There exist approximately thirty thousand traditional performing arts transmitted throughout Japan. This kind of performing arts is performed by ordinary amateur people in their daily life in order to pray for an abundant harvest, for example, and differs from theatre performing arts in the way of transmission, where professionals performer in front of the audience for the sake of art appreciation. Such performing arts are classified into intangible folk cultural property in Japan, and the transmission of them depends upon the further detailed classification. Dainichido Bugaku is a folk performing art transmitted by ordinary people of the four communities in Hachimantai Town of Kazuno City, Akita Prefecture, positioned in the northern part of the main land of Japan. Japan has the ritual dance and music, called bugaku, that is one of traditional performing arts. It was a performing art brought about to Japan via the ancient China or the Korean peninsula from the fifth to the ninth century, and later sophisticated, developed, and finally Japanized in its long history; it was performed at a rite or a banquet in the imperial palace. While bugaku has been transmitted at the political centre of each age by professional performers, it gradually permeated widely into local areas in the course of a long history of Japan, and ordinary residents in local areas learned it. As a result, bugaku was introduced into local festivals or events, rooted there, and respectively transformed into locally distinctive performing arts. According to a legend of Dainichido, it originates from bugaku performed by professionals from the then Capital City on an occasion of reconstruction of Dainichido, i.e. the shrine pavilion, in the early eighth century. From this legend it was later named Dainichido Bugaku. While it was transmitted in Hachimantai Town, however, it acquired new features in its repertoire, musical instrument and choreography, not found in bugaku. In this sense it is recognized as an important element of cultural heritage which indicates the transition process of performing arts. It was designated by the National Government as Important Intangible Folk Cultural Property. It is one element of intangible cultural heritage which represents the ‘extraneous category’ among the folk performing arts. It is dedicated to the deity on the stage set inside Dainichido on January 2nd with a prayer for the happiness of the year; performers successively dedicate with background music of flutes and drums. It has been transmitted by the people of the four communities, i.e. Osato, Azukisawa, Nagamine, Taniuchi, in Hachimantai Town. Those people are recognized as assuming the special role in the transmission of the performing arts. The transmitted repertoires are nine in total, and they are divided among the four communities for the transmission. Inside each community the elderly transmit its assigned repertoires to the younger and children. Thus, Dainichido Bugaku has been transmitted from generations to generations by the people of the four communities to-day. It is a kind of intangible cultural heritage collectively transmitted by a local community. Moreover, people are proud to perform the ritual dance. Performing the ritual dance deepens people’s sense of affiliation to a local community and reinforces their identity. Dainichido Bugaku is repeatedly performed for a long time from the dawn to noon of January 2nd every year, according to the fix performance order. After the people dedicate Dainichido Bugaku at the fixed site in each of the four communities, they proceed to Dainichido in a line. On the stage set inside Dainichido they together dedicate the nine Bugaku; in some of those Bugaku they put a head of shishi (an imaginary lion) on; in some they put a mask on; in others children perform. Thus, the style of Dainichido Bugaku has some variations, reflecting the local features. Many of the residents in Hachimantai Town gather around the stage on this occasion every year, since Dainichido Bugaku is also significant to people other than the performers in that it prays for the happiness of a new year and let them reconfirm the identity with a local community. Thus, Dainichido Bugaku reflects the history, culture and climate of Japan, and has a great meaning to today’s Japan from the social and cultural viewpoints. On the other hand, the performers are eager to transmit what they have inherited from the ancestors to successors.

