Gamelan is the percussion orchestra of Indonesia. Gamelan is a set of traditional music instruments mostly made of hand-forged metal (bronze, brass, and iron). Gamelan consist of slab-type (wilahan) instruments: saron/sarun/pemade, demung/sarun ganal, gender/kiliningan, slenthem/selentem/jegogan, peking/sarun paking/kantilan, kecrek/keprak, and gong-type (pencon) instruments: gong, kempul, kenong, bonang, trompong, kethuk, and kempyang. Other instruments, e.g., zither and seruling (bamboo flute). Gamelan instruments are played by beating (gong, saron, demung, slenthem, kecer); plucking and strumming (siter, kecapi, rebab); tapping (kendang); and blowing (flute). The pitch and tuning of gamelan are slendro and/or pelog (pentatonic and/or heptatonic), each has its own frequency and interval pattern. Lower and higher pitched instrument pairs, together, they produce Indonesian Gamelan melodies, which resonate the sound of ombak (beats) or pelayangan (vibrato). Gamelan music has its own techniques and forms, i.e., one melody performed simultaneously by the different instruments (heterophony), the technique of interlocking multiple instruments to structure their rhythms (interlocking part), and the rhythmic and metric patterns of beat and punctuation (colotomic punctuation).

Boria is a traditional arts form that is very popular in northern Peninsular Malaysia, linked to the Karbala event that is the killing of Saidina Hussein, the grandson of Prophet Muhammad. Boria, meaning ‘a game of merriment’, was established in Penang Island in the 19th century. There are parties that claim that Boria was brought by the Indian Muslims into Malaya through business activities in the 19th century. Boria is an entertainment channel combining sketches and dances as well as poetic songs led by a singer called ‘Tukang Karang’, literally translated as ‘Storyteller’. A performance has two segments that are sketches and songs. The dialogues for sketches are full of advice and insinuation while comedy elements are considered important. During a performance sometimes the audience can interact with the actors. The musical instruments are not specific; more important is the musicians’ ability to play rhythms that can accompany the Tukang Karang’s song. Among the instruments are violin, oud, drum, accordion, harmonica and guitar, while commonly used props are lamp, flag, kris, umbrella, tall decorative flowers and walking stick. Previously Boria’s costume is resemblance of the Mamak (Indian-Muslim) ethnic; green belt with sarong and fez to maintain ethnic identity. This identity is experiencing evolution since the 1970s with its costume made uniformed using bright colours with sequin to portray merriment. Nowadays, Boria performances are greatly influenced by western, Hindustani and pop rhythms.

In Myanmar era 1265, the player of drum circle played not only six drums set and Si To but also Sa Khun’. The sound of Sakhun is loud and it is associated with six drums set so that cymbals is added playing with it. In the player of six drums set, Sakhun is played in a manner of the Pa’Ma with stopper music or breaking music. Sakhun is made of Padauk wood or the rain tree (Kokka). The Padauk wood has to be made a hollow that covered with tough ox hide. Sakhun is a doubled–headed drum on a stand which appeared together with Pa’ Ma, the big drum of the Myanmar orchestra. It has the feminine side (left) and male side(right). Both two sides stick with Pa’ Sa (paste of rice kneaded wood-ash used for tuning drums). It contains six drums set. In Myanmar drum circle , it seems to start using when the rhythmic percussion drums of Myanmar orchestra appeared.\n-11 inches in a diameter of the feminine head\n-8 inches in a diameter of the male head\n-18.5 inches in the horizontal of sakhun\nThe feminine side has “basic note”, the male side has “fourth note”(G note of western music). Sometimes no tuning dough is added the male side but tuning dough is added when the male side of ox hide is hard.

In 1942 (Myanmar Era -1305), a musician from Hsipaw founded the Shan traditional musical troupe in Namhkaik village. He taught singing, dancing and playing musical instruments during the 3 months of Buddhist Lent. One of his descendents is Shew Cherry Theatrical Performance Troupe which is renown today. This troupe gives performance in charity events and monk funeral ceremonies. It's played by hands on the head.\n-1 feet 10 inches in length of Principal Drum\n-6 feet 8 inches in round of Principal Drum\n-1 feet 6 inches in High of Principal Drum (Right)\n-1 feet 1 inch in High of Principal Drum (Left)\n-1 feet 6 inches in length of Rhythmic Drum\n-4 feet 4 inches in round of Rhythmic Drum\n-1 feet in High of Rhythmic Drum (Right)\n-11 inches in High of Rhythmic Drum (Left)\n\nFour Drums\n-1 feet 4 inches in length of Drum No (1)\n-2 feet 6 inches in round of Drum No (1)\n-9 inches in High of Drum No (1)\n-1 feet 2 inches in length of Drum No (2)\n-2 feet 4 inches in round of Drum No (2)\n-8 inches in High of Drum No (2)\n-1 feet 1 inch in length of Drum No (3)\n-2 feet 2 inches in round of Drum No (3)\n-7 inches in High of Drum No (3)\n-1 feet in length of Drum No (3)\n-2 feet in round of Drum No (3)\n-6.5 inches in High of Drum No (3)

