“Oku-noto no Aenokoto” is an agricultural ritual transmitted from generation to generation in Suzu and Wajima Cities, and Noto and Anamizu Towns of Housu County, all of which are located on the Noto Peninsula on the Sea of Japan, in order to worship a deity of the rice field. As people in Suzu and Wajima Cities, and Noto and Anamizu Towns of Hosu County have long lived by rice-farming, the deity of the rice field is considered an important one who promises good growth and an abundant harvest of rice. This ritual is performed twice a year, after the rice harvest, and before planting, by each housemaster at his home. In December after the harvest, he welcomes the deity of the rice field from the rice field into his house and offers hospitality, giving thanks for the harvest in the course of a ritual. In February before planting, he offers hospitality and sees the deity off to the rice field, praying for an abundant harvest in the course of another ritual. Guessing from these performances, “Ae” (or “Aé”) can mean hospitality while “koto” a ritual. In December a housemaster begins to prepare food from early in the morning to welcome the deity, and puts straw bags containing seeds for the next spring in the toko no ma, a narrow space at the side of the room for flowers and calligraphy, or under the kami-dana, an inner shrine installed high on a wall. In the afternoon, he prepares a bath and pounds mochi, a ball-like rice cake. The deity of the rice field is said to get ready to leave the rice field when he hears the sound of mochi-pounding. In the evening the housemaster dresses himself up in kami-shimo, a formal Japanese garment, and goes to the rice field taking a kuwa (spade), a chochin (lantern), and a sensu (folding fan), with him in order to welcome the deity. In the rice field, he cultivates it with kuwa three times, speaks to the deity of the rice field with grateful remarks for its protection during that year. Then, he shows the deity the way to his home by lighting the way with the chochin or directing it with the sensu. His family is waiting for the deity at the gate. The housemaster shows the deity into a guest room, lets it rest a little, and then serves a bath for it. He helps it to wash as if it were actually in front of him in the bathroom, asking if the temperature of the water is comfortable. After the bath, he seats the deity on straw bags of seeds in the toko no ma or under the kami-dana, and offers it two meals. Because a deity of the rice field is sometimes regarded as consisting of a couple, two dinners are served. The menu is ama-zake, sweet sake as an aperitif brewed from new rice, a bifurcated radish, abundant steamed rice with red beans, mochi, and a whole fish, provided with chopsticks made from a chestnut tree. As it is said that the deity of the rice field has bad eyes, the housemaster describes each dish as he serves it. After dinner, he moves the straw bag of seeds to a higher position inside a box room or in an earthen-floor space. It is said that the deity of the rice field rests in this bag or inside the kami-dana until the following year. Then, families eat the dinner served to the deity. In February of the new year, the same ritual takes place again; a housemaster serves a bath for the deity, provides it with food, and sees it off to a rice field. In the rice field, a housemaster cultivates it with kuwa three times, with prayers for an abundant harvest in autumn. There are some differences in detailed contents or procedures from family to family, but we can find such common features as welcoming the deity of the rice field at an important stage of rice-growing, offering it hospitality, and finally seeing it off. By performing this ritual, the safety and sustainability of the rice cultivation in this area can be assured, and identity and continuity can be confirmed among the people of this area. It is unique among agricultural rituals of similar kinds throughout Japan in that the householder behaves as if an invisible deity of the rice field were actually there in the course of the ritual. This ritual is a typical agricultural ritual reflecting the underlying culture of everyday life of the Japanese who have been engaged in rice cultivation since ancient times.

Japan 2009

Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2005) The annual Gangneung Danoje Festival takes place in the town of Gangneung and its surroundings, situated east of the Taebaek Mountain Range on the Korean peninsula.The festival includes a shamanistic ritual on the Daegwallyeong Ridge, which pays tribute to the mountain deity and male and female tutelary deities. It encompasses traditional music and Odokddegi folk songs, the Gwanno mask drama, oral narrative poetry, and various popular pastimes. The Nanjang market, Korea’s largest outdoor marketplace, is today a major element of the festival, where local products and handicrafts are sold and contests, games and circus performances take place. The four-week long festival begins with the brewing of a sacred liquor and the Dano shamanistic rituals, in which a central role is played by a sacred tree, the sinmok, and the hwagae, a ritual object made of feathers, bells and bamboo wood. One of the specific features of the festival is the coexistence of Confucian, shamanistic and Buddhist rituals. Through the rituals devoted to the deities, the region is believed to remain unaffected by natural disasters, allowing all its residents to live in peace and prosperity. Every year, a large number of visitors attend the various ritual performances and actively participate in events such as making Danoje festival fans, brewing the sacred liquor, drawing masks for the Gwanno Mask Drama, preparing and eating Surichiwi rice crackers and washing their hair in Iris water. The Gangneung Danoje Festival enjoys immense popularity. However, cultural standardization and increased media coverage over the years have resulted in the loss of some traditional elements of the festival. In the traditional context of the festival, one of the functions has been to transcend social differences by allowing people of all social classes to participate.