Japan 2009

“Akiu no Taue Odori” is a folk performing art, expressed mainly by the dance which reminds of the rice cropping, with background music of drums and other instruments. The music for this rice cropping dance is played with big and small drums, flutes, and songs. The dancers are two or four males, depending on a case, as facilitators, and currently about ten females. Females are well dressed up with colorful and fashionable kimono and wear a headdress decorated with artificial flowers. Dances are performed outdoors by females aligning in a line, or sometimes in two lines depending on the space and the number of dancers. The repertoires transmitted to-day are six to ten depending on communities. Each repertoire begins with blessing terms by facilitators who appear from both ends of a line. Dancers perform to the music, alternatively holding fans or sticks with bells on it according to a repertoire. The choreography of these dances reminds people there of the rice cropping. During dances they pray for the best harvest, believing that thus celebrating an abundant harvest in advance may make it true in that autumn; the dance is to bless people. The performance is characterized with facilitators’ progressing and its quite beautiful dances. “Akiu no Taue Odori” is cultural heritage transmitted to-day with its dances begun in the late seventeenth century in the region, wishing for an abundant harvest of the rice cropping. Designated as Important Intangible Folk Cultural Property in 1976, it is currently recognized as such an element of important cultural heritage as widely indicates the transition of Japanese life style. The rice is a principal foodstuff to Japanese since old time. Therefore, its abundant harvest was a really serious wish to them, quite differently from today’s circumstances. The weather immeasurably affects the rice cropping or agriculture in general. As affect of the weather is unavoidable, they prayed for a good harvest by simulating an annual process of the rice cropping before actual cultivation. In an entire process of the rice cropping, taue, i.e. transplanting of seedlings, is especially important; they first seed rice plant in a small section, and when seedlings grow a little, they transplant seedlings onto a wider rice field filled with water. Such transplantation is a traditional knowledge for the prevention of pests and the alleviation of temperature changes. “Akiu no Taue Odori” is a simulation dance for an abundant harvest in order to pray for it, believing that a previous celebration of a possibly abundant harvest of the year may secure an actual good harvest in autumn. The people has sophisticated the dance and developed it to a more spectacular performing art. Becoming a spectacular performing art, it has been transmitted from generations to generations by the people in the communities. Until the early twentieth century, it was performed on every January 15th in each community. Because of such an entertaining element as a beautiful appearance in addition to praying for an abundant harvest, they were often invited by other neighboring communities to perform there. The number of dancers at that time allegedly transcended fifty. Later, the opportunity of invited performance of “Akiu no Taue Odori” declined in number, the season of performance shifted from a severe winter to April or May or to autumn, and the number of dancers dropped to approximately ten. However, it has continued to be performed every year up to-day. The transmitters’, or practitioners’, groups of the performance and the people living in those communities are proud of it before other communities’ groups or societies, and they consider it to be one of their own distinctive cultures. The transmission and the performance of “Akiu no Taue Odori” in front of the public would reconfirm the identity of the transmitting groups and communities, and thus contribute to the continuity of those groups and communities. “Akiu no Taue Odori” is a folk performing art transmitted by ordinary local people for a long time and still performed to-day. Its music and dances reflect Japanese sentiment on performing arts. The background of the transmission and the performance of “Akiu no Taue Odori” indicates the Japanese concept on an agricultural life and the nature. As mentioned above, “Akiu no Taue Odori” has a significant meaning in today’s Japanese society and culture. The transmitters as well as practitioners of the performance are eager to transmit what they have inherited to the future generations.

Japan 2009

Float festivals are communal festive events in which all members of the communities get together to pray for peace in the communities and protection from disasters. At the heart of the festivals is the procession of floats bearing creative decorations that showcase the diversity of local cultures. Community members derive their pride and identity from the float festivals that are the biggest single festive event of the year for them. The oldest float festival dates back to the 9th century, but most of the festivals began after the 17th century and spread to various regions. Local people in these regions then modified the festivals with their own creativity. Floats are huge constructs pulled or shouldered by members of communities. They are inhabited by the gods honored in the festivals or are meant to entertain and appease these gods. The techniques of making and repairing floats have been transmitted for centuries by craftsmen such as carpenters, lacquer artisans and dyers. Furthermore, efforts are made to preserve the natural environment when securing materials for the floats; these sustainable methods have been handed down through many generations. The festivals’ most significant feature is the communities’ devotion to the preparation and celebration of the festivals. Community members including men, women, the young and the elders share their tasks and responsibilities all year around preparing for the float festivals, the most important event of the year for them. Float festivals therefore foster communication and teamwork between community members, and play vital roles in uniting them.

Japan 2016

Disclaimer : ‘Bioscope, A Cinema with Solo Performance’ is not an element officially designated by the government of Bangladesh and thus tentatively named by ichLinks secretariat to introduce the cultural expression with the name indicated above. We welcome your valuable comments and feedback about ‘Bioscope, A Cinema with Solo Performance’ and its information presented on this page. A bioscope is a box made of either wood or corrugated board in which one can load movie films, paintings, and still photographs on twin rotors. The twin rotors are made capable of rotating from the top with the help of a steering handle. Slides are fixed onto a cloth that functions as a screen. The cloth is attached to two sides of the box and hung on the handle. When the handle is turned, the slides appear in the screen one after the other to viewers that watch them through lenses in the bioscope. Bioscopes help to travel through the rural areas of Bangladesh and enjoy its old traditions anytime and anywhere. Bioscopes used to be a popular form of entertainment for rural residents before the radio, television, and computers were introduced to Bangladesh. Everyone enjoyed looking through bioscopes regardless of age. When a bioscope man showed images accompanied by stories, people felt as though they were watching movies. Bioscopes had social and cultural implications in the lives of those living in the rural areas. Gathering around a bioscope operator, people shared their joys and sorrows, building close relationships and confidence among one another. However, due to the development of modern technology as well as the arrival of new means of communication, bioscopes are now on the verge of extinction.