The tradition of doira performance in Uzbekistan is an integral part of the nation’s musical heritage and identity. The doira is a circular frame drum made from a wooden rim covered with leather, often fitted with metal rings or jingles. It produces a wide range of tones and rhythmic effects, serving as both a solo and accompanying instrument.\nIn Uzbek culture, doira is played in various contexts: to accompany classical music genres such as maqom and ashula, at weddings and festive gatherings, and as a key rhythmic foundation in folk dances. Master performers develop a deep understanding of usul (rhythmic cycles), improvisation, and expressive performance techniques.\nBeyond its musical role, the doira represents the artistry, craftsmanship, and communal traditions of Uzbekistan, uniting people in celebration and cultural expression.

The tradition of doira performance in Uzbekistan is an integral part of the nation’s musical heritage and identity. The doira is a circular frame drum made from a wooden rim covered with leather, often fitted with metal rings or jingles. It produces a wide range of tones and rhythmic effects, serving as both a solo and accompanying instrument.\nIn Uzbek culture, doira is played in various contexts: to accompany classical music genres such as maqom and ashula, at weddings and festive gatherings, and as a key rhythmic foundation in folk dances. Master performers develop a deep understanding of usul (rhythmic cycles), improvisation, and expressive performance techniques.\nBeyond its musical role, the doira represents the artistry, craftsmanship, and communal traditions of Uzbekistan, uniting people in celebration and cultural expression.

The tradition of doira performance in Uzbekistan is an integral part of the nation’s musical heritage and identity. The doira is a circular frame drum made from a wooden rim covered with leather, often fitted with metal rings or jingles. It produces a wide range of tones and rhythmic effects, serving as both a solo and accompanying instrument.\nIn Uzbek culture, doira is played in various contexts: to accompany classical music genres such as maqom and ashula, at weddings and festive gatherings, and as a key rhythmic foundation in folk dances. Master performers develop a deep understanding of usul (rhythmic cycles), improvisation, and expressive performance techniques.\nBeyond its musical role, the doira represents the artistry, craftsmanship, and communal traditions of Uzbekistan, uniting people in celebration and cultural expression.

The tradition of doira performance in Uzbekistan is an integral part of the nation’s musical heritage and identity. The doira is a circular frame drum made from a wooden rim covered with leather, often fitted with metal rings or jingles. It produces a wide range of tones and rhythmic effects, serving as both a solo and accompanying instrument.\nIn Uzbek culture, doira is played in various contexts: to accompany classical music genres such as maqom and ashula, at weddings and festive gatherings, and as a key rhythmic foundation in folk dances. Master performers develop a deep understanding of usul (rhythmic cycles), improvisation, and expressive performance techniques.\nBeyond its musical role, the doira represents the artistry, craftsmanship, and communal traditions of Uzbekistan, uniting people in celebration and cultural expression.

The tradition of doira performance in Uzbekistan is an integral part of the nation’s musical heritage and identity. The doira is a circular frame drum made from a wooden rim covered with leather, often fitted with metal rings or jingles. It produces a wide range of tones and rhythmic effects, serving as both a solo and accompanying instrument.\nIn Uzbek culture, doira is played in various contexts: to accompany classical music genres such as maqom and ashula, at weddings and festive gatherings, and as a key rhythmic foundation in folk dances. Master performers develop a deep understanding of usul (rhythmic cycles), improvisation, and expressive performance techniques.\nBeyond its musical role, the doira represents the artistry, craftsmanship, and communal traditions of Uzbekistan, uniting people in celebration and cultural expression.

Children play assyk aty at a village street.\nKazakh traditional Assyk games are an ancient tradition in Kazakhstan. Each player has their own set of ‘Assyks’, traditionally made out of the talus bone of a sheep, and a ‘Saka’ dyed in bright colours. Players use their Assyk to knock out other Assyks from the field, and the focus is on the position of the bone. The community concerned comprises most of the population of Kazakhstan, including members of the Federation ‘Assyk Atu’ Game as well as the larger community of practitioners, mainly children aged between four and eighteen. The element is an outdoor activity that helps develop children’s analytical thinking and physical state, fostering friendship and social inclusiveness. It is also a good model for positive collaboration, uniting people regardless of their age, ethnic background or religious affiliation. It is widely practised at festive celebrations and gatherings, and the community plays a key role in safeguarding the practice, as well as in popularizing it among other ethnic groups in Kazakhstan, turning it into a national symbol of childhood. It is transmitted from older boys to younger ones through observation, as well as through radio and TV documentaries aimed at encouraging children to play Assyk and acquainting people with their cultural heritage.

