“Si Dou” is mostly made of the wood of Padauk. The wood of Padauk is compact . Sito which is made of Padauk is melodious and joyful and it comes to the force during truth-revealing scenes. It can also be made by the rain-tree but it is not as good as Padauk. It is made of tough -cow hide. The drum head is made of thick tough- cow hide so that it can be resistance when the strike with beaters. Near the drum head of Si To, there is the loop of leather which is like as a garland.It can be placed at an angle on the stand obliquely towards the Si To player.It is the leather instrument and the two heads of Sito are same and both of them can be struck with beaters. The middle portion is expanse and dome.

Dikir Barat is a new traditional arts form if compared to others of the same genre, as well as most liked amongst the normal Malay communities in villages and city fringes in Kelantan. In that state it is more popular with the name ‘Dikir Barat’ while in Southern Thailand it is called ‘Dikir Karut’. This arts form has been listed as a National Heritage in the year 2009. The word ‘dikir’ is a product of the combination of two arts that are ‘dikir’ (loosely translated as ‘song’) and ‘pantun’ (‘quatrain’), or ‘dikir’ and ‘karut’ (loosely translated as ‘story’). The word ‘karut’ is from the terminology ‘to tell stories in the form of quatrain or poem’. Thus, the names Dikir Barat, Dikir Karut, Dikir Pantun and Dikir Syair have the same meaning. There are those who opinied that Dikir Barat originated from southern Thailand with the name Dikir Karut. There are those who said that it was the product of the arrangement made by Haji Mat Salleh bin Haji Ahmad (known as Pak Leh Tapang) who improvised this arts form by adding quatrains in it. There are others who mentioned that it originated from Tebu Island, Kelantan. This arts form is normally practiced during paddy harvesting season and wedding ceremonies as entertainment or competition. The content revolves around current issues and lives of universal societies. The performance of a Dikir Barat group is headed by a Tukang Karut (‘The Storyteller’) and Tok Juara (‘The Champion’). They tell ‘stories’ by exchanging quatrains, reciprocated by loud and clear background voices of the Awak-Awak (group members) who don’t need to clap hands, just sufficient to place their palms on their respective cheeks to louden their voices. In a competition normally there are two group participants at a time and using the Kelantanese dialect. They exchange quatrains, insinuating, as if in jester and for entertainment only. At the end of the performance a group’s Storyteller delivers a sad song and requests for forgiveness at the thought of the fate of the Storyteller. At its early development a Dikir Barat performance only used audiphone equipment that were bamboo pieces, knocked to produced the rythmic beat of this arts form. Nowadays, it uses an ensemble of a gong, two small hand-held drums and a pair of maracas, cymbals and small bells. In yesteryears this arts form was a past time game and normally held in a bamboo hut with wooden floor and coconut leaves roof top. However, now Dikir Barat is well-known all over the country and can be seen on TV screen. Its development is also difficult to contain as it often receives changes, like its performance form, according to the era.

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.

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.

