Bamboo grows in the wild in hilly region is used to make this oboe. The bamboo stick is needed to be dried first. And then, holes are perforated on it with the use of drill. It has to change the sizes of drills depending on the sizes of oboes. The oboes are in three different sizes- big, medium and small. Each of them has a total of four perforated holes. A thumb hole is perforated on the lower side with the distance of an inch from the first finger hole. The four finger holes must be made with same distance. Reed made of dried straw is inserted on one end of oboe and young female buffalo's horn is put on another end. The horn and oboe are decorated with manau traditional designs. The player must blow the reed made of straw to play this oboe by opening and closing the finger holes. Dumba is played in Manau festival, housewarming ceremony, honoring ceremony, Htaungkar Dance festival and funeral rite. There are designated melodies for different occasions.\n-2 feet 6 inches in length\n-2.5 inches in length if dried straw reed\n-1.5 inches in length of oboe\n-10 inches in length of buffalo horn\n-9 inches in circumference of horn

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008\nSpecific to the villages of the state of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is a kind of musical that combines acting, singing, music, dancing, and colorful costumes. \nMost roles are performed by women, and the stories are based on ancient Malay folk tales Kelantan-Pattani. The lyrics of the songs in Makyong primarily revolve around themes of war, loyalty to the king and kingdom, and the association of this loyalty with religious piety. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance, and spirit possession. In addition, this performing art properly mixes Hindu and Islamic elements and portrays traditional Malay court life.

Sau-Batar is one of Timor-Leste’s most cherished agricultural ceremonies, marking the successful harvesting of corn—batar, the staple crop that lies at the heart of both sustenance and spiritual life for many communities. Far more than an agricultural routine, this ritual reflects a worldview where nature, ancestors, and community are deeply intertwined.\n\nThe ceremony typically begins with a symbolic act called “taking out the old corn and bringing in the new.” This signifies a transition between agricultural cycles and expresses gratitude to the spirits of the land for their blessings. Families gather at their sacred houses (uma lulik), bringing both harvested corn and cooked rice to share in a ritual meal that reaffirms communal bonds.\n\nCentral to the ritual is the lia-nain—a customary elder responsible for oral tradition and ritual practice—who recites prayers, chants, and invocations handed down through generations. These words are not merely spoken; they are believed to activate ancestral protection and ensure future abundance. The corn offered during the ceremony becomes sacred, often preserved in specially designated granaries or placed on altars within the sacred house as a gesture of respect to the ancestors.\n\nMusic and dance are vital parts of Sau-Batar. Performances of Tebe Lilin (Candle Dance) and other local dances transform the occasion into a festive gathering, where movement and rhythm mirror the unity and joy of a successful harvest. The babadok drum keeps the beat as men and women, elders and children, participate in a shared expression of thanks and renewal.\n\nThe ceremony also involves the symbolic sharing of corn among relatives and neighbors, emphasizing that harvest is not an individual achievement but a collective gift. In some cases, leftover corn from the previous season is burned or ceremonially discarded to make room for the new yield, representing a fresh start and spiritual cleansing.\n\nBeyond its religious and social meanings, Sau-Batar also serves as a moment of informal education. It is during this event that younger generations hear the stories of how rituals are performed, why they matter, and what each gesture or offering means. Through active participation, children and youth absorb the knowledge of land stewardship, spiritual ethics, and cultural identity.\n\nIn recent years, as commercial farming methods expand and traditional schedules shift, Sau-Batar has faced challenges. Yet in many rural areas, the ceremony continues to be practiced with dedication, often with support from local schools and cultural preservation initiatives.\n\nFor the communities that uphold it, Sau-Batar remains a vital link between past and present, the visible and the invisible, and the land and its people. It is a ceremony not just of harvest, but of harmony—a living tradition that continues to nourish both body and spirit.

Pleng Chaiyam is lively, funny and captivates the audience's attention. This music is played to celebrate in many festivals and events.\nChaiyam musical instruments include 5, 7, and 9 long drums (may be more or less as possible), and other traditional music instruments such as one or a pair of Krab, one or a pair of Chap, one Gongmong (as a rhythm giver or so-called master) And sometimes there are Cheong and Tro to support as well. For the costume, men are wearing Kben, Sontaes shirts, using different bright colors with a scarf around their waists. Most of the characters wear funny face masks made of paper. Sometimes there is also a female character holding Chap to accompany the dance. There must be a man dressed as a woman if there is no woman.\nMany festivals are held at pagodas, so each pagoda always has a Chaiyam band.\n

Musicians who are in Kayan ethinic groups are playing Baun Gyi, Kayan Double Headed drum with dance. The body of the drum is carved of Yamane (Gemelina arborea) and the membrane is made of two oxen hide upon the size of the drum. The tuning band is made of oxen hide. In tuning, the leather band is sprayed with water. Now, they use firewood in tuning easy to play. The sound of two heads of the drum is the same. This instrument is made by themselves. This instrument is rhythmic instrument. Since time immemorial, the drum was played on the occasions of the wedding , funeral and funfair. Since yore, this drum has been preserved and handed down from generation to generation as a traditional heritage. There is no exact record in what year and era it appeared.\n-290 cm in the width of the membrane of the drum\n-310 cm in the circumference of the drum\n-37.5 cm in the high of the drum\n-1.8 cm in the thickness of the leather band\n-The thin of the leather band is 42.2 cm

Ca trù is a complex form of sung poetry found in the north of Viet Nam using lyrics written in traditional Vietnamese poetic forms. Ca trù groups comprise three performers: a female singer who uses breathing techniques and vibrato to create unique ornamented sounds, while playing the clappers or striking a wooden box, and two instrumentalists who produce the deep tone of a three-stringed lute and the strong sounds of a praise drum. Some Ca trù performances also include dance. The varied forms of Ca trù fulfill different social purposes, including worship singing, singing for entertainment, singing in royal palaces and competitive singing. Ca trù has fifty-six different musical forms or melodies, each of which is called thể cách. Folk artists transmit the music and poems that comprise Ca trù pieces by oral and technical transmission, formerly, within their family line, but now to any who wish to learn. Ongoing wars and insufficient awareness caused Ca trù to fall into disuse during the twentieth century. Although the artists have made great efforts to transmit the old repertoire to younger generations, Ca trù is still under threat of being lost due to the diminishing number and age of practitioners.

