"Xòe" means dancing with movements that symbolize human activities in ritual, culture, life and work. Xòe is performed at rituals, weddings, village festivals and community events. There are three main types of Xòe: ritual Xòe, circle Xòe, and presentational Xòe. Rituals Xòe and presentational Xòe are named after props used during particular dances, such as scarf Xòe, conical hat Xòe, fan Xòe, bamboo pole Xòe, music Xòe, stick Xòe, and flower Xòe. The most popular form is circle Xòe, wherein dancers form a circle in harmony with each other. The basic dance movements of Xòe include raising the hands up, opening the hands, lowering the hands, clasping the hands of the next person following rhythmic footsteps, slightly arching the chest and leaning backwards. The musical instruments of gourd lute (tính tẩu), shawm (kèn loa), mouth organ (khèn bè), drum, gong, cymbals, reed flute (pí pặp), bamboo-tube percussion (bẳng bu) and small round-shaped rattle are used to accompany dance, which follows rhythms in even meters (either 2/4 or 4/4). The typical melodies played on the instruments use the following intervals: major second, major and minor third, perfect fourth and perfect fifth. Dance movements, though simple, symbolize wishes for community members to have a good life and live in solidarity. Gentle dance moves blend with instrumental music, vocals, tight-fitting blouses, the jingling of silver jewelry hanging around the waists of Tai women and creates an art form imbued with the cultural identity of the Tai in the northwestern region of Viet Nam.

Viet Nam 2021

Solo Tshung-nang is one of the special gifts offered to guests along with a bottle of wine (normally ara-locally brewed alcohol), for family members, weeding ceremonies, and also to any guest during special occasions. Solo Tsungma is locally prepared from either dried or fresh chili peppers – preferably dried chili powdered and mixed with Nam black sesame seeds, pumpkin seed and other delicacies neatly wrapped in particular leaves such as; Laga wild banana leaf, Chong-shing laga fig leaf and other specific wild leaf which have broad in width. Amongst these wrapping leaves, laga is preferred and widely used. The practice of making and offering Solo Tshung-ma is active and a popular gift in the villages within Decheling, Norbugang and Choekhorling gewogs (block) under Pemagatshel Dzongkhag (district). Prerequisite ingredients and materials: -\tLaga: wild banana leaf (preferred), Chong-shing laga fig leaf, Mong-nang laga, lau laga, and other wild leaves as wrappers. -\tKudpa ney-nga: Five coloured thread (preferred) or fiber of any other tree such as Soga do (bamboo thread) and Phrang three bark fiber etc. -\tLocally grown and dried chili -\tNam: black sesame seeds are one of the most important ingredients for preparing the pickle thus calling it nam-solo or sesame pickle. -\tBrum-sha lung: pumpkin seed -\tNam-jor: similar to sesame -\tTsha: salt Types of Solo Tshung-nang: -\tNam solo (chili and sesame mixed pickle) - \tNam-jor Solo (chili and white sesame mixed pickle) -\tBrumsha lung Solo (chili and pumpkin seed mixed pickle) -\tChur Solo (chili and fresh cheese pickle) note this kind cannot be preserved but is also offered as gift. When offering Solo Tshung-nang it is always offered along with local wine ara, or ara dama, which is raw or un-brewed wine. It is popular to fill a So-palag traditional bamboo container with ara as an appetizer locally called Kam-tang where first the ara is offered followed by Solo Tshung nang. When given as an appetizer, it is traditional that you must offer the tshung nang with a knot concealed underneath.