▶ Play Video 1. The World of a Maguindanao Virtuoso: This episode was first aired on Filipino television on August 18, 1994. This episode has been modified from its original format.\n\nThe Maguindanao (Magindanaw, Maguindanaw, Magindanao, Maguindanaon, Magindanaoan, Mindanao) form one of the large ethnic groups of the country. Most of the members are concentrated in the municipalities of Dinaig, Datu Piang, Shariff Aguak, and Buluan, in the province of Maguindanao.\n\nConstant contact with the Spaniards led to naming the entire island after the Maguindanao. The people practice Islam; their culture and social structure are deeply tied to this eligion, forming a conformity without which the group would not have been able to resist the incursions of the Spanish conquistadores. One of the three Philippine sultanates is aguindanao. The Maguindanao sultanate at one period in history could claim ritual authority over southwestern Mindanao. Their socio-political system and the hierarchical structure of their society are complex and similar to that of the Sulu sultanate.\n\nThere are three royal houses: Maguindanaon in Sultan Kudarat, Buayan in Datu Piang, and Kabuntalan in Tumbao, all of which trace their lineage to Sharif Kabunsuan, one of the earliest Muslim missionaries, and Sultan Kudarat. Customary law (adat) is applied, embodied in oral traditions and in accordance with the Paluwaran code, which contains provisions for very aspect of life.\n\nThe culture is characteristically lowland with a special adaptation to marshland, and wet rice is the staple food. Arts and crafts are well developed, exhibiting sophistication in eaving. Through waste mold technology metalwork and with the double-bellows Malaysian forge, they produce a wide range of bronze artifacts including betel-nut boxes, gongs, knives, racelets, and even the Southeast Asian cannon, the lantaka. The lantaka is not used just in warfare, but also as a prestigious status symbol.\n\nTheir ornamental art employs very characteristic design motifs that show affinity with the rest of Southeast Asia while retaining a distinctive ethnic identity. Their musical nstruments include a unique crocodile-motif version of the ubiquitous two-stringed lute, the kutyapi; the kulintang, which comprises eight brass gongs of graduated sizes; and the very large and deep agong, as well as various drums and flutes. Their music is characterized by drone and permutation.

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.

This is a portion of the traditional Bhutanese masked dance of Cham, rearranged for a solo performer. It is a combination of the ‘Drum Dance’ which represents the victory of good over evil, and the ‘Hero’s Dance’ which contains a message to the god of peace and anger. In Bhutan, Buddhism is more than a religion, being a philosophy that guides its way of life and culture. In this culture of Buddhism, Cham is regarded one of the most unique elements of the Bhutanese Buddist heritage. ‘Cham’ which refers to a type of masked dance performed at rituals, is performed at the annual festivals of temples in the region. The people of Bhutan regard the act of viewing Cham as a spiritual experience, of release from worldly attachments.\n\nCham dancers wear traditional costumes made of silk in the 6 colors of red, white, yellow, green, blue and black. Each color stands for different aspects of nature, red for fire, energy and strength, white for water and peace, yellow for the ground, growth and elevation, green for air and finiteness, blue for the universe and infinity, and black for anger. The masks worn while dancing are carved from wood, depicting saints, wise men, guardian deities and legendary figures. The music is played using cymbals, drums, large and small copper horns, conches and bells.\n\nCharacteristics:\n∙An excerpt from a Cham (Bhutanese masked ritual dance) adapted for the stage\n\nPerformed by Tsering Dorji\nDirected by Tsering Dorji

The hne or oboe- like wind instrument occupies a critical position in the Myanmar music troupe. It belongs to the group of wind instruments and can cover the chromatic scale. It is found portrayed on the wooden door of the northern building on the platform of Bagan's Shwezigon Zedi. There are two kinds of hne, the big and the small. The hne consists of five parts:\n1. Reed which is made of the leaf from the toddy palm;\n2. Mouth piece made of gold, silver, brass, bronze or steel\n3. Tube or body of wood from padauk, yindaik, pyinkado, teak\n4. Horn\n5. "dano" or "cheek- guard" made of metal which encircles the upper moulding of the body; it guards the cheek which swells when blowing.\nThe big hne is an essential instrument which is played pleasantly occasions such as the ploughing ceremony or royal regatta when it accompanies the big drum, the bjo, sidaw, boating song, yeginthan theme. The big hne plays mournfully on inauspicious occasions when lamentation is called for. It accompanies the braintaung (egret wing) theme. In earlier days the big hne was accompanied by two short drums and one vertical drum when propitiating the nats (spirits) with bpunza (drum food). The small hne is played briskly to accompany the pot-drum and dobat. Currently used is the hne which produces C sharp note when four holes are closed. The tones produced by the hne are;\n1. one hole closed for the fifth degree\n2. two hole closed for the sixth degree\n3. three hole closed for the seventh degree\n4. four hole closed for fundamental C\n5. five hole closed for the second degree\n6. six hole closed for the third degree\n7. seven hole closed for the fourth degree\nWhen all holes are open the tone produced is of the fourth degree.