Every year, the people of Nam Giang Village organize a traditional festival at Dai Bi Buddhist temple to commemorate Zen master Tu Dao Hanh. Starting from New Year's Eve to the festival period from the twentieth to the twenty-forth days of the second lunar month, a variety of Buddhist rituals mixed with fold beliefs are performed. \n\nIn particular, the sacred puppet theater serves to convey spiritual enlightenment to the people and deliver their wishes to the Buddha and saints through music and dance. This video tells the story of the members of a Buddhist puppet theater troupe who pray for the wellbeing and happiness of their community.

Padam is the second sequence in the Bharatanatyam, a dance comprising 7 sequences. It is an expression of worship, humility, and a solemn spiritual message or religious prayer.\n\nCharacteristics:\n∙4th sequence in the Bharatanatyam, one of the 8 major traditional dances recognized by the Indian government\n∙Only performed by female dancers\n\nPerformed by Parul Shah\nDirected by Parul Shah

Namaste! A legendary Lakhe is one of the cultural symbols of Newar indigenous community of Nepal. Its flamboyant mask dance performance is jubilant to watch during Newar festivals. A terrifying Lakhe however able to assimilate with local community and became a popular household name has certainly assure its existence. \n\nLakhe Dance Performance.\nIndra Jatra is celebrated with various traditional dances and carnivals. Chariots of Goddess Kumari, Lord Ganesh, and Lord Bhairab are paraded in the streets of Kathmandu.

Orteke (mountain goat) is the name of an indigenous Kazakh performing art in which flexible wooden figure of a mountain goat is placed on a traditional drum called dauylpaz. Orteke’s originality comes from it being a combination of theater, music, and puppet dance. The expressive puppet figure, called teke (goat), seems to come to life when the master starts playing the drum. The figure makes funny dance movements in time with the rhythm of the music being played. It is also said that the orteke figure once came different shapes and sizes that were created individually, each with a different number of moving limbs, depending on which kyu was performed.

Orteke(mountain goat) is the name of an indigenous Kazakh performing art in which flexible wooden figure of a mountain goat is placed on a traditional drum called dauylpaz. Orteke’s originality comes from it being a combination of theater, music, and puppet dance. The expressive puppet figure, called teke (goat), seems to come to life when the master starts playing the drum.\n The figure makes funny dance movements in time with the rhythm of the music being played. It is also said that the orteke figure once came different shapes and sizes that were created individually, each with a different number of moving limbs, depending on which kyu was performed.

In the communities of Viqueque, particularly among the Tetun-Terik-speaking people, fai-akar—the production of sago flour from the akar palm—is not merely a method of food preparation; it is a cultural ceremony that blends labor, rhythm, and collective identity. At the heart of this tradition is the Tali-Bole dance, a dynamic performance woven seamlessly into the act of pounding sago, transforming a daily task into a vibrant expression of heritage.\n\nThe process of making fai-akar begins with harvesting the inner pith of the akar palm tree, which is then ground and washed to extract starch. This labor-intensive task is done in groups, mostly by women, using long wooden pestles to pound the fiber in large mortars. But what sets this practice apart is the way pounding becomes performance: the coordinated movement of the pestles rises and falls to the beat of chanting and drumming, and the Tali-Bole dance emerges from the rhythm of the work itself.\n\nDancers move in synchrony with the pounding, often stepping in and out of the work line, twirling or waving cloth, and responding to sung verses. The term tali-bole can be interpreted in various ways—some connect it to the image of “binding cords,” others to the swinging motion of the pestles themselves—but in all meanings, it emphasizes connection, unity, and the shared pulse of community labor.\n\nSongs sung during the pounding and dancing are passed down orally and are rich in metaphor and memory. One of the most well-known verses, Lakaleok, is sung toward the end of the session, signaling closure and expressing gratitude. These lyrics often tell stories of ancestors, landscapes, and social values, ensuring that cultural knowledge is preserved even in the most practical of activities.\n\nTraditionally, fai-akar and Tali-Bole were performed during rites of passage, funerals, house inaugurations, and communal feasts. Participation was seen not only as a contribution of labor but as an affirmation of cultural belonging. The rhythmic beat of the pestles and the voices of the singers created a space where work, ritual, and performance blended into one.\n\nAlthough the practice remains alive in some villages, it faces growing challenges. The availability of processed food, the decline of communal labor traditions, and the migration of youth to urban areas have all contributed to its reduced presence. Yet, in places where it continues, fai-akar and Tali-Bole are embraced as sources of pride, often featured at cultural festivals and heritage events to showcase the strength and creativity of traditional life.\n\nTo witness Tali-Bole is to see cultural memory in motion—where hands work, feet dance, and voices carry the wisdom of generations. In every stomp and song, the community reaffirms its bond with the land, its past, and one another.