In the KadazanDusun language Migogo means "to hug someone’s or an opponent’s body and drop him with the hands". This traditional game is an activity of the KadazanDusun ethnic that is usually played on the paddy fields after the planting or harvesting seasons. The male players compete with their strengths and skills to attract the attention of village girls to be made as wives. Popular in the 1930s and 1940s, presently since the 1950s this game is made as one of the activities in the Kaamatan Festival celebration that is the festival after paddy harvesting.

There is a view that Viên Khê Five Perfomances originated from the period of Northern domination (the Tùy Dynasty) associated with the name of Cả Lãng Đại Vương - the son of the leader Le Ngoc. Legend has it that he often went to the villages to join in the fun with the people, thereby teaching and popularizing to the community the songs, chants, and dances he created. Another opinion is that the heritage originated from the Later Le Dynasty, taught to the people by the Ministry of Rites official Nguyen Mong Tuan (originally from Vien Khe). Viên Khê Five Perfomances (Đông Anh Folk Songs) is a system of performances held during festivals in Vien Khe village, Dong Anh commune (Dong Son district - Thanh Hoa province) reflecting the daily life and feelings of farmers, with the wish to pray for rain, pray for sunshine, fight against natural disasters, epidemics, wild animals, and natural forces to protect agricultural production and maintain the growth and prosperity of humans and animals. Over hundreds of years of cultural exchange and acculturation, the system of performances has been enriched, so that today's Viên Khê Five Perfomances has been restored with 12 plays: the Lamp Dance, the Drum and Gong Play, the Ngo Quoc Play (belonging to the Ngu Tro Rủn Dong Khe), the Xiêm Thành Play (Champa), the Tiger Catching Play (Vằn Vương), the Tien Cuoi Play, the Ha Lan Play, the Thủy Play, the Nu Quan Play, the Tú Huần Play (Dong Anh), the Thiếp Play, the Ai Lao Play accompanied by folk songs, creating a unique cultural feature of the Dong Son countryside in general and Dong Khe in particular. The system of performances of Viên Khê Five Perfomances is extremely unique, the most popular is the Lamp Dance: a comprehensive performance with many layers of ancient culture, related to the calendar of wet rice agricultural production. The lantern dance is a dance with lyrics performed by 12 girls in white pants, red shirts, green belts, red scarves, and a lighted lamp on their heads, singing and dancing with graceful movements. The lantern dance refers to the production work of farmers during the year: lighting lamps, planting cotton and bean beds, sowing seedlings, splitting bamboo strips, weaving bamboo, pulling seedlings, transplanting, spinning, weaving, sewing, and harvesting. The performance ends with three dances of “fighting boiled chicken, offering new rice, and offering cakes” to express the gratitude of the people to the gods for a year of bountiful and abundant crops. The performances depict a panoramic picture of the material and spiritual life and aspirations for a better future of the people, imbued with profound humanistic values. The songs and dances in the Viên Khê Five Perfomances system still exist in the people's consciousness, expressing feelings and aspirations for life and indirectly condemning bad habits that existed in the old feudal society. Up to now, Viên Khê Five Perfomances has been restored relatively intact. In 2017, Viên Khê Five Perfomances (Đông Anh Folk Songs) was officially included in the list of national intangible cultural heritage by the Ministry of Culture, Sports and Tourism with a system of 12 performances (dance and singing).

From the folk dance art of the Tày people, in order to serve the entertainment demands of the upper classes in society, the Tày tribes have established The (Xòe dance) teams, consisting of beautiful, charming women with good figures and talent in dancing and singing. Then, during the process of interacting with French mandarins and intellectuals, the Xòe dance art of the Tay people in Tả Chải added elements of French aristocratic dance art - waltzes, at the end of the 19th century, early 20th century. This has become a unique feature, bringing its own breath of Xòe dance of theTày people here. Xòe Dance Art is performed at festivals such as going to the fields, worshiping the forest, new rice, Lunar New Year, Lantern Festival, etc. The places where Xòe dancing is performed are large, flat yards or beaches. Currently, Xòe dancing of the Tày in Tả Chải has 12 melodies, including 6 Xòe melodies accompanied by drums and gongs and 6 Xòe melodies accompanied by trumpets and drums. Xòe dances accompanied by drums and gongs are a combination of stepping, shoulder tilting, back-slapping, stepping, floor stomping, and rice threshing. Xòe dances with musical accompaniment of trumpets and drums are a combination of two-person dance, four-person dance, fish-finding dance, scarf dance, hat dance, and flag dance. Xòe Then is a unique creation when you sing Then with the Tính instrument. On the full moon day of February, this ceremony is held. Lady Then sat in the front to sing, while the troupe danced in the back. Rhythms such as greeting guests, spreading towels (the scarf), spreading fish (pi à), spreading flags (the cờ), spreading gongs (pa nhăm pa), spreading doubles, spreading fours, dancing around, spreading threshing rice (Phặt khẩu), etc. On the basis of traditional Xòe dancing, nowadays, artisans have created new Xòe dances such as Xòe planting beans, Xòe knitting stars, Xòe picking tea, Xoe serving wine, etc. The birth of new Xòe dances makes the Xòe treasure of art is becoming increasingly richer.