The name for this festival brings together two words, Lha means god and Soel means offering or prayer. The tradition in Sangbekha is primarily a Bon practice. Bon was a diverse body of localized ritual practices flourishing in Tibet before Buddhism expanded into the region. According to Sam Van Schaik (2013), Bon or the Bonpo religion, only emerged as a unified body of practices when put in contrast to Buddhist practice as the “othered” alternative to Buddha’s teachings. Following the eleventh century, the diverse practices organized and formalized in conversation with contemporary practices. Scriptures emerged, mainly through Terma hidden treasures, and visions of Tertons who discover the treasures such as Loden Nyingpo. Although Bon Terma contain legends that Bon existed before the introduction of Buddhism to Tibet, Van Shaik notes "the 'old religion' was in fact a new religion." Following these developments and reforms of the practices to eliminate animal sacrifices, some scholars consider Bon to be a distinct sub-school within Tibetan Buddhism. Over time, Buddhism became more popular and Bon practice waned. The Bon tradition also existed in Bhutan before Buddhism took hold. Although the Bon tradition is not as strongly recognized by the people of Bhutan, it still existed in every corner of the country, making this tradition one of the oldest in Bhutan. The Bon tradition takes refuge in the earth, rocks, cliffs, trees, sun, moon, stars, etc. are the protectors, and formerly involved offering animals in sacrifice. The Bon practitioners in Wangdiphodrang Dzongkhag or district, such as the communities of Gaseng Tshogom, Khatoekha and Lhashing Tsawa, performed a common ritual known as Lha-soel every three years. The ritual is organized by one of the Pawo male shamen, and Neljorm or Pamo female shaman, of each village. They alternate hosting the program every three years. The organizer of the year prepares for the rituals, tents are pitched near the organizer's house and the Lha-soel ritual takes two whole days. In an interview with 68-year-old female shaman Aum, elder, Kencho Om has been a Pamo for 25 years in Nakey-kha village in Sangbekha gewog, Haa Dzongkhag a district of eastern Bhutan. She said that the Pamos are the same as Nyeljoms and are common throughout central and eastern Bhutan. They are the female mediums who are possessed by local deities. Their job is to diagnose and cure diseases through divination and rituals. It is believed that the abilities of Pamo continuously persist through the family line. When a practitioner dies, the spirit passes to her daughter. However, it depends on the decision of the deity to choose the legitimate “wife” to inherit the role among the daughters or granddaughters. Aum Kencho has no formal education, but learned the and rituals transmitted through their family line. According to her, Pamo play an important psychological and healing role in a rural society where the supernatural is a part of life. They do what others cannot, such as mediate through the mind. The Bhutanese believe that illnesses are due to an imbalance in the various elements that make up the body, and that they are often caused by one of the numerous vengeful spirits associated with certain symptoms that consist of Tsa energy channels, the Lung wind channel, and the Thig-le seed channel in the human body. When these channels unbalance each other, it causes illness. The Lha-soel is held at the beginning of the 6th month (July) and another in the 12th month (January) according to the Bhutanese calendar. It is performed twice a year (summer and winter). In summer, they perform a shortened ritual (Due-pa) in the evening, while in winter they perform a grand ritual (Gye-pa) that usually lasts from evening to the next morning. Although there is no specific time, the ritual is performed either on the 8th, 10th, 15th, 25th and 30th of the month.

The Neypo ritual is a seasonal offering performed across Bhutan to appease local deities, Ney village in Lhuentse to the northeast is one of many villages to perform this ritual. Neypo literally means "Zhidag", a category of deity who protects the area under their control or certain parts of the valley. The identity of the protector figure varies from region to region, as does the ritual. In Ney village, the Neypo ritual is performed every year on the 15th day of the third lunar month of the Bhutanese calendar. The ritual is performed in their Lhakhang, temple, in order to appease the local deity Zhidag Drakpa Gyalpo with offerings. In return, the community asks for his protection of their farms from wild animals. The Zhidag is believed to dwell below the village in a dense forest on the left side of Kurichu. Zhidag Drakpa Gyalpo has a grim appearance with a black face, dark clothes, and a reindeer mount with ten horns. He has one face and two hands; in his right hand he holds a flaming sword and in his left hand he holds a robe or Zhagpa sling. Within a single second he could cover the distance between any two places. Eighth century tantric master Guru Rinpoche (Skt. Padmasambhava) bound Drakpa Gyalpo by oath and made him the protector of the East Gate of the hidden land Baeyul Khempajong, and sworn to be the Dharma protector in the region. During the Neypo ritual, the entrance to the dense forest is sealed off for people which will last for a whole season, which is called Rigya lungya dam or Ridam. Ridam is a common practice of mountain closure in which the path to the Zhidag Phodrang, deity’s abode, and the surrounding dense forest are closed to human access from spring to autumn until the rice harvest. During this period, people are generally not allowed to enter the area to collect natural resources or visit any place in the area. After performing rituals, no one is allowed to go there unless except for exceptional occasions. This restriction applies to outsiders as well as people from the village.

