Children play assyk aty at a village street.\nKazakh traditional Assyk games are an ancient tradition in Kazakhstan. Each player has their own set of ‘Assyks’, traditionally made out of the talus bone of a sheep, and a ‘Saka’ dyed in bright colours. Players use their Assyk to knock out other Assyks from the field, and the focus is on the position of the bone. The community concerned comprises most of the population of Kazakhstan, including members of the Federation ‘Assyk Atu’ Game as well as the larger community of practitioners, mainly children aged between four and eighteen. The element is an outdoor activity that helps develop children’s analytical thinking and physical state, fostering friendship and social inclusiveness. It is also a good model for positive collaboration, uniting people regardless of their age, ethnic background or religious affiliation. It is widely practised at festive celebrations and gatherings, and the community plays a key role in safeguarding the practice, as well as in popularizing it among other ethnic groups in Kazakhstan, turning it into a national symbol of childhood. It is transmitted from older boys to younger ones through observation, as well as through radio and TV documentaries aimed at encouraging children to play Assyk and acquainting people with their cultural heritage.

Tari Asyik is a Kelantanese court dance that traces its roots to the Sultanate of Pattani during the reign of Ratu Kuning (Yellow Queen) in the 17th century. The Hikayat Patani narrates that the court of Ratu Kuning cultivated a group of twelve dancing maidens, known as Asyik. Legend has it that Asyik dance was created to comfort the grieving Ratu Kuning over the loss of her favourite bird. It is also said to have been the most beloved dance of the legendary Kelantanese princess, Puteri Saadong. Over time, the dance became popular among common people and is now used as folk entertainment during festivals and marriages. The dance costume is a piece of sarong tied above the chest, with a belt and small tiara. The main dance move is sitting down with both legs folded to the side with movements that depict ‘a bird’, ‘sea wave’ and ‘ an elephant in delivery’. Nowadays, there are changes in this dance that are the dancers are fully clothed, and from sitting down with both legs folded to the side to a little body rise position. The musical accompaniment for Tari Asyik usually consists of gendang (double-headed Malay drum), serunai (Malay oboe) or rebab (spike fiddle), canang (brass percussion), kesi (cymbals), and gong

Tari Asyik is a Kelantanese court dance that traces its roots to the Sultanate of Pattani during the reign of Ratu Kuning (Yellow Queen) in the 17th century. The Hikayat Patani narrates that the court of Ratu Kuning cultivated a group of twelve dancing maidens, known as Asyik. Legend has it that Asyik dance was created to comfort the grieving Ratu Kuning over the loss of her favourite bird. It is also said to have been the most beloved dance of the legendary Kelantanese princess, Puteri Saadong. Over time, the dance became popular among common people and is now used as folk entertainment during festivals and marriages. The dance costume is a piece of sarong tied above the chest, with a belt and small tiara. The main dance move is sitting down with both legs folded to the side with movements that depict ‘a bird’, ‘sea wave’ and ‘ an elephant in delivery’. Nowadays, there are changes in this dance that are the dancers are fully clothed, and from sitting down with both legs folded to the side to a little body rise position. The musical accompaniment for Tari Asyik usually consists of gendang (double-headed Malay drum), serunai (Malay oboe) or rebab (spike fiddle), canang (brass percussion), kesi (cymbals), and gong

Khalfa is a woman-performer of folk songs and instrumental music, a poetess in Khoresm Oasis, who embodies traditions of oral folk art. In terms of activity, there are the following types of khalfas: khalfa sozi (khalfa-musician), who performs folk instrumental melodies; khalfa yodoghiy (khalfa-singer and khalfa-poetess), who performs folk songs at wedding ceremonies and festivities, while accompanying her singing by playing on a musical instrument; khalfa kitobiy (khalfa-book lover), who reads old books of religious themes during commemoration and rituals events ("mushkulkushod" – literally "relief"); khalfa dostonchi (khalfa-narrator); khalfa raqqosa or khalfa oyinchi (khalfa-dancer).\nIn Khoresm two directions of khalfa performance became widespread, i.e. ensemble performance and solo performance. In ensemble performance it is possible to see a leading woman-performer, who sings songs under accompaniment of accordion (i.e. Russian diatonic accordion, which has been existence in Khoresm since XIX centure and which is called "qol soz"), doira player (who accompanies singing by playing on doira; sometimes she can act as a dancer as well) and dancers (who accompany singing with their dances; they usually dance with kajraks (castanets), or sometimes, sing along and play on doira).