The Long Tong Festival (Going to the Fields Festival) of the Tay people in Dinh Hoa district, Thai Nguyen province is held in the early days of spring to pray for favorable weather, good crops, bountiful harvests, and a prosperous life. The festival is held in the largest and most beautiful fields. The Long Tong Festival includes a ceremony and a festival. The festival will feature many traditional rituals that have existed for a long time, such as: the Tay people's harvest praying ceremony, San Chay, Tich Dien ceremony; the Dao people's blessing praying ceremony, with traditional rituals imbued with the beliefs of the ethnic groups in Dinh Hoa district. During the ceremony, each family prepares a tray of offerings including chicken, pork, boiled eggs, Chung cake, sticky rice, various types of sticky rice cakes, Khao cakes, Lam tea... to offer to the gods. On each tray of offerings, there is a colorful flower-shaped cake and two pairs of cones made of fabric with many colorful tassels and seeds of all kinds. The offering trays of the village are carefully selected, must be larger, more numerous, more beautifully decorated than the offering trays of the families and must include a pig's head. The offering trays are arranged in a straight line, the master of ceremonies (usually a Taoist or Mo master), is called "Pú mo". "Pú mo" stands in front of the offering trays of the village to thank heaven and earth, the gods for blessing the villagers, at the same time the villagers light incense, pour wine. After the prayer of thanks, "Pú mo" continues to pray for rain, an assistant carries a basin of water standing next to it, many others hold palm leaves walking from the worship place to the end of the field. After praying, "Pú mo" sprinkles water around, implying that heaven is sending rain, the villagers gather around, everyone wants to catch those drops of water symbolizing luck. After sprinkling water, "Pú mo" takes seeds from the offering trays and sprinkles them around, the villagers mix those seeds with the seeds they choose to plant. Next, the men will plow the first furrows, while the women will show off their planting skills. After the ceremonies, the villagers will celebrate together, wishing each other good health, good luck, full barns of rice, full yards of pigs and chickens, etc. During the festival, there will be a Tich Dien ceremony, a planting competition, dry puppetry, folk games: throwing cones, lion dances, martial arts, tug of war, stilt walking, tug of war, stick pushing, singing and responding between men and women, etc. The Long Tong Festival (going to the fields) is one of the festivals held annually by the Tay ethnic group in Thai Nguyen, associated with agricultural beliefs, to express respect and gratitude to the gods of the forest, the gods of the mountains, the gods of the sky and the gods of the earth, and the wishes for a prosperous life imbued with the identity of the indigenous Tay people. Through this, the festival activities also contribute to promoting valuable landscapes and historical relics to boost local tourism development. This is a long-standing traditional festival of the Tay people in the Viet Bac region, recognized as a National Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism in 2017.

Hét khoăn means a soul-worshiping ceremony, held to celebrate the birthdays of people 50 years of age or older, who have finished getting married, have children, and have grandchildren. Thereby, celebrating longevity and giving strength to grandparents, parents, and elders in the family. After asking the fortune teller to choose a good day, the homeowner prepares offerings, invites the shaman to perform the ceremony, informs the children and grandchildren, and invites friends to attend the Hét khoăn ceremony. The ceremony took place over two days. The homeowner invites the shaman to pray for peace, fortune, and health for the person celebrating his birthday, and then for the whole family. The Shouting ceremony is held in front of the ancestral altar of the person whose birthday is being worshiped and usually lasts from the previous afternoon, overnight and until the next day. Offerings used in the Hét khoăn ritual include round sticky rice cake, whole boiled chicken, roasted pig (ancestor offering tray, birthday offering tray, harvest offering tray), and rice, gold coins (offering tray for the deceased).. The Hét khoăn ritual includes rituals such as worshiping and asking permission from ancestors; Pray for health, praying for peace; adding more water of life; planting destiny tree; Add food to the bag of destiny rice to extending the relationship with Nam Tào, prolonging the life of the birthday person; praying for health and peace for the homeowner; Provide money and rice to heavenly soldiers, heavenly generals and make offerings to the birthday person. Some items such as rice baskets, bamboo branches, bridges (cloth strips), and lamps are brought by the shaman to the homeowner's ancestral altar. After the worshiping ceremony, brothers and friends come to have a festive meal and congratulate the birthday person. After 7 days (men) or 9 days (women), descendants take rice and eggs to cook porridge for the birthday person to eat to increase strength and longevity.