“Furyu-odori” refers to various local ritual folk dances, characterized by glamorous costumes accompanied with songs, gong-ringing, and drum-beating. These dances have been performed at certain times of the year for centuries and have been transmitted from generation to generation mainly in rural areas throughout Japan. The nomination encompasses 41 representative furyu-odori of each area. Life in rural areas was easily affected by severe climate events such as typhoons, droughts, and earthquakes. Local people of such areas created ritualistic performances imbued with their earnest hopes for a tranquil life. They dance furyu-odori for numerous purposes, including end of plagues, repose of the deceased, and praying for a good harvest or safety from such disasters. The eye-catching costumes, lively dances and songs and other accompaniments are indispensable for furyu-odori, since they dispel evil spirits and misfortune and strengthen good forces, such as local deities and ancestral spirits that protect the communities. While sharing commonalities, furyu-odori have evolved into different forms in response to socio-cultural differences in each region. There are several classifications for furyu-odori; one of them is bon-odori, practiced as part of the Bon festival that takes place in July or August throughout Japan. A large group dance is performed in order to repose and entertain ancestral spirits that return home for several days in the Bon period. People also practice other kinds of furyu-odori, which are kouta-odori (dances with short songs), nenbutsu-odori (dances with Buddhist chanting), taiko-odori (dances with drumming), or hayashimono (dances accompanied by objects in which deities dwell).

Japan 2022

Tshar-zo, the age-old tradition of working with bamboo and cane is a popular art, spread and practiced throughout Bhutan. The availability of numerous species of bamboo and cane has enabled the Bhutanese to master the skill of weaving these raw materials into a variety of articles for various uses. Throughout Bhutan, the use of bamboo and cane products has always complemented the use of wooden items, forming an integral part of the lifestyle and economy of the people. Bhutanese farmers weave a variety of functional bamboo and cane articles used for a variety of domestic, agricultural and commercial purposes. Bamboo (Neomicrocalamus andropogonifolius), is locally named Ringshu in Dzongkha and as Yula in Khengkha. Cane (Calamus acanthospathus) is locally known as Munzi in Sharchopkha, and as krath or gren in Khengkha. These are the two common species used in the production of a variety of articles. Bamboo and cane strips are used in their natural colour or dyed into yellow, black, red, green, maroon and brown, to weave colourful articles with geometric designs.

