GUIDELINES for INTANGIBLE CULTURAL HERITAGE EDUCATION IN VIETNAMESE SCHOOLS TOWARDS SUSTAINABLE DEVELOPMENT GOALS

Vietnam Museum of Ethnology(VME)

Interna�onal Research Centre
for Intangible Cultural Heritage
in the Asia-Paciﬁc Region(IRCI)

Viet Nam Na�onal Ins�tuteof Educa�onal Sciences(VNIES)GUIDELINESfor

INTANGIBLE CULTURAL HERITAGE EDUCATION
IN VIETNAMESE SCHOOLSTOWARDS SUSTAINABLE DEVELOPMENT GOALS
Research team from VNIES and VME

IRCIHa Noi, 2020

Vietnam Museum of Ethnology(VME)

Interna�onal Research Centre
for Intangible Cultural Heritage
in the Asia-Paciﬁc Region(IRCI)

Viet Nam Na�onal Ins�tuteof Educa�onal Sciences(VNIES)GUIDELINESfor

INTANGIBLE CULTURAL HERITAGE EDUCATION
IN VIETNAMESE SCHOOLSTOWARDS SUSTAINABLE DEVELOPMENT GOALS
Research team from VNIES and VME

Ha Noi, 2020

Copyright 2020
The International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI) under the auspices of UNESCO,
the Vietnam Museum of Ethnology (VME),
and the Vietnam Institute of Educational Sciences (VNIES)

Research team:
Pham Thi Thuy Chung, M.A., Vietnam Museum of Ethnology
Bach Ngoc Diep, M.A., Viet Nam National Institute of Educational
Sciences
Nguyen Trong Duc, M.A., Viet Nam National Institute of Educational
Sciences
Dr. Vu Phuong Nga, Vietnam Museum of Ethnology
Dr. Vu Hong Nhi, Vietnam Museum of Ethnology
Dr. Luong Viet Thai, Viet Nam National Institute of Educational Sciences
Assoc.Prof. Nguyen Thi Hong Van, Viet Nam National Institute of
Educational Sciences
Bui Thanh Xuan, M.A, Viet Nam National Institute of Educational Sciences

3

CONTENTS
Acknowledgement

67

Abbreviations

78

Introduction

89

PART ONE - GENERAL ISSUES ON INTANGIBLE CULTURAL HERITAGE ANDEDUCATION FOR SUSTAINABLE DEVELOPMENT

10
11

1.

Intangible cultural heritage

10
11

1.1.

Definition of intangible cultural heritage11
10

1.1.1.

What is an intangible cultural heritage?

11
10

1.1.2.

Forms of ICH expression

1110

1.1.3.

Common features of ICHs

12
11

1.2.

Brief introduction of Viet Nam’s ICHs inscribed by UNESCO in the
Representative List of the ICH of Humanity or in the List of ICH in Need ofUrgent Safeguarding

12
11

1.2.1.

Vietnamese court music (Nha nhac)

13
12

1.2.2.

Space of gong culture in the Central Highlands

13
12

1.2.3.

Quan ho Bac Ninh folk songs

14
13

1.2.4.

Giong festival of Phu Dong and Soc temples

14
13

1.2.5.

Worship of Hung Kings in Phu Tho

15
14

1.2.6.

The art of Don ca tai tu music and songs in Southern Viet Nam

15
14

1.2.7.

Vi and Giam folk songs of Nghe Tinh

16
15

1.2.8.

Tugging rituals and games (multinational profile)15
16

1.2.9.

Practices related to the Viet beliefs in the Mother Goddesses ofThree Realms

16
17

1.2.10. Xoan singing in Phu Tho

16
17

1.2.11. The art of Bai choi in Central Viet Nam

17
18

1.2.12. practices of Then by Tay, Nung, and Thai ethnic groups in Viet nam

17
18

1.2.13. Ca tru singing

18
19

2.

Education for sustainable development

20
19

2.1.

Sustainable development and the UN’s Sustainable Development Goals

20
19

2.1.1.

Sustainable development

20
19

2.1.2.

The UN’s Sustainable Development Goals

21
20

2.1.3.

Cultural aspect of sustainable development

22
21

2.2.

Education for sustainable development

23
22

2.3.

Overview of ESD in Viet Nam

23
22

2.3.1.

Context

23
22

2.3.2.

Some basic policies on ESD of Viet Nam

24
23

2.3.3.

Some main results of ESD in Viet Nam

25
24

4

3.

The relationship between ICH education and ESD in the context of
education reform in Viet Nam

26
25

3.1.

Background of Viet Nam’s current education reform

26
25

3.2.

Importance and requirement of ICH education for sustainable

3.3.

development in general education of Viet Nam

26
27

The relationship between ICH education and ESD

28
27

PART II - GUIDELINES FOR IMPLEMENTING ICH EDUCATION IN SCHOOLSTOWARDS SUSTAINABLE DEVELOPMENT GOALS

30
29

1.

Involved resources

30
29

1.1.

Students

29
30

1.2.

Teachers

29
30

1.3.

Community of cultural bearers

30
29

1.4.

Scientists, ICH experts and educational experts

31
30

1.5.

Cultural managers

31
30

1.6.

Educational managers

32
31

1.7.

Communication

32
31

2.

Approach

32
31

2.1.

Student-centred approach

32
31

2.2.

Interest of teachers in ICH and education for sustainable develpment

33
32

2.3.

Diversifying learning methods

32
33

2.4.

Combining elements of ICH and principles of ESD for learning

32
33

2.5.

Whole-school approach

34
33

3.

Methods of implementation

35
34

3.1.

Methods for material research

34
35

3.2.

Document resources

35
34

3.3.

Procedures of implementation

36
35

4.

Integration of ICH into school lessons towards sustainable development
goals

42
41

4.1.

Integration framework

42
41

4.2.

Some illustrative examples of lesson plans with ICH education integrated

63
62

Literature (1) – Thanh Giong Legend (Grade 6)

62
63

Literature (2) – Speaking practice: Telling story (Grade 6)

7473

Arts – Drawing on festival theme (Grade 6)

79
78

Natural Science (1) – Pitch and loudness of sound (Grade 7)

8786

Natural Science (2) – Respiratory activity (Grade 8)9796

Geography – The Central Highlands (Grade 9)

104
105

Experiential and Vocational Guidance Activitity - Building community
Activity (Grade 6)

112
113

Appendix – List of national intangible cultural heritages

124
125

Reference

152
153

5

ACKNOWLEDGEMENTThe Guideline for Intangible Cultural Heritage Education in Vietnamese Schools towards Sustainable Development
Goals is the result of cooperation between the International Research Center for Intangible Cultural Heritage in
the Asia – Pacific region (IRCI), the Vietnam Museum of Ethnology (VME) and the Viet Nam National Institute of
Educational Sciences (VNIES) under the project "Multidisciplinary study on the contribution of intangible cultural
heritage’s contribution to sustainable development: Focus on education ”.
This is a research project within the scopes of UNESCO activities sponsored by the Ministry of Education, Culture,
Sports, Science and Technology of Japan. In addition to research team’s efforts, IRCI plays an important role inselecting two relevant and reliable agencies, namely the Vietnam Museum of Ethnology and the Viet Nam
National Institute of Educational Sciences, providing detailed guidance, financial and technical support for thedevelopment of the guideline.
We are extremely grateful for the advice and enthusiastic support of the UNESCO Hanoi Office and the UNESCO
Bangkok Office in the process of document development. Many experts and researchers have taken their time tocontribute their expertise, participate in meetings and provide important feedbacks to the drafts of the guideline.
Special thanks go to Prof. Wataru Iwamoto (IRCI) and Prof. Masahisa Sato (Tokyo City University, Japan) for theirinsightful and enthusiastic suggestions so that we can complete the document. We also acknowledge thevaluable support and comments of our colleagues in the Department of Cultural Heritage, VME and VNIES.
Sincere thanks go to the administrators and teachers of these secondary schools: Yen Hoa, Thuc Nghiem, Ngo Si
Lien, Le Ngoc Han, Nghia Tan, Luong Yen, and Tay Son for their sharing experiences on the content and methodof ICH education in schools. In particular, we would like to cordially thank the Board of Managers, teachers andstudents of Yen Hoa and Thuc Nghiem schools - where the piloted activities of ICH education have been
conducted to assess and verify the relevance and feasibility of the document.
The participation of Ca tru artisans (Thai Ha Ward), sitting tug of war artisans (Thach Ban Commune, Long Bien
District, Hanoi) and staff of Ngoc Son Temple relic area (Hoan Kiem District, Hanoi) have added useful
information for designing the lesson plans and creating a lively atmosphere for ICH integrated classes in thisproject. Thank you very much for all those valuable contributions.
Sincerely thank all friends, colleagues who have worked industriously and carefully in the process editing,publishing, and translating the guideline.
To complete this guideline, the research team also received the support and advice from several individuals andorganizations. We would like to express our appreciation to all those who contributed to this effort.
We hope that the guideline will contribute to providing knowledge, skills, developing attitudes and necessarycompetencies for teachers and students in the process of ICH education in schools towards sustainable
development goals in the new school curriculum.
This Guideline was initially edited in Vietnamese. Responding to various requests, the English translation wasprovided by Research team with the financial aid of IRCI. The original remains in the Vietnamese version.

726

ABBREVIATIONS

ESD

Education for Sustainable Development

ICH

Intangible Cultural Heritage

IRCIInternational Research Centre for Intangible Cultural Heritage
in the Asia Pacific region

MoCST

Ministry of Culture, Sports & Tourism

MOET

Ministry of Education and Training of Viet Nam

SD

Sustainable Development

SDG

Sustainable Development GoalUN

United Nations

UNESCO

United Nations Educational, Scientific, and Cultural Organization

VME

Vietnam Museum of Ethnology

VNIES

Viet Nam National Institute of Educational Sciences

782

Introduction
1. Objective
The Guideline for Intangible Cultural Heritage Education in Vietnamese Schools towards Sustainable Development
Goals was developed to provide researchers, educators, administrators and teachers a theoretical and practical
tool in the education of Viet Nam's intangible cultural heritages for students, contributing to the achievement of
UN’ Sustainable Development Goals that Viet Nam has committed to implement.

2. Structure
The document is divided into two main parts:
Part I. Some general issues on ICH and ESD
This section introduces general theoretical issues on ICH and ESD, and the relationship between these two areas,in order to help researchers, education managers and teachers gain the most basic understanding that underpins
the practice of ICH education in schools. In this section, the document also provides basic information of 13 ICHs
of Viet Nam, which are recognized by UNESCO as the representative ICHs of humanity and the ICHs in needs ofurgent safeguarding.
Part II. Guide to the practice of ICH education for sustainable development in secondary schools
This section covers the approach, implementation process, and ICH integrated framework of somesubjects/educational activities in schools, and the lesson plans illustrating how ICH education is integrated acrossfive subjects and educational activities. These are suggestions to assist teachers how to integrate ICH contents
into the subjects and educational activities, based on the principle of both ensuring the lesson objectives, andcreating opportunities for students to explore and understand more about the country's ICHs.

3. Scopes•

Regarding the limit of education level: In this document, the practical guidance provides specific instructions
for the integration of ICH education in schools at the secondary level through an integrated matrix from
Grade 6 through to Grade 9 and some illustrative examples of lesson plans for teaching subjects/educational
activities. However, for other contents of the guideline such as some general theoretical issues, approaches,
implementing steps etc., teachers/educators can apply to any level of education or learner groups,
depending on specific purposes. For illustrative lesson plans, teachers can also use the ways of organizing
learning activities introduced as reference in designing similar activities for students of other classes andeducational levels.

•

Regarding the illustrated subjects/educational activities: In the current scope of the guideline, themethod of implementing ICH education in schools is illustrated through the lesson plans of four subjects(Literature, Arts, Geography, and Natural Sciences) and an educational activity (Experiential andvocational activity). These subjects/activities were chosen because there are many potentials andsuitable opportunities to bring ICH educational contents into them naturally and harmoniously.
Illustrated lesson plans also demonstrate the diversity of using ICH in teaching and learning in various
learning areas of natural sciences, social sciences, arts, and educational activities. These examples also
show that, if applying the approach and instruction as introduced in the document, ICH education canbe integrated in any subject or activity, depending on the capacity and creativity of teachers andstudents.
928

•

Regarding the ICHs introduced in the Guideline: The document suggests the use of 13 Viet Nam’s ICHs, whichhave been inscribed by UNESCO in the Representative List of the ICH of Humanity or in the List of ICH in Needof Urgent Safeguarding to prepare the integrated lesson plans on ICH education towards sustainable
development. This is to focus on introducing students of the country's most prominent ICHs that have beenassessed by international experts for their cultural values.
However, this does not mean that teaching about ICHs is only limited to these 13 ICHs. The lesson plan of
Literature subject using Ho Guom (Hoan Kiem Lake) legends and Ngoc Son Temple relics as example of using
local cultural heritage in teaching. As such, when applying this guideline into school practice, teachers arefree to choose or change the ICH teaching contents so as to introduce the ICHs in their locality. This helps
students be more convenient in identifying the heritage, increasing knowledge, pride and respect for thecultural features where they live. At the same time, this approach helps mobilize the participation of local
artisans and cultural officers into school activities.
For regions with difficult economic conditions, where students and teachers have little opportunity to accessofficial information sources on national ICHs, teachers should coordinate with cultural agencies,
organizations and individuals in localities to exploit further information about the local heritages to make ICH
education become closer and practical for students.

4. Users of the Guideline
Researchers, educators, teachers, and school administrators can use the Guideline as a reference channel of
information to enhance ICH education so as to improve knowledge and understanding of local and national
traditions, expanding the knowledge about culture and ESD for students.
At the same time, as the new national curriculum will be applied from the school-year 2020-2021, thedocument can also be used as a reference source to help education managers and teachers effectively
implement the compulsory Local Education of the new curriculum.
***
Hopefully, the Guideline will be a useful source of information and instruction to support educators,
researchers, education managers and teachers in the comprehensive education process for students ingeneral and contribute to the implementation of SDGs in particular, heading towards the ultimate common
goal of educating Vietnamese citizens who are knowledgeable, responsible, proud of national identity toconfidently integrate into the world.
- Research team -29
10PART IGENRAL ISSUES ON INTANGIBLE CULTURAL HERITAGE
AND EDUCATION FOR SUSTAINABLE DEVELOPMENT
1. Intangible cultural heritage
1.1. Definition of intangible cultural heritage
1.1.1. What is an intangible cultural heritage?
According to the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage in
2003, intangible cultural heritage (ICH) means "the practices, representations, expressions,knowledge, skills – as well as the instruments, objects, artifacts and cultural spaces associatedtherewith – that communities, groups and, in some cases, individuals recognize as part of theircultural heritage. This intangible cultural heritage, transmitted from generation to generation, isconstantly recreated by communities and groups in response to their environment, their interaction
with nature and their history, and provides them with a sense of identity and continuity, thus
promoting respect for cultural diversity and human creativity. For the purposes of this Convention,
consideration will be given solely to such intangible cultural heritage as is compatible with existing
international human rights instruments, as well as with the requirements of mutual respect amongcommunities, groups and individuals, and of sustainable development" 1.
In Article 4, Section 1, Consolidated Document No. 10/VBHN-VPQH, dated July 23, 2013, the Law on
Cultural Heritage promulgated by the National Assembly of the Socialist Republic of Vietnam,
intangible cultural heritage is "a mental product that is associated with relevant community or
individual, objects and space of culture, which bears historical, cultural or scientific values that
expresses the identity of the community and has been continuously recreated and handed downfrom one generation to another by word of mouth, professional transmission, performances andother forms."

1.1.2. Forms of ICH expression 2

12•

Oral traditions and expressions, in which language is a means of ICH;•

Performjng arts;•

Social customs, religious beliefs, and festivals ;http://www.unesco.org/new/fileadmin/MULTIMEDIA/FIELD/Hanoi/pdf/Convention_2003.pdf, p. 3.
http://www.unesco.org/new/fileadmin/MULTIMEDIA/FIELD/Hanoi/pdf/Convention_2003.pdf, p. 4.
10

2
11

•

Knowledge and practice related to nature and the universe;•

Traditional crafts.

1.1.3. Common features of ICHs 3•

Traditional and contemporary elements co-exist in parallel: ICHs represent not only for the
traditions inherited from the past but also contemporary practices in rural and urban areas
where diverse cultural groups participate;•

Inclusiveness: ICH expressions, whether from a neighborhood, a city from other side of the earth,or absorbed by immigration and resident groups in other lands, all share common features ofbeing transmitted from generations to generations; being developed to adapt with theenvironment, contributing to the establishment of one’s sense of identity and succession,connecting the past, the present and the future. ICHs do not belong to a single culture but also
help connect societies, encouraging the sense of identity and responsibility. Through thisprocess, individuals feel themselves belonging to one or more communities, as well as to thesociety at large.

•

Representativeness: ICHs is considered not only a cultural product for their uniqueness or special
values; they also develop on the basis of the ICHs themselves within communities and dependon those having knowledge on traditions, skills and customs which will be handed down to therest of community from generations to generations, or to other communities;•

Community-based feature: ICHs are considered heritages only when recognized by theircommunities, groups, or individuals – who have invented, maintained, and transmitted thoselegacies.

1.2. Brief introduction of Viet Nam’s ICHs inscribed by UNESCO in the
Representative List of the ICH of Humanity or in the list of ICH in Need of Urgent
Safeguarding
Up to date, Viet Nam has 13 ICHs inscribed by UNESCO in the Representative List of the ICH of
Humanity or in the List of ICH in Need of Urgent Safeguarding. In order to clarify the process of ICH
education in schools towards SDGs, this Guideline uses the information of these 13 ICHs as
illustrating examples throughout the document, because these ICHs :•have a rich volume of information and materials, which are useful for teachers and students totake as reference in the process of learning and teaching. (It is important because in order tobuild a lesson integrated with ICH education, teachers are required to investigate about theheritage in the field. However, within the framework of this project, the authors cannot conduct
fieldwork research for every lesson plans due to financial constraint. Therefore, source materials
on these 13 heritages, which were collected during the process of filing for UNESCO recognition,
ensure scientific quality as a basis for building lesson plans integrated with ICHs towards
sustainable development goals);•

attract students and make them excited, proactive, and active in learning;3

https://ich.unesco.org/en/what-is-intangible-heritage-00003
11

2
12

•

are typical examples that would make this Guideline accessable both on the national and global
scale.

1.2.1. Vietnamese court music (Nha nhac)
Practice location: Former royal place of Hue City, Thua Thien – Hue Province.
Brief summary: Vietnamese court music, or Nha nhac – meaning “elegant music”, is an official music
and dance used to be played at the Vietnamese royal court with a strict form of organization. The
orchestra is based on pentatonic scale with diverse instruments such as drum, castanet, and manyother types of traditional wind and string instruments; singers and dancers performance help createa holy and elegant musical stage which cannot be compared to any other kind of orchestra.
Nha nhac was generally performed in ritual and festive events or in important occasions such as
coronation, official receptions etc. in order to bring the solemnity to these events.
According to current historical record, Nha nhac was initiated during the Ly dynasty (1010 - 1225)
and further developed in the Le dynasty (1427 - 1788), before reaching its fullest period of development
and glory in the Nguyen monarchs.
Essential value: Nha nhac is a musical style with the richness in both content and spirit, considered
as means of communication, a form of paying tribute to the gods and kings, becoming a symbol ofmonarch, eternality, and the prosperity of the dynasty. It also serves as a means of communicating
philosophical meanings on the universe of the Vietnamese people.

Date of inscription by UNESCO: 07/11/2003, List of Masterpieces of the Oral and Intangible Heritagesof Humanity.

1.2.2. Space of gong culture in the Central Highlands
Practice location: Space of gong culture in the Central Highlands spreads along 5 provinces: Kon Tum,
Gia Lai, Dak Lak, Dak Nong and Lam Dong. Owners of this special cultural form are inhabitants of 17
ethnic minorities in the Central Highlands.
Brief summary: Gongs are closely connected with people’s life in the Central Highlands as an
indispensable part in the life circle rituals of each person as well as in important events of community.
Space of gong culture includes its elements of gongs, the orchestra performed by gongs, gong
instrumentalists, festivals using gongs, and venues where festivals are held.
Gongs can be played solo or in an orchestra, in which each orchestra often consists of 10 to 12 gongs
with diameters ranging from 25 to 120cm. Depending on each ethnic group, gongs are played by astick or hand. Each player remembers every rhythm of a gong concert in each ritual and cancoordinate harmoniously with other players.
Essential value: Gongs are sacred things closely linked to spiritual life of the Central Highlanders: theyexpress joy, sadness in people’s work and daily life; they are the bridges between human, gods andsupernatural world as it is believed that behind every gong hides a god or goddess. The way gongs
12

2
13

are played and the festivals of the ethnic groups in the Central Highland all have their special
features. Therefore, the space of gong culture contributes to identity affirmation of each ethnic
group in the Central Highlands.
Date of inscription by UNESCO: 25/11/2005, List of Masterpieces of the Oral and Intangible Heritagesof Humanity.

1.2.3. Quan ho Bac Ninh folk songs
Practice location: Quan ho Bac Ninh folk songs originate from Kinh Bac area, and are practiced largely
in Bac Ninh and Bac Giang provinces.
Brief summary: Quan ho folk songs are a form of love-exchange singing, existing in a culturalenvironment with specific social practices in the Kinh Bac region. During the ritual, the men dress in
traditional turban and robes; the women graciously dress in three layers, seven layers costumes, andwearing a special kind of conical hats. They sing together in a ‘challenge-and-respond’ style, withrustic, loving songs, and a traditional way of singing without the accompaniment. The system of
melody and lyrics of Quan ho folk songs are extremely rich and methodical, reflecting people’semotional statuses with various levels of distance and depth. Quan ho folk songs have been handed
down from generations to generations and developed to the peak around the middle of the 18th
century.
Essential value: The value of traditional Quan ho folk songs lies not only in the unique melodies, thedelicate and rich in philosophy lyrics, but also in the elegant style and costumes, as well as theunique customs and lifestyles attached to the performance. Particularly, the regular practice of Quanho folk songs in the community's socio-cultural activities has created a unique local identity andcultural space of Kinh Bac region.
Date of inscription by UNESCO: 30/9/2009, Representative List of the ICH of Humanity.

1.2.4. Giong festival of Phu Dong and Soc temples
Practice location: Giong festival is found in many parts of the northern delta, but there are two
typical Giong festivals in Ha Noi: Giong festival in Phu Dong Temple (Phu Dong Commune, Gia Lam
District) and Giong festival in Soc Temple (Phu Linh Commune, Soc Son District).
Brief summary: Giong festival in Phu Dong Temple - where Thanh Giong (Saint Giong) was born takes place from the 7th to the 9th of the 4th lunar month. Giong Festival in Soc Temple - where SaintGiong rode his horse to heaven - takes place from the 6th to the 8th of the first lunar month. The
rituals and activities of the Giong Festival vividly simulate the events of Saint Giong and Van Lang's
people against the An invaders and the legend after defeating the enemy, when he returned to Soc
mountain and rode on the horse back to heaven, becoming an immortal saint protecting crops,
maintaining peace, prosperity for the country and all peoples. The festival is held with a strictly
regulated and elaborately prepared ritual. This is one of the biggest festivals in the northern delta,
not only with the great participation of villagers around the two temples but also of the people
nationwide.
13

2
14

Essential value: Giong Festival is a traditional festival to commemorate and praise the victory of thehero Thanh Giong, one of the immortal fours of Vietnamese folk beliefs.
Date of inscription by UNESCO: 16/11/2010, Representative List of the ICH of Humanity.

1.2.5. Worship of Hung Kings in Phu Tho
Practice location: Mainly at the Hung Temple Historical Relic Site on Nghia Linh Mountain, Viet Tri
City, Phu Tho Province.
Brief summary: According to the legend, Hung Kings were the sons of Father Lac Long Quan (theDragon) and Mother Au Co (the Fairy), who had made a contribution to the ancient Van Lang State,
in today's Phu Tho land. For the community of villages around Hung Temple, Hung Kings are also thegods associated with agriculture, teaching people to plow fields, cultivating rice, giving spiritualenergy to land, houses, crops, and breeding animals. With this respectful belief, over thousands ofyears, from generations to generations, Vietnamese people here and people all over the country
and a large number of overseas Vietnamese have created, practiced, nurturing and transmitting theBelief in Hung Kings worship to express gratitude to the ancestor, wishing them a blessing for thepeople's national security, prosperity, favorable weather, and abundant crops. The Commemoration
Feast of Hung Kings is celebrated on the 10th of the 3rd lunar month every year at the Hung Temple
Historical Site and is also celebrated throughout the country. (According to statistics, across thecountry there are 1,417 monuments to worship Hung Kings and other characters of the Hung King
period).
Essential value: The worship of Hung Kings is a symbol of respect, appreciation, and gratitude for the
merit of Hung Kings.
Date of inscription by UNESCO: 06/12/2012, Representative List of the ICH of Humanity.

1.2.6. The art of Don ca tai tu music and songs in Southern Viet Nam
Practice locations: In 21 provinces in the South of Viet Nam, including An Giang, Ba Ria-Vung Tau, Bac
Lieu, Ben Tre, Binh Duong, Binh Phuoc, Binh Thuan, Ca Mau, Can Tho, Dong Nai, Dong Thap, Hau
Giang, Ho Chi Minh City, Kien Giang, Long An, Ninh Thuan, Soc Trang, Tay Ninh, Tien Giang, Tra Vinh,
and Vinh Long; most concentrated in Bac Lieu, Binh Duong, Ho Chi Minh City, and Tien Giang.
Brief summary: This type of cultural activity unites the community through and artistic practice andcreation on the basis of Nguyen dynasty’s ceremonial, court music and folk music from the Central
and the South, thus making it both popular and academic musical style. Typical characteristics of the
Don ca tai tu music and songs is the continuous creation thanks to the improvisation and emotionaltransformation of practitioners on the basis of 20 principal songs (ancestral songs) and 72 classicalmusic pieces. Musical instruments involved in the performance include: the pliers shaped, harp,
monochord, flute, two-stringed fiddle, flute, and two western instruments (violin and guitar whichhave been modified: the violin is tuned up to the 4th string and the guitar is dented with a concave
fret to increase the accent of the melody).