The 600-year-old Serlung Pelkar Chhoeling Monastery in Dawakha, Paro was founded by Drupthop Thangthong Gyalpo (1361-1485) when he built iron bridges for the people in this area. In the meantime, the people living in a place high up on the mountain had to deal with strong winds and storms that caused harm to the people and destroyed crops. The people blamed the infamous lakes in the area. There were two lakes, Yum and Syem (Mother and Daughter), which were believed to be the cause of all the destruction inflicted on the people. In Bhutan, the Bhutanese believe that all living things, including nature, have spirits and are alive within them. For example, the mountains in Bhutan are believed to be the abode of mountain gods, or at least to house spirits. Therefore, people decided to drive away the destructive spirits of the lakes by throwing the dead bodies of people and animals into the lake. The mother lake left its present location for the Dagala region and became known as Dagala Yumtsho, while the daughter lake did not make it further than present-day Selung Goemba. She had problems with her leg. You can still see the remains of the lakes where they rested. The mother advised the daughter to stay in this place and serve as the protector of the Dharma of Drupthop Thangtong Gyalpo in Selung Goemba, and left her her revered Sergi Alung (hook), making the place known as Serlung Goemba. The people of this place considered it auspicious that a lake had formed near a monastery founded by the famous Drupthop Thangtong Gyalpo. The villagers believed that the lake would eliminate famine and bring prosperity to the village, and held a festive sacrifice to ask the spirit of the lake to bless them with protection. The ritual takes place in Selung Goemba once every three years. There is no specific day or month set for its performance, but depends mainly on the availability of the Pawo. The Goemba is a common religious place of worship for the people of Khamdi and Sali and some other neighboring villages.

Talang or the ox sacrifice ritual is one of the three main rituals performed by Lhops community; each of which includes an animal sacrifice. Tseney is an annual festival where each Lhop family sacrifices a rooster, while the Tenlha Soel ritual involves the sacrifice of a pig. Talang ritual is derived from the name of the deity of the Laskey clan that sacrifices an ox. Although Lhops are Buddhist by nature, the Lhops continue to practice many pre-Buddhist rituals which includes an animal sacrifice with no taboo attached to it for the slaughter of animals, hence everyone readily volunteers for the ritual. The ritual is conducted on any day preceding the 19th day, since, after the 20th day; it indicates the close ending of a month, which is seen as the end of the life of the month, and thereby considering it as inauspicious days. It is conducted once every nine years, since this ritual has had huge financial implication on a household. The ritual is conducted in an individual’s family home with an elder member of the family, generally a man, with support and help from other community members. This ritual does not require any monk or a pandit or any other specialist to conduct this ritual. Usually the ritual is performed by the Laskey clan household.