South Korea 2008

Generally, there is three wrathful tantric rituals; Nen (suppression), Seg (burn) and Phang (throw), exorcize and overcoming destructive evil spirits which the rituals reveal to be our own negative thoughts. In the Norbugang village community there are only a few households who organize the Se-nen ritual, which is performed along with the annual ritual called Lha-sey (lha gsol). Locally called Se-dam-pey, “burying the evil spirits,” the power of blessing of this annual ritual suppresses the source of ill-luck, famine, drought, diseases, quarrels, untimely deaths, and other unfavorable circumstances for the forthcoming year. It bestows peace and tranquility to the members of the family and the community as well. Se-dam-pey is performed according to the Lama Nor-jam liturgy text of the Pema Lingpa tradition, and it also includes local variations and worldly activities such as using household items to suppress the spirits and cheering with songs while dragging the Se to be buried. Locals believe this ritual was performed by Guru Padmasambhava while building the majestic Samye monastery in Lhasa, Tibet in the 8th century. Padmasambhava was invited by the Tibetan King Trisong Detsen to build Samye monastery after Vairocana, the eminent translator, could not control the evil activities at the construction site through compassionate acts. When Guru Padmasambhava arrived he used his unique accomplishment in tantric methods to summon the soul of the evil spirits and gather the country’s bad fortune which he suppressed into the ground and buried underneath the foundation of the building, concealed by vajra seal. Thereafter, the construction of the monastery proceeded without unfavourable circumstances or evil accidents. The final monastery was magnificent and could propagate the tantric teachings. Those teachings were brought to Bhutan by Guru Padmasambhava himself in the mid-eight century, and propagated by numerous eminent Vajra practitioners. Se-nen is revered as one of the most grand and powerful blessing rituals. In contemporary practice, the ritual is conducted by a community for the benefit of the people and is dedicated to all sentient beings. The power of the ritual is believed to suppress negativity and evil spells and leave blessings of peace, happiness and tranquillity. Prerequisite tools to prepare Se: -\tSe-ama or Se-lud (effigy representing the evil spirit), a painted human face on a boiled egg. -\tChong (gourd) to conceal the effigy. Although the original text requires a monkey skull to conceal the Se-ama, villagers use a gourd. -\tThe anchor is inserted through the knot and the rope is fastened to drag the Se ama into the Se-ga gang hole. -\tGo-tham shum (Egg shell to draw the face of the Se-ama -\tNab-sang (black cloth) for wrapping the gourd -\tKud-pa ney-nga (five colored thread) to bind -\tLa-cha (lacquer) for sealing -\tTek-pa (anchor) for clinching -\tRong-shong (rope) for pulling -\tThag-chey (all the traditional weaving tools) -\tNye-shing (pestle) -\tTok-tsi (small mortar and pestle) -\tGu-ga gang-che (drum handle) -\tRol-moi gang-che (cymbal handle) -\tSe-ga wang (hole to bury the Se-ama). The hole is usually dug just outside the threshold of a door. It is believed that the Se ama buried there will always remain underneath people’s feet.

