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Lakadou is a traditional musical instrument from Timor-Leste, crafted exclusively from bamboo. It combines the characteristics of strings or threads created from the bamboo itself. The construction of Lakadou showcases deep ancestral knowledge of sustainable natural material use. Its unique and melodic sound is produced by thin pieces of bamboo, carefully carved and stretched to act as strings. This instrument symbolizes the harmonious connection between Timorese culture and nature.

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Swallow's nest Harvesting Occupation in Thanh Châu is associated with Thanh Châu village (Yến village) - the first and only village in Hoi An to form the bird's nest exploitation profession. Swiftlets use their saliva to make nests called bird's nests. The exploitation area of the profession is in a cave of some islands in Cù Lao Chàm, about 15km from the mainland - where swiftlets live and make nests. With the experience, knowledge, customs, and taboos in the practice process, along with the tools and means to exploit bird's nests, and especially with the gift of bird's nest products from nature, during the existence and development of the Thanh Châu bird's nest exploitation profession, it has created a valuable bird's nest product for Hội An. The bird's nest ancestor worship ritual is held at the ancestor temple in Cù Lao Chàm and in Thanh Đông village - Cẩm Thanh on the 10th day of the third lunar month every year to give thanks and pray for a safe and successful new exploitation season.

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The Traditional Bronze Casting of Che village (Tra Dong) has a history of thousands of years and has been preserved, maintained and promoted to this day. According to legend, the profession dates back to the end of the Tien Le dynasty and the beginning of the Ly dynasty, brought to the village by two people with the surname Vu. The mold-making stage with two types of outer molds and molds is the most important. Bronze casting tools include: a pot, a tube and a fire-blowing tank. The main materials are copper and metals mixed according to a secret formula. The fuel for cooking copper is coal. The melting temperature is about 800 to 1000 degrees Celsius. The practitioner is male. When cooking, the craftsman observes by experience to know when to pour it into the mold. When pouring copper into the mold, the copper must flow evenly and pour continuously until it is full. They have experience so that the copper expands and releases gas quickly, does not stick to the mold and cracks the product. The final stage is to cool and polish the product. Many bronze casting products are rich in form and diverse in types and are consumed nationwide and exported abroad. With skillful and talented hands, artisans have restored traditional products such as: casting bronze drums, bronze gongs, bronze statues, worship items, incense burners, animal figures... and the most outstanding is the art of casting Dong Son bronze drums with sophisticated patterns and details according to ancient patterns and designs. Currently, the number of establishments maintaining and developing the bronze casting profession in Tra Dong craft village is more than 130 households. These establishments provide regular jobs for nearly 400 workers. In 2018, The Traditional Bronze Casting of Che village (Tra Dong), Thieu Trung commune, Thieu Hoa district, Thanh Hoa province was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage.

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The Sticky Rice Chupatty Making has existed for a long time in the locality. The cake is made from 2 types of flour: sticky rice flour and tapioca flour, along with ingredients such as sesame, green beans, durian, jackfruit, coconut milk, chicken eggs, fresh green onions, sugar, etc. The sticky rice used to make the cake must be waxy, both fragrant and sticky. The coconut milk must be pressed from a dry, golden-brown coconut (just dried). The process of making the cake is very elaborate, going through more than 10 stages: The sticky rice is soaked for a few hours, then washed thoroughly, and steamed until the sticky rice is cooked. The cooked sticky rice is immediately poured into a mortar to pound with sugar and coconut milk. The sticky rice is pounded while still hot so the dough will be sticky quickly. The pounding stage determines whether the puffed rice cake is delicious or not. To make the cake puffier when baked, the bakers will add a little ground soybean flour. After pounding the dough, shape it into balls and roll them. When rolling the cake, the person peeling the dough must peel it evenly so that each piece of dough has the same weight, and must be skillful to make the cake round. In addition, whether the cake is delicious or not depends on the person turning the dough, who must turn it evenly, quickly and continuously so that the cake will rise and be spongy when baked. Here, they have 10 different types of cakes. The Sticky Rice Chupatty Making Son Doc, Hung Nhuong commune, Giong Trom district, Ben Tre province was included in the List of National Intangible Cultural Heritage in 2018 by the Ministry of Culture, Sports and Tourism.

