Traditions of Si Sla Mlu are deeply rooted in the societies of Asian countries, including Cambodia. In Cambodia, Sla-Mlou has become an integral part of all Khmer traditional ceremonies from birth to death, as well as other religious ceremonies of both the people and the king. The royal word to call Mlu-Sla is “Preah Srey”. Mlu Sla is important at home, especially for the wealthy, to have luxurious things for keeping this Sla Mlu. Those things are made from wood, bamboo, Ror Peak, and silver or gold, as well as Kmok Mreak and fine designs, as they are not only used to store Sla Mlu, but also for home decoration, and even in large ceremonies at the royal palace. It is seen to be placed on the table near the place where the King sit down. Before the Khmer wedding, there is a ceremony called "engagement." In that ceremony, the elders and the parents of both sides "Si Sla” as a testimony of the engagement ceremony, and even have the words" Si Sla Pjoib Peak”. It is believed that Sla Mlu is a medicine and a sacred object because the Khmer therapist chews it to spit and blow to cure diseases (Tlos, Krech, Rerm, especially Peus Plerng…) or spitting to avoid the disease from harassing and expelling evil. About two decades ago, eating Mlu Sla was a common practice for both men and women, and some are even addicted to eating Sla. Mlu Sla is a snack to welcome guests who visit. That is why Sla Mlu is often planted in almost every house. Occasionally there is a burning of Kombor (from the shell of clams, snails, and sea snails) by itself. Locals understand that eating Sla makes teeth stronger and does not cause bad breath. Eating Sla makes the teeth darker and this may be the popularity of that generation. But the Khmer people say Si Sla, apart from Sla, there are other ingredients such as Mlu, Kombor, and Tnam Juk. And the way to eat is by applying Kombor on one leaf of Mlu leaf eat together with young or ripe Sla. If the elders are without teeth, Sla and Mlu will be grinded together so that he or she can eat afterward. Then squeeze a small amount of Tnam Juk and roll it between the teeth and the lips. Some Jok Tnam without eating Sla. The sla is not swallowed, it is spit out. The saliva that comes out is as red as blood and it will make the house dirty if there is nothing to put the saliva in. That is why we always see in every house there is a spittoon for saliva, and that spittoon is also a valuable tool for showing off the wealth, the same resources as the things that used to store Sla-Mlu. In literary texts, whether it is Lberk, poetry, or song, this Si Sla Mlu tradition is also included, and there are even more legends related to the origin of this Sla-Mlu.21 Nowadays, the Si Sla-Mlu tradition has declined somewhat, especially for people in the city and children because they no longer make their teeth black like before.

Doma paney is a combination of areca nut, betel leaf and a little paste of lime. Although the combination was scarcely available in Bhutan earlier times, it now occupies an important place in our culture. Many Bhutanese — irrespective of age, gender, occupation or social status — enjoy chewing doma paney. It acts as an icebreaker for chitchats, serves as a gift of friendship between individuals, is an indispensable item on auspicious occasions and for some individuals the chewing of doma paney has become a regular daily habit that is very hard to break. Among the Hindu community in the south, doma paney is offered as an invitation to important occasions. Bhutanese link this custom with the visit of Guru Padmasambhava in the 8th century when the inhabitants were blessed and ordained with ge-nyen vows to refrain from killing animals and consuming their meat and blood. In the 17th century, Zhabdrung Rinpoche received gifts of betel nuts and leaves from his chief patron, the king of Gatrikha (Cooch Behar) in India, Zhabdrung included these items as the first offering item in the zhugdre ceremony. The custom became very popular after that. In earlier times, people used ingredients that were locally available, but later these same ingredients were imported from India in large quantities. More recently, people have started cultivating the areca palm and the betel vine in their own gardens, but there is still not sufficient supply to meet the demand. here is a saying associated with doma paney: Areca nut, the foodstuff from India, Dissect it as if axing summer woods. A beloved is the betel leaf, Tear it as if tearing leaves. The dazzling white lime, Paint it as if to whitewash. The culture of chewing doma paney is so strong that even old people manage to consume it by crushing it in a drechag (metal grinder, also called chagdre) or in a kodre. Drechag or chagdre is a metal tube and a metal pestle, which is used to crush the betel nut and the other ingredient in the tube. The kodre is a skin bag, which is crushed between stones with the three ingredients inside. The betel nuts and leaves are kept in a rectangular box with a hinged lid called a chaka, while the lime paste is kept in a circular box with a conical lid, called a trimi. Both chaka and trimi are usually made of silver or brass and embossed with intricate designs. Sometimes they are gold- or silver-plated. The king and the chief abbot would have doma bathra, a round silver betel nut container, which is carved with intricate motifs such as lotus or dragon.