The traditional musical instruments of Myanmar were prominent throughout the nation’s history. The instruments were developed as early as the Pyu Era, Bagan Era and many were dominant features of music during the Innwa Era and Konbaung Era.\n\nWhile some of these instruments have been preserved and are used today, others have been lost to history.\nIn an attempt to preserve the traditional musical instruments of Myanmar, the Ministry of Culture displayed traditional instruments and distributed the books about the instruments during an exhibition in 1955. This research shows thirty-three kinds of instruments. Moreover, in a 2003 celebration of traditional instruments, the Ministry of Culture exhibited over two hundred traditional instruments at the national museum.\nWhile the instruments on display were representative of many regions and states, many instruments were not included.\nBecause of this lack of full representativeness, additional research through field studies is required. This project proposal addresses this need.\n\nTo create a preliminary basis towards developing a national ICH inventory of craftsmanship and performing arts of traditional musical instruments in Myanmar. To safeguard ICH related to the craftsmanship and performing arts of traditional musical instruments and to promote cultural diversity among multi- ethnic groups in Myanmar. To raise awareness of the Myanmar public on the importance of ICH. To expand networking and information sharing between Myanmar and Korea.

The main jaatraa of Bishnu Devi Temple in Tinthana, Kathmandu, is the Sat Gaunle jaatraa, an annual celebratory jaatraa that takes place in December. The festival lasts three days and three nights. On the third day before dawn, the chariots of the seven children of Goddess Bishnu Devi are brought together to visit their mother in her temple in Tinthana. They rest with her until the afternoon and then are returned to their respective village temples. The chariots are carried on the shoulders of devotees from the seven surrounding villages. Their arrival at Vishnu Devi Temple is heralded by the sounds of many kaa, drums, and cymbals.

The main jaatraa of Bishnu Devi Temple in Tinthana, Kathmandu, is the Sat Gaunle jaatraa, an annual celebratory jaatraa that takes place in December. The festival lasts three days and three nights. On the third day before dawn, the chariots of the seven children of Goddess Bishnu Devi are brought together to visit their mother in her temple in Tinthana. They rest with her until the afternoon and then are returned to their respective village temples. The chariots are carried on the shoulders of devotees from the seven surrounding villages. Their arrival at Vishnu Devi Temple is heralded by the sounds of many kaa, drums, and cymbals.

According to statistics data in 2009, the Cao Lan people (known as Sán Chay) in Vietnam had a population of 169,410 people, residing mostly in Tuyên Quang province. The Cao Lan ethnic minority has a treasure of poetry, folk music, and dance such as sình ca (unique folk singing), múa trống (drum dancing), múa xúc tép (small shrimp catching dancing), múa chim gâu (cuckoo bird dancing), etc. The musical instruments of Cao Lan people are various, including thanh la (small knobless gong), não bạt (small cymbals), drums, bells, and wind instruments. Kèn is a wind instrument performed in festivals and ritual forms. Kèn consists of four parts: the body, the bell, reed stake, and the reed. The body is a cylindrical hollow tube made of hard wood about thirty centimeters in length. On the body, there are seven pressing holes on the front and one hole on back near the stake. The instrument bell is made of a frustum-shaped thin wooden piece. The smaller of the bell is attached to the big end of the tube. The stake is attached to the small end of the tube. The reed is made of a reed pipe or worn nest attached to the stake. Its sound is strong, a little discordant at high pitches and a little cracked at the low end. The register of the instrument is two octaves. Kèn is played by men only. This track is a medley of extractions that are often played in the rituals, such as hành quân (army operation), kèn Khắp, and đưa Phật (Buddha greeting).

