New rice festival is a traditional event celebrated by the La Chi ethnic group for a long time. It is held annually in the ninth lunar month when the rice harvest comes. The La Chi believe that celebrating new rice during the harvest season is an opportunity to give thanks to heaven and earth, ancestors that have blessed the good harvest, which also means inviting ancestors to have new rice first and their descendants eat new rice then. In addition, new rice festival is an opportunity for villagers to pray to ancestors, heaven and earth for good health, prosperity, happiness, fruitful crops, good breeding of poultry and cattle, etc...New rice festival is accompanied with specific traditional customs such as worshiping the mother of rice, pounding green rice (cốm), worshiping ancestors at the patriarch’s house, worshiping ancestors by families. Besides these customs, such folk games as swinging, đánh yến, đánh sảng and singing folk songs have well preserved by the La Chí ethnic group in Nà Khương commune.

Inscribed in 2011 (6.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Taekkyeon is a traditional Korean martial art that makes use of fluid, rhythmic dance-like movements to strike or trip up an opponent. The fluid and curvy movements, wriggling and writhing slowly, would evoke laughter. Some may even wonder whether it is a dance or a martial art. But the inherent energy of the performer can explode with enormous flexibility and strength. Apparently static and dignified but fundamentally dynamic and even fatal, taekkyeon is an indigenous Korean martial art with a history stretching back thousands of years. Taekkyeon is a rare martial art in that it teaches consideration for the opponent to the very moment one gains control. It teaches more skills for defense than offense. A skilled taekkyeon practitioner can rapidly dominate the opponent with a smooth wavy motion, but a true master knows how to make the opponent withdraw without incurring damage. These are unthinkable concepts in a combat sport. But taekkyeon makes all these possible. Taekkyeon is a marvelous sport teaching how to consider the opponent more than oneself, and the group instead of individuals. The motions are gentle and circular rather than straight and rigid, but they have the power to entice the performer slowly but intensively. The graceful movements of a well-trained taekkyeon performer resemble those of a crane, but the elastic offensive skills can be as speedy and powerful as those of a hawk. Taekkyeon has a few distinctive characteristics. First, it is an outwardly gentle but inwardly tough martial art featuring circular motions. Second, it is a natural and spontaneous martial art stressing elegance and dignity. Third, it is a practical and comprehensive martial art harmonizing offense and defense through various locking and kicking techniques. In spite of its gentle impression, taekkyeon is an effective martial art highlighting a broad variety of offensive and defensive skills employing all available fighting methods. The origin of all traditional Korean martial arts, taekkyeon represents confluence and totality, the two outstanding characteristics of Korean culture. Taekkyeon is believed to have been practiced since before the Three Kingdoms period (57 B.C. - A.D. 676). In Joseon (1392-1910), it was practiced among a broader public, including people at the grassroots. The basic spirit of taekkyeon is ‘truth’. The martial art inherits the thought of Joseon scholars who considered upholding integrity and obeying the rules of nature was the utmost virtue. Currently, the Korean Taekkyeon Association is playing a significant role in the transmission and promotion of this traditional martial art. 85 education centres spreading across the country are the main venue for taekkyeon practitioners. Ordinary Koreans have an easy access to the practice of taekkyeon thanks to those education centres.

South Korea 2011

Beautiful rite of 'Betashar' (kaz. 'open face') symbolizes inclusion of a bride into a groom’s family clan. First bride’s mother arranges Kazakh traditional headwear “Saukele” on her daughter’s head covering her face with veil called “jelek”. The groom’s eldest sisters-in-law (“jenge”) bring the bride under their arms to the guests. Then the bride puts her feet on a white carpet with an image of Tengrian calendar embodying the Universe or lamb fleece – the symbols of fertility. Masters of improvised music poetry Akyns start the ritual by singing a bridal song “Betashar jyr” to the accompaniment of Dombyra. The song praises groom’s family ancestors, parents and all relatives in dedicated couplets. In return the bride with her sisters-in-law bow to every relative and family listed, thus giving her respect and greeting – “Salem beru”. The relatives, whom the bride has just bowed, reward Akyn with money for his performance. After introducing all the relatives and expressing good wishes, Akyn lifts the bride’s veil with the neck of his Dombyra, thus revelaing the bride’s face to everybody. Mother-in-law (“Ene”) takes off the veil, kisses and welcomes new member of the family. Then the groom takes the bride by the hand showing her to all guests. At this moment elder relatives shower the newlyweds with sweets and coins (“Shashu” ritual), wishing them happiness and abundances. In some regions Betashar includes: bride’s stepping over the fire, fumigation of bride with harmala (“adiraspan”) smoke and pouring oil on fire to endear the Spirit of fire.

