Inscribed in 2016 (11.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Jeju Island, off the southern coast of mainland Korea, is a volcanic island with a population of about 600,000 people. Some landforms of the island were inscribed on the List of World Heritage in 2007. An average Jeju haenyeo holds her breath for one minute while diving ten- meter underwater to gather marine products. When a haenyeo exhales after each dive, she makes a unique sound called "sumbi-sori." A haenyeo works for six to seven hours a day in summer and four to five hours in winter. She dives about ninety days a year. The income generated from diving work significantly contributes to Jeju households. A Jeju haenyeo has her own mental map of the sea, including the location of reefs and the habitat for shellfish. She also has a command of local knowledge on the winds and tides. The maps and knowledge are acquired through repeated diving experience by each haenyeo. Most Jeju haenyeo rely upon upper-skilled haenyeo’s (sanggun) weather forecast for diving rather than listening to the official forecasts. Jeju haenyeo communities practice a shamanistic ritual for the goddess of the sea (jamsugut). The ritual includes prayers for safety at sea and an abundant catch. The ritual has a part for the haenyeo to sing a song called “Seoujet-Sori.” “Haenyeo Norae” (Haenyeo Song), which used to be sung while rowing their boat out to the sea for diving, has been an important part of Jeju haenyeo culture.

South Korea 2016

Chăm pottery products are made with the skilfulness, flexibility and softness of hands and bodies of Chăm women, showing the individual creativity based on the knowledge handed over by the community. This has the following characteristics. The pottery is entirely handmade by women. Instead of using a turntable, women have to move backwards to revolve around the product placed in a fixed place to create the shape for it. The pottery is not glazed but fired outdoors. Raw materials (clay, sand, water, firewood and straw) are exploited locally. After being collected from Hamu Tanu Halan field along the banks of Quao river in Bàu Trúc village (Ninh Thuận province), the clay will be reproduced after a few year periods. The clay for making pottery of Bình Đức village (Bình Thuận province) is exploited in Xuân Quang village (3 kilometers from Bình Đức village to the Northwest). Tools for making pottery are simple because they are made use of local materials by artisans such as bamboo hoop scraper-polisher, bamboo hoop scraper to thin pottery products and clamshells and wetted coil cloth to make the product smooth. Without using a kiln, the finished pottery products are dried and baked outdoors with firewood and straw at a temperature of about 800 Celsius within 7-8 hours. Chăm’s pottery products are mainly household utensils, worshiping products, and fine art works including Jars (jek), pots (gok), trays (cambak), vases (bilaok), rice jars (khan brah). These products are characterised as being unique and carrying individual imprints.

Viet Nam 2022

An artistic product often like a stick or a bunch of sticks basically made from powders of mixed aromatic plants and medicinal substances. It emits sweet fragrance smoke when burnt and normally offered in and at the sacred places to please deities and to get cleansed and rid-off defilements. The production of incense is considered one of the religious crafts, and it is another way of making Sang (smoke) offering. According to the Bhutanese artisans’, the craftsmanship dates back to the time immemorable when the first Lord Buddha Nam-par zig-pa (Skt. Bispa shayi) attained enlightenment and offered the Sweet Fragrance smoke by burning the Incenses by the enlightened beings; celestial beings and Bodhiasattavas made from varieties of heavenly medicinal herbs. The tradition gradually spread in the spheres of Bonpos (per Buddhist religion of Tibet) and Hinduism and maintained its skill until Buddha Sakya Muni’s period which is about 2500 years back then. The art was also adopted by the Chinese Buddhist missioners and further spread to Mongolia, Korea and Japan as well. In Tibet, the making Smoke offerings and burning incense was officially implemented the 7th Century during the reign of King Songtsen Gampo (R. 618 AD- 650 AD) when Princess Wenchang (M. 641 AD-650 AD) and her entourage members suffered illness while heading towards Lhasa (then, the capital of Tibet) as bride to the King. The Princess tried to medicated using physician attendants but could not bring to the normal yet, by offering the smoke offering made attendants fully recovered. The instruction to make Smoke Offering was from the Minister Thonmi Sambota () who had a visualization from the sacred Sakya Muni images to collect the medicinal herbs from the mountains and making smokes will ease any diseases associated to Nagas. Later, incense making and burning tradition was gradually invented using the same raw materials and medicinal ingredients of Smoke offering. In Bhutan, the art of Incense making was brought by the Country Unifier Zhabdrung Ngawang Namgyal (1594-1654) and was initially practiced in the Dzongs (fortress) by the monk artisans. Thereafter, the tradition remained intact amongst the Bhutanese being the Buddhist and making offering of incense had been a daily special offering substances in the individual shrines, temples and monasteries. Currently, there are a countable incense manufacturing centers across the country. These industries produce mainly two different incenses: Ja-ju poe (herbal incense) with a yellowish texture and Zu-poe or Choe-jue poe (incense mixed with flesh and blood ingredients) with a brown color. Ja-ju incense is usually burned explicitly for the enlightened beings and when performing Drol-chog (ritual of Goddess Tara), while the other is offered to the guardian deities and guardian spirits during affirmation rituals.

