When you arrive in Haa, you are greeted by three giant identical hills rising steeply to the west, known as Miri Pun Sum, also styled as Miri Pun Suum or sometimes Me Rig Puen Sum: The Three Brothers Hills or The Three Sisters Hills. Located on the border between Kartshog and Uesu Gewog, one can admire the aligned hills in the middle of Haa Valley. For centuries, the Miri Pun Sum has been worshipped as the abode and embodiment of the Rig-sum Gonpo, Lords of the Three Families: with Jampleyang or Manjushiri on the left; Chenrizig or Avalokiteshvara in the middle; and Chana Dorje Vajrapani on the right. These three deities are considered the most important deities in the Vajrayana Buddhist pantheon, Miri Pun Sum symbolizes and emplaces them in the landscape, so they are worshipped as guardian deities protecting the Haa Valley. Legend has it that people suddenly appeared out of nowhere from Miri Pun Sum, and built the Lhakhang temple of Karpo and Nagpo, which stands in front of the three hills today. It is also believed that this sudden appearance of people from these three hills gave the place its name "Ha". Locals believe that the three hills themselves embody Buddhist powerful beings, and each is associated with a village as well. The people of the Bji and Kartshog Gewog village block are represented by the hill of Chana Dorji, the Vajrapani bodhisattva; they are known to be darker and tougher than their neighbors. While the notoriously meek people of the Uesu gewog are represented by the hill of Chenrizig, the Avaloketeshvara bodhisattva of compassion. Finally, Samar, Gakiling, and Sangbay gewogs are represented by the hill of Jampelyang, Manjushri bodhisattva of wisdom, to reflect their gentle, down-to-earth, and easygoing nature. People also believe that the collective welfare of Haaps depends on the condition of Miri Pun Sum, which is why the Haaps protect the three hills with great reverence. Locals believe that the Miri Pun Sum maintain peace in the valley. It is also believed that these three hills are responsible for rain, harvest, and prosperity of the families. Only when in the presence of these majestic hills can one truly fathom and appreciate this unique, fascinating landscape. Miri Pun Suum is considered a sacred landmark, revered by all Haaps with great respect and devotion. Since time immemorial, Haaps have offered Soel-kha propitiation rituals to Miri Pun Sum. In 2013, under the leadership of the Lhayul-kha people, the Haaps officially erected a Lha-chhim deity shrine in front of Miri Pun Sum to specifically perform Mang-chhoe, a great offering ritual for the welfare of the entire population, or Soel-kha for Miri Pun Sum. This Mang-chhoe is performed annually on the 30th day of the twelfth lunar month. The Lha-chhim is looked after by two administrators whose posts are filled alternately by the residents of Lhayulkha village.

"Udumvara/Udumbara" is a Sanskrit word meaning an auspicious flower of the sky. This type of flower is believed to bloom only once in 3000 years. In the Mahayana Buddhist scriptures (Arts, 2011), it is said that "Udumbara is the product of unwholesome and supernatural phenomena; it is a heavenly flower and does not exist in the mundane world." According to the Monlam dictionary, "In Tibetan, it is called Phag-chog or Tsher-zag. There is also a plant called Dud-jom-shing, which bears a flower that is unique and is called Udumvara because of its rarity in the world. Udumvara exists only when there is a living Buddha in the world. It has attractive colors and a sweet aroma that can spread over a large area. The plant is known for treating eye diseases, phytic abnormalities and is also known for other medicinal properties. Whether the flower is a specimen of its kind or an unknown plant, I have heard a few times that this plant grows in the Yangthang Goenpa area. There are various online sources or books written about the properties of Udumvara, one of the authors has the following to say about Udumvara; "Udumbara flowers are tiny white tulip-shaped flowers that grow on a white thread-like stem. The flowers have no leaves or roots and grow on anything" (Haddock, 2018). On the other hand, the udumvara growing in front of Yangthang Goenpa is different from the one in the online sources or images available online. The