One of the Mongolian traditional games is the disentangling game. Without doubt, this must have been originated from a nomadic livestock breeder's livelihood as a demand to untie and disentangle difficult knots, ties, and entangled things. Consequently, parents took much care to train their kids to learn how to disentangling things and created a variety of disentangling games. First-hand materials were rope, thread, and whip-cord which were used for making diverse knots and used for children to untie the knots. For instance, "Khonih kholboo" (Chain stitch), "Bogtsnii uya” (Saddle bag tie), "Argamjaanaas biye salgakh" (Untie oneself from a tether), "Yeson nukh" (Nine holes), "Bogj niiliilekh" (Link the rings) and "Chodriin zangilaa" (Hobble knot) can be mentioned. There are stories that Mongolians would challenge the groom's smartness by a game Uurgiin huivnaas bogj salgakh" (Separating a ring from a sting) and challenge the bride's intelligence by games like "Link the rings” and "Run colts".

One of the Mongolian traditional games is the disentangling game. Without doubt, this must have been originated from a nomadic livestock breeder's livelihood as a demand to untie and disentangle difficult knots, ties, and entangled things. Consequently, parents took much care to train their kids to learn how to disentangling things and created a variety of disentangling games. First-hand materials were rope, thread, and whip-cord which were used for making diverse knots and used for children to untie the knots. For instance, "Khonih kholboo" (Chain stitch), "Bogtsnii uya” (Saddle bag tie), "Argamjaanaas biye salgakh" (Untie oneself from a tether), "Yeson nukh" (Nine holes), "Bogj niiliilekh" (Link the rings) and "Chodriin zangilaa" (Hobble knot) can be mentioned. There are stories that Mongolians would challenge the groom's smartness by a game Uurgiin huivnaas bogj salgakh" (Separating a ring from a sting) and challenge the bride's intelligence by games like "Link the rings” and "Run colts".

Beginning of Bilum Art \nPNG prehistory of people's arrival to Pacific islands (now PNG islands) and their nomadic setting. Early people settled as nomads, hunters, gatherers. They lived in caves, huts, and shelters before having families and developing settlements.

It is evident in PNG's prehistory period that people gathered a variety of items for survival, settling at one place, and begun developing primitive ideas suitable for domestication-the beginning of bilum-making concept.

Beginning of Bilum Art \nPNG prehistory of people's arrival to Pacific islands (now PNG islands) and their nomadic setting. Early people settled as nomads, hunters, gatherers. They lived in caves, huts, and shelters before having families and developing settlements.

Beginning of Bilum Art \nPNG prehistory of people's arrival to Pacific islands (now PNG islands) and their nomadic setting. Early people settled as nomads, hunters, gatherers. They lived in caves, huts, and shelters before having families and developing settlements.

Process of bilum making includes fiber arrangement done to determine the type of bilum feature the weaver intends to weave. The combination of fiber and color determines the traditional bilum piece and the flavor.

Beginning of Bilum Art \nPNG prehistory of people's arrival to Pacific islands (now PNG islands) and their nomadic setting. Early people settled as nomads, hunters, gatherers. They lived in caves, huts, and shelters before having families and developing settlements.

It is evident in PNG's prehistory period that people gathered a variety of items for survival, settling at one place, and begun developing primitive ideas suitable for domestication-the beginning of bilum-making concept.

Beginning of Bilum Art \nPNG prehistory of people's arrival to Pacific islands (now PNG islands) and their nomadic setting. Early people settled as nomads, hunters, gatherers. They lived in caves, huts, and shelters before having families and developing settlements.

It is evident in PNG's prehistory period that people gathered a variety of items for survival, settling at one place, and begun developing primitive ideas suitable for domestication-the beginning of bilum-making concept.

Mak Yong Traditional Theatre is normally portrayed as a Malay dance drama that contains acting, dancing and singing. There is a consensus that Mak Yong originated from the ancestry of the Kelantan-Patani Government, and said to have established around 400 years ago at the Malay sultanate palace of Kelantan-Patani. Then it spred to the states of Terengganu and Kedah after which it settled at Serdang Muda, Sumatera and Riau Islands, Indonesia. A Mak Yong traditional performance does not use lots of props, set and background to portray a scene. Its performance structure is permanent and uniform although the storyline is different. A traditional performance in villages is held in an open theatre. The audiences sit on three sides while the fourth side is for musicians. Most characters are acted by women and the storylines are based on traditional folk stories. The Buka Panggung (literally translated as ‘Opening the Theatre’) ceremony starts a performance followed by the story plot and ends with the Tutup Panggung (or ‘Closing the Theatre’) ceremony. In the Buka Panggung ceremony the performance begins with the Mengadap Rebab segment, that is paying homage to the rebab (oud), the main musical instrument regarded as a chaste element in a performance. The actor who plays the Peran Tua character, that is the Elder Joker, pays homage to the oud and places it in the middle of the theatre while Jong Dongdang sings the song ‘San Gendang’. The actors who play the characters of Pak Yong, Mak Yong and Jong Dongdang stand in a circle while the maidens sing the song ‘Sedayung Mak Yong’ or the song ‘Sedara’. At the end of the song Pak Yong instructs the maidens to return to the palace, and this marks the end of the segment. The main characters are Pak Yong, Mak Yong, the King, Queen, Elder Joker and Junior Joker. There are also other characters like the Royal Soothsayer, Ship Captain, Guru, soldiers, genie, ghost and giant, depending on the storyline. The main musical instruments are a three-string oud, two drums and two gongs. There are also additional instruments to increase the degree of the melodious sound like cymbal, small bells and flute. In the year 2005 Mak Yong was recognised and proclaimed as “A Masterpiece of the Oral and Intangible Heritage of Humanity” by the United Nation Education, Scientific and Cultural Organisation (UNESCO). In the year 2008 Mak Yong was proclaimed as A Representative List of the Intangible Cultural Heritage of Humanity.