The traditional village troupe performs the puppet shows in countryside at the traditional village festival and for tourists. The puppeteers manipulate the puppets by hand with string. The puppet shows with music and story tell about the farmer’s life and countryside activities. The film demonstrates the connection between the puppetry and the worship of the communal god that the show is an important performance at the traditional village festival.

The water puppet theater troupe of Hong Phong formed in Bo Duong Village, about 60 km east of Hanoi. Hong Phong water puppet theater is believed to have begun in the late seventeenth century-the shapes of the puppets used in this art were found carved on the pillars of the village temple. The troupe performs for visitors to the village's traditional festivals, recounting various stories about farmers' lives and the village through puppetry accompanied by music.\n\nThis video demonstrates the connection between the puppet theater and communal worship, in addition to the significance of the performance in Hong Phong Commune.

The Kaiui—also known as fui or be’u in different regions—is a traditional bamboo flute of Timor-Leste, cherished for its gentle, evocative sound that once echoed across rice fields, hilltops, and quiet village evenings. Long associated with solitude, emotional expression, and storytelling, the Kaiui is more than just a musical instrument—it is a vessel of memory and connection.\n\nTraditionally crafted from au-fafulu, a specific type of bamboo, the Kaiui features seven tone holes and is often about the length of a forearm. A key part of its design is the use of a corn cob or similar material to block part of the internal chamber, modifying the flow of air and shaping the distinctive tone. The player blows across the top opening while controlling the pitch with their fingers, producing melodies that are haunting, meditative, and subtly expressive.\n\nFor generations, the Kaiui was used by boys tending livestock in the fields, especially in the early mornings or during midday rest. It was played to pass the time, soothe animals, or simply to ease loneliness. Others used it to express feelings of longing—especially in matters of love, separation, or remembrance. In many communities, the flute is considered a deeply personal instrument, capable of giving voice to emotions that are otherwise difficult to speak.\n\nThe art of playing Kaiui is learned informally, typically by observing and mimicking older siblings, parents, or elders. There is no standard notation; the music lives through imitation, memory, and improvisation. Songs vary from region to region and even from player to player, with some tunes tied to seasonal rhythms or traditional events like sau-batar (harvest ceremonies) or rites of passage.\n\nThe Kaiui also plays a role in certain rituals and ceremonies, where its sound is believed to create a space of calm, welcome ancestral spirits, or accompany reflective moments. Its simple construction and natural materials reflect a worldview grounded in harmony with the environment—a flute made entirely from what the land provides, played under the open sky.\n\nToday, however, the practice of making and playing the Kaiui is increasingly rare. As younger generations turn to electronic music and imported instruments, the quiet music of the bamboo flute is fading from everyday life. In some communities, it survives primarily as a cultural demonstration during festivals or heritage programs.\n\nEfforts to preserve the Kaiui are now underway through workshops, school projects, and intergenerational exchanges. In these spaces, the flute is not only played but celebrated—as a living symbol of Timor-Leste’s musical heritage and a gentle reminder of how sound, memory, and identity are woven together in the simplest of forms.

Elegant, joyful, and rooted in everyday village life, Bidu Lensu-Mutin—the White Handkerchief Dance—is one of the most beloved traditional dances in the Suai Loro community of Covalima, Timor-Leste. Performed by young girls with white scarves in hand, the dance is a celebration of welcome, harmony, and feminine grace, passed from mother to daughter over generations.\n\nThe name lensu-mutin comes from the Tetun words for “white handkerchief,” which the dancers carry as they move in coordinated steps and gestures. The origin story, widely shared in oral tradition, speaks of seven girls who danced with white scarves to welcome their community members back from a corn harvest. Their spontaneous joy and coordinated movements captured the spirit of unity and gratitude, and the dance has been cherished ever since.\n\nPerformed during weddings, religious celebrations, community gatherings, and rituals involving sacred houses (uma lulik), Bidu Lensu-Mutin carries layers of meaning. The white scarf symbolizes purity, blessing, and good intentions. Dancers use it to wave, twirl, and gesture in graceful arcs, often moving in circular or serpentine formations that reflect the flowing rhythm of traditional life.\n\nAccompanied by soft babadok drumming and gentle singing in the Tetun-Terik language, the dance creates an atmosphere of warmth and welcome. The songs, often metaphorical, may include blessings for the couple in a wedding, prayers for peace in a community, or expressions of joy and connection. In some versions of the performance, older women sing while the younger girls dance, creating a multigenerational moment of transmission.\n\nLearning the dance happens organically within families and the community. Young girls imitate their older sisters, mothers, and aunts at ceremonies or home gatherings. In recent years, schools have also incorporated the dance into cultural programs and performances, ensuring its continued presence in the lives of younger generations.\n\nWhat sets Bidu Lensu-Mutin apart is its gentle spirit and universal appeal. It does not require elaborate costumes or formal training—just the willingness to move together with grace and intention. The dance represents a form of cultural continuity that is deeply tied to everyday experiences and shared values: welcoming guests, honoring ancestors, and expressing collective joy.\n\nThough still widely practiced in Suai Loro and surrounding communities, cultural leaders recognize the importance of continued teaching and celebration. As modern influences shape young people’s interests and identities, Bidu Lensu-Mutin offers a graceful reminder of the beauty found in tradition and the strength found in unity.