Khalfa is a woman-performer of folk songs and instrumental music, a poetess in Khoresm Oasis, who embodies traditions of oral folk art. In terms of activity, there are the following types of khalfas: khalfa sozi (khalfa-musician), who performs folk instrumental melodies; khalfa yodoghiy (khalfa-singer and khalfa-poetess), who performs folk songs at wedding ceremonies and festivities, while accompanying her singing by playing on a musical instrument; khalfa kitobiy (khalfa-book lover), who reads old books of religious themes during commemoration and rituals events ("mushkulkushod" – literally "relief"); khalfa dostonchi (khalfa-narrator); khalfa raqqosa or khalfa oyinchi (khalfa-dancer).\nIn Khoresm two directions of khalfa performance became widespread, i.e. ensemble performance and solo performance. In ensemble performance it is possible to see a leading woman-performer, who sings songs under accompaniment of accordion (i.e. Russian diatonic accordion, which has been existence in Khoresm since XIX centure and which is called "qol soz"), doira player (who accompanies singing by playing on doira; sometimes she can act as a dancer as well) and dancers (who accompany singing with their dances; they usually dance with kajraks (castanets), or sometimes, sing along and play on doira).

Khalfa is a woman-performer of folk songs and instrumental music, a poetess in Khoresm Oasis, who embodies traditions of oral folk art. In terms of activity, there are the following types of khalfas: khalfa sozi (khalfa-musician), who performs folk instrumental melodies; khalfa yodoghiy (khalfa-singer and khalfa-poetess), who performs folk songs at wedding ceremonies and festivities, while accompanying her singing by playing on a musical instrument; khalfa kitobiy (khalfa-book lover), who reads old books of religious themes during commemoration and rituals events ("mushkulkushod" – literally "relief"); khalfa dostonchi (khalfa-narrator); khalfa raqqosa or khalfa oyinchi (khalfa-dancer).\nIn Khoresm two directions of khalfa performance became widespread, i.e. ensemble performance and solo performance. In ensemble performance it is possible to see a leading woman-performer, who sings songs under accompaniment of accordion (i.e. Russian diatonic accordion, which has been existence in Khoresm since XIX centure and which is called "qol soz"), doira player (who accompanies singing by playing on doira; sometimes she can act as a dancer as well) and dancers (who accompany singing with their dances; they usually dance with kajraks (castanets), or sometimes, sing along and play on doira).

Khalfa is a woman-performer of folk songs and instrumental music, a poetess in Khoresm Oasis, who embodies traditions of oral folk art. In terms of activity, there are the following types of khalfas: khalfa sozi (khalfa-musician), who performs folk instrumental melodies; khalfa yodoghiy (khalfa-singer and khalfa-poetess), who performs folk songs at wedding ceremonies and festivities, while accompanying her singing by playing on a musical instrument; khalfa kitobiy (khalfa-book lover), who reads old books of religious themes during commemoration and rituals events ("mushkulkushod" – literally "relief"); khalfa dostonchi (khalfa-narrator); khalfa raqqosa or khalfa oyinchi (khalfa-dancer).\nIn Khoresm two directions of khalfa performance became widespread, i.e. ensemble performance and solo performance. In ensemble performance it is possible to see a leading woman-performer, who sings songs under accompaniment of accordion (i.e. Russian diatonic accordion, which has been existence in Khoresm since XIX centure and which is called "qol soz"), doira player (who accompanies singing by playing on doira; sometimes she can act as a dancer as well) and dancers (who accompany singing with their dances; they usually dance with kajraks (castanets), or sometimes, sing along and play on doira).