Udumvara seen at Yangthang Goenpa has a green color and my interviewees said that until today, no one is able to identify the species of this plant. Perhaps the plant was named by Drubthop itself because it is a very rare species of its kind. It was in 2015 when the plant bloomed in June just before His Majesty's visit to Yangthang Goenpa. Everyone was amazed when the five petals of this plant opened. According to Lopen Tshering Wangchuk, who has been in charge of the Goenpa for four years, he did not observe the plant's blooming. However, he believes that the plant blooms once a year, on the 15th day of the 4th month in the Bhutanese calendar. So far, propagation of the plant has been unsuccessful. Currently, the plant is well protected and surrounded by a tall structure to prevent visitors from stealing or touching it. He has heard from previous caretakers that the flower resembles a peony. The literature states that peony consists of 33 species, including annuals and perennials, all native to Central and East Asia, including eastern Tibet. The first indication is that Udumvara came to Yangthang Goenpa via Tibet. The Yangthang Zabdon Chholing Goenpa or Lhakhang is located at an altitude of 2920 meters above sea level and was founded by Lam Thinley Gyatsho, a follower of Lama Drakpa Gyatsho's disciple Lam Choeying Gyatsho, in the 17th century5. The Yangthang Goenpa has important cultural and religious significance not only for the Yangthang community, but for all Haaps in general. The Goenpa was rebuilt in 2012 under His Majesty's command after being damaged by an earthquake in 2011. All sacred artifacts are restored inside the Goenpa. The Goenpa consists of a two-story building; the top floor houses the Choe-long Trul-sum Lhakhang and the Lami Lhakhang, and the first floor is dedicated to the Chenrezig Lhakhang6. The inauguration of the Goenpa was performed by His Majesty and Gyaltsuen, led by His Eminence Dorji Lopon Kinley (also known as Sonam Jamtsho) from Zhung Dratshang. During this time, hundreds of people gathered and presented various cultural programs. His Majesty offered prayers for the safety and happiness of the country and its people. According to local oral sources, around the 15th century, a Tibetan saint named Drupthob Dondup was on a pilgrimage and took the seed of the plant Udumvara during his lifelong pilgrimage. According to an oral account, "he promised to sow the seed wherever he finished his journey. However, it was believed that he ended his lifelong pilgrimage at Yangthang Goenpa. He sowed the seed of Udumvara in front of the Lhakhang and also left behind a Tashigomang; (auspicious multiple doors). The Tashigomang is shown or displayed to the public only during a specific event. Such significance of the Goenpa attracts not only the locals but also visitors from other Dzongkhags. When tourists visit the Goenpa, they primarily ask about the Udumvara plant. On important occasions and events, many people come to receive offerings and blessings.

Nub Tshona-patra literally means "The Great Lake in the West" and is beautifully situated between the ancient trade route of Haa and Tibet. From some sources, "Nub" may also be known as Nob, which means Norbu (precious treasures). Nub Tshona-patra is considered one of the most sacred and revered lakes in Bhutan. It is believed that the lake is so large that two types of vegetation grow on the lake. On the Tsho-gu (head of the lake) grow plants commonly known as Chukar meto (Rheum nobile), which grow only in mountainous regions such as Jomolhari, while on the Tsho-ju (tail of the lake) grow Dungshing plants (Abies densa), which grow in low regions such as the Haa Valley. Nub Tshona-patra is one of the holiest lakes in Bhutan and can be hiked from Haa on many different routes. The most common routes are from Kipri in Uesu gewog, from Karjena in Kartsho gewog via Changzur Nyela to Drakna Trashiding-kha Gonpa and also from Tokey in Bji gewog. Nub Tshona-patra can also be reached through Jula Pass, Talila Pass, from Miri Pun Suum and from Norbugang in Samar gewog. The river that flows through Dozam at the foot of Chana Dorje (Vajrapani bodhisattava) hill is fed by Lake Tshonapatra. This river feeds the Haa fishery at the foot of Chana Dorji hill. This river flows through Nakha Tashigang and