Dondang Sayang is a traditional Malay art still practised in Melaka by four communities: the Malay, Baba Nyonya, Chitty and Portuguese communities. The practice combines elements of music (violins, gongs and tambourines or the tambour), songs and chants, and features beautiful melodious strains of poetry. Also known as love ballads, the songs are used by communities to convey feelings of love and give advice on special topics such as love and kindness. During the Melaka Sultanate era in the fifteenth century, Dondang Sayang was performed at Royal Palace ceremonies and events; subsequently, the performance became widespread among the communities concerned. Based on tradition, Dondang Sayang performances are accompanied by music and sung by two singers of the opposite sex, who sing in quatrains. Typically, Dondang Sayang singers are individuals who are highly competent and skilled in poetry recitation. Dongdang Sayang performances are open to all, irrespective of age, occupation, status or religion, and the art is considered as a means of conveying positive messages and sharing feelings of love, joy and sorrow that strengthen community bonding. Performances are held on a regular basis, especially during gatherings, festivals and parties, and nowadays many cultural programmes, activities and training activities are organized for those interested in participating and improving their singing and performance skills.

Wood turned utensils and dishes were present in Bhutan since ancient times. Communities from different parts of Bhutan have a similar type of craft as cups and plates are necessary for all household meals. However, the labour-intensive wood turned lacquer wares from Yangtse earned a considerable reputation in the kingdom. \n\nAbout a century-old traditional woodturning art (Shag-zo) in Yangtse is still a vibrant and popular means of family business and occupation. The present young artisans in Yangtse who are in their 20s and early 30s are the fifth-generation descendants of Lobazang from Kham in Tibet. \n\nLike other crafts of Bhutan, Shagzo demands a long process. The extracted wood knots and burls have to be dried; soaked in water; roughly shaped (first turned); roughly turned bowls are boiled; dried again; final turned bowls are smoothened with sandpapers and dried leaves of Trema politoria (locally known as Sog sogpa-shing). After colouring them yellow or red, it becomes ready for the next step – lacquering. Lacquering is another time-consuming process. Traditionally, lacquerers mostly use an urushiol-based lacquer common in East Asia derived primarily from toxic wax trees known as Sey Shing in Yangtse. \n\nThese wooden bowls are an integral part of both the Bhutanese and Tibetan lifestyles and this explains the high demand for these products in Tibet. In the medieval period, people from Yangtse and Bumdeling traded wooden plates (not Dhapas) and bowls (cups) to Assam (India) and Go-phors (wooden bowl with lid), Lha-phor (bowl with lid used by monks), Dra-phor (bigger than other Phobs originally used by Tibetan Drapas), and Bay-phor (used by Tibetans, and has a deeper interior than Bhutanese hobs) to people of Tibet. Other than products historically exported to Assam and Tibet, Shagzopas make varieties of wood-turned products.

Wood turned utensils and dishes were present in Bhutan since ancient times. Communities from different parts of Bhutan have a similar type of craft as cups and plates are necessary for all household meals. However, the labour-intensive wood turned lacquer wares from Yangtse earned a considerable reputation in the kingdom. \n\nAbout a century-old traditional woodturning art (Shag-zo) in Yangtse is still a vibrant and popular means of family business and occupation. The present young artisans in Yangtse who are in their 20s and early 30s are the fifth-generation descendants of Lobazang from Kham in Tibet. \n\nLike other crafts of Bhutan, Shagzo demands a long process. The extracted wood knots and burls have to be dried; soaked in water; roughly shaped (first turned); roughly turned bowls are boiled; dried again; final turned bowls are smoothened with sandpapers and dried leaves of Trema politoria (locally known as Sog sogpa-shing). After colouring them yellow or red, it becomes ready for the next step – lacquering. Lacquering is another time-consuming process. Traditionally, lacquerers mostly use an urushiol-based lacquer common in East Asia derived primarily from toxic wax trees known as Sey Shing in Yangtse. \n\nThese wooden bowls are an integral part of both the Bhutanese and Tibetan lifestyles and this explains the high demand for these products in Tibet. In the medieval period, people from Yangtse and Bumdeling traded wooden plates (not Dhapas) and bowls (cups) to Assam (India) and Go-phors (wooden bowl with lid), Lha-phor (bowl with lid used by monks), Dra-phor (bigger than other Phobs originally used by Tibetan Drapas), and Bay-phor (used by Tibetans, and has a deeper interior than Bhutanese hobs) to people of Tibet. Other than products historically exported to Assam and Tibet, Shagzopas make varieties of wood-turned products.

Xẩm singing in Ninh Bình province\n\nXẩm is a folk performing art form of Vietnam with unique and typical lyrics. Among the national traditional art forms, only Xẩm singing is regarded as an occupation for its artists to earn for a living.\n

Xẩm singing in Ninh Bình province\n\nXẩm is a folk performing art form of Vietnam with unique and typical lyrics. Among the national traditional art forms, only Xẩm singing is regarded as an occupation for its artists to earn for a living.\n

Xẩm singing in Ninh Bình province\n\nXẩm is a folk performing art form of Vietnam with unique and typical lyrics. Among the national traditional art forms, only Xẩm singing is regarded as an occupation for its artists to earn for a living.\n

Xẩm singing in Ninh Bình province\n\nXẩm is a folk performing art form of Vietnam with unique and typical lyrics. Among the national traditional art forms, only Xẩm singing is regarded as an occupation for its artists to earn for a living.\n

Xẩm singing in Ninh Bình province\n\nXẩm is a folk performing art form of Vietnam with unique and typical lyrics. Among the national traditional art forms, only Xẩm singing is regarded as an occupation for its artists to earn for a living.\n

Xẩm singing in Ninh Bình province\n\nXẩm is a folk performing art form of Vietnam with unique and typical lyrics. Among the national traditional art forms, only Xẩm singing is regarded as an occupation for its artists to earn for a living.\n

Xẩm singing in Ninh Bình province\n\nXẩm is a folk performing art form of Vietnam with unique and typical lyrics. Among the national traditional art forms, only Xẩm singing is regarded as an occupation for its artists to earn for a living.\n

Xẩm singing in Ninh Bình province\n\nXẩm is a folk performing art form of Vietnam with unique and typical lyrics. Among the national traditional art forms, only Xẩm singing is regarded as an occupation for its artists to earn for a living.\n

Xẩm singing in Ninh Bình province\n\nXẩm is a folk performing art form of Vietnam with unique and typical lyrics. Among the national traditional art forms, only Xẩm singing is regarded as an occupation for its artists to earn for a living.\n