A unique female-dominated performance held only on the 8th and 9th day of the 7th lunar month in the two communities of Ura-ma-krong (main village of Ura) and Shingkhar, the farthest settlement under Ura gewog (block) in Bumthang Dzongkhag (district). In Ura dialect, Intangible Cultural Heritage (ICH) is usually called Saang (smoke offering). It is said that in the old days, when there were yak herders who usually came from their village to raise the yaks at Purshey la (one of the mountains overlooking Ura village), they welcomed the female performers by burning sang at Korgang (the place believed to be the place where the deity descends or dwells and where the female performers circumambulate the stupa). Hence, community members refer to the festival as Sang or Sang na gai-sang (on the way to the Sang offering). Another interpretation states that the female participants begin their offering by making various medicinal herbs and other fresh offerings go up in smoke while appeasing the main female deity named A-shey Lhamo and her entourage, namely Gawa Lhamo, Kiba Lhamo, Champa Lhamo, and Dropa Lhamo. However, in addition to the aforementioned attendant goddesses, Shingkhar A-zhi (pronounced locally) Lhamo has Lam-dron Lhamo forming five attendant goddesses. Therefore, the festival and performance were called Sang from the first offering. The other name of the festival, A-shey Lhamo, is interpreted literally by outsiders and some learned community members as the lyrics of the religious song sung and danced in honor of the deity A-shey Lhamo. Colloquially, the term A-shey is addressed to either the queen or the elder sisters, and Lhamo is a general term for the divine goddess. The origin of Sang or A-shey Lhamo is that during the Dung Lhawang Rabgay (local ruler), not long before the emergence of the Dung caste system in Bhutan around the 10th-11th century, there was a misfortune of Shey-ned (diarrheal infection) that spread among the children of the Ura community. People sought the advice of their ruler as there was no tradition of performing rituals or treatments. Thus, Dung Lhawang introduced Drakpa, who had a divine bloodline, to appease the female local deity by performing dances. He composed the lyrics in the typical Ura dialect and ordered that they be performed by female members of the community. The Lord also determined the place: Pur-shey la (written Pur-gyal la) along with the things to be sacrificed and also the steps. Following the advice, the women performed the dance, which gradually helped the children recover from the epidemic. After that, the performance of A-shey Lhamo was practiced. According to the origin, A-shey Lhamo and the goddesses accompanying her are both the deities of the place and deities of the Bon khar tradition. Perhaps they are the other form of Tshering chey nga (the five sisters of longevity) who appeared in the Bon tradition before they were introduced by Guru Padsambava as the tutelary deity of Buddhism, just as many Bonpo deities were later transformed as protectors of the sacred teachings of the Buddha. In the poetry of A-shey Lhamo, it is mentioned that they reside in the high mountains Gang-toed thoen po. The road to their citadel is like a mule track, filled with the sweet fragrance of Ba-loo (Rhododendron ciliatum) and Su-loo (Rhododendron setosum). She delights in the first share of Mar-chang Ara (locally brewed wine) and Kara and Buram (honey and brown sugar) and sits down on the white sheepskin mat. She resides gracefully in a palace of precious gems with golden columns and silver windows. Apart from the above description of her residence, there is no text describing her appearance, only the names of her sisters and the goddess herself. This ICh element is still alive in Ura and Singkhar communities. However, there are some changes: The sang is now prepared and offered by themselves since there are no more highlanders at Pur-shey la, and the other is that, according to tradition, the sang is generally performed on the 8th and 9th day of the lunar month but, the community members decided to either coordinate the festival on 15th day if the time and weather is not favourable.

