Sacred texts representing the spirit, philosophy and teachings of the Buddha are chanted by the monks (Lamas) in the monasteries and villages of the Ladakh region. Buddhism in Ladakh has two sects: Mahayana - that follows the Sutra (treatise) tradition, based on the teachings of Budhha delivered in the form of public discourse; and Vajrayana - that follows a highly esoteric tradition based on the principles espoused by the Tantra practices. There are four major sects of Buddhism in Ladakh namely Nyngma, Kagyud, Shakya and Geluk. Each of these sects has several forms of chanting practised on diverse occasions as annual festivals; agrarian, life cycle healing rituals; for general well being, and to attain Buddhahood. Vajrayana Buddhism stresses the visualisation and recitation of Mantra through the practice of chanting. The chanting of Mantras is an integral part of Buddhist life in Ladakh. Buddhist Chanting is primarily practised in a group, by the monks. It is practised everyday in the monastic assembly hall as a prayer to the deities for world peace, and for personal growth of the practitioner. The villagers also patronise this tradition; they invite the monks to their homes for chanting on various occasions, such as family functions and important days in the agrarian calendar. In fact, on any given day, sounds of chanting can be heard in the villages all over Ladakh. It is a part of Ladakh’s daily life and cultural heritage. Monasteries work as the repository of knowledge and tradition, and as a channel for continuation and preservation of chanting. Buddhist chanting is highly evolved and stylised. The young monks are trained under strict and rigorous supervision of senior monks. Chanting texts are recited frequently till they are committed to memory. Thus chanting as a tradition is passed on from generation to generation as an oral practice and knowledge. The senior monks train young acolytes in the correct use of hand gestures ('mudra') that is an integral part of most chanting traditions. Bells, hand drums, flutes and the trumpets are usually used as accompaniments during chanting. They lend musicality and rhythm to the chanting. The four sects of Vajrayana Buddhism have their own different styles of chanting. Chanting styles can vary from one monastery to another, even if they belong to the same sect. In some sects, chanting is also accompanied with dance ('cham'), which is practised in the monastic courtyard. The Cham chantings of Hemis and Phyang, though they belong to the same sect of Kargyudpa, have entirely different chanting styles. The seven forms of chanting included in the dossier represent the diversity of the tradition practised in the Ladakh region. 1. Shargangrima - It is one of the most popular chanting of Gelukpa Sect. This is a eulogy recited by the Lamas as well as by the lay people in honour of Je Tzongkhapa who founded the Gelukpa sect in the 14th and 15th century. In Sargangrima, the chanters address Je Tzongkhapa as the second Budhha and celebrate him as the Son of the eastern province. 2. Nashthan Phyagzod -This chant uses musical instruments and 'mudras' (hand gestures) during chanting. It is a prayer for the 16 disciples or Arhats of the Budhha. Nashthan Phyagzod is chanted by the Lamas for all sects. The Arhats are the direct successors of the Buddha, the bearers of His teachings. The chant is a prayer to the Arhats to stay eternally on the earth for the sake of Dharma. At the end of each stanza, the chanters play drums, blow on a long flute and beat cymbals, providing a musical rhythm to the chanting. The monks symbolically offer music, dance, incense, flowers, lamps and food through 'mudras.' 3. Kunrig – This chant stresses on the internal visualisations by monks through repetitive chanting and 'mudras.' 4. Rigmachutuk – This chanting is performed by monks who dance in the courtyard of the monastery, wearing copper masks, silk robes and special shoes. It is based on two tantric texts. Rigmachutuk are the 16 fairy maidens or 'dakinis' who escort the titular Guru Padmasambhava in his Dharma missions. It is also performed during the funeral procession of senior monks. 5. Guru Mantra - This Mantra is recited by all followers of Mahayana tradition in Ladakh. This text is seen engraved on stones and metals and inscribed in flags and clothes all over this region. It is believed that this Mantra purifies the human beings of their sins. 6. Chod - It is a secret practice that is usually performed in the cemeteries. Chod requires great concentration and high meditative qualities. In this, the performer visualises that his consciousness has separated from his body, and has transformed into a deity. 7. Guhyasamaj Tantra – This chanting includes 'mudras' through which the monks emulate different missions of the Buddha. These chanting rites are performed all over Ladakh in various monasteries and villages. The nomination contains audio-visual documentation of performances conducted in strict adherence to scriptural guidelines, and under the guidance by the chief Lamas in the following monasteries. Thiksay Monastery Spituk Monastery Matho Monastery Hemis Monastery Phyang Monastery