14

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15

Essential value: Practitioners of Don ca tai tu always respect, cherish and learn from each other about
the skills, cultural manners, morality etc., contributing to the community and society cohesion
towards the common values of truth, goodness and beauty. Through the practice of Don ca tai tu,
the community also contributes to the introduction, conservation and promotion of other relatedsocial practices, such as festivals, oral traditions, and crafts.
Date of inscription by UNESCO: 05/12/2013, Representative List of the ICH of Humanity.

1.2.7. Vi and Giam folk songs of Nghe Tinh
Practice locations: Mainly in Nghe An, Ha Tinh provinces of Northern Central of Viet Nam.
Brief summary: Vi and Giam (also called Dam) are two forms of folk music without accompaniment
practiced in work and daily life settings of Vietnamese people: when lulling children, working in fields,
sailing, weaving cloth, or grinding rice. Vi and Giam have local features in terms of scale, modality,
rhythm, melody and voice. The skills of singing in the correct tempo, pitch, length, and ligature aremainly transmitted between generations by oral transmission directly from artisans to ensure theexpression of the vocal and intonation of the Nghe Tinh dialect. The lyrics of Vi and Giam folk songs
have diverse content which depict life, reflecting social and historical practices, love for homeland,for country, people, and between couples.
Essential value: Vi and Giam folk songs are closely connected with people's lives and have a profoundhuman meaning. In terms of artistic value, Vi and Giam folk songs are a unique type that reflects the
local cultural identity, demonstrating the talents and essential characters of Nghe Tinh people. Manysongs are rich in educational values as they address the respect for parents, loyalty, gratitude,
honesty, thus contributing to preserving good customs and traditions in social behavior in villages
and communes.
Date of inscription by UNESCO: 27/11/2014, Representative List of the ICH of Humanity.

1.2.8. Tugging rituals and games (multinational profile)
Practice location: Viet Nam, Korea, Cambodia, and the Philippines. In Viet Nam, tugging rituals andgames are practised mostly in the midlands, the Red River Delta and the Northern Central, with theircenters in the provinces of Vinh Phuc, Bac Ninh, Ha Noi and the northern mountainous region.
Brief summary: Tugging rituals and games are widely practiced in rice-farming culture in many East
Asian countries with the meaning of praying for favorable weather, abundant harvests or predictions
related to success or failure of cultivation. Tug of war is common in Vietnamese life and also
practiced regularly in the culture of the Tay, Thai and Giay ethnic minorities (Lao Cai Province) - whowere early rice farmers in history.
Today, tug of war is widely known as a competitive game, but its nature is part of the ritual of praying
for abundant harvest and promoting community prosperity through harmony and solidarity amongcommunity members. In general, tugging rituals and games are performed by two teams, in an open
space at the village center. A straight line is drawn in the middle of the competition area. Each team
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holds the rope with a ribbon tied in the middle. With the referee's control, the two teams begin topull the rope in rhythm; the team that pulls the ribbon on their side is the winner.
Essential value: In Viet Nam, tugging rituals and games are usually held during the spring festivals,
marking the beginning of an agricultural cycle and expressing a desire for bumper crops. This is aheritage bearing profound significance of agricultural etiquette, symbolizing natural forces’ powerthat affect human crop. 4
Date of inscription by UNESCO: 02/12/2015, Representative List of the ICH of Humanity.

1.2.9. Practices related to the Viet beliefs in the Mother Goddesses of Three Realms
Practice locations: Distributed in many localities such as Ha Noi, Thanh Hoa, Lang Son, Ha Nam,
Hung Yen, Hai Duong, Hai Phong, Thai Binh, Quang Ninh, Vinh Phuc, Phu Tho, Yen Bai, Tuyen Quang,
Hoa Binh, Bac Ninh, Bac Giang, Nghe An, Ha Tinh, Thua Thien – Hue, and Ho Chi Minh City…
Brief summary: The Worshiping of Mother Goddesses of Three Realms is a form of worship of themother incarnating in the skies, rivers, mountains and forests, formed on the basis of the Goddess
worship. People worship Holy Mother Lieu Hanh together with the Holy Mother Gods who are
believed to control over the sky, the forest, the water, historical or legendary figures who havemade contribution to the country and people. Through elements of folklore such as costumes, music,
chau van singing, dance, folk performances in the len dong ritual and festivals, the Vietnamese
expressed their conception of history, cultural heritage, gender roles and ethnic identity.
The main and central rite in the Mother Goddesses of Three Realms worshipping is the ritual called
len dong (going into trance, or spirit possession) - understood as a form of folk performance,
demonstrating the faith of the birth/entry of the gods in the temple. Stages of a len dong ritual
include singing, costumes, and sacred dances in a harmonious combination, showing theconvergence of iconic and spiritual saints. Practitioners believe that, through this form of
performance, they can communicate with the gods to convey and express their desires andaspirations through the ritual priests - who play the intermediate role between human and the gods.
Essential value: This heritage highlights the cultural similarities between the communities andgroups of people involved in Mother Goddess worshiping practice. Practicing this heritage in
different ethnic groups of Viet Nam will enhance dialogue and promote respect for cultural diversity,
contributing to the creation of a spiritual cord that unites practice communities and helps to create,enrich cultural capital through artistic elements such as costumes, dance and music.
Date of inscription by UNESCO: 01/12/2016, Representative List of the ICH of Humanity.

1.2.10. Xoan singing in Phu Tho
Practice locations: Mainly in Phu Tho Province and a part of Vinh Phuc Province.
Phạm Thị Thủy Chung (2017), “Rituals of Cầu mùa (Praying for a Fertile Crop) in Vietnam: Similarity in Concept
and Diversity in Practice”, SPAFA Journal (Open Access), Vol 1, No1.
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Brief summary: As a heritage of performing arts, including singing, dancing, drumming and clapper
beating, Xoan singing associated with the worship of gods, villages’ tutelary gods and Hung Kings, a
tradition rooted in the practice of ancestor worship of Vietnamese people. The bearers andpractitioners of Xoan singing practice form the four Xoan guilds, of which the male and female
masters, or Trum, play the most important role. They preserve the songs, select the disciples, teachthe singing style, the repertoire and organize the performances. They also actively introduce andteach Xoan singing in Xoan guilds and clubs. The performing arts of Xoan singing is very simple andrustic with a harmonious combination of music, poetry, rhymes and rhythms imbued with the local
dialect language of the central region of Phu Tho (folk songs).
Essential value: The form and content of Xoan singing are associated with nature, people, theproductive life of Phu Tho Province and the Vietnamese custom of worshiping ancestors. Throughthe songs and dances, people express their gratitude to their ancestors, the Hung Kings and pray forhappiness, prosperity, favorable weather, and abundant harvests.
Date of inscription by UNESCO: Xoan singing in Phu Tho was inscribed by UNESCO in the List of ICH
in Need of Urgent Safeguarding in 2011. On December 8, 2017, Xoan singing in Phu Tho wasremoved from the above list and moved to the Representative List of the ICH of Humanity.

1.2.11. The art of Bai choi in Central Viet Nam
Practice location: Mainly in the Central region, including the provinces of Quang Binh, Quang Tri,
Thua Thien - Hue, Quang Nam, Quang Ngai, Binh Dinh, Phu Yen, Khanh Hoa, and Da Nang.
Brief summary: The art of Bai choi in the Central Viet Nam is a diverse art form combining music,
poetry, acting, painting, and literature. There are two main forms of Bai choi: Bai choi games andBai choi performance. Bai choi games involve playing cards in a bamboo huts on Lunar New Yearoccasion. Meanwhile, during Bai choi performances, the male and female artists or “Hieu sisters andbrothers” perform on the sedge mats or move from one place to another. Bai choi is also played on
private occasions by families. Most Bai choi artists learned the skills and techniques of chanting andsinging Bai choi in the family, mainly through oral transmission. However, some Bai choi performers
today also teach about those knowledge and skills in associations, clubs, and schools.
Essential value: Bai choi is a creative and improvisational art form, both a folk game and a form ofentertainment of the community which is joyful and intellectual. Bai choi conveys the educational
content of compassion, the love of the homeland and country, criticizing bad habits, leading people
to positive moral values and standards. Bai choi becomes an environment for artistic practice andcreativity as well as preserving regional cultural values.
Date of inscription by UNESCO: 07/12/2017, Representative List of the ICH of Humanity.

1.2.12. Practices of Then by Tay, Nung, and Thai ethnic groups in Viet Nam
Practice locations: Focusing mainly on the Northeastern and Northwestern provinces: Bac Giang, Bac
Kan, Cao Bang, Ha Giang, Lang Son, Tuyen Quang, Thai Nguyen, Quang Ninh, Dien Bien, Lai Chau,and Lao Cai.
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Brief summary: Then is a traditional cultural ritual of the beliefs of Tay, Nung, and Thai peoples in Viet
Nam, describing the journey conducted by Then masters (male or female) to lead the ghost soldiersfrom earth realm (Muong Dat) to heaven realm (Muong Troi) to offer items of worship and pray forpeace, illness healing, good crops, and a happy new year etc. Then is conducted at the home of thehost, in the outdoors or in front of the Then altar at Then master’s house. During the ceremony, Thenmaster dresses in ceremonial attire, singing his ethnic language while plucking the tinh lute, shaking
the rattle-bells, waving a fan; some ceremonies are also accompanied by a group of female dancers.
Then is always orally transmitted when practicing, showing succession between generations. Thenmasters play a key role in transferring relevant skills and know-how.
Essential value: Then practice reflects the concepts of people, natural world and the universe,
contributing to the cultural identity of practicing ethnic groups. Then is also significant in moral
education, humanitarian lifestyles and protection of customs and cultural traditions in each ethnic
group.
Date of inscription by UNESCO: 13/12/2019, Representative List of the ICH of Humanity.

1.2.13. Ca tru singing
Practice location: Mainly in the Northern Delta provinces: Phu Tho, Vinh Phuc, Ha Noi, Bac Giang,
Bac Ninh, Hai Duong, Hai Phong, Hung Yen, Ha Nam, Ninh Binh, Nam Dinh, Thai Binh, Thanh Hoa,
Nghe An, Ha Tinh, and Quang Binh.
Brief summary: Ca tru is also known as a-dao singing, singing at the communal house’s front door,
singing at the right door, co dau singing, nha tro singing, nha to singing, and ca cong singing. This is a
type of performance that uses many literary forms such as poems, stories, and recitation, but themost popular forms are singing-while-talking and telling songs.
Ca tru singing takes place in 5 main spaces: the communal house, the temple of the god, the craft
ancestral house, the mansion, and the auditorium. There are at least 3 people participating in Ca tru
performances: a female vocalist (dao nuong), accompanied by a male artist (kep dan) playing threestringed lute, and another artist (quan vien) playing the drum. The female vocalist sings bystorytelling style along with wooden clapping sound to create the rhythm. When singing, the singer
did not need to open her mouth, nor push the air out from her lungs but compress it inside herthroat, just humming but the lyrics coming out are still very clear.
Essential value: Ca tru is a smooth combination between poetry and music, associated with festivals,
customs, beliefs, ideologies and philosophies of Vietnamese people. Ca tru used to be the type ofroyal court singing, favored by nobility and intellectuals. Ca tru lyrics are philosophical, few words
but multiple meanings, rich in poetry, and carrying several emotions. Ca tru singing techniques arevery sophisticated and meticulous, requiring shaping and elaboration of each word.
Date of inscription by UNESCO: 01/10/2009, List of ICH in Need of Urgent Safeguarding.

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2. Education for sustainable development
2.1. Sustainable development and the UN’s Sustainable Development Goals
2.1.1. Sustainable development
Transformation and development are the ultimate goal of any society or economy. However, recent
decades have shown a strong shift and innovation in the awareness and actions of nations about thenature of such development, with a focus on 'sustainable development’ instead of rapid and strong
development without taking into account immediate and long-term consequences for all aspects oflife, society and the environment.
The concept of sustainable development is formed by accepting the fact that the development
during the long process in the past often caused harm to nature as well as to the cultural heritage ofhumanity, leading to the reduction of future generations’ ability to meet their own needs. In thelandmark report Our Common Future by the World Commission on Environment and Development(WCED) in 1987, the concept of sustainable development is defined as "development meeting
requirements of the present without compromising the ability of future generations to meet theirown needs” (WCED, 1987). The ultimate goal of sustainable development is to improve the life
quality of all citizens in a country and the whole world while ensuring the integrity of the support
systems for the lives of everyone and other creatures.
The three pillars of sustainable development are defined as: Firstly, economically sustainable,
developing and maintaining an economy with good growth but safe and quality; secondly, sociocultural sustainability, ensuring social justice and human development; thirdly, environmental
sustainability, rational exploitation and use of natural resources, environmental protection andimprovement of living environment quality.
The human element is considered as a core variable in sustainable development (UNESCO, 2015).
Sustainable development can only be achieved through a responsible and harmonious relationshipamong people, and between people and the environment.

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2.1.2. The UN’s Sustainable Development Goals(https://www.un.org/development/desa/disabilities/envision2030.html)
The UN Agenda for Sustainable Development to 2030 sets out 17 shared goals for sustainable
development (SDG) so that countries can guide their planning and action plans to achieve them.
Those 17 goals include:
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•

Goal 1. End poverty in all its forms everywhere.
Goal 2. End hunger, achieve food security and improved nutrition, and promote sustainableagriculture.
Goal 3. Ensure healthy lives and promote well-being for all at all ages.
Goal 4. Ensure inclusive and equitable quality education and promote lifelong learning
opportunities for all.
Goal 5. Achieve gender equality and empower all women and girls.
Goal 6. Ensure availability and sustainable management of water and sanitation for all.
Goal 7. Ensure access to affordable, reliable, sustainable and modern energy for all.
Goal 8. Promote sustained, inclusive and sustainable economic growth, full and productive
employment and decent work for all.
Goal 9. Build resilient infrastructure, promote inclusive and sustainable industrialization, andfoster innovation.
Goal 10. Reduce income inequality within and among countries.
Goal 11. Make cities and human settlements inclusive, safe, resilient, and sustainable.
Goal 12. Ensure sustainable consumption and production patterns.
Goal 13. Take urgent action to combat climate change and its impacts.
Goal 14. Conserve and sustainably use the oceans, seas and marine resources for sustainable
development.
Goal 15. Protect, restore and promote sustainable use of terrestrial ecosystems, sustainably
manage forests, combat desertification, halt and reverse land degradation and biodiversity loss.
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•
•

Goal 16. Promote peaceful and inclusive societies for sustainable development, provide accessto justice for all and build effective, accountable and inclusive institutions at all levels.
Goal 17. Strengthen the means of implementation and revitalize the global partnership forsustainable development.

Below each general goal are specific targets for implementation. The SDG4, which reads as "ensure
inclusive and equitable quality education, promoting lifelong learning opportunities for all", includes
8 specific targets, covering different aspects and areas of education, in which indicator 4.7 onsustainable development is expressed as follows:“By 2030, ensure that all learners acquire the knowledge and skills needed to promote sustainable
development, including, among others, through education for sustainable development andsustainable lifestyles, human rights, gender equality, promotion of a culture of peace and nonviolence, global citizenship and appreciation of cultural diversity and of culture's contribution tosustainable development.”
As such, sustainable development is one of the focus of the SDG4 in education, which highlights theimportance of equipping learners with the knowledge and skills needed for the sustainable
development of themselves, community and society. At the same time, this goal emphasizes thesignificance of cultural diversity and the important contributions of culture - including intangible
culture - to sustainable development.

2.1.3. Cultural aspect of sustainable development
As one of the three pillars (economic, cultural-social, environmental) of sustainable development,
culture plays an important role in the implementation of sustainable development, and at the sametime, contributes to the cohesion and promotion of mutual relations with economic andenvironmental sectors.
According to the document Education for Sustainable Development Lens – A Policy and Practice
Review Tools (UNESCO, 2010), the cultural aspect of sustainable development includes the following
basic contents:
Culture and culturalchange Pride in nationand culture National unity
and religion
 Enhance theidentity /language ofcultural minority
groups Enriched bydiversity
 Culturaldevelopment
 Change of culture

Cultural diversity



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

Respect others
Respect fordiversity
Peace and nonviolence
Tolerance andunderstanding
Open dialogue

Cultural heritage

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


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Protect cultural
diversity
Local andnational
historyOraltransmission
cultureList of world
heritage
ArchaeologicalrelicsCultural sectors

Culturaltourism
Art
Drama
Puppet show

Local wisdomIndigenous
knowledge
about flora andfauna, wateruse, sustainableagricultural
practice
Respect for
natural andsocial beliefs(Education for Sustainable Development Lens – A Policy and Practice Review Tools, UNESCO, 2010)
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It can be seen that cultural heritage is one of the focal points of sustainable development’s cultural
aspect. At the same time, cultural heritage also has a close relationship, interacting with othercontents of the cultural aspect in sustainable development, such as national pride, the identity of
ethnic minorities, cultural development, respect for diversity, cultural tourism, indigenous
knowledge and practices etc. Therefore, protecting, developing and honoring cultural heritages including tangible and intangible cultural heritage - is both one of the paths of achieving sustainablecultural development and a contribution to the process of promoting comprehensive developmentof other aspects related to economic, social and environmental dimensions of sustainable
development.

2.2. Education for sustainable development
Education for sustainable development is an education aimed at creating contemporary socialchange to achieve more sustainable societies in the future. In order to accomplish this, ESD
reorients existing educational curricular towards sustainability focus - including the process ofrethinking what is taught and how to teach it. ESD includes the formation of values, skills, attitudes
and behaviors to enable learners to be able to think, predict, criticize, and handle issues related tothe sustainability of the nature, environment, people and society (UNESCO, 2015).
Sustainable development is not an immutable concept but a process of development and continual
improvement for the future of human beings and every living creature on earth. Therefore, ESD isalso a path of regular, continuous lifelong learning to be ready for new changes and thinking. This
process contributes to creating active and knowledgeable citizens and communities withharmonious development in economic, cultural, social and environmental areas - the ultimate
destination of ESD.

2.3. Overview of ESD in Viet Nam
2.3.1. Context
ESD is committed by the United Nations and its member countries under the overall coordination of
UNESCO from 2005-2014 (ESD Decade) in the framework of Agenda 21. ESD Decade is followed by
Global Action Program (GAP), which contributes to the achievement of 17 Sustainable Development
Goals, especially Goal 4.7, through two basic orientations: 1) Reorienting education so that people
have the opportunity to be equipped values, skills and knowledge which enable them to contribute
effectively to sustainable development; 2) Strengthening education and learning in all the agendas
and action programs to promote sustainable development 5. UNESCO has established a network ofpartners to guide and promote the implementation of GAP on ESD. This network includes 90
participating countries, spreads all over the world, indicating the ability to expand and innovate
ESD 6. Viet Nam is also a member of the "Policy Advocacy" group of the above network.
ESD is considered a key element of a quality education, paving the way for sustainable
development in each country and worldwide. In Viet Nam, the Party and the State have identified
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6

http://en.unesco.org/gap
http:// en.unesco.org/gap/partner-network/members
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ESD as one of the important measures to implement sustainable development. This spirit has been
expressed consistently in many policies, strategies and plans of the Party, the State and ministries,
sectors and localities over the past two decades, reflecting an increasing awareness on the close,
interacting relationship between the three pillars of sustainable development, namely economy,
culture-society, and environment, as well as the important role of education in ensuring thecountry's sustainable development goals. The Ministry of Education and Training is assigned by theGovernment to be the focal point for incorporating the objectives and contents of ESD into
education and training programs, especially in the process of implementing the new school
curriculum since 2020.
Realizing its focal role in ESD, the Ministry of Education and Training (MOET) has developed andissued a number of policies from ministerial to local levels to direct and implement the contents
related to ESD in education practice. At the same time, these policies have references to major
national guidelines and policies on sustainable development.

2.3.2. Some basic policies on ESD of Viet Nam
The objectives and contents of the ESD are specifically reflected in national policies related to thethree pillars of sustainable development: economy, culture- society and environment, including thepolicy system from central level (National Assembly, Government) to ministerial level of MOET andinter-ministerial policies.
The Viet Nam Sustainable Development Strategy for the period of 2011 - 2020 (according to theDecision 432/QD-TTg dated 12/4/2012 of the Prime Minister) clearly states the viewpoint in whichhuman is the center of sustainable development, maximizing human factor as the subject, the main
resource and the goal of sustainable development. Referring to education, the Strategy emphasizes
the need to improve the quality of education and training in order to raise the intellectual level ofpeople and professional qualifications appropriate to the development’s requirements of country,
regions and localities; fundamentally and comprehensively renovating Viet Nam’s education
towards standardization, modernization and international integration; enhance practicality, practicalskills, self-study capacity etc. These requirements show the great role and impact of education in thesustainable development process and the overall growth of the national economy and society.
Resolution No.142/2016/QH13 dated 12 April 2016 on the 5-year Socio-economic Development Plan
2016-2020 emphasizes aspects of sustainable development in different areas such as cultural, social,health care sustainable development on the basis of close and harmonious linkage between
economic and cultural development, implementing social progress and justice, improving people's
life; preserving and promoting the heritages and good cultural values of the community of ethnic
groups in Viet Nam.
Based on UN’s 17 SDGs, on May 10, 2015, the Prime Minister approved Decision No. 622/QD-TTg
promulgating the National Action Plan on the implementation of the 2030 Agenda for sustainable
development. This Decision defines “people as the center of sustainable development” andemphasizes “one of the most important tasks is to improve the education system and raiseawareness about sustainable development for all people, communities, businesses, organizations
and government agencies at all levels."
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As a focal point in the implementation of ESD activities, the education sector has issued important
documents, providing orientation, content, and tools to implement ESD in the field of education andtraining, such as National Action Plan on ESD for the period 2010-2014, Decision 2161/QD-BGDDT
dated 26/6/2017 issuing the implementation plan for the SDG in education and training by 2025 andorientations to the year 2030...

2.3.3. Some main results of ESD in Viet Nam
ESD policies cover a wide range of socio-cultural, economic and environmental areas, focusing on
the core issues of sustainable development such as accessing quality and equitable education,
gender equality, ensuring basic human rights, equal development rights of ethnic groups,
responding to climate change and preventing disaster risks, accessing financial and economic,
business resources to ensure quality life; contribute to improving educational and communication
capacity as well as accountability of stakeholders, especially leaders, policy makers, local authorities,
policy implementers etc. in educating and raising awareness for the community and children aboutsustainable development issues.
ESD policies in specific areas have provided regulations and measures to institutionalize teaching
and learning for issues related to sustainable development such as gender equality, conservation ofcultural and linguistic diversity of ethnic minority groups, financial and business education, cultural
heritage education, environmental protection education, etc. in the curricular from preschool andgeneral school level, as well as integrated in teacher training programs in pedagogical colleges tostrengthen the capacity of the people who implement educational policies and curriculum forpreschool level and general school students on these issues.
Several central-level policy documents specify the responsibilities of stakeholders in implementing
ESD contents and particularly emphasize the role of coordination among stakeholders. Thereby, on
the one hand, these policies promote the responsibility of stakeholders in the ESDE activities; on theother hand, they help improve capacity of these subjects to fulfill the role of leading and promotingchange in society.
Many policies of the education sector are important documents to guide educational management
agencies and educational institutions from preschool to general education to integrate ESD contents
into teaching contents by subject/educational level. In fact, ESD contents have been implemented
either directly or integrated into various subjects and educational activities in schools.
Orientations and policies on ESD are increasingly evident and realized through recent educational
programs, projects and activities at both national and local levels such as: Policy and Practice Review
of Viet Nam through ESD Lens (2010), Review of Vietnam's General Education Curriculum - using the
ESD Lens (2010), Developing a school safety assessment toolkit to prevent climate change anddisaster risks for Vietnamese Schools (2015), Implementing the Biodiversity and Sustainable
Development Project at Hue City Schools (2015), developing Advocacy Toolkit for ESD in Vietnam'spreschool and secondary education (2017), ...

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3. The relationship between ICH education and ESD in the context of
education reform in Viet Nam
3.1. Background of Viet Nam’s current education reform
The first decades of the twenty-first century marked the country's development in the renewal
process in all aspects of social life. At the same time, there are changes in many dimensions of theworld. In particular, the fourth industrial revolution and the thriving knowledge economy provide
opportunities for outstanding development but also pose significant challenges for each country,
especially the developing and less developed ones. On the other hand, climate change, resource
depletion, environmental pollution, ecological imbalance and social - political fluctuations also pose
global challenges.
In this context, many countries in the world, including Viet Nam, have identified one of the ways toensure sustainable development of the country is to constantly reform education to improve thequality of human resources and equipping future generations with a solid cultural foundation and ahigh adaptive capacity against all changes of nature and society. Educational innovation, therefore,
has become an urgent need and a global trend.
The 8th Conference of the Communist Party’s Central Committee of Viet Nam (term XI) has passed
Resolution No.88/2014/QH13 on renovating curriculum and textbooks for general education,
contributing to fundamental and comprehensive renovation of education and training. The
renovation objective is stipulated by the National Assembly's Resolution 88/2014/QH13: “Innovating
general education textbooks and curriculum in order to create fundamental and comprehensivechanges in the quality and effectiveness of general education; combine literacy teaching, morality
teaching and career orientation; contribute to transforming a knowledge-transmitted education toan education that helps develop comprehensively both quality and capacity of students,
harmonizing moral, intellectual, physical, aesthetical aspects and bringing into full play the potentialof each student”.
On March 27, 2015, the Prime Minister issued Decision No. 404/QD-TTg approving the National
Scheme on renovation of general education curriculum and textbooks. Accordingly, the newnational curriculum is built towards the following goals: 1) Developing the quality and capacity oflearners; 2) Create a learning and training environment to help students develop harmoniously inboth physical and intellectual aspects, becoming active and confident learners, knowing how toapply active learning methods to complete their basic knowledge and skills, being aware of selecting
their career and pursuing lifelong learning; and 3) Students have the good qualities and capabilities
necessary to become responsible citizens, cultured, industrious, creative workers who meet thepersonal development needs and requirements of the cause of building and defending the country
in an era of globalization and new industrial revolution. The products of a new education will be
people who meet the criteria of a global citizen while retaining the traditional values of theVietnamese people.
The new curriculum (curriculum framework and subjects/educational activities curricular) ensures:
1) Developing learners' qualities and competencies through educational content with basic, practicaland modern knowledge; harmonious development of moral, intellectual, physical, and aestheticalaspects; 2) Focus on practicing and applying knowledge to solve problems in learning and life; and 3)
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Highly integrated in the lower grades, gradually differentiated in the upper grades; 4) Adopt
teaching methods and forms which promote the activeness and potential of each student, methodsof testing and examination in accordance with educational objectives and approaches to achieve thegoals.
The general education curriculum is built in an open direction, ensuring uniform regulations of coreand compulsory education contents for students nationwide. At the same time, the curriculum also
gives the autonomy and responsibility to the localities and the schools in selecting, supplementing
some educational contents and implementing an education plan suitable to the educational subjects
and particular conditions of localities and educational institutions. This contributes to connecting
the school's activities with the family, the authorities and the society. The process of implementing
general curriculum is also the process of its development, in order to supplement, adjust and finalize
the curriculum in accordance with the requirements of the educational practices of the country, thelocality and each school.
The context of education innovation and new national curriculum orientations allow for the
updating of new global educational contents. One of the contents is the implementation of the UN
Sustainable Development Goals as well as ESD objectives which are reflected in Viet Nam's policies
and action plans for the coming period.

