The most typical of Sarawak musical instruments, the sape, pronounced "sa-peh", is a traditional lute of the Orang Ulu community or "upriver people" of central Borneo, Sarawak. It is traditionally used by the Kenyah, Kayan and Kelabit tribes. Carved from a bole of white wood which repels insects, the sape is a masterpiece of woodcarving. The carver, usually a musician, hollows out the body of the sape with similar tools used in boat-building to a length of about over a metre, and approximately 40cm wide. Initially, the guitar-like instrument measured less than a metre, and had only two rattan strings and three frets. Today, however, it is common to find sape with three, four or even five strings. The strings - slender wires used in fishing rods - are held by movable wood frets, and are tightened or loosened with wooden pegs. The sape was once played solely during healing ceremonies within the rumah panjang (longhouses), but gradually became a social instrument that is used as a form of entertainment. The colourful jungle motifs that adorn the body of the sape mark this change in purpose. The music of sape is thematic, more often than not inspired by dreams. There are specific compositions for specific ceremonies and situations (marriages, births, harvest times, rain etc) which often differ from one sub-ethnic group to another. The traditional pieces, which have many variations, are usually passed down through the generations. Typically, the sape is played while sitting cross-legged on the floor, and is used to accompany dances; one for the men's longhouse dance, the other for the women's. Examples include the Ngajat (warriors dance) and Datun Julud. When played for a dance, two sapes tuned to different registers (low and high) are usually used. And though the sape is a solo instrument, it is occasionally supported by other musical instruments such as the jatung utang (wooden xylophone).

Asanee is a wool mat made from sheep wool in its natural colour. The wool is either black or white in colour. The name has come into existence from the honorific term of Lhotshampa (Southern Bhutanese) dialect Asaan, Garaan, Garnus which means please sit down. Therefore, Asaan is a respectful term for sit and nee is a mat for sitting and Asanee is a sitting mat. The patterns are made depending on the availability of the colour of the wool. The most common pattern of the element is white background with black checks and at times the white background is bigger than the black checks. It is determined by the demand of the customers and the availability of the wool. It is rectangular in shape and used as cushion covers for diwan and sofas as well as sitting mat.

Asanee is a wool mat made from sheep wool in its natural colour. The wool is either black or white in colour. The name has come into existence from the honorific term of Lhotshampa (Southern Bhutanese) dialect Asaan, Garaan, Garnus which means please sit down. Therefore, Asaan is a respectful term for sit and nee is a mat for sitting and Asanee is a sitting mat. The patterns are made depending on the availability of the colour of the wool. The most common pattern of the element is white background with black checks and at times the white background is bigger than the black checks. It is determined by the demand of the customers and the availability of the wool. It is rectangular in shape and used as cushion covers for diwan and sofas as well as sitting mat.

During its early appearance, this dance that’s full of courtesy and gentleness originated from the palace, performed during festivities at the palace and among the nobles only. In due course this dance was brought out of the palace and performed to the public. During dancing the dancers sway their bodies and move their hands as well as heads parallel to the beating of the hand-held drum, the ‘rebana’. They dance while sitting down on their knees without standing up. The musicians beat the ‘rebana’ while chanting or singing religious songs.

Tari Asyik is a Kelantanese court dance that traces its roots to the Sultanate of Pattani during the reign of Ratu Kuning (Yellow Queen) in the 17th century. The Hikayat Patani narrates that the court of Ratu Kuning cultivated a group of twelve dancing maidens, known as Asyik. Legend has it that Asyik dance was created to comfort the grieving Ratu Kuning over the loss of her favourite bird. It is also said to have been the most beloved dance of the legendary Kelantanese princess, Puteri Saadong. Over time, the dance became popular among common people and is now used as folk entertainment during festivals and marriages. The dance costume is a piece of sarong tied above the chest, with a belt and small tiara. The main dance move is sitting down with both legs folded to the side with movements that depict ‘a bird’, ‘sea wave’ and ‘ an elephant in delivery’. Nowadays, there are changes in this dance that are the dancers are fully clothed, and from sitting down with both legs folded to the side to a little body rise position. The musical accompaniment for Tari Asyik usually consists of gendang (double-headed Malay drum), serunai (Malay oboe) or rebab (spike fiddle), canang (brass percussion), kesi (cymbals), and gong

Tari Asyik is a Kelantanese court dance that traces its roots to the Sultanate of Pattani during the reign of Ratu Kuning (Yellow Queen) in the 17th century. The Hikayat Patani narrates that the court of Ratu Kuning cultivated a group of twelve dancing maidens, known as Asyik. Legend has it that Asyik dance was created to comfort the grieving Ratu Kuning over the loss of her favourite bird. It is also said to have been the most beloved dance of the legendary Kelantanese princess, Puteri Saadong. Over time, the dance became popular among common people and is now used as folk entertainment during festivals and marriages. The dance costume is a piece of sarong tied above the chest, with a belt and small tiara. The main dance move is sitting down with both legs folded to the side with movements that depict ‘a bird’, ‘sea wave’ and ‘ an elephant in delivery’. Nowadays, there are changes in this dance that are the dancers are fully clothed, and from sitting down with both legs folded to the side to a little body rise position. The musical accompaniment for Tari Asyik usually consists of gendang (double-headed Malay drum), serunai (Malay oboe) or rebab (spike fiddle), canang (brass percussion), kesi (cymbals), and gong