The name Zhana Ngacham comes from the zhana (black hats) worn by the dancers and the use of the ngachung (small drum) during the Cham performance. It is another form of Zhana Cham (black hat dance). Usually, the dance is performed mainly by monks in dzongs (fortresses), monasteries and temples during Tshechu (annual mask dance festival) and also during Drubchen (large ritual ceremonies). However, sometimes the dancers are replaced by lay people if there are no monastic facilities in the community. The dance falls under the category of Tsun cham (monastic mask dance performances). The dancers wear a long brocade robe called phoegho with long and wide sleeve ends, a dorji gong (a crossed vajra collar) over the shoulder, and two phoe-cho or phoe-tog, a horn-like tool attached to either side of the hips that helps the robe turn smoothly and elegantly as the dancers twirl. The distinctive feature of the Black Hat dance is the black, spherical hat with decorations in the shape of a human skull and peacock quill, and Thro-pang, an angry face wrapped around the front of the abdomen. Zhana Ngacham is usually performed by 21 dancers under the direction of Cham-pon (dance leader) and Cham-jug (deputy leader). In the seventeenth century, Zhabdrung Ngawang Namgyal (1594-1651) is revered for giving more importance to the performance of such dances and including them in the curricula of the central monastery under the title Gar-thig-yang-sum (mask dances, proportions mandala drawing and ritual intonation) to establish them in the field of cultural heritage in Bhutan.

Chundu Soelchod is a native offering practiced by people of Haa and Paro. During the Soelkha, dances and Zhey are performed by the people of Yangthang Gewog with unique dress, lyric and steps. The male artists are locally called pazerpa or pazaap. In the 8th century, Guru Rinpoche visited Bhutan thrice from Tibet and subdued the local deities and transformed them as protecting deity of dharma in every region. Chundue soelkha is mainly celebrated for thanking Ap Chundu (local deity of Haa) for helping people of Haa during the battle time. It was originated during the time of when Zhandrung Ngawang Namgyel had conflict with Tsang Desi of Tibet. During that time group of Tibetan (Boe ma) reached at Haa, Gyensa. It was said that during night, those Boe ma (Tibetan) who reached Gyensa had seen fire and noises in Jangkhakha (Ap Chundu ground). Due to the light and reflection from Jangkhakha those Tibetan couldn’t attract the enemies instead they fell down in the river below Gyensa. That group of Tibetan was defected and the battle was won by the Haaps. Therefore people of Haa started with Ap Chundu soelchod to remember and thank Ap Chundu for his superstitious power and supporting them to win the battle. People also say as Ap Chudu’s birthday. It is celebrated toward the end of the year that is ninth month of the Bhutanese’s calendar. Regarded as manifestation of the warmth Chagna Dorji, Ap Chundu is not just localized to Haa district but he is and important deity of the country itself. In Bon-nag tradition (animal sacrifice is required to appease the deities. People use to sacrifice the yak during the festival until 2013. They did because they were feared so much that Ap Chundu will punish them with diseases and natural calamities if they missed it. How ever since killing is sinful act in Buddhism in the year 2013, Haaps local guardian deity has been appeased by scarifying a yak after consulting with the dzongkhag and gewog staff, and the family who carried out the tradition for years, the authorities decided to seek Ap Chundu’s permission to stop killing yaks to appease him. So they rolled the dice and according to the astrologer, got his affirmation.