" Kor Chuk " is one of the adolescent ceremonies of the Cambodian people from birth to death. This ceremony is to prepare the person to enter adulthood. The ancient Khmer practiced this tradition in almost every family. Children, both boys, and girls, from the age of one year, had to shave their hair to clean their heads every month or every holy day, leaving only one piece of hair (chuk or kampoy) at the top, or some kept three pieces like the angle of the stove on the top of the head, and until the age of 12 or 13 (the girl is kept under the age of puberty). Then the ceremony of shaving off the hair. Today, this tradition is almost extinct in Cambodia, except in the Angkor area and in the north or northwest part of the country. By this, it does not mean that there is no such a tradition in other places, it is just rare. The tradition of the ceremony may differ slightly from district to region, so here is the tradition in Chan village, Tang Krasang commune, Batheay district, Kampong Cham province. The locals call this ceremony “shaving or cutting off the Kompoy.” Nowadays, in this area, the practice of keeping the hair on children from a very young age is very rare. Due to financial problems, some families cannot effort throwing the shaving or cutting off the Kompoy ceremony for those children who keep the Kompoy. Even though the locals do not care much for their children to keep their Komoy as before, they still have the desire to celebrate the ceremony of cutting their children's hair because it is a tradition and a blessing for children at this age. Probably because of the limited resources, the locals often have the shaving off ceremony together with the "Cheagn Mlub" ceremony. The process of the ceremony lasts 1 night and 2 days. The first day is called the day of Jol Rorng. Since the morning, the villagers, some relatives, and some neighbors on whom the host relied came to help with their chores, such as building a shaving place and arranging various offerings, as follows. Rundab Tver Tmenh: Soul rice (sticky rice in a glass or in a soup bowl with banana leaf cones), fresh coconut, cut the head of the coconut enough to cover the water with the banana leaf cones on top and wrap a cloth or scarf around it. Rundab Kor Sork neng Bom Berk Phnek: a plate for a razor blade or razor blade, hair comb, glass, perfume, oil, powder, banana leaf container to keep the hair, water container or Ork Kombor, a grass ring, a gold ring and a silver ring for attachment with the three pieces of hair or one piece of hair. Bay Srey Derm: is made from a virgin banana trunk, assuming that the height is the same as the child who shaves his hair. The upper bouts featured consist of Kon Bay Srey 5 Tnak, wrapped around by banana leaf or by texture silk. Represents all children. A stick or a diamond sword: made from the top of two palm leaves, with Bali inscription along the leaves, and the end of the leaves are twisted together for children to carry or wear around their necks during the ceremony. Dong Tpech: Dong made of bamboo for Tpech cotton, curved on both ends like the body of a bow (look similar to Tu Korng). At the front bend or head, three incense sticks and a candle are tied, and at the end of the tail or Konsai they tie a piece of Mlu and a piece of Sla. Dong Tpech is used when Grandpa Achar leads the person to the shave place. Ceremony: Although this Kor Chok ceremony goes hand in hand with the "Cheagn Mlub" ceremony, now let the story of shaving alone be shown. The actual ceremony begins in the afternoon, beginning with the offering of Krong Pali on the ground facing east, towards Rean Bosbok. This work is to inform the owner of the water in the sense of declaring. Ta Acha (layman) asked the owner of the ceremony to hold Dong Tpech and he led the way to the up-stair of the house.

