Top 10 Intangible Cultural Heritages of Vietnam Recognized by UNESCO

Ca Trù is a traditional form of musical performance popular in Northern and Central Northern Vietnam. In 2009, it was recognized by UNESCO as an intangible cultural heritage in urgent need of protection. Unlike Quan Ho, Ca Trù incorporates various forms of literary genres such as phú, truyện, and ngâm, with the most common being hát nói. A typical Ca Trù performance includes three main parts: first, the "đào" or "ca nương" strikes a rhythm with a wooden instrument, followed by the "kép" playing the đàn đáy to accompany the singing, and finally, the "quan viên" strikes the ceremonial drum to signal the end of the verse and express approval with drum beats. Today, Ca Trù has declined significantly, and the younger generation seems to have turned away from this art form.

Ca Trù originated in the early 11th century, became popular by the 15th century, but it wasn’t until the late 20th century that it gained global recognition, first through the voice of artist Quách Thị Hồ (1909–2001). Over time, Ca Trù attracted foreign musicologists and musicians who studied, researched, and introduced it at prestigious universities around the world. Through its historical ups and downs, Ca Trù has reached a high level of aesthetic achievement, affirming its importance not only to Vietnam but also to humanity. Ca Trù is a form of performance using various literary forms such as phú, truyện, and ngâm, with hát nói and hát kể being the most popular forms. Hát nói emerged early on, but it wasn’t until the early 19th century that works such as those by Nguyễn Công Trứ and Cao Bá Quát were passed down and remain influential today.

The Giong Festival is held annually in several locations across Hanoi to honor the legendary hero, Saint Giong, who remains an immortal symbol in the hearts of the Vietnamese people. In 2010, after Ca Tru, the Giong Festival at Phu Dong and Soc Temples was recognized by UNESCO as an Intangible Cultural Heritage of Humanity. The official Giong Festival at Phu Dong takes place annually on the 8th and 9th of April in the lunar calendar at Phu Dong commune, Gia Lam district, Hanoi, the birthplace of the legendary hero "Phu Dong Thien Vuong." During the festival, the events vividly and accurately reenact the battles fought by Saint Giong and the people of Van Lang against the invading An troops. This festival holds great cultural, historical, and educational significance for the younger generation.

The Saint Giong Festival is organized every year at Giong village, which today includes the four villages of Phu Dong, Phu Duc, Dong Vien, and Dong Xuyen in Phu Dong commune (Gia Lam, Hanoi). It is one of the largest festivals in the Red River Delta, reenacting the legendary victory of Saint Giong over the An invaders. The festival features unique performances that showcase the spirit of unity, determination, and patriotism, celebrating the national hero, Saint Giong. The Saint Giong Festival is held at a large venue, approximately 3 kilometers long, including the Upper Temple, the Mother Temple (dedicated to Saint Giong's mother), and the Kien So Pagoda.

Xoan Singing is a traditional ritual folk music form dedicated to deities and tutelary spirits, featuring multiple artistic elements including music, singing, and dance. It is commonly performed during the early spring, especially in the land of the Hung Kings in Phu Tho, a province in the northern mountainous region of Vietnam. On November 24, 2011, Xoan Singing from Phu Tho was officially recognized by UNESCO as an Intangible Cultural Heritage of Humanity. The Xoan troupes typically perform during spring festivals at local communal houses and temples, with performances on the 5th day of the Lunar New Year at the Hung Kings Temple Festival. Today, Phu Tho province is actively preserving this cultural heritage by offering Xoan singing lessons and restoring the temples and communal houses where these performances take place.

The origins of Xoan Singing are intertwined with various mythical stories dating back to the time of the Hung Kings. One legend tells of King Hung searching for a site to establish his capital. He rested in the Xoan Phu Duc - An Thai village and witnessed local children singing and dancing. The king took a great liking to their performances and taught them new songs and dances. These performances, a blend of the king’s and the shepherds' creations, became known as Xoan songs. Another story recounts how Queen Hung, struggling with infertility, was advised by a maid to invite Quế Hoa, a skilled dancer and singer, to perform. After seeing Quế Hoa dance and sing, the queen conceived and bore three exceptional sons. In gratitude, King Hung instructed his court to learn the dances and songs of Quế Hoa, which became known as 'Spring Songs.'