Lha-soel (Lha means local deity and soel means offerings) is the ritual performed annually seeking assistance and blessing from the local deities with the offering and recitation of religious scriptures. Unlike rituals in other places in western Bhutan depending on the need and purposes, the people of Bem si-si, under Toebesa Gewog (block) perform this Lha-soel annually mostly towards the end of the year beginning from October till December month with the presence of the entire family members. As far as history is concerned there is no exact date of origin of this ritual. However, the village households herein perform Lha-soel that is passed down from the forefathers. This ritual originated from the Bonism commonly known as Nak-choe (ritual requiring animal sacrifices) wherein animals such as pigs and oxen were slaughtered for the offering. However, on later dates as per respondents, with blessing and order from the 70th Je-Khenpo (Chief Abbot) Trulku Jigme Chhoeda (1955- ) to avoid killing animals for the purpose of the rituals. The locals in Bem si-si started to offer butter, cheese, and fruits unlike before who used to offer meat, lungs, and blood along with the ritual cakes. Oral traditions say that Lha-soel is considered the most festive occasion of an individual household to gather all the family members who are now in challenge due to expenditures and lack of manpower. However, people in villages believe that these ritual practices are embedded in the lifestyles and traditions for ensuring prosperity, wealth, and long life besides the adoption of it as a medium for the higher Buddhist spiritual message, thus, individual households never fail to perform despite the challenges. The challenges the Lha-soel undergo is accrued that the too many of the present generations are engaged in the schools, colleges, and universities and gives priority to the curriculum in schools that lacks the knowledge of this very ritual in particular. Therefore, the children, unlike in the past who resided in villages, knew and easily inherited the cultural and traditional legacies of their time which decline today. Even though the majority of the younger population resides in the urban areas, therefore, only the older people are left in the villages observing rituals on behalf of all the family members.

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.

The Lepcha community under Samtse Dzongkhag (district), especially the Limithang Chiwog (sub-block) under Samtse Gewog (block), conducts the indigenous festival “Ram Faat” annually. All the Lepcha in this community are Buddhist. It is a community festival where even the Lepchas as far as Paa Chu, Phuntsholing under Chukha Dzongkhag come to observe Ram Faat in Limithang chiwog. It is a five-day festival worshipping the God of earth for protection of their society and country from misery. During this festival, they propitiate the deities seeking protection from natural calamities such as earthquake, flood, landslides and well-being of all sentient beings. There is a strong belief that that their tutelary deity resides in one of the giant mountains where they locally call it as Zay Nga facing North east of their community Lhakhang (temple). Annually, Ram Faat is held for five days from 10th to 14th days of the 12th month of the lunar calendar. This is one of the Lepcha’s most intriguing festivals that the Lepcha community in the locality observe. It is unknown when the Ram Faat was initially introduced but it is conducted in one storied Community Lhakhang, Limithang Chiwog which is three hours drive on a rough feeder road from Samtse Dzongkhag. While the actual date of the establishment of the temple is not known, the head lama said that the Lhakhang used to be there during their fore fathers’ time indicating that the temple used to be there from 16th century. There was no evidence how the Lhakhang looked like before. It has only been five years now that the Lhakhang, with the help of the government support, has been face lifted with the concrete walls and aluminum corrugated sheets. The majestic Guru Rinpoche statue is the primary image in the main shrine room and also require two Choep/chogap (ritual performers) along with the head lama of the community Lhakhang. However, certain parts of the element seemed to have been lost. For example, when asked about the performance of the mask dance during the festival, the Lama (narrator) said that the practice of performing the mask dance during this festival had declined with the loss of the equipment (mask and dress) due to insects and pests. Today, no one in the community knows what kind of mask dances were performed during this festival. The Lama (also the narrator) seems to be frail and old, but he assured that he has two trained disciples in the community who will maintain the continuity of this festival even after his death.

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.

"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.