The Lacquerware Making in Cát Đằng was born more than 600 years ago (from the end of the Tran Dynasty) associated with festivals to worship the village's ancestors (the founders are Mr. Ngô Đức Dũng and Mr. Ngô Ân Ba) and annual ceremonies taking place on January 14-16. Rich materials: wood, rattan, bamboo, reed... The main material is lacquer processed according to a secret recipe. It takes the craftsman a month or more to complete a product. Wooden objects for lacquer are not nailed but only use mortise and tenon joints with paint mixed with sawdust. Of all the stages, the most outstanding skills/techniques of the lacquer craft are the way of mixing paint, spraying paint, gilding gold, silver, inlaying, and drawing. These are also the most typical secrets of the Lacquerware Making in Cát Đằng. To make a product of the craft village, it is necessary to have the main materials such as: lacquer, tung oil, resin, sawdust, soil... Materials for making the core (vóc): wood, bamboo, rattan. Decorative materials: gold leaf, silver leaf, pearl shell, snail shell, egg shell, etc. Tools for making lacquer: beak, bucket, earthenware pot, etc. Tools for making lacquer: steel hair, sandpaper, whetstone, broom, curtain cloth, jackfruit leaves, xoan charcoal, tangled hair, paring knife, slotting knife, iron rod, etc. Decorative tools: cat hair pen, steel hair, slotting knife, etc. Currently, in addition to traditional lacquer materials, mainly industrial paints such as PU, cashew nuts, Japanese, etc. are used, and there are many other supporting tools such as: peeling machines, quilting machines, sharpening machines, sanding machines, paint sprayers, etc. to make bamboo patchwork products. The products of the craft village currently include two main product lines: Fine lines goods (worship items) and patchwork goods (handicrafts). Fine lines products are usually made from wood with two stages: making the frame (wooden blank, attaching, wrapping, tying, jamming, lining, giving, holding) and decorating (using silver leaf, gold leaf, mother-of-pearl, snail shell, eggshell... to inlay or paint on the product including the stages: gilding, covering. After each stage, it must be polished). Patchwork products are usually made from bamboo, rattan. To complete a patchwork lacquer product, in addition to the same process as patchwork, it must go through stages such as: soaking, drying, splitting, whittling, quilting, creating product blanks, bathing, shaving, smoothing, sanding the product, jamming, sanding, drying the product, spraying paint, and painting. Today, on the basis of inheriting the traditional Lacquerware Making craft, Cat Dang artisans have been creating and absorbing new techniques and new materials to create a variety of products to serve the needs of religious activities, decoration and consumption such as thrones, chairs, palanquins, statues, paintings, betel boxes, engagement trays, gilded lacquerware decorated at relics, tables and chairs, mother-of-pearl inlaid mahogany beds, vases, lampshades, pen holders, trays, bowls... with many rich and diverse designs, suitable for the needs of the domestic and export markets. The development of Lacquerware Making in Cát Đằng contributes to solving employment, improving local social life, building a rich and beautiful homeland. At the same time, it has gradually introduced traditional values, the quintessence of Vietnamese culture in general and Cat Dang locality in particular to the world. With the historical, cultural, artistic, usage and economic values of the heritage, the Ministry of Culture, Sports and Tourism recognized "Lacquerware Making in Cát Đằng" as a National Intangible Cultural Heritage in 2017.

National Intangible Cultural Heritage, Republic of Korea Geumbakjang, or gold leaf imprinting, refers to a technique of applying decorative patterns on fabric with thin gold sheets. Nowadays, women's traditional wedding costumes feature such patterns; in the Joseon Period (1392~1910), however, gold foil ornament was used only in the royal household. Few relics featuring gold foil patterns remain due to problems of preservation. A ceremonial robe worn by Princess Deokon (1822~1844), the third daughter of King Sunjo of the Joseon Dynasty, is decorated with the gold leaf Chinese characters “壽” and “福,” symbolizing “longevity" and "happiness," respectively. This robe is designated as National Folklore Cultural Heritage. Gold foil designs are produced by stamping the glued surface of a pattern block onto fabric, pressing thin gold sheets against the glued patterns before they dry, and removing the leftover sheet outside the patterns. An artisan of gold leaf imprinting has to master the skills needed at each of these stages, i.e., carving decorative patterns on wooden blocks, choosing and arranging patterns to suit the garment, understanding the properties of gold and glue, and processing them, all of which require extensive experience over a long period. Among these, preparing the gold sheets, or geumbak, requires great skill as well extensive labor. In recognition of its value as an indigenous craft for producing gorgeous and dignified dresses in Korean style, gold leaf imprinting has been designated as an important intangible cultural heritage so that the tradition can be revived.