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.

The traditional art of Chèo singing in Ninh Bình province has been known for a long time, associated with a legend of the origin of Chèo singing and its creator Lady Phạm Thị Trân. Up to now, more than one hundred ancient Chèo tunes have been preserved in Ninh Bình province. There are 64 clubs of Chèo in Yên Khánh district, most of them have preserved ancient Chèo tunes and also composed new ones the lyrics of which based on ancient tunes to reflect the actual life of the people.

Zhong Yuan Jie (中元节) takes place on the seventh month of the Lunar calendar. It is mostly observed by Chinese Buddhists and Taoists who believe that during this time, colloquially known as “seventh month” or 七月 (“seventh month” in Chinese), the gates of Hell are opened, releasing spirits who roam the earth. The period is also commonly referred to as “Hungry Ghost Festival”, with reference to the belief that spirits are hungry because they do not have descendants to make offerings to them. However, it is not just mischievous spirits who roam the earth during the seventh month – it is also believed that dead ancestors may come back to observe the living. Hence, there are various practices associated with entertaining and appeasing these spirits. For instance, believers will burn joss sticks, paper offerings and make food offerings. There will also be large-scale performances called getai （歌台）which provide entertainment to both the spirits and the living.

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.

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Korea and the rest of East Asia, engaged in rice farming for several millennia, have formed a rice culture that can be compared to the wheat culture of Europe. Ganggangsullae is one of the most representative seasonal rituals of Korea’s rice farming culture, which permeates nearly every aspect of life among Koreans. Ganggangsullae gives hints about the origins of recreational music and dance emblematic of the Korean peninsula, as it used to be widely performed in the southwestern coastal region of the peninsula and is closely linked to inland circle dances accompanying music, including Notdari Bapgi (Walking Over a Human Bridge) and Wolwoli Cheongcheong (Moon, Moon, Radiant Moon). A combination of various recreational elements based on the basic form of holding hands to form a circle while singing and dancing, Ganggangsullae has been named as such since the refrain “ganggangsullae,” whose exact meaning is unknown, is repeated with every bar. It was originally performed by unmarried youngsters aged between 15 and 20, and sometimes allowing the participation of recently married youngsters. But, when it was designated as a state cultural heritage the community members, largely women in their 40s or 50s, rendered the performance. Since then, Ganggangsullae has been handed down by middle-aged female members of the community, displaying proficient skills, rather than the creative vividness and dynamics of youngsters when they perform it. Traditionally, Ganggangsullae was performed on Korea’s representative seasonal occasions, including Seol (the lunar New Year), Daeboreum (the first full moon day of the year), Dano (the fifth day of the fifth lunar month), Baekjung (the fifteenth day of the seventh lunar month), Chuseok (the fifteenth day of the eighth lunar month), and Junggu (the ninth day of the ninth lunar month), with the one on Chuseok being the largest. As such, Ganggangsullae has been developed into a performance most commonly conducted on Chuseok (Korea’s Thanksgiving). Under the bright full moon, dozens of young village women hold hands to form a circle and sing and dance. While the sun symbolizes men, and the moon, women, and women’s physical features