3.2. Importance and requirement of ICH education for sustainable development ingeneral education of Viet Nam
Instruction No. 73/HD-BGDĐT-BVHTTDL dated January 16, 2013 of the MOET, the Ministry of
Culture, Sports and Tourism on the use of cultural heritage in teaching in secondary schools andcontinuing education centers has specific regulations on integrating the teaching contents ofcultural heritage into subjects and educational activities of the curriculum (both formal curriculumand extra-curriculum activities), including: 1) Develop a plan and organize teaching of contents
related to heritage and guide students to explore and exploit other aspects of cultural heritage
through documents and objects; 2) Select the appropriate form of teaching: classroom teaching or
extracurricular activities at the school; teaching at places with their own cultural heritage; organizingsightseeing - experiencing cultural heritage; teaching through the media, multimedia etc. This guideis made by the education - training and culture, sports and tourism sectors. In particular, theeducation sector is responsible for fostering and training teachers on how to pilot teaching thecontents of cultural heritage at each level. The culture, sports and tourism sector develops
documents introducing local culture for schools to use as reference in the process of organizing
teaching with cultural heritage elements integrated; providing professional knowledge and skills forgrassroots cadres in coordinating the use of cultural heritage in teaching in secondary schools;
providing professional support in bringing folk games, folk songs, introducing local historical andcultural heritages into the schools.
Currently, the work of protecting and promoting the values of ICHs is still inadequate. The risk ofloss and disappearance of many types of ICH and the degradation of historical sites is still at an
alarming level. While social life is getting more and more exciting, the space for traditional culturalforms is increasingly narrowed or changed. The majority of young people today does not fully
understand the value of cultural heritages but tend to prefer new and modern art forms, less
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interested in understanding the value and beauty of national arts. Therefore, the important role of
ICH education for students is to contribute to preserving and promoting the cultural and spiritualvalues of the nation. Besides, ICH education also contributes to building a cultural environment inschools. In particular, ICH education is one of the important ways to contribute to personality
development of students. This is also an important manifestation of ESD goals.

3.3. The relationship between ICH education and ESD
ICH is a spiritual product associated with the community or individuals, related objects and cultural
spaces, having historical, cultural and scientific values, expressing the identity of the community,
constantly being recreated and be passed down from generation to generation by word of mouth,
craft teaching, performance and other forms, including: voice, writing, lifestyle, festivals, traditional
craft secrets, cuisine culture, traditional costumes etc. Learning about ICH in schools contributes not
only to preserving and promoting the cultural and spiritual values of the nation but also to theimplementation of one important contents of the SDG4, (namely 4.7 - focus on culture area), andalso related to some other areas of sustainable development (environment, society, economy etc.)
ICH provides vivid examples of educational content and methods. Communities constantly seek tosystematize and transfer to future generations the insights, life skills, qualities and competencies,
especially those related to the natural and social environment. Up to now, even where there is aformal education system, traditional knowledge and methods of teaching are still being usedeffectively. These knowledge and skills relate to many professions and fields: from cosmology andphysics to the health and sustainable use of natural resources; from the life cycle of people toresolving conflicts and stress; from knowledge of ego and status in society to creating common
memories; from architecture to materials science. A quality education for people does not separate
the younger generation from this rich resource but is firmly connected to their cultural identity.
Therefore, a quality education must recognize the wealth brought about by ICHs and promote
educational potentials, on the one hand, through integrating the ICH into curriculum in all related
fields, and on the other hand, by seeking to advance the potential of traditional ICHs transmission
models into the education system.
The use of ICH in school teaching aims to accomplish the following objectives: establishing andraising the sense of respect, preservation and promotion of cultural heritage values; improve theactiveness and creativity in renovating learning and practicing methods; contribute to improving thequality and effectiveness of education, discovering and fostering students' talents and gifts. Startingfrom those objectives, one of the tasks of ICH education for students is to help them understandsome basic characteristics of ICHs; educating the respectful attitude and protection the values of
ICHs as well as the historical value of the country and humanity; educating positive behaviors inpreserving ICHs. The forms of ICH education in schools include: organizing life skills education forstudents through extracurricular activities, which integrates conservation education and ICH value
promotion contents; organizing experiential learning at cultural venues; study tours at the museum;and cultural performances…

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In addition to experiential activities in schools, ICH education can also be integrated into thesubjects: Literature, History, Geography, Citizenship Education, Music, Fine Arts etc., inspiring
students to learn about Viet Nam’s national culture, helping them understand and love subjects, andat the same time, helping teachers have more materials to supplement their teaching, actively
innovating the teaching methods. Besides, the implementation of ICH contents in schools will help
students consciously preserve the cultural values in general and intangible culture values inparticular as an important part of the SDGs. These contents need to be integrated appropriately in
the implementation of the new curriculum.
Thus, ICH education in schools is also to realize one of the SDGs (SDG 4.7), but not only in terms ofculture but also helping students develop life skills, promoting social relationships, preserving theliving environment and improving the quality of life. Currently, policies on ESD, including thoserelated to ICH education, have been issued. It is important for teachers to be equipped with specificknowledge and skills to effectively implement this content in schools. In order for ICH education forsustainable development is carried out uniformly and appropriately in schools, it is necessary tohave concrete instructions on how to implement it in each educational level, subject and activity.

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PART IIGUIDELINES FOR IMPLEMENTING ICH EDUCATION IN SCHOOLSTOWARDS SUSTAINABLE DEVELOPMENT GOALS
1. Involved resources
ICH education is an active process that requires the scientificness, coherence, initiative, and flexibility of
the involved resources.

1.1. Students
The use of cultural heritage in teaching and educational activities is closely linked to the goals ofcomprehensive education for students in terms of morality, intellect, physicality, and aesthetics, as wellas the innovation and diversification of teaching methods. In particular, students play a central role inthat process, promoting their own initiative, activeness, and creativity in discovering and using ICH in
the lessons and educational activities. In order to increase students’ interest in learning and discovery,
the curriculum and experiential programs need to be appropriately designed in accordance with theirage and accessing conditions.

1.2. Teachers
ICH education for sustainable development is a challenge for teachers. In addition to their pedagogicalmethodologies and in-depth knowledge of the subject taught, teachers need to cultivate more
understanding about ICH and sustainable development. Besides, they also need to balance the use of
ICH in teaching with the integration of several other contents (such as traffic safety, gender equality,
environmental protection etc.) into lessons under the general policy and guidelines of the MOET.
Building a lesson integrated with ICH for sustainable development also takes more time and requires
teachers to innovate their teaching methods.
However, this is also an opportunity for enthusiastic teachers. Using ICH in teaching stimulates theirflexibility and creativity in building exciting and engaging lessons that provide students with interesting
experiences and help enhance the connection between theories and practices as well as the association
between teachers and students. Teachers act as a link, in which they directly realize the State's
educational policy on training students to become citizens with scientific knowledge, passion for thenational cultural heritage, and necessary skills to integrate into the modern society towards SDGs.
Effective collaboration between teachers and other resources will help improve the quality of ICH
integrated lessons for sustainable development.

1.3. Community of cultural bearers
In the past, the community of cultural bearers was formed and connected mainly based on blood
relations, origin of lineage, and residence. Through the process of cultural change, common interestsand concerns have today become the determinants of community sustainability.
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The communities of people who create the values of intangible culture, ICH owners, and people who
master, practice/perform, and transmit knowledge about ICH play an important role in the provision of
information, practices/performances, and knowledge transmission of ICH (including legends, fairy tales,customs, practices, beliefs, arts, treatment knowledge, professional know-how, etc.). The community ofcultural bearers acts an active role, both as ICH owners and ICH beneficiaries. Therefore, providing
truthful, complete and original information about the ICH that they create, own and practice expresses
their self-responsibility in ICH protection in particular and in maintaining the community’s identity ingeneral. In addition, when possible, cultural bearers may also participate directly in the lessons or school
activities, which brings students the opportunity to reach out to cultural bearers and perceive direct
information. This can make the lessons livelier and highly interactive, increasing students’ interest in
learning and improving their ability to absorb necessary knowledge, values and skills.
It should be noted that, the ICH is not something unattainable or ethereal, but rather the community’s
cultural product that is traditional, living and recognized by the community itself, not only because it istheir asset, but also it is important to their identity. Therefore, for such ICH(s) practiced in the areaaround the school or the students’ residence, the community of cultural bearers may not be strangers
but students’ grandparents, parents, relatives, neighbours, and even the students themselves. The
exchange between students and the cultural bearers who are close to the students in the preparation of
the lessons will create useful discussions inside the community, enhancing their pride and raising theirawareness of their own ICH conservation towards sustainable development.

1.4. Scientists, ICH experts, and educational experts
Scientists, ICH experts, and educational experts play an important role in the process of coordinating
heritage education programs, providing teaching tools, guidance and consultation for teachers andstudents so as to build effective and attractive lessons with the integration of ICH. In this process, ICH
experts act as a link between the schools, the educational sector and the communities of culturalbearers. They give teachers advices to select appropriate ICH to connect with lesson contents andsustainable development goals. Educational experts, based on their professional methods andeducational practices, provide teachers – who prepare the lessons – as well as school managers withmore effective options for bringing ICH into educational practices.
In order to implement the ICH educational program, the connection and collaboration between ICH
specialists and educational experts is indispensable. This collaboration will achieve the optimal
effectiveness if each party maximizes its professional capacity, dedication and responsibility while
ensuring the necessary respect for the role of each professional field.

1.5. Cultural managers
Activities of scientists, ICH experts, educational experts and the participation of teachers and students in
the ICH educational process towards sustainable development need the support in terms of guidelines,
visions, human and material resources of the cultural sector. Cultural managers at all levels are not only
close to the heritage but also play a vital role in making cultural management policies. Therefore, they
are the people who help facilitate the ICH educational process and make it completed smoothly,effectively and ensure the criteria of sustainable development.

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1.6. Educational managers
Given the guidelines of the MOET on the use of ICH in teaching and learning in schools, educational
managers need to be aware of the role and meanings of these guidelines to the construction of skills
that help apply knowledge into practice and contribute to the development of student’s capacity.
Accordingly, educational managers have an important role in organizing training programs, arranging
human and material resources and appropriate time for teachers so that they are able to actively
participate in heritage educational programs that would maximize their teaching capacity in ICH related
contents.

1.7. Communication
Communication (in the sense of mass media, or the press) plays a role in promoting information sharing
in many aspects, including ICH and the preservation, education of ICH for sustainable development.
Communication participates in heritage education through propaganda, advertisement, andintroduction of ICHs’ characteristics. As such, communication becomes a bridge between individuals in acommunity or among communities. It provides the public with a complete and correct understanding of
ICH(s)’ characteristics in the localities within and outside the country. Thus, communication helps inraising people’s awareness of conservation and promotion of ICH values. Teachers’ exploitation of anumber of credible media materials for the preparation of lessons integrated with ICH towards
sustainable development is also a way that communication participates in heritage educational process.
This also means that teachers should take initiative in searching for and using official sources of
information to avoid inaccuracies due to journalists’ subjective judgments or biases, which could affect
the quality of teaching and learning in heritage education.

2. Approach
2.1. Student-centered approach
The student-centered approach shifts the important role in the teaching and learning process fromteachers to students. This means that students play an active role in the process of acquiring knowledge,
practicing skills, and perceiving values. Lesson preparation requires students' participation in the firstplace, which creates excitement for students, and also is a way to share the responsibility between
teachers and students. From being the one who merely transmitted knowledge to students with a oneway, top-down approach, teachers now become the facilitators who accompany students in the path of
exploring knowledge and acquiring new skills and values. The student-centered approach also highly
values students' understanding, encouraging them to use their previous knowledge, imagination, andcreativity to contribute to the lesson, which helps increase exchanges and discussions during learning
process. This approach also expands the network of individuals involved in the process of understanding
about cultural heritage and multicultural discussions. This happens when students ask their
grandparents and parents about the experiences and insights of the previous generations on the cultural
heritage that they need to learn about. Intergenerational exchanges are a natural and effective way oftransmitting and preserving cultural heritage, thereby contributing to raising awareness of the skills andvalues required through the lesson as well as understanding of cultural heritage characteristics towards
sustainable development.
It should be noted that, in student-centered approach, students' contributions to teaching and learning
process need to receive certain concern and respect.
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2.2. Interest of teachers in ICH and education for sustainable development
Education for sustainable development through ICH integration into lessons in school can only berealized when teachers are aware of the significance of this educational orientation. This awareness will
help teachers understand that ICH preservation and promotion is an important factor for maintaining
culture – one of the foundations for socio-economic development. Since then, teachers themselves
actively learn about ICHs, have interest in integrating ICHs into lessons, keeping in mind the need offinding more effective teaching and learning methods to make the lessons fruitful. Teachers' interest will
also help create inspirational and emotional lessons, making it more effective when teachers guidestudents to search for knowledge, cultivate their skills, and perceive values needed for the developmentof individuals in particular and of the society in general. In other words, before acting as facilitators forstudents, teachers need to be encouraged to approach ICH educational methods towards sustainable
development in an open and positive way. This makes the lesson with ICH integration not an obligatory
task that is carried out unemotionally but actually benefits both teachers and students towards SDGs.

2.3. Diversifying learning methods
People perceive knowledge in many different ways. Studies have shown several models of different
human learning styles. In 1979, Walter Burke and his colleagues introduced the VAK model including
visual learning, auditory learning, and action learning. Visual learning is a way in which people approachknowledge through photos, shapes, sculptures or paintings. Auditory learning is a way of acquiringknowledge through listening activities, rhythms, sounds, and songs. Action learning involves acquiringknowledge through gestures, postures, body movements and manual manipulation of objects. In 1987,
recognizing that there were people who could only gain knowledge through reading and/or writing, Neil
Flemming further developed the VAK into VARK model by adding the “R” (Reading/Writing). 7
Based on the perception of people’s different ways of acquiring knowledge, there is a need ofdiversifying the learning methods in education for sustainable development through the integration of
ICH into school lessons. Making short videos to introduce the heritage or its characteristics is visual orauditory learning. Understanding the insights and meanings of folk songs’ lyrics is to learn throughreading; preparing presentations is a way of learning through reading and writing activities. The
organization of role plays or drama, the experience of playing musical instruments, dancing, playing
games etc. are various ways of action learning.
To mobilize the initiative and creativity of students, activity-oriented learning is a way of learning that
responds to different learning styles. Project-based learning and studying at a heritage site are someexamples. This approach will inspire students in acquiring necessary knowledge and skills for thedevelopment of global citizens in sustainable development process.

2.4. Combining elements of ICH and principles of ESD for learning
In order not to make it a burden for teachers, students and the curriculum itself during the process of
ICH integration into learning towards sustainable development, the teaching and learning should:• develop relevant methods to enrich formal teaching and learning;Vũ Phương Nga (2015), “The role of audio-visual materials in museums”, Journal of Museums and Anthropology,
p. 147-162

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• not merely focus on teaching the content of ICH but on how people practice that heritage instead; use
cultural heritages as a tool to deliver lesson contents as well as knowledge, attitudes, and skills related
to sustainable development gained through ICH learning;• analyze the curriculum to determine the "gateway" for the learning of knowledge, attitudes, and skills
related to sustainable development through ICH exploration; avoiding thoughtless imitation or rigidity
regarding time allocation and volume of contents for ICH education; encouraging and facilitating
students so that the process of self-study and self-awareness still continues after the class hours 8.

Subject topic

Integration
through
Lesson plan

ICH practice

ESD principles

2.5. Whole-school approach
In order to realize ESD through the integration of ICH into lessons, simply and solely focusing onteaching and learning is not enough because it will be difficult for learners to see a greater context ofthe need for heading towards of sustainable development in both awareness and action. The goal of ESD
is to make individual changes, which then leads to social changes. The second process is not necessarily
a continuation of the first one, they can be parallel instead. Therefore, it is necessary to create an
educational environment conducive to sustainable development at all levels as a basis for teaching andlearning towards sustainable development goals.
For example, it is possible to make classrooms and schools to be green facilities (by planting trees,
economical use of electricity, water, paper etc.) and create an equal learning environment for all
learners, allowing open exchange between teachers and learners so that students can practice what
they perceive, develop their knowledge and appropriate attitude towards sustainable development
process. Creating access models at all levels and for all school stakeholders will spread educational
outcomes, thereby leading to positive changes of learners' living environments (such as families,

Masahisa Sato (2018), “SDG 4.7 and Quality Education – Effective Linkages between ICH & ESD” (presentation on
expert meeting for “Multi-disciplinary on Intangible Cultural Heritage’s Contribution to Sustainable Development:
Focusing on Education”, Hanoi, 2018.
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neighborhoods…) 9. With this approach, not only teachers and learners but all individuals in or related tothe school's organizational structure need to be aware of and act towards sustainable development tocreate an overall effect on teaching and learning.

3. Methods of implementation
3.1. Methods for material research
In order to use ICHs as illustrations in the lessons for the purpose of knowledge acquisition about
science (subject-specific) and sustainable development, teachers may apply various methods incollecting and processing information for the lessons.
• Reviewing secondary documents: Teachers need to read documents published or posted on theInternet about ICHs and sustainable development in order to understand the key contents of both areas;• Participatory observation: Visit ICH sites, attend ICH practice sessions to gain direct information as well
as feelings about the heritage;• Retrospective investigations: Talk with the heritage artisans about the process of heritage formationand development to gain knowledge about the history of the heritage, thereby understanding theimportant role of human resources in heritage preservation;• Life story and oral history: Talk with heritage artisans about their life’s milestones that were closely
attached to the heritage to understand cultural habits in heritage practices and the know-hows ofcreating unique characteristics of the heritage etc.;• Expert consultation: Interview experts, scholars, and researchers in relevant fields (such as heritage,
culture, ethnology, sustainable development, local knowledge etc.) to get an overview of the heritageand deeper understanding of sustainable development elements through the conservation of cultural
heritage in general, of ICH in particular;• Questionnaires: List the questions to guide information collection; Group the questions by topics (forexample: heritage history, heritage characteristics, heritage values, heritage practices, requirements forpractitioners etc.). A good questionnaire will help cover necessary information and take advantage oftime to talk with experts and heritage artisans;• Collection of audiovisual materials: Take pictures, conduct filming and recording to collect materials
that help reflect the heritage visually and vividly.

3.2. Document resources• About cultural heritage:-

9

List of ICH in Viet Nam inscribed by the UNESCO in the Representative List of the ICH of Humanity
and the List of the ICH in Need of Urgent Safeguarding; National List of ICHs issued by the MoCST;
List of local ICH inventories prepared by the District Division of Cultural and Information and theCity/Provincial Department of Culture, Information and Tourism;

UNESCO (2017), Education for Sustainable Development Goals – Learning Objectives, pp. 53-54.
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-

Research books and related collections: scientific articles published in specialized journals(Folklore Review, Ethnology Review, Museum & Anthropology Review, Heritage Review, Religion
Review etc.); thesis, and dissertations on relevant fields;
Audiovisual materials: Documentary films, photographs of ICH forms and practices; audio tapesof interviews with experts, cultural researchers, cultural managers, and artisans who mastercultural heritage;
Internet: UNESCO website, website of the Department of Heritage (MoCST), and other related
websites (note that the information on the Internet needs to come from a reliable source, ormust be verified to ensure authenticity).

• About sustainable development:-

Government documents on sustainable development and sustainable development goals,
national sustainable development strategies, the National Action Plan for sustainable
development goals etc.;
Basic knowledge about sustainable development provided by UN agencies or equivalence;
Research documents about sustainable development: books, reviews, thesis, dissertations etc.
(especially those related to local knowledge, their applications in human life, their roles inlivelihoods within the context of globalization towards sustainable development goals).

• About the preparation of ICH integrated lessons towards sustainable development:-

Documents of the MOET on educational innovation, ICH education in schools, and ESD;
Implementation plans for building ICH integration lessons, prepared by the provincial
Departments of Education and Training and districts’ Bureau of Education and Training;
Guidelines for building lessons integrated with ICH for sustainable development issued by
UNESCO and the MoCST;Videos of sample lessons integrated with ICH posted on the website of the MOET.

3.3. Procedures of implementation
This procedure is developed based on the experience of implementing the project on Incorporating theICHs of Ha Noi into the lesson plans in lower secondary schools (2004-2005), jointly carried out by the
VME, the Department of Education and Training of Ha Noi, Ha Noi People’s Committee, and Department
of Cultural Heritage (MoCST), which resulted in the printed material Building the lesson plans using ICHs
(2014). In ICH education process, teachers play a very important role in bringing ICH contents into
existing lessons in the curriculum. The implementing procedure for an ICH integrated lesson plan can bedivided into different steps, depending on subject, lesson, and the degree of connection between
teachers and the ICH. There are, however, some key steps which are indispensable for teachers if theywant to ensure the effectiveness of teaching.

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Step 1
Step 2
Step 3
Step 4
Step 5•Investigating, studying, and making a list of ICHs
•Identifying the linkage between ICH and content of the existing lesson•Designing the lesson plan
•Pilot teaching to collect feedbacks and improve the lesson•Teaching students using the lesson plan integrated with ICH

Step 1: Investigate, research, and make a list of ICH
Teachers need to:• Understand the definition of ICH and its characteristics, especially those that teachers will choose tointegrate into the lesson;• Apply methods to collect information of the ICH (mentioned in section 3.1.) to understand various
types of ICH at national and local level through different document resources (presented in section 3.2.);• Create a summary table about the ICH of the locality or of an ethnic group- Purpose: To facilitate later search and use of information;- The summary table should include: heritage name; heritage site; the process of heritage formation;
heritage characteristics; community who creates and nurtures the heritage; heritage values; heritage
practices in current context.
This summary table needs:- To be created with the assistance of local cultural officials, researchers, and cultural managers in orderto verify the accuracy of information and images of the cataloged ICH or to compare with official sourcesof information 10;- To be discussed and shared in the subject teaching team of the school to support teachers’ work andensure an equal knowledge provision for students among different classes.
The summary table of (tangible and intangible) cultural heritage, if being done adequately within a local
area, will facilitate the teachers’ process of searching information about cultural heritage to integrate
into the lessons.
Vũ Hồng Nhi (2017), Research, preserve and promote the values of folk culture in the Viet Nam Museum of
Ethnology, Journal of Folk Lightsource, No. 4, p. 97 – 104

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Step 2: Identify the link between the ICH, the values, knowledge and skills related to sustainable
development and the lesson content.
Teachers need to:• Master the curriculum framework contents and knowledge, skill, attitude requirements of each lesson;• Have certain knowledge of sustainable development;• Study the lesson contents in curriculum and textbooks, identifying the link between scientificknowledge required by the lesson and ICH characteristics, based on information of the developed ICH
summary table;• Establish an integrated framework that links the subject knowledge – heritage values and theknowledge, skills, and values related to sustainable development (see some examples in section 4.1.)
Note: A lesson can be illustrated by different heritages and convey different knowledge aboutsustainable development to avoid boredom as well as to enrich students’ understandings about values,
knowledge, and skills related to sustainable development.
• Depending on the school's facilities and the teachers’ teaching conditions, select an appropriate ICH
for preparing a detailed lesson integrated with ICH and the corresponding values, knowledge, and skills
related to sustainable development.
• Discuss in the subject teaching team to share and agree on the final teaching plan.
Step 3: Design the lesson plan
Teachers need to:• Stick to the goal: Integrate ICH into the lesson, ensuring the curriculum’s and lesson’s requirements
while conveying the values, knowledge, and skills related to sustainable development;• Study secondary materials related to the selected ICH, identify information and images that need to be
added to develop lesson contents;• Determine ways of supplementing further information and images for the lesson:- Fieldwork study: help gather information directly and in details;- Interview experts and researchers who are knowledgeable about the chosen heritage: collect key
information and ask for updates about the heritage;- Refer to secondary documents for newly updated information.
Note: If possible, all of the above procedures should be implemented. Otherwise, teachers take initiativein finding an appropriate option.
• Develop a detailed lesson plan based on the integrated framework created in step 2.
This integrated lesson needs to meet the following requirements:- Correctly and adequately comply with the prescribed curriculum in terms of subject requirements;

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- Balance, to some extent, the amount of time devoted to subject knowledge, understandings of the ICH
and the values, knowledge, and skills related to sustainable development; ensure the allocated classhour;- Determine the contents to be prepared in advance for both teachers and students for an effective
lesson;- Apply student-centered approach; facilitate students to actively explore knowledge, skills and values
related to the subject, ICH, and sustainable development through active, participatory learning.
Suggestions of some interactive learning activities for students:- Conduct presentation: by individuals or groups;- Role-play: discussion, role assignment, role playing;- Make models from available, easy-to-find materials and conduct presentation of the model: by
individuals or groups;- Take photos according to topics and prepare exhibitions in class: group work;- Film and record interviews to make a video about cultural heritage: carried out by
teachers/school/student groups;- Invite experts, researchers, heritage artisans to participate in the lesson;- Play games related to heritage content: teamwork;- Field trips (for extra-curriculum/experiential activities).
Note: Before field trip, teachers instruct students how to collect materials to create interactiveclassroom activities; things to do before, during and after the field trip.
In fact, the teaching will be more effective and lively if teachers are able to do fieldwork to learn about
the heritage in advance.
- Field trips should not be too long; there should be 2 trips, each one lasts 1–2 days depending on
specific conditions of teachers and schools.
- Before the trip: teachers need to review available secondary documents to have a certain
understanding of the heritage; prepare the questionnaire/checklist of the heritage; prepare equipment
for fieldwork, based on the conditions of the school and teachers (notebooks, pens, cameras, recorders,camcorders...);- During the trip: applying information, collecting methods for fieldwork (see section 3.1.)- Trip 1: Gathering information at the heritage site through interviews, recording photos, videos…; verify
the appropriateness of the heritage with the lesson content; determine the form of teaching (in theclassroom or at the heritage site); prepare objects and documents as supplementary materials for thelesson; consider the possibility of inviting local heritage bearers/artisans to participate in learning
activities.
- After trip 1: Revise the lesson plan based on the collected materials and information;
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- Trip 2: Collect additional materials needed for the revised lesson plan (if any); prepare objects andteaching aids for the lesson.
Step 4: Test, collect feedbacks, and finalize the lesson plan
If possible, teachers should organize a piloted lesson to get the feedbacks of school administrators,
professional managers of the District Education and Training Department, and colleagues in subject
teaching team in order to check and improve the following aspects:• The relevance of the ICH with the lesson content;• The logic between knowledge about sustainable development, ICH values, and the subject
requirements;• The feasibility of the methods used and the degree of linkage between the ICH and the lesson;• The relevance of lesson’s total duration and time allocated for each part/content of the lesson.
In order to meet the curriculum requirements, based on the evaluation of the test lesson, teachers can:- Cut off or replace activities where necessary;- Adjust duration for each activity;- Add more materials and/or equipment to support the lesson, if needed.
Step 5: Conduct the ICH integrated lesson plan
• Incorporate the completed lesson plan into subject teaching master-plan according to the school's
academic schedule.
• During the teaching process, teachers continue to evaluate and propose suggestions to adjust and/or
supplement the lesson with the school managers, the subject teaching team in order to get an optimallesson.
• For a highly effective lesson, teachers need to be well-prepared and fully qualified so that the lesson
takes place safely and effectively in the classroom or at the heritage site as planned.
• If the lesson is organized at the heritage site, teachers should set specific requirements for students
before, during and after the lesson.
• Conducting a mini survey after each lesson to evaluate the results and understand students’
expectations will help teachers teach the lesson more effectively.
The survey should contain the following:- The scientific knowledge that students gain from the lesson;- Students’ knowledge and understanding about ICH integrated into the lesson;- Values, knowledge and skills related to sustainable development that students could acquire from thelesson;39

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- Student's feelings and expectations after the lesson; what they want to know more about the ICH
introduced;- Significance of the acquired values, knowledge, and skills related to sustainable development to
student lives.