The Worship of the Hung Kings is an ancient folk belief that has been passed down through generations in Vietnam, primarily practiced at sites dedicated to figures associated with the Hung Kings era, such as the legendary Thần Nông, King Hung, Lạc Long Quân, Âu Cơ, Sơn Tinh, Cao Sơn, and Quý Minh. This belief system was officially listed as a National Intangible Cultural Heritage by the Ministry of Culture, Sports, and Tourism of Vietnam and was later recognized by UNESCO as an Intangible Cultural Heritage of Humanity. On December 6, 2012, at the 7th session of the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage in Paris, UNESCO officially inscribed the Worship of the Hung Kings as a Cultural Heritage of Humanity.

The Worship of the Hung Kings is not a religion but rather a symbol of respect and gratitude for the contributions of the Hung Kings, who are credited with founding the ancient Văn Lang kingdom. According to the Phu Tho Department of Culture, Sports and Tourism, there are 326 sites in Phu Tho dedicated to the Hung Kings and associated figures, scattered across the province. The worship of the Hung Kings is deeply ingrained in Vietnamese culture, with the Hung Temple being the most significant and historical center for this practice, marking its central role in the nation's cultural and historical evolution.

Đờn ca tài tử is a unique form of traditional Vietnamese music that has been recognized by UNESCO as an Intangible Cultural Heritage. Its influence extends across 21 southern provinces in Vietnam. The genre emerged in the late 19th century, evolving from ceremonial music, the imperial court music of Huế, and folk literature. Đờn ca tài tử is a key aspect of southern Vietnamese culture, characterized by instrumental and vocal performances by ordinary people, especially young men and women from rural areas who sing after working hours. More than 100 years ago, the music featured a quartet of traditional instruments: the đàn kìm (a lute), đàn cò (a two-stringed violin), đàn tranh (a zither), and đàn bầu (a monochord). Over time, the đàn bầu was sometimes replaced with a guitar. The performers are usually friends and neighbors, gathering together to share the joy of music without being concerned about formal attire.

This genre is often performed in intimate settings such as homes, weddings, anniversaries, birthdays, and local festivals, typically on clear, moonlit nights. The music, rooted in the melodies of Huế, incorporates elements from the Quảng Nam and Quảng Ngãi regions. While its primary purpose is entertainment, it is not considered ceremonial music. Today, Đờn ca tài tử continues to thrive across 21 southern provinces in Vietnam, including Bạc Liêu, Bình Dương, Tiền Giang, and Hồ Chí Minh City, which are known for having large communities of performers.

The Folk Songs of Nghệ Tĩnh are a vital part of the cultural identity of the people in the Nghệ An and Hà Tĩnh provinces in central Vietnam. Recognized as a national intangible cultural heritage, this genre of folk music was also inscribed as an Intangible Cultural Heritage of Humanity at the 9th session of the UNESCO Intergovernmental Committee in Paris on November 27, 2014. The folk songs are integral to the daily lives of the Nghệ Tĩnh community, sung during various activities such as child-rearing, weaving, and rice planting. The lyrics of these songs celebrate important values such as respect for elders, loyalty, devotion to others, and the virtues of honesty and proper conduct in human relations.

The Ví singing is often spontaneous, without a fixed rhythm, allowing the singer to improvise freely. The melody can fluctuate in pitch and duration depending on the nature of the lyrics, whether they are poetic or simple. The Ví style is commonly sung in traditional forms such as six-eight and seven-seven poetic meter, and the emotional delivery of the song can change according to the environment, context, and the singer's mood. The range of Ví singing typically spans less than an octave, with its tunes evoking a sense of deep emotion, nostalgia, and heartfelt longing. Some versions of Ví are playful and humorous, with themes of youthful mischief. The Ví songs are often performed by couples, used as a form of courtship in the past. On moonlit nights, young people would gather to sing and tell impromptu stories of their daily lives, turning these moments into cherished folk traditions.

On December 1st, 2016, during the 11th session of the UNESCO Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage in Addis Ababa, Ethiopia, The Practice of the Worship of the Three Mother Goddesses of Vietnam was officially recognized by UNESCO as part of the Intangible Cultural Heritage of Humanity. This practice revolves around the veneration of female deities who embody various aspects of nature, including the sky, rivers, and forests, rooted in the ancient worship of goddesses. The people worship the Holy Mother Liễu Hạnh, along with other deities governing different realms, as well as historical or mythical figures who have contributed to the country and its people. According to legends, she is a celestial being who descended to the human world, became a Buddhist, and was revered as the 'Mother of the Universe,' one of the four immortal saints in Vietnamese folklore. Since the 16th century, this belief system has become a major cultural and spiritual practice, deeply embedded in the lives and consciousness of the people, fulfilling their spiritual needs and desires.