‘Mibu no Hana Taue’ is an agricultural ritual in which people worship the deity of rice fields, and pray for a good growth and abundant harvest of the rice crops for the year through ploughing fields, and transplanting rice seedlings. The Mibu community, located in a mountainous area of Western Japan, has developed and transmitted “Mibu no Hana Taue.” Both the Mibu and neighbouring Kawahigashi communities have been areas of rice cropping for a long time ‘Mibu no Hana Taue’ is carried out on the first Sunday of June every year after actual transplantations in the community are completed. Villagers gather at a large rice field, specially kept in reserve for the ritual. The deity of rice fields is welcomed, and a series of agricultural works such as ploughing, preparation for the transplantation and the actual transplantation are demonstrated in the presence of the deity. On the day of the ritual, villagers bring more than a dozen cattle to Mibu Shrine to be dressed with elaborately decorated saddles called Hanagura and a colourful necklace. The cattle are then equipped with agricultural implements called Manga, and pulled into the rice field, following a man with a sacred stick in his hand. The man who manages the first cattle in line is called Omouji or Omouji-zukai. He skilfully controls the cattle to plough the rice field. This is an honourable role in ‘Mibu no Hana Taue.’ When most of the ploughing is completed, girls called Saotome begin to prepare for the transplantation. They wear colourful dresses, and hats called Suge-gasa. They take the seedlings that grow at the edge of the rice field and put them into a case called Naebune while singing a song under the conduct of an elder man, called Sambai. After the ploughing and preparation for the transplantation are completed, a man called Eburitsuki begins to level the rice field with an implement, called Eburi. It is said that the deity of rice fields rests on Eburi. Transplantation begins in the presence of the deity. Saotome aligned with Sambai transplant the seedlings one by one, walking backwards. While the Sambai sings a leading song, locally considered as a parent song, with lengthwise-cut bamboo called Sasara in his hands, Saotome sing another song, locally considered as a child song. Eburitsuki and the person who carries the seedlings in Naebune follow Saotome, and level the rice field as the seedlings are planted. A musical band follows them, and plays the drums, flutes, and small gongs accompanying the songs of Sambai and Saotome. Once the transplantation is completed, Eburi is placed upside down in some water, and three bunches of rice seedlings are put on it. Some say that the deity of rice fields resides in this Eburi, while others say that the deity launches from it and goes back to the heavens. In this way, an abundant harvest of rice can be expected. ‘Mibu no Hana Taue’ has been transmitted as an agricultural ritual indispensable to the Mibu and Kawahigashi communities. The people in both communities gather for this ritual to transplant the rice seedlings in the presence of the deity of rice fields, and pray for an abundant harvest. The ritual features the fundamentals of the Japanese lifestyle and culture that make the ritual’s social functions and meanings important. The farmers and local people of the Mibu and Kawahigashi communities have preserved and transmitted ‘Mibu no Hana Taue’ as an agricultural ritual. The elderly called Sambai are in charge of a smooth execution of the entire ritual. They are familiar with the songs and music for rice planting, and belong to the Association for the Preservation of Mibu no Hana Taue. Some even say that the deity of rice fields rests upon them. ‘Mibu no Hana Taue’ is an agricultural ritual carried out on a specially reserved rice field by habitants of the Mibu and Kawahigashi communities together in a vibrant way every year. It is said to have declined during the Meiji period. Later, however, people became eager to pass it on the future generation as a valuable element of cultural heritage, and the ritual has become quite active up to today. Therefore, the people in both communities consider the ritual as part of their own cultural heritage. ‘Mibu no Hana Taue’ dates back to before the Edo period, and has been transmitted from generation to generation. The people in the Mibu and Kawahigashi communities have gathered every year to transplant rice seedlings at the season of rice transplantation when rice cropping enters its crucial stage. It inevitably gives them a sense of identity. The ritual assures an abundant harvest in these communities. As a result, it gives them a strong sense of continuity. In order to pass down the knowledge and skills concerning ‘Mibu no Hana Taue’, practice sessions of the ritual’s songs and music are held regularly for the pupils at Mibu Elementary School. Many of the current Saotome and music players also come from these practice sessions.