Shubji in the Sangbay Gewog and joins the Amochu further downstream. The river from Baytsho also flows along this river. The sanctity of the lake brings about the fact that Terton (treasure revealer) Sherab Mebar (1267-1297?) came to Bhutan from Kham in Tibet in the 13th century at the age of thirteen, settled in Paro Pangbisa and established the Pangpa Ugyen Guru Temple as his seat. Even today, this two-story temple is considered very sacred. According to oral traditions, he was destined to recover treasures from a lake in western Bhutan. He was also destined to visit Bumthang and the Jawar Tsedrag Goenpa (temple). To find the treasures, Terton Sherab Mebar traveled to Haa. After finding the lake (now Nub Tshona-patra), he unveiled many treasures including gold, religious artifacts and religious instruments such as dung (trumpet), Nga (drum), Nge-tok (drumstick) and a pair of Rol-mo (cymbals), among others. Terton was prophesied to visit Nub Tshona-patra seven times. When Terton came across a huge lump of gold in Nub Tshona-patra, it turned into a giant frog as big as a hill and swallowed (and held) all the water of the lake in its mouth. He asked a carpenter to carve the gold nugget into a pillar to be used in Paro Dzong. The carpenter was instructed to take the splinters and fragments of the pillar as payment for his work. However, the carpenter tried to shear off too much of the column in order to receive his wages. The Terton feared that the column would be too short, and when he tried to talk to them about shearing too much out of concern, a drop of water fell out of his nose and spilled into the lake, drowning them all along with the gold. Some locals believe that those who cut off the gold pillar were his one hundred and five monk disciples from the village of Pangbisa, while others say that his team consisted of thirty-two strong men who were farmers and carpenters. The angry deity of the lake Tshodag/Tshomen (mermaid) sensed this and began to pursue the Terton. While he was running for his life, religious instruments such as cymbal, trumpet, drum, drumstick and a sickle fell from him, and lakes sprouted in the place where the treasures fell. Locals know these lakes as Drum Lake (Nga-tsho), Drum Lake (Dungtsho, in Jarey), Drumstick Lake (Ngetok-tsho), Cymbal Lake (Roel-tsho, in Rigona), and Sickle Lake (Zoutsho), which are now found in the Haa Shongana region (also known as Shokuna), including Nub Tshona-patra in Tshona Diga. Ngatsho and Ngetok tsho are located close to each other at Tsoo. Yak herders spend their summers in Tsoo. Locals believe that the Terton also spent time meditating (thukdam/tsham) in Yatokha, the area behind the hills of Ngatsho and Ngetok tsho, to see clear visions and find hidden treasures. Some sources say that the Terton also dropped other treasures such as religious artifacts and religious instruments made of gold, turquoise, silver, shells and a vase during his escape, which led to the formation of Ser-tsho, Yu-tsho, Ngyul-tsho, Dungkar-tsho and Bumpa-tsho (in Jarey Damshog). The terton Sherab Mebar turned into a bird and the angry deity into a falcon. When they reached Tergola (which means "gateway to hidden treasures," as it was believed that many treasures were hidden behind this mountain pass), the deity of the mountain (Tsan) negotiated peace between the Terton and the angry deity of the lake. Some consider this Tsan or Drak-tsen to be Ap Chungdu. Some sources also indicate that the negotiation actually took place in Lab-dza of Tshellu-tsho. It was agreed that both Terton and the deity would not enter their respective territories. Terton and the descendants of his followers would never set foot in Haa Shongana. Similarly, the lake deity agreed not to cross Tergola. Thus, all connections between the people of Haa Shongana and Paro Pangbisa were severed, even though these two places are considered to be close to each other. Even today, when the descendants of the Terton people in Pangbisa cross the Tergola Pass, it rains even when the weather is fine, and people die when they enter the Haa Shongana region. Animals also die when they cross the border, or if animals are traded between these two places, they do not survive. However, some of the locals believe that this border does not apply to livestock. To resolve