Tamzhing Phag-chham is a solo mask dance with a mask made of a wild boar (Sus scrofa), which is very common on the Asian continent. The term "Phag-chham" sometimes has two different meanings; Phag-chham (tamzhing Phag-chham) and the other, the Phag-chham performed during the Raksha Mangchham (a theatrical mask dance of the Intermediate state). Tamzhing Phag-chham was originally composed by the Great Treasurer Terton Pama Lingpa (1450-1521) on the consecration of the temple Tamzhing Lhundrub Choeling on the 15th day of the Tiger Month (11th month) of the Wood Ox Year, which corresponds to the Gregorian year 1505, in Bumthang, one of the central districts of Bhutan. Later it was performed in other monasteries founded either by Terton himself or by his successors in most of the eastern and central parts of Bhutan. Phag-chham is among the most important and sacred mask dances in Tamzhing, and the festival "Tamzhing Phag-la Chod-pa" is also named after this dance, which is held every year from the 10th to the 12th of the eighth lunar month. It is performed by an amateur and can only be danced by the Chhamjug (the second leader of the mask dancers), who wears a wooden boar mask, exquisite brocade costumes with dangling skirts made of five eye-catching colored cloths, and holds two bundles of willow branches in both hands. The boar mask is considered one of the masterpieces of the founder himself, as are the dance steps themselves. Since the mask is considered sacred, it is received in a Chibdrel (traditional procession) when the dancer comes out of the Chhamkhang (preparation room). The origin of the mask dance lies in local tradition: Pema Lingpa was looking for a suitable place for his temple in the Choekhor valley when he saw a wild boar digging in the ground. He realized that this was a sign from the enlightened being Dorje Phagmo (deity Skt. Vajravarahi) to show him the suitable place. After the temple was built, he held a festival in honor of the patron deities during the inauguration as a symbol of gratitude. Since it is believed that the prophecy and the groundbreaking ceremony for the Tamzhing Temple was led by Dorje Phagmo, the festival is dedicated to her and is called Phagla-Chodpa. On the second day of the festival, Phag-chham leads the ground-breaking ceremony to sanctify the site before more mask dances are performed for the audience. Due to the unexpected loss of the Chham-yig (choreography manuscript) from the monastery many years ago, elders have regretfully found that the Phag-chham performed today no longer contains the complete steps and choreography. Elderly locals says that, at that time, there were more than 14 different types of steps, and due to faulty oral tradition, nearly 50% of the choreographies have been lost. The communities are concerned that without documentation, there is a risk of even more steps being lost and even new ones being added, as many of the artisans are either lay monks or farmers from the affiliated communities.

Sử giề pà in the Bố Y language means giving thanks to the Buffalo God, held on the 8th day of the fourth lunar month. On this day, all buffaloes can rest and bathe; being cared for, treated with kindness, and fed sticky rice and eggs. The story of Tết is explained in legend. The production process changed from "poking holes to insert seeds" to using buffalo traction. This is a milestone marking an important step forward in the agricultural production of the Bố Y people in the past. This is the time for the whole community to rest and have fun. They also invited their ethnic neighbors such as the Hmông, Nùng, Pa Di, etc. to visit the house and dine with the homeowner to celebrate. Before Tết, representatives of each household gather at the village head's house to discuss and prepare for the festival. Offerings to ancestors include 1 boiled chicken, 3 bowls of white rice, 3 bowls of colored sticky rice, 1 red boiled egg, 3 pairs of chopsticks, 3 cups of wine, 3 incense sticks, votive paper, and 1 buffalo made of seven sticky rice color. Offerings at the local altar include 1 bowl of rice, 1 bowl of meat, 1 cup of wine. After the offering, people bring a handful of sticky rice, a red-boiled egg, and young grass to invite the buffalo to eat first. After the buffalo eats, it is the person's turn to enjoy the ceremony. The village's offering tray includes a buffalo head made of seven-colored sticky rice, and three eggs dyed red placed on top. The ritual is performed at a shrine to the local god in the forest at the beginning of the village. The offering ceremony is divided into two times, offering live chicken and offering cooked chicken. After the ceremony, families will receive blessings to receive divine protection and strength. The story "The magic buffalo helps the Bố Y people" is re-enacted by a couple: the magic buffalo came down from heaven to earth to help the ancestors of the Bố Y people find water, plow fields, work in wet fields, grow wet rice, etc. The festival part including folk arts activities such as lovemaking singing, cotton singing, nursery rhyme singing, and folk games such as playing conch, swinging, and tickling.