The practice of the Worship of the Three Mother Goddesses is widespread across various regions, including the Northwest, Northeast, North, and Central Vietnam, with significant cultural sites in Nam Định province, such as Phủ Dầy and Phủ Nấp, where the legacy of the goddess’s earthly descent is preserved. Over 400 locations in Vietnam are dedicated to the worship of the Holy Mother. The practitioners of this heritage include priests, mediums, ritual performers, and devotees, all united in their shared belief in the divine power and protection of the Mẫu. They gather together as a community, performing rituals, participating in festivals, and conducting spiritual sessions at sacred temples and shrines.

Imperial Court Music of Huế refers to the musical tradition performed at the imperial court during the Nguyễn Dynasty, specifically for royal ceremonies such as coronations, funerals, and other formal state events. Recognized by UNESCO in 2003 as a Masterpiece of the Oral and Intangible Heritage of Humanity, Huế's imperial music is regarded as the most sophisticated form of traditional Vietnamese music. UNESCO noted, 'Among the various forms of traditional Vietnamese music, only Huế’s court music has reached a national level of importance.' This genre of music developed from the 13th century and reached its peak during the Nguyễn Dynasty, when it became a refined and perfected art form. Along with the Central Highlands Gong Culture, it remains a significant part of Vietnam's intangible cultural heritage, officially listed by UNESCO.

Imperial Court Music of Huế evolved from earlier forms of ceremonial music, with the first appearances of musical ensembles—featuring a variety of court instruments—depicted in bas-reliefs found in temples from the Lý Dynasty (11th-12th centuries). The structure of royal music in Vietnam, including ritual music performed at village shrines and at weddings or funerals, traditionally consists of two main groups: the civil and military ensembles. The origins of this division, seen in the Huế court's orchestral setup since the early 19th century, are deeply rooted in the cultural rituals of northern Vietnamese villages.

The Cultural Space of the Central Highlands Gong Tradition was recognized by UNESCO as an 'Oral and Intangible Heritage of Humanity' on November 15, 2005. In 2008, it was officially listed as an Intangible Cultural Heritage of the World. Following Hue Court Music, it became the second Vietnamese cultural heritage to receive both of these prestigious titles. This cultural space includes several key elements: the gongs, the music performed with gongs, the gong players, festivals involving gongs (such as the New Rice Festival, Water God Rituals, etc.), and the sacred locations where these festivals take place (longhouses, communal houses, rice fields, water banks, graveyards, and forests surrounding the villages of the Central Highlands).

The Cultural Space of the Central Highlands Gong Tradition spans across five provinces: Kon Tum, Gia Lai, Đắk Lắk, Đắk Nông, and Lâm Đồng. The heritage belongs to 17 indigenous ethnic groups. Currently, gong festivals are held annually in the Central Highlands to preserve and promote this unique cultural treasure. In these regions, the Gong Festival is not only a cultural preservation activity but also a popular tourist attraction. Efforts are being made to conserve and celebrate the value of this remarkable cultural heritage.

Quan Họ folk songs are a prominent form of folk music originating from the Red River Delta in Northern Vietnam. They developed in the Kinh Bac region, specifically in the area where the modern-day provinces of Bac Giang and Bac Ninh meet. The term Kinh Bac historically referred to a single province that included both Bac Giang and Bac Ninh. Today, however, Quan Họ is more closely associated with Bac Ninh than Bac Giang. Recognized by UNESCO as an Intangible Cultural Heritage of Humanity in 2009, after the royal music of Hue and the cultural space of the Central Highlands gongs, Quan Họ reflects the deep connection between singers and their songs. The music is often linked with male and female singers, or 'liền anh' and 'liền chị,' and includes famous melodies such as 'Hừ La,' 'La rằng,' 'Tình tang,' 'Bạn kim lan,' 'Cái ả,' and 'Cây gạo.' Traditional costumes of these singers are distinctive, with men wearing long, five-panel robes, standing collars, lotus leaf details, and wide hems that fall past the knee. Women, on the other hand, wear multiple layers of traditional dresses, up to seven in some cases, along with a conical hat. Quan Họ is also known for its sincere and polite gestures, often embodied in the ritual of offering tea or betel, expressed with warmth and respect.