India 2012

Dikir Barat is a new traditional arts form if compared to others of the same genre, as well as most liked amongst the normal Malay communities in villages and city fringes in Kelantan. In that state it is more popular with the name ‘Dikir Barat’ while in Southern Thailand it is called ‘Dikir Karut’. This arts form has been listed as a National Heritage in the year 2009. The word ‘dikir’ is a product of the combination of two arts that are ‘dikir’ (loosely translated as ‘song’) and ‘pantun’ (‘quatrain’), or ‘dikir’ and ‘karut’ (loosely translated as ‘story’). The word ‘karut’ is from the terminology ‘to tell stories in the form of quatrain or poem’. Thus, the names Dikir Barat, Dikir Karut, Dikir Pantun and Dikir Syair have the same meaning. There are those who opinied that Dikir Barat originated from southern Thailand with the name Dikir Karut. There are those who said that it was the product of the arrangement made by Haji Mat Salleh bin Haji Ahmad (known as Pak Leh Tapang) who improvised this arts form by adding quatrains in it. There are others who mentioned that it originated from Tebu Island, Kelantan. This arts form is normally practiced during paddy harvesting season and wedding ceremonies as entertainment or competition. The content revolves around current issues and lives of universal societies. The performance of a Dikir Barat group is headed by a Tukang Karut (‘The Storyteller’) and Tok Juara (‘The Champion’). They tell ‘stories’ by exchanging quatrains, reciprocated by loud and clear background voices of the Awak-Awak (group members) who don’t need to clap hands, just sufficient to place their palms on their respective cheeks to louden their voices. In a competition normally there are two group participants at a time and using the Kelantanese dialect. They exchange quatrains, insinuating, as if in jester and for entertainment only. At the end of the performance a group’s Storyteller delivers a sad song and requests for forgiveness at the thought of the fate of the Storyteller. At its early development a Dikir Barat performance only used audiphone equipment that were bamboo pieces, knocked to produced the rythmic beat of this arts form. Nowadays, it uses an ensemble of a gong, two small hand-held drums and a pair of maracas, cymbals and small bells. In yesteryears this arts form was a past time game and normally held in a bamboo hut with wooden floor and coconut leaves roof top. However, now Dikir Barat is well-known all over the country and can be seen on TV screen. Its development is also difficult to contain as it often receives changes, like its performance form, according to the era.

The ceremony takes place on the 6th day of the first lunar month every year. The ceremony, in the Yao language, is "Tịu siằng thun boaù lỉu". The Yao Tien people's New Year and harvest festival is usually held on the first day of the Dragon or the first day of the Ox in January, with the purpose of praying for the gods to bless the people in the village for a well-being, prosperity new year, new bumper harvest. The ceremony is run by a master of ceremonies (elected by the villagers, highly virtuous and knowledgeable of worship rituals). The place where the festival is held is the house of the master of ceremonies. The master of ceremonies and his assistants set up the altar, pasted Tam Thanh paintings, placed two bamboo trees on both sides and cut colored paper to decorate the altar. On two bamboo trees, hang fish shapes made of red paper, bundles of sticky rice seeds, corn balls, and sticky rice flour stuck on strings tied around the bamboo trees. The altar displays 1 bottle of wine, 1 boiled rooster, 2 plates of leaf cakes, 2 plates of fruit, 5 cups, and a bowl of incense. After the master of the ceremony reads the prayer inviting the Jade Emperor, the gods, and ancestors to attend the festival is the ritual dance - the bell dance. The bell dancing team consists of 8 people wearing traditional costumes, wearing hats with pictures of saints, shaking bells in harmony with the sounds of gongs and drums, and dancing in a circle. The festival takes place with many games and folk art forms such as tickling, còn tossing, love singing, etc.