Seemingly regarded as a leisure time activity today, “Traditional Sohbet Meetings” tradition with its historical background and institutional structure has a crucial role in social life. In some regions of Turkey, since the tradition is at the risk of disappearing practiced solely among the elderly, though it is preserved in some other parts of Turkey in accordance with the changing conditions of life. As seen in Çankırı case, the element has a significant role within the local culture, therefore Çankırı is defined as “Land of Yâran” by the residents of Çankırı. Although “Traditional Sohbet Meetings” meetings have different names in different regions of Turkey, they all have the same function. In a discipline of teach and delight, the primary aim is to have conversations and talks in leisure times. “Traditional Sohbet Meetings” talks, through the concepts of love, fellowship, brotherhood and respect for each other, ensure safeguarding and conservation of traditions as well as creating a sense of neighborhood. The participants admitted to “Traditional Sohbet Meetings” communities vary from region to region. While in some regions only single men are admitted to the community, in some other regions, participants of the community are from different age groups and professions. For example, the groups in Manisa-Soma and Balıkesir-Dursunbey are classified as the youth, the middle aged and the elderly. Hence, in Soma, the meeting place of the young men is named as “Delikanlı Odası”, as “Köşe Odası” for the middle aged and “Koca Oda” for the aged. “Traditional Sohbet Meetings” are characterized as patriarchal meetings; however the mothers and wives encourage those male members who take the advantage of those meetings in respect to its social and cultural benefits. “Traditional Sohbet Meetings” communities gather at regular periods particularly in winter. For instance, “Sıra Gezmeleri” in Şanlıurfa, is held once a week preferably in Saturday evenings. The beginning and ending month as well as the time schedule concerning the dates and hours of the meeting are decided jointly. Non-participation except for the excuses such as death, illness etc. is subjected to penalty and the non- participant members not obeying the rules of procedures are also fined. The penalization practiced today has mainly turned into punishing with a fine. The total sum is allocated for organizing the following meetings, for the people in need as well as building fountains and roads. These communities usually compose of 5-30 persons and those members are guided by 3-5 community leaders, whose names vary from region to region. The community leaders are appointed via election or through proposals made by the elderly who are highly respected and designated by the consensus of all Yârans. The duty of community leader is to arrange in-group relations and to control the flow of the meetings. In this context, he has sanction power and the members are expected to obey the decisions made by the community leader. The titles of the community leaders can be summarized as follows: “Bayraktar” in Soma, Manisa; “Büyük Baranabaşı, Küçük Baranabaşı, Sohbet Çavuşu” in Balıkesir; “Büyük Yâranbaşı, Küçük Yâranbaşı, Köşe İhtiyarı” in Kütahya; “Delikanlıbaşı” in Ankara; “Efe, Saki” in Kırşehir; “Yiğitbaşı, Gönüller Ağası, Bayraktar” in Niğde; “Efrad” in Isparta, and “Büyük Başağa, Küçük Başağa, Çavuş” in Çankırı and ""Başkan"" in Şanlıurfa. Admission to Traditional Sohbet Meetings is of high dignity; nevertheless dismissal from the community is concerned as indignity. Certain procedures, which differ in each locality, are followed for the admission to or dismissal from or becoming a regular member or quitting the membership of the community. Being honest and modest, keeping secrets, not gambling, not wandering drunken around are accepted as the basic virtues and common rules in every locality. The members of the community have equal rights and commitments. There is no difference in social status among the members. The members of the community are taught and controlled by the leaders and by the other elder members in their daily lives. They also take the advantages of being a member of the community in physical and emotional support, if needed. The characteristics aforementioned contribute greatly to the members, the locality and to the society as well. The meetings are open to guests. The members sometimes bring their children along with them, which ensure the transmission of the tradition to future generations. Learns laying the table by her mother Learns joining in Sohbet by his father Traditional Sohbet Meetings are indoor activities. Those places can be the houses of the community members, be commonly-shared places called “köy odaları”, which has traditional features in Turkey, or rented places called “oda” for which expenses are shared as in Şanlıurfa case. Today, the meetings are held in the places allocated by local authorities. Interior design and setting differ in some regions yet generally sofa and floor cushion is used at the meetings. Traditional Sohbet Meetings consist of many elements but the main element is ""Talk"". This ""Talk"" has a wide range of topics, anything relevant to social life. Other elements of these meetings are folk music, folk dances, indoor plays, village spectacle plays and dining. There is not a certain order for practicing the elements; nonetheless, in each meeting there can be a specifically drawn order. List of dishes can show differences from region to region; nevertheless, not creating a difference in social status as well as not being costly for the host is carefully taken into consideration when preparing the dishes. For instance, the dish list is composed of çiğ köfte, deserts (künefe, şıllık, etc.) and strong coffee, known as mırra, in Şanlıurfa. In Çankırı, soup, güveç (casserole), rice and baklava are main dishes served in Yâran meetings. One of the most important elements of this tradition is music. Şanlıurfa Sıra Gecesi and Elazığ Kürsübaşı meetings, in a master-apprentice discipline, function as a conservatory for the traditionally trained performers. The musical performance begins with the pieces in rast and divan maqams; continues by other maqams if requested; and finalizes by kürdi and rast maqams. The instruments used in these meetings vary from region to region, but the main instruments are the bağlama, cümbüş (mandolin with a metal body), def (tambourine), violin, ud, kanun (zither) and kaval (end-blown flute). The local tunes are performed by the master bearers. Listening to music is also as important as performing the music. “Traditional Sohbet Meetings”, including music, dining, plays and talks, last until the early morning. Therefore, Traditional Sohbet Meetings compose all elements of life and culture. Owing to changing living conditions and migration from rural to urban area, Traditional Sohbet Meetings tradition is transmitted by its bearers to other cities.