“The Spirit of the Steppe: Mongolian Horse Culture” takes viewers on a powerful journey into the heart of Mongolia’s nomadic heritage—where horses are more than animals; they are partners in survival, symbols of strength, and spiritual companions.\n\nFor centuries, Mongolians have relied on horses for hunting, warfare, migration, transport, food, and drink. From galloping across the steppe to brewing healing mare’s milk (airag), horses are central to every aspect of nomadic life. Their unmatched endurance, compact build, and gentle temperament make Mongolian horses ideal for long rides, harsh climates, and riders of all ages.\n\nThis documentary explores how foals are trained from a young age, classified into herding, racing, catching, or event horses, and how they are selected for leadership based on traits like stamina, courage, and gait. Viewers will also discover Mongolia’s diverse horse breeds—like Galshar, Tesin Gol, and Darkhad—each adapted to different terrains, from desert to mountains.\n\nWith deep respect, herders care for their horses using centuries-old techniques such as acupuncture, moxibustion, and mindful riding practices. Tools like saddles, bridles, hobbles, and brushes are passed down through generations, and always stored in the honored western side of the ger.\n\nThe film also highlights horse-related rituals and songs, sung when milking mares, calming foals, or praising racehorses. These traditions, rich in emotion and wisdom, echo the unique bond between herder and horse—a bond built on trust, respect, and shared purpose.\n\nMongolian horses are not only fast and hardy—they’re loyal, intuitive, and capable of navigating home across vast distances. With each gallop, they carry the legacy of the steppe.

Jatis Waram is the second sequence in the Bharatanatyam, a dance comprising 7 sequences. Bharatanatyam is the oldest dance in India, originating from a religious dance performed by female dancers (Devadasis) for the gods in Hindu temples. Like majority of Indian traditional dances, it is based on a religious narrative. Although it used to be performed by a single female dancer, it is now common for 2 or more dancers or male dancers to participate in the dance.\n\nBharatanatyam is characterized by its powerful rhythms. Dancers execute complex steps and detailed hand gestures (mudra) while keeping the upper body still and bending the legs or placing the heel down on the floor. The rhythms of the ghungroo (bell instrument worn on the ankles) further elevates the mood. The dancer delivers the message of the dance through highly controlled facial expressions down to the movements of the eyebrows and eyes.\n\nBharatanatyam was an esoteric art form until the 20th century as it was traditionally performed only in temples. Today, it is taught in many schools and organizations, acting as a source of artistic inspiration in all genres of Indian art, from music to songs, poetry, painting and sculpture.\n\nCharacteristics:\n∙One of the 8 major traditional dances recognized by the Indian government\n∙Originates from a religious dance performed by Devadasi female dancers in Hindu temples\n\nPerformed by Divya Jay Pitel, Radhika Nemina\nDirected by Parul Shah

Rooted in the ancestral traditions of the Fatumea and Fohorem communities in Covalima Municipality, Tebe Otas-Uluk is more than a dance—it is a collective act of memory, identity, and reverence. The name itself combines “tebe” (a traditional line dance) with Otas (ancestor) and Uluk (first or origin), signaling a ritual expression dedicated to those who came before.\n\nTraditionally performed by the elders of the community, this dance takes place during important communal gatherings such as ceremonies of healing, protection, thanksgiving, or agricultural celebration. Participants often wear traditional attire and move in side-by-side formations, linked by hands or shoulders, stepping rhythmically in unison to the beat of local drums, gongs, or the babadok (a hand-held percussion instrument). The dance circle forms a symbolic space where the living and the spirits of the ancestors meet.\n\nWhat sets Tebe Otas-Uluk apart is its solemn and purposeful character. The movement vocabulary is simple yet powerful: synchronized steps, grounded footwork, and fluid arm gestures that flow with the communal rhythm. Songs are chanted throughout the dance in the Tetun-Terik language, often carrying metaphorical meanings related to the land, family, and the ancestors’ wisdom. The lyrics function as oral archives, preserving knowledge and history that is not written but remembered through voice and motion.\n\nBecause of its deep spiritual roots, this dance is only performed on specific occasions, often after traditional leaders conduct consultations with spiritual entities or conduct rituals to prepare the ground. Each gesture, each chant, is believed to activate a connection to the ancestral realm—inviting blessings, healing, or protection for the community.\n\nIn recent years, however, the practice has become increasingly rare, with fewer young people learning the movements or understanding the embedded meanings. Despite this, dedicated elders continue to lead and teach the dance, ensuring its survival as a living heritage. For them, Tebe Otas-Uluk is not simply a performance—it is a prayer in motion, a ceremony that anchors the community to its origins and affirms its cultural continuity.