Japan 2011

Hò khoan Singing of Lệ Thủy is a form of folk performance, taking place in spring and autumn, festivals, or to find friends of people in Le Thuy district, Quang Binh province. Hò khoan Singing of Lệ Thủy originated from production labor, when people needed to cooperate with each other to create strength to fight against harsh nature. Previously, Hò khoan Singing was performed in the "wood splitting" environment of lacquer workers, boatmen, transplanters, rice pounders, lime makers, earth pounders, house builders, singing to send off the deceased... and "hò khơi", "hò nậu xăm" of coastal residents. During the resistance years, Hò khoan Singing became revolutionary Ho. Today, the performance environment of Hò khoan Singing of Lệ Thủy is staged to effectively serve all socio-economic fields, criticize bad habits and is taught in schools. Hò khoan Singing of Lệ Thủy flexibly transforms in all environments but still retains the original melodies. Hò khoan Singing of Lệ Thủy is a type of composition, both performing and composing to fit the rhythmic time. Hò khoan Singing includes 9 melodies (9 melodies), including: mái chè, mái nện, lỉa trâu, mái ruỗi, mái nhài, mái ba, mái hò khơi, mái xắp và mái hò nậu xăm. The lyrics are poems, folk songs that are available, rustic, close to daily life. The main musical instruments are the Erhu and Mỏ, in addition, there can be rice pounding pestle, bamboo beak, sanh, stick, bronze tray, tea cup... used in singing sessions that are not competitions. Hò khoan Singing includes storytelling, narrative singing, cultural activities, call-and-response singing... people sing improvisation on the spot, with performers and accompanists, it is an indispensable form of community cultural activity with theatricality for Le Thuy people. The form of Hò khoan Singing of Lệ Thủy is mainly expressed by collective performance including two types: individual singing (hò) and collective singing (xô). The unique feature of Hò khoan Singing of Lệ Thủy is that when performing alone, they sing both the main and the con. With two or more people, one person sings the main song, many people sing the con songs, expressing all kinds of topics such as: singing to compete, singing to tease, and singing to guess. If the main song has a problem, the con song can immediately take over for the main song. Hò connects breath, strength, and intelligence flexibly and flexibly. Hò is used right during work: planting, plowing, pounding rice, building houses, etc. to encourage the working spirit of the people. In addition, Hò is also used to confide, respond or exchange love during traditional festivals. In 2017, the Ministry of Culture, Sports and Tourism issued a decision to recognize Hò khoan Singing of Lệ Thủy as a National Intangible Cultural Heritage.

National Intangible Cultural Heritage, Republic of Korea These songs are divided into those sung by people working in wet rice paddies and by people working in dry fields. The songs sung by people working in wet rice paddies are subdivided into a song for taking care of rice seedlings, one for planting the seedlings, one for weeding, and one for returning home after the weeding. They sometimes sing Jindo Arirang. The scene of farmers singing while working is a common one across the country, but the songs sung by farmers in the southwest areas of Jeolla-do exhibit diversity and excellent musicality. The song for weeding in wet rice paddies of Jindo-gun is simpler than the songs sung in the other areas of Jeollanam-do, supposedly thanks to the fertile soil, which makes the weeding work easier. The songs for working in dry fields are divided into those sung while working in bean fields and while working in cotton fields. Namdo Deullorae is deeply imbued with color and has a joyous melody.