are represented by a round shape, Ganggangsullae assumes the characteristics of the law of imitation, one of the laws of magic, reflecting primitive aesthetics. Because the dancing is strenuous, only young women are allowed to perform, but it is also their privilege as women of child-bearing age. Ganggangsullae is a ballad dance unique to Korea. The songs are poems written by ordinary people and a lead singer set the pace. Fellow performers follow the lead with the next lines in a song. Besides folklore and folk dance, folk music is also incorporated in the performance as traditional Korean music instruments such as a drum and an hour-glass shaped drum accompany the dance, adding to the entertainment. Ganggangsullae is so exciting and dynamic that participants often lose themselves and end up performing from the early evening when the moon rises until the moon sets. Depending on the tempo set by the lead singer, the music is categorized into gin (slow) Ganggangsullae, jung (middle) Ganggangsullae, and jajeun (quick) Ganggangsullae. The tempo of the dancers’ movement also varies according to the music. During interludes, games reflecting life in farm or fishing village are played. They include imitating the Korean terrapin (one person goes into the circle to dance and the next comes in and imitates her), gathering brackens, tying herrings, treading on roof tiles, rolling and unrolling straw mats, catching a mouse (picking the tail), playing gatekeepers, riding palanquins, and looking for a handkerchief. The archetype of Ganggangsullae is found from agricultural folk customs of Mahan, a Korean state that existed 2,000 years ago, according to ancient Chinese historical texts. In the history of man, it is not common to see an intangible cultural heritage handed down for such a long time. This long transmission of Ganggangsullae implies that expectations for the role of women both in the society and in the family have continued for such a long time as well. Traditional Korean society was male centered, and young women were not allowed to sing aloud or go out at night. On Chuseok, however, women could freely sing and enjoy outdoor amusements under the full moon, venting their long-suppressed emotions through Ganggangsullae. The festival guaranteed women a chance to break away from usual restrictions and enjoy the festive mood. Throughout its history, Ganggangsullae also had other functions. It is said that in 1592, Admiral Lee Sun-sin had women perform Ganggangsullae at night around a fire. The flickering shadows fooled the invading Japanese into overestimating the size of Lee’s forces, who ultimately prevailed. Also, listening carefully to the song verses, one can notice that there are many lines criticizing the society. In particular, the words written under the Japanese colonial rule reflect the Koreans’ resistance to the occupation forces. Ganggangsullae is rarely performed in today’s rural villages since most young women have left for cities. But thanks to its national designation as an Important Intangible Cultural Heritage and state-level cultural and educational policies, Ganggangsullae has spread outside its traditional base in the southwestern region of the Korean peninsula. Today, Ganggangsullae is part of the music curriculum of elementary schools and is performed at many secondary schools and universities as well as public festivals across the country. In recent years, research has been conducted regarding the application of Ganggangsullae in the field of art therapy. Ganggangsullae is expected to help those suffering from psychological problems such as depression. Also, new possibilities are being explored as an alternative therapy to help obese women lose their weight and as a means to enhance the well-being of lonely senior citizens.

