The traditional village troupe performs the puppet shows in countryside at the traditional village festival and for tourists. The puppeteers manipulate the puppets by hand with string. The puppet shows with music and story tell about the farmer’s life and countryside activities. The film demonstrates the connection between the puppetry and the worship of the communal god that the show is an important performance at the traditional village festival.

The water puppet theater troupe of Hong Phong formed in Bo Duong Village, about 60 km east of Hanoi. Hong Phong water puppet theater is believed to have begun in the late seventeenth century-the shapes of the puppets used in this art were found carved on the pillars of the village temple. The troupe performs for visitors to the village's traditional festivals, recounting various stories about farmers' lives and the village through puppetry accompanied by music.\n\nThis video demonstrates the connection between the puppet theater and communal worship, in addition to the significance of the performance in Hong Phong Commune.

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.

Urtiin Duu is a traditional form of musical expression of the nomadic Mongols. As the slow pace, wide-ranging melody and poetic, philosophical text of the songs express values instilled by the vast, peaceful natural landscape where the nomads live, the Urtiin Duu can be considered as a manifestation of the nomadic spirit, while its composition and performance are directly associated with cycles of the nomadic lifestyles. It serves as a variety of cultural functions, in occasions for social gathering, entertainment and artistic production, community rituals such as weddings, new ger warming feasts, birth of a child, the completion of felt-making, the production of the first airag (fermented mare’s milk). Mongolian long songs are classified in three major styles: Aizam urtiin duu (rhythmic long song), Jiriin urtiin duu (typical long song) and Besreg urtiin duu (short long song). Urtiin Duu-Traditional Folk Long Song was inscribed on the UNESCO Representative List of Intangible Cultural Heritage in 2008.

Urashima Taroyo is a famous Japanese folk tale of which numerous adaptations have been made in multiple genres, from novels to animations. This dance adaptation of a folk tale familiar to all Japanese people uses the beautiful melodies of folks songs and the dramatic movements of the dancer to express the changing emotions of the young fisherman Urashima in tender detail.\n\nCharacteristics:\n∙ Dance adaptation of a traditional Japanese folk tale\n\nPerformed by Hanayagi Ayamai

Katta ashula is a vocal direction, a song genre typical for the Ferghana Valley, in which peculiar style and manner of singing is observed. It is performed by two or more singers in turns and without accompaniment of musical instruments. Katta Ashula is characterized by laconism (in means of expression), expressiveness (in music language), dynamism (in melodic development) and bright emotionality. Its figurative structure (or style) is closely connected to the traditional (classical) poetry of lyrical and philosophical nature. And ghazals of Navoi, Lutfi, Mashrab, Khazini, Muqimi, Furqat, Zavqi, Miskin serve as main poetic texts in this genre. Though, since the XX century the poems of contemporary Uzbek poets (such as Sobir Abdulla, Charkhi, Chusti, Akmal Polat, Khabibi, and others) as well as examples of folk poetry have been widely used. In terms of subject matter katta ashula songs can be divided into love-lyrical, didactic, religious and contemporary ones. The origins of katta ashula genre should be looked for in ancient folk-ritual chants, songs of "praise" (such as marsiya, navkha, ayolgu), agriculture- and labor-related songs with their original combination of recitative-declamatory beginning and chanting; and in distiches of ghazals (ghazalkhonlik), written in aruz prosody. Performance with high-pitched voice, existence of culmination parts, clarity of words for and their impact to the listeners – all these are features of this type of song. Katta ashula has several genres, such as “Yovvoi maqom” (“Yovvoi Ushshoq”, “Yovvoi Chorgoh”),"Yovvoyi asula" ("Yovvoyi Tanovar", "Yovvoyi Munojat"), "Yakkahonlik" ("Ohkim, gulzorim qani topmadim").\nNotably, the emergence and development of Katta ashula genre is closely linked with existence of corresponding performance schools, which stand out with their style of interpretation, manner of singing and bearers. From among katta ashula performance schools it is possible to mention Qoqand, Margilan, Andijan, Namangan and Tashkent performance schools.

Mongol Tuuli is an oral tradition comprising heroic epics that run from hundreds to thousands of lines and combine benedictions, eulogies, spells, idiomatic phrases, fairy tales, myths and folk songs. They are regarded as a living encyclopedia of Mongolian oral traditions and immortalize the heroic history of the Mongols. Epic performers are distinguished by their prodigious memory and skills, combining singing, vocal improvisation and musical composition coupled with theatrical elements. Epic lyrics are performed to musical accompaniment on instruments such as morin khuur and tovshuur. Epics are performed during social and public events, including state affairs, weddings, a child’s first haircut, naadam and worship of sacred sites. Epics evolved over many centuries, and reflect nomadic lifestyles, social behaviors, religion, mentalities and imagination. Epic performers cultivate epic traditions from generation to generation, learning, performing and transmitting techniques within kinship circles, from fathers to sons.

