Materials
animal skin
ICH Materials 112
Videos
(3)-
Traditional art of whistling
"The traditional art of whistling calls for human teeth and lips to function as the music instrument and the mouth cavity to function as a sound box. Whistling is classified into the following three types: tooth whistle, lip whistle and palate whistle. The reasons Mongolians whistle is greatly dependant on the season, time, location, and context due to that from ancient times Mongols have considered whistling as a call for wind. Mongols whistle the short and long songs, and melodies in hot days of summer and autumn season while herding livestock and during the labor for relaxing. Before mentioned, Mongols believe that the whistle can bring the deity of wind, therefore they do whistle while harvesting the grain for blowing the skin of grain. Additionally, Mongols do whistling during watering their horse and animal for preventing the flies."\n
Mongolia -
Babadok (Traditional Instrument)
The Babadok is a traditional percussion instrument of Timor-Leste, central to the soundscape of communal dance, ritual, and celebration. With its deep, resonant rhythm, the babadok doesn’t just keep time—it sets the emotional pulse of an event, weaving together the steps of dancers, the cadence of songs, and the energy of the gathered community.\n\nTypically made from a hollowed-out log or wooden tube covered at both ends with animal skin—often goat or cowhide—the babadok is lightweight and portable. Struck with the hands or sometimes with short wooden sticks, it produces a sharp, dry beat that is both grounding and expressive. The drumheads are stretched tightly and tied securely with natural fiber ropes, sometimes decorated with paint or carved patterns. Over time, each instrument develops its own distinct tone, shaped by use, climate, and craftsmanship.\n\nIn traditional ceremonies, particularly dances like tebe-tebe or tebe-lilin, the babadok is the heartbeat of the performance. It provides tempo, signals changes in movement, and helps dancers synchronize their steps. More than a musical tool, the babadok becomes a channel through which emotions—joy, sorrow, gratitude—are communicated and shared. During ritual gatherings, it may accompany singing, recitation of oral histories, or moments of spiritual invocation.\n\nThe instrument is most often played by women, though in some regions both men and women participate. Its accessibility is part of its charm—anyone with rhythm, respect, and a sense of the tradition can learn to play. Children often grow up hearing the babadok played at family ceremonies or village festivals, absorbing its patterns and rhythms before they ever try it themselves.\n\nCrafting a babadok is itself an act of cultural care. The choice of wood, the drying and stretching of the skins, and the tying of the drum all follow methods passed down through generations. Elders often guide young artisans in this process, emphasizing not just the technique but the responsibility that comes with creating something used in sacred and social spaces.\n\nDespite its enduring importance, the babadok—like many traditional instruments—faces challenges in modern times. Mass-produced drums and changing musical preferences mean that fewer young people are learning to make or play it. Still, efforts are being made to preserve the tradition, with community performances, school programs, and cultural events placing the instrument back at the center of public life.\n\nIn the rhythm of the babadok, one can hear more than music: it is the sound of continuity, of people moving together, of ancestors remembered and futures imagined. Whether echoing across a dusty dance circle or softly beating in a sacred house, the babadok remains a powerful symbol of Timor-Leste’s living heritage.
Timor 2024 -
Traditional technique of processing skin and hid
Mongols process the animal raw skin and hide (raw skin of cattle). Through long undergone observance and experiments, they were able to elaborate and develop the indigenous traditional technique to process the skin and hide to produce various leather crafts and products. The skin and hide are processed by salting, stripping off, tanning or smoking. For instance, the processed materials from sheep skin can be used to make a deel (traditional garment). The processed materials from hide can be used to produce necessities and equipments such as airag-skin, hide-flask or animal harnesses such as bridle, halter, lasso, tri-hobble, tethering-line, girth and strap of a saddle, and so on. Nowadays, the leather products and crafts made of animal skin and hide are considered as valuable asset in demand for tourist attractions.
Mongolia