the conflict between the two, the mountain deity erected five Do-tshams (boundary stones) between Gangche-la and Zou-tsho (Sickle Lake) to mark the border. It is believed that the boundary was initially marked with dried yak and sheep dung, which later turned into stones. The cairns are still preserved today. The Do-tshams are located in Ramzur, under the Uesu gewog. The stone mounds look as if they would collapse at any time. But if you actually touch them, it is not easy to dismantle them or break them into the ground. People say that stones and pebbles can be added to the piled up structures, but they should not be removed or disintegrated. When the Terton died, he left the only Rol-mo treasure (basin) and a Phurpai ku (three-sided ritual dagger statue) in the Pangpa Ugyen Guru Temple. The Phurpa ku can be seen in this temple to this day as one of the Nangten (sacred religious objects). It is said that after the death of Terton, his Kudung (sacred body) was taken from Pangbisa to Rinpung Dzong (fortress). However, the people of Pangbisa wanted to reclaim the Kudung, and when they tried to steal the Kudung through the U-tse (central tower) of Rinpung Dzong, the "head" detached from the Kudung, and the headless Kudung was left in Rinpung Dzong, which later burned in a fire tragedy. Today, the skull of Terton is revered as one of the most important sacred relics of the Pangpa Ugyen Guru Temple. In lieu of formal punishment, the people of Pangbisa had to cede the only treasure, the Rolmo, to the Rinpung Dzong. This cymbal can be visited today as one of the most important sacred relics of the Rinpung Dzong. The cymbal is shown to the public once a year, on the first day of Paro Tsechu, to give blessings, and it is also used to determine the timing of the mask dancers during Tsechu. The other cymbal that belongs to this treasure was newly made; therefore, this pair of cymbals sounds slightly different from the other normal pairs of cymbals. Some believe that the Nub Tshona-patra was originally located in the village of Sangbay Ama in the Sangbay gewog before it was settled in its present location. People say that a mermaid carried the lake in a dung-chung (slender container made of bamboo used to store salt) and planned to move the lake to another location because the lake's location was either dirty or it was time to move away from Sangbay Ama. On the way to the present location of the lake, the mermaid stopped for a night at a Norgi-jangsa (settlement of cattle herders). It is believed that the mermaid gave cattle to the Nublang cattle as a reward for the kindness shown to her by this local herdsman. Today, this particular breed of Tha-nor (low altitude cattle) exists only in the Sangbay gewog of Haa. Before the lake was built on the present site, the place was a Bjobi-lakha (nomadic settlement). The mermaid asked the shepherds to move their camp so that the lake could settle there. The mermaid found that even the next morning the shepherds had not moved away. So, the mermaid emptied the Dung-chung that contained the lake's water, drowning all the shepherds along with their camps. It is believed that some lucky people on a clear day can see the entire Nogi-jangsa, including dogs, yaks and people. Legend has it that once a woman from Tshaphel village was washing clothes on the lakeshore and polluted the lake. Nothing happened to her for five years. But in the sixth year, the lake "consumed" and she drowned along with her livestock and camp. To this day it is believed that at Nya-chhu, the source of Haa fishing, people come across pieces of clothing or Bjob's hat. It is believed that it is a bad sign to find such items. Locals also believe that whenever the waters of Lake Nyaku-na appear in Tshaphel, people either die or mysteriously disappear. It is believed that Dungkar Aekhil (a shell with a right head) appears to those who have good luck when visiting the lake. Lam Duetsi from Dumchog village in Uesu is said to have seen this shell while visiting the lake. Local people believe that a hundred cattle once drowned in the lake because the water of the lake appeared so calm that the cattle mistook the water of the lake for the ground. Later, about nine tethers that were used to tie the cattle were found at the water source that feeds the fishery in Haa.