The Harvest Festival of the San Chay People in Phu Luong district is held annually before or after the Lunar New Year, praying for good crops, budding trees, full granaries, full chicken coops, a prosperous and peaceful life. On the day of the festival, each family in the area prepares their own offerings at the village communal house, including offerings such as: sticky rice, chicken, pig's feet, pig's head or replaced by cooked pig's tail, intestines; wine, betel and areca nuts...; 1 tray of croissants, bánh lẳng and other cakes typical of the San Chay people. The indispensable items during the ceremony are the accompanying ancient paintings. A complete set of ancient paintings by the shamans includes 28 sheets of paintings, with different images. The festival takes place at the shrine of the local god, in the communal house. When the offerings are ready, the assigned men carry the tray of offerings into the communal house, led by the head of the village. Before performing the ceremony, the Master Tén (shaman) carefully checks the altars, musical instruments, and props. The Master Tén asks for three drum beats and begins the ceremony. The Master Tén's prayer includes remembering the ancestors' merits, reporting their achievements, and thanking the gods for their protection so that the house is full of rice, the yard is full of chickens, and all people are safe and happy... The end of the ceremony is when the unique Tac Xinh dance takes place - the highlight of the Harvest Festival. The Tac Xinh dance has a simple rhythm, easy-to-understand language, and dance movements. The musical instruments are just percussion instruments made mainly from bamboo or wood, but they create bustling clappers. In addition, there are also the combined sounds of small drums, cymbals, gongs, leaf trumpets, bells, and clay drums. The Tac Xinh dance includes the following movements: Visiting the road, establishing the village, making decisions, sharpening knives, clearing the fields, checking the stakes, picking, celebrating the harvest or doves... creating a joyful and exciting atmosphere. At the Harvest Festival, visitors can also enjoy the love songs "Sinh ca", singing Soong Co; throwing con, bamboo dancing, going to the monkey bridge, chess... and participate in folk games taking place throughout the village yard. The Harvest Festival with many characteristics of the San Chay ethnic group in Phu Luong, has a noble humanity, is a spiritual bridge between heaven and earth and people, expressing the desire to conquer nature of the working people. The Harvest Festival of the San Chay People was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage in 2018.

Ama Jomo is the local protectress of Merak and Sakteng communities but most of eastern Bhutan pay homage to this female deity. Ama Jomo is believed to be the manifestation of Jomo Remati, Palden Lhamo or Mahakali (one of the principal guardian of Bhutan). From the 21st day of the 7th month according to the Bhutanese calendar, people of Merak set off for their pilgrimage to Ama Jomo’s citadel, the sacred mountain of Jomo Kukhar or Jomo Phodrang (meaning citadel/palace of Jomo). This pilgrimage is called jomkora. Laden with different items of tshog (offering items) composed of fruits and food items, areca nuts and betel leaves, people set off on the journey dressed in their best attire. All the edibles taken on pilgrimage should be free of onion, garlic, egg, and pork, and all pilgrims making the journey should be free from contaminations such as birth or death impurities. It is not just a pilgrimage; for the local people, it is also a time to make offering to Ama Jomo. The pilgrimage is undertaken to thank the protectress as well as to renew their relationship with her for continued support. During the jomkora, religious ceremonies in honour of Ama Jomo are held in the temple. Men set off to the summit of the citadel and offer prayers. A sacred song dedicated to the Ama Jomo, called “Aemo Chilay”, is also sung only at this time. Lyric of the song is as follows: How wonderful and auspicious it is! Crossing one mountain pass and yet another, Having crossed the Gogo Pass. How wonderful and auspicious it is! How wonderful and auspicious it is! At the Gogo La, The stallion said he will not cross it. How wonderful and auspicious it is! How wonderful and auspicious it is! On the white stallion, Hang the jingling bells. How wonderful and auspicious it is! How wonderful and auspicious it is! The one who resides on the three peaks, The healthy Ama Jomo. How wonderful and auspicious it is! How wonderful and auspicious it is! The gallant pawo reside on the right, The gallant pamo reside on the left. How wonderful and auspicious it is! How wonderful and auspicious it is! If circumambulated clockwise, Defilements of the right side are cleansed. How wonderful and auspicious it is! How wonderful and auspicious it is! If circumambulated anticlockwise, Defilements of the left side are cleansed. How wonderful and auspicious it is! How wonderful and auspicious it is! If circumambulated both ways, Defilements of the body are cleansed. How wonderful and auspicious it is! On that journey, men take the opportunity to ride their best horses. Therefore, the pilgrimage also provides an occasion for horseracing, which is held at the place called Serkim La. Although there is no tradition of awarding prizes to the winners, any man falling off the horse or losing any belongings from his pack is subjected to fines.