Turkey 2010

This graceful dance of worship is the most popular in Terengganu. Ulek Mayang was performed as a healing ritual for fishermen who fall ill at sea or while carrying out their daily activities. Some illnesses were believed to be caused by sea spirits and could only be cured by calling upon the spirits of the sea and sending them back to the dark watery depths. In a ritual performance, some of the performers will fall into deep trance. The performance tells the tale of a sea princess who falls in love with a fisherman while he is at sea. The princess steals the fisherman’s soul, causing him to fall into a trance-like state of semi-consciousness. Once they are back on land, the fisherman’s friends ask a bomoh (traditional healer) to restore his semangat (spirit) and bring him back to health. The bomoh conducts a healing ritual for the fisherman using a mayang (coconut palm blossom), kemenyan (benzoin resin) and offerings of coloured rice. He summons the spirit of the sea-princess, who calls upon her five sisters to help seize the object of her desire. A tug-of-war ensues between the bomoh and the six princesses for the soul of the fishermen. Finally, the seventh and eldest princess arrives and sends her sisters back to sea with these words: “I know your origins, let those from the sea return to the sea, let those from the land return to the land.” She thus releases the soul of the fisherman and restores his health. Ulek Mayang is traditionally performed by seven female dancers, each dressed in an elaborate costume with a regal headdress and flowing yellow sash. Three to four male dancers perform the role of the fishermen and bomoh. The graceful gestures of the female dancers are reminiscent of the undulating movements of the sea. The dance is accompanied by a small music ensemble comprising a rebana (frame drum), accordion, and seruling (flute) or serunai (double-reed oboe). The contemporary version of the Ulek Mayang is performed in almost every formal state function and event.

Sacred texts representing the spirit, philosophy and teachings of the Buddha are chanted by the monks (Lamas) in the monasteries and villages of the Ladakh region. Buddhism in Ladakh has two sects: Mahayana - that follows the Sutra (treatise) tradition, based on the teachings of Budhha delivered in the form of public discourse; and Vajrayana - that follows a highly esoteric tradition based on the principles espoused by the Tantra practices. There are four major sects of Buddhism in Ladakh namely Nyngma, Kagyud, Shakya and Geluk. Each of these sects has several forms of chanting practised on diverse occasions as annual festivals; agrarian, life cycle healing rituals; for general well being, and to attain Buddhahood. Vajrayana Buddhism stresses the visualisation and recitation of Mantra through the practice of chanting. The chanting of Mantras is an integral part of Buddhist life in Ladakh. Buddhist Chanting is primarily practised in a group, by the monks. It is practised everyday in the monastic assembly hall as a prayer to the deities for world peace, and for personal growth of the practitioner. The villagers also patronise this tradition; they invite the monks to their homes for chanting on various occasions, such as family functions and important days in the agrarian calendar. In fact, on any given day, sounds of chanting can be heard in the villages all over Ladakh. It is a part of Ladakh’s daily life and cultural heritage. Monasteries work as the repository of knowledge and tradition, and as a channel for continuation and preservation of chanting. Buddhist chanting is highly evolved and stylised. The young monks are trained under strict and rigorous supervision of senior monks. Chanting texts are recited frequently till they are committed to memory. Thus chanting as a tradition is passed on from generation to generation as an oral practice and knowledge. The senior monks train young acolytes in the correct use of hand gestures ('mudra') that is an integral part of most chanting traditions. Bells, hand drums, flutes and the trumpets are usually used as accompaniments during chanting. They lend musicality and rhythm to the chanting. The four sects of Vajrayana Buddhism have their own different styles of chanting. Chanting styles can vary from one monastery to another, even if they belong to the same sect. In some sects, chanting is also accompanied with dance ('cham'), which is practised in the monastic courtyard. The Cham chantings of Hemis and Phyang, though they belong to the same sect of Kargyudpa, have entirely different chanting styles. The seven forms of chanting included in the dossier represent the diversity of the tradition practised in the Ladakh region. 1. Shargangrima - It is one of the most popular chanting of Gelukpa Sect. This is a eulogy recited by the Lamas as well as by the lay people in honour of Je Tzongkhapa who founded the Gelukpa sect in the 14th and 15th century. In Sargangrima, the chanters address Je Tzongkhapa as the second Budhha and celebrate him as the Son of the eastern province. 2. Nashthan Phyagzod -This chant uses musical instruments and 'mudras' (hand gestures) during chanting. It is a prayer for the 16 disciples or Arhats of the Budhha. Nashthan Phyagzod is chanted by the Lamas for all sects. The Arhats are the direct successors of the Buddha, the bearers of His teachings. The chant is a prayer to the Arhats to stay eternally on the earth for the sake of Dharma. At the end of each stanza, the chanters play drums, blow on a long flute and beat cymbals, providing a musical rhythm to the chanting. The monks symbolically offer music, dance, incense, flowers, lamps and food through 'mudras.' 3. Kunrig – This chant stresses on the internal visualisations by monks through repetitive chanting and 'mudras.' 4. Rigmachutuk – This chanting is performed by monks who dance in the courtyard of the monastery, wearing copper masks, silk robes and special shoes. It is based on two tantric texts. Rigmachutuk are the 16 fairy maidens or 'dakinis' who escort the titular Guru Padmasambhava in his Dharma missions. It is also performed during the funeral procession of senior monks. 5. Guru Mantra - This Mantra is recited by all followers of Mahayana tradition in Ladakh. This text is seen engraved on stones and metals and inscribed in flags and clothes all over this region. It is believed that this Mantra purifies the human beings of their sins. 6. Chod - It is a secret practice that is usually performed in the cemeteries. Chod requires great concentration and high meditative qualities. In this, the performer visualises that his consciousness has separated from his body, and has transformed into a deity. 7. Guhyasamaj Tantra – This chanting includes 'mudras' through which the monks emulate different missions of the Buddha. These chanting rites are performed all over Ladakh in various monasteries and villages. The nomination contains audio-visual documentation of performances conducted in strict adherence to scriptural guidelines, and under the guidance by the chief Lamas in the following monasteries. Thiksay Monastery Spituk Monastery Matho Monastery Hemis Monastery Phyang Monastery