Khalfa is a woman-performer of folk songs and instrumental music, a poetess in Khoresm Oasis, who embodies traditions of oral folk art. In terms of activity, there are the following types of khalfas: khalfa sozi (khalfa-musician), who performs folk instrumental melodies; khalfa yodoghiy (khalfa-singer and khalfa-poetess), who performs folk songs at wedding ceremonies and festivities, while accompanying her singing by playing on a musical instrument; khalfa kitobiy (khalfa-book lover), who reads old books of religious themes during commemoration and rituals events ("mushkulkushod" – literally "relief"); khalfa dostonchi (khalfa-narrator); khalfa raqqosa or khalfa oyinchi (khalfa-dancer).\nIn Khoresm two directions of khalfa performance became widespread, i.e. ensemble performance and solo performance. In ensemble performance it is possible to see a leading woman-performer, who sings songs under accompaniment of accordion (i.e. Russian diatonic accordion, which has been existence in Khoresm since XIX centure and which is called "qol soz"), doira player (who accompanies singing by playing on doira; sometimes she can act as a dancer as well) and dancers (who accompany singing with their dances; they usually dance with kajraks (castanets), or sometimes, sing along and play on doira).

Khalfa is a woman-performer of folk songs and instrumental music, a poetess in Khoresm Oasis, who embodies traditions of oral folk art. In terms of activity, there are the following types of khalfas: khalfa sozi (khalfa-musician), who performs folk instrumental melodies; khalfa yodoghiy (khalfa-singer and khalfa-poetess), who performs folk songs at wedding ceremonies and festivities, while accompanying her singing by playing on a musical instrument; khalfa kitobiy (khalfa-book lover), who reads old books of religious themes during commemoration and rituals events ("mushkulkushod" – literally "relief"); khalfa dostonchi (khalfa-narrator); khalfa raqqosa or khalfa oyinchi (khalfa-dancer).\nIn Khoresm two directions of khalfa performance became widespread, i.e. ensemble performance and solo performance. In ensemble performance it is possible to see a leading woman-performer, who sings songs under accompaniment of accordion (i.e. Russian diatonic accordion, which has been existence in Khoresm since XIX centure and which is called "qol soz"), doira player (who accompanies singing by playing on doira; sometimes she can act as a dancer as well) and dancers (who accompany singing with their dances; they usually dance with kajraks (castanets), or sometimes, sing along and play on doira).

Khalfa is a woman-performer of folk songs and instrumental music, a poetess in Khoresm Oasis, who embodies traditions of oral folk art. In terms of activity, there are the following types of khalfas: khalfa sozi (khalfa-musician), who performs folk instrumental melodies; khalfa yodoghiy (khalfa-singer and khalfa-poetess), who performs folk songs at wedding ceremonies and festivities, while accompanying her singing by playing on a musical instrument; khalfa kitobiy (khalfa-book lover), who reads old books of religious themes during commemoration and rituals events ("mushkulkushod" – literally "relief"); khalfa dostonchi (khalfa-narrator); khalfa raqqosa or khalfa oyinchi (khalfa-dancer).\nIn Khoresm two directions of khalfa performance became widespread, i.e. ensemble performance and solo performance. In ensemble performance it is possible to see a leading woman-performer, who sings songs under accompaniment of accordion (i.e. Russian diatonic accordion, which has been existence in Khoresm since XIX centure and which is called "qol soz"), doira player (who accompanies singing by playing on doira; sometimes she can act as a dancer as well) and dancers (who accompany singing with their dances; they usually dance with kajraks (castanets), or sometimes, sing along and play on doira).

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018\nLkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor \ngods.\n\nHanuman mask is shown in stylized monkey form with white color, opened wide mouth, big nose and big eyes. For the monkey general, there is a golden headband worn around his head. This mask is used for Hanuman role.

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018\nLkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor \ngods.\n\n