Experts at the social works often rely in their studies on measurable criteria that ensure giving precise definition of cultural status of multicultural societies out of huge numbers of intercultural studies. Multiculturalism can be broadly described as developmental context of intellectual, social, religious, moral and practices in a society, in which these have capabilities to affect profoundly a wider part of the societal composition. The view of multiculturalism along with indigenous arts emanates from the depth obvious macrocultural values of the mainstream context of a society. The most in-use methods, are treated for the concepts of intercultural artworks and indigenous arts, are the methods depending on variation in identical and residential societies ( McGuire & Schiffer, 1983), traditional cultures ( Bartel, 1982), and finally cultures of multicultural and intersection inclinations ( Jones, 1980). Such methods are undertaken universally for culturally distinguishing societies and provide another means for establishing the perception of multiculturalism. Some research is technically associate socio-cultural status for various values of culturalism ( Blitz, 1993), cultural differences ( Pauketat & Emerson, 1991), volume ( Nelson, 1981), quantity of cultural categories, and various forms of cultural identity ( Cowgill, Altschul, & Sload, 1984). Moreover, most of the signs indicate that the importance of multicultural values is related to the means that typically define the process clarifying the cultural changes, which widely depend on the variation of identity of population and different aspects of the cultural background ( Braun, 1983).

Plenty of studies have addressed the issues of multiculturalism, traditional arts as a value of indigenous artwork and the cross-cultural use of demonstrating identity. Such studies determine the terms of designing perception of cultural distribution or high-value of variation, which is counted as focal contemporary social phenomenon ( Blitz, 1993).

In line with the context of socio-culture, which has mainstream of multicultural and conservative societies and indigenous arts ( Krishnan, 1997), such mainlines are considered to include individuals’ characters into specialised researches of socio-cultural aspects for displaying strength part of literary definitions.

The current study is carried out based on certain investigated relevant methods selected for presenting reliable information about intercultural communication across various cultures of individuals. The study comprehensively designed by all tools of the suitable research method to respond to the aim of demonstrating the basic perceptions of cross-culture and multicultural definitions. The data selected for the current study is drawn out to present the conceptual model of cross-cultural communication. Therefore, the study employed a variety of methods designed to achieve the all study objectives. The processing tools of the research method are used for the purpose of gathering the basic information and designing the conceptual framework for clarifying some suggestions of perceptions set out in the proposed model (Figure 1). In addition to, using some tools

for gathering information by open sources and conducting different types of fieldwork interviews. The study concentrates on analysing the data collections of previous studies done on several rural districts of Malaysia as closest samples of Asian aboriginal domestic producers. A group of folk artists, entrepreneurs, and artisans are involved intensively for enriching the reviewed process of data collection, and are employed for emphasising the salient values of multiculturalism at the indigenous arts.

The model originated by Bennett ( Bennett, 1986; Bennett, 1993) to demonstrate the indicators of cultural sensitivity from two initial stages of ethnocentric awareness of cultural diversity (denial and defence) to the further two theoretical stages ( Bennett & Bennett, 2004) (minimization) to move to the last two stages of ethnorelativism (acceptance and adaptation). Increasing levels of ethnocentrism at the Developmental Model of Intercultural Sensitivity (DMIS) elaborates less clarified perception of culture in general, cultural differences, and interaction and integrating with other cultures and your own culture. Ethnorelative levels shown in the model describes increasing indicators of one’s cultural perception of differences, and increase cultural sensitivity and awareness. By other definition to DMIS given by Bhawuk and Brislin (1992) “to be effective in another culture, people must be interested in other cultures, be sensitive enough to notice cultural differences, and then also be willing to modify their behaviour as an indication of respect for the people of other cultures” (p. 416). Similar elements of such model has been derived for artisans and folk artists to increase their awareness to the cultural diversity and take benefits of work effectively interaction with diverse groups of clients’ preferences.

The first ethnocentric continuum stage as described by Bennett (1983), (Table 1) is the Denial, in which individuals experience the diversity of culture and appreciation of cultural differences. Such individuals’ perception towards cultural differences is still incomplete and under-developing due to narrow-minded