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42

1

TT

7

6
7
8
9

Music

6

Music

Music

SUBJECT
TITLE

GRADE

Music
enjoyment Music and life

Overview ofViet Nam folk
songs

Overview ofViet Nam folk
songs

THEME

4.1. Integration framework
NAME OFHERITAGE

41- Feel some folk songs andtraditional music pieces;- Distinguish the nature of some
melodies and music pieces;- Name some popular folksongs, point out some featuresof learned cultural heritage;

Recognize the diversity of Viet
Nam folk songs and theconnection between music andculture, history, society, andother art forms.

The art of Bai
choi inCentral VietNam

Vi and Giamfolk songs ofNghe Tinh

Initially get familiar to Viet Nam Vi and Giamfolk songs and recognize thatfolk songs offolk songs play an important
Nghe Tinhrole in the people’s lives in Nghe
An and Ha Tinh provinces.

OUTCOME REQUIREMENTS

Vi is a free singing style, its
rhythm is not fixed in staff andcadence; Giam is a form of
singing while talking based on
poems written with clear
rhythm; Vi and Giam folk songs
are sung in almost all daily life
activities such as lullaby forchildren, weaving, rice growing.
Vi is to compose and recite apoem extempore, which applies
the method of setting an ethnic
poem to music with interval not
exceeding one octave;
Giam is a way of alternating
singing in groups or a few
people, following the form of afive-word verse that is highly
narrative.
The art of Bai Choi includes
hundreds of lines of poetry,verses, and thousands of folksong verses; Improvisation is its
performing style.

MAIN FEATURES OF THE
HERITAGE

4. Integration of ICH into school lessons towards sustainable development goals- Understand a form ofentertaining community
activities that help create
community cohesion;- Songs with educational
content about love forhomeland, country, family,- Understand thecharacteristics of Vi andGiam folk songs and theirvalues;- Be aware of protecting anddisseminating traditionalmusic values.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)- Recognize the rhythm of Vi
and Giam and the role offolk songs and cultural
heritage in people’s life;- Honour and be proud of
the nation’s cultural
heritage.

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43

TT

Music

Music

SUBJECT
TITLE

6
7
8

6
7
8
9

GRADE

Music
enjoyment UnderstandMusic
enjoyment Music and life

THEME

42

- Feel and distinguish the timbreof the musical instrument;- Identify some characteristics- Feel some folk songs andtraditional music pieces;- Distinguish the nature of some
melodies and music pieces;- Name some popular folksongs, point out some featuresof learned cultural heritage;- Identify the role of folk songs
and cultural heritage in people’slife.

- Identify the role of folk songs
and cultural heritage in people’s
life.

OUTCOME REQUIREMENTS

Ca tru singing

Art of Don ca
tai tu music
and songs inSouthern Viet
Nam

NAME OFHERITAGE

Improvised performance;
Require many skilful singing
techniques: recitation,
modulation, ligature; Audiencecan join in to practice,comment, and create new
lyrics;- The skills to play musicalinstruments in Don ca tai tu:
vibrating, pressing, twanging,flicking, flipping etc.; Learners
need to start playing solo, thentrio, quartet, quintet, andsextet with different musicalinstruments combining the
melodies (of wind instruments):
North, Summer (music), Spring,
Melancholy, Plaintiveness etc.
to describe feelings, happiness,sadness.
Musical instruments of Ca tru
include Day instrument, drum,
and castanet. Day instrument

MAIN FEATURES OF THE
HERITAGE- Musical instrument
coordination skill (thecoordination to perform a

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)and the ancestors;- Characters in the lyrics arepresented equally;- Cultural heritage ispreserved, continued andcreated through this art
form.
- Understand about cultural
behaviour and learning
spirit;- Musical instruments
coordination skill (thecoordination to perform atask together towards acommon goal);- Honour and be proud of
the nation’s cultural
heritage.

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TT

Music

SUBJECT
TITLE

6
7
8
9

9

GRADE

Learn andexperience folk
songsmusicalinstruments

THEME

43

- Tell the names of some
popular Quan ho folk songs;- Understand the rhythmic
characteristics, melodies, andperformance style of Quan hofolk songs;- Feel the emotional nuance in
Quan ho’s tones and lyrics.

of the shape, material, specifictimbre, and form of
performance of the musicalinstrument;- Recognize the role of musicalinstruments in musicalperformance.

OUTCOME REQUIREMENTS(b) Vi andGiam folksongs of Nghe
Tinh(a) Quan ho
Bac Ninh folk
songs

NAME OFHERITAGESUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)(or dan day) creates the bass;
task together towards a
castanet keeps the beat incommon goal);
combination with the treble- Honour and be proud ofvoice of ca tru singer to create a the nation’s cultural
great sound mixing. Previously, heritage.
some selected audience (quanvien) would beat the drum toreward Ca tru songstress.
Today, the drum is always
included in a Ca tru
performance.
- The system of melodies and- Experience and explore thelyrics of Quan ho folk songs are art of folk songs help
distinctive and diverse,
students have a rich spiritualreflecting the emotional
life and improve aesthetic
nuances of Quan ho singers;
tastes;- Quan ho folk songs are always - Expand the knowledge
practiced in the community’s
about music in relation tosocio-cultural activities; theyhistorical, cultural, and social
are maintained, handed down
factors help students honour
to next generations by theand consciously preserve,
community, becoming the local protect, and disseminate
identity, and spreading totraditional music values.
develop into a specific cultural
space.
- Vi is a free singing style so Vi
singers can improvise and theexpressiveness depends on theenvironment, performing time,and singers’ mood;

MAIN FEATURES OF THE
HERITAGE

2
45

Civic
education2

Civic
education

SUBJECT
TITLE

TT

7

7

GRADE

Pride of thehomelandtradition

Culturalheritagepreservation

THEME

44

- List some manifestations of
the country's cultural traditions
and patriotic traditions fighting
against foreign invaders;- Understand the values andmeanings of the homeland’s
nice traditions;- Express the pride of thehomeland’s nice traditions.

- Identify the concept of cultural
heritage and some types ofcultural heritage in Viet Nam;
- Explain why cultural heritage
needs to be preserved:- State basic provisions of thelaw on rights and obligations oforganizations and individuals in
cultural heritage protection.

OUTCOME REQUIREMENTS

Giong festival
of Phu Dongand Soc
temples

Tugging
rituals andgames in Viet
Nam,
Cambodia,South Korea,
Philippines

NAME OFHERITAGE- The image of Saint Giong
expresses the nation's great
desire for victory, throughwhich students can understandthe patriotic tradition and the
tradition of fighting against
foreign invaders, thereby
showing the pride of thehomeland’s beautiful traditionby age-appropriate acts;

Giam is a form of singing while
talking based on five-wordverses that are highly narrative,
often in the forms ofstorytelling, advice, confession
etc.;- The content of Vi and Giam
lyrics contains cultural values
related to agricultural life andculture.
Tugging rituals and games bear
cultural values related toagricultural life and productionof the communities whocreated and nurtured thiscultural heritage.

MAIN FEATURES OF THE
HERITAGE- Respect culturaldifferences among ethnic
groups;- Honour and be proud of
the country’s cultural
heritage;- Be conscious of preserving
the precious values ofcultural heritage for the next
generation.
- Citizens' responsibility fornational security;- Citizens' responsibility
regarding traditional
morality.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)

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TT

9

8

GRADE

Activeparticipation incommunity
activities

Respect thediversity of
ethnic groups
and cultures in
the world

THEME- Identify types of community;- Explain the need to participate
in community activities;- Actively and voluntarily
participate in age-appropriate
community activities organizedby classes, schools, and local- Understand the meaning ofrespecting the diversity of
ethnic groups and cultures in
the world;- Respect, learn and absorb thequintessence and experience ofthe peoples and cultures in theworld by age-appropriate
actions.

OUTCOME REQUIREMENTS

Tugging
rituals andgames in Viet
Nam,
Cambodia,South Korea,
Philippines

Tugging
rituals andgames in Viet
Nam,
Cambodia,South Korea,
Philippines

NAME OFHERITAGE- Giong festival is a cultural
phenomenon that has beenpreserved and transmitted
quite continuously andintegrally through many
generations.
- Tugging rituals and games are
imbrued with the mark of
agricultural rituals, symbolizing
the power of natural forces
affecting the well-being of
human life;- Be a competitive game thatshows people’s endurance andresistance;- The festival is held in early
spring to mark the beginning ofan agricultural cycle, wishingfor favourable weather andprosperity 11
Communities perform tugging
rituals and games to pray forgood harvests, enhance theharmony and unity amongcommunities, schools andregions regardless of socioeconomic differences.

MAIN FEATURES OF THE
HERITAGE- The cohesion and solidaritythat form community’s
strength to overcome
difficulties and challenges inlife;- Honour and be proud of
the nation’s cultural- Respect culturaldifferences among ethnic
groups;- Honour, be proud of, andconsciously preserve theprecious values of cultural
heritage for all generations
to come.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)

45

Pham Thi Thuy Chung, “Some characteristics of traditional games in Southeast Asia – Reflection from local cultural identity”, Journal of Museum and Anthropology, No.
3/201411

Civic
education

Civic
education

SUBJECT
TITLE

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47

3

TT

Experiential 6
activities

Experiential 6
activities

SUBJECT
TITLE

GRADE

Social activities
and community
services Activities ofculturaleducation,
friendship, andcooperation

Building
community
activities

THEME

46

Participate in playing tug of war
game in Vietnamese,
Cambodian, South Korean, and
the Philippines styles and:- Point out the purpose ofcooperation, the need tocooperate with people, and thesignificance of someinternational cooperation insocial life;- Show the attitude ofrespecting and preserving
traditions, sharing andrespecting the differences
between individuals and amongcultures.
Attend a Don ca tai tu
performance and:- Analyze the meanings ofcooperation and express thespirit of peace and friendshipwith other peoples and nations:show respect for the
performers;- Deal with some situations that

communities.

OUTCOME REQUIREMENTS

Art of Don ca
tai tu music
and songs inSouthern Viet
Nam

Tugging
rituals andgames in Viet
Nam,
Cambodia,South Korea,
Philippines

NAME OFHERITAGE

Don ca tai tu is a popular
performing art in Southern Viet
Nam. It was formed in the late
19th century and originatedfrom the needs of thecommunity. It reflects thethoughts, feelings and emotionsof the people who firstreclaimed the southern land –Tugging rituals and games arewidely practiced in the rice
growing cultures in East andSoutheast Asia with the desire
for favourable weather,abundant crops or predictions
related to success or failure of
the cultivation. Depending oneach country, tugging rituals
and games are held at thenational level or in certain
regions within each country.

MAIN FEATURES OF THE
HERITAGE- Community cohesion isexpressed through thegathering of performers andviewers, enjoying goodvalues of their ancestors’cultural heritage;- Creativity is demonstrated
on the basis of traditional
heritage to enrich people's

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)
heritage;- Respect culturaldifferences;- Be conscious of preserving
cultural heritage.
This is the first multinational
heritage record that Viet
Nam is a member and wasrecognized by UNESCO. The
recognition of multinational
ICH showed the UNESCO's
interest and appreciation for
a new approach applied by
the countries that haveheritage with common
characteristics as well as forthe protection of heritage
shared among member
countries that submitted amultinational record.

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TT

Social activities
and community

Experiential 6
activities
7

THEME

Social activities
and community
services- Learn about
naturallandscapes andvestiges

GRADE

Experiential 6
activities
7
8
9

SUBJECT
TITLE

Visiting Thanh Giong temple(Phu Dong Temple or Soc

Visit Hung Kings Temple:- Show interest in new anddifferent things in thesurrounding world while
experiencing the outdoor
activities;- Demonstrate healthy
behaviours in public places
when participating insightseeing activities, picnics
etc.

47

arise in the relationship withfriends when participating in
the activities: know how tocooperate with friends whenplaying musical instruments orsinging Don ca tai tu.

OUTCOME REQUIREMENTS

Giong festival
of Phu Dong

Worship of
Hung Kings in
Phu Tho

NAME OFHERITAGE
the region of gardens and rivers
with industrious, liberal, openminded, chivalrous, brave, butmodest way of life. Up to now,
Don ca tai tu music and song insouthern Viet Nam is stillpracticed in many occasions:
festivals, death anniversaries,
weddings, birthday parties, andgatherings, etc. Audience canjoin in the performance topractice, comment, and create
new lyrics.
According to legend, Hung
Kings deserved credit forestablishing the ancient Van
Lang State in Phu Tho province
today. The historical relic of
Hung Temple was built on
Nghia Linh Mountain, in the
middle of Phong Chau land,
now known as Hy Cuong
Commune, Viet Tri City, and
Phu Tho Province. Hung Temple
Festival, also known as HungKing's Death anniversary, is a
big national festival in Viet
Nam.
According to legend, Giong wasborn in a strange way in Phu

MAIN FEATURES OF THE
HERITAGE- Gratitude to the sacrificesof previous generations;- The spirit of community
cohesion, solidarity, andunity; Building great unity
for peace and prosperity;- Consciousness of relicprotection in order topreserve the precious valuesof cultural heritage for the
next generation.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)
spiritual life;- Understand, through the
lyrics, of how to behave
properly in life;- Improve the quality ofspiritual life thanks to thehigh quality ofentertainment of this art.

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4

TT

NaturalSciences

SUBJECT
TITLE

6

8
9

GRADE

Force

services- Learn about
naturallandscapes andvestiges

THEME

48

- Give examples to prove thatforce is either traction or thrust;- Give example of the effect thatchanges the movement
direction of force;- Understand that friction force
is the contact force that appearson the contact surface between
two objects. Provide somecharacteristics and examples of
sliding friction force and resting
friction force.

Temple):- Show interest in new anddifferent things in thesurrounding world while
experiencing the outdoor
activities;- Show healthy behaviours inpublic places when participatingin sightseeing or picnic
activities…

OUTCOME REQUIREMENTS

Tugging
rituals andgames in Viet
Nam,
Cambodia,South Korea,
Philippines

and Soc
temples

NAME OFHERITAGE
Dong Village. At the age of 3,
still he could not speak andlaugh. However, when HungKing appealed to and looked fortalented people to fight against
the An invaders from the North,the village boy suddenly grewup fast and volunteered to go
out to battle to save thecountry and the people. Giong
Festival is held in Phu Dong
Temple (Phu Dong Commune,
Gia Lam District, Ha Noi) and
Soc Temple (Phu Linh
Commune, Soc Son District, Ha
Noi).
- Communities perform tugging
rituals and games as a way topray for good harvests;- Tug of war is a game thatshows the endurance, theflexibility as well as thecooperation of people;- When playing, traction is
generated by the two teams;
friction force occurs between
the players’ feet and theground and between theplayers’ hands and the rope;tension of rope.

MAIN FEATURES OF THE
HERITAGE- Values of cooperation in
teamwork;- Teamwork skills to achieve
a common goal;- Honour and be proud of
the nation’s cultural
heritage.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)- Citizens' responsibility fornational security;- The spirit of cohesion andcommunity support (throughthe tale about people
contributing food to Giongto fight the enemy);- Respect and be proud of
the nation’s cultural
heritage;- Consciousness of relicprotection in order topreserve the precious valuesof cultural heritage for thegenerations to come.

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TT

7

7

NaturalSciences

7

NaturalSciences

NaturalSciences

SUBJECT
TITLE

GRADE

Sound - Heightof soundHeight andintensity of
sound

Sound

THEME

49

- The emitted sound depends on
the oscillation of the soundsource. The larger thefrequency of oscillation is, thehigher the sound is;- The larger the amplitude ofoscillation of the sound sourceis, the louder the sound is;- Explain some simple
phenomena about sound waves
that are common in practice.
Understand the pitch of soundin relation to the frequency ofUnderstand that sound waves
are produced by vibrating
objects and transmitted in theenvironment by vibrations ofenvironmental elements (Soundis only available when there isforce acting on the soundgenerating object).

OUTCOME REQUIREMENTS

Ca tru singing

The cultural
space ofgongs in theCentralHighlands

The cultural
space ofgongs in theCentralHighlands

NAME OFHERITAGE

The Day musical instrument(dan day) is one of the three

The cultural space of gongs in
the Central Highlands includes:
gongs, pieces of music played
by gongs, gong players, andfestivals where gongs areplayed (New rice celebration,water source worshipping
rituals etc.), locations of those
festivals (long houses,
communal houses, guols
houses, at the field, river wharf,
tomb, the forests at the side ofvillages, etc.)
When playing, the player uses a
cudgel to hit the gong surface(creating force) to make it
generate sounds.
- Some characteristics of thegongs in the Central Highlands:size, shape, materials, and thesound generated;- Some ways to play gongs;- Adjustment of the gongs toensure their sound quality.

MAIN FEATURES OF THE
HERITAGE- Honour and be proud of aunique music type of thenation;- The value of teamwork (agroup of individuals create apiece of music together);- Value of community
cohesion;- Consciousness ofpreserving the nation’s
cultural heritage.
- Honour and be proud of aunique music genre of the

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)- Continue and transmit theancestors’ cultural heritage,building up a positive
spiritual life;- Honour and be proud of aunique music type of thenation.

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TT

NaturalSciences

NaturalSciences

SUBJECT
TITLE

8

8

GRADE

Human motor
systemRespiratory
activity

THEME

50

- Explain some practicalphenomena related to deep
breathing;- Know the benefits of deep
breathing on people’s healthand practice deep breathingproperly;- Know the connection between
respiration and the techniquesof belly breathing and word
release in Ca tru singing;- Have consciousness ofpracticing and protecting the
respiratory system in particularand of the whole body ingeneral.
- Apply understandings of force
and chemical composition ofbones to explain muscle
contraction and bone load
capacity;- Apply knowledge about the
motor system and schoolsound. From the Day musicalinstrument (dan day), students
understand that the longer thestring is, the lower the sound is;the shorter the string is, thehigher the sound is.

OUTCOME REQUIREMENTS

Tugging
rituals andgames in Viet
Nam,
Cambodia,South Korea,
Philippines

Ca tru singing

NAME OFHERITAGE- Tug of war is a game thatshows the endurance, theflexibility as well as thecooperation of people;- Playing tug of war requires
good health and especiallygood musculoskeletal system;

main instruments of Ca tru art(apart from the drum and the
castanet). Day instrument
creates bass in combination
with the treble voice of ca tru
singer to create a great soundmixture.
- Some characteristics of Ca tru
singing;- Techniques of taking andholding breath during Ca tru
singing.

MAIN FEATURES OF THE
HERITAGE- Consciousness and skills of
collaboration in teamwork;- Honour and be proud of
the country’s cultural
heritage.

- Honour and be proud of aunique music genre of thenation;- Awareness of preserving
the country’s cultural
heritage.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)
nation;- Awareness of preserving
the country’s cultural
heritage.

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History

History

SUBJECT
TITLE

6

6

GRADE

Viet Nam fromthe 7th century
BC to 938 (Van
Lang State - Au
Lac State)

Viet Nam fromthe 7th century
BC to 938 (Van
Lang State - Au
Lac State)

THEME

51

- Determine the time andlocation of Van Lang state(political position, geographicallocation);- Present some key features ofstate organization and material,
spiritual, and social life by thetime of the Van Lang state.

diseases to protect oneself,
propagate and help others;- Understand the meaning of
exercises and sports and choose
the right exercise method(s).
- Determine the time andlocation of Van Lang country(political position, geographicallocation);- Present some key features ofstate organization and material,
spiritual, and social life by thetime of Van Lang state.

OUTCOME REQUIREMENTS

Giong festival
of Phu Dongand Soc
temples

Worship of
Hung Kings in
Phu Tho

NAME OFHERITAGE- Social context in the legend ofSaint Giong;- The traditions of patriotism
and fighting against foreign
invaders of Vietnamese people(in which, women and children
also participate in defending
the country).

According to legend, Hung
Kings deserved credit forestablishing the ancient Van
Lang State of Viet Nam (PhuTho province today).

playing without caution canlead to some phenomena ofmuscle tension, muscle
contraction, and cramp.

MAIN FEATURES OF THE
HERITAGE- The value of equality;- The spirit of community
cohesion, solidarity, andunity; Building a great unity
for peace and prosperity;- Honour and be proud of
the country’s cultural
heritage;- Consciousness ofpreserving the nation’s
cultural heritage.
- The strength of community(reflected by the fact thatpeople contributed theirfood to Giong to fight theenemy);- Community cohesion, thespirit of fighting for peaceand justice;- Honour and be proud of
the country’s cultural
heritage;- Consciousness ofpreserving the nation’s
cultural heritage.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)

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TT

9

9

History

9

History

History

SUBJECT
TITLE

GRADE

Struggling

Struggling
movement inViet Nam (1930-1939)

Struggling
movement inViet Nam (1930-1939)

THEME

Analyze some key features ofAnalyze some key features ofViet Nam's cultural and social
development from 1918 to1939.

Analyze some key features ofViet Nam's cultural and social
development from 1918 to
1939.

OUTCOME REQUIREMENTS

52

Nha Nhac –Art of Don ca
tai tu music
and songs inSouthern VietNam

Ca tru singing

NAME OFHERITAGE
Ca tru that prevailed in the 15th
century used to be a type of
court music that was favoured
by nobility and intellectuals.
Experiencing many ups anddowns, up to the beginning of
the 20th century, due to the war
condition and improper
perceptions, Ca tru lost its time
and was sung mainly in
brothels, therefore it was moreor less known as Hat co dau (socalled geisha singing), Hat adao, Hat nha tro (songstresssinging).
Don ca tai tu is a popular
performing art in Southern Viet
Nam. It was formed in the late
19th century and originatedfrom the needs of thecommunity. It reflects thethoughts, feelings, andemotions of the people who
first reclaimed the southernland – a region of gardens andrivers with industrious, liberal,
open-minded, idyllic, chivalrous
and courageous people andlifestyle.
Nha Nhac appeared in Viet

MAIN FEATURES OF THE
HERITAGE- Honour and be proud of a

- The spirit of love for thehomeland and country; theoptimism;- Honour and be proud of aunique type of music of thenation;- Consciousness ofpreserving the nation’s
cultural heritage.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)- Cultural heritage, if
promoted, will bring
benefits (including economicones) to people;- The spirit of sacrifice for art
in order to maintain theexistence of a cultural
heritage form;- Honour and be proud of aunique music genre of thenation.

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TT

9

9

History

Geography

SUBJECT
TITLE

GRADE

GENERAL TOPIC- Civilization of
the Red River
Delta and the
Mekong River
Delta(Civilization ofrivers)movement inViet Nam (1930-1939)

THEME

53

Present the culturalcharacteristics of the Red River
Delta and the Mekong River
Delta through the learning
about civilization of rivers.

Viet Nam's cultural and social
development from 1918 to
1939.

OUTCOME REQUIREMENTS- Quan ho Bac
Ninh folk
songs- Art of Don
ca tai tu
music andsongs inSouthern Viet
Nam

Vietnamesecourt music

NAME OFHERITAGE
Nam in the 15th century andthen flourished and reached its
level of scholarship under the
Nguyen Dynasty. In the early
20th century, the feudal
government collapsed and thewar in later decades seriously
threatened the survival of Nha
Nhac. The background andtraditionally social functions of
this Vietnamese court music
was also lost.
- Quan ho folk songs are a formof love-exchange singing, which
exists in the culturalenvironment with the typicalsocial practices of Vietnamese
people in the Red River and Cau
River deltas. Quan ho was
originated from Kinh Bac area,
today concentrating mainly in
Bac Ninh and Bac Giang
provinces;- Don ca tai tu is a popular
performing art in Southern Viet
Nam. It was originated in thelate 19th century from theneeds of the community. It
reflects the thoughts, feelings,
and emotions of the people

MAIN FEATURES OF THE
HERITAGE- Love of nature and thecountry;- Protecting the geo-culturalenvironment is to protect
the potential of economic,
social, and humandevelopment;- Honour and be proud of aunique music genre of thenation;- Consciousness ofpreserving the nation’s
cultural heritage.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)
unique music genre of thenation;- Consciousness ofpreserving the nation’s
cultural heritage.