One of the most entertaining mask dances is the Ging Tsholing Cham, where most of the audience, especially the children, are captivated by the intensifying drum beats and the fighting scene of the Cham ritual dance. The mask dance is also called Tro-ging, a local name, because it provides an entertaining presentation and performance for the audience. Ging represents the wrathful appearance of celestial beings, daka and dakinis; those dances are performed by laymen called Boecham pa. Whereas Tshogling is the emanation of guardian deities of Dharma protectors, including the Four Kings of the cardinal points and the Eight Classes of Gods and Goddesses; these roles are usually performed by Tsun cham pa monks. According to literary sources, the mask dance was introduced by Terton, treasure revealer, Pema Lingpa (1450-1521) after he saw the performance at Zangdok Pelri, the copper-colored mountain and spiritual realm of Guru Padmasambhava. Pema Lingpa, who was one of the fortunate incarnate beings of Guru Padmasambhava, met his enlightened master several times: when he predicted the future, when he gave him the list of treasures to be discovered in disguise, when he guided him to the sites to be discovered, and as he often invited him into his realm during meditation states and in dreams. On one such occasion, in the magnificent palace of Rang-jung Trulpai Phodrang, self-formed palace, he saw the Root Master manifesting in Ja-lue rainbow body or wisdom body, from which millions of his forms emerged, filling the three realms of the universe, which is beyond our imagination. Among the magical representations, the enlightened sages of India and Tibet sit in the right row and the scholars sit in the left row. In between them sit the 108 treasure discoverers, who are incarnations of Guru Padmasambhava and his 25 chief disciples. A cloud of gods and goddesses transformed into one hundred Dampa Rigja Protective Deities– forty-two peaceful forms, and fifty-eight in Ging wrathful appearance–they made various sensuous offerings, including the performance of Dorji-lugar Vajra Dances, dancing upon the air, rejoicing in the participation in the preaching of the coinage doctrine. Outside the entrance gate of the Four Directions are thousands of warriors from the Pho-jued and Mo-jued male and female classes of protecting deities, the Eight Classes of Gods and Goddesses, led by the kings of the Four Directions Tshoglings, who are getting ready to overcome obstacles to the sacred teachings. In the war scene between the Gings and the Tshoglings, the aggressive characters of the Tshoglings, and the drum beats of the Gings arouse a sense of fear in the obstacles and samaya oath breakers, guiding them to follow the righteous path of humanity. A similar performance was originally introduced by Guru Padmasambhava to aid Tibet’s King Thrisong Detsen (c. 755-797 or 804 AD). Padmasambhava used his supernatural powers at the great Samye Monastery in Tibet, he manifested in the form of Ging and Tshogling, producing an immense positive force to fight and subdue the evil spirits that hindered the construction of the monastery. With the obstacles overcome, the site became an important part of establishing the teachings of the Buddha in the region. After seeing the spectacular performance and realizing its benefits for the liberation of sentient beings, Pema Lingpa introduced the sacred mask dance to Jigten me-yul the human world, first at Korphu Temple, one of his seats in Trongsa, central Bhutan. There is still a saying that goes, "If you are not sure about the choreographies of Ging Tsholing or Tro-ging, you should visit Korphu Drub." Korphu Drub is the annual mask dance festival that coincides with the temple's dedication ceremony. Due to the importance of the dance, this mask dance was later introduced in most Tshechu, Rabney, Mewang, Mani, Drub, Drubchen (native names for the annual mask dance festival) of forts, monasteries and temples by Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive spiritual leaders of the Je Khenpo as well as the temporary leaders of the Druk Desi - these spiritual masters and far-sighted monarchs.

Mudiyettu is a ritualistic art form of Kerala based on the mythological tale of battle between the goddess Kali and the demon Darika. It is a community ritual in which the entire village participates. After the summer crops have been harvested, the villagers reach the temple early in the morning on an appointed day. The traditional performers of Mudiyettu having purified themselves through fasting and prayers, proceed to draw on the temple floor a huge image of goddess Kali called 'Kalam' with coloured powder obtained from organic material. Kalam helps the performers imbue the spirit of the goddess. This is followed by an enactment of Kali-Darika myth, where Kali eventually vanquishes the demon. Mudiyettu performance which is said to herald the dawn of peaceful and prosperous new year, purifies and rejuvenates the whole community. It is performed annually in 'Bhagavati Kavus'', the temples of the goddess in different villages of Kerala along the rivers, Chalakkudy Puzha, Periyar and Moovattupuzha among thenMarar and Kurup communities. Mudiyettu combines in itself the mythic, the ritual, the festive and the ecological aspects of the community. At the same time it is an expression of aesthetic and creative aspirations of the community.

India 2010

Nooruz is the New Year by solar calendar in Central, South and SouthWest Asia countries. March 21 marks the start of the year in Kyrgyzstan. Nooruz meaning ‘new day’ when a variety of rituals, ceremonies and other cultural events take place. An important tradition practiced during this time is the gathering around ‘the Table’, decorated with objects that symbolize purity, brightness, livelihood and wealth, to enjoy a special meal with loved ones. New clothes are worn and visits given to relatives, particularly the elderly and neighbors. Gifts are exchanged, especially for children, featuring objects made by artisans. There are also street performances of music and dance, public rituals involving water and fire, traditional sports and the making of handicrafts. These practices support cultural diversity and tolerance and contribute to building community solidarity and peace.