Ta-Lut flute is made of bamboo. The holes of this flute are to be perforated at distances according to the size of flute. There are a total of 10 perforated holes including 7 finger holes, a thumb-hole, a membrane hole and a vent hole. In perforation process, mark the three divisions on the bamboo stick with the same distance. The lowest finger holes must be perforated at the starting point of second division, and the six finger holes at the same gap according to diameter of bamboo stick. The thumb-hole is perforated on the lower side of the flute at the point half- way between the upper sixth and seventh hole. The vent hole is perforated between the topmost finger hole and the tube end. The membrane hole is between the vent hole and the seventh hole. This wind instrument consists of a hollow tube and has to be played by blowing through a open hole at one end. Its melody includes vibration frequency according to Mon traditional songs.\n-1 feet 5 inches in length\n-1.5 inches in diameter

The people of Drangmaling-Nangar village in Tsamang Gewog, Mongar Dzongkhag in the eastern district gather every two years to perform Khar-phued. Literally, dairy product; milk, curd, cheese, butter, etc. were used as offerings. In other words, Kar means "wheat", Phued means "offering" - it is the offering of the first wheat harvest. \n\nKharphu is a Bon ritual festival used to pay homage to local deities and ensure the well-being of the community, its households, livestock and crops. Kharphu is celebrated from the 26th day of the fourth month to the 2nd day of the fifth month according to the Bhutanese calendar. \n\nThe village elders trace the origin of this ancient festival to the days of the creation of earth and sky (sachag namchag), as they do not know the exact century of origin or when it was held. The program and its components have been entirely preserved and passed down through oral tradition. This includes the ritual nightly exchange of songs that extends throughout the week. Apparently, this festival is in great danger of being lost in the modern cultural landscape.

"There are over 120 different types of knucklebone games are played in Mongolia, and the “knucklebone shooting” is the most common spread one among the general public. The Knucklebone shooting is a traditional game that contains the traditional custom and culture in complex way. Shooting tablets are flicked towards 30 pieces of ''Khasaa'', a target laid on a zurkhai (wooden surface) in a given order depending on the current game, at a distance of 9 elbows (4.72meters). It is a team game that each team competes by shooting to knock down more of the khasaa than the other. During tournaments, shooters communicate not in words, but by singing ''Knucklebone Shooting'' melodies and tunes such as ''Hail you, friend',' ''Hit the target,'' ''Hail the board'' that sound more or less like ''Long Songs''.

It is made of the hard bamboo which can be got from a long distance. Kayans cut the grain of bamboo into a thin layers and dry it in the air for making the sound string. There are eight bamboo strings in the instrument. This instrument is made by themselves. The player holds the bamboo harp by his hands and plays by his right and left fingers. In playing, the player plays and sings the lyrics and words of the song. When they go courting, they sing and play music to each other, composing their feeling and how they love. There are group songs. Since yore, this harp has been preserved and handed down from generation to generation as a traditional heritage. There is no exact record in what year and era it appeared.\n-30.5 cm in the length of the first string\n-33.4 cm in the length of the second string\n-37.1 cm in the length of the third string\n-39.6 cm in the length of the fourth string\n-42.2 cm in the length of the fifth string\n-43.5 cm in the length of the sixth string\n-49 cm in the length of the seventh string\n-52 cm in the length of the eighth string\n-2 cm in The distance of the string\n-The length of the bamboo harp is 72.5 cm\n-The circumference of the harp is 44 cm

It is made of the hard bamboo which can be got from a long distance. Kayans cut the grain of bamboo into a thin layers and dry it in the air for making the sound string. There are eight bamboo strings in the instrument. This instrument is made by themselves. The player holds the bamboo harp by his hands and plays by his right and left fingers. In playing, the player plays and sings the lyrics and words of the song. When they go courting, they sing and play music to each other, composing their feeling and how they love. There are group songs. Since yore, this harp has been preserved and handed down from generation to generation as a traditional heritage. There is no exact record in what year and era it appeared.\n-30.5 cm in the length of the first string\n-33.4 cm in the length of the second string\n-37.1 cm in the length of the third string\n-39.6 cm in the length of the fourth string\n-42.2 cm in the length of the fifth string\n-43.5 cm in the length of the sixth string\n-49 cm in the length of the seventh string\n-52 cm in the length of the eighth string\n-2 cm in The distance of the string\n-The length of the bamboo harp is 72.5 cm\n-The circumference of the harp is 44 cm