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TT

Geography

SUBJECT
TITLE

9

GRADE

The Central
Highlands

THEME

54

- Analyze cultural characteristicsof ethnic groups in the Central
Highlands;- Give comments on the
population and culturalcharacteristics of the ethnic
groups in the Central Highlands.

OUTCOME REQUIREMENTS

The cultural
space ofgongs in theCentralHighlands

NAME OFHERITAGE
who first reclaimed thesouthern land – region ofgardens and rivers withindustrious, liberal, openminded, idyllic, chivalrous, andcourageous people and lifestyle– one of the typical culturalcharacteristics of Mekong Delta
region.
- The cultural space of thegongs in the Central Highlands
spreads over 5 provinces of Kon
Tum, Gia Lai, Dak Lak, Dak
Nong, and Lam Dong. The
owners of this valuable andunique cultural heritage are 17
ethnic groups belonging to theAustro-Asian and Austronesianlanguage groups who live on
the Central Highlands of Viet
Nam such as: Ede, Giarai,
Bahnar, Ma etc.;- For generations, gongs haveassociated with the Central
Highlands region as an integral
part in the whole human life
circles and in almost allimportant community events
such as: ear-blowing ceremony
for babies, weddings, funerals,

MAIN FEATURES OF THE
HERITAGE- Hospitality, community
cohesion, peacefulcoexistence among peoples;- A space to foster theancestors’ cultural heritage
values;- Honour and be proud of aunique type of music of thenation;- Consciousness ofpreserving the nation’s
cultural heritage.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)

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56

TT

Arts

Arts

SUBJECT
TITLE

7

6

GRADE

- Draw on the- Draw on thetheme oflandscape ofthe homeland.
- Draw on thetheme offestivals.

THEME

55

- Know how to apply the beautyof cultural heritage into artistic
practice;- Know how to ask questions,answer, and exchange ideas
about authors and paintings offestival theme;- Analyze the content, images,
and colours, etc. of art works.
(Note: Teachers should choose
one heritage so that students
can focus on understanding theheritage characteristics as wellas the values, knowledge, andskills related to sustainable
development. The inclusion ofmany heritages into one lesson
can make learning contents
fragmented and students easily
confused or having not enoughtime to remember everything).
- Simulate "the model" (art

OUTCOME REQUIREMENTS

MAIN FEATURES OF THE
HERITAGE

The cultural- The cultural space of thebuffalo sacrifice ceremony on
the tomb removal day,worshipping the water troughceremony, new ricecelebration, granary closing
ceremony, new communal
house (Rong house) celebrationetc.
- Worship of- Worshiping ceremonies andHung Kings in processions of palanquin show
Phu ThoVietnamese people’s respect to
the Gods/Kings who deserved- Practices
credit for founding andrelated toprotecting the country;
Vietnamese
beliefs in the- Cultural activities and beliefs
Motherare the spiritual connection
Goddesses of that binds communities andThree Realms villages;- Giong- The beliefs of worshiping,festival of Phu procession, and festivals show
Dong and Soc the community solidarity andtemples
people’s wishes for a peaceful,prosperous life, favourable
weather, and abundant crops.

NAME OFHERITAGE- Understand the meaning of- Identify the characteristicsof the festival through its
ritual activities;- Understand the meaning ofsome major festivals;- Perform activities in thefestival and popularize thefestival’s meaning in thecommunity;- Cultural beauty in
traditional/ancient rituals(worshipping, praying,offerings, procession);
Spiritual values inwholesome religious
activities;- The community’s spirit ofsolidarity to overcome
difficulties to achieve aprosperous and peaceful life.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)

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TT

Arts

SUBJECT
TITLE

8

GRADE

56

objects) in the correct order andmethod used;- Apply the rhythm of lines,
patterns, and motifs into
product creation;- Utilize the beauty of
traditional arts into practice andcreation;- Know how to select the beautyof traditional arts for designideas;- Apply the rhythm of thepatterns and motif into productdesign.
- Analyze aesthetic ideas of art
products and works.
- Collect related materials anddocuments for making
products;- Distinguish symbolism inworks of fine art;
- Apply elements and principlesof traditional visual art of someethnic minorities into practiceand creation;- Identify and understand thesymbolism of design products
and art works;- Identify the central image ofart works;

theme oflandscape.
- Draw on thetheme offestivals;- Basic
decoration andapplying
decoration;
product shaping
and decoration- Drawpropaganda
posters;- Decorate bookcovers.
- Create logos;- Draw on thetheme ofactivities in life;- Draw on thetheme offestivals.

OUTCOME REQUIREMENTSTHEME

The cultural
space ofgongs in theCentralHighlands

space ofgongs in theCentralHighlands

NAME OFHERITAGE- The sets of gongs include
several gongs with different
sizes;- The sound of gongs conveys
the messages of close
attachment to the community’s
important events;- Each ethnic group has theirown way to play gongs.

gongs in the Central Highlands
is a unique type of music of theethnic groups in the Central
Highlands;- Different forms of gong
performances in festivals;- The sound of gongs expresses
the joys and sorrows of thepeoples in the Central
Highlands;- The cultural space of thegongs in the Central Highlands
is an indispensable part in thespiritual life of the Central
Highlands people.

MAIN FEATURES OF THE
HERITAGESUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)
gongs for the spiritual life of
the people in the Central
Highlands;- Differentiate among thepieces of gong music in theCentral Highlands, between
gong music and other ethnic
musical instruments;- The skilful art style of gong
players;- Skills of Central Highlands
people in making gongs;- Gongs are closely
connected to the spiritual
world of the peoples in theCentral Highlands.
- Identify the shape of gongs
in the Central Highlands anddistinguish those with theshapes of some musicalinstruments of other ethnic
groups;- The sound of gongs is
associated with importantlife events of the people in
the Central Highlands (earblowing ceremony forbabies, weddings, buffalo
sacrifice ceremony on thetomb removal day, new rice

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TT

Arts

Arts

SUBJECT
TITLE

9

8

GRADE

- Draw on thetheme offestivals;- Draw on thetheme ofexercises andsports.

Learn aboutvisual arts on
ethniccostumes

THEME

57

Applying images from real life
into creative practice.
- Simulate image of "the originalmodel" at reasonable ratio;- Express ideas on layout of theart work;- Know how to make a list ofworks, creative diaries, andimages archives;- Understand the role of artists(authors) in artistic creation andthe role of viewers (audiences,- Identify creative ideas that aresuitable for the purpose of use;
- Recognize and understand thesymbolism of design products
and art works;- Analyze the aesthetic value,function and utility of the
products or design works; know
how to draw experience forartistic practice and creativity.

- Recognize cultural and social
life through the images oncultural and artistic heritage;- Understand the role of arts inthe cultural and social life.

OUTCOME REQUIREMENTS

Tugging
rituals andgames in
Vietnam,
Cambodia,South Korea,
Philippines

Quan ho Bac
Ninh folk
songs

NAME OFHERITAGE- Tugging rituals and games areimbued with the mark of
agricultural rituals. They
symbolize the power of naturalforces that affect the well-beingof human life;- This is a competitive gamethat shows people’s endurance
and resistance;- The festival is held in early
spring to mark the beginning ofan agricultural cycle with the

Quan ho artisans have gracefulstyle and wear elegant
costumes with colours anddesigns associated with thetraditional customs andpractices of Viet people in the
Northern Delta.

MAIN FEATURES OF THE
HERITAGESUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)celebration, new communal
house ceremony (new Ronghouse), etc.);- The symbol of gongs andthe performance style ofCentral Highlanders in gong
festivals.
- Develop emotions,
imagination, cognitivecompetence, creative
thinking about basic
aesthetic values in life andsociety; aesthetic values of
ICHs of Viet Nam and theworld;- Honour and be proud of aunique music genre of thenation.
- Understand the meaning oftugging rituals and games;- Understand the notion ofcommunity in the tugging
games;- Know how to play thegame and its rules;- The spirit of solidarity
creates community strength
to overcome difficulties inlife;- People's wishes through

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TT

Literature

Literature

SUBJECT
TITLE

6

6

GRADE

OUTCOME REQUIREMENTS

58

Reading- Identify the number of words,
comprehension: lines, rhymes and rhythms of
Literary text
the six-digit poetry- Recognize and initiallycomment on the uniqueness ofthe poem expressed throughwords, pictures, rhetoricalthe public) in enjoying andevaluating the works;- Understand the impacts ofcultural and social life on arts;- Use images as messages in the
introduction andcommunication about the
products/artworks.
Reading- Recognize some elements ofcomprehension: legends and fairy tales;
Literary text
- Identify typical details,
themes, stories, and charactersin the unity of the work.

THEME

Quan ho Bac
Ninh folk
songs

Giong festival
of Phu Dongand Soc
temples

NAME OFHERITAGE

According to the legend, there
was a boy born by his mother ina strange way in Phu Dong
Village. At the age of 3, still hecould not speak and laugh, justlying in a basket hanging on abamboo bar; hence, he wasnamed Giong (a bamboo bar).
Yet, upon hearing the call of
Hung King to find a talented
person to fight the An invadersfrom the North, Giong suddenly
grew up as fast as he could andvolunteered to go out to battle
to save the country and people.
The six-eight-word distich
metre is the popular form ofpoem used in Quan ho lyrics.
Many Quan ho lyrics coincidewith Vietnamese folk verses
and proverbs; Besides, somedrew on part of the folk songs.

wishes for favourable weather
and prosperity.

MAIN FEATURES OF THE
HERITAGE- Enhance the competenceof perceiving literature
through Quan ho lyrics;- Feel the love for thehomeland and the country;
Human love and feeling ofgratitude are highly- Community cohesion,
struggle for peace andjustice;- Honour and be proud of
cultural heritage of thenation;- Consciousness ofpreserving the nation’s
cultural heritage.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)
tugging rituals and games;- Healthy competitiveness;the consistency and unity
when playing tugging game.

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TT

Literature

Literature

SUBJECT
TITLE

6

6

GRADE

Talk and listen

Knowledge ofVietnamese
language

THEME

59

- Tell a legend or fairy tale witha lively style;- Know how to use mythical andfantasy elements to increase
attractiveness while tellingstories.

The richness of literarylanguage: The meanings of a
Sino-Vietnamese element andthe meanings of a word with
the Sino-Vietnamese element.

measures.

OUTCOME REQUIREMENTS

Giong festival
of Phu Dongand Soc
templesQuan ho Bac
Ninh folk
songs

NAME OFHERITAGE

There are many SinoVietnamese words in Quan holyrics. The Sino-Vietnamesewords contribute to theenhancement of thesophistication, condensation,and conciseness of Quan holyrics: tuong phung, tuong ngo(meeting each other), so cau
nhu y, so nguyen tong tam(wish-fulfilling), tinh tham(profound love), phu the nhansinh (human life/ floating life)etc.
The legend of Saint Giong is
associated with the image of anational hero and the traditionof fighting against foreign
invaders of Vietnamese nation
as well as the pride of thenation's strength.

MAIN FEATURES OF THE
HERITAGE- Community cohesion,
struggle for peace andjustice;- Appreciate and be proud of
cultural heritage of thenation;- Consciousness ofpreserving the nation’s

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)
appreciated in Quan holyrics;- Appreciate and be proud ofa unique type of music of
the nation;- Consciousness ofpreserving the nation’s
cultural heritage.
- Understand and apply the
spoken and written languagein accordance with the
purpose of expression;- Appreciate and be proud ofa unique type of music of
the nation;- Consciousness ofpreserving the nation’s
cultural heritage.

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TT

Literature

Literature

SUBJECT
TITLE

7

7

GRADE

Readingcomprehension:
Informational
text

Readingcomprehension:
Folk verses folk songs;
poems

THEME

60

- Identify the characteristics ofthe text that introduces a ruleor regulation of a game oractivity; show the relationshipbetween the characteristics ofthe text and its purpose;- Identify ways to develop ideas
and information in documents(such as in chronological order,
causality, level of importance,or classified objects)- Identify and analyze theuniqueness of a poem
expressed through its verses,
rhythm, and rhetoricalmeasures;- Understand and apply theword context and its meaning.

OUTCOME REQUIREMENTS

Tugging
rituals andgames in
Vietnam,
Cambodia,South Korea,
Philippines

Vi and Giamfolk songs ofNghe Tinh

NAME OFHERITAGE- Vi and Giam apply singing
style and dialect of Nghe Tinh
area; Their lyrics are in the formof five-word verses,
constituting alliterative
sentences; The relationship ofsound-meaning of thealliterative words;- The number of sentences in Vi
and Giam lyrics is not fixed,
each verse has 5 sentences; thefifth sentence, which is thealliterative recurrence of the
fourth one, is the bridge to thenext verse.
Divide the members into 2
teams; each team has an equal
number of members who are of
the same strength. Eachparticipant firmly grasps therope on his/her team’s side.
When the starting signal comes,
the two teams try to pull therope toward their side. The
team who first steps on theborderline will loose the game.

MAIN FEATURES OF THE
HERITAGE- The value of equality;- Knowledge of the game istransmitted by words-ofmouth or throughobservation and direct
participation;- Diverse practices, adapt toecological conditions of eachregion;- Honour and be proud of
cultural heritage of thenation;- Consciousness ofpreserving the nation’s

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)
cultural heritage.
- Appreciate family affection,
the love for the homelandand country through folksongs;- Appreciate and be proud ofa unique type of music of
the nation;- Consciousness ofpreserving the nation’s
cultural heritage.

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TT

9

9

Literature

Literature

SUBJECT
TITLE

GRADE

Talk, write

Readingcomprehension:
Informational
text

THEME

61

Talk and write a narrative about
a landscape or a historical site,using diagrams, tables andillustrations.

Identify and analyze
characteristics of documentsthat introduce a landscape or
historical site or an interview
text; point out the relationshipbetween the characteristic of
the text and its purpose.

OUTCOME REQUIREMENTS

Practices
related toViet beliefs in
the Mother
Goddesses ofThree Realms

Worship of
Hung Kings in
Phu Tho

NAME OFHERITAGE

The death anniversary of Hung
Kings is held on the 10th of the
3rd lunar month annually atHung Temple Historical relic.
This anniversary was also heldin every regions of Viet Nam(According to statistics, there
are currently 1,417 historicalrelics that worship Hung Kings
and the dignitaries during thistime).
This is an ICH that makes animportant contribution to thecreation of a spiritual bondamong communities. It highly
appreciates cultural similarities
between the communities andgroups of people involved; The
worship of the Mother
Goddesses is the combinationof Taoism, Buddhism, and otherreligions.

MAIN FEATURES OF THE
HERITAGE- Consciousness ofpreserving the nation’s
cultural heritage;- Honour and be proud of
cultural heritage of thenation.

SUSTAINABLE
DEVELOPMENT ELEMENTS(KNOWLEDGE, SKILLS,VALUES)
cultural heritage.
- Patriotism, respect to theroot and the ancestors;- Appreciate and be proud of
cultural heritage of thenation.

4.2. Some illustrative examples of lesson plans with ICH education integrated

LITERATURE LESSON PLAN (1)
THANH GIONG LEGEND(Grade 6)
I. Objectives
1. Knowledge- Present the content of Thanh Giong story; identify the main features of Giong character in the story; generalize
the meaning of Thanh Giong story to history and spiritual life of the Vietnamese nation.
- Point out myths and historical truth to understand the characteristics of legends and people’s viewpoints as
manifested by Thanh Giong character.
2. Skills- Analyze some features of legends through Thanh Giong story- Reading comprehension a folk tale – legends in the first step (discover facts, details, characters, fantasy
elements, meanings...)
3. Attitude- Love Giong character; be proud of the tradition of fighting against foreign invaders and the desire for peace of
the Vietnamese people.
- Love, respect, and have a sense of preserving, safeguarding cultural heritages of the Vietnamese people,
contributing to sustainable development of those heritages.
Expected competencies:+ Communication competency: exchanging, presenting ideas, giving individual comments about the meaning of
Thanh Giong story; the meaning of Giong festival in the current life.
+ The competency of literary sense: expressing individual feelings about the beauty of Thanh Giong hero throughthe story.
II. Content of ICH education integrated in the lesson- Be aware of the meaning of community cohesion, proud of tradition of fighting against foreign invasion anddesire for peace of the Vietnamese people.
- Respect, be proud of and have a sense of preserving ICHs of the Vietnamese people.
III. Preparation
Teacher+ Textbook, teacher’s book, lesson plan.
+ Some pictures, articles illustrating Thanh Giong image and introduce Giong festival of Phu Dong
+ Necessary learning materials (activity sheet, teamwork task-sheet....)
Student+ Written preparation according to the content and instruction of textbook and teacher+ Some pictures collected on Thanh Giong character+ Some information of Giong festival.

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2

IV. Learning activities
Activities of teacher

Activities of students
Activity 1: Warm-up

Contenta) Objectives- Inspire the initial impression, emotion and understanding of student about the image ofThanh Giong hero in the spiritual life of Vietnamese people.
- Create cultural space for learning and students’ interest when studying about Thanh Gionglegend.
b) Method- Classroom activities: students observe, discuss, and present individual ideas.
- Teacher inspires students and connects to the content of lessonc) Procedures- Invite students to observe some picturesof Thanh Giong character and Giong
festival, National Phu Dong Sports Game
(Appendix 1)- Instruct students to observe anddescribe the above pictures from what
they know.

- Observe the pictures- Discuss, describe Giongcharacter, things in pictures
and tell feeling about theimages- Students: from initialexpressions and feelings ofimages to desire toapproach a text of thenational legend.

- Teacher leads into thetext content: The image ofThanh Giong is always
existent in the spiritual lifeof Vietnamese people,
especially the students'
ages. We will understandbetter about the immortal
vitality of the character by
returning to a folklore - thelegend of Thanh Giong
Activity 2. Reading and general understanding about the texta) Objectives- Students read and learn general information about the text (category, layout, content
summary).

b) Method- Classroom activity: Students read aloud or silently read, skim text, exchange and present
individual opinions- Teacher instructs and concludes on general information.
c) Procedures
Step 1: Teacher instructs the reading.
- Teacher gives reading request: readslowly, clearly, coherently; press on thedescription of Giong character.
- Ask students to read and gives
feedbacks.
Step 2: Teacher instructs students to
explore the text in general.
- Notes

Personal activity- Text layout: 3 parts- Read the text

+ Paragraph from the
beginning to .... “lying
anywhere they put him in”:
indicating the origin of thecharacter.

- Understand the notes(explaining about words inthe text)
Classroom activity:- Explore the layout andsummarize the text’s
content.

- General content+ Next paragraph to “…atthe hometown”: The storyof the boy fighting against
the invaders to save hiscountry.
+ The rest of text:
explaining the historicaldetails of the story.

- Text layout- General content: The
63

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64

Activities of teacher

Activities of students

Content
story is about the hero whofights against invaders of
the Vietnamese nation.

Activity 3: Understanding the Giong Charactera) Objectives- Students read and learn about Giong character in the story; explore the meaning of fantasticaldetails associated with Giong character.
b) Methods- Group activities+ Find the details describing Giong character in the story.
+ Find and analyse the meaning of some fantastical details in the story.
c) Procedures
Step 1. Analyze Giong character in thestory
Teacher guides students’ discussion tofind and analyze descriptive details about
Giong in the story. Next, give comment on
Giong character.
Discussion Content- Identify main character in the story- Find and arrange the details about themain character in the story

Group activities- Skim text
- Find descriptive details
about Giong character inthe story.
- Exchange ideas, comment
on Giong character in thestory (According to study
card – Appendix 2)- Comment on the character based on thedetails
Step 2. Analyze some fantastical details inthe story
Teacher guides students’ discussion tofind and analyze fantastical details in thestory.

Group Activities- Identify fantastical details
in the story- What fantastical detail is;- Discuss to analyze themeaning of each detail inthe story- What is the meaning of each fantasticaldetail in the story?

(According to Study card –Appendix 3)- The descriptive details
about Giong character:+ The birth and childhoodof Giong: peaceful but
magical.
+ His first speaking words
are the request to fightagainst the enemy.
+ Grow as fast as windblowing+ Stretch the shoulders
then, become a robust
young man.
+ Ride an iron horse to fightthe enemy in battle+ Uproot the bamboos touse as the weapon+ Win the enemy, fly black
to the sky.
-> Comment: Strange birth,
unusual growth,
extraordinary physique, toachieve a miraculous feat.
- The meaning of fantasticaldetails:+ The 3-year-old boy who
could not speak and laughbefore, but the first voice
was the request for fighting
the enemy -> Ordinary andsmall people, but when
their country is in danger,
they are ready to sacrificethemselves for theircountry.
+ Giong asked for iron
horse, iron hat, iron rod:

2
65

64

Activities of teacher

Activities of students

Content
strong weapons to fight.
+ Giong stretched hisshoulder to become arobust young man -> thefighting power ofVietnamese people.
+Giong flew back to thesky: in conformity with thestrange birth; Giong flew
back to the sacred place,living together withmountains and rivers.

Activity 4. Explore the legend genre and the meaning of Thanh Giong legenda) Objectives- Students can generalize the legend genre and the meaning of Thanh Giong legend.
b) Methods- Couple activity: read and discuss about legend genre and the text’s meaning.
- Whole class activity: Exchange, generalize the meaning of the story.
c) Procedures
Step 1. Exploring the legend genre

Couple activity:- Legend is folktale genre
about the characters andTeacher instructs students to generalize - Learn
about
the
events relating to past
the characteristics of legend genre characteristics of legends:
history,
often
withthrough Thanh Giong story:+ Characters
fantastical elements. The- What historical truth of the Vietnameselegend shows the attitude+ Events
nation does the story associate with?
and appreciation of the+ Details
people towards historical- Which characteristics about storytellingcharacters and events.
- Generalize legend genre
art does the story have?
- Thanh Giong story praises
Step 2. Generalize the meaning of Thanh Whole class activity:
the hero who has the merit
Giong legend
General statement about of fighting against the
Teacher instructs students to skim the the meaning of the story of enemy to save the country,
text, generalize the meaning of Thanh Thanh Giong.
expresses
dream,
Giong story through Giong character
aspiration and strength of
the nation to win theinvaders.
(Refer to 4 verses of thepoet Tố Hữu:“Oh, the power of Phu
Dong boyStretchingshoulders togrow up by thousand
poundsRiding the back of a flying
iron horse spitting fire
Uprootingthevillagebamboo to expel the An
invaders! ”)
Activity 5. Applying and expandinga) Objectives- Students learn about the information of Giong festival of Phu Dong and Soc Temple.
- Evoke love and pride in the ICH of the Viet Nam.
2
66

65

Activities of teacher

Activities of students

Contentb) Methods
Group activities:+ Learn about Giong festival through the books, newspapers or on the internet+ Form: organizing the contest: "Test your talent"c) Procedures- Teacher organizes the playing teams (2 Group activities- Giong Festival is ateams in class)traditional
festival
to
Learn
about
the
commemorate and praiseofGiong- Preparation: cards, stars, questions information
the victory of Thanh Giong
about the Giong Festival
Festivalhero- Organize the contest “Test your talent”- Organize the teams
On November 16, 2010,(Appendix 4)- Participate in the contest
Giong Festival at Phu Dong
Temple and Soc Temple
was honored as therepresentative
ICHofhumanity- Giong Festival is an annual
cultural event, contributing
tothesustainable
development of spiritualvalues of the Vietnamese
people.

V. Evaluation
Assess students’ learning through teamworking (activity 3)
Name of group:.............. Student name:..............
Criteria
1. The process ofteam working

2. Complete
product

Level 4
There isappropriate
assignment foreach member
There iscollaboration,
appropriate
sharing between
members
There isconsideration andappropriate
modification in theimplementation
process- Finding sufficient
information about
Giong character;+ Finding and fully
analyzing themeaning of somefantastical details
in the story

Level 3
There is relatively
obviousassignment

Level 2
There isassignment, but it
is not appropriate

Level 1
There is not
assignment foreach member

There is relatively
appropriate
collaboration andsharing

There iscollaboration, but
not appropriate

There isn’tcollaboration nor
sharing between
members

There is relatively
appropriate
consideration,
modification

There isconsideration,
modification but
not appropriate
yet- Finding the details
of Giong characterin the story+ Finding andanalyzing somefantastical details
in the story, but
not adequate.

- Finding somedetails of Giongcharacter in thestory.
+ Finding somefantastical details
in the story, but
the meaning

There isn’t
consideration nor
modification ofcontents in
implementation
process
Not able to findanything as
requested.

2
67

66

Criteria

Level 4

Level 3

3. Present thepersonal speechPresenting clearly
and interestingly
and about theimage of Thanh
Giong characterand the meaningof fantasticaldetails in the story
The exchange andsupplement in theteam isappropriate,
effective toaccomplish thepresentation
There areexchange andcomments
between theteams toaccomplish the
products

Presenting
relatively clearly
the image ofThanh Giongcharacter adfantastical details
in the story

Level 2hasn’t been
analyzed yet
Presentation isjust a bit clear andinteresting

Level 1
Presentation is notclear norinteresting

The exchange andsupplement isrelatively
appropriate,
effective

There issupplement but
not effective

There isn’t
exchange nor
supplement in the
team.

The exchange andcomments are
relatively effective

There areexchange andcomments but not
yet effective

There is no
exchange norcomments
between theteams

VI. Follow-up activities
Write a paragraph to indicate your feeling about Thanh Giong character; or draw a picture about Thanh Giongcharacter according to your imagination....
Requirements of writing the paragraph:- Writing paragraph which indicates personal feeling about Thanh Giong character through the story.
- The paragraph should associate with the details described in the text as well as indicate personal experience,feeling, and emotion about the character.
- Know how to develop ideals into a paragraph, clear expression with feelings, no typos nor grammar, wording
errors.
Requirements of a drawing:
Indicating personal imagination of Giong character based on the details in the story by using appropriate colour,
and light.