Kharphu (The White God Ritual) is celebrated every year on fourth month of Bhutanese calendar. Though meaning of Kharphu cannot be stated clearly but village older bearer believes Kharphu means “white god ritual” where no animal sacrifices are made. There are two types of Kharphu namely Gudpa (Extended) and Chunku (Abridged) which are observed consecutively every year. During a larger kharphu, dish called pan is prepared and served, and is observed for 3 days, while in smaller Kharphu pan (Wild betel leave fried) serving is skipped and is observed for two days. The origin of Kharphu and its story is has been transmitted verbally from generation to generation. Ex.Tshogpa Lhalungla is a descendent of one of the host family, he shared that as per the story he received from the older people of village that when the people settled in Chali as per their karmic action, during those days no matter how much they work, the grains and cereals were not enough to feed their family, food they eat didn’t contain nutrition, cloth they wear don’t provide the warmth, even they can’t sleep soundly. Then people gathered to discuss over it. During meeting one the villager pointed out that we don’t have a god to guide and protect us, and this may be the reason we have been suffering. Then all the villagers agreed that then need a god. Among them there was a man named Sherub, who is farsighted, knowledgeable and reliable man. Then villagers insisted him to go and receive god. He denied, saying he is incapable for this task. He said this task can be only accomplished by Gomchen phawang (Bat). Then sherub went in all the direction in search of bat but met with gods of four directions but couldn’t find bat. Then one of the god from four direction prophesied that bet is inside their village only, inside a cave call Asi-kaure draphy (cave) which shadow falls in water and water splashes on the walls of cave. And this place is believed to be located at the bottom of Kongla bra (Kongla cliff) at the end of Chali and still there are many bats in it. Bat was brought to the village and at first, bat also denied the villagers request but towards end of the day bat accepted but he said gift has to be taken for sons and daughters of god. For sons they arranged three armful of arrows and for daughters three Urka (Lether sack) full of Bakur (square shaped bamboo container). Then, bat made his journey towards north. After a long journey bat reached Tsampa, place believed to be located in Tibet, where god Gung-Lha-Lhapsang Gyelpo resides. Finally he could meet the god and shared his reason for visit. God criticize him about his face, legs and wings, so, he can return him alone, but he changed every criticism in positive way by saying “my rat like face is to sing a song for god father and mother, my skinny leg is to perform dance in front of god father and mother, my lathery wings is to fan your god father and mother. Bad couldn’t send back with all the means and strategies of god, finally promised to send one of his children. Gunglha lhapsang Gelpo has four daughter and four sons. He told to send one the daughter to god mother and she said to god to send one of his son. God father and mother had a very hot discussion over it. And they decided to roll a die, and god father lose the game and had to send his son along with bat to bless Chalipas (Residents of Chali). Here at Chali goat was received by Sherub along with the villagers. Since then Sherub was known as Bonpo pa Sherub, since it was a Bon Lha (God of Bon religion).And his descendent has to perform Bonpo Wanboo (Shaman). And Bonpodpa Sherub became host along with another rich household. And currently there is four household descendent holding as host during Kharphu. But, with passing time and generation Bonpodpa Sherub’s descendent couldn’t shoulder the responsibilities of Wanbu and is appointed one of the interested and capable people from their village. There is no as such rule to appoint Wanbu. There is unique lyric and tune from journey of god’s son of including all the places where till Chali, different household visiting household lyrics and blessing, farewell lyric and unique tones.

Generally, the people of Limbu. Rai and Sunware (commonly known as Kiratis) celebrate Ubhauli and Udhauli festival. It is believed that there are two phases in one year – that are a Ubauli (Going up) and Udhuali (Going down) While the Ubhauli puja is usually conducted during the month of March and April (belief of onset of summer); Udhauli puja is a celebration of descending of season and is conducted during the month of November indicating the onset of winter season. It is believed that from November the winter season starts where people, birds, and animals migrate from cold regions to warmer regions. Udhauli and Ubhauli festivals are conducted in two different seasons – one in summer and the other one in winter- of the year. Kiratis are believed to be the worshipers of nature and agriculture being the sustenance of this community, the Kirats celebrate the Udhauli festival to thank Mother Nature for providing them with bountiful harvest during the current season. During the Ubhuali festival, as it marks the time of the year for cultivation, they pray to Mother Nature for timely rain, healthy crops and protection from natural calamities. In short, Ubhauli marks the beginning of cultivation, and Udhauli marks the harvest period. Although, in the past, Udhuali and Ubhauli festivals were conducted separately, the community today has started conducting these two festivals at one go in the month of March and April, calling this festival as Udhauli Ubhauli Puja. This community festival is conducted at the Diana River. This festival brings together all the people in the limbu community to observe a ritual of praying for a timely rain, good harvest and asking for good harvest at the end of the year. When: In the past, their ancestors used to celebrate Udhauli and Ubhauli puja in two different seasons (summer and winter) of the year. While Udhauli puja used to be conducted in the months of November and December, Ubhauli Puja was conducted in the months of March and April. However, with modernization and globalization, it has become difficult for the community to gather twice a year, they have started conducting this Udhauli and Ubhauli puja at the same time between March and April Month on any of the suitable days – Fridays and Saturdays, thus called this festival as Udhauli Ubhauli Puja. This festival is performed for a day. Where: Today, Udhaulu Ubhauli Puja is performed annually by the bank of River Diana. The reason why they perform this puja at the river is they being the worshiper of nature, they believe that the river is clean and is occupied by tutelary deities. People of the community gather together every year to pay homage to their deities, and pray for timely rain, good cultivation and bountiful harvest. Number of Performers: A paw initiates the festival with the help of one helper. It is said that the helper should be someone who would be able to understand the language of the initiator in a state of trance. The community makes merry, praying simultaneously for a smooth and successful entire crop cycle period starting from sowing seeds to harvest of the crop and protection from natural calamities.

