Vietnam - Gióng festival of Phù Ðông and Sóc temples

"The Gióng festival of Phù Đổng and Sóc temples is celebrated annually in outlying districts of Hanoi, the capital of Viet Nam. Each spring, before the rice harvest, the Việt people honour the mythical hero, god and saint, Thánh Gióng, who is credited with defending the country from foreign enemies, and is worshipped as the patron god of the harvest, national peace and family prosperity. The festival at Phù Đổng temple, which takes place in the fourth lunar month in the village of his birth, symbolically re-enacts his feats through the riding of a white horse into battle and the orchestration of an elaborate flag dance to symbolize the battle itself. Young men receive extensive training to play the roles of Flag Master, Drum Master, Gong Master, Army Master and Children’s Master, while 28 girls aged 9 to 13 are selected to play the enemy generals. The Flag Master’s dancing movements and drum and gong sounds convey the development of the battle, and paper butterflies released from the flag symbolically disperse the invaders. The arrival of rains after the festival is seen as a blessing from the saint for an abundant harvest. The celebrations at Sóc temple, where saint Gióng ascended to heaven, take place in the first lunar month and include the ritual of bathing his statue and a procession of bamboo flowers to the temple as offerings to the saint."

Source: UNESCO Intangible Cultural Heritage

Vietnam - Worship of Hùng kings in Phú Thọ

"Annually, millions of people converge on the Hùng temple at Nghĩa Lĩnh mountain in Phú Thọ province to commemorate their ancestors and pray for good weather, abundant harvests, good luck and good health. The largest ceremony, the Ancestral Anniversary festival of the Hùng Kings, is celebrated for about one week at the beginning of the third lunar month. People from surrounding villages dress in splendid costumes and compete to provide the best palanquin and most highly valued objects of worship for the key rite in which drums and gongs are conveyed to the main temple site. Communities make offerings of rice-based delicacies such as square cakes and glutinous cakes, and there are verbal and folk arts performances, bronze drum beating, Xoan singing, prayers and petitions. Secondary worship of Hùng Kings takes place at sites countrywide throughout the year. The rituals are led and maintained by the Festival Organizing Board – knowledgeable individuals of good conducts, who in turn appoint ritual committees and temple guardians to tend worship sites, instruct devotees in the key ritual acts and offer incense. The tradition embodies spiritual solidarity and provides an occasion to acknowledge national origins and sources of Vietnamese cultural and moral identity."

Source: UNESCO Intangible Cultural Heritage

Vietnam - Art of Đờn ca tài tử music and song in southern Viet Nam

"A musical art with both scholarly and folk roots, Đờn ca tài tử is an indispensable part of the spiritual activity and cultural heritage of the people of southern Viet Nam. The music and songs evoke the people’s life and work on the land and rivers of the Mekong Delta region. Performed at numerous events such as festivals, death anniversary rituals and celebrations, Đờn ca tài tử is thus intimately connected with other cultural practices and customs, oral traditions and handicrafts. The performers express their feelings by improvising, ornamenting and varying the ‘skeletal melody’ and main rhythmic patterns of these pieces. Đờn ca tài tử is played on a variety of different instruments, including the moon-shaped lute, two-stringed fiddle, sixteen-stringed zither, pear-shaped lute, percussion, monochord and bamboo flute. Its repertoire is based on twenty principal songs and seventy-two classical songs. The musical art is passed on through oral transmission, based on imitation, from master instrumentalists and singers to students. Musicians need to study for at least three years to learn the basic instrumental techniques and master the musical modes to express different moods and emotions. Vocal students study the traditional songs and learn to improvise subtly, using different ornamentation techniques."

Source: UNESCO Intangible Cultural Heritage

Vietnam - Ví and Giặm folk songs of Nghệ Tĩnh

"Ví and Giặm songs are sung by a wide range of communities in Nghệ An and Hà Tĩnh Provinces of north-central Viet Nam. Specific songs are sung without instrumental accompaniment while people cultivate rice in the fields, row boats, make conical hats or lull children to sleep. Ví and Giặm lyrics use the specific dialect and linguistic idioms of the Nghệ Tĩnh region and practitioners sing with the particular singing voice of Nghệ Tĩnh people. Many of the songs focus on key values and virtues including respect for parents, loyalty, care and devotion, the importance of honesty and a good heart in the maintenance of village customs and traditions. Singing provides people with a chance to ease hardship while working, to relieve sorrow in their lives, to express feelings of sentiment between men and women, and to exchange feelings of love between unmarried boys and girls. Today Ví and Giặm are commonly performed at community cultural events and are sung by artists in theatres. Ví and Giặm are transmitted, preserved and promoted by master practitioners; and local performances and folk singing festivals provide opportunities for Ví and Giặm groups in villages and schools to transmit and practise the songs."