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Appendix 1: Images on Saint Giong, Giong Festival, and Phu Dong Sport Games 12

Appendix 2: Worksheet
Students complete the following worksheet to find the details and comments on Giong character throughcontent of the story.
Content of story

details

Comments…………………………………………………………

…………………………………………………………

Preparation for fighting the …………………………………………………………
invaders…………………………………………………………
On the battle…………………………………………………………

…………………………………………………………

…………………………………………………………

The birth

When winning the enemy…………………………………………………………

Feedback
DetailComment- Was born from the footprints in the
Strange, unusual, unlike a normal child.
rice field.
- 3 years old but cannot walk, speak,and laugh.
Preparation for fighting - The first words were asking to fight the - Patriotism and the will to fight.
enemy
enemy.
- Weapons and war equipment by the
Birth

12

Content

Images collected from the internet.

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69

On the battle
When fighting enemy- Requesting the messenger to prepare time of the story.
the iron rod, iron stick, iron horse, and - Rapid growing thanks to the wholeiron conical hat.
community’s attention.
- Eating very well, growing up as fast as
the blow.
- Stretching the shoulders and becoming
a robust young man.
- Iron horse splits fire.
- Fighting power.
- Uprooting bamboo on the roadside to - Combating weapons are always
kill the enemy.
available in people’s life.
- Taking off the iron armor and riding- Immortality and desire for peace.
the horse to fly back to the sky.

Appendix 3: Discuss and fill out the following worksheet

meaningmeaning
Detail 1

Detail 2

Detail 4

Detail 3

meaningmeaning

Feedback:
Person is small
but ready tosacrifice aboutcountry

Flew back to thesacred place, livingwith mountains andrivers.

3-year-oldboyrequested tofight the
enemy

Giong
stretched theshoulder tobecome a big
man
Iron horse
spitted fire,
uproot bamboo

Giong flew
back to thesky

to fight enemy

Fighting powerof Vietnamese
peopleWeapons frommodern tosimpleAppendix 4: Test your talent- Teacher selects 2 teams (each has 5-7 students) by volunteer. Each team is given a card to notify when they
have an answer. Teacher prepares questions and some stars to evaluate the answers of each team.
- Teacher poses questions about Giong Festival at Phu Dong and Soc temples. Students of each team discuss (30seconds) and show the answer card. The team that shows answer card first with correct answer will get 1 star. The
team that has more stars will be the winner.
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70

- Suggested questions:
Question 1. Where is Giong Festival organized?
A. Hanoi
B.

Hue

C.

Quang Nam

D.

Binh Dinh

Question 2. When is Giong Festival at Soc Temple organized?
A. Before the lunar new year
B.

Early January, after the lunar new yearC.

Mid – Autumn

D.

Full moon day of January

Question 3. What event does Phu Dong place associate with?
A. Giong was born
B.

Where the enemy was stationed

C.

Giong uprooted the bamboo to fight the enemy

D.

Giong flew back to the sky

Question 4. “Soc” is the name of:
A. A village
B.

A mountainC.

A riverD.

A dikeQuestion 5. What event does Soc Temple associate with?
A. Giong uprooted Bamboo
B.

Giong flew back to the sky

C.

Giong was born

D.

Giong combatted the enemy

Question 6. Which main activity is implemented at the festival of Phu Dong Temple?
A. Simulating the old battle
B.

Telling Thanh Giong story again

C.

Organizing cooking contest

D.

Organizing games for children

Question 7. What is main activity of the festival at Soc Temple?
A. Ceremony
B.

Games

C.

Telling story

D.

Wrestling

Question 8. What is the meaning of Giong Festival at Phu Dong Temple and at Soc Temple?
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71

A.

Being grateful to the hero for fighting the enemy to save the country

B.

Being grateful for national construction of Hung KingsC.

Exhibiting kinds of national weaponsD.

Celebrating the new year

Question 9. When was Giong Festival at Phu Dong Temple and at Soc Temple recognized as the representative ICHof humanity by UNESCO?
A. 2005
B.

2010

C.

2011

D.

2015

Appendix 5: Giong Festival at Phu Dong and Soc temples 13
Giong Festival at Phu Dong Temple and Soc Temple are associated with the legend of a child who was born
miraculously by his mother in Phu Dong village. Good-looking but at 3-year of age, he still could not speak, laugh,all day he just lied in a basket hanging on a bamboo bed, hence he was named Giong. Yet, when he heard theKing's call to find talented people to fight against foreign invaders, Giong suddenly grew up as fast as the blow,
then volunteered to go to the battle fighting the enemy to save the country and people. After defeating the enemy,
he returned to Soc Mountain and rode his horse to fly to the sky.
From there, Giong was sanctified into an immortal Saint protecting the crops, peace for the country, andprosperity for all people. In order to commemorate his merit, people build temples, worship and celebrate
annually under the name of Giong Festival at Phu Dong and Soc Temples. It is one of the biggest festivals in thenorthern delta held in a strictly regulated ritual, very elaborately prepared, with the participation of numerous
villagers around the area of the two temples. Giong Festival at Phu Dong Temple, Phu Dong Commune, Gia Lam
District - the place where Thanh Giong was born took place from 7th to 9th of the 4th lunar month, and the Giong
Festival at Soc Temple in Phu Linh Commune, Soc Son District (now Ha Noi) - the place of his sanctification takes
place from 6th to 8th of the 1st lunar month.
In order to organize Giong Festival at Phu Dong Temple, some families have the honor to be chosen to play
important roles of Mr. Hieu, or the ones giving different commands in the festival (Flag Hieu, Drum Hieu, Gongs
Hieu, Trung quan Hieu, and Hieu Tieu co), the Female General or Wards of Black Coat, Red Coat ... Depending on
the role and economic ability, these families will prepare necessary material conditions, and the persons selectedmust abstain in the months before the festival. At the main festival, the villagers firstly organize a ceremony toworship the Gods, followed by water procession with the water taken from the well of Mau (Mother) temple (Hatemple), by which they wish for favorable weather during the year. After that will be the procession of the"command flag” from Mau (Mother) temple to Thuong temple, followed by a series of ceremonies such as roads
checking, the parade…
On the 9th of the 4th lunar month, Giong Festival takes place in a solemn and, sacred manner, which includes themost two exciting battles: the first one is in Dong Dam (the area along the lotus pond at Dong Vien village, about
2km from Thuong temple), and the second battle is in Soi Bia. Final event is the flag procession to announce thevictory news to heaven and earth and the army feast in the bustle of laughter, songs, dances of Ai Lao ward, Cheo
singing sessions and folk games. The Generals and soldiers of ‘the enemy's side’ was also acquitted and allowed toattend the victory celebration. This shows the filial tradition to the ancestors and national heroes, and thetolerance, humane spirit of the Vietnamese people and nation.
Giong Festival at Soc Temple takes place in 03 days from 6th to 8th of the first lunar month annually. The
preparation of offering items is very elaborate, especially the knitting of elephants (according to the legend, thearmy who helped Thanh Giong in fighting the enemy also included a herd of elephants with the task of carrying
13

Department of Cultural Heritage, http://dsvh.gov.vn

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72

food) and the making of a bamboo flower roll (symbolizing the bamboo stick that Thanh Giong used after the
victory); hence, these preparations must be carried out in many weeks before the festival. After the ritual of
showering Thanh Giong statue and solemn presenting of sacred offerings, there comes the most two exciting
activities of Giong Festival at Soc Temple: "Robbing bamboo flower" for good luck and the simulation ritual ofbeheading the enemy’s general, which is symbolically performed by the flag dance.
Being a battle festival performed by a unique symbol system, bearing Vietnamese cultural identity with the values
preserved by the community to present, Giong Festival at Phu Dong Temple and Soc Temple were recognized by
UNESCO as a representative intangible cultural heritage of humanity in November 2010.

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LITERATURE LESSON PLAN (2)SPEAKING PRACTICE: TELLING STORY 14(Grade 6)
I. Objectives
1. Knowledge- Know how to tell a story following a given topic (about an ICH in local area – Ha Noi);- Know how to develop the outline of storytelling and tell an authentic story about the ICH in local area.
2. Skills- - Practice individual speaking skills and speaking in public skills;- - Enhance persuasive communication;- Strengthen teamwork and problem solving skills.
3. Attitude- Be confident when speaking in public;- Have a serious and careful attitude in preparing the content before speaking;- Build a sense of conservation and promotion of the ICH values;- Establish and promote the attitude of respecting and being grateful to the national heroes.
4. Expected competencies- Communication and collaboration competencies through teamwork activities- Literary sensing competency: expressive and emotional presentation of the story's content.
II. The contents of ICH education and sustainable development integrated in the lesson- The spirit of ‘drink water, remember the source’ of the Vietnamese towards the death anniversary of Hung King.
- The gratitude of the people to Thanh Giong who protected the country.
- Gratitude of working people, wishing for a fulfilling and peaceful life ... for the Gods who govern the nature – asexpressed in the belief of worshipping the Mother Goddesses of Three Realms (Mau Tam Phu).
- Activities of dancing, singing, procession, ceremony ... are held in the festivals in general and in Hung King
Temple Festival, Giong Festival at Phu Dong Temple and Soc Temple, the practice of worshipping the Mother
Goddesses of Three Realms in particular.
III. Preparation
1. Teacher: textbook, teacher book, projector......
Organize a field trip for students to go to the Sword Lake (if possible).
2. Students: textbook, preparation at home, notebook, pictures....
Learn about Sword Lake through the field trip or books.
IV. Learning activities
Activities of teacher

Activities of students
Activity 1: Warm up (5 minutes)a) Objectives- Review basic knowledge of narrative writing;- Evoke impression and emotion of students about historical legends studied;
14

Prepared by Ms. Chu Thanh Hang, Literature teacher, Yen Hoa Lower Secondary School, Ha Noi
273
74

Content

Activities of teacher
Activities of students- Create a cultural space for students’ learning and interest.

Contentb) Methods- Classroom activities: students observe, discuss, and present personal ideas;- Teacher leads into the lesson content.
c) Procedures- Teacher organizes the game “My - Group activities:
picture” and let everyone to know
+ Groups arrange pictures
the steps and rule of the game.
pieces.
+ How to play: Divide the class into + Discuss and write the note
3–4 groups, each group receives
for the picture.
pieces of a picture given by theteacher. The groups must combine - Individual activity: answering
them to become a complete picture the question.
and write a describing note on the- Individual activity: listening.
content of the picture within 5
minutes. When the time is up, theteam that matches the picture
pieces correctly and has a goodnote will win.
- Teacher provides comments on
the work.

Solving “Sword Lake” picture puzzle

Leading-in: So, today, we will shareinteresting stories together after apicnic trip to Sword Lake relics Ngoc Son Temple last week throughthe lesson "Speaking practice:
Telling stories".

Solving “The Huc Bridge - Ngọc Son Temple”
picture puzzle.
Activity 2: Instruct students to prepare the outline of speaking practice lesson (10 minutes)a) Objectives- Students develop the planning outline skill for speaking practice to speak correctly and sufficiently as
required.
- Establish and practice storytelling skill combined with other appropriate expressions.
b) Methods- Whole class activity: students read the text aloud or silently; exchange and present personal ideas.
- Teacher provides instructions and concludes with general information.
c) Procedures- Teacher gives the task “Let’s talk - Whole class activity: Follow
about a picnic trip at Sword Lake – instruction and read the task.
Ngoc Son Temple that you haveparticipated”- Group activity: representative- Ask students to discuss in groupof each group presents theabout the outline for the above
preparation, other groups
speaking task.
comment.
- Teacher comments on the
74 75
2

I. Prepare for speaking practice
1. Task: “Let’s talk about a picnic trip at Sword
Lake – Ngoc Son Temple that you haveparticipated”
2. Planning the outline* Opening part: General introduction of thepicnic (place, reason of participating)Activities of teacher
outlines of some groups.

Activities of students- Individual activity: Listening.

- Come to an agreement withstudents on a general outline.
Teacher’s conclusion: With anarrative writing, in addition to
drafting an outline, during thetelling process, students need to
pay attention to the story teller ofthe narrative, the wording, theincident and the character in thestory to make the narrative
appealing and lively. Based on theclass discussion in the last period,
our class will now tell the story
about our picnic at Sword Lake. I
invite the groups to present yourpreparation (5 minutes).

* Main part:Content- General introduction to history of the place;- Tell impressions of the scenes and activities
at Sword Lake;- Individual activity: following- Tell impression of landscape and activities at
the instruction, listening.
Ngoc Son Temple.
-Group activity: discuss to * Concluding part: Your feeling after the picnic.
prepare the story telling
content before presenting.

Activity 3: Guide students to practice storytelling in front of class (20 minutes)a) Objectives- Students practice speaking and presenting skills in front of class; practice listening and note taking skills.
b) Methods- Group activity: Presenting in front of class about the given topic by different forms.
c) Procedures- Teacher invites groups to present - Group activity
their stories about their picnic trip
+ Students practice speaking in(3 groups)
groups based on the prepared
outlines,bydifferent
presenting forms in front ofclass.
Team 1: Retell the history of
Sword Lake through “The
Sword Lake Legend” (Using
shadow puppets)

II. Practice speaking
1. Telling about the history of picnic place- Retell history through "The Sword Lake
Legend": King Le Loi gave back his sword to the
god Kim Quy (the golden turtle).

Students of Class 6A (Yen Hoa
Secondary School, Ha Noi) using
shadow puppet to retall the history of
the Sword Lake, October 2020 (Photo
by Vu Phuong Nga)

7576
2

Activities of teacher
Activities of students- Teacher invites other groups to Team 2: Tell about thelandscape and activities atcomment
Sword Lake (Using pictures)- Teacher gives addition comments
Team 3: Tell about theand concludes on:landscape and activities at Ngoc
- Knowledge: Teacher gives Son Temple (Organize the gamecomments on advantages of each "Finding the treasure" andgroup (outline, content, presenting conduct a meeting withstyle...), some common mistakes and researchers on the meaning ofways to correct them.
the old Turtle in today's life)+Heritage value: Sword Lake - - Individual activities: Listening,
Ngoc Son Temple is not only a noting
down
thecommon historical site but also a advantages/disadvantages andwitness of Ha Noi's historical how to fix them; Comment on
events. In addition, this place the presentation of othershows the belief of the groups
Vietnamese people and is a sacredplace in the people’s mind.

Content
2. Telling story about Sword Lake and Ngoc
Son Temple in today’s lifea)Telling about the landscape and activities at
Sword Lake
* Landscape:- Time of visit: in the morning;- Fresh, cool air of autumn- The Landscape of Sword Lake:+ From a distance, Turtle Tower is small; whenlooking closely, the image of Turtle tower
becomes more solemn.
+ Clear water;+There are many trees around*Activity: Participating in various activities inwalking streets (folk games, portrait painting,taking photo, etc.)b) Telling about landscape and activities at
Ngoc Son Temple* Landscape: There are many culturally
meaningful images: Thap but (pen tower), Dai
Nghien (ink well), Ba Dinh Front, Tu Dinh
Glass...
- A noteworthy place is the Ngoc island, where
the Ngoc Son Temple is located. This is a tinyisland within Sword Lake area.

*Activity: Exploring two turtle specimens andthe meaning of Sword Lake’s Old Turtle intoday’s life.
Activity 4: Applying and expanding (10 minutes)a) Objectives- Evoke love and pride in ICHs of the Vietnamese nation;- Establish and develop positive thoughts and actions for preserving the ICHs of Viet Nam.
b) Methods
Group activities- Finding information from the books, magazines or the internet- Activity: “The dreaming board”c) Procedures- Question: Through visiting andlearning about Sword Lake - one of
the special cultural heritage atnational level, in your opinion, as a
citizen of Hanoi, what do you thinkor how will you do to preserve theheritage?

- Individual activities:
Observing, listening.
- Individual activities: brain
storming, writing.
- Group activities: discussion,
sticking the ideas on the board.

- Teacher guides students on
implementing this activity: We will
write our thoughts / suggestions
and wishes about specific actions
needed to preserve and promote
the Sword Lake cultural heritage7677
2

III. Application- Completing “the dreaming board”.
- Teacher wraps-up: Through today's lesson,
we do not only learn about the existence oftangible and intangible cultural heritage of thecountry, but also have had changes in thinking,awareness of our country’s cultural heritages
in order to jointly preserve, inherit anddevelop the traditions of our ancestors.

Activities of teacher(so that this place will forever exist
as a thousand-year civilization
symbol of Ha Noi). Colored paper
pieces will be given to each groupfor writing. After 3 minutes, wewill jointly stick these paper pieces
on “the dreaming board” of ourclass.

Activities of students- Teacher summarizes the ideasof the class.

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2

Content

ARTS LESSON PLANDRAWING ON FESTIVAL THEME(Grade 6)
I. Objectives
1. Knowledge- Students know some popular activities in the Festivals;- Learn about the beauty of color, motifs, ways of decorating the costumes, offerings, processions... in a festival.
2. Skills- Able to select a specific activities (dance, procession, rituals...) in a festival, then form the idea for the picture.
- Draw a picture with the images of a festival. The picture should has a lively layout, beautiful and vibrant colors
to demonstrate exciting atmosphere of the festival.
3. Attitude- Better understanding about national cultural identity through the customs and traditions in the festivals held in
the countryside. Love our country more.
- Be aware of preserving and promoting national traditions as well as disseminating nice images of our country inthe communities and the world.
Expected competencies:- Aesthetic competency: Feel the beauty of costumes and ritual performances in the festivals. Indicate personal
feeling about the festival’s images.
- Observing competency: Find typical images and colors of the festival, applying them into drawing exercise.
- Creative competency: Apply some festival images to personal drawing, making a creative layout drawing withbeautiful color and decoration.
- Analyzing and evaluating competency:- Able to comment on the activities taking place in the festival. Link the meaning of the festival with the activities
held during the event.
- Able to comment on colors, images, layout, expression style ... in the festival drawings. Exchange personal
opinions with friends and relatives.
- Competency of searching and processing information: Indicate some key information relating to the festivals.
For example: history, origin, reason ... of festivals; the main characters worshiped by the people in festival; central
ritual; venue and time; people's wishes during the ceremony ...
II. Contents of ICH and sustainable development integrated into lesson- The spirit of ‘drinking water, remember the source’ of the Vietnamese towards the death anniversary of HungKing.
- The gratitude of the people to Thanh Giong who protected the country.
- Gratitude of working people, wishing for a fulfilling and peaceful life ... for the Gods who govern nature Mother Goddesses of Three Realms.
- Activities of dancing, singing, procession, ceremony ... held in the festivals in general and in Hung Temple
Festival, Giong Festival at Phu Dong Temple and Soc Temple, in the practice of worshipping Mother Goddesses ofThree Realms in particular.

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79

III. Preparation
1. Teacher- Photos, pictures, video... of some local festivals, or one of the following festivals/practice: Hung King Temple
festival, Giong Festival at Phu Dong Temple, at Soc Temple, Practice and belief in the Mother Goddesses of ThreeRealms;- Students’ paintings about festivals;- Documents, writings about historical legends relates to the festivals.
2. Students- Collect photos, pictures, writings about the above festivals (task assigned before the class)- Paper, crayons,...
IV. Learning activities(Note: If possible, students can study this period during the field trip to visit the ICH site).
Activities of teacher

Activities of students
Activity 1: Choose the drawing topic

Contenta) Objectives- Students are aware of various activities (festivals, games...) usually organized in the spring time;- Understand the meaning and features of each festival;- Establish a topic idea for the drawing.
b) Methods- Question and Answer, suggestions- Observation- Visualization- Sightseeing, field trip, learning materials...
c) Procedures
Find out the topic* Ask students to give names of
festivals which they have directly
participated before:- When is the festival often
organized?
- List the names of local festivals
that you know?

- Students recall the festivals which
they have participated.

* Some common features of spring
festivals:

Answer the teacher’s questions
according to own knowledge, giving
comments on:- Organizing time of festivals is
often early springs+ Organizing time of festival;+ Information of local festivals;- Which festival did you participate
directly? Describe the atmosphereand activities organized in thefestival.

+ Name of local festivals
participated.

- Describe usual colors in thefestivals+ Describe the activities- Some popular activities usuallyorganized during festivals:
procession, dance, singing, andceremonies. There are also othergames like cockfighting, humanchess, tug of war, swing ...
- In those festivals, the costumes,
flags, banners are very colorful.

held during festivals (for example,
Processions, offering rituals, people
watching the festivals, games ...)+ The color of the ritual items, flags,
costumes, of the audience and theprocession team; general scene of
the festival as per personal feeling.
- Other students observe comment,
279
80- In addition to local festivals, thefollowing festivals are popular andclose to the general public:+ Hung King Festival (National
Festival)+ Giong Festival at Phu Dong
Temple and Soc Temple.
+ Rituals held during the practiceof worshiping the Mother
Goddesses of Three Realms.

and add necessary information.
- Students observe pictures, photos,
Explore some major festivals of ourvideo of festival.
country
Comment and describe:
Learn about one of these three
festivals: Hung Temple festival,+ Organization scale of festival
Giong Festival at Phu Dong Temple+ Highlighted images and colors inand Soc Temple, or rituals in thethe festival.
practice of worshipping the Mother+ Differences between the festivals
Goddesses of Three Realms.
(Hung temple / Giong festival at Phu* Teacher organizes for students to
Dong Temple and Soc Temple /see pictures, video regarding therituals held during the practice ofabove mentioned festivals.
worshipping the Mother Goddesses
Things to observe:of Three Realms).
+ The organization scale of festival* Ask students (personal/group) to
study information of festivals in thematerials, writings, the internet,
and discuss about the meaning offestivals.

- What are pictures about? Whereare pictures taken?
- Why do you know the subject ofthe picture? Describe activities in
the picture (main image, secondary
images, painting color).
* Asks students to explore activities
in the festivals, then refer to thepainting on the festival to selecttopic for the drawing:- Which activity in the festival will
you/your group choose to draw?

- Atmosphere of the festival;- Meaning of the festival;- Popular games played in thefestivals;- Students (individuals / groups)
discuss the meaning of the festivals.

The meaning of festivalorganization:- Present the discussion results inthe class.

- Demonstrating the people’s
respect to the Gods / Kings /Heroes who built up and protected
the country.
- Demonstrating the belief ofpeople in their praying to the Gods
to bless them for a peaceful andhappy life.

* Note that students should pay
attention to the meaning of one of
the three major festivals of thecountry: Hung King Temple festival,
Giong festival at Phu Dong Temple
and Soc Temple, or rituals during
the practice of worshipping theMother Goddesses of Three Realms.
* Teacher organizes for students torefer to some paintings about
activities in the Festivals. Guiding
questions:- Ceremonies held during thefestival;- Differences between thefestivals.

+ The color of ritual items, flags,
costumes ... in the festival
Understand the meaning offestivals* Explore Hung Festival or Giong
Festival at Phu Dong Temple andat So Temple or rituals held during
the practice of worshipping theMother Goddesses of ThreeRealms:- The festivals show the solidarityof people towards theirancestors ...

- Students look at the festival
pictures and answer the questions
as required.
+ The name of activity drawn in the
picture, the content of the festival.
+ Description of colors, typicalimage (main image) of the festival in
the picture.

- Exchange in group and select thecontent idea for the drawing.

Select content idea for thedrawing:- Present your ideas for the drawing(individual/ groups).

- Offering ritual activities; fun
activities, watching festivals,
human chess, cockfighting ... canbe used as the content for painting
ideas, depending on the280
81preference of each person.
- Note on some symbolic andpopular images of the festivals:
festival flags (multi-colored flags,
banana flags), colorful banners…
Activity 2: Drawing methoda) Objectives- Students know how to choose and draw some images of the festival (People’s gestures in the festival,
ceremonies, processions, audience, festival scenes...)- Know how to arrange images, create drawing layout of the festival (image is appropriate to content,
including main group, secondary group).
- Find appropriate painting color to demonstrate the crowded view of the festival.
b) Methods- Question and Answer, suggestions- Observation- Visualityc) Procedures* Invite students to observe asample picture and identify:- Students observe sample
picture and identify:- What content does picture
demonstrate?

+ The content idea of thefestival picture- What are the main image(main part) and secondary
image (secondary part) of thepicture?

+ The main image in the picture- The colour and shades (dark,light) of the picture?
* Teacher draws a template or
use teaching aids to introduce
drawing steps:+ The secondary image of thepictureSuggestion for drawing task:- Select a specific content of the festival
theme (dance, procession, offering
ceremony, playing games...) to draw;- Draw layout of main part, secondarypart;+ Colors and shades of thepicture- Students give their insights
about the picture.

- Draw main image first- Then draw secondary images- Color and complete the picture* Suggestions for students:- Ways to arrange the layout
properly, so that images appear
in a certain order: big/small,tall/short, in front/behind...

- Draw the images of the main group(persons carrying the palanquin / offering
gifts, or playing the drum…)) and arrange
the images into a drawing layout that issuitable to the content idea.

- Bright and vibrant colors areneeded for main images, theimage of festival flags andcostumes- Identify secondary images (scenes of thefestival, temples, pagodas, clouds, sky,trees, festival audience, etc.) and draw
them around the main image.

- The images drawn need todemonstrate clearly the specificactivities in the festival...

281
82Some students’ paintings:- Use bright colors to focus on thecenter of the drawing (beautiful, vibrantcolors express the bustling atmosphereof the festival) and complete thedrawing.

Activity 3: Practicea) Objectives- Students select and draw an activity that takes place in the festival.
- The drawing should have a lively layout showing the richness of the festival.
- The drawing has beautiful and harmonious colors, expressing the emotion of the drawers.
b) Methods- Observation- Visuality- Practicec) Procedures- Teacher gives some suggestions - Students present selectedon common images of the ideas.
festival, consistent with the- Draw on A4 or A3 paper
painting idea.
- Optional color and material.
- Remind students to draw themain image first, secondary ones - Refer to sample picture.
later.
- Draw in groups or individually.

- Present the drawings on festival
theme, with suitable images and layout;
festival scenes; festive activities(procession, games, performance ...).