Rangoli, which means “an array of colours” in Sanskrit, is a traditional Indian art form dating back some 5,000 years to the pre-Aryan period. It is known as kolam in Tamil. The art of rangoli originated in India, where these decorative patterns have been drawn outside Indian homes and in temples for hundreds of years. The practice was brought to Singapore by Indian migrants who settled here. A rangoli pattern is made of unbroken lines. This is thought to prevent evil spirits from penetrating through the gaps. The designs range from geometric shapes of peacock motifs to floral designs to faces of Hindu gods. Popular ones include circular designs, which signify the endlessness of time, and the lotus flower design with Goddess Lakshmi in the middle, which represents prosperity and fertility in Hinduism. Some people also place diyas (oil lamps) inside the rangoli and light them for a puja (prayer). The patterns are passed down from one generation to the next, with women taught to make these designs outside the home or near the altar (prayer room) area.

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

Hai Ba Trung Temple, also known as Ha Loi Temple, Me Linh Commune, has a very important historical significance. This is the place to worship two national heroines, Trung Trac and Trung Nhi - the leaders of the uprising to overthrow the Han Dynasty and regain national independence and autonomy in 40 - 43 (AD). Trưng Sisters Temple Festival - Me Linh is held annually at the beginning of the first lunar month at the Temple to commemorate the two Ladies' contributions. The main festival opens from the 6th to the 10th of January with incense offering ceremonies, processions, sacrifices, palanquin handovers... Every 5 years, in years ending in 0 and 5, people will organize a palanquin procession of Hai Ba Trung with the four tutelary deities of Ha Loi village. From the 4th of January, local people will perform a bathing ceremony, changing the cover of the statue of the Queen. Then, on the 4th and 5th, the locals will hold a ritual to worship the Two Ladies at the village communal house with the village's tutelary god, the four generals (the brothers Do, Ho, Bach, and Hac who helped Thanh Tan Vien restore the Hung dynasty). In the procession of the Two Ladies from the Temple to the Communal House, there will be: 2 elephants, 2 horses, a team of young women wearing white shirts carrying the palanquin, a team of female guards wearing brown shirts, wearing leggings, carrying swords like soldiers in ancient times, and two teams of women carrying the two palanquins. In addition, there will be a team of men wearing blue ceremonial shirts with seals, a team of musicians, a team of money bearers, a team carrying flags, long swords, and eight treasures, umbrellas, and parasols, creating a solemn atmosphere for the festival. On the morning of the 6th, the villagers will send the Two Ladies back to the capital. The Trưng Sisters Temple Festival in Me Linh has its own unique feature, which is the palanquin handover ceremony. The procession will have the following order: Thanh Hoang palanquin and General Cot Tung will stand on both sides of the yard to pay respect to the Two Ladies returning to the capital. When leaving the Temple, Trung Trac palanquin will go first. When reaching the road to the village communal house, Trung Nhi palanquin will go first. When reaching the communal house gate, the elder palanquin will go first, the younger palanquin will go after. Both sides will welcome the two ladies. This ceremony symbolizes the image of the king returning from the capital Me Linh to visit the village. From the 7th to the 10th of January, the Trưng Sisters Temple Festival will include the ritual to pay respect to the six female generals, the blessing ritual, the banquet and the thanksgiving ritual. After the ritual, the festival will feature many folk games such as: swing, blindfolded goat catching, traditional wrestling... and performances reenacting the heroic feat when the two ladies sacrificed the flag to start the uprising, creating a bustling and joyful atmosphere for the festival. The festival contains noble humanistic values, educating the tradition of patriotism, the morality of drinking water and remembering its source.