Khắp Nôm Singing is also called Khắp Tay Singing, which means the ancient folk song of the Tay people in Van Ban area, Lao Cai province. Khắp Nôm Singing is a simple way of singing about a story, a situation, a narrative, a communication expressed by a song that arises in specific moments, conveying feelings and wishes between people and with nature. Khắp Nôm Singing sentences are refined, smooth, and delicate, in which the lyrics in the Lullabies are often gentle, praising, advising with good wishes. There are many types of Khắp Nôm Singing but basically there are 3 types: single Khắp Nôm (singing style of one person, narrative singing style), double Khắp Nôm (singing style of two people, maybe one man - one woman singing in response to each other), crowded Khắp Nôm (singing style with many participants) associated with specific living spaces. Depending on the situation and time, there will be Khắp Nôm verses and Khắp Nôm songs in that situation: Khắp congratulating the new year, Khắp Cham Chieng, Khắp moi ruou, Khắp 12 mua hoa nam tuoi dan... and singing rituals Khắp so pạu ư - Hat xin don dau, hat cong nha moi... Participants in the singing include the elderly, middle-aged and young people. When singing, the Tay people use the Tinh lute and a bunch of musical bells, flutes or drums as accompaniment to make the song smoother. Khắp Nôm Singing with familiar lyrics, born in different circumstances, responding to the needs of the community, imbued with ethnic identity, guiding people to a better life. With those meanings and values, in 2018, the Ministry of Culture, Sports and Tourism decided to recognize the Khắp Nôm Singing of the Tay Heritage as a national intangible cultural heritage.

‘Sada Shin Noh’ is a performing art expressed by the people’s dance-like movements to musical instruments such as drums to re-enact the power of the deity with which the people are blessed. It is always performed on September 24th and 25th every year on a special stage, called Gakuden, constructed within the precincts of the Sada Shrine which is the tutelary presence of the community. During these two days at Sada Shrine, people replace the rush mats, called Goza, with new mats on which the deities seat themselves. The replacement re-enacts the deities’ power. During the performance of ‘Sada Shin Noh’, a ritual dancer performs with Goza in his hand. The Goza are purified by this dance. People consider that ‘Sada Shin Noh’ is indispensable to the re-enactment of the deities’ power. ‘Sada Shin Noh’ is also performed at other neighbouring shrines, whenever requested. The repertoire, choreography and music in ‘Sada Shin Noh’ are traditionally fixed. ‘Sada Shin Noh’ is accompanied by flute music, three types of drums and singing. The players sit down around the stage, and the dancers perform at the centre of the stage. The repertoire performed in this performing art is classified into three categories. The first seven numbers belong to Category I. The performers do not wear masks, and perform the ritual dances with swords, holy wooden sticks, and bells in hand, depending on the number. In the ritual dance, Gozamai, the dancers perform with the rush mats for the deities in their hands in order to purify them before serving them to the deities. Category II has the three ritual dances performed with a mask of an old man. It is said that these dances were performed in Kyoto in the early seventeenth century. Category III has twelve numbers called Shin Noh which are performed with a mask of a deity. Japanese myths are depicted through these dances. This composition of dances is a typical example of Japanese performing arts. However, the main feature of ‘Sada Shin Noh’ is the dance of purification of the deities’ seats. People believe that ‘Sada Shin Noh’ should be regularly performed in order to re-enact the power of the tutelary deities in the community. ‘Sada Shin Noh’ is natural and nothing special in the daily lives of the people around Sada Shrine who share the worship. ‘Sada Shin Noh’ is an interaction between people and the deities that supports and guarantees a rich and peaceful future for the people, their families, and the community, making the social and cultural functions of “Sada Shin Noh” significant. The people who worship Sada Shrine as a tutelary presence are eager to transmit ‘Sada Shin Noh’ to the future. They have practiced diligently to acquire the skills needed for their performances, and have been publicly approved by the people of the community. Those who are in charge of the transmission of ‘Sada Shin Noh’ are first, the members of the Association for the Preservation of Sada Shin Noh. They are ordinary citizens engaged in respective jobs, but they practice regularly and have acquired the traditional performance formula. They bear a direct responsibility to perform it in a traditional style in public. Second are Shinto priests, who maintain the Sada Shrine. They have the responsibility of offering the opportunity and place for the public performance of ‘Sada Shin Noh’. Third are people inside and outside the community, who consider it necessary to continue transmitting ‘Sada Shin Noh’ to the future. They appreciate the public performances of ‘Sada Shin Noh’, and make financial contributions to the Shrine and the Association from time to time. The people of the community have long regarded ‘Sada Shin Noh’ as an important performing art. Designated as Important Intangible Folk Cultural Property by the National Government in 1976, it has been widely recognized in Japan as an important element of the Japanese cultural heritage that indicates the transition of the Japanese lifestyle. The transmitting group and community consider ‘Sada Shin Noh’ as one of their own distinctive cultures of which they are proud. By transmitting and performing it in public, it offers them an opportunity to renew a sense of identity with the community and society, thus contributing to its continuity.