The people of Drangmaling-Nangar village in Tsamang Gewog, Mongar Dzongkhag in the eastern district gather every two years to perform Khar-phued. Literally, dairy product; milk, curd, cheese, butter, etc. were used as offerings. In other words, Kar means "wheat", Phued means "offering" - it is the offering of the first wheat harvest. Kharphu is a Bon ritual festival used to pay homage to local deities and ensure the well-being of the community, its households, livestock and crops. Kharphu is celebrated from the 26th day of the fourth month to the 2nd day of the fifth month according to the Bhutanese calendar. The village elders trace the origin of this ancient festival to the days of the creation of earth and sky (sachag namchag), as they do not know the exact century of origin or when it was held. The program and its components have been entirely preserved and passed down through oral tradition. This includes the ritual nightly exchange of songs that extends throughout the week. Apparently, this festival is in great danger of being lost in the modern cultural landscape.

Mazuism is a form of belief that is centered on the veneration of Mazu, the Chinese seafarer’s goddess. At Lhong 1919 an long-established shrine dedicated to Mazu is testimony of the popularity that this form of belief enjoyed. The shrine houses three Mazu figurines that had been brought to Bangkok by overseas Chinese who came to the city about 167 years ago. This goddess was once only a local deity revered by Fujianese, before she became widely known and worshiped by oversea Chinese communities. The process of paying homage to the goddess is an intangible cultural heritage that represents the blend between Chinese and Thai cultures. The three main figurines of Mazu that form the material anchor of this practice of veneration have been passed down through six generations of Thai-Chinese families and have come to be widely known within Thai-Chinese society. A localization of this form of worship can be seen in the fact that the chanting done in honor of the goddess is nowadays delivered as a Thai Buddhist mantra while the statue arrangement remains the traditional way that goes back to Chinese roots. There are three Mazu figurines, representing the different stages of her manifestation, each protected by further guardian spirits. The first manifestation is symbolized by a girl who healed the sick and ensured safety during sea travel. The second manifestation is the goddess Mazu who brings good fortune to businesses. The last manifestation is as the empress in heaven, full of kindness and compassion.

Sắc bùa Singing in Phú Lễ commune (Ben Tre province) was born around the mid-late 18th century, is a form of collective folk art activity with agricultural rituals mixed with Taoist magic, mainly taking place on the occasion of Lunar New Year to pray for peace and ward off evil spirits. The art of singing spells in Phu Le combines many forms of folk art, including: singing, dancing and primitive stage performances, the form of performing rituals is suitable for the level of thinking and artistic perception of agricultural residents. This is the oldest form of folk singing in the Mekong Delta region, originating from the South Central region. Musical instruments include the lute, drum, money, and money, and the lyrics are pre-existing poems that are both ritualistic and magical to ward off evil spirits and to bless. The singing team has at least 4 people, with 1 conductor, the singer is both a musician and an actor. The singing team goes and beats drums and plays instruments... to serve families in need. Depending on the occupation of the homeowner, they sing appropriate congratulatory songs. The songs of the spell have similar melodies, are easy to sing, easy to remember and close to the rustic life, and are often composed and memorized. However, depending on the circumstances, the organizers also collect new compositions to adapt into the style of singing the spell. In addition to singing, the ritual of the spell also includes dancing, mainly performed by the artists who play the money. This form has been and is being lost, in many places only the money is played but not the dance. Moreover, the rituals that involve charms and exorcisms are also becoming less and less and have been simplified compared to before. In 2017, the Sắc bùa Singing in Phú Lễ commune was recognized by the Ministry of Culture, Sports and Tourism as a national intangible cultural heritage. Currently, the Sắc bùa Singing in Phú Lễ commune is at risk of being lost due to the demand for enjoyment and the performance environment is no longer suitable. Therefore, local authorities need to have mechanisms and policies to preserve this unique art form.