Kyrgyzstan 2016

New Year is often a time when people wish for prosperity and new beginnings. March 21 marks the start of the year in Afghanistan, Azerbaijan, India, Iran (Islamic Republic of), Iraq, Kazakhstan, Kyrgyzstan, Pakistan, Tajikistan, Turkey, Turkmenistan and Uzbekistan. It is referred to as Nauryz, Navruz, Nawrouz, Nevruz, Nooruz, Novruz, Nowrouz or Nowruz meaning ‘new day’ when a variety of rituals, ceremonies and other cultural events take place for a period of about two weeks. An important tradition practised during this time is the gathering around ‘the Table’, decorated with objects that symbolize purity, brightness, livelihood and wealth, to enjoy a special meal with loved ones. New clothes are worn and visits made to relatives, particularly the elderly and neighbours. Gifts are exchanged, especially for children, featuring objects made by artisans. There are also street performances of music and dance, public rituals involving water and fire, traditional sports and the making of handicrafts. These practices support cultural diversity and tolerance and contribute to building community solidarity and peace. They are transmitted from older to younger generations through observation and participation. Nauryz (Kazakh Nauryz, from Persian Nov Ruz – 'A new day') is the holiday of the New Year and the beginning of spring on the solar calendar from the astronomical Iranian and Turkic people. Nauryz is a national tradition, which has no direct relation to Islamic customs. It is celebrated on March 21, the day of spring equinox. Nomads believed that on this day - the starting point in the world update. Kazakhs call this day holy - "Ulustyng uly kuni" (The Great Day of the nation). According to the established belief on this day the people got rid of the winter hardships, happy for the safety of prosperous wealth - cattle. There are various rites, rituals and cultural activities carried out within each family and community. These forms and rituals handed down from generation to generation. In Kazakhstan Nauryz includes the following ceremonies and rituals: cult of the first herbs (there is a taboo to tear and crumple first grass); all dishes to be filled with milk at night; milk is also poured on the ground, this means a transition from red food ( meat) to white (dairy); cult of the rising sun (the birth of a new day). At Nauryz each family prepares ritual meal "nauryzdyk" («nauryzdyқ"), "Nauryz soup" («Nauryz kozhe") in the form of soup. It consists of seven traditional products. After tasting them, Kazakhs hoped to feed them for a whole year.

Kazakhstan 2016

The Dombra is a musical two-stringed instrument, which occupies a special place in Kazakhs’ hearts. The National Dombyra Day has been included in the list of national holidays since 2018 by the decree of the President of Kazakhstan. This was done in in order to further consolidate society around the idea of preserving and reviving national culture and identity. The holiday is celebrated annually on the first Sunday of July. Traditional Kazakh dombra kuy (kaz 'kuy') - instrumental play performed on dombra - a traditional pear-shaped musical instrument with two strings and a long neck. The true meaning of kuy execution dates back to the sacred relationship with the Creator and the desire to establish the internal harmony of the individual. Kazakhs say 'Kuy - Tanyrdyn sybyry' ('Kuy - a whisper of Tengri'). Dombra had been hung on the wall of each nomad house (yurta) for the play before guests and home owners. Kazakhstan’s First President Nursultan Nazarbayev established National Dombra Day on June 12th, 2018. It immediately became a favorite holiday for people and was widely celebrated nationwide with music competitions and festivals. During next celebration in 2019, President Tokayev noted that this day represents the nation’s course towards spiritual modernization and putting value on Kazakh traditions. The music of the Kazakh folk instrument dombra tells the history of its people and the centuries-old chronicle of the great steppe. “The nobility and generosity of Kazakh people are represented in music and kyuis (musical compositions). The culture and art of our people do not exist without dombra. Kyuis have always elevated the national spirit,” said Tokayev. The President also thanked musicians who worked to popularize traditional Kazakh music. In years 2020-2021 people celebrated Dombra Day from home due to the coronavirus pandemic. “This day gives us a deep appreciation of our national arts. The sacred instrument brings us its melody through symphony and opera, becoming an integral part of classical art,” Minister of Culture and Sports Aktoty Raimkulova wrote on her Instagram. The Kyui-Live online contest was held by the Department of Culture, Archives and Documentation in the Akmola Region. More than 30 performers of different ages and professions took part in the competition and posted their videos on social media. All the winners received prizes and diplomas. The Kazakh people also celebrated Dombra Day in other countries. QazAlliance, the Alliance dedicated to supporting Kazakh people living abroad, launched the World Dombra Festival project, reported the alliance on its Facebook. Dombra players from 25 countries and 36 cities took part in the project and congratulated Kazakhstan on Dombra Day.