Nepal's Hereditary Musician Castes_Folk Melodies in Sarangi and Jhamtaar\n\nPerformers: Padam Gandharva, Surbahadur Gandharva\nDate of Recording: 1994\nCaste: Gandharva\nCollector: Ram Prasad Kadel\n\nHere two Gandharva musicians, Padam Gandharva and Surbahadur, Gandharva, perform some popular folk tunes of Nepal in Sarangi and Jhamtaar. Both Gandharva are very famous musicians in their communities. Sarangi is a very popular string instrument of Nepal, whereas Jhamtar is a rare string instrument. The Music Museum of Nepal has filmed this video for its archive, which hosts various rare folk songs and dances of Nepal.\nInstrument: saarangi, jhamtaar

Mongols have traditionally shown a great respect for the horse, honoring it in their national standards and symbols (flags and emblems) and in their folk songs. Morin khuur clearly belongs to this symbolic tradition. Morin khuur, so named for the ornamental horse-head carving at the top of its neck, is a unique two-stringed musical instrument developed by the nomadic Mongols. The strings of both the bow and fiddle are made from the hair of a horse’s tail. Most significantly, there is a tradition of playing the morin khuur at all ritual and ceremonial events. No discussion of the morin khuur would be complete without having considered the folk ‘long song’, for which it provides the principal accompaniment. Besides Bii Biylgee and folk long song, many other folk artistic forms such as Ülger (tales), Tuuli (epic), Yörööl (benediction), Magtaal (ode) and others can always be performed with morin khuur.

It is the New Year by solar calendar in Central, South and South-West Asia countries. According to sources, Navruz was one of the biggest festivities among Iranian and Turkic peoples. Mahmud al-Kashgari in his work called "Diwanu l-Lugat al-Turk" mentions about many folk songs, which were dedicated to Navruz. Also, the information about Navruz festivity can be found in such works as "The remaining traces of past centuries" (written by Abu Rayhan al-Biruni), "Navruzname" (by Omar Khayyam), and those written by Alisher Navoi, Zahir-ud-Din Muhammad Babur and other scholars. \nIn the territory of Central Asia Navruz festivity was associated with the beginning of the New Year. As such, the preparations for it began several days ahead. Wheat was germinated and from its sprouts sumalak was cooked, dumplings with greens and samosas with mint were prepared. Also folk games were organized (such as horseracing, uloq, kurash, etc.), promenades were arranged, songs about spring were sung, terma and dostons were performed (by bakhshis). On the first day of Navruz children, living in rural areas, gathered in groups and sang songs dedicated to Navruz before the doors of houses. And the owner of the house, hearing these songs, came out, gave presents to children, and treated them with food. In their turn, children distributed one part of the food among widows and orphans living in the village. All these traditions and customs are still alive.

Folk Dance of Nepal_Mushar Naach\n\nPerformers: Chandra Bahadur Mahara, Chandra Hazara, Joshu Ram, Bhajan Paswan, Mahanga Paswan \nCaste: Musahr \nDate of Recording: 1998 \nCollector: Dan Bahadur Nepali\n\nNepalese communities express their emotions through the rhythms of various folk dances. Folk dances, in fact, are an inseparable part of rural life. On the other hand, the religious influence can easily be observed in the songs and dances, which are often performed to please deities responsible for the well-being of humans and cattle, favorable climate, and good harvest. As the country has widely differing topographical features, so does it have vast variances in cultural aspects. Folk songs and dances depend on cultures, cas-tes, seasons, and geographical features. For example, a sherpa living in the Himalayan region sings and dances differently from a Tharu living in the Terai region. Similarly, songs and dances performed in the spring season express joyous emotions, whereas those performed in the winter season express sadness. This collection includes the most famous folk dances of the different indigenous communities of Nepal dwelling in various environments. These dances are a part of their daily life.\n\nMushar is a unique caste residing in various districts of the Terai region of Nepal, including Saptari, Siraha, Udaipur, Dhanusa, Janakpur, Morang, Sarlahi, Malangwa, Mahottari, Gaur, Rautahat, and Sunsari. This group has its own culture and tradition. Netwa is the most popular dance for festivals in their society. Here, dancers are seen wearing traditional attire. This dance is performed during special festivals, at birth ceremonies, wedding ceremonies, on the ninth day of Dashain, and other occasions. Five male artists take part in this dance. The rhythms are initiated by the guru (the master). Epics, stories about gods, the origin of earth, and life and family issues are the main topics of the song. It is performed either as a solo or in a duet. This dance is in vulnerable condition.\n

Folk Dances of Nepal_Kami Nach\n\nPerformer: Unknown \nDate of Recording: 1991 \nCaste: Kami \nCollector: Dan Bahadur Nepali\n\nNepalese communities express their emotions through the rhythms of various folk dances. Folk dances, in fact, are an inseparable part of rural life. On the other hand, the religious influence can easily be observed in the songs and dances, which are often performed to please deities responsible for the well-being of humans and cattle, favorable climate, and good harvest. As the country has widely differing topographical features, so does it have vast variances in cultural aspects. Folk songs and dances depend on cultures, cas-tes, seasons, and geographical features. For example, a sherpa living in the Himalayan region sings and dances differently from a Tharu living in the Terai region. Similarly, songs and dances performed in the spring season express joyous emotions, whereas those performed in the winter season express sadness. This collection includes the most famous folk dances of the different indigenous communities of Nepal dwelling in various environments. These dances are a part of their daily life.\n\nThe Kami Naach is a traditional sword and shield dance from Jumla. It is performed in memory of Purichandra Tiruwa Kami, a famous Kami who was the military chief of King Bali (crowned in 1461) of Jumla. The dance is performed for various important life event ceremonies, including those of birth and marriage, but not death. Kami, people also known as bishwokarma, make weapons and tools for a living. In ancient times, this dance was performed by warriors as a rehearsal for war. Performers exhibit various positions of a soldier fighting in battle in this dance.