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Bản Paper is a very important material product that is used regularly in the lives of the Red Yao people. This type of paper is made from natural materials, without using chemicals. Bản paper making techniques of the Red Yao in Viet Quang town is an elaborate process: choosing raw materials such as bamboo shoots (according to their own secret, choosing bamboo shoots from the end of January to the end of March of the lunar calendar), then soaking bamboo shoots, putting bamboo shoots in a soaking tank, soaking the tree to get the resin; putting raw materials in a coating tank, stirring the powder, coating the paper, pressing the paper, peeling the paper, drying the paper and finally collecting the paper, preserving... The technique of making paper represents humanistic values, containing many professional secrets that demonstrate the meticulousness, spirit, intelligence and experience of the Red Yao community and clan in Viet Quang town. Bản paper making techniques of the Red Yao in Viet Quang town (Bac Quang district, Ha Giang province) was included in the list of national intangible cultural heritage by the Ministry of Culture, Sports and Tourism in 2018.

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Lacquer painting in Tương Bình Hiệp was brought to this land by the people from the North and Central regions around the end of the 17th century. Wood is the base material for lacquer. The product is made through 2 stages of painting and polishing by hand. There are many types of lacquer such as lacquer painting, sunken painting, thin painting, hollowed out, embossed, and the most prominent is eggshell inlaid lacquer... A qualified lacquer painting must go through 25 stages that require meticulousness and elaboration. Depending on the type of product, the core will be made of different materials, such as wood used to make tables, chairs, cabinets, vases; plywood used to make paintings, boxes; ceramic used to make vases, statues; fabric or paper used as the core for products with light, thin designs such as bowls, plates, vases. The images drawn on the paintings are images close to the real life of the people such as landscape paintings, banyan trees, wells, communal houses, countryside, historical stories. All have created products with their own unique style.

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In the past, Tày families often grew their own cotton, spun yarn, and had looms to make products for their daughter's dowry to her husband's family, exchange, and sell to increase income and meet food needs. Many processes are needed to make a textile product, including as rolling, popping, wrapping, spinning, sizing, and spreading yarn. A loom, spinning wheel, bobbin, and cloth are some of the tools used in brocade weaving. card, card, pan. The Tày people have two types of weaving, plain weaving and patterned weaving (brocade weaving). To create a pattern, one must make a "card" to arrange the warp threads in a predetermined sequence: spread the threads on the loom, thread the cover, install the threads on the goblet - a jute shell material standing perpendicular to the plane of the fabric spread. Depending on the width of the pattern to be woven, the number of hemmed threads corresponds to the number of warp threads of that part. Each warp thread is installed with 1 heath thread and the middle clamp is made of a small bamboo stick (slẻ) installed across the wooden board. The system of "khau" and "slẻ" is the "recessed" design of each pattern motif designed by the weaver on the loom. When weaving a pattern, the worker steps on one side of the shoe to remind the warp threads, corresponding to each time the shuttle (mặc thẩu) pulls the weft thread, and 1 time the colored thread is inserted into the pattern motifs prescribed by the hem. In the layout of a brocade, there are usually two basic types of patterns: background flowers (frame borders, background lines alternating between pattern boxes and often using dark colors) and embossed flowers (pear flowers, star anise, eight-petal flowers, areca fruit flowers, and nhội flowers). Final products include a blanket cover (nả phà), canopy (phứn mản), sling cover (nả đa), and bag (thông lài). Typical patterns include cane leaf patterns used for curtains and baby diapers; Lake patterns are used when making scarves; Types of patterns used when making sling faces, blanket faces, etc.

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The craft of Sedge mat weaving in the Can Duoc district appeared in the 17th - 18th centuries with two popular local materials: bamboo and jute. There are two types of sedge: saltwater sedge and freshwater sedge. Jute is used to create warp and foot threads. The walking frame (walking comb) is the most important part of the mat-weaving loom. Before weaving, people shake, turn, and tie the jute fibers (warp, foot) to form the warped surface on the loom. When weaving mats, two people are needed: one person sets the frame and one person spins the thread. Each type of mat has different weaving technique requirements. Weaving techniques include: weaving plain mats and weaving floral mats (printed flowers and woven flowers). Plain mat: yarn cleaning technique - the person cleaning the yarn sequentially interlaces one base strand, and one tip strand, reversing each other, breaking the original cover, and so on until the product is completed. Printed flower mat: A dry, smooth mat placed on a flat surface and fixed to the four corners. Place the printing frame on the mat, use a bristle brush or color brush, and then sweep it onto the printing frame, the color will be printed on the mat. When the printing mat color is dry, steam absorption (cold steaming) is done to let the printing color absorb and adhere tightly to the sedge. Weaving flower mats: The technique is to interweave between dyed and white silk sedges as the background. Some types of woven flower mats are woven mats, border-striped mats, fine-striped mats, mother-striped mats. Weaving mats is the most difficult technique of weaving jacquard mats. The artisan uses the weaving technique of pressing the legs, cutting the legs, and connecting the legs of the weaver in coordination with the person cleaning the sedge so that the color of the sedge sinks or emerges on the white background, therefore it can create patterns that the artist has designed. There are three lever motifs: picture lever, letter lever, and pattern lever.