India 2012

National Intangible Cultural Heritage, Republic of Korea People in Bukcheong, Hamgyeongnam-do (in North Korea) engaged in a folk play, wearing lion masks on the night of the full moon of January 15 on the lunar calendar thinking that a lion, a powerful animal, could drive away evil spirits for them. Lion-masked people from neighboring villages gathered together and competed with one another. Since the team from Toseong-ri, Cheonghae-myeon, Bukcheong-gun did better than the others, the play gradually disappeared in the other villages. The mask play had come to secure its rightful place among Koreans since the Three Kingdoms Period. Those from the North continued to play it, mostly in Seoul. The mask play was started with young people carrying torches on the night of January 14 and was continued until the daybreak of the following morning. On January 16, they would pay visits to the houses of well-to-do people as prearranged. Upon entering the property, they would go around the courtyard in a line and start dancing. Then, a lion-masked person would join them. The “lion” would go into the inner room and the kitchen and make a gesture of eating someone alive. Then, the lion would return to the courtyard and engage in a lively dance. The lion would make a big bow to the deities kept in the house as requested by the owner of the house. When the lion would pretend to fall down exhausted, people would call an eminent monk to energize it by reciting a phrase of Buddhist scripture or have an herbal doctor apply acupuncture. Upon regaining strength, the lion would dance again with all the others. Participants included those acting as yangban (noblemen), a freakishly tall person, a humpback, a petty local government official, a dancing boy, a dancing woman, a monk, an herbal doctor, a scholar, etc. The dancing boy, the dancing woman, the monk, the herbal doctor, and the scholar appeared without wearing a mask. The musical instruments used were tungso (six-holed vertical bamboo flute), buk (drum), jing (large gongs), and janggo (hourglass-shaped drum). A mask dance performed in Bukcheong often uses tungso as a main instrument while samhyeon yukgak (three strings and six wind instruments) is used in Gyeonggi-do and kkwaenggwari (small gong) in Gyeongsang-do. The owners of the house would have their children ride on the back of the lion based on the belief that it would make them live longer. Money or grains donated by the houses visited by the troupe were used as scholarship fund for children from needy families and to subsidize expenses for senior citizen associations and cover the expenses for the lion play. Bukcheong Saja Noreum is focused on merrymaking, featuring movements more powerful than other lion dances.