Japan 2011

Then a ritual practice indispensable in Tày, Nùng and Thái ethnic groups' spiritual life, reflects concepts about human beings, natural world and the universe (the Earth realm, the 3-layer Heaven realm). Then ceremonies describe a journey in which Then Master (Male/Female) controls ghost soldiers travelling from the Earth realm to the Heaven realm, the residing place of the gods, to offer worshipping items and show their praying requests for peace, bad luck relief, illness treatment, good crops, new house inauguration, initiation/title-conferring ritual (cấp sắc), blessings and happy new year. Then Masters start the journey by singing and plucking the tính lute (two or three-string lute). Depending on worshipping purposes, Then Masters will arrange worshipping trays to pray different native Gods, among whom Ngoc Hoang is the highest God. Then Masters often use a summoning tablet, a seal, a demon-expelling sword, a yin and yang rod, a bell, a fan and items such as pork, chicken, wine, rice, fruits and votive papers to perform Then ceremonies in the believer’s house, outdoor or at Then altar of the Master’s house. While practising, Then Master wears ceremonial dress, sings the language of his ethnic group and plays the tính lute, shakes the chùm xóc nhạc (rattle-bells), waves a fan. In some ceremonies, a female dancing group will accompany. Then rituals performances express Tày, Nùng and Thái’s cultural identities, from customs to musical instruments, dance and music. Then is always transmitted orally while its rituals are being conducted, reflecting the succession between generations.

Viet Nam 2019

This element was inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2001) The Jongmyo Shrine in Seoul is the setting for a Confucian ritual dedicated to the ancestors of the Joseon dynasty (14th to the 19th century) that encompasses song, dance and music. The ritual is practised once a year on the first Sunday in May and is organized by the descendants of the royal family. It offers a unique example of a Confucian ritual, which is no longer celebrated in China. The tradition is inspired by classical Chinese texts concerning the cult of ancestors and the notion of filial piety. It also includes a prayer for the eternal peace of the ancestors’ spirits in a shrine conceived as their spiritual resting place. The order of the ceremony was defined in the fifteenth century and most elements have remained unchanged until today. During the rite, the priests, dressed in ritual costume with a crown for the king and diadems for the others, make offerings of food and wine in ritual vessels. The Jongmyo Jerye is music played to accompany the rituals and is performed on traditional instruments, such as gongs, bells, lutes, zithers and flutes. The dances are performed by 64 dancers in 8 lines representing the opposing yet complementary forces of Yin and Yang as set out in the Confucian texts.The Munmu dance, accompanied by the harmonious and soothing Botaepyong music, is characterized by a first step to the left. While the Munmu dance symbolizes the force of the Yang, the Mumu dance, accompanied by Jeongdaeeop music and characterized by a movement to the right, represents the force of the Yin. The ancestral ritual is nowadays often considered to be devoid of meaning, especially in the context of the growing importance of Christianity. However, the ritual and its music are protected through the National List of Intangible Heritage and the 1982 Law for the Protection of Cultural Property.