Source: UNESCO Intangible Cultural Heritage

Cambodia - Philippines - South Korea - Vietnam - Tugging rituals and games

"Tugging rituals and games in the rice-farming cultures of East Asia and Southeast Asia are enacted among communities to ensure abundant harvests and prosperity. They promote social solidarity, provide entertainment and mark the start of a new agricultural cycle. Many tugging rituals and games also have profound religious significance. Most variations include two teams, each of which pulls one end of a rope attempting to tug it from the other. The intentionally uncompetitive nature of the event removes the emphasis on winning or losing, affirming that these traditions are performed to promote the well-being of the community, and reminding members of the importance of cooperation. Many tugging games bear the traces of agricultural rituals, symbolizing the strength of natural forces, such as the sun and rain while also incorporating mythological elements or purification rites. Tugging rituals and games are often organized in front of a village’s communal house or shrine, preceded by commemorative rites to local protective deities. Village elders play active roles in leading and organizing younger people in playing the game and holding accompanying rituals. Tugging rituals and games also serve to strengthen unity and solidarity and sense of belonging and identity among community members."

Source: UNESCO Intangible Cultural Heritage

Vietnam - Ca trù singing

Vietnam - Practices related to the Viet beliefs in the Mother Goddesses of Three Realms

To meet spiritual needs, everyday wishes and gain help in achieving good health and success communities in Viet Nam worship the Mother Goddesses of Three Realms: heaven, water, and mountains and forests. The Mother Goddesses include Liễu Hạnh (a nymph who descended to earth, lived as a human and became a Buddhist nun) referred to as the Mother of the World, and other spirits considered legendary heroes. The traditional practice involves daily worship and participation in ceremonies, rituals like the spirit possession ritual and festivals such as Phủ Dầy that take place at temples dedicated to the Mother Goddesses. These activities associated with the practice help to maintain part of the community’s history, cultural heritage and identity with some aspects incorporating traditional costumes, music and dance. Bearers and practitioners are members of the public, temple guardians, ritual priests, spirit mediums, assistants and musicians who transmit knowledge and skills orally to newcomers and family members. The practice of shared values and strong beliefs in the compassion and grace of the Mother Goddesses provides a basis for social relations connecting members of participating communities. The worshipping of the Mother Goddesses also contributes to the appreciation of women and their roles in society.

Vietnam - Xoan singing of Phú Thọ province, Viet Nam

As a performing art, Xoan singing of Pho Tho province includes singing, dancing, drumming and clapper beating. It is closely linked to the worship of the Hung Kings, a belief rooted in the ancestor worship practice of the Viet people. Bearers and practitioners form four guilds, in which the male and female Trum play the most important role; they preserve the songs, select students, transmit the singing styles and repertoires and organize practices. They are also active in introducing and teaching Xoan singing at the four Xoan guilds, and in clubs and guilds. As a community performing art, Xoan singing fosters cultural understanding, community cohesion and mutual respect. The Vietnamese Institute for Musicology has collected 31 Xoan songs, and thanks to the efforts of several Xoan artists four guilds have been established. 33 dedicated clubs also exist, and seminars are held to expand knowledge of Xoan. Leaders and senior Xoan artists transmit the singing orally, combined with the use of written songs and audio and visual recordings. Experienced artists also teach Xoan singing to members of clubs and to music teachers in schools, who then transmit this knowledge to other club members and students.

Vietnam - The art of Bài Chòi in Central Viet Nam

The art of Bài Chòi in Central Viet Nam is a diverse art combining music, poetry, acting, painting and literature. It takes two main forms: ‘Bài Chòi games’ and ‘Bài Chòi performance’. Bài Chòi games involve a card game played in bamboo huts during the Lunar New Year. In Bai Choi performances, male and female Hieu artists perform on a rattan mat, either moving from place to place or in private occasions for families. The bearers and practitioners of the art of Bài Chòi are Hieu artists, solo Bài Chòi performers, card-making folk artists and hut-making folk artists. The art of Bài Chòi is an important form of culture and recreation within village communities. Performers and their families play a major role in safeguarding the practice by teaching song repertoires, singing skills, performance techniques and card-making methods to younger generations. Together with communities, these performers have set up nearly 90 Bài Chòi teams, groups and clubs to practise and transmit the art form, which attracts wide community participation. Most performers of the art learn their skills within the family and the skills are mainly transmitted orally, but artists specializing in Bài Chòi also transmit knowledge and skills in clubs, schools and associations.

Vietnam - Art of Xòe dance of the Tai people in Viet Nam

Xòe is a form of Vietnamese dancing with movements that symbolize human activities in ritual, culture, life and work. It is performed at rituals, weddings, village festivals and community events. There are three main types of xòe: ritual, circle and presentational. The ritual and presentational xòe dances are named after props used during certain performances. For instance, there is scarf xòe, conical hat xòe, fan xòe, bamboo pole xòe, music xòe, stick xòe and flower xòe. But the most popular form is circle xòe, wherein dancers form a circle and perform in harmony. The basic movements include raising and opening the hands, then lowering them and clasping the hands of the adjacent person. The dancers follow rhythmic footsteps, slightly arching the chest and leaning backwards. Although simple, the dance movements symbolize wishes for community health and harmony. The dance is accompanied by various musical instruments, including gourd lutes, mouth organs, drums, gongs, cymbals and reed flutes. The instrumental music blends with the vocals and the jingling of the silver jewellery hanging around the waists of the women. Transmitted from generation to generation within families, dance troupes and schools, the xòe dance has become a symbol of hospitality and an important identity marker for the Tai people in north-western Viet Nam.