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In Myanmar, ancient chronicles say that harps were being played as early as in the Pyu Period. In February of 802 A.D. Sri Khettra despatched a Pyu music and dance ensemble to Chan-ann the city of the Tang Dynasity of China. Tang Dynasty chronicles say that the Pyu musicians had with them two harps with pheasant’s head shapes, two harps with corcodile’s head shapes, one flat harp in the shape of a dragon’s head, one flat harp in the shape of rain clouds, two flat harps of big gourds, one flat gourd-harp with a single string and one small flat gourd-harp. Among rock relief sculptures found on the walls of the Ananda pagoda built by king Kyansittha in A.D 1084-1113 is a harp which indicates that the harp was in general use in those days.\nThe part where the neck joins the sound box is shaped like a leaf of the saga: (champac) while the stern is shaped like bowl. The tip of the neck is shaped like the leaf of the banyan tree. The neck is made of sha: (acaciacatechu) wood. The sound box is covered with a membrane of deer skin. Holes are perforated along the ridge to hold the ends of the strings. The intervals between the holes need to be of correct proportion, otherwise, the harp tends to be out of tune and also lacks proper form. Hence, the ridge is a critical component of the harp. When playing, the harp player sits cross-legged on the floor and rests the front of the body of the harp in his or her lap, with the arch on the harp player’s left and the rear of the harp’s body angled slightly upwards so that the strings are almost horizontal. The fingers of the left hand are braced against the outside of the arch and moved agilely up and down. A stopped tone is produced when the left thumb nail is pressed against the string from the inside to increase its tension and thus raise its pitch. The thumb and forefinger of the right hand, either separately or together, pluck the strings at their center while the right elbow rests on the top of the rear of the harp body outside of the strings. The left thumb may be used to pluck the bass of the harp figuration while the right thumb and forefinger pluck the melodic pattern. A skilled harpist promote clarity by jumping the string just sounded while sounding the next string. This jumping may be done with the middle finger, the palm of the hand, or the forefinger just after the activation when a staccato note is desired.

This graceful dance of worship is the most popular in Terengganu. Ulek Mayang was performed as a healing ritual for fishermen who fall ill at sea or while carrying out their daily activities. Some illnesses were believed to be caused by sea spirits and could only be cured by calling upon the spirits of the sea and sending them back to the dark watery depths. In a ritual performance, some of the performers will fall into deep trance. The performance tells the tale of a sea princess who falls in love with a fisherman while he is at sea. The princess steals the fisherman’s soul, causing him to fall into a trance-like state of semi-consciousness. Once they are back on land, the fisherman’s friends ask a bomoh (traditional healer) to restore his semangat (spirit) and bring him back to health. The bomoh conducts a healing ritual for the fisherman using a mayang (coconut palm blossom), kemenyan (benzoin resin) and offerings of coloured rice. He summons the spirit of the sea-princess, who calls upon her five sisters to help seize the object of her desire. A tug-of-war ensues between the bomoh and the six princesses for the soul of the fishermen. Finally, the seventh and eldest princess arrives and sends her sisters back to sea with these words: “I know your origins, let those from the sea return to the sea, let those from the land return to the land.” She thus releases the soul of the fisherman and restores his health. Ulek Mayang is traditionally performed by seven female dancers, each dressed in an elaborate costume with a regal headdress and flowing yellow sash. Three to four male dancers perform the role of the fishermen and bomoh. The graceful gestures of the female dancers are reminiscent of the undulating movements of the sea. The dance is accompanied by a small music ensemble comprising a rebana (frame drum), accordion, and seruling (flute) or serunai (double-reed oboe). The contemporary version of the Ulek Mayang is performed in almost every formal state function and event.

This graceful dance of worship is the most popular in Terengganu. Ulek Mayang was performed as a healing ritual for fishermen who fall ill at sea or while carrying out their daily activities. Some illnesses were believed to be caused by sea spirits and could only be cured by calling upon the spirits of the sea and sending them back to the dark watery depths. In a ritual performance, some of the performers will fall into deep trance. The performance tells the tale of a sea princess who falls in love with a fisherman while he is at sea. The princess steals the fisherman’s soul, causing him to fall into a trance-like state of semi-consciousness. Once they are back on land, the fisherman’s friends ask a bomoh (traditional healer) to restore his semangat (spirit) and bring him back to health. The bomoh conducts a healing ritual for the fisherman using a mayang (coconut palm blossom), kemenyan (benzoin resin) and offerings of coloured rice. He summons the spirit of the sea-princess, who calls upon her five sisters to help seize the object of her desire. A tug-of-war ensues between the bomoh and the six princesses for the soul of the fishermen. Finally, the seventh and eldest princess arrives and sends her sisters back to sea with these words: “I know your origins, let those from the sea return to the sea, let those from the land return to the land.” She thus releases the soul of the fisherman and restores his health. Ulek Mayang is traditionally performed by seven female dancers, each dressed in an elaborate costume with a regal headdress and flowing yellow sash. Three to four male dancers perform the role of the fishermen and bomoh. The graceful gestures of the female dancers are reminiscent of the undulating movements of the sea. The dance is accompanied by a small music ensemble comprising a rebana (frame drum), accordion, and seruling (flute) or serunai (double-reed oboe). The contemporary version of the Ulek Mayang is performed in almost every formal state function and event.