South Korea 2008

"Trud" Dance is originated in rural communities and is now only found in Siem Reap and some villages of Battambang adjacent to Siem Reap. "Trud" in Sanskrit means “The act of cutting, detachment) The locals play this dance only during the Khmer New Year, in the sense of cutting off the old year to move on to the new year, as well as expelling evil spirits in order to get good fortune. However, during the dry season, this dance is also performed to pray for rainfall. In addition, the importance of playing this dance is to raise funds to build and repair communal infrastructures in the community, especially in the pagoda, which is not for personal gain. This dance can be joined by more or fewer dancers according to the preferences of the village or the number of volunteers. The equipment also depends on the number of dancers. The equipment is also doubled as the props and accompaniment to the dance. The complete Trud Dance can consist of instruments such as: Kanh Chhe (bamboo mast with bells on top), Changkrang Dombe, ChangKrang Rong, Sko Arak (hand drum), Bei Pok (flute), Tro Ou, Tro Sor (bowed strings) and Dang Santuch or Dang Doy (pulling bar of an ox cart) attached with an open bag for retrieving the donations. The main accessories for the Trud Dance are clown masks and crowns made of paper mache and lacquer, real deer and banteng antlers or artificial antlers made of paper mache, peacock feathers,s and fake long nails made of rattan. When performing, there are two or three priests leading the group and holding a fundraising bowl, and giving blessings to those who Donate. If it is played in rain asking ritual, the priest who leads the ceremony is called “Dangkhao”. The lyrics are not the same, it depends on the preference of the group or the village because some lyrics can be created immediately according to the actual situation in order to convince the donor to give more donations. But the interesting thing is that most of the "songs" contain 4 syllables in each line. 6 The following are some excerpts from the lyrics in the document of Samdech Preah Vanroth Iv Tuot, Chief of Monk from Battambang Province: Lyrics on arrival at the ceremonial ground I arrive outside your gate, calling out to you. My respected master Can I come inside? (Vocalizing) oh na neang na Can I come inside? Permit or not, Please let us know. We can come in or not, Please quickly tell us. (Vocalizing) oh na neang na Please quickly tell us. Fellow team! Fellow team! That the fire is lit Means that we are welcomed. (Vocalizing) oh na neang na Means that we are welcomed. Lyrics when asking for alms This Trud is not from here. This Trud is not from here. The master ordered us That we came here to play. (Vocalizing) oh na neang na That we came here to play. Big house with sculptures Stair steps made of silver Suiting his wealth (Vocalizing) oh na neang na sa ra mom bong. Lyrics when collecting the scattered alms Some hide, some throw, Some scoop up, Don’t talk, lads! Catch the money quietly (Vocalizing) Yeur chhai nao nao neang nan a na oun euy. Lyrics to bless the givers Fellow team! His silk and thread He gave us all We shall bless him. To have a son She weaves silk to bless regularly Officials He gave us all To get a mouthful for a daughter Soup for money. We bless him. Children as well. Sculpture land. Before performing, people prepare an offering for Lord Vishvakarman and the spirits of the land and nature. Then the priest ties holy thread to the wrists of the dancers and puts on the masks and horns for the performers. Mr. Pol Sam Oeun researched this dance in Battambang province and choreographed it as a performance on stage and performed for the first time by Mr. Meas Kok, who was the first singer to hold the Dang Santuch, and the following performers: Mr. Ros Lon, Mr. Meas Sam El, Ms. Mom Hoy, Mrs. Sieng Sivhun, Mrs. Kaing Steng, Mrs. Ok Leung, Mr. Hing Tim, Mr. Moeung Chandara, Mr. Kong Samith, Mr. Pen Lon, Mr. Put Lon, Mr. Suon Sareth, Mr. Eam Sean, Mr. Pen Yet. The dance ceased to be performed in 1975 and resumed in December 1979. Today, Trud Dance is very popular because during the period before the New Year. It is performed in government institutions, companies, or private houses to ward off evil spirits and bring prosperity.

