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Nora is a form of traditional, folk performing arts that is popular in the southern region of Thailand. The main elements and characteristics of Nora are the costume and the music. Nora costume comprises a soet for the principal performer–the “nora yai”. The costume is made of beads in various colours arranged in patterns and motifs, to be worn as a shirt. These are the costume and decorations for the principal character, who is called the nora yai or nora yuen, while the khrueang nang or the costume for the female characters does not have armlets, pendant, or wings.\n

Nora is a form of traditional, folk performing arts that is popular in the southern region of Thailand. The main elements and characteristics of Nora are the costume and the music. Nora costume comprises a soet for the principal performer–the “nora yai”. The costume is made of beads in various colours arranged in patterns and motifs, to be worn as a shirt. These are the costume and decorations for the principal character, who is called the nora yai or nora yuen, while the khrueang nang or the costume for the female characters does not have armlets, pendant, or wings.\n

Nora is a form of traditional, folk performing arts that is popular in the southern region of Thailand. The main elements and characteristics of Nora are the costume and the music. Nora costume comprises a soet for the principal performer–the “nora yai”. The costume is made of beads in various colours arranged in patterns and motifs, to be worn as a shirt. These are the costume and decorations for the principal character, who is called the nora yai or nora yuen, while the khrueang nang or the costume for the female characters does not have armlets, pendant, or wings.\n

"Datun Julud" means "long dance" in Dayak Kenyah language, "Hivan Joh" in Kayan, and "Arang Kadang" in Kelabit. It is traditionally danced by a group of ladies on ceremonious occasions, by the Orang Ulu people of Borneo. The Datun Julud was said to have been created by a Kenyah prince called Nyik Selung, to symbolise happiness and gratitude. A solo dancer, a barefooted woman, usually begins the dance, moving spontaneously with a fluid motion to emulate a hornbill in flight. Gracefully, gently, the dancer moves her arms, legs and torso, careful to keep her head erect and motionless so as to keep her earrings - heavy brass ornaments that dangle from elongated earlobes - from swaying too much. The dancer is usually dressed in a colourful sarong and an elaborate headdress, which is adorned with protruding tufts symbolising the deities. To represent the wings of the hornbill, she holds beautiful fans made out of the feathers of the sacred bird. After she is done, another woman takes her place, and this goes on until all the women in the longhouse have each taken their turn. On various occasions, the dance is performed by a group of up to four women. The Datun Julud is often accompanied by the beautiful sounds of the sape, a traditional lute peculiar to the Orang Ulu community or "upriver people" of central Borneo. Today, the Datun Julud has become a dance of formal entertainment that is often performed in the rumah panjang (longhouse) to greet visitors and tourists.

"Datun Julud" means "long dance" in Dayak Kenyah language, "Hivan Joh" in Kayan, and "Arang Kadang" in Kelabit. It is traditionally danced by a group of ladies on ceremonious occasions, by the Orang Ulu people of Borneo. The Datun Julud was said to have been created by a Kenyah prince called Nyik Selung, to symbolise happiness and gratitude. A solo dancer, a barefooted woman, usually begins the dance, moving spontaneously with a fluid motion to emulate a hornbill in flight. Gracefully, gently, the dancer moves her arms, legs and torso, careful to keep her head erect and motionless so as to keep her earrings - heavy brass ornaments that dangle from elongated earlobes - from swaying too much. The dancer is usually dressed in a colourful sarong and an elaborate headdress, which is adorned with protruding tufts symbolising the deities. To represent the wings of the hornbill, she holds beautiful fans made out of the feathers of the sacred bird. After she is done, another woman takes her place, and this goes on until all the women in the longhouse have each taken their turn. On various occasions, the dance is performed by a group of up to four women. The Datun Julud is often accompanied by the beautiful sounds of the sape, a traditional lute peculiar to the Orang Ulu community or "upriver people" of central Borneo. Today, the Datun Julud has become a dance of formal entertainment that is often performed in the rumah panjang (longhouse) to greet visitors and tourists.

The Sompoton is Sabah’s native musical instruments of the Kadazandusun. The instrument’s name closely derives from the word Miampot, which means in unison by blowing or sucking the mouthpiece. This mouth organ is the most fascinating of the Sabah native musical instruments. Sompoton consists of eight pieces of bamboo pipe inserted into a dried gourd, which are arranged in two layers of raft-like configuration. Seven of the bamboo pipes are named according to local terminology and they are lombohon, monongkol, suruk, baranat, randawi, tuntuduk and tinangga. One of the pipes has no sound, but merely balances the bundle. By blowing or sucking the gourd’s mouth, the player can produced a soft sweet harmonious sound. A small lamella of polod palm (like tiny bungkau) is inserted in the side of each sounding pipe near its base. The pipes are fitted into a hole on one side of the gourd and sealed with bees wax. The lamellae lie inside the gourd and provide the sound of the completed instrument. The pipes are bound with thin strands of rattan. While playing a sompoton, the player covers and uncovers the ends of three of the four shortest pipes with three fingers of his right hand and three small openings cut in the base of the front shortest pipe and front and back pipes of the longer raft with fingers of the left hand. The sompoton can be played as a solo instrument for personal entertainment or in groups to accompany dancing. It is popular among the Kadazandusun.

The most typical of Sarawak musical instruments, the sape, pronounced "sa-peh", is a traditional lute of the Orang Ulu community or "upriver people" of central Borneo, Sarawak. It is traditionally used by the Kenyah, Kayan and Kelabit tribes. Carved from a bole of white wood which repels insects, the sape is a masterpiece of woodcarving. The carver, usually a musician, hollows out the body of the sape with similar tools used in boat-building to a length of about over a metre, and approximately 40cm wide. Initially, the guitar-like instrument measured less than a metre, and had only two rattan strings and three frets. Today, however, it is common to find sape with three, four or even five strings. The strings - slender wires used in fishing rods - are held by movable wood frets, and are tightened or loosened with wooden pegs. The sape was once played solely during healing ceremonies within the rumah panjang (longhouses), but gradually became a social instrument that is used as a form of entertainment. The colourful jungle motifs that adorn the body of the sape mark this change in purpose. The music of sape is thematic, more often than not inspired by dreams. There are specific compositions for specific ceremonies and situations (marriages, births, harvest times, rain etc) which often differ from one sub-ethnic group to another. The traditional pieces, which have many variations, are usually passed down through the generations. Typically, the sape is played while sitting cross-legged on the floor, and is used to accompany dances; one for the men's longhouse dance, the other for the women's. Examples include the Ngajat (warriors dance) and Datun Julud. When played for a dance, two sapes tuned to different registers (low and high) are usually used. And though the sape is a solo instrument, it is occasionally supported by other musical instruments such as the jatung utang (wooden xylophone).

Kurash is a type of national fight traditional among Turkic peoples, which is officially included in the world network of non-Olympic sports and is supported by UNESCO. Kurash is the oldest type of martial arts, the roots of which are located on the territory of modern Uzbekistan. According to the latest scientific research, the age of Kurash is at least three and a half thousand years. Kurash is one of the most ancient types of martial arts known to humanity. Kurash is an Turkic word, in translation means - "achieving the goal in an honest way." In those ancient times, it was martial arts and public physical entertainment at traditional holidays, feasts and weddings. References to it can be found in many ancient literary sources.