Colloquially, a mask often used in artistic mask dance performances to disguise or hide the original appearance is called “Baab” in Dzongkha (Bhutanese language) and in many local dialects. Baab is not only used for masquerade, but represents the appearance and expression of enlightened beings, celestial beings, guardian deities, and some extraordinary human beings who have helped to shape meaningful human life and promote harmonious living, which is why it is also referred to by the honorific title Zhal baab (face mask). Baab comes in many forms, appearances, complexions and with exceptional features that represent transcendent religious meanings and significance. Baab is the product of an art that requires several skills such as religious knowledge including proper proportions, biodiversity as the basic raw materials are woods, craftsmanship, blacksmithing in making tools and finally painting to give the mask the final structure. According to historical texts, the Baab tradition and the performance of the mask dance, usually called Gar-cham, was introduced to Bhutan by Guru Padmasambava in the early 8 th century. Later, it was further developed by eminent Buddhist masters, especially Terton (discoverer of the hidden treasure) Pema Lingpa (1450-1521), who introduced many sacred mask dances and passed on the art of Baab making, which is still recognized and known today for his contribution to the enrichment of Bhutan’s indigenous art and culture. His exceptional art of Baab making and mask dances was later recognized by Zhabdrung Ngawang Namgyal (1594-1651), the head of the state government, and included as one of the of Bhutan’s intangible cultural heritage domain of arts and crafts. Thereafter, the Baab tradition was maintained and enjoyed increasing popularity after the heads of the state government, chief abbots and successive monarchs introduced and authorized other private religious institutions to organize Tshe-chu, Drub-chen, Chod-pa, Rab-ne, Me-wang, Ma-ni, Due-chod (mask dance festivals), etc. throughout the country. In general, the manifestations of Baab can be summarized as; Baab of deities and gods, animals and extraordinary human beings. It is firmly believed that the masks of the deities and gods manifest themselves in various emotional appearances such as; graceful, heroic, abominable, wrathful, compassionate, comical, wondrous, terrifying and petrifying. These expressions can also be divided into four categories: peaceful, inspiring, empowering and angry. There are three types of masks made by Bhutanese artisans: Re baab (paper and cloth mask), Shing baab (wooden mask) and Sing-phye baab (mask made of a mixture of sawdust). However, the former two are ancient technical craft, while the latter is a newer product used mainly for commercial or decorative purposes. Traditionally, Baab are used only for the actual performance or kept as relics after the consecration ceremony has been performed by spiritual masters. It is believed that if these items are not blessed, they are as good as toys and are haunted by the spirits, causing harm to society.