South Korea 2009

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Traditionally, the Namsadang troupes didn’t settle in one place but traveled around, performing their repertoire mostly for grassroots audiences. The only extant group today was originally based in a neighborhood near Cheongnyongsa, a Buddhist temple in Seoun-myeon, Anseong City, Gyeonggi-do Province. Until the early 20th century, this group traveled from village to village around the central district of Korea and sometimes farther to Manchuria in northeastern China. Through its active itinerant performances the group influenced folk entertainment, masked dance plays and seasonal games in various regions. The wandering entertainers lived on small earnings from their shows, usually staying in Buddhist temples. They sold amulets made by monks and donated part of their income to host temples. A Namsadang troupe needs some 40-50 male performers to present its full repertoire. Under the kkokdusoe, literally the “head actor”, the troupe has a planner (gombaengisoe), stage manager (ddeunsoe), actors (gayeol), apprentices (ppiri), elderly seniors (jeoseungpae), errand runners (jan simbureumkkun) and porters (deungjimkkun). They have a strict hierarchy and apprenticeship to hand down their skills from generation to generation. The six acts of their program may be explained as follows: • Farmers’ Band Music (Pungmul): The farmers’ music played by the current Namsadang troupe originated in Gyeonggi and Chungcheong provinces in central Korea. It consists of a road parade and individual skill demonstrations. • Mask Dance Play (Deotboegi): Thirteen actors appear in four scenes – the ground purifier, the episode of scabies sufferer, the episode of feeble-minded scholar, and the episode of black monk. • Tightrope Walking (Eoreum): An acrobat performs a variety of feats on a tight rope between humorous exchanges with a clown on the ground. The rope is some 9-10 meters long and 2.5 meters high. Kwon Won-tae of the present Namsadang group can perform 17 kinds of feats. • Puppet Play (Deolmi): A total of 51 puppets in 31 kinds appear in this play with two acts and seven scenes. The stage is set up with black curtains, some 1.2 meters above ground. Puppeteers manipulate the puppets from behind the curtain, exchanging dialogue with a narrator seated in front of the stage along with musicians. The play consists of the Act of Old Man Park and the Act of Pyongyang Governor. The Act of Old Man Park has four scenes -- Old Man Park Goes on Sightseeing; Pijori (Park’s niece); Kkokdu Gaksi (Park’s wife); Isimi (python). The Act of Pyongyang Governor has three scenes -- Falconing, Pallbearing and Temple Building. • Acrobatics (Salpan): This act has a variety of breathtaking feats performed on the ground. • Sieve Frame Spinning (Beona): An acrobat displays intricate skills for spinning and tossing a sieve frame using a wooden stick some 40cm long. Sometimes he uses a tobacco pipe, a knife or a small reel, or an impromptu device combining these tools. Among the six acts of Namsadang Nori, the mask dance and puppet plays are particularly worthy of note for their explicit social messages. Characters in these humorous plays represent typical Koreans from different social classes, such as an aristocratic master and a defiant servant, an old couple and a concubine, Buddhist monks indulging in worldly pleasures, and the masses suffering from unending suppression and exploitation. These dramas were not simply designed to offer entertainment but also raise issues on behalf of the grassroots who had no means to voice their opinion. They were intended to imbue hopes for freedom and equality in the hearts of their commoner audience under yokes of class distinction. Through humorous depiction of women’s lives in a male-dominated society they also manifested the ideal of gender equality and human dignity. The masks and puppets symbolically express the reality faced by each character. The pains and sorrows in their hearts are soothed and even fears of death are overcome with cheerful plays. Namsadang plays thus advocated the ideas of freedom and equality through witty and humorous dialogue and symbolic dances and gestures. They spoke for the desires of Korean grassroots to pursue a beautiful and dignified life even though they had to accept the limitations of reality. These themes will be easily understood and earn sympathy from audiences around the world. The plays feature many silent characters, as well as abundant gestures and dances, facilitating easier communication and active audience participation beyond language barriers. The Namsadang troupes typically were performed in round outdoor spaces surrounded by crowds except the entrance and exit paths. The performing arenas, therefore, were open to everyone. The wandering entertainers held rites to pray for peace and fertility, playing loud and pleasant music, in every village they dropped in. They entertained the villagers with exciting programs of music, drama, dances and acrobatics, offering joyful moments to the oppressed commoners and boosting their morale. Namsadang Nori possesses intrinsic value as a content source for contemporary cultural creation. With a history spanning 1,500 years at the least, this integrated folk repertoire represents traditional Korean performing arts in broad genres. Its content will be actively utilized in various cultural genres in the years ahead. In this context, the recent hit movie “The King and the Clown” (2005) deftly proved such potential. The movie featured tightrope walking, farmers’ band, mask dance drama and puppet play in a number of scenes. Its two lead characters are wandering entertainers who happen to drift into the royal court. The movie’s phenomenal success has inspired many artists to employ motifs from the Namsadang repertory.