Kara Zhorga (kaz. 'Kara zhorga','black horse') - is the Kazakh folk dance, when a dancer performs an experienced rider, horseman, prancing on the pacer. Dance promotes horsemanship. Initially, it was considered male kind of dance. Gradually Kara Zhorga was danced by girls too.\nThe Kazakh dance has reflected peculiarities of worldview and material culture of cattle-breeding nomads, embracing different aspects of labor, spiritual activity and way of life in the steppe. For the nation who poeticized everything within its environment any move could be the impetus for creating a dance element. A horseman that rode past at a gallop was compared with a darted arrow. A girl strolling slowly in the steppe was compared with a lonely grass-blade swinging in the wind, or a bird’s flight in the endless blue. The nature of Kazakh dances reflects the depth of a specific world-perception of the nation, which is spilled over into a certain style of performance and expressed in a particularly upright proud bearing of a performer, in certain positions and movements of her/his hands.\nKara-Zhorga dance reproduces a picture of a traditional horse competition called bayga. "... The Maman village gathers for a feast (‘toy’). The young joyful horsemen step out from the crowd. The young men, bending their bodies slightly forward and swinging harshly with their whips, eagerly enter the competition. The horsemen, moving in circles, lines and diagonals, outrun each other, demonstrating the agility of a leap or an intricate hop. The imitation of horserace - rhythmically sharp-cut hops from one foot, big leaps with a curved body – have interspersed with dance technique. A sharp-cut, rough and springy folk tune of Kara-Zhorga dance and the movement which coincides with the horserace rhythm, successfully merge into a single image of bold horsemen (‘dzhigits’) who have equestrianism at their finger tips." (Sarynova, 1976: 37)\n“Kara-Zhorga is a dance that embodies a variety of nuances and technique. Kara Zhorga dance differs by nuances and technique of execution. It combines the 'militancy and buffoonery, softness and mobility, speed and peace' (A. Ismailov). The folk dance has various performance types: as 'a pair of zhorgas' ('qos zhorga') and 'male zhorga' ('erkek zhorga').

Kara Zhorga (kaz. 'Kara zhorga','black horse') - is the Kazakh folk dance, when a dancer performs an experienced rider, horseman, prancing on the pacer. Dance promotes horsemanship. Initially, it was considered male kind of dance. Gradually Kara Zhorga was danced by girls too.\nThe Kazakh dance has reflected peculiarities of worldview and material culture of cattle-breeding nomads, embracing different aspects of labor, spiritual activity and way of life in the steppe. For the nation who poeticized everything within its environment any move could be the impetus for creating a dance element. A horseman that rode past at a gallop was compared with a darted arrow. A girl strolling slowly in the steppe was compared with a lonely grass-blade swinging in the wind, or a bird’s flight in the endless blue. The nature of Kazakh dances reflects the depth of a specific world-perception of the nation, which is spilled over into a certain style of performance and expressed in a particularly upright proud bearing of a performer, in certain positions and movements of her/his hands.\nKara-Zhorga dance reproduces a picture of a traditional horse competition called bayga. "... The Maman village gathers for a feast (‘toy’). The young joyful horsemen step out from the crowd. The young men, bending their bodies slightly forward and swinging harshly with their whips, eagerly enter the competition. The horsemen, moving in circles, lines and diagonals, outrun each other, demonstrating the agility of a leap or an intricate hop. The imitation of horserace - rhythmically sharp-cut hops from one foot, big leaps with a curved body – have interspersed with dance technique. A sharp-cut, rough and springy folk tune of Kara-Zhorga dance and the movement which coincides with the horserace rhythm, successfully merge into a single image of bold horsemen (‘dzhigits’) who have equestrianism at their finger tips." (Sarynova, 1976: 37)\n“Kara-Zhorga is a dance that embodies a variety of nuances and technique. Kara Zhorga dance differs by nuances and technique of execution. It combines the 'militancy and buffoonery, softness and mobility, speed and peace' (A. Ismailov). The folk dance has various performance types: as 'a pair of zhorgas' ('qos zhorga') and 'male zhorga' ('erkek zhorga').