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The profession of making Dew-wet Rice Paper in Trảng Bàng district is more than 200 years old, originating from the land of Ngũ Quảng, Bình Định. The stages include choosing good rice, grinding rice into flour, coating the cake, drying the cake, baking, and dew drying. In particular, the point that makes the difference of dew-dried rice paper is that rice flour is added with a little salt to make it more flavorful and flexible; The paper is coated with two layers so that it is crispy when baked and exposed to dew at night without tearing. The paper is dried on a canopy during the day to dry, then taken down to bake. The oven is an aluminum pot (round-bottomed pot for cooking wine) placed at an angle. The worker quickly rotates the rice paper so that it puffs evenly, with small bubbles on both sides, and turns opaque white. The fuel for baking rice paper is peanut shells. After being baked, the rice paper is placed on a frame and waited until the dew falls, then the cake is exposed to dry for a short period of time. The mist slowly penetrates into the cake, making it soft, does not change color, and does not need to be dipped in water before eating. The person drying the paper must "wake up" with the paper, and wait until the rice paper has just absorbed the dew and is soft enough to put it in a bag lined with banana leaves to keep it soft and spongy. In addition to the skills taught, bakers need to be talented and know how to use their senses to feel the flavor of the paper. When eating, people peel off a sheet of rice paper, place it on a plate, then put in their favorite vegetables, melons, and bean sprouts, then add one or two pieces of meat and roll it up to fit their mouth, dipping in the water of fish sauce.

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Carpentry of Kim Bồng is a traditional craft that was formed around the 15th century, associated with the migration of residents from the Northern Delta and Thanh Nghệ Tĩnh. Carpentry includes groups of occupations: construction carpentry, household carpentry, fine art carpentry and boat building carpentry. Sophisticated manual techniques of carving, engraving, closing, chiseling, chiseling, drilling, cutting... combined with natural materials: wood, bamboo... have created unique products with their own identity: houses, boats, tables, chairs, wooden cabinets, Buddha statues, boats... Carpentry of Kim Bồng festival is held on January 12 every year to pay tribute to the ancestors and founders of the profession at Tiền Hiền communal house. Each work created by Kim Bồng carpentry artisans has special artistic value and value for the traditional craft village, while affirming the special values ​​that Kim Bong carpentry brings to the community and society.

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Katu women have their own space in their traditional house to weave brocade fabric in their free time. The main materials include raw fabric fibers and colored fabric fibers, beads (fruit seeds, lead), and rattles (copper). After harvesting, cotton seeds are dried, separated, rolled, and spun into yarn. The cotton yarn has an original white color. To dye the yarn, the craftsman uses the root of the achất, ahứ plant (pink); the trunk and leaves of the tà râm, a chất tree (indigo, black); myrtle roots (purple), angoăn mơrớt, arắc tree (yellow)... To increase the durability of the color, the Katu people use snail shell powder and honey mixed with a mixture of soaked leaves, plants, and forest tubers. fabric. The Katu weaving loom is made from wood and bamboo with parts such as pang; 02 pairs of anóp; chrđóh; Dhrắ; chrtau; Trơ pang; Crusu; Prơ hơm; pê nết; Xe; Crơchan. Popular motifs include diamond-shaped agate, pinwheel-shaped, four-petaled flowers, loincloths drying on a line, spikes, firewood stacked on the stove, rice plants, and dancing women. The main product is Tút cloth with many different sizes and widths. Tút is made from techniques of weaving plain fabric, weaving wavy patterns, and weaving with beaded patterns. Among them, the technique of weaving and attaching beaded patterns is the most difficult and sophisticated. From the Tút sheet, the Katu people create many items such as shirts, loincloths, short skirts, long skirts, robes, scarves, belts, etc.

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In the culture of the Tà Ôi people in A Lưới district, Thừa Thiên - Huế province, the zèng (brocade) is considered a measure of many values ​​in life. To make a durable and beautiful zèng with delicate patterns and motifs, Tà Ôi women must go through 3 stages: preparing the fibers, shaping and weaving the fabric, which takes at least a week, mainly serving daily life. The main color scheme is black - red, the patterns are close to nature such as plants, flowers, birds, and animals. Each product shows the dexterity, diligence, and hard work of Tà Ôi women, and the details of the patterns and color mixing techniques represent their souls. In the spiritual life of the Tà Ôi people, zèng is indispensable in religious and worship activities, as an engagement item for girls with their lovers or to show filial piety to grandparents, parents, and those who have contributed to the village.