Spells and incantations are the ancient forms of ritualistic poetry accustomed since tribal development. They consist of few lines with firm words which endeavor to achieve their ends through the supernatural powers of words, sounds, and gestures. Spells and incantations are unique in a way that they are not used towards human but only towards natural phenomena. Spells and incantations are the ancient form of the literature that features the behavior to reach the goal with use of words, gestures and magic. Spells and incantation are classified into ordinary and special level. There is no restraint to the ordinary spells and incantation, and everybody can say and do it whatever time they wish. In reverse, only experienced person can do the special spells and incantations.

The Babadok is a traditional percussion instrument of Timor-Leste, central to the soundscape of communal dance, ritual, and celebration. With its deep, resonant rhythm, the babadok doesn’t just keep time—it sets the emotional pulse of an event, weaving together the steps of dancers, the cadence of songs, and the energy of the gathered community.\n\nTypically made from a hollowed-out log or wooden tube covered at both ends with animal skin—often goat or cowhide—the babadok is lightweight and portable. Struck with the hands or sometimes with short wooden sticks, it produces a sharp, dry beat that is both grounding and expressive. The drumheads are stretched tightly and tied securely with natural fiber ropes, sometimes decorated with paint or carved patterns. Over time, each instrument develops its own distinct tone, shaped by use, climate, and craftsmanship.\n\nIn traditional ceremonies, particularly dances like tebe-tebe or tebe-lilin, the babadok is the heartbeat of the performance. It provides tempo, signals changes in movement, and helps dancers synchronize their steps. More than a musical tool, the babadok becomes a channel through which emotions—joy, sorrow, gratitude—are communicated and shared. During ritual gatherings, it may accompany singing, recitation of oral histories, or moments of spiritual invocation.\n\nThe instrument is most often played by women, though in some regions both men and women participate. Its accessibility is part of its charm—anyone with rhythm, respect, and a sense of the tradition can learn to play. Children often grow up hearing the babadok played at family ceremonies or village festivals, absorbing its patterns and rhythms before they ever try it themselves.\n\nCrafting a babadok is itself an act of cultural care. The choice of wood, the drying and stretching of the skins, and the tying of the drum all follow methods passed down through generations. Elders often guide young artisans in this process, emphasizing not just the technique but the responsibility that comes with creating something used in sacred and social spaces.\n\nDespite its enduring importance, the babadok—like many traditional instruments—faces challenges in modern times. Mass-produced drums and changing musical preferences mean that fewer young people are learning to make or play it. Still, efforts are being made to preserve the tradition, with community performances, school programs, and cultural events placing the instrument back at the center of public life.\n\nIn the rhythm of the babadok, one can hear more than music: it is the sound of continuity, of people moving together, of ancestors remembered and futures imagined. Whether echoing across a dusty dance circle or softly beating in a sacred house, the babadok remains a powerful symbol of Timor-Leste’s living heritage.

Good quality of wood is chopped and smoothened. The top and body of the wood is curved. The top of wood has to be bored five holes that are called Nat ThaMee holes (hole in the body of harp). The holes of the body are plugged with wood flat, zinc flat and bamboo flat. It is better if it is covered with leather. Three strings are put on it. The plectrum is made of plastic or bamboo. According to the melody, three strings of the arm of the lute have to be pressed with the right hand and the left hand holds the plectrum and the plays the strings to produce the song. In the past, when young unmarried boys wanted to fall in love with a young unmarried girls but they didn’t dare to say anything to her, they expressed their feeling as song and rhetorical compositions or prosodies by playing Karean lute.Nowadays,it is played together with the other instruments. It has to be played at Karean traditional festivals, Karean plays and Union day ceremony.\n-35 inches in length\n-11 inches in the sound body\n-20 inches in the arm\n-5 inches in the plectrum

The ancestors blew this flute when they sentimentalized recalling their young memories. It was created in the double form to refer that the life sharing with other is better than the solitude. It's usually blown by the elders and the married persons. First and foremost the Mai Kha bamboo is cut into two pieces of flute in desired measure. The bigger one is referred as Julumar (female) and the smaller one is as Julumarchaw (male). The five holes are drilled on the bigger piece of flute or Julumar (female) with a heated sharp iron. One hole is also made at one end of Julumarchaw (male) flute with a knife. The blowing holes are made at the end of each flute. After completion of all making process, those two flutes are tied with the strings. Keeping the double flute in the mouth, it is blown making sound by maneuvering the strength of the tongue and tuning with the fingers at the holes. Each flute can be blown separately. Julumar flute has to be blown by opening and closing the holes with the rest fingers after pressing the thumbhole with the thumb. But the traditional melodies can be blown with these flutes.\n-1 inches of length\n-2.5 inches of circumference for Julumar flute\n-1 inch circumference for Julumarchaw flute\n-4.5 inches from the mouth-hole to the first finger hole\n-4.5 inches from the mouth-hole to the thumbhole\n-1 inch apart among each finger holes (1,2,3,4)\n-3 inches apart between finger hole (4 and 5)

"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''.

The flute (pa lwei) is a wind instrument which consists of a hollow tubed played by blowing through a hole at one end. There are two kinds of Myanmar flutes: The "khin balwei" and the "kjo palwei". The khin balwei is commonly played. It has a ventage and a reed at the blowing end. The kjo balwei has no reed. Blowing the kjo balwei may be seen in the murals at Ananda and Mingalar Zedi in Bagan. Earlier flutes are wood or plastic. The ventage holes are made according to the diameter of the bamboo. Altogether 10 holes are perforated: seven finger holes, thumb- hole, the membrance hole and the "pinkelu" hole. The membrance hole is now not made because it tends to produce a shrill sound.\nIn preparing the tube, the lowest hole is perforated at two- thirds of the way up the flute. Then the six holes are perforated at distances according to the diameter of the bamboo. 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 "pinleku: vent hole is perforated between the topmost finger hole and the tube end. The membrane hole lies between the vent hole and the seventh hole. \nThe flute can be seen playing together with the shawm in pot- drum troupe, dobat troupe, classical music troupe, modern music troupe. The flute comes in two sizes: the big and small. The flute can cover the chromatic scale.

The flute (pa lwei) is a wind instrument which consists of a hollow tubed played by blowing through a hole at one end. There are two kinds of Myanmar flutes: The "khin balwei" and the "kjo palwei". The khin balwei is commonly played. It has a ventage and a reed at the blowing end. The kjo balwei has no reed. Blowing the kjo balwei may be seen in the murals at Ananda and Mingalar Zedi in Bagan. Earlier flutes are wood or plastic. The ventage holes are made according to the diameter of the bamboo. Altogether 10 holes are perforated: seven finger holes, thumb- hole, the membrance hole and the "pinkelu" hole. The membrance hole is now not made because it tends to produce a shrill sound.\nIn preparing the tube, the lowest hole is perforated at two- thirds of the way up the flute. Then the six holes are perforated at distances according to the diameter of the bamboo. 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 "pinleku: vent hole is perforated between the topmost finger hole and the tube end. The membrane hole lies between the vent hole and the seventh hole.\nThe flute can be seen playing together with the shawm in pot- drum troupe, dobat troupe, classical music troupe, modern music troupe. The flute comes in two sizes: the big and small. The flute can cover the chromatic scale.

Larchit means the orphan and Phyili does the flute. So, the compound words of LarchitPhyili stands for the orphan's flute. In the ancient time, there was an orphan. He had a chicken. One day, his chicken died. He discovered a sentimental melody through blowing a hole of a thigh of his dead chicken. The LarchitPhyili bamboo flute derived from that chicken thigh flute. Cut a Marbarlar bamboo in desired measure and bore the number one, two and three holes of the fingerboard parting one inch each among them with a heated sharp iron. The mouth-hole is bored at the other end of the flute. A sheath is put on the top of the flute to make a better sound. Blow the mouth-hole maneuvering the holes of fingerboard with fingers. The traditional melodies or the melodies of guitar can be blown with it.\n-1.1 feet in length\n-1 inches in circumference\n-1.5 inches in length of top sheath\n-5 inches in length from the mouth-hole to the hole of fingerboard\n-5 inches interval between fourth and fifth holes of fingerboard

The drum circle was already established A.D 1544 accorning to a mention in the Glass Palace Chronicle. In the Inwa period (1364- 1555), The drum circle was already established as part of the ceremonial entrance and exit of the kings of that time. The slats are made of Yamane (Gemelina arborea) which is smooth- grained, tough, not easily chipped, which propensity not to warp and easy to transport. \nDrum players for the monarch are expected to be quick at withdrawing their hand after striking a drum or else the hand could be caught in the strings of hide which hold the drums hung from the tips of the slats. It is essential for the sound of the drum to be firm, distinct, loud sounding as desired, accurate and resonant.

The dried gourd represents the father and the five reeds represent five sons. The first reed represents the son who lives on mountain. The second one does the son who lives in slope of mountain. The third one does the son who lives in the foot of mountain. The fourth one does the son who lives in the plain land. The fifth one does the son who lives in abroad. No matter where they live, the unity means everything for them.\nFive flutes are made of reed cut in desired measure. One hole is bored in each flute with a heated sharp iron. A reed is put in each flute to make pleasant sound. All five flutes are tied together and fixed at the hole of gourd. For the airproof, the hole of the dry gourd connected with the flutes is covered with the beeswax. It's blown by blowing at the mouth-hole of the gourd opening and shutting the holes of flutes with fingers

The dried gourd represents the father and the five reeds represent five sons. The first reed represents the son who lives on mountain. The second one does the son who lives in slope of mountain. The third one does the son who lives in the foot of mountain. The fourth one does the son who lives in the plain land. The fifth one does the son who lives in abroad. No matter where they live, the unity means everything for them.\nFive flutes are made of reed cut in desired measure. One hole is bored in each flute with a heated sharp iron. A reed is put in each flute to make pleasant sound. All five flutes are tied together and fixed at the hole of gourd. For the airproof, the hole of the dry gourd connected with the flutes is covered with the beeswax. It's blown by blowing at the mouth-hole of the gourd opening and shutting the holes of flutes with fingers

Long lasting eaglewood is curved the pattern of circular, egg and triangle and four strings are put on it. Jute fibers was used at ancient time. String of fish rod can be used. Nowadays, guitar string No (1) is used. It is played according to banjo song that hears from ear. It can play traditional melody. Bow is put between the strings and strikes one beat to the upperand then to the lower string. It has to be systematically played at Lesu traditional dance ( CharNaew Char ) as non-professional playing. It must played only for traditional melody.\n-2 feet 3.5 inches in Length\n-1 feet 2.5 inches in Length of sound body\n-1 feet 1 inch in Arm of guitar\n-1.5 feet in Thickness