In earlier times, Bhutanese traveled as far south as possible to buy salt, spices, and other basic products in the nearest border towns. Pasakha (formerly the southern gateway) was an important business center for the people of western Bhutan because of its proximity to the nearest Indian towns. After an arduous journey of more than 20 days through the high mountains and after nights spent in the cold, dense jungle, the villagers then reached their home, bringing their daily supplies. A young man from the village of Bja-wo once set out for Pasakha to buy supplies. Upon his return, as he prepared to spend the night in the forest, he lay down under a large tree, placed the heavy basket under his head to rest, and stared up at the sky. He saw the bright moon almost smiling at him and the stars twinkling around him. He thought about the number of nights he would have to spend like this, and wondered if the stars and moon would keep him company during his journey home. He continued his journey home during the day, spending each exhausting night under bushes and trees. Each evening he looked up at the sky and noticed that the brightest star seemed to get closer and closer to the moon each night. When he returned home a few days later, the young man, suspecting an interesting observation in the sky, wanted to know how close the star had come to the moon. The following night, he looked up at the sky and found that the star had come so close to the moon that it almost looked like it was interacting with the moon (this was the narrator's exact interpretation). It was a unique discovery that symbolized a happy moment. Incidentally, the day he made this discovery was the 15th of the 10th month, one of the most auspicious holy days in the Bhutanese lunar calendar. Therefore, the festival of Bja-wo Karma Nya-ru (conjunction of the Pleiades and the full moon) is believed to have originated in Bja-wo village and is still celebrated with great enthusiasm. Nowadays, it is also popularly known as Dogar Nya-ru. Nya-ru is celebrated on the 15th day of the 10th month of the Bhutanese lunar calendar and is considered a special occasion where family and friends scattered all over Bhutan gather on this day and celebrate the auspicious day in each and every home with festivity and joy. On the 13th and 14th day of the 10th month, people who work in the cities, students, businessmen, relatives and basically all people who are from the village gather to celebrate Nya-ru. In this village of Nyo-yue dhuen (old name) or Khamda Sali Chiwog (sub-block) as it is commonly known today, people prepare for the big event by washing their clothes, cleaning themselves, tidying their houses and the men discuss archery that will take place during Nya-ru while the women prepare the menu for the special day in the house and make preparations for Ara (locally brewed wine) and other drinks.

The Masked Dance of the Drametse community is a sacred dance performed during the Drametse festival in honor of Guru Padmasambhava, a Buddhist master. The dance performance also commemorates the founder of the Tegchok Namdroel Ogyen Choeling Monastery, Ani Choeten Zangmo; and venerable Khedurp Kuenga Gyeltshen (1505-/) who introduced the Masked Dance. These two are the eldest daughter and the fourth son respectively of the great treasure revealer, Terton Pema Lingpa (1450-1521). According to oral accounts, Drametse Ngacham was introduced in 1518, just three years before the death of Pema Lingpa. The name of the mask dance is derived from the Drametse village community, which falls within the Drametse gewog village block of Mongar Dzongkhag district in the eastern part of Bhutan. The term Ngacham refers to the dance implements held by performers, a hand-held circular flat drum and mallet. Tegchok Namdroel Ogyen Choeling Monastery was established in 1530. The three-day Drametse Tshechu festival takes place twice a year, organized by the monastery administration. The dancers include monks from the monastery as well as laymen. The origin of the mask dance, its characteristic choreography, masks, and costumes are specified in detail in the Kabum, Collected Works, of Pema Lingpa. Pema Lingpa have seven siblings and Sangdag is one of his sons who fathered Tenzin Chogyal and gave birth to Ani (Nun) Choeten Zangmo. Therefore, Ani Choeten Zangmo is the great grand daughter of Pema Lingpa. Though Ani Choeten Zangmo has no intention to indulge in the leading a family, she was forced to marry Yeshey Gyalpo, son of Sumthrang Choeje Sherab Drakpa. Driven by her destiny, she became renunciate and later established her permanent seat at Drametse where she recognized a place of peace and tranquility, Dra-me “No Obstructions” to her meditational practices at the summit of a Tse, small ridge. During her stay, her brother Kuenga Gyeltshen who is popularly known as Khedrub Kuenga Wangpo visited her. Kuenga Wangpo is highly revered by spiritual masters for his outstanding philosophical knowledge and realization of the true nature of mind, thus he was given a title of Khedrup, great and realized scholar. He encountered Guru Padmasambhava several times while in meditational states, and had visited Zangdok Pelri, the Copper Colored Mountain, spiritual realm of Guru Padmasambhava. While staying at Drametse, an auspicious event happened in his early morning meditation on the 17th day of the 8th month of Iron Male Tiger year 1530—while the Drametse Lhakhang Monastery was under construction. In this state, three khadroma celestial maidens with white complexion, decorated with colorful silken robes, ornaments and flower garlands, invited Kuenga Wangpo to Zangdok Pelri, saying they had come to take him for a tour of the realm’s palaces. He asked, “What should I take for the long journey?” The maiden responded, “While you are experiencing pure vision without doubts, come along with us.” They took him to the realm, and into a palace called Pema yoe ki Phodrang where Kuenga Wangpo saw King Indra Bhuti. Then the maidens took Kuenga Wangpo to the majestic palace of Zangdok Pelri, where he saw Guru Padmasambhava in a youthful form smiling and telling him “I am happy to see you here.” Instantly, Guru manifested to a Jalue, Rainbow Body, and thereupon Kuenga Wangpo was entertained by a splendid dance performed by many gods and goddesses transforming themselves into Dampa Rigja (Hundred Guardian Deities); forty-two peaceful forms, and others in wrathful appearance or in human form with various animals’ heads. All wore exquisite robes and a melodious sound of Choe-ngai dra, Buddhist teachings, resonated from the beating of their drums. It is also believed that the sound of the drum signifies victory over evils and celebrates joy as Buddha’s teachings flourish. Kuenga Wangpo was then told to introduce this dance in Jigten me-yul, the human realm, and that conducting the Masked Dance would liberate sentient beings. Coming out of this meditation, he jotted down the detailed choreography, masks, and costumes. The first introduction of this Masked Dance was at the sacred place of Drametse, thus giving it the name Drametse Ngacham. Due to the significance embedded in the dance, Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive Je Khenpo spiritual leaders, as well as the Druk Desi temporary leaders—these spiritual masters and farsighted monarchs all propagated the Masked Dance across various monasteries and Dzong fortresses around the country.

