type tells us that the skill had developed earlier. During the Joseon Period (1392 – 1910), metal printing type was improved, with the central government offices playing a leading role. In Korea, metal type was made with a forging technique. The production process is composed of four stages, cutting out letter patterns, making prototypes, forging and finishing. There are two kinds of metal type production, depending on forging techniques used. These are lost-wax casting, which was chiefly used at the beginning, and sand casting, which was commonly used after the introduction of Chojugabinja which was the first metal type, during the reign of King Sejong in 1434. Metal printing type is a work of comprehensive art made with a combination of many diverse skills and techniques that display the ingenuity of Koreans.