The traditional craft of making musical instruments. For making instruments masters use wood, wire, string, animal skins.

Traditional knowledge and practices of making surnay – wind music instruments. Surnay is made with wood.

The traditional craft of making musical instruments. For making instruments masters use wood, wire, string, animal skins.

The traditional craft of making musical instruments. For making instruments masters use wood, wire, string, animal skins.

Traditional knowledge and practices of making surnay – wind music instruments. Surnay is made with wood.

The traditional craft of making musical instruments. For making instruments masters use wood, wire, string, animal skins.

Traditional knowledge and practices of making surnay – wind music instruments. Surnay is made with wood.

The element is recognized as one of the main elements of cultural and social identity for the regions in which it is crafted and played. The bearers and practitioners are mostly farmers including men as crafters and players and women as players, and recently a number of them are young researchers of both genders. Its traditional knowledge of crafting and playing is informally transmitted through generations by the master-student method. This element is seen in local, oral and written literature (including local poems, proverbs, chants and lullabies) which constitute a part of nature, history, and background of the bearers. As this element is shared by a number of communities, groups and individuals, it brings mutual respect and understanding amongst the communities concerned.\nDotār is a folkloric plucked-string musical instrument that has been played in social and cultural events/spaces such as weddings, parties, celebrations, ritual ceremonies etc. Dotār has a bowl which is pear-shaped and made of dried wood of dead mulberry tree and its neck is made of apricot or walnut wood. It has two strings traditionally made of silk which been replaced with metal wires nowadays. Some believe that one string is male and functions as accord and the other is female which plays the main melody.\nThe crafters also repect nature as they use dead and dried wood for making Dotār.\nIt is not in opposition toward the national and international instruments like Universal Human Rights Declaration, sustainable development , etc.

The music of the sound of paddy pestle is the second oldest arts performance in the state of Perlis. According to history, this arts form originated from Indo-Chinese travelers. To reach the Malay Peninsula they used boats that sail near the beaches, and they lived in the villages. They planted paddy and played the paddy pestles as entertainment during free time. This attracted the interest of the Malay paddy planters to learn it. This arts form is popular and originated from among the paddy planters. They use agricultural equipments to produce unique entertaining sounds. One of the equipments is the mortar and pestle used to pound paddy. The beating of the pestle on the mortar produces a beat nearly the same as that of the gamelan musical instrument. The mortar and pestle are usually made from hard wood. An ensemble of Alu Bunyi has 12 members. They are trained and expert in playing musical instruments. They beat the centre and side parts of the mortar using the pestle accompanied by the sound of clarinet, and this produces a harmonic rythmn. Alu Bunyi is usually performed during harvesting and harvest festivals. Other activities are also held during the festivals like making culinary dishes out of rice. According to some people’s belief, apart from as entertainment this festival is a form of appeasing the spirit of the paddy to go to the farmers’ village and stay in the paddy fields. It is also believed that the paddy spirit will obstruct paddy pests such rats and birds from destroying the farmers’ crop.

By using Rakhine iron fiddlel Drum was found at the period of Visali of the king of Chandra. At the time of king Chandra, the lyrical ode of the crown-princess Saw Pyae Nyo was played with the various kinds of instruments. Long-drum and Than-Lwin-drum contained in this instruments. In the Myanmar era of 897 ( 1535 AD ) when was called Lay Myoe Age, King Min Bar built Yan Aung Zaya Shittaung stupa with a vaulted vase. Rakhine oil lamp dance, Shawl dance, Powewar dance, the sports of Mrauk.U period such as the posture of wrestling, boxing, the stick martial art and the figures in the posture of playing the Rakhine musical instruments such as the Rakhine Duelong harp, bamboo pipes wind instrument/ melodious small drum, hand-cymbals, cymbals/ horn/ long drum, Marlakhon fiddle, the bugle, the cymbal and the flute were sculpted as the ancient supporting evidences of Rakhine iron flute on the western wall of the second tunnel of Shitthaung pagoda.\nIron-rod is bored with holes. The conical shape of iron is put on the top of the iron-rod. \nIt is produced tune by making close or open on fret which is bored with holes.\n-1 feet 2 inches in length\n-3 inches in girth\n-1.5 inches in the distance between holes of flute \n-4 inches in the diameter of the conical shape of iron\n-5.5 inches in the height of the conical shape of the iron

By using Flute was found at the period of Visali of the king of Chandra. At the time of king Chandra, the lyrical ode of the crown-princess Saw Pyae Nyo was played with the various kinds of instruments. Long-drum and Than-Lwin-drum contained in this instruments. In the Myanmar era of 897 (1535 AD) when was called Lay Myoe Age, King Min Bar built Yan Aung Zaya Shittaung stupa with a vaulted vase. Rakhine oil lamp dance, Shawl dance, Powewar dance, the sports of Mrauk.U period such as the posture of wrestling, boxing, the stick martial art and the figures in the posture of playing the Rakhine musical instruments such as the Rakhine Duelong Harp , bamboo pipes wind instrument/ melodious small drum, hand-cymbals ,cymbals/ horn/ long drum, Marlakhon fiddle, the bugle, the cymbal and the flute were sculpted as the ancient supporting evidences of Rakhine iron flute on the western wall of the second tunnel of Shittaung pagoda.\nIron-rod is bored with holes. It is produced scale by making close or open on the fret which is bored with holes.\n-1 feet 10.5 inches in length\n-2 inches in girth\n-1 inch in the distance between holes of flute

By using Khwe’ Khwin: (Timing bell) was found at the period of Visali of the king of Chandra.At the time of king Chandra, the lyrical ode of the crown-princess Saw Pyae Nyo was played with the various kinds of instruments. Long-drum and Than-Lwin-drum contained in this instruments. In the Myanmar era of 897 ((1535 AD ) when was called Lay Myoe Age, King Min Bar built Yan Aung Zaya Shittaung stupa with a vaulted vase. Rakhine oil lamp dance, Shawl dance, Powewar dance, the sports of Mrauk.U period such as the posture of wrestling, boxing, the stick martial art and the figures in the posture of playing the Rakhine musical instruments such as the Rakhine Duelong Harp, bamboo pipes wind instrument/ melodious small drum/ hand-cymbals/ cymbals/ horn/ long drum , Marlakhon fiddle, the bugle, the cymbal and the flute were sculpted as the ancient supporting evidences of Khwe’ Khwin: (Timing bell) on the western wall of the second tunnel of Shittaung pagoda.\nIt is made by the art of making items cast or wrought from brass. It is the shape of a prone bowl that is put on the pillar. It can be played with the small striker. It is put on the pillar and the body of it is striken with the striker. It can be played together with the instrument of drum, gong, conch shell.\n-7.5 inches in diameter \n-4.5 inches in height\n-10 inches in the height of pillar \n-4.5 inches in the length of based \n-1.5 inches in The height of based