Though Jampa Lhakhang is believed to have been established in the 7th century, there is no evidence regarding what rituals may have been held there in its early centuries. Oral tradition traces the present Jampa Lhakhang Drub directly to Dorje Lingpa. As previously mentioned, after arriving in Bumthang, Dorje Lingpa executed the renovation of the temple probably in between 1374–7627. At its conclusion, he conducted a grand Drub dedicated to Guru Drakpo and Lam Kadu Cycle in order to ward off evil forces that might impact the temple and the Buddhist teachings propagated within, thereby sanctifying the newly renovated temple. In particular, oral tradition has it that Dorje Lingpa was said to have performed sibnon (subjugation of the si spirit) under the entry staircase of Jampa Lhakhang to ward off thirty evils that were obstructing Buddhism in the Choekhor valley and beyond. It is believed that the Drub ceremony has been conducted annually ever since during the ninth lunar month. The masked dance performances commemorate the introduction of Dorje Lingpa’s Drub and re-invigorate the spiritual power of the site. Though it takes place in the ninth month, the days were variable and would be fixed depending on what was convenient for the tsawas (sponsors). Chagkhar Lam Dorje claims that the present dates have been fixed only in the last sixty years. Some elements take place prior to the beginning of the fifteenth day, including the exorcism rituals, comprised of jinsek (fire offering), mewang (fire blessing), and sibnon (subjugation of evil spirit). a. Preparations: The Chagkhar Lama and one member from each tsawa household join the committee members for a meeting during which they decide the timetable for festival preparations. On the 29th day of the seventh lunar month, the torgyab ritual is performed at Chagkhar Lhakhang, following which the dancers can begin to practice the cham that will be performed at the festival. Usually, cham practice begins from the next day of the torgyab, that is on the 30th day of the seventh lunar month after offering serkyem to the protective deities of Chagkhar Lhakhang. But if that day is deemed to be inauspicious, astrology is consulted to determine an appropriate date. From the designated day forward, the cham practice takes place every evening at Chagkhar Lhakhang. Similarly, folk dancers chosen from the villages begin practicing on an auspicious day. On the 13th day of the eighth lunar month, a member of each household gathers at Jampa Lhakhang to clean the venue, including in and around the temple and the kitchen. The preparation of ritual cakes, called torzheng, takes place on the 14th day. b. Day One (15th Day of the Eighth Lunar Month): Chamjug (final rehearsal) At mid-morning on the 15th day of the eighth lunar month, the presiding lama, monks and all the tsawa members gather at Chagkhar lhakhang, the private temple of Chagkhar Lama family. After offering prayers and serkyem in the temple, they begin a chibdrel procession to guide the sacred religious objects enshrined in the temple37 to Jampa Lhakhang. Once they pass the outer gate of Chagkhar Lhakhang, the procession stops to offer marchang on the lawn by the roadside, after which they move towards Jampa Lhakhang. People line the route to receive blessings from the sacred objects. At the outer gate of Jampa Lhakhang the procession is received by all the members of Drub Tsawa who receive blessings from the sacred objects and offer marchang. They enter the inner courtyard where the procession is received by the Jampa Lhakhang Lama and/or dzongpon and again offered marching before they move inside the Jampa Lhakhang. All the sacred objects are placed inside the inner sanctum of the Jowokhang, everyone makes prostrations to them, and then take part in the zhugdrel ceremony before being served tea. After a break, the programme resumes with the lama presiding over ritual prayers in the Jowokhang. The tsawa members and dancers gather to make thodam (boundary-sealing) prayers for the success of the Drub. After ritual prayers, the lama addresses the dancers and organizers about the importance of the Drub and its continuity to bring good health and prosperity for the community, Bumthang valley and the country at large. He also instructs all participants taking part in the drub to bear their roles and responsibilities without failure. In mid-afternoon, the lama presides over the monks as they perform ritual prayers at each choeten and place a boundary post at each one. The thodam ritual is followed by sibnon, which is conducted in order to maintain continuity with what the locals believe Dorje Lingpa did during the first drub. In sibnon the si spirit are buried in a triangular box underneath a