“Oku-noto no Aenokoto” is an agricultural ritual transmitted from generation to generation in Suzu and Wajima Cities, and Noto and Anamizu Towns of Housu County, all of which are located on the Noto Peninsula on the Sea of Japan, in order to worship a deity of the rice field. As people in Suzu and Wajima Cities, and Noto and Anamizu Towns of Hosu County have long lived by rice-farming, the deity of the rice field is considered an important one who promises good growth and an abundant harvest of rice. This ritual is performed twice a year, after the rice harvest, and before planting, by each housemaster at his home. In December after the harvest, he welcomes the deity of the rice field from the rice field into his house and offers hospitality, giving thanks for the harvest in the course of a ritual. In February before planting, he offers hospitality and sees the deity off to the rice field, praying for an abundant harvest in the course of another ritual. Guessing from these performances, “Ae” (or “Aé”) can mean hospitality while “koto” a ritual. In December a housemaster begins to prepare food from early in the morning to welcome the deity, and puts straw bags containing seeds for the next spring in the toko no ma, a narrow space at the side of the room for flowers and calligraphy, or under the kami-dana, an inner shrine installed high on a wall. In the afternoon, he prepares a bath and pounds mochi, a ball-like rice cake. The deity of the rice field is said to get ready to leave the rice field when he hears the sound of mochi-pounding. In the evening the housemaster dresses himself up in kami-shimo, a formal Japanese garment, and goes to the rice field taking a kuwa (spade), a chochin (lantern), and a sensu (folding fan), with him in order to welcome the deity. In the rice field, he cultivates it with kuwa three times, speaks to the deity of the rice field with grateful remarks for its protection during that year. Then, he shows the deity the way to his home by lighting the way with the chochin or directing it with the sensu. His family is waiting for the deity at the gate. The housemaster shows the deity into a guest room, lets it rest a little, and then serves a bath for it. He helps it to wash as if it were actually in front of him in the bathroom, asking if the temperature of the water is comfortable. After the bath, he seats the deity on straw bags of seeds in the toko no ma or under the kami-dana, and offers it two meals. Because a deity of the rice field is sometimes regarded as consisting of a couple, two dinners are served. The menu is ama-zake, sweet sake as an aperitif brewed from new rice, a bifurcated radish, abundant steamed rice with red beans, mochi, and a whole fish, provided with chopsticks made from a chestnut tree. As it is said that the deity of the rice field has bad eyes, the housemaster describes each dish as he serves it. After dinner, he moves the straw bag of seeds to a higher position inside a box room or in an earthen-floor space. It is said that the deity of the rice field rests in this bag or inside the kami-dana until the following year. Then, families eat the dinner served to the deity. In February of the new year, the same ritual takes place again; a housemaster serves a bath for the deity, provides it with food, and sees it off to a rice field. In the rice field, a housemaster cultivates it with kuwa three times, with prayers for an abundant harvest in autumn. There are some differences in detailed contents or procedures from family to family, but we can find such common features as welcoming the deity of the rice field at an important stage of rice-growing, offering it hospitality, and finally seeing it off. By performing this ritual, the safety and sustainability of the rice cultivation in this area can be assured, and identity and continuity can be confirmed among the people of this area. It is unique among agricultural rituals of similar kinds throughout Japan in that the householder behaves as if an invisible deity of the rice field were actually there in the course of the ritual. This ritual is a typical agricultural ritual reflecting the underlying culture of everyday life of the Japanese who have been engaged in rice cultivation since ancient times.

Japan 2009

Trịnh Xuyên communal house festival is held from the 9th to the 12th of the second lunar month every year, to commemorate the merits of General Vũ Đức Phong - the man who participated in the battle against Chiêm Thành during the Trần dynasty. Since last year, the village has sent a family to grow sticky rice on the village's public fields and raise a pig. Pigs are raised in cages and eat clean food. On the day of the festival, the village will use steamed sticky rice to pound round sticky cakes and slaughter pigs to pound sausages as offerings to the Saint. The opening ceremony is the Ngọc Lộ procession. The dragon lion dance team, flag teams, drum teams, incense plans, flag carrying teams, Bát Bửu teams, twin horses, float carrying teams with parasols and canopies, and representatives of the people and government make up the procession. For the ritual, Ngọc Lộ was led in a procession from the temple to the common house in Trịnh Xuyên. It is usual to walk through the palanquin in the hopes that the Saint may grant good health and fortune to the sick, old, and children. The offerings to the Saints include two parts: a vegetarian offering and a salt offering. The fasting ceremony includes fruits, cakes, and oats, which are offered by representatives of the hamlets wearing heads. The salty ceremony includes pork, sticky rice, rice cakes, wine, gold coins, incense, and betel and areca nuts. The custom of raising "Mr. Pig" in a cage, drinking clean water, and eating clean food. On the day of the festival, the villagers slaughter the pig, pound the meat and offer it to the Saint; Planting sticky rice in village fields to get sticky rice for sticky rice and pounding sticky rice cakes to worship the Saints. Many folk games are organized within the framework of the Festival such as: going on a bridge, human chess, blindfolded hitting pots, etc, and especially clay cannon competitions. Teams compete in 4 rooms, each 45 minutes.

