Aytysh is a musical and poetic competition of two akyns in the art of improvisation or verbiage. Aytysh is performed to the accompaniment of komuz. In aytysh, the intonation and improvisational tradition of performing arts is especially manifested. The competition takes place in the form of a dialogue with sparkling versification, composed and improvised during the competition on various topical topics. The themes of aytysh are multifaceted, deep reflections are expressed in them, in which sparkling humor is interspersed with philosophical generalizations.

Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practised on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitys and use the contest to express women’s aspirations and viewpoints.

Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practised on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitys and use the contest to express women’s aspirations and viewpoints.

Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practised on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitys and use the contest to express women’s aspirations and viewpoints.

Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practised on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitys and use the contest to express women’s aspirations and viewpoints.

The participants of the music and poetic competition in 1930

Dikir Barat is a new traditional arts form if compared to others of the same genre, as well as most liked amongst the normal Malay communities in villages and city fringes in Kelantan. In that state it is more popular with the name ‘Dikir Barat’ while in Southern Thailand it is called ‘Dikir Karut’. This arts form has been listed as a National Heritage in the year 2009. The word ‘dikir’ is a product of the combination of two arts that are ‘dikir’ (loosely translated as ‘song’) and ‘pantun’ (‘quatrain’), or ‘dikir’ and ‘karut’ (loosely translated as ‘story’). The word ‘karut’ is from the terminology ‘to tell stories in the form of quatrain or poem’. Thus, the names Dikir Barat, Dikir Karut, Dikir Pantun and Dikir Syair have the same meaning. There are those who opinied that Dikir Barat originated from southern Thailand with the name Dikir Karut. There are those who said that it was the product of the arrangement made by Haji Mat Salleh bin Haji Ahmad (known as Pak Leh Tapang) who improvised this arts form by adding quatrains in it. There are others who mentioned that it originated from Tebu Island, Kelantan. This arts form is normally practiced during paddy harvesting season and wedding ceremonies as entertainment or competition. The content revolves around current issues and lives of universal societies. The performance of a Dikir Barat group is headed by a Tukang Karut (‘The Storyteller’) and Tok Juara (‘The Champion’). They tell ‘stories’ by exchanging quatrains, reciprocated by loud and clear background voices of the Awak-Awak (group members) who don’t need to clap hands, just sufficient to place their palms on their respective cheeks to louden their voices. In a competition normally there are two group participants at a time and using the Kelantanese dialect. They exchange quatrains, insinuating, as if in jester and for entertainment only. At the end of the performance a group’s Storyteller delivers a sad song and requests for forgiveness at the thought of the fate of the Storyteller. At its early development a Dikir Barat performance only used audiphone equipment that were bamboo pieces, knocked to produced the rythmic beat of this arts form. Nowadays, it uses an ensemble of a gong, two small hand-held drums and a pair of maracas, cymbals and small bells. In yesteryears this arts form was a past time game and normally held in a bamboo hut with wooden floor and coconut leaves roof top. However, now Dikir Barat is well-known all over the country and can be seen on TV screen. Its development is also difficult to contain as it often receives changes, like its performance form, according to the era.

Dikir Barat is a new traditional arts form if compared to others of the same genre, as well as most liked amongst the normal Malay communities in villages and city fringes in Kelantan. In that state it is more popular with the name ‘Dikir Barat’ while in Southern Thailand it is called ‘Dikir Karut’. This arts form has been listed as a National Heritage in the year 2009. The word ‘dikir’ is a product of the combination of two arts that are ‘dikir’ (loosely translated as ‘song’) and ‘pantun’ (‘quatrain’), or ‘dikir’ and ‘karut’ (loosely translated as ‘story’). The word ‘karut’ is from the terminology ‘to tell stories in the form of quatrain or poem’. Thus, the names Dikir Barat, Dikir Karut, Dikir Pantun and Dikir Syair have the same meaning. There are those who opinied that Dikir Barat originated from southern Thailand with the name Dikir Karut. There are those who said that it was the product of the arrangement made by Haji Mat Salleh bin Haji Ahmad (known as Pak Leh Tapang) who improvised this arts form by adding quatrains in it. There are others who mentioned that it originated from Tebu Island, Kelantan. This arts form is normally practiced during paddy harvesting season and wedding ceremonies as entertainment or competition. The content revolves around current issues and lives of universal societies. The performance of a Dikir Barat group is headed by a Tukang Karut (‘The Storyteller’) and Tok Juara (‘The Champion’). They tell ‘stories’ by exchanging quatrains, reciprocated by loud and clear background voices of the Awak-Awak (group members) who don’t need to clap hands, just sufficient to place their palms on their respective cheeks to louden their voices. In a competition normally there are two group participants at a time and using the Kelantanese dialect. They exchange quatrains, insinuating, as if in jester and for entertainment only. At the end of the performance a group’s Storyteller delivers a sad song and requests for forgiveness at the thought of the fate of the Storyteller. At its early development a Dikir Barat performance only used audiphone equipment that were bamboo pieces, knocked to produced the rythmic beat of this arts form. Nowadays, it uses an ensemble of a gong, two small hand-held drums and a pair of maracas, cymbals and small bells. In yesteryears this arts form was a past time game and normally held in a bamboo hut with wooden floor and coconut leaves roof top. However, now Dikir Barat is well-known all over the country and can be seen on TV screen. Its development is also difficult to contain as it often receives changes, like its performance form, according to the era.

The bilum of Papua New Guinea is a timeless record of the country’s intangible cultural heritage. In this exhibition, bilum pieces from twenty-five provinces in Papua New Guinea are showcased. Communities have their own distinct art designs and skills of making bilum based on ethnic tribes and environmental context.\n\nFuture of Bilum.\nSafeguarding traditional knowledge and skills on bilum-making enables the current generation to honor and dignify the cultural identity of traditional societies.\n\nTraditional social systems have been evolved in modern society. The sacred bilum is now being used by the ordinal class individuals daily. And bilum dressing is common among school aged youth. As a valuable cultural item, the sacred bilum must be used in these activities for future generations.