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 Whale Worship Festival in Quang Binh is held on the 15th day of the first lunar month with the meaning of going out to catch seafood, wishing for a smooth sailing trip. In particular, the procession of the Thanh Hoang palanquin at the ancestral temple and the reading of the Than Ngu's funeral oration at Linh Ngu Temple are always the most unique parts of the Whale Worship Festival in Canh Duong. Fishermen, boat owners, members of cooperatives and cooperatives gather at Ngu Linh Mieu Temple and An Cau Ngu, offering incense and offerings to the Than Ngu - two giant whale skeletons that people often call Mr. and Mrs. whales. The procession consists of nearly three to four hundred people in beautiful traditional costumes. Along with that, the flags, parasols, palanquins, flowers... and boat models, along with the lion and dragon dance troupe, bring a vibrant festival atmosphere. The most important ritual part of the Whale Worship Festival is the reading of the Than Ngu's funeral oration. The most prestigious elder of the village is allowed to offer incense and read the funeral oration. The oration expresses gratitude for the protection and support of the whales and the whales for fishermen during their sea trips, as well as the fishermen's prayers for a peaceful and fruitful sea season. After the ceremony, there are festival activities with traditional folk games such as: basket shaking, boat racing, net weaving competition, etc. In addition, there are other activities such as: beach soccer, culinary competition. The Whale Worship Festival in the Quang Binh fishing village integrates many traditional art forms, folk performances, with their own identity and characteristics such as: bong dance, rowing on the can, swimming competition, etc. The most impressive is the rowing on the can - ho khoan performance, which combines the lyrics and melodies of smooth, lyrical tunes (including mai ba, mai nen, ho khoan); Unique is the running-word dance (or Dong Dang dance), which is a form of collective dance, holding flower lanterns while dancing, and arranging them into Chinese characters: "Thien-ha thai-binh", "cau ngu-dac loi" ... to pray for the country to be peaceful, a prosperous and happy life. The dance is flexible, combined and in harmony with the music from traditional instruments, such as: trumpets, sanh tien, xap xeng, drums ... The Whale Worship Festival in Quang Binh contains many cultural values and has an important meaning in consolidating the community. With its unique cultural and historical values, the Ministry of Culture, Sports and Tourism recognized the Whale Worship Festival of coastal people in the districts of Quang Trach, Bo Trach, Quang Ninh, Le Thuy, Ba Don town and Dong Hoi city, Quang Binh province as a National Intangible Cultural Heritage in 2018.

Taking place from January 18 to 21, Ngũ hành Goddess's Birthday Festival - 5 blessed gods (Kim Đức Thánh Concubine, Mộc Đức Thánh Concubine, Thủy Đức Thánh Concubine, Hỏa Đức Thánh Concubine, Thổ Đức Thánh Concubine), who protected residents in the early stages of exploring the land. The following rites are carried out on the eighteenth day: opening the top gate, Mộc Dục, opening the neck, and reciting prayers for peace. In the 19th, folk games and performing arts take place such as Bóng rỗi singing and dancing, shadow dance, fortune offering dance, lily dance, chair dance, Khạp dance, knife dance, wine offering dance, etc attracting many people. Among them, Bóng rỗi singing and dancing as well as shadow dancing include songs, dances and songs together, and ritual dances - have the sacred nature of spiritual rituals. In the evening, a Đại Bội ceremony is held before the opera troupe performs ancient operas. On the 20th and 21st, people continue to perform traditional rituals, such as Túc Yết ceremony, Đoàn Cả ceremony - Thanksgiving ceremony. The most important offering is the Heo yết - the ceremonial pig. Among them, the Đoàn Cả ceremony is the biggest and most important ceremony, sacrificed at midnight. Offerings include live pigs - sticky pigs, sticky rice, incense, lamps, incense, wine, tea, and water. Rituals in the Đoàn Cả Ceremony include offering incense, offering wine, offering fruit, offering tea, and reading wishes in Chinese characters; Cut a square of the front and hind thigh meat to sacrifice to the gods; burning wishes and votive papers). Folk shows continue to perform at Bà temple. The most attractive is the performance "Chặp Địa Nàng Singing" with cheerfulness, humor, and great educational value.

Durga Puja marks the ten-day worship of the Hindu mother-goddess Durga. Durga appears in her divine incarnation as ‘Mahishahuramardini’ – a goddess created by the gods to kill the demon, Mahishasura. This image of the demon-slaying goddess is coupled in Bengal with her image as divine mother and daughter, who descends annually from her husband Shiva’s home in the Himalayas to her parents’ home on earth, accompanied by her four children, Ganesh, Kartick, Lakshmi and Saraswati. The worship of the goddess begins with the inaugural day of Mahalaya, when the clay images have life invoked in them through the painting of the eyes, and ends on the tenth day of Bijoya Dashami, when the images are immersed in the river. Durga Puja is the best instance of the public performance of religion and art in the city. It witnesses a celebration of craftsmanship, cross-cultural transactions and cross-community revelry. The manner in which the festival is enmeshed in a web of competition and consumption, accelerated by the winning of accolades, secures its secular identity, embedding it in the contemporary global cultures of touring, spectacle, and entertainment. The exemplary character of Durga Puja lies in its ability to not temporally bound itself to the ritual occasion. Its dynamism lies in it being a constantly mutating event – in its fusion of tradition with changing tastes and popular cultures, and in the adaptation of the iconographies of Durga and the styles of her temporary abodes to cater to new regimes of art production.

India 2021