The Xa Mã Festival - Wooden Horse and Palanquin Pocessions at Hoàng Châu Communal House is a form of community spiritual and cultural activity that takes place annually from the 9th to the 12th of June (lunar calendar), with the main festival day being the 10th of June. The festival has a long history, associated with the national historical relic of Hoang Chau communal house, built about 300 years ago. The festival commemorates the day the villagers built the communal house, thanking the gods for always protecting and helping fishermen in the area to be safe and have a good fishing season. The festival takes place at the communal house and temples with the following rituals: Water procession, Cao yet, Xa gia - Palanquin procession, and Te an vi. The special feature of the Wooden Horse and Palanquin Pocessions at Hoàng Châu Communal House bears the mark of coastal culture, without the divine flag, tiet mao flag, cap kiem, bat buu, phuong bat am, gongs and drums. Usually, the long dinh palanquin is carried first, followed by the Lieu Hanh mother palanquin and other palanquins. But in the sacred moment, the palanquins and the palanquins also “fly”, drifting with the Saints, the palanquins are no longer arranged in a fixed order. The locals believe that when the palanquin flies, it is the time for the Saint to be present, when the palanquin turns (turns) it is the Saint who is not satisfied with his wandering. On the shoulders of the attendants, the Saint’s palanquin can fly everywhere in the region without any human direction and the time does not know when it will stop. That is the sacredness of the Xa Mã Festival - the procession of the Saint’s palanquin at Hoang Chau communal house. Previously, before each procession of the Saint’s palanquin, there was a “Xa Mã” procession. Currently, there is a slight change: in the morning, the Saint’s palanquin is carried first, then the “Xa Mã” procession. In the afternoon, the xa ma procession is carried first, then the Saint’s palanquin is carried later. The palanquin procession is carried out after the celebrant reads the prayer. The procession involves 6 palanquins including: (1) the Long Dinh palanquin carried by 4 people, who are female officials of the sacrificial team in yellow robes and turbans; (2) The palanquin with the altar and the statue of the Holy Mother Lieu Hanh, carried by 8 young women in red shirts, yellow turbans, and tight pants; (3) and (4) include 2 palanquins with the throne and the royal coffin of the Marshal and Deputy Marshal, carried by 8 young men in traditional costumes; (5) and (6) include 2 palanquins with the throne of the King of Nam Hai and the King of Dong Hai, carried by 8 young women. In addition to the activities: cockfighting, chess, Quan Ho singing, Cheo singing, water-based thum bridge... the "Xa Mã" performance is indispensable. "Xa Mã" or "wooden horse pulling competition" recreates the training and military exercises of soldiers in ancient times. With the participation of 2 teams, a pair of yin and yang, reflecting the people's desire for fertility and development. The two Xa Mã - wooden horses run strongly and fiercely under the skillful and rhythmic control of the commander. Each team must run 3 laps around the field, without touching the line, and without injuring the opponent and team members. The prize given to the winning team is the gift of the communal house. Participating in the competition, both the audience and the contestants feel like they are participating in a real military exercise. The festival bears the cultural imprint of the coastal region, expressing the wish to be blessed by the gods, and has a high educational value on the morality of drinking water and remembering its source, and the love of labor. With its unique and typical values, the Xa Mã Festival - Wooden Horse and Palanquin Pocessions at Hoàng Châu Communal House was included in the List of National Intangible Cultural Heritage in 2017 by the Ministry of Culture, Sports and Tourism.