Bhutan 2008

Mar-chang or wine oblation ceremony is an offering of Chang-phue (first share of wine) or offering of wine to invoke the glorious teacher, the four assemblages of deities, the dakas and dakinis (celestial beings) of the three realms, the dwellers of charnel grounds, guardians of directions, the local guardians (Kshetrapalas) and asking them to remove all obstacles so that the work may be accomplished successfully. On certain occasions, such as an elaborate Chib-dre ceremony, the Mar-chang offering is performed twice. The first offering takes place outdoors at the end of the Chib-dre procession while the second offering is made during the Zhug-dre phun-sum tshog-pa (Ceremonial setting) ceremony. Performance of the Mar-chang ceremony is not limited to specific places but is held anywhere depending on the nature of the programme — be it in the temple, residence, courtyard, or in an open ground. The Mar-chang ceremony is in line with the traditional custom of presenting a guest with wine called Dong-chang (reception wine) in a container, the lip of which was decorated with three horns of butter (Yar-dron) on the guest’s first visit. This Dong-chang or Mar-chang gesture is to wish the guest a long life and success in all his endeavours. So, the act of offering first to the deities and then to the honoured guest is clearly depicted in ceremonial presentation. The verses for the marchang ceremony were composed by Kunkhen Pema Karpo in the 16th century. During the ceremony, in accordance with the recitation of the verses by monks, the marchang is offered first to the lamas and deities, and then offered to the dignitary. After the Mar-chang is offered to the guest, it is followed by the offering of a small white flag. For the reigning monarch and the Head Abbot, instead of the white flag, the National Flag of Bhutan is offered. The offering of flag symbolises victory over all the negative forces, and increases fortune and luck for the people.

The Bamboo Cord Tugging Rituals and Games are one of three important rituals of the Vua Bà Temple festival, which takes place on January 4. The bamboo used to make the mine is carefully selected and is 7-8m long. After cutting bamboo, you must report it to the Holy Lady and ask permission to make scissors. The mine is made from two Bánh tẻ bamboo trees, long internodes, no decay, no truncated ends, about 8m long, the bamboo segments are calculated to enter the letters Prosperous or Peace according to the cycle of Prosperous - Decline - Stuck - Peace, must count the 9th segment and 3 more segments to bend the beak back. Two long bamboo trees are connected by crushing a bamboo segment (burn number 10), then bending it into a beak and hooking it together. The lattice tied on the hook between two bamboo trees (3 lattices on each side) has great flexibility. There are 2 teams: the inside team (standing in the South) and the outside team (standing in the North). Each team has 5, 7, or 9 members depending on the year, shirtless and a captain, a technical instructor. After reporting to Thanh, the two teams stood at opposite ends of the mine. There are 3 lines: 1 center line and 2 win or lose lines, 50cm from one side to the other is a loss. The first round is called "clearing the crowd", the next two rounds are the winners and losers. The organizing committee does not declare victory or defeat, only announces the same prize, people can see and judge for themselves (if the inside team wins, they will get a rice crop; if the outside team wins, they will get a crop of white beans and a small amount of other things).

Viet Nam 2015