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

Gagaku is one of the Japanese performing arts, which are expressed by playing musical instruments, with long, slow songs and dance-like movements, and performed at ceremonies or banquets at the Imperial Palace or in a theatre, such as the National Theatre in Tokyo. Gagaku consists of (i) Kuniburi no Utamai, (ii) the Japanized dance and music which had been derived from the Continent, and (iii) Utamono. The substances or repertoires have been created in the history and culture of Japan and become distinctive. Kuniburi no Utamai had been formed up around the tenth century with original Japanese songs and dances long before foreign music and instruments were brought into Japan in the fifth century. While the dance and music that came via the continent use only musical instruments, Kuniburi no Utamai is mainly composed of songs and played just partly with a Japanese harp and Kagura flute. The choreography of Kuniburi no Utamai is simple but noble and grave. The Japanized dance and music which had been derived from the Continent consist of an instrumental tune, kangen, which developed from such Asian music and dances that reached Japan via ancient China and the Korean peninsula during the four hundred years from the fifth century through the ninth century, and was shaped by the history and culture of Japan, and (b) bugaku, the ceremonial dance to this tune. The Japanization is the process as follows: (i) the configuration of performance consisting of those derived from China, Central Asia, and India and those from the Korean peninsula: (ii) the selection of foreign music instruments and the formation of the smaller chamber music ensembles. Those used here are wind instruments (Sho, Hichiriki and Fue), strings (Biwa and So), percussion instruments, and others. Utamono is the vocal music that was newly formed around the tenth century in Japan under the influence of music from abroad. Some of its lyrics are Japanese folk songs and some are ancient Chinese poems. As briefly explained above, the history of Gagaku stretches over more than a millennium. Gagaku-ryo, i.e. the department of Gagaku, was set up as a national institution by the enactment of the year 701. The Imperial Court aimed at establishing a centralized State under the rule of written laws and regulations, known as Ritsu-Ryo Kokka. Historians think that Gagaku was incorporated into the national system as an essential part of official ceremonies. In 752, for example, these performing arts were performed at the ceremony to bring the soul into Great Buddha statue in the temple of Todai-ji, which has been a UNESCO World Heritage Site since 1998. In the tenth century the performing arts from the Asian continent were sophisticated and Japanized while new Utamono and new repertoires of Bugaku were composed under the influence of performing arts from abroad; the form of today’s Gagaku was being established. Moreover, the style of acting and the performance space were also being set. The individual members who compose the Music Department of the Imperial Household Agency in charge of the transmission of Gagaku are mainly descendants of specific families who occupied such posts as a family profession. Although the tradition of Gagaku faced difficulties several times because of the decline of the Imperial Court and the aristocracy, who were patrons of Gagaku, and because of political turbulence and conflicts, certain families in Kyoto, Osaka, and Nara have kept the tradition, and do not let it cease. In the latter half of the 18th century, the Musical Department of the Imperial Household Agency was established, incorporating musicians from several localities, and this was the predecessor of the Musical Department of the Imperial Household Agency. As explained above, the Department members recognize Gagaku as part of their precious cultural heritage transmitted from their ancestors. As Gagaku has been designated as an Important Intangible Cultural Property of Japan since 1955, it is recognized as an item of important cultural heritage which has high historical and artistic value for the Japanese people. Gagaku is the oldest tradition among the Japanese traditional performing arts. The Music Department of the Imperial Household Agency is widely recognized as the authentic transmitter of the tradition. The transmitters recognize Gagaku as their own unique culture of which they can be proud before their contemporaries in Japan and throughout the world. The transmission and performance of Gagaku contribute greatly to raising the holding community’s sense of identity and continuity. Thus, Gagaku has been transmitted from generation to generation for a long time, developed corresponding to the politics and the surroundings of each time, and constantly recreated. The history of Gagaku illustrates very well how Japan has transformed culture from abroad and sophisticated them as part of our own culture. The performing arts transmitted to-day varies from those originating in ancient Japan to Japanized, sophisticated and developed ones derived from abroad. In this sense, Gagaku is the crystallization of the culture created by the society and history of Japan. In 1955 Gagaku was recognized as a part of cultural heritage, and designated as an Important Intangible Cultural Property. Therefore, Gagaku functions as one cultural tool to reconfirm the Japanese identity.