Angklung is a simple, original bamboo musical instrument of Indonesia documented since at least 1704. The word Angklung comes from the Sudanese angkleung-angkleungan. Angka means pitch/tone, and lung means broken. 2-4 bamboo resonating tubes carved and tuned carefully are suspended in a rectangular partitioned frame made of white bamboo tightly bound with rattan cords. Lugs on the bottom of the tubes move in rectangular shaped slots in the bamboo base tube of the frame. The resonator tubes sound when the frame is shaken or tapped. The 2 or 3 resonating tubes are tuned to the same note in different octaves. There are also 3 and 4 tube angklungs with tubes tuned to the notes of a chord. Making and tuning the resonator tubes is a great skill taking years to master. Udjo Ngalagena, founder of Saung Angklung Udjo, referred to the sound of angklung as ‘the music of nature'. The form of the angklung itself contains symbolism and philosophical values. The large and small tubes symbolize that the great, strong and rich must always protect and shelter the small, weak and poor. Each angklung has at least 2 resonating tubes, symbolizing that human beings should never isolate themselves or be egoistic, but rather always live within a society. The tubes are arrayed from small to large. This symbolizes that every day, human beings must strive to be better than yesterday, and that some people are created small and some big, but there is nothing to be regretted, as it is all due to fate. The angklung will sound nicely if the large and small tubes move at the same time, within their limits. This symbolizes that if everyone is aware of his or her rights and responsibilities, life will be harmonious. The tubes will sound if the lugs at their bottom ends touch the base tube of the frame. Similarly, one may become great, speak and be of good character if one does not forget one’s identity and culture, while if one forgets then one cannot become anything. The three tubes of an angklung symbolize tritangtu, (in Bali trihitakarana) -- to perform good action with mind, body and words. Each angklung produces a single note or chord. Thus many players each holding a single instrument must collaborate together to play melodies. This develops teamwork, mutual respect (learning to live together), discipline, and artistic sense, even among players from different communities or nationalities. Traditional angklungs use pentatonic scale, while modern/Padaeng angklungs use dialtonic scale. Angklung is closely related with traditional customs, arts and cultural identity in West Java and Banten Provinces and elsewhere. Traditional angklungs are played during ceremonies, eg. rice planting time with the hope of a bountiful harvest, harvest time, circumcision, etc. Traditional angklung culture is transmitted from parents to children, or through non-formal education. Now modern Angklung Padaeng is taught in educational institutions from kindergarten to university level, and is proven to have a positive effect.

Indonesia 2010

Hò Folk Singing of Đồng Tháp was born naturally, associated with the rhythm of life of the river and canal community, the open-minded, liberal character of the people, who love literature, singing, and rhymes in the Dong Thap Muoi region. Hò Folk Singing of Đồng Tháp developed in 3 main stages: From the beginning of the 19th century to 1945, Hò Folk Singing of Đồng Tháp was formed, absorbing the unique artistic elements of lullabies; In the period of 1945-1954, the singing melodies all had content supporting the resistance, commonly called Ho Resistance; In the period of 1954-1960, Hò Folk Singing of Đồng Tháp on the North left strong emotions in the hearts of listeners. Hò Folk Singing of Đồng Tháp is a type of singing on the water, the melody clearly expresses the thoughts and feelings of the people. The singing is slow, loose, the rhythm is fast and slow, high and low in 3 ranges: Low-medium-high. In the lyrics, this word, that word often appears as connecting musical lines. The unique feature of Hò Folk Singing of Đồng Tháp that no other folk songs have is the melody of the songs with a "high and low" melody. The musical art has a strong lyrical and profound character. In daily life and work activities such as rowing boats, planting rice... are favorable environments to create conditions for the emergence, existence and development of folk songs. Literary art uses the song that luc bat poetry form. When converting poetry into folk songs, they often insert the words "...ơ...ơ..." or "...ơ... hoa ơ..." into the verse to add breath, momentum, pause, and resonate. With its unique values, Hò Folk Singing of Đồng Tháp were recognized as a National Intangible Cultural Heritage - a folk performing art form, in 2018.