Hát Môn Temple worships Hai Bà Trưng, two female generals who rose up to destroy the invading Eastern Han army in 40 AD. The Hát Môn Temple Festival is held from the 4th to the 6th of the third lunar month to commemorate the merits of the Hai Bà Trưng, who were instrumental in expelling the Eastern Han army. Legend has it that before committing suicide, the two ladies stopped by a restaurant to eat floating cake. Therefore, in the ritual, the community always offers floating cakes to Hai Bà Trưng. The ceremony includes many rituals such as taking Hai Bà Trưng to bathe at Mộc Dục temple; When carrying out the procession, Ms. Trưng Trắc's palanquin goes first, Ms. Trưng Nhị's palanquin goes behind; When the procession returns, the procession of Ms. Trưng Nhị goes first, and the palanquin of Ms. Trưng Trắc follows. King - Two Ladies procession: at the forefront is a group of female soldiers holding a command flag, two white horses, (saddles, bells, and music are the same, plaited with rattan, covered with white painted cloth), a group of female soldiers holding soldiers. gas and precious bowls, two incense burners, two dragon thrones with two dragon heads facing back, and two palanquins carrying the Hai Ba (only the person in the front row walks backward, facing the palanquin - a ceremony to welcome the mother), after each palanquin, Some people carry a box of shoes, some carry a box of mirrors and combs, some carry betel and areca palanquins. Floating cake is a special offering that Kẻ Hát people offer to Hai Bà Trưng on March 6. Residential areas choose representatives to make floating cakes to offer to the Saint. Each ceremony tray includes 6 plates of floating cake. The women wore traditional Áo Dài and ceremonial hats, lined up in two vertical lines to offer ceremony under the guidance of two masters of ceremonies. Before March 6, everyone abstains from eating floating cakes. After offering cakes to the Hai Bà Trưng, villagers can offer floating cakes to worship their ancestors. When conducting the ceremony, there are two masters of ceremonies and two people reading the wishes. When reading the will, there were two teams of female soldiers, wearing brown shirts, holding weapons, and two people holding two rice fans to cover the two wishes (about one meter long, with dragons embroidered on the fan base).

Fire dance ceremony (Fire bridge) or "Po Dinh họn a tờ" in Pa Then language takes place on the 16th day of the 10th lunar month, in My Bac village, Tan Bac commune, Quang Binh district, Ha Giang province, when the season comes. membrane has been harvested. Traditionally, Fire dance is associated with the "Poc Quo" ritual - the ceremony to transmit the profession of a sorcerer - which is held for shamans to receive students and pass on the profession. The ceremony is organized by the clans in the village. Offerings to the gods include roosters, rice, incense, wine, votive coins, etc. The main ritual master includes the shaman and his subordinates or students. When sitting in the ceremonial chair, the shaman holds and shakes a bracelet in his hand and at the same time pats the bamboo stick on the iron lute of the Pa Then people. He chanted while his body swaying in rhythm with jingle bells and claps of hands. His subordinates lit a fire as directed by him. The shaman would then chant to take his soul to heaven, calling the spirits of the gods to enter the bodies of young men waiting nearby. Gradually, the boys will enter a trance state. Their bodies will naturally sway, and they will begin to jump into the fire with their bare feet and hands. Some dancers are even able to play burning coals with their bare hands or chew them in their mouths without injury. The Fire Dance Festival of the Pa Then has a long history and has been preserved and maintained for generations. The festival not only reflects the role and status of shamans in the previous society, but also evidences the cultural elements, primitive beliefs, beliefs in the spirit world and supernatural forces.