This is a recording of the various baje with the vocals, bols, as collected by Andrew Alter. 1. Bols and a demonstration of the Chaunwara baje, from the first to the ninth, on dhol-damau. 2. Naglok ka baja. Baje of the various characters of the Pandav Lila, including Mahabharata. 3. Krishna and Yudhishtir. Drums and vocals. 4. Bhim. Dhol-damau and vocals. 5. Arjun. Dhol-damau and vocals. 6. Nakul and Sahdev. Dhol-damau and vocals. 7. Babrick, Nakarjun, Maliya Phulera Dhol-damau and vocals. 8. Hanuman. Dhol-damau and vocals. 9. Draupadi. Dhol-damau and vocals. Various baje and vocals for Draupadi.

CD7_MUSIC OF BASTAR AND CHHATISGARH\n\nThe indigenous tribal communities of India belong to various language families. This selection of music comes from the region of what was known as Bastar and its surroundings but is today divided into the states of Madhya Pradesh and Chhattisgarh. \n\nThis album presents some samples of the music of the Maria, Muria, and Pardhans. These subgroups are part of the larger Gond family. Gondi and the related languages belong to the Dravidian family. It provides a glimpse into the intangible cultural heritage of the tribes of Central India. \n\nThese recordings were made between 1978 and 1982 by ethnomusicologist Roderic Knight. They provide a glimpse into the tribal communities, which are fast changing.

CD2_JAATRAAS OF NEPAL\n\nA jaatraa is usually an annual festival associated with a particular god or goddess. A ritual is performed in a temple dedicated to the deity. People of all ages, ethnicities, and religions come together to celebrate a local jaatraa. It is believed that a god may join in the festival by possessing one of the participants. The possessed person is usually taller than others and often wears a turban. Other participants may also entera trance state, and they are also believed to be possessed by a god. This is considered a sign that the god is happy with the jaatraa. A jaatraa typically includes a procession in which the image of the god or goddess is mounted on a chariot accompanied by musicians and other worshippers.

The northern mountainous regions are the residential land of the Kinh people and twenty-eight out of fifty-four ethnic minorities in Vietnam. This land has diverse forms of folk culture in general and folk music in particular. The CD, Folk Music of Some Ethnic Minorities in the Northern Mountainous Regions of Vietnam introduces some repertoires of folk music that were recorded in 1959 (tracks 1, 2, 5, and 7), in 1964 (tracks 10 and 15) and in 1970 (tracks 3, 4, 6, 8, 9, 11, 12, 13, 14, and 16) and performed by folk artists from minority ethnic groups, such as Thái, Tày, Nùng, Cao lan, Phù lá, Hmông, of the northern mountainous regions. Although the sound quality of the recordings isn’t that good, the materials will be valuable to history and art researchers and those who love folk music. The recordings allow listeners to compare folk art of a time that was almost isolated with the outside world with folk art of our time—the time of Internet.

CD1_BHAJANS OF NEPALI FOLK CULTURE\n\nA bhajan is a spiritual chant in traditional Nepalese culture that is performed mainly in temples. The lyrics typically recount the good deeds of various gods and goddesses. It is believed that the performance of a bhajan brings about peace and prosperity and an improved quality of life for all living beings. Bhajans of Nepali Folk Culture This CD includes examples from four distinct categories of bhajan, namely Devi Bhajan, Dafa Bhajan, Khainjadi Bhajan, and Usha Charitra Bhajan.

ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 38 is 'Funeral Ceremonies and New Beginnings.'

This book contains the presentation and discussion of the above international conference in the form of an online strategic meeting with Webinar, and the first chapter contains webinar presentations on the theme of Life, Environment and Intangible Heritage of Silk Road. In addition, Chapter 2 contains rich examples of the diversity of intangible cultural heritage festivals, and chapters 3 and 4 contain network construction methods and presentations on joint cooperation projects through networks, respectively. In addition, a summary of each presentation and discussion on each topic were included, along with recommendations to create the Silk Road Intangible Heritage Network for 2021.

ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 3 is 'ICH AND TEXTILES'.

ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 43 is 'MASK DANCE.'