- Ensure typical images of a certain
festival among Hung King Temple
Festival, Giong Festivals at Phu Dong
Temple and Soc temple; and the rituals- Note on the context of the- Provide insights about festival during the practice of worshiping thefestival.
drawing(according
to Mother Goddesses of the Three Realms.
- Some typical images of the worksheet attached).
For example:
festival should be drawn: flags+ Images of men and women with(five colors, banana flag),ancient costumes and feather-hats;banners, processions, etc. withprocession ritual (Hung King Temple
vibrant colors.
Festival);- Teachers are close to students,+ Image of Thanh Giong riding a horse,
encourage them to draw well.
the village bamboo (Giong Festival) ...
Teacher encourages the children282
83who have drawn
comments timely....

not

well,

+ Image of people ‘entering the trance’(len-dong), dancing and wearing
colorful clothes (rituals held during thepractice of worshiping the Mother
Goddesses of Three Realms).

- Pay attention to students’ work:
encouraging good job, providing
positive comments…
* Extended exercise: Exercise No. 3 as shown in the appendix.
V. Assessment

Question 1: Please tell me how to draw pictures on the festival theme?
Question 2: In the festival pictures drawn, which one do you like best? Why? (Worksheet 1: Comment andevaluate festival pictures).
Question 3: List names of activities often held in the festival.
Question 4: List names of the festivals in your locality and identify the meaning of the festival.
Question 5: Indicate the meaning of one of the following festivals/ritual: Hung King Temple festival, Giong festival
at Phu Dong Temple and Soc Temple, or rituals held during the practice of worshipping the Mother Goddesses ofThree Realms.
Question 6: Find similarities and differences between your local festivals and the above three major festivals.
VI. Follow-up activities+ Collecting more pictures, photos, documents about festivals in the countryside, and writing a reviewing essay
as guided in worksheet 2 (Find information about festivals in your hometown, your country) and sharing them withfriends and relatives.
+ Searching for more names of places with traditional festivals.
+ Participating in writing or eloquence contest about the festivals.
+ Proposing ideas to promote the image of the hometown and national festivals to friends and international
community.
+ Designing posters with images of the festival to introduce them to friends and relatives, or to promote thebeauty of Vietnamese culture to foreign visitors.
+ Being able to provide the address/date of the festivals; be a festival guide for visitors.
+ Writing articles, posting photos of the festivals on the websites of schools or localities; on Facebook and othersocial network.
VII. Appendix
Appendix 1: Worksheets
Worksheet (1): Comment and assessment of festivals paintings
The name of painting:No

Contents

1

Ideas (rich, expressing activities in the festival).
Images (lively, consistent with the painting
idea, describing the activities of the festival ...)
Colors (shades of colors, colors of the main
images and surrounding images, relevance ofcolors to the atmosphere of festival...)Layout (logical, lively, clear division of mainand secondary groups).
Ways of expression (emotional nuances,
beautiful and diverse images, different styles

2
3
4
5

Comments

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84

Assessment(1-Good; 2-Fair; 3-Need
more improvement)

No

6Contents

Comments

of characters and images ...)
Please name the picture as you like:

Assessment(1-Good; 2-Fair; 3-Need
more improvement)

Worksheet (2): Find information about festivals in your hometown and county

No

Festivals in your hometown and country
Information (content offestival, time, venue,
Name of festival
historical legend of
festival...)Your insights

1
2
3…
Worksheet (3):- Describe your thoughts about the activities organized in Hung King Temple Festival, Giong Festival at Phu Dongand Soc Temples, or the rituals held during the practice of worshipping the Mother Goddesses of Three Realms.
- In your opinion, what is the objective of organizing the festival?
- Please describe an activity that you like best in one of the above-mentioned festivals, or the local one. .
Appendix 2: Find and review some documents on the internet about Hung Temple Festival (Phu Tho), Giong
Festival at Soc Temple, or rituals held during the practice of worshipping the Mother Goddesses of Three Realms.
Hung Temple Festival – Phu Tho 15
Hung King Temple Festival is a national festival tocommemorate the Hung Kings who had merit of building anddeveloping the country. Hung Kings’ death anniversary has
become a long-standing cultural tradition in our country. The
Hung Temple Festival lasts from the 8th to the 11th of the 3rd
lunar month, in which the 10th is main festival day. The festival
takes place at Hung Temple, Phu Tho province.

Giong Festival at Soc Temple 16
Soc Temple Festival (or Giong Festival) is held in 3 days (from 6th to 8th of the first lunar month annually) tocommemorate Thanh Giong, the hero who defeated the An enemy to save and bring peace to the country people.
The festival is full of traditional rituals such as lighting-up ceremony, procession, incense offering, and bamboo
flowers offering to Thuong (Upper) temple, where Thanh Giong is worshipped.

15
16

Department of Cultural Heritage, Ministry of Culture, Sports, and Tourism
Department of Cultural Heritage, Ministry of Culture, Sports, and Tourism
284
85

Practice related to the Vietnamese beliefs in the Mother Goddesses of Three Realms 17
The heritage of practicing Vietnamese Mother Goddess of Three Realms was formed and developed on the basisof the goddess worship. This is a form of worshipping Mother Goddess in the regions (heaven, river, forest, andmountain) with the desire to bring good fortune to people.

17

Department of Cultural Heritage, Ministry of Culture, Sports, and Tourism
285
86

NATURAL SCIENCE LESSON PLAN (1)Pitch and loudness of sound(Grade 7)
I. Objectives
1. Knowledge- Recognize the high pitch, low pitch of sound bass, the loud and small sounds, and give corresponding examples.
- Identify the relationship between the loudness and amplitude of sound.
- Identify the relationship between the pitch and the frequency of sound.
- List some characteristics of the Central Highlands gongs
2. Skills- Propose an experimental plan and conduct the experiment to test the hypothesis on the relationship between
amplitude and loudness, frequency and pitch of sound.
- Practice to further explore the various loudness and pitch of sound created from the gongs with different sizes
and shapes, different way of knocking.
3. Attitude- Be cautious and accurate in practice and experiment.
- Be aware of applying learned knowledge into practice.
- Be willing to learn about the surrounding phenomena.
- Appreciate the cultural heritage of the nation in general and the Central Highlands gongs musical instrumentsin particular; have the sense of respecting artisans, preserving and promoting cultural heritages.
Expected competencies:- Competency to learn about the pitch and loudness of sounds and how sound is generated from the Central
Highlands gongs.
- Competency to apply knowledge about the pitch and loudness of sounds to explain some things andphenomena, including the generation of sounds from the gongs.
II. Contents of ICH and sustainable development integrated in the lesson- Cultural space of gongs in the Central Highlands.
- The meaning of Central Highlands gongs.
Some specific contents:- Characteristics of gongs and the sound they generate.
- Shapes and materials of gongs.
- Some skills to knock the gongs.
- Techniques of adjusting the gongs.
III. Preparation- Experimental set to learn about sounds (pendulum, drum, steel leaf, tuning fork), a guitar.
- One set of Central Highland gongs.
- Some pictures (or video) of gongs and Central Highlands gongs Festival.
- Reading text about gongs and the Central Highlands gongs Festival.
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87

- Worksheets for learning activities.
IV. Learning activities
Activities of teacher
Activities of students
Content
Warm upa) Objectives- Create the excitement and evoke experiences, available knowledge of students about sounds.
b) Methods- Classroom activity;- Videos, real objects... can be used to help create excitement and recall available knowledge ofstudents about the learning subject.
c) Procedures- Guiding question:- Students give answers based on
existing experience and knowledge.

How are the sounds different?
From students’ answers, evoking
the experience and available
knowledge of students aboutsounds, how different soundsources
generate
different
sounds in pitch, loudness ...; thus
connecting to knowledge needed
to build in this lesson.
1. Explore the pitch of sounda) Objectives- Recognize the high and low pitches, giving specific examples.
- Identify the relationship between the pitch and frequency of sound.
- Propose an experimental plan and conduct the experiment to test the hypothesis on the relationshipbetween sound’s frequency and pitchb) Methods- Group work, sharing results- Experiment and practice- Observe video clips/picturesC) Procedures- Teachers guides students to - Students practice and come topractice creating different high comments:and low pitches of sound+ The free part of the long ruler+ Plucking the guitar produces oscillates slowly, the sounddifferent bass and treble generated is low.
(different pitches of sound).
+ The free part of the short ruler+ Fix one end of 2 elastic steel oscillates quickly, the soundrulers with different lengths on a generated is high.
wooden box surface. Pluck free
- Students conduct the experiment,
heads of 2 rulers for oscillation.
discuss, and come to comments:
Ask students to notice the
The faster the oscillation is, therelationship of fast, slow tones
larger the frequency of oscillation.
and their pitch.
The slower the oscillation is, the- Guide students to conduct thesmaller the frequency of oscillation.
experiment to understand287
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The number of oscillations of asound source in 1 second is calledfrequency. Frequency unit is hertz(Hz).
The faster the oscillation, the larger
the frequency of oscillation.
The slower the oscillation, thesmaller the frequency of oscillation.
The larger the frequency ofoscillation, the higher the soundgenerated.

Activities of teacher
frequency concept. Hang two
pendulums with different length,
pull them out of balanced
position and then let themoscillate freely.

Activities of students- Students observe and givecomments:
In case of the short ruler: faster
oscillation, higher frequency.

Hence: The larger the frequency ofInstruct students to identify an
oscillation, the higher the soundoscillation
beforedoing
generated.
experiment: The process of apendulum going from the leftedge to the right edge and backto the left edge, how to identify
the number of oscillations in 10
seconds. Ask groups to count the
number of oscillations of two
pendulums to create a symbol offrequency concept, linking thisconcept with the fast, slow
oscillation that students observe
during the experiment.
Concept: The number ofoscillations of a sound source in
1 second is called frequency.
Frequency unit is hertz (Hz).
- Instructs students to relate
above concept with the previous
experiment of plucking 2 steel
rulers, indicating which case thefrequency is greater.
Guide students to practice oneof the followings:- Students practice and provide
comment:+ Knock 2 tuning forks withdifferent frequencies, commentand compare the pitch of soundgenerated.

The tuning fork with larger
frequency (as written on it)
generates higher pitch.

+ Pour water into 7 similar bowls
with different water levels. Usechopsticks to lightly tap thebowls to hear different bass andtreble tones.

The heavier the volume of waterbowl, the lower the pitch of sound.

- Teacher can also instruct
students to conduct some otherexperiments at home to learn
about the pitch of sound, such as
spinning bicycle wheels at
different speeds, putting a pieceof cardboard into the bicycle
spokes and listen to different
sounds generated when the
cardboard oscillates...
2. Explore the loudness of sounda) Objectives- Recognize the loud and small sounds, give examples.
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Content

Activities of teacher
Activities of students
Content- Identify the relationship between amplitude and loudness.
- Propose an experimental plan and conduct the experiment to test the hypothesis on the relationshipbetween amplitude and loudness of sound.
b) Methods- Group work;- Experiment, practice;- Clips/pictures observation.
c) Procedures- Teacher introduces the conceptof amplitude based on theexperiment with the pendulum,pulling it to deviate from initial
position to create a visuality ofthe oscillation amplitude as the
maximum deviation of the object
during oscillation.

Students conduct experiments,
discuss in groups and givecomments:

The larger the amplitude of thesound source, the louder the soundgenerated.

, The larger the amplitude of thesound, the louder the soundgenerated.

- Ask students to conduct theexperiments with a steel ruler orwire by pulling it out of initial
position with much or little force
and compare the sounds
generated. Thereby students cancome to comments on therelationship between loudness
and amplitude of sound.
3. Explore Central Highlands gongsa) Objectives- List some characteristics of the Central Highlands gongs- Practice to experience the sounds (loudness, pitch) generated from gongs with different sizes andshapes, different ways of knocking;- Appreciate cultural heritages of the nation in general and the Central Highlands gongs musicalinstruments in particular; have the sense of respecting the artisans, preserving and promoting cultural
heritages.
b) Methods- Combine group work and classroom activity;- Experiment, practice;- Video clip/picture observation.
c) Procedures
Have student read some
information/ watch video clips
introducing generally about
Cultural Space of the Central
Highlands Gongs and its
meaning.
Guiding questions:
How do the gongs generate thesounds?
When the gong makes a sound,which object oscillate to help thegongs generate the sound?

Students can propose ideas such as
touching the face of the gong toexperience the vibration; sprinkling
the paper crumbs, or hanging awick sphere beside the gongs forbetter observation.
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Activities of teacher
Does the gong face oscillate?

Activities of students

Content

When the gongs generate louder
sounds, is the oscillation more orless?
How do we know that?
Some suggested questions:- How to knock the gongs?
- What factors does the sound of
the gongs depend on?
Have students read some
information / watch video clips
to find answers.
- Ask students to give comments
on sounds generated by different
gongs in the gong set.
- Relationship between the sizeof the gongs and the soundgenerated.
- What are gongs made from?
Does it affect the sound made bygongs?
- What is gongs adjustment?
Why must it be adjusted?

Students give inputs based on theknowledge and experience.
Read the information/ watch thevideo clip and answer questions.
Some expected comments:- Some skills to knock the gongs (bystick, by hand, hand blocking
technique).
- The bigger the gongs are, thelower pitch the sound is; thesmaller the gongs are, the higher
pitch the sound generated(students conduct the experiment
to draw conclusions).
- Gongs are molded by alloy
including copper and some othermetals. Sound quality depends on
the quality of the alloy used tomake the gongs (related tovibration).
- Adjusting the gongs: For example,
use a hammer to test knocking;scrape away thick spots.

- In general, each set of gongs
usually has from 6 to 8 pieces.
- The bigger the gong is, the lower
pitch the sound is; the smaller thegong is, the higher pitch the soundgenerated.
- Gongs are molded by alloy
including copper and some othermetals. Sound quality depends on
the quality of the alloy that makes
the gong (related to the vibration).
- To ensure the sound quality ofgongs with perfect sounds, gongs
need to be adjusted before
knocking:
For example, using a hammer to test
knocking; scraping away thickareas/spots ... These require gong
performers to have good audition,
understanding the musical scales ofeach ethnic group and having good
gongs performing techniques.

4. Practicing and reviewinga) Objectives- Practice and review knowledge and skills learned about loudness, pitch of sound.
b) Methods- Group work and classroom activity.
c) Procedures
Guiding question for students:

Students work individually, thenexchange, share ideas with friends+ Tap on the table surface toand present the results in front of
make the sound. Does the table
the class.
surface vibrate?
+ An oscillating object generates
the sound with frequency of
70Hz, does it oscillate faster or
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Practice and review the knowledge
and skills learned about loudness,
pitch of sound.

Activities of teacher
slower than an oscillating objects
with sound frequency of 50 Hz?
Compare the pitch of soundmade by these 2 objects?

Activities of students

Content+ Why does the sound generated
by knocking the gong change
when you let your hand touch
the gong surface?
V. Assessmenta) Objectives- Measure the students’ competency in mastering the knowledge and skills learned about sound’s pitch
and loudness.
b) Methods- Write down or tell the answer directly.
c) Procedures
Questions:
1/ The larger the frequency ofoscillation is,
the soundgenerated will be:Students work individually, andreport back to class (optional)

Assess students’ capacity inmastering the knowledge and skills
learnt about sound’s pitch andloudness.

A. bigger
B. smaller
C. higher
D. lower
2/ When we knock on a gong,
making it vibrate stronger, thesound generated will be:
A. bigger
B. smaller
C. higher
D. lower
3/ What factors does the pitch ofsound generated by the gongs
depend on?
VI. Follow-up activitya) Objectives- Strengthen students’ ability and application of knowledge and skills learned about loudness and pitchof sound into practice.
b) Methods- Work at home (individually/in group), and share with others in class.
c) Procedures
Assign homework for students:+ Explore some other musicalinstruments, how their sound isgenerated, and specific parts of
instruments that generate thesound.

Students do homework
individually/in groups; share resultswith others in the next session.

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Extended understanding on soundsource, pitch, loudness of sound; andCentral Highlands gongs.

Activities of teacher+ When we hear the sound fromthe radio / TV, which part ofthese equipment vibrates?

Activities of students

Content+ Explore the Central Highlands
gongs: give suggestions toprotect this heritage.

VII. Appendix
Appendix 1

The gongs: a Central Highlands’ creativity 18

In 2006, Cultural space of the gongs in the Central Highlands was officially recognized by UNESCO as a Masterpieceof Oral and Intangible Cultural Heritage of Humanity. This is the pride not only of the people of the Central
Highlands ethnic groups, but also the pride of all Vietnamese people living in the country and abroad.

(Nguồn: internet)

Who are the creators and owners of this valuable intangible cultural heritage throughout history? They are theethnic people of Xo Dang, Roam, Ba Na, Giai rai, Ede, Mnoong, Gie-trieng, Co-ho, Ma, Chu-ru, who currently
residing in the areas of Kon Tum, Gia Lai, Dak Lak, Dak Nong and Lam Dong provinces.
1. Gongs – spiritual instruments
Gongs have become an official instrument used in many forms of cultural and religious activities of the Central
Highland ethnic groups, from the buffalo sacrifice ritual to worship the Zang (heaven) to the grave removal
ceremony, the ceremony of leaving the old village to establish a new village, the worship of the water wharf, thenew-born babies celebration (blowing the ear ceremony), the new house construction ceremony... All these rituals
and ceremonies are derived from the concept that the Zang governs everything, Zang exists in everything. Thus,
the relationship between human and all surrounding things is the spiritual relationship of all things (all things haveZang), in which the copper gong is Zang's gift.
Extracted from http://www.hoiamnhachanoi.org/content/cong-chieng-mot-sang-tao-tay-nguyen, by Dang Hoanh Loan,
6/10/2017
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18

2. Structure of the gongs set
The Central Highlands gongs have two types: flat gongs and knob gongs. The knob gong is called Cheng, andthe flat gong is called Chinh. Depending on each ethnic group, the number of Cheng and Chinh in a gongs set
varies.
The ethnic groups of Bahnar, Jarai, Ro-mam and Chu-ru often use many knob gongs, while the Ede, Co-ho,
Gie-trieng (Jeh-Tariang), Mnong and Ma use many flat gongs. The use of flat or knob gongs and the
combination of these two types is a specific choice about the sound absorption of each ethnic group.
The selection of gongs’ timbre (flat or knob) leads to the sound structure of each gongs set. The largest
gongs set is usually composed of 9 to 12 gongs, such as the gongs set of the Ba Na, Gia-rai and Ede ethnic
groups. The smallest gong set is consisted of 2 to 4 gongs, such as Tha gongs set of the Brau with only 2gongs, or the rice-offering gongs set of the To-drá people (a branch of Xo-Dang ethnic group) which includes
4 knob gongs. On average each gongs set has 6 to 8 pieces.
3. The sound system of gongs
In the Central Highlands we will meet people who set the pitch and sound standards for the gongs set, thoseare called “Mr. Pok Chinh” or “Mr. Puih Cheng”. The "Pok chinh" or "Puih chêng" often have very magicalears. The pitch of each gong set seems to have inculcated in their mind. Not having any sound model, butwhen they knock any gong Mr. "Pok chinh" or "Puih chêng" would recognize the right and wrong positionsin the gong surface. For example, the gong is low or high, the sound of the gong does not focus on thecenter of the gong surface, or the gong loses its sound, etc. All those errors will be quickly fixed after only a
few technical moves of Mr. "Pok chinh" or "Puih chêng".
4. The method of knocking the gongs
The Central Highland people have two ways of knocking the gongs. One way is to knock with the gong stick, theother is to use the wrist. There are two types of gong stick, a soft and a hard one. Soft gong stick is usually madefrom dried wild pineapple stems or wood covered by cloth. Hard one is often made from dried branches or freshcassava stems. Each type of gong stick creates different sounds when knocking on the gong surface. Soft gongsticks create plump, echoing and deep sound, while the hard ones produces a sharp timbre, sounded like metal
clashing and one can feel the intensity of sound. Meanwhile, knocking gongs with the wrist gives us a far andmysterious feeling of sounds.
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When beating the gong, the right hand holds the stick, or the wrist to knock on the gong surface to make a sound,while the left hand sometimes blocks the gong surface, and sometimes leaves the gong surface, creating gongsounds (gong music note). The smooth combination of right and left hands of the gong player will create acomplete gong sound. However, participating in a gong performance is not an easy task. Each player participatingin the gong set holds a different pitch and tempo. Therefore, they have to grasp very firmly the time of knocking
their gongs so that it is the right beat, right rhythm, and right timbre. The magic of gong music lies in the empathy,
concentration, and excitement of the "gongs’ mind" when they perform a gong song together.
Learning about the gongs in the Central Highlands is at the same time the process of understanding the source ofartistic creation of the Central Highlands people. From the understanding of the origin and value of creativity, we
will appreciate and preserve a cultural space where gongs are at the center - namely the Cultural Space of Gongs in
the Central Highlands.

Specialized features of the M'nong people’s gongs 19
In the M’nong ethnic people’s life, gongs are considered a valuable asset showing the wealth of families, clans, andvillages. The wealth here is not only expressed in the quantity but also in the long service life of the gongs set.
Families with many old gongs are respected by the community.
Sound quality depends on the proportion of alloy used to cast the gongs. When buying a new gong, M'nong people
adjust its sound very subtly in different ways such as using iron hammer, hard wooden stick to beat the heart ofgong...

3-gong set
Gongs with knobs are called knob gongs and gongs without knobs are called flat gongs. The knob gong iscomposed of 3 parts: the knob, the face and the wall of gong. The knob is a part of hemispherical shape in thecentre of the gong face, which is position for knocking, creating the echoing, long and vibrating sounds. The knob
gong surface is a plane around the knob, shaped like a circle - this is the part that determines the gongs’ sounds
like the pitch, roundness, fullness, and reverberation. The wall of a knob gong is an integral part of the face,surrounded by a broad, cambered plate. The flat gong is composed of two parts: gong face and gong wall. The flat
gong’s surface is a circle-shaped plane that decides the gong’s sounds such as: pitch, roundness, fullness and echo;
The flat gong’s wall is connected to the gong surface and spreads out into a wide surface.

19

Excerpt from http://dantocmiennui.vn/54-dan-toc-viet-nam/dac-sac-cong-chieng-cua-dan-toc-mnong/172004.
html, 14/03/2018
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The M’nong gongs consist of 2 sets: 6 flat-gongs set and 3 knob-gongs set of different sizes. Each gong has
its own function in harmonizing the gong sounds, with different names depending on each local group.
M’nong people use their right fist to beat the gong's face, and the left hand to hold the inside face of thegong to control the beat and adjust the sound. Particularly, the M’nong Chil ethnic group in Lak sometimes
hits the gong with a stick and makes sound on the concave surface, but this practice has not been popularyet. The knob gong is beaten with a stick; the sound is created on the convex surface, at the tip of the knob.
During the performance, gongs can be arranged in a set with a string, where the player holds the string withhis/her left hand, using the right hand to beat, or gongs can also be placed on the player's knees.

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NATURAL SCIENCE LESSON PLAN (2)RESPIRATORY ACTIVITY 20(Grade 8)
I. Objectives
1. Knowledge- Present main characteristics of the pulmonary ventilation mechanism;- Present the air exchange mechanism in the lungs and in the cells;- Explain some practical phenomena relating to deep breathing;- Know the benefits of deep breathing on your health and practice deep breathing properly;- Understand the relationship between respiration and breath taking, words releasing techniques with air fromthe belly in Ca tru singing.
2. Skills- Observe, describe, and synthesize knowledge through learning about air exchange process in the lung and incells.
3. Attitude- Be aware of applying learned knowledge into practice;- Practice and protect the respiratory system in particular, and the whole body in general;- Desire to learn and understand the surrounding phenomena;- Apply breath taking technique into daily life;- Love and being proud of the national cultural heritages in general and Ca tru singing in particular; respect theartisans, being aware of conserving and promoting cultural heritages.
II. Contents of ICH and sustainable development integrated in the lesson- History and some special features of Ca tru singing;- Breath taking and maintaining technique in Ca tru singing.
III. Preparation- A modeling tool for pulmonary ventilation;- Video of air exchange process in lungs and cells;- Some musical instruments used in Ca tru singing: three-string lute, bamboo clappers, (phach), castanets, and asmall drum.
- Some pictures: Taking breath to sing by different ways (from the mouth or the belly) will give different results.
IV. Learning activities
Activities of teacher

Activities of students
Warm-up (3 minutes)a) Objectives- Recognize the role of breathing when singingb) Procedures- Invite students to experience the activity “Try20

- Students invited do the task

Prepared by Ms. Vu Thi Phuong Thuy, Biology teacher, Yen Hoa Secondary School – Hanoi.
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Content

Activities of teacher

Activities of students
as required.

Call 2 students up and give them 2 short pieces ofmusic (a piece of pop music, a piece of Ca tru),
each student must try singing both pieces, the one
who best imitate the original music will win.

- Answer teacher’s questions.

being a singer”

Content

Teacher: Both of you sing the first song very well,
but have a little difficulty in the second song. Can
you share with us what makes you feel unable tosing well?
So, we see that for any kind of music and especiallywith Ca tru singing, if you don't know how to takethe breath properly and your voice is not strong
enough, it will be hard to sing.
So, how breath taking relate to respiratory
activity? Is there any relationship between
respiratory activity and Ca tru singing?
Let's get into today's lesson to understand more:
Period No. 21: Respiratory activitya) Objectives

1. Understanding pulmonary ventilation (17 minutes)- Students present the ventilation mechanism in the lungs (breathing)- Describe the coordination of activity between the chest and respiratory muscles during pulmonary
ventilation.
b) Methods
Group work (5 groups in the class), and in each group:- Assign a leader, a secretary- Each group observes on their own body when they inhale and exhale, recording results on the provided
worksheet.
c) Procedures- Teacher: How many stages does respiratory
activity take place and what are they?
- In today's class, we will also discover andexperience the application of respiratory activity inmusic, specifically with Ca tru singing.

- Students’ expected answer:
Ventilation in the lungs,
exchange of air in the lungs
and in the cells.

- The inhalation andexhalation help renew the
air in the lungs regularly.