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.

Jamu is a traditional medicine from Indonesia. It is predominantly an herbal medicine made from natural materials, such as roots, bark, flowers, seeds, leaves and fruits. Materials acquired from animals, such as honey, royal jelly, milk and ayam kampung eggs are also often used. Jamu is believed to originate from two ancient Javanese words, namely "Djampi" and "Oesodo". Djampi itself has a meaning of healing that uses drugs or prayers, while Oesodo means health. Jamu can be found throughout Indonesia, however, it is most prevalent in Java. In many large cities jamu herbal medicine is sold on the street by hawkers carry a refreshing drink, usually bitter but sweetened with honey or palm sugar.

Jamu is a traditional medicine from Indonesia. It is predominantly an herbal medicine made from natural materials, such as roots, bark, flowers, seeds, leaves and fruits. Materials acquired from animals, such as honey, royal jelly, milk and ayam kampung eggs are also often used. Jamu is believed to originate from two ancient Javanese words, namely "Djampi" and "Oesodo". Djampi itself has a meaning of healing that uses drugs or prayers, while Oesodo means health. Jamu can be found throughout Indonesia, however, it is most prevalent in Java. In many large cities jamu herbal medicine is sold on the street by hawkers carry a refreshing drink, usually bitter but sweetened with honey or palm sugar.

Jamu is a traditional medicine from Indonesia. It is predominantly an herbal medicine made from natural materials, such as roots, bark, flowers, seeds, leaves and fruits. Materials acquired from animals, such as honey, royal jelly, milk and ayam kampung eggs are also often used. Jamu is believed to originate from two ancient Javanese words, namely "Djampi" and "Oesodo". Djampi itself has a meaning of healing that uses drugs or prayers, while Oesodo means health. Jamu can be found throughout Indonesia, however, it is most prevalent in Java. In many large cities jamu herbal medicine is sold on the street by hawkers carry a refreshing drink, usually bitter but sweetened with honey or palm sugar.

Jamu is a traditional medicine from Indonesia. It is predominantly an herbal medicine made from natural materials, such as roots, bark, flowers, seeds, leaves and fruits. Materials acquired from animals, such as honey, royal jelly, milk and ayam kampung eggs are also often used. Jamu is believed to originate from two ancient Javanese words, namely "Djampi" and "Oesodo". Djampi itself has a meaning of healing that uses drugs or prayers, while Oesodo means health. Jamu can be found throughout Indonesia, however, it is most prevalent in Java. In many large cities jamu herbal medicine is sold on the street by hawkers carry a refreshing drink, usually bitter but sweetened with honey or palm sugar.

Jamu is a traditional medicine from Indonesia. It is predominantly an herbal medicine made from natural materials, such as roots, bark, flowers, seeds, leaves and fruits. Materials acquired from animals, such as honey, royal jelly, milk and ayam kampung eggs are also often used. Jamu is believed to originate from two ancient Javanese words, namely "Djampi" and "Oesodo". Djampi itself has a meaning of healing that uses drugs or prayers, while Oesodo means health. Jamu can be found throughout Indonesia, however, it is most prevalent in Java. In many large cities jamu herbal medicine is sold on the street by hawkers carry a refreshing drink, usually bitter but sweetened with honey or palm sugar.

Jamu is a traditional medicine from Indonesia. It is predominantly an herbal medicine made from natural materials, such as roots, bark, flowers, seeds, leaves and fruits. Materials acquired from animals, such as honey, royal jelly, milk and ayam kampung eggs are also often used. Jamu is believed to originate from two ancient Javanese words, namely "Djampi" and "Oesodo". Djampi itself has a meaning of healing that uses drugs or prayers, while Oesodo means health. Jamu can be found throughout Indonesia, however, it is most prevalent in Java. In many large cities jamu herbal medicine is sold on the street by hawkers carry a refreshing drink, usually bitter but sweetened with honey or palm sugar.