As a form of performing arts, Xoan singing includes singing, dancing, drumming and clapper beating. It is closely attached to the Worship of the Hùng Kings, founders of the country. Phú Thọ people created Xoan singing and performed it at the village communal houses, temples and shrines worshipping the Hùng Kings in springs. “Xoan” means “spring”. Bearers and practitioners form four guilds, in which the male and female Trum play the most important role; they preserve the songs, select students, transmit the singing styles and repertoires and organize practices. They are also active in introducing and teaching Xoan singing at the four Xoan guilds, and in clubs and guilds. A full Xoan performance cycle includes 3 phases: Worship singing (Hát thờ) with songs praising the virtues of the Hùng Kings and the village guardian deities; Invocation for good health and fortune (Quả cách) with 14 repertoires praising nature, humankind, and the daily life of the community; Festive singing (hát Hội) with songs featuring the couple love. The special characteristic of Xoan is the modulation between singers and instrumentalists at the perfect fourth interval, and it has a simple structure with few ornamental notes. Xoan dance's movements have a sense of imitativeness, illustrating people's daily life activities. After singing at their communal houses from the 2nd - 5th day of the Lunar New Year, the Xoan guilds travel to other communities venerating Hùng Kings to take part in convivial cultural exchanges. Xoan practitioners are organized into music guilds called Phường. The Leader of each guild is called “Trùm”. In the past, only men could be “Trùm”, but nowadays women could also be leaders. The Leaders are in charge of transmission and organization of activities of the guilds. At present, each guild comprises of 30 - 100 members. Men are called “kép”, women are “đào”. As a community performing art, Xoan singing fosters cultural understanding, community cohesion and mutual respect. The Vietnamese Institute for Musicology has collected 31 Xoan songs, and thanks to the efforts of several Xoan artists four guilds have been established. 33 dedicated clubs also exist, and seminars are held to expand knowledge of Xoan.

Viet Nam 2017

The Việt people in Phú Thọ province have been practicing and trasmitting the worship of Hùng Kings whose father named Lạc Long Quân and mother named Âu Cơ for a very long time. The legend has become a strong belief of the country’s origin in the Việt people’s mentality for centuries. Dynasties of Great Việt attached great importance to the worship of Hùng Kings and offerred imperial conferments to villages worshiping Hùng Kings in temples and shrines. The worship of Hùng Kings has created many legends of wharves, rivers, fields, rice plants, land and other unique cultural creativity. Part of cultural creativity is reenacted in annual worship performed at communal houses, temples and shrines in villages. Communities make offerings of rice – based delicacies such as square cakes and glutinous cakes dedicated to Hùng Kings. Legend has it that, Lang Liêu who later became the seventh Hùng King made these two types of cakes by himself. They represent the heaven and the earth as well as the filial piety of the children for the parents. These two offerings are indispensable in the worship of Hùng Kings. Offerings dedicated to Hùng Kings at temples and shrines by villagers usually last for a few days: offerings by families first and then by the whole community. The tablets of Hùng Kings are proccessed throughout the villages and the rice fields, which implies that Hùng Kings may witness today’s lives of villagers and offer good weather, abundant harvests, good luck and good health to villagers, plants and animals. Offerings conducted by villagers at temples, communal houses, and shrines is supposed to be the most sacred moments when the respect and gratitude of communities dedicated to Hùng Kings are expressed.

Viet Nam 2012

Lomba is a popular local New Year celebration observed in the villages of Paro and Haa districts. Lomba is a celebration for the beginning of a New Year, which takes place from the 29th day of the 10th month of the lunar calendar. It is one of the most special annual occasions for the Parops and Haaps, residents of the valleys. The name “Lomba” expresses carrying good luck from one year to another. Ba literally means receiving wealth in one’s hand or to carry something forward, leaving the past behind. Lomba is celebrated by Haaps and Parops as a New Year festival from the 29th day of the 10th month of the lunar calendar. In Haa, Lomba often lasts until the 15th day of the 11th month, while Parops have a shorter celebration until the 2nd day of the 11th month. Although Lomba has been part of the culture of the two valleys for many generations, making it difficult to trace the origin. No specific written text has been found for early observances so far. According to folk understandings, some believe that Lomba began with the arrival of Phajo Drugom Zhigpo in the 13th century, while some believe that it began much earlier when men started working for food. According to Dasho Sangay Dorji (2011), Lomba observed in Paro and Haa districts may be the legacy of the Lhapas, but in some religious texts, the Lomba celebration dates to an influence from Zhabdrung Ngawang Namgyel (1594-1651) who consolidated the Bhutanese region into a state in 1649. Himself hailing from Tibet to the north, he first introduced Bhutanese to the celebration of Nyi-lo winter solstice. The day marked the end of the year and welcomed another year of prosperity with bountiful harvest. With adequate food reserve stored on the rooftop, Haaps and Parops began to recognize the day as Lomba and ushered in the beginning of the dry season of winter. Temples and monasteries in the country would have also received the annual provisions of butter, meat, rice and wheat grains on Lomba. Since then, Lomba is celebrated every year, which would make it the earliest New Year festival celebrated in any district of Bhutan.

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