stone slab in front of the inner entrance to the passageway, while a ritual dedicated to Guru Drakpo is performed. After sibnon, jinsek ritual begins at the performance ground. First, the Atsara Gep and the atsaras arrive and explain how and why Lhawang Jajin (Indra) arrived on earth from heaven; meanwhile organizers prepare the fire for jinsek in the middle of the ground. Performances are conducted in the following order: - Zhana Cham, the Black Hat Dance, for jinsek; - Tre Ging Dance, four dancers with wrathful masks hold sticks at each corner of the jinsek fire pit while the Zhana Dance is performed; - Tshog Cham, the Feast Offering Dance; - Mecham, the Fire Dance, by the two Tre Ging dancers around the fire pit (after mecham they proceed to mewang ground carrying a mecha (torch) along with lama, monks and crowds of people. Coming back from mewang, marchang offering and beshed are performed at the performance ground by the patselpas). - Yoeluema (locally called Zhauli), the Malevolent Spirit Dance; - Ju Ging Cham, the Stick Dance of Dorling tradition; - Durdhag Cham, the Dance of the Cremation Ground; - Dri Ging Cham, the Sword Dance of Dorling tradition; - Nga Ging Cham, the Drum Dance of Dorling tradition. The evening programme ends around midnight, and slightly after, the Naked Dance called Tercham begins. c. Day Two (16th Day of the Eighth Lunar Month): Tsukton (Initial ceremony) On the 16th day of the eighth lunar month, the tsukton day, the programme is as follows: - Atsara Gep consecrates the ground and welcomes the audience; - Shinje Yab-yum, the Dance of Yamantaka Father and Mother; - Yoeluema, the Malevolent Spirit Dance; - Ju Ging Cham, the Stick Dance of Dorling tradition; - Dri Ging Cham, the Sword Dance of Dorling tradition; - Nga Ging Cham, the Drum Dance of Dorling tradition. Lunch break - Zhana Nga Cham, the Black Hat Drum Dance; - Pacham, the Dance of the Heroes according to Dorling tradition; - Jachung Boechung, the legend of the bird and the boy. The evening programme ends around 5 p.m., and the Naked Dance begins after midnight. d. Day Three (17th Day of the Eighth Lunar Month): Barton (Actual event) The third day, or barton, takes place on the 17th day of the eighth lunar month. The programme is as follows: - Dralha Pangtoe, when the Atsara Gep leads the atsaras in propitiating local tsen and deities; - Shazam Cham, the Stag Dance; - Zhana Phur Cham, the Black Hat with Dagger Dance. This dance is suspended part way through so that the Durdhag Cham can take place, then the Atsara Gep offers marchang while the Zhana dance is stopped. Then the female folk dancers line up holding the marchang pot. After the marchang is offered, Zhana dance finally concludes. - Ging and Tsholing, the Dance of the Ging and Tsholing. The Tsholing dance first, followed by the Ging, and they enact a dance of the sacred war between the gods and the demons. Lunch Break - Dramitse Nga Cham, the Drum Dance of Dramitse, performed by ten dancers; - Pholey Moley, the Dance of Noble Men and Charming Ladies; - Torgyab, the torma exorcism, is prepared in the Jokhang. The evening programme ends around 7:30 p.m., and the Naked Dance begins after midnight. e. Day Four (18th Day of the Eighth Lunar Month): Droeton (Concluding day) On day four, the 18th day of the eighth lunar month, the programme is as follows: - The Jowo Jampa Thongdrol is displayed between 8:30 to 10 a.m.41 on the northern side of Jampa Lhakhang. During the display, Zhengzhi Pemi Cham, a dance based on Guru’s soldeb, Pa Cham, and singing take place; - Chung Cham, a Garuda Dance performed by four dancers; - Dri Cham, the Sword Dance; - Nga Cham, the Drum Dance; - Tenwang, receiving blessings from the relics42 starts for the public in the Jowokhang. - Raksha Go Cham, Ox-headed Dance introduced by Terton Karma Lingpa in the 14th century; - Raksha Mang Cham, Intermediary Dance introduced by Terton Karma Lingpa in the 14th century; - Raksha Jug Cham, the Concluding Dance of Raksha Go Cham; - Community members offer dhar (scarf) to the champon. The evening programme ends around 6 p.m. f. Day Five (19th Day of the Eighth Lunar Month): Trashi Monlam (Auspicious prayers) The programme for the 19th day of the eighth lunar month is as follows: - Tangra, Thanksgiving prayers offered to the Gonpo Degyed and his retinues; - Removal of boundary posts and offering of serkyem; - Atsara Gep offers farewell prayers at the performance ground and retires to dressing room, signifying the closure of the Jampa Lhakhang Drub; - At the same time, a new champon is appointed by offering dhar; - In the late afternoon, the sacred objects are carried in a procession back to Chagkhar Lhakhang and installed in the shrine until the next Jampa Lhakhang Drub.