Lồng tồng means going down to the fields, an important agricultural ritual of the Tày people in Nam Mẫu commune, Ba Bể district, Bắc Kạn province, held on January 10th. The place where the Lồng tồng festival is held is a large, flat land in the center of the commune. The organizing committee erected a pillar in the center of the ground and built a stage to serve as an altar. The festival opens with an extremely bustling lion dance performance. In the past, representatives of households came together to carry offering trays to the largest plot in the village's fields. Today, representatives of each commune and town of Ba Bể district will lead the ceremony and put the ceremony on their heads. The ceremony tray includes fruits, candies, incense sticks, wine, sticky rice, and boiled rooster. The offering trays are set up in rows, with Master Mo's tray at the top serving as his offering tray for overseeing the event. Master Mo recites prayers, gives thanks to heaven and earth, prays to the Agriculture God, Phuc Hy God, Mountain God, Water God, and Tutelary God, praying for a new year with everything going as expected, prosperity in life and prosperity, and a bountiful harvest. The girls offered water that had been collected and kept cold in gourd shells. Sprinling water in all four directions, Master Mo lifted his face to the sky and everyone gathered to receive blessings. Following that, Master Mo carried out the shuttlecock throwing ceremony first; this is an exclusive characteristic of the Association. The festival took place very enthusiastically with folk games such as pushing sticks, blind man's bluff; duck neck throw; playing drums blindfolded; hit the spinner; performances and cultural exchanges such as then singing, dan ting, sli singing, lượn singing, bowl dancing, Khèn dancing, flute playing; competitions for sewing shuttlecocks, pounding rice cakes, and presenting feasts; souvenir and local agricultural product stalls; Photo exhibition about the homeland.

Originating from the worship of General Trần Công Bát at Cấm Temple, the Kin Chiêng Boọc Mạy Dancing and Singing Celebrations under Bông Ritual Pole is held annually by the Tai people in Xuan Phuc Commune on the 15th day of the first lunar month to express gratitude to their ancestors, heaven and earth, and gods, and to pray for favorable weather, a prosperous, peaceful, and happy life. The Tai people consider this a cultural and artistic activity of the community, so everyone in the village participates in full force. This ceremony usually lasts from 1 to 3 days and nights, to satisfy the spiritual needs of all classes of people in the village. The Bông Ritual Pole is the centerpiece of the festival, symbolizing the life of the village and nature. The most unique feature of the “Kin Chiêng Boọc Mạy” Festival is the singing and dancing under the Bông Ritual Pole. The Bông Ritual Pole is made of bamboo or bamboo, the Bông Ritual Pole flowers are made from mulberry trees, cassava trees, and tens of platforms with shapes of birds, animals, and production tools. Depending on the generation of the Mo family, the Bông Ritual Pole is made from 3, 5, 7 to 9 or 12 floors. Currently, the Bông Ritual Pole in the "Kin Chiêng Boọc Mạy" Festival in Roọc Răm village, Xuân Phúc commune is allowed to be 9 floors (meaning it has gone through 9 generations of Mo masters), with thousands of gerbera flowers from 30 to 40 petals. Each Bông Ritual Pole is compared by the people to a human destiny, each flower is a crop season. The festival is divided into two parts: The ceremony part is the spiritual rituals - the basic prayers told by the Mo masters about the story of establishing the village, establishing the village, praising ancestors, and those who have contributed. The person who plays the role of "God", plays the role of "Muong Troi" in the "Kin Chiêng Boọc Mạy" Festival - Singing and dancing to celebrate under the Bông Ritual Pole has borrowed the "power" of the god to teach people to do good things, not to do evil, and to love each other. The festival is a system of 26-50 performances performed by Shamans or "Shaman Guests" such as: chopping wood, farming, sword dancing, sweeping the house, people playing the khene... each performance has a god from Muong Troi participating (played by the Shaman). In addition, there is also the playing of traditional musical instruments: Gongs, bamboo flutes, drums, boong bu, khene, flute; along with folk games such as: Hat khap, jumping on bamboo poles, beating mats, tug of war, throwing con... and cultural and culinary exchange. All rituals and performances take place under the Bông Ritual Pole. The Dancing and Singing Celebrations under Bông Ritual Pole has the meaning of community consolidation, and has a high traditional education value in the community. Through this ritual, the entire life of the community is recreated, including production activities, behavioral culture, beliefs... creating a unique and distinctive cultural and artistic form. From the long-standing spiritual and cultural values, the "Kin Chiêng Boọc Mạy" Festival - Singing and dancing to celebrate under the Bông Ritual Pole of Roọc Răm cultural village, Xuan Phuc commune, Nhu Thanh district, Thanh Hoa province was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage in 2017.