South Korea 2009

The Nang Hai Festival of the Tay people in Tien Thanh commune (Phuc Hoa-Cao Bang) is one of the traditional festivals of the Tay people with the wish for a new year of favorable weather, happiness, peace and to commemorate the merits of Princess Tiên Dao of the Mac dynasty. The Nang Hai Festival takes place over many days with many worshiping rituals and ceremonies. The Nang Hai Festival takes place in 3 parts: Hai welcoming ceremony, Hai praying ceremony and Hai seeing-off ceremony. The festival includes the moon welcoming ceremony (inviting Nang Hai - the moon lady down to earth), the farewell ceremony between Mother Moon and the Moon ladies and the farewell ceremony (on the 22nd day of the 3rd lunar month of even years). During the ceremony, the shaman wears a red shirt, a red hat, holds a pipe, shakes the dice and prays as if singing a prayer song in the Tay language right in front of the ancestral altar. Behind him are 14 girls holding paper fans, including: the two girls closest to the shaman sit cross-legged in a circle, symbolizing Nang Hai. The remaining 12 girls wore black indigo shirts and rough cloth shoes, lined up neatly in two rows right behind them, and an old woman called "Dẫn Lady" - who was knowledgeable about customs, sang well, and had a happy and peaceful family. At the beginning of the ceremony, the shaman read the prayer, then the 2 girls held fans and rotated them in a sitting position as if in a trance and sang. This was the ritual to invite the Lady to the mortal world. After the ritual to invite the Lady Hai to the mortal world took place in the house, the shaman led the Lady Hai and the 12 children of the Moon Mother to the village's shrine to report to the village's guardian spirit, praying to welcome the Moon Mother to the mortal world. When finished, the “Dẫn Lady” and the girls went to the outdoor sacrificial hut, where the “Dẫn Lady” and the Buddha performed the ceremony to worship the Moon Mother. The Buddha Dao prayed first, the “Dẫn Lady” sang later, and then the 12 children of the Moon Mother sang in unison following the “Dẫn Lady”. In particular, the harmonious and delicate combination of lyrics and songs with traditional dances of the Tay people in most spiritual activities creates an extremely attractive atmosphere. There are many fan dances used in the Nang Hai Festival such as: Sweeping dance rotating from right to left to start a ritual; Harvest dance; Boat rowing dance, etc. Each type of fan dance has the same rule that the dancer must go three times around the ceremony area. Inviting Mother Moon to the earth is a difficult and arduous journey. Only after singing the invitation for the third time will Mother Moon agree to accept the invitation to come down to earth to help people pray for a good harvest and blessings. After the dances and farewell songs, the boat carries the Moons and offerings to the Moons back to heaven. The festival includes sports activities, folk games, etc. The Nang Hai Festival not only has the meaning of praying for a good harvest, but also reflects the Tay people's custom of worshipping Mother, which was created from daily life and production, reflecting the thoughts and aspirations of the working people for a better life. The Nang Hai Festival is an indispensable part of the Tay people's culture in Tien Thanh commune, and is also a highlight in the cultural heritage of Cao Bang province. With such unique and special values, the Nang Hai Festival was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage in 2017.

The Nàng Hai Festival, also known as the Moon Praying Festival, begins in January and lasts until mid-March with the symbolic meaning of mothers and fairies on earth going to heaven to welcome Mother Moon and fairies down to earth. The Ngan ethnic group believes that on the Moon there is Mother Moon and 12 fairies, her daughters, who always take care of and protect the crops of all people. They choose a mother to be Mother Moon, and the girls play the role of fairies, including two unmarried girls who play the two moon sisters. The characters all wear traditional costumes according to regulations. They set up a "moon tent" as a place for Mother Moon and the fairies to sit during the ceremony. Before the ceremony, the people playing the role of Mother Moon (Mụ Cốc) and the girls stand in front of the altar so that Mr. Tào can perform the transformation ceremony for the souls of Mother Moon and the fairies to enter. From then on, they must abstain according to regulations. The ceremony is held on a large field with the rituals of "worshiping the local land princess" at the communal temple to ask permission for the villagers to organize the Moon-praying festival the following night. According to tradition, the ritual of carrying offerings from Thanh An communal house to the outdoor altar is a very important part to invite the gods to witness. The procession consists of 8 young people carrying the palanquin, including 4 men and 4 women, led by the shaman and the dancers, followed by trays of offerings including a pig's head, 4 pig's feet, chicken, duck, wine, cakes, and five-color dyed sticky rice. The shaman worships the local land goddess and the gods, the artists perform the rituals of dancing around the altar when the Moon-welcoming festival opens. After completing the ritual of reporting to Mother Moon and the 12 fairies, the village elder performs the rituals of praying for blessings, good luck, favorable weather, good crops; inviting Mother Moon and the fairies to bring crops and blessings to the villagers. The ceremony lasts for twelve nights. Each night, a Mother is invited. After that, they held a ceremony to send the moon ladies back to heaven. As for the festival, the shaman blew the trumpet and opened the festival. Villagers and commune residents participated in traditional sports activities such as: men's and women's volleyball; blindfolded duck catching; and pond fishing. In addition, the festival featured performances of folk songs, then singing, coi singing, folk games, and traditional cuisine of the Ngan ethnic group such as bamboo-tube rice, wild vegetable dishes, pork fish sauce, field carp fish sauce, salted plums, five-color sticky rice, pickled bamboo shoots, black plums dipped in sesame salt. This is a unique folk festival imbued with spiritual colors, with a positive and highly educational nature in the Ngan community. With its unique cultural values, the Ngan ethnic group's Moon Praying Festival was recognized as a national intangible cultural heritage by the Ministry of Culture, Sports and Tourism in 2018.

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