Japan 2009

Truong Ba Temple is located on a fairly flat piece of land in Tra Xuan town, about 1km from the center of Tra Bong district. Truong Ba Temple is a religious and spiritual establishment established by the Vietnamese and Chinese, becoming a pilgrimage site for the Cham, Kinh, Hoa, Cor and other ethnic groups. In addition to worshiping the Holy Mother Thien Y A Na, Truong Ba Temple also worships two human gods, Bùi Tá Hán và Mai Đình Dõng, two human gods who have contributed to the development, stability and pacification of the mountainous region in the West of Quang Ngai. In 2014, Truong Ba Temple was recognized as a National Historical Relic by the Ministry of Culture, Sports and Tourism. The lopsided banyan tree in front of the temple is recognized as a heritage tree. Truong Ba Temple Festival is an annual festival held at Truong Ba Temple in Tra Xuan town - Tra Bong Quang Ngai to pay tribute to the Holy Mother Thien Y A Na and other gods who have contributed to the development and protection of this land. The festival is held from April 15 to 16 of the lunar calendar. The ceremonial committee of about 17 to 21 people is carefully selected to perform many rituals: the procession of the royal decree, the bathing ceremony, the offering ceremony at the outer altar, the main hall ceremony, the flower lantern ceremony, the buffalo eating ceremony of the Co people, the incense offering ceremony... The festival features unique folk cultural activities such as: singing, lion and dragon dance, singing Ba Trao, Bai Choi, Cà Đáo dance, gong performance of the Co people... The festival demonstrates solidarity and the strong cultural exchange between the ethnic groups living in the area: Cham, Hoa, Cor, Kinh. Through the festival, local people and tourists will have a deeper understanding of the meaning of Dien Truong Ba as well as the cultural characteristics, people, and land here. In 2017, Dien Truong Ba Festival was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage. Dien Truong Ba Festival is a unique cultural highlight of Tra Bong highland district, which has been opening up a direction for tourism and service development in the locality.

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.

The Minh thệ Oath-taking Festival (also known as the Minh Thề Festival) in Hoa Lieu village has existed for more than 500 years, and is an opportunity for people to commemorate the merits of the Empress Dowager Vũ Ngọc Toàn, who founded Lan Hiểu hamlet (today's Hoa Lieu hamlet) and review the content of the "Hịch Văn Hội Minh Thề" (oath). The festival takes place at the Hoa Lieu Temple - Pagoda Historical and Cultural Relic Site (Hoa Lieu hamlet, Thuan Thien commune, Kien Thuy district), Hai Phong city on January 14-16 every year. According to history, this ritual dates back to the Mac Dynasty, in 1561, Empress Dowager Vu Thi Ngoc Toan (wife of the Supreme Emperor Mac Dang Dung) founded Lan Nieu hamlet (now Hoa Lieu village, Thuan Thien commune). She donated to renovate the ancient Thien Phuc Tu pagoda (now Hoa Lieu pagoda). After the renovation, with the remaining donated funds, she bought more than 47 hectares of rice fields to divide among the farmers and make public land. The village called this field “Holy Field”. To prevent selfish interests, the Queen Mother and the villagers established the Proclamation of the Minh The Oath with an oath to take public property as the most important and not to encroach on public property. The Minh The Oath Festival was born from that time and has been passed down to this day. In the 19th century, the Nguyen Dynasty decreed the four golden words “My tuc kha phong” for the Minh The Oath Festival. In 1993, the Hoa Lieu temple complex was recognized as a national historical site, and the Minh The Oath Festival was restored. On the main day of the festival, the villagers set up an oath platform in front of the Hoa Lieu pagoda. The altar was solemnly arranged, with the highlight being the mandarin’s hat placed solemnly on the front of the altar. During the ceremony, the celebrant used a knife to perform the gesture of “pointing to the sky and drawing the ground” (“thiết linh trích địa”) in a large circle with a diameter of about 2 mét in the middle of the temple yard, called the The Oath Platform. The celebrant sticks a knife in the middle of the circle to show his determination to fulfill the oath. After that, the village officials and elders perform the incense offering ceremony to pray to heaven, earth, and the gods. After the rituals: offering incense, flowers, wine, and water to the gods, the celebrant stands in front of the oath platform and reads the Proclamation of the Oath. The content of the oath is that people must be upright, use public property for public purposes, and if they are greedy for private purposes, they will be punished. After the reading and oath-taking part, the ritual of cutting the chicken's throat and drinking "Kim Ke Huyet Tuu" takes place according to tradition. Everyone in the village drinks the oath wine (rooster's blood mixed with white wine) to wish for good luck and a clear conscience and participates in activities: tug of war, chess, rowing, cockfighting, etc. The Minh The Festival not only has historical and cultural value, but also contributes to educating the tradition of patriotism, ethics, lifestyle, village love, and neighborliness for generations of local people. In 2017, the Ministry of Culture, Sports and Tourism recognized the Minh thệ Oath-taking Festival as a National Intangible Cultural Heritage.