“Gạ ma do” is “female pig forest” - one of four sacred forests in each Hà Nhì village. “Gạ ma do” is held on the first Dragon day of January. The main rituals are presided over by the shaman, including: "Ga Tu Tu" - cấm bản; Water offering procession at the source, and forest worship ceremony. Before the Dragon Day, the priest holds a Cấm bản ceremony. Early in the morning of the Dragon day, the shaman Cả held a ceremony to worship the Water God at the upstream stream. After that, young men carry water, firewood, pots, chopping boards, knives., etc to the sacred forest to make offerings to the forest. All participants must walk barefoot to pay homage to the forest god. When the participants gather at the temple to worship the forest god, someone will go and set up climbing trees and ban the forest at the forest gate. Offerings include a 1-quintal black pig, 1 rooster, 1 stick of sticky rice, sticky rice, red-dyed eggs, wine, ginger juice, incense, and gold coins. Chickens and pigs are placed in front of the offering table. After the shaman sends offerings to the gods, the pigs, and chickens are taken to be feathered and processed into whole-boiled chicken dishes. The pig keeps the head and entrails to boil and offer. After worshiping, the villagers eat "fortune" in the forest. Two days before and after the "Gạ ma do" worshiping ceremony, they hold the "Dứ Dò Dò" ceremony at the shaman's house to give thanks. The entire process has strict regulations and abstinence. The remainder of the pig is brought home and divided equally among households in the village. Families use pork to make offerings to their ancestors and contribute thanksgiving offerings at the village shaman's house.

The Lảnh Giang Temple Festival relic site is located in Yen Lac village, Moc Nam commune, Duy Tien town, a relic complex with long-standing historical - cultural - architectural and artistic values. The temple worships three generals of the 18th Hung Due Vuong era who had great merit in defeating the Thuc invaders, keeping the country's borders peaceful, and worships Chu Dong Tu - Princess Tien Dung. Currently, Lảnh Giang Temple preserves many valuable Chinese documents and worship objects. The Lảnh Giang Temple Festival takes place twice a year in June (from the 18th to the 25th) and August (20th) of the lunar calendar, to express gratitude to the gods who protect the people and pray for a prosperous and happy life. The Lảnh Giang Temple Festival was only restored in 1996 - the year the temple was recognized as a National Historical and Cultural Relic. Currently, the June festival is considered the main festival by the people, the August festival is only held by the people to offer incense and make offerings. The festival takes place with rituals: water procession, saint procession, sacrifice ceremony, announcement ceremony... On the 18th day of the 6th lunar month, the local people organize the palanquin stacking ceremony, raise the God's flag in front of the temple, on the 21st day they start the announcement ceremony. The days from the 22nd to the 24th of June are the main days of the sacrifice and the procession of the Saint's palanquin around the temple. In which, June 24 is the main day of the Third Great Official's banquet, the head of the Lảnh Giang temple organizes a performance to welcome the saint from early morning. This is the occasion for singing to be performed in a cultural space imbued with the sacred Mother Goddess worship beliefs of the Vietnamese people at Lảnh Giang temple. On the 25th of June, a thanksgiving ceremony is held and the flag is lowered, the temple is closed. On the 25th day of the 8th lunar month, Yen Tu Temple (Moc Bac Commune, Duy Tien Town) worships Princess Ngoc Hoa and carries her palanquin to pay homage. The festival in June also includes a rowing game on the Red River and a water procession. The water procession from the Red River to Lảnh Giang Temple follows the custom of worshipping the Water God. Water is taken from the middle of the Red River and brought back to be used as offerings and to bathe the statues of the temples in the relic site. The festival is extremely rich, such as: rowing, dragon dance, lion dance, cheo singing, chau van singing, wrestling, human chess, cockfighting, to tom diem, lion dance, cooking rice on a carrying pole, sports activities, chasing ducks underwater, stick fighting, walking on monkey bridges, tug of war... The festival represents the agricultural beliefs, the desire for protection by the natural gods and the desire to control the power of nature of the indigenous people. In 2017, Lảnh Giang Temple Festival was included in the list of National Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism.