The element is recognized as one of the main elements of cultural and social identity for the regions in which it is crafted and played. The bearers and practitioners are mostly farmers including men as crafters and players and women as players, and recently a number of them are young researchers of both genders. Its traditional knowledge of crafting and playing is informally transmitted through generations by the master-student method. This element is seen in local, oral and written literature (including local poems, proverbs, chants and lullabies) which constitute a part of nature, history, and background of the bearers. As this element is shared by a number of communities, groups and individuals, it brings mutual respect and understanding amongst the communities concerned.\nDotār is a folkloric plucked-string musical instrument that has been played in social and cultural events/spaces such as weddings, parties, celebrations, ritual ceremonies etc. Dotār has a bowl which is pear-shaped and made of dried wood of dead mulberry tree and its neck is made of apricot or walnut wood. It has two strings traditionally made of silk which been replaced with metal wires nowadays. Some believe that one string is male and functions as accord and the other is female which plays the main melody.\nThe crafters also repect nature as they use dead and dried wood for making Dotār.\nIt is not in opposition toward the national and international instruments like Universal Human Rights Declaration, sustainable development , etc.

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018\nLkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor \ngods.\n\nMetal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body \ndraping from the left shoulder to the opposing right hip.

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018\nLkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor \ngods.\n\nMetal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body \ndraping from the left shoulder to the opposing right hip.

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018\nLkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor \ngods.\n\nMetal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body \ndraping from the left shoulder to the opposing right hip.

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)

Dombra is a traditional Kazakh musical instrument and object of material culture. The origin оf the name 'dombra' is associated with the activities of the voodoos ('baqsy', 'qam') - the shamans. It is believed that the prototype of the current dombra originated 4000 years ago.\nThe magic formula 'dem bura' translates as "tune the breath", "revive (turn off) the instruments embodies the principle of assimilation of a living creature. In the process of evolution has acquired a stable dombra aesthetic function, form and substantive nature.\nDombra consists of two strings (sometimes three and four string) is pear-shaped with a thin elongated neck and head with two pins. The tool is designed to accompany the singing and play kuys. Masters use two methods of manufacturing dombra: traditional and modern.

The art of crafting and playing with Kamantcheh/kamancha (“little bow”), a bowed string instrument, has exsited for more than 1,000 years. In Iran and Azerbaijan, types of this art constitute major elements of classical and folkloric Music. Classical Iranian Music refers to the urban music with “Radif” repertoir; the Folkloric Kamantcheh Music refers to the mainly rural musical traditions of Azarbayjan, Lorestan, and Torkaman Sahra.\nIn both countries, contemporary practitioners mainly make and use four string Kamantcheh/kamancha composed of a body (chamber, neck and pegs) and a bow with horse-hair. Some Folkloric variants with two or three strings are also popular in Lorestan, Azarbayjan, or Torkaman Sahra, Iran(also, cf.D).\n

Dombra is a traditional Kazakh musical instrument and object of material culture. The origin оf the name 'dombra' is associated with the activities of the voodoos ('baqsy', 'qam') - the shamans. It is believed that the prototype of the current dombra originated 4000 years ago.\nThe magic formula 'dem bura' translates as "tune the breath", "revive (turn off) the instruments embodies the principle of assimilation of a living creature. In the process of evolution has acquired a stable dombra aesthetic function, form and substantive nature.\nDombra consists of two strings (sometimes three and four string) is pear-shaped with a thin elongated neck and head with two pins. The tool is designed to accompany the singing and play kuys. Masters use two methods of manufacturing dombra: traditional and modern.

Dombra is a traditional Kazakh musical instrument and object of material culture. The origin оf the name 'dombra' is associated with the activities of the voodoos ('baqsy', 'qam') - the shamans. It is believed that the prototype of the current dombra originated 4000 years ago.\nThe magic formula 'dem bura' translates as "tune the breath", "revive (turn off) the instruments embodies the principle of assimilation of a living creature. In the process of evolution has acquired a stable dombra aesthetic function, form and substantive nature.\nDombra consists of two strings (sometimes three and four string) is pear-shaped with a thin elongated neck and head with two pins. The tool is designed to accompany the singing and play kuys. Masters use two methods of manufacturing dombra: traditional and modern.

Dombra is a traditional Kazakh musical instrument and object of material culture. The origin оf the name 'dombra' is associated with the activities of the voodoos ('baqsy', 'qam') - the shamans. It is believed that the prototype of the current dombra originated 4000 years ago.\nThe magic formula 'dem bura' translates as "tune the breath", "revive (turn off) the instruments embodies the principle of assimilation of a living creature. In the process of evolution has acquired a stable dombra aesthetic function, form and substantive nature.\nDombra consists of two strings (sometimes three and four string) is pear-shaped with a thin elongated neck and head with two pins. The tool is designed to accompany the singing and play kuys. Masters use two methods of manufacturing dombra: traditional and modern.

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.

Inn traditional big drum has an approximate lifespan of 300 years. It is played in two occasion; Inlay Phaung-taw U Pagoda festival which is held once a year and Drum festival in Kasone (May). Traditional sword dances are performed in drum festival. The oldest this traditional big drum with an approximate lifespan of 300 years is displayed at Shan Cultural Museum. \nCut a piece of Yamanay log into the desired length and hollow out the log. Then, both ends are covered with leather and tied with leather strings. It is adjustable. It is played by hitting the drumhead with hand. The traditional big drum is played for classical songs and usually played with oboe.\n-2 feet in length\n-6 feet in circumference\n-1 feet 2 inches in diameter of right head\n-1 feet 8 inches in diameter of left head