There are many forms of weaving and many items which can be woven on Kosrae. These include the weave mat (kiaka otwot), fan (pal), basket (fotoh), thatch on the ridge of the roof of a house using coconut fronds (sraho), fahsuh (weaving thatch roof using Nypa palm used only), among others. Kosraean warp-striping weaving may be considered unique among weaving cultures due to its complexity. \n\nThe Kosraean word for weaving depends on the item being woven. There exists a variety of woven items which served as currency, reinforced family ties and other relationships, as well as honor. In some cases, a chant may be shared to ensure a girl’s future in weaving. In the past and on contemporary Kosrae, weaving can be found in the preparation of food baskets for funerals, fishing baskets worn on waist of women fishing in the lagoons, loom-weaving for belts (tol), thatch roofing, hats, and cordage for example. \n\nThere can be at least three known types of baskets important in food preparation: fusanie, in the form of a star and used in storing fafa, (2) usanie kapiel or fusanie sa nu which is a larger form of the previous one and woven from young coconut leaves, and (3) kuumpäl which is a kind of basket with handles made of coconut fronds and named after the woven plate. Weaving served not only a function but can be considered a marker of the past. One particular kind of cord can be called nosunap, named after the god Nosunap (also spelled Nasrunsiap or Nazuenziap). \n\nKosrae used to be one of the largest consumers of sinnet cord, suggesting significant movement. This is consistent with oral histories collected in the recent past which connected Kosraeans all the way to Satawal and Puluwat. Among the most common materials for weaving, banal fiber, hibiscus, and pandanaus stand out as the materials of choice. The preparation for each material depends on the item to be woven. While banana fibers may be most common, the hibiscus fiber is easier to dye. Dyes for strands of weaving materials may come from terminal leaves, certain types of mud, and mangrove calyx (black), turmeric (yellow), banana suckers (blue), or marinade citrijolia (red). Of these colors, red was the most prized. The preparation of weaving materials can be lengthy, depending on the plant. The hibiscus fiber needs soaking in sea water for several days while the banana fibers need to dry in the sun and then each fiber is separated into thinner strands. Elders on contemporary Kosrae continue to practice weaving for it serves many uses.\n\nCarving : Carving in Kosraean culture is carried out by the mukul (men). They carve many items, including tok yot (stone fafa pounder), tok sak (wooden pounder for taro and banana for a dish called ainpat), tah (an axe for cutting breadfruit), fuhfak (for wooden handle of an axe used for firewood), oak (canoes), tuhp in fafa (wooden tray shaped like a boat used for presenting fafa), and mwe ahryahr (wooden spoons of many types including long or short or flat ones). The laklak (outrigger of a canoe) is another item which needs to be carved. Carving of toys and wooden sculptures. Oars that are carved along with the canoes.\nBuilding Local House : There are many kinds of houses which can be built using Kosraean methods, including in um (a cooking house), imun oak (canoe house), and iwen monglac (local resting house). Building a local house has always been a community effort, even today; although, of the heavier work is done by the mukul (men) and the weaving for the thatch on the roof is carried out by the muhtacn (women). The mukul will go into the forest to obtain materials from the forest and sometimes from mangroves, depending the type of wood needed for a particular type of house. There are five main sizes of wood needed to build a house and ten parts of the house requiring these five sizes of wood. The sru (posts) are the largest size and heavy. Moving them may be accompanied with a work chant which serves as motivation in lifting, moving, or pulling of the heavy objects. The next size includes kaclacp, lala, and ohl. The kaclacp and lala supports the ohl, which sets the height of the house. The next size wood is used for pokwuhsr (trusses). The next size smaller is used for sahkpahsr (rafters) and folo (beams). The smallest size are for the kwesrihk which is only for thatch roofing (it is where the thatch can be attached) and sukunum which is placed to support the thatch from the bottom. Cutting down the trees is according to the Kosraean moon calendar as is moving the logs from one part of the island to another to use the logs. Paksak (literally, floating of objects) refers to the right time to move the log from one place to another using rivers or channels. This is dependent on the tide. This practice existed because transportation was not available during that time so they usually cut down these big logs and used the chant to get the log to the shoreline and then move the log in the process of paksak to its new location.

It includes folklore music, dancing, and art performance shows. The folklore music sphere includes various forms of maquoms, feruzs, and tanovars, and different genres, including alla, o‘lan, yalla lapar, madhiya, terma, and khalfachi. The dancing sphere includes geographically diverse national styles as solo performances, duets, group dancing, men’s dancing, women’s dancing in addition to the forms of Khorazm, Bukhara, Ferghana, and Surkhon oasis dances.\n\n1. Katta Ashula\nKatta ashula (a song performed with a plate) is specific to the Uzbek traditional song trend of Ferghana Valley. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style.\n\n2. Lapar\nLapar, a folklore song genre performed without musical instruments, is characterised by the narrow diapason and rhyme reiteration, which are not complicated by the melodic composition. The lapar is performed by girls and boys who compete with each other in the form of dialogue. In this competition, any girl in the circle can address any boy with lapar question, and the boy has to respond with lapar song. If the answer is appropriate, the boy is presented with gift of a handkerchief or a belt-kerchief.\n\n3. Askiya\nAskiya (witty joking) is a national art peculiar to Uzbek people. Askiya cannot be found in the cultural traditions of other people, in terms of humorous wit with the participation of many people in the form of live contest. Askiya is made up of plays on words and puns, both of which require life knowledge, skill, creativity, wisdom, and a high level of intelligence. Askiya masters who compete before big audiences openly and good-heartedly make sharp and witty jokes about the events and shortcomings of daily lives of their contemporaries.\n\n4. Show Arts\nIn Ferghana, the unique national customs, habits, and traditions are preserved. One of them is dorbozlik (ropewalking), which has been passed down for centuries from one generation to the next. These show programmes demonstrate colourful performances of diverse groups such as puppeteers, askiya jokers, lapar and o‘lan singers weightlifters, ropewalkers, snake charmers, all of whom are held with high regard and interest.