Ms. Vu Thi Phuong Thuy introducing thestudents of Class 8A (Yen Hoa Secondary
School, Ha Noi) about new lesson of
respiratory activity, October 2020 (Photo by
Vu Phuong Nga)97
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98

Activities of teacher- You have learned that the stage of ventilation in
the lungs is to help the air be constantly renewedby inhaling and exhaling.
By which organs are the inhalation and exhalation
performed?
- So how do the diaphragm, the intercostal muscles
and the chest work together?

Activities of students

Content

Expected answer: Due to theactivity of the chest andrespiratory muscles (mainly
the diaphragm and intercostal
muscles).

The students of Class 8A (Yen
Hoa Secondary School, Ha Noi)
about new lesson of respiratory
activity, October 2020 (Photo by
Vu Phuong Nga)
- The groups put their hands on their stomach andchest to see the diaphragm activity along with thechange in chest volume when they inhale andexhale. After 3 minutes, ask 5 groups to raise theiranswering board for the first time.

- Respiratory
muscles shrink +chest lifted ->Inhale- Shows an explanation video.

- Respiratory
muscles relax +chest lowered ->ExhaleAfter watching video, students use red pen tocorrect the answers.
Teacher shows the correct results on the
projection screen for students to compare.
- Review the group work’s result and giveconclusion on this part. - Shows images of someathletes, rock singers.
- Questions:
For people with specific occupation as above, canthey meet the oxygen demand of their body only
by usual way of breath taking? In order to do that,how do they have to change their breath taking?
What is different between normal breathing anddeep breathing? What does it mean to the body?
- Ask students to study pictures 21-2 in the
textbook for 2 minutes to answer the question:- Practice taking deep breathto get more oxygen => deep
breathing- What is supplementary air, circulating air,reserved air, and residual air?
- Instructs the class to take a deep breathe in order98
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Activities of teacher
to answer the question.

Activities of students+ When we breath normally: it’s circulating air;
+ When we inhale deeply, it is supplementary air

Content- Students answer thequestion.

+ When we exhale deeply, it’s reserved air, andthere is always a volume of air staying in the lungs that is residual air.
How to calculate the living capacity and the lungcapacity?
When we combine the first 3 types of air together,
its living capacity, then this living capacity plus theresidual air will make lung capacity.
So based on the below worksheet, let’s quickly
calculate the living capacity and lung capacity ofmyself and Ms. Thuy Hoa, a famous Ca tru artist.

- Students answer and fill out
the worksheet.

Ms. Phuong Thuy (teacher)
DeepbreathingAir
LivingLungamount capacity capacity

Supplementary
1690mlair
Circulating air 410ml
Reserved air

650ml

Residual air

800ml

?

?

Ca tru artist Thuy Hoa
DeepbreathingAir
LivingLung
volume capacity capacity

Supplementar
2040mly air
Circulating air 730ml
Reserved air

1030mlResidual air

502ml

?

?

Living capacity: themaximum amount of air aperson can inhale andexhale.

Teacher: So what is the living capacity?
Teacher gives a conclusion.
Ask students to observe and compare the figureson the board between the 2 people:
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Activities of teacher
Activities of students
Let’s predict: which factors lead to the fact that Due to the process of
Ms. Thuy Hoa, the Ca tru artist, has a high living practising deep breathing,capacity and low residual air at the same time?
words releasing and breath
regulating of a Ca tru singer.
Shows the video of artist Thuy Hoa singing Ca tru.

Content

Thanks to the practice of regular deep breathing toperform Ca tru singing, the artisan can increase herliving capacity and significantly reduce the residual
air; This actually brings about many benefits to ourhealth.
So you should practise the habit of deep andproper breathing anytime, anywhere.
How is proper breathing? And what is the benefitof that?
- Instructs the class to breath deeply and properly.
Doing this every day could help us have good
health, wisdom and positive energy,
Why does deep breathing bring us good health, - Groups give answers toquestions.
wisdom and positive energy?
We will explore the next section of air exchange inlungs and cells.
2. Understand the air exchange in our lungs and cells (10 minutes)a) Objectives- Present the air exchange mechanism in our lungs and cells.
b) Methods- Use ‘an expert group’(The Experts present their understanding about air exchange process on the painting and then pose questions tostudents)c) Procedures
Teacher: Respiratory activity is also the journey ofoxygen to the body's cells.

- Students do the task
assigned.

In pulmonary ventilation phase, the oxygen has got
into alveoli in the lungs.
So, what is the next journey for oxygen? Do you
want to see it?
Air exchange in the lungs
and cells follow thediffusion mechanism fromhigh to low concentration.

Invite Oxy Friends to introduce their journey.
Teacher gives comments and conclusion.
Additional information: Supplying oxygen to cells
to perform oxidation creates energy for living
activities of cells in the body.
Therefore, the deeper the breathing is, the more
oxygen our body gets, it helps the produce moreenergy and make us feel healthier.

1. Air exchange in lungs
O2- The team of ‘experts’ in therole of oxygen presents its
journey by paintings.

Alveolicapillary

blood
CO2

2. Air exchange in cells
O2
Capillary

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Blood

Activities of teacher

Activities of students

cells

Content
CO2

3. Explore breath taking and maintaining techniques in Ca tru singing (13 minutes)a) Objectives- Overview of the history and characteristics of Ca tru singing;- Belling breathing and breath maintaining techniques during Ca tru singing;- Building love and pride of national cultural heritages in general and Ca tru in particular, respect for
artisans, and the sense of conservation and promotion of cultural heritages.
b) Methods- Introduction through videos and the invited Ca tru artist;- Reality experience through Ca tru artist’s instruction and performance of belling breathing and word
releasing techniques while singing.
c) Procedures- Exchange between the artist and students;- Students experience belly breathing techniques through a few singing verses.
- Teacher’s instruction
Artist exchanges withstudents and instructs
Breathing deeply and properly not only benefits
students to take the breath toour health but also plays a very important role insing a few verses in Ca tru
singing. Today we will learn and experience with agenre of music that is unique in Vietnam, and has
been recognized by UNESCO as an ICH in 2009.
– Show a short video clip introducing Ca tru singing(2 minutes).
In the singing game at the beginning, you don't
know how to sing Ca tru properly.
So do you want a famous Ca tru artist to sing andteach us to sing a few verses of Ca tru?

Ms. Nguyen Thuy Hoa, Ca
tru artist, performing apiece of Ca tru song andsharing with the students
about Ca tru features in theGrade 8 lesson of
Respiratory Activity at Yen
Hoa Secondary School,
October 2020 (Photo by Vu
Phuong Nga)
- (The invited Artist appears in class): Before
teaching you some techniques to sing Ca tru, I will
introduce a little bit. To sing, firstly you have toknow how to take the breath in the right way so
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Activities of teacher
that it became a natural reflex. And ‘granulation
technique’ (special way of using throat and breath
to regulate and control the words while singing) in
Ca tru art is also very important.

Activities of students- Artist’s introduction of breathing techniques,
regulating the breaths, and mouth shapes while
singing.

- Students participate in thebreathing experiment guided
by the Ca tru artist to realizethat different breathing
methods will create different
singing tone.

- ‘Granulation’ technique- The artist talks about the process of regular
practice and its benefits to the body; sometimes ittakes a year only to learn one singing verse.

Content- The artist guides students to try singing 1-2 verses
to experience the singing techniques.
Teacher gives 3 multiple choice questions forstudents to write down the answers (3 minutes).
- Relate the lesson content to the value ofsustainable development (1 minute).
Thus, practice singing brings about benefits to ourhealth such as a strong respiratory system, ahealthy, happy life, young looking appearance, –which are necessary for you to meet therequirements of a modern society as you grow up.
Furthermore, as we can see, pursuing Ca tru
singing also helps train your persistence andperseverance which are also useful to your life andwork in the future. Above all, practicing Ca tru also
contributes to spread the cultural beauty andnational traditions.
4. Instruction for home activity (2 minutes)a) Objectives- Strengthen the ability and awareness in applying knowledge and skills learned about respiratory activity
into practice.
b) Methods- Students do the assignment at home (individually/in group) then share results with class.
C) Procedures
Tasks for students home:

Extensively exploring ontechniques of breath taking
and vocal practice in music
genres that are recognized
by UNESCO as the ICH ofViet Nam (such as Ca tru
singing, Quan ho Bac Ninhfolk songs…)- Learn more about breathing techniques while
singing Quan ho Bac Ninh folk songs (another
UNESCO recognized ICH of Viet Nam)
- Propose some measures to contribute to theprotection of the above heritage.
- Study some measures to care for and protect the
respiratory system.

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V. Appendix
Worksheets for activities
Session 21 - Lesson 21: Respiratory activity
Requirement: Please observe the video and complete the following table
Activity of muscles - bones involves in respiration activity
Respiratory
movements

Diaphragm

Intercostal muscle

Sternum and rib
systemChest volume

inhaling
exhaling
Answers of worksheet
Session 21 - Lesson 21: Respiratory activity
Requirement: Please observe the video and complete the following table
Activity of muscles - bones involves in respiration activity
Respiratory
movements

Diaphragm

Intercostal muscle

Sternum and rib
systemChest volume

inhaling

shrinkup

shrinkincreaseexhaling

relaxeddown

relaxeddecrease

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GEOGRAPHY LESSON PLAN
THE CENTRAL HIGHLANDS(Grade 9)
I. Objectives
1. Knowledge- List the characteristics related to geographical location and territorial scope of the region.
- Present the strengths and limitations of natural conditions and natural resources of the region.
- Present population and cultural characteristics of ethnic groups in this region.
2. Skills
Use maps, Atlat Geography of Viet Nam, pictures to determine the geographical position and territory of theCentral Highlands; comment on the natural, population and cultural characteristics of ethnic groups in the Central
Highlands.
3. Attitude
Be aware of protecting natural resources and cultural heritages including the Cultural space of gongs in the Central
Highlands.
Expected competencies:- The capacity of perceiving geographic science from the perspective of space through analyzing the influence ofgeographical position and natural characteristics of the Central Highlands on its socio-economic development.
- Capacity to explain the geographical phenomena and process through the relationship between natural
conditions and production activities in the Central Highlands.
- Capacity to study Geography through+ Using maps, charts, pictures to learn about the characteristics of the Central Highlands.
+ Exploiting the internet to learn and expand the understanding on the Cultural space of gongs in the Central
Highlands.
II. Contents of ICH and sustainable development integrated in the lesson
Cultural space of the gongs in Central Highlands (distribution locations, meaning):- Distributed throughout the 5 provinces of Kon Tum, Gia Lai, Dak Lak, Dak Nong, and Lam Dong.
- Meaning: Cultural space of the gongs is the voice of human soul and spirit to express the joy and sorrow in life,
work and daily activities of the peoples in the Central Highlands.
III. Preparation
1. Teacher- Map/Scheme of the Central Highlands;- Some pictures (video) about the Central Highlands (view, production activities, Gong Festival).
2. Students- Books, Atlat Geography of Viet Nam and school supplies.
- Some pictures about production activities of the people in the Central Highlands and their gong festivals.

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IV. Learning activities
Activities of teacher

Activities of students
Activity 1: Warm up

Contenta) Objectives- Create excitement, mobilize previous knowledge and experience of students about the Central Highlands
and what they want to know about the Central Highlands.
b) Methods- Visual method; suggestions.
c) Procedures- Ask students to share theirunderstanding about the Central
Highlands based on the given
pictures (see Appendix 1) and what
they knew.

- Students implement the task.
- Answer the questions.

- Organize for students to reportback to groups/class; - Based on the answers, connect tothe content of new lesson.
Activity 2: Learn about the location and territory of the Central Highlandsa) Objectives- Describe the characteristics of geographical location and territorial scope of the region.
b) Methods- Visual method; suggestions.
c) Procedures- Ask students to determine thelocation and territorial range of theCentral Highlands region based on
the natural schema in the textbook.
- Observe students to implement
the task.

- Implement the task based on theschema in textbook.
- Report in front of the class- Comment and add information, if
any.

The Central Highlands is not
adjacent to the sea but close to andconnects with the Southern Central
Coastal region, the Southeast
region, Laos, and Cambodia.

- Instruct students to report theiroutcomes.
- Provide conclusion, indicating themeaning of geographical location tosocio – economic development of
the Central Highlands.
Activity 3: Explore natural condition and resources of the Central Highlandsa) Objectives- Describe the strengths and limitations of the natural conditions and resources of the region.
b) Methods- Visual method- Problem solving- Discussionc) Procedures- Instruct students to do thefollowing task based on the Central
Highlands natural schema, picturesin the textbook, and their existingknowledge:- Students implement the task
assigned.
- Discuss and come to an agreementon common outcome of groups.
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Feedback at appendix 3

Activities of teacher+ Completing the worksheet on
natural conditions and resources of
the Central Highlands (see Appendix
2).
+ Pointing out natural limitations tosocio-economic development in theCentral Highlands.

Activities of students- Representative of each groupreports the outcome.

Content- Comment and add more
information, if any.

- Observe the task implementationof groups.
- Organize for groups to report theiroutcomes.
- Give the conclusion.
Activity 4: Understand the population and social characteristics of the Central Highlandsa) Objectives- Present the characteristics of population and culture of all ethnic groups in the Central Highlands.
b) Methods- Visual method- Problem solving- Discussionc) procedures- Step 1+ Ask students to list up the ethnic Implement thegroups living in the Central individually.
Highlands; the population density inthis region (based on the Geography
Atlas of Viet Nam and students’existing knowledge)+ Organize for students to reporttheir results, comment and add onothers’ work.

task

Report the outcomes.

- Provide conclusion on this content.

assigned- The ethnic groups living in theCentral Highlands include the Kinh
majority and many ethnic
minorities: Giarai, Ede, Banah, andMnong...
- The population density in theCentral Highlands is the lowest in
the country.

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- Step 2

Activities of teacher

Activities of students

Content+ Encourage students to talk about
the festivals they know in theCentral Highlands.
culturalheritageisWhichrecognized by UNESCO as an ICH ofhumanity?
What’syourunderstanding about that cultural
heritage?
+ Guide students to implement thetask and report the outcome.
Based
on
prior
knowledge/preparation,
students
report on their understanding about
the Central Highlands’ festivals andgongs.
- Comment and add on others’
work.
- Provide conclusion on the contents - Follow and take note of the main
regarding the Central Highlands’ contents.
cultural space of gongs (if possible,
use images or videos to make thelesson more lively); meaning of thisheritage a students’ responsibility inprotecting the ICH (refer toAppendix 3).

- Ethnic groups in the Central
Highlands have a rich cultural
identity.
- Gongs practice in the Central
Highlands have been recognized as
an ICH of humanity.
- The Central Highlands’ cultural
space of gongs spreads throughout
5 provinces of Kon Tum, Gia Lai, Dak
Lak, Dak Nong, and Lam Dong.
- Gongs closely connect to the life ofCentral Highlands people, it is thevoice of human soul and spirit,
expressing joy and sorrow in theirlife, work and daily activities.

- Step 3
Guide students to use textbooks andtheir own knowledge to:+ Indicate some targets of social andpopulation development in theCentral Highlands.
+ Propose development solutions in
the Central Highlands.
- Organize for students toimplement the task and report
products.

- Give conclusion on the main

- Students implement the task as
guided.
- Exchange and discuss withclassmates to agree on theoutcomes.
- Report on the task’s result.
- People’s life in the Central
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Activities of teacher
contents.

Activities of students

Content
Highlands is being improved, butmany social and demographic
development indicators show that
this is still a difficult area of thecountry.
- Possible solutions: Preventing
deforestation, strengthening
investment in economic
development, eradicating hunger
and reducing poverty ...

V. Evaluation
Question 1. In terms of geographical location, the Central Highlands is not adjacent to
A. The sea
B. Laos and Cambodia
C. Southeast of Vietnam
D. Southern Central Coastal region of Vietnam
Question 2. The biggest difficulty in natural condition of the Central Highlands is
A. Complex divided terrain.
B. Water shortage in dry season.
C. Flood in rainy season.
D. Frequent flash floods.
Question 3. The reason for the Central Highlands to grow many industrial crops plants is
A. Humid tropical climate, with cold winters.
B. Fertile alluvial soil, equatorial climate.
C. Large basalt soil, equatorial climate.
D. Abundant water source all year round, fertile land.
Question 4. Please present the characteristics of the population in the Central Highlands.
Question 5. Please introduce everyone about the Central Highlands’ cultural space of gongs.
VI. Follow-up activities
Teacher assigns students:- To collect more information and documents about the Central Highlands’ cultural space of gongs; propose
some recommendations to protect this heritage.
- To study in advance about agricultural (coffee production) and industrial (hydroelectricity) activities in theCentral Highlands.

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VII. Appendix
Appendix 1: Warm up activity
Some images of nature, population, and economic activities in the Central Highlands 21

Appendix 2: Worksheet – Natural conditions and resources in the Central Highlands
Natural resources
Major characteristics
Economic advantages
Topographic
Land
ClimateWater
MineralForest21

Images collected from internet.

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Disadvantages

Feedback for worksheet:
Natural conditions and resources in the Central Highlands
Natural resources

Major characteristics

Economic advantages

Topographic

Cascading plateau- Developing areas specialized
in industrial crops.
- Building many hydroelectric
plants (hydroelectric stairs).

Land

Mainly bazan red soil

Industrial crops development

ClimateEquatorial tropical

Water

Abundant water
many large rivers.

MineralMainly bauxite

Forest

The largest forest coverage Developing forest products
and area in the country.
exploitation and processing
industry

Disadvantages- Suitable for many types of - Prolonged dry season
crops, especially industrial
leads to serious water
crops.
shortage and forest fire.
- Cool climate and beautiful- Deforestation has
scenery, suitable for tourism
adversely affected thedevelopment.
environment and people's
life.
source, Hydroelectric development- Other limitations.
Mining industry development

Appendix 3: Central Highlands’ Gongs – the people’s cultural masterpiece22
On November 25, 2005, the Cultural Space of Gongs in the Central Highlands of Vietnam was officially recognized
by UNESCO as a masterpiece of intangible cultural heritage and oral tradition of humanity.
The cultural space of gongs in the Central Highlands spreads throughout 5 provinces of Kon Tum, Gia Lai, Dak Lak,
Dak Nong and Lam Dong. The owners of this unique cultural form are residents of the Central Highlands ethnic
groups: Bana, Xe Dang , Mnong, Cơho, Romăm, Ede, Giarai ... Gongs closely connect to the life of Central
Highlands people, being the voice of human spirit and soul, expressing the joys and sorrows in their life, work anddaily activities.
From the very beginning of human life, gongs were already played to celebrate the events such as new rice season,
going down to the fields; expressing the beliefs, serving as a means of communication with the supernatural force
etc. The sound of gongs range from deep and gentle tone to compelling and strong tone, mingling with the voicesof streams, winds and people’s heart, living forever with the earth and heaven of Central Highlands people. Gongs
are used in all festivals of the year, from ear-blowing for babies to grave removal ceremonies, water-troughoffering ritual, new rice celebration, warehouse-closing ceremony, or in a ‘khan’ performance (a typicalstorytelling singing of ethnic people in the Central Highlands) etc. The sound of gongs is longer than a person’s
lifetime, connecting generation with generation.
Existing in the majestic Central Highlands for thousands of generations, gong art has developed to a high level. The
Central Highlands gongs are diverse and plentiful.
22

Vanhoavietnam.vn

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Currently, in most villages in the Central Highlands, there are gong teams to serve people in community activities
and festivals. On the occasion of Tet holiday, the familiar image 'of the sacred fire, circles of people dance and singin the sound of gongs, echoing the mountains and forests' reappeared throughout the villages. The folk artists
performing gongs together in a harmonious manner, creating the gong concert with rich rhythms and their own
nuances at numerous levels. Each ethnic minority group has its own gong music to express the natural beauty andaspirations of people etc. The sound of gongs is also an enamel that attracts girls and boys into exciting dances of
the community in the village’s festivals. This is the most prominent folklore activities of many ethnic groups in theCentral Highlands.

The Central Highlands Gongs 23

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http://www.baogialai.com.vn

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EXPERIENTIAL AND VOCATIONAL GUIDANCE ACTIVITY LESSON PLAN
BUILDING COMMUNITY ACTIVITY(Grade 6)
Tugging ritual and games 24
Time: 2 periods
I. Objectives
1. Knowledge- Present some basic characteristics of the ICH 'Tugging rituals and games'- Indicate the cultural and spiritual meaning of 'Tugging rituals and games' in our national tradition.
2. Skills- Collaboration and teamwork;- Using icons, images to demonstrate ideas;- Speaking in public.
3. Attitude- Love, respect and have a sense of preserving the ICH 'Tugging rituals and games' as well as other ICHs of thecountry; respect and preserve the cultural identity of the Vietnamese nation.
Expected competencies- Cooperative competency: learning how to participate and collaborate in activities and games to in order tocomplete the task/win the game.
- Aesthetic sensory competency: recognizing and appreciating the cultural and spiritual beauty of the ICHs ingeneral, of the 'Tugging rituals and games' in particular.
II. Contents of ICH and sustainable development integrated in the lesson- Some basic characteristics of 'Tugging rituals and games'- Traditional cultural meaning of 'Tugging ritual and games'- Procedures of organizing 'Tugging rituals and games'
III. Preparation
1. Teacher- Collects some short videos about different kinds of playing tugging game to show in the class.
(For reference:Video 1 – Tug of war becomes a world heritagehttps://www.youtube.com/watch?v=NIShaqCNpQg
Video 2 – Sitting tug of war in Long Bien district, Hanoi
https://www.youtube.com/watch?v=KNVSBCbcdck(These clips can be shorten if time is not enough).
- Questionnaire and answer key for Q & A activities after watching the video;- Small rope, cut into pieces for students to try out the rope twist (every 2 person 1 piece of rope);
The lesson plan has received inputs and revisions from Ms. Nguyen Thi Loan, Teacher in charge of Experiential andVocational Guidance Activities, Thuc Nghiem School, Ha Noi.
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24

- 1 long and large piece of rope, 2 red ribbons for tug of war; command pennant (or whistle); symbolic prizes(optional) for the winners and all participating teams.
- Non-slippery gloves (if any) to help protect students' hands when they play the game.
2. Students- Study and search for information about 'Tugging rituals and games' through the internet, books andnewspapers, asking family/relatives (one week before the class)- Prepare necessary learning tools and materials for the session.
IV. Learning activities- Teacher spends few minutes for setting classroom order.
- Briefly introduce to the students the purpose and meaning of the experiential activities today, including games
and specific group works...
Activities of teacher

Activities of students
Activity 1: Let’s go finding the heritage (5 minutes)

Contenta) Objectives- Students recognize some of Vietnam's folk games and are aware of the ICH 'Tugging rituals and games' as
the first multinational ICH that Viet Nam participated and has been recognized by UNESCO.
b) Methods: Quiz and watching clips.
c) Procedures- Introduce the purpose of warm-up
game. (Note, to make the activity
more fascinating, teacher will not tell
the name of lesson today until end of
this activity).

Purpose of the game: A lead-in forstudents to start learning about 'Tugging
rituals and games'.

- Invites some students to list somefolk games that they know.
- Among the games mentioned, there - Answer the question.
is a game that has been recognized by
UNESCO as an ICH of our country.
Does anyone know the name of thatgame?
d) Conclusion: Introduces the topic of
the Experiential activity today:
Tugging rituals and games.
- Briefly introduce the definitions of atangible cultural heritage and an ICH. - Try to distinguish between- Show the short video No. 1, (On tangible and intangible cultural(beforeteacher
Tugging rituals and games as a heritage
explain).
multinational ICH recognized by
UNESCO)

Activity 2: Fast quiz - "Who knows more?" (30 minutes)a) Objectives- Studying about the basic characteristics and meaning of "Tugging ritual and games" through a quick quiz.
b) Methods: Solving Fast quiz among groupsc) Procedures
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Activities of teacher- Guide students how to play thegame and the rules.

Activities of students- After watching the short video No.
1, invite students to answer thefollowing questions:
Question 1. In which countries is - Students raise their hands to
Tugging rituals and games recognized answer questions.
as an ICH?

Content
Rules for quick quiz:- After watching the video andbased on its contents, students
listen to the question and raise
their hands as quickly as possible
to answer.

Question 2. Traditionally, what are
the farmer’s wishes that Tugging
rituals and games demonstrates?
Question 3. In which season is
Tugging rituals and games held?
- Shows students some images oftugging games in Korea, Cambodia,
and the Philippines.
Additional questions:
Question 4. What is the rule forplaying teams?

- Observe the pictures.

Question 5. Is there any rule
regarding the sex of tugging gameplayers?
Question 6. What is the rule
regarding the material of the rope?

- Answer the questions and make
Question 7. What is the rule more comments/ request, if any.
regarding the space for organizing
game?
Question 8. In which ethnic groups ofViet Nam is tugging game practiced?
- Show and introduces some picturesof Tugging rituals and games in someethnic groups of Viet Nam.

- Teacher concludes: Tug of war is notjust a game, it is a form of folk
performance in traditional agricultural
festivals. It shows the farmer's desire
for favorable rain, good wind, andabundant harvest. Therefore, Tugging
rituals and games are often held in thespring season and are popular in
Eastern and Southeast Asian countries.
- Being a quite classic has almost nochange since the beginning, tug of war
is quite simple in terms of playing form:
players are divided in 2 teams with thesame number of people, having areferee to control; a team is winnerwhen they are able to pull the ropesuch strongly that the red ribbon isleaned towards their side.
- However, depending on each ethnic
group, each country, the materials ofrope are different. For example: straw(Korean), or bamboo, rattan (VietNam);
all these materials associate
withtropicalclimateorsoilcharacteristics of the area.
- In Viet Nam, Tugging rituals andgames are primarily practiced in thecommunities
with rice
farming
tradition, such as Ha Noi, Bac Ninh,
Vinh Phuc, and Lao Cai provinces. Somelocalities have their typical forms ofplaying tugging games, for example:– Ha Noi: 'sitting tugging game' inThach Ban, Long Bien District; 'Mo
tugging' (or rattan tugging game) in
Xuan Thu, Soc Son District;- Vinh Phuc: 'rattan tugging game' in

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Activities of teacher

Activities of students

Content
Huong Canh Town (rope made fromrattan)- Bac Ninh: 'Tugging game' of Huu Chap
Village, Hoa Long, Bac Ninh (rope madefrom bamboo)- Lao Cai: 'Tugging the cloud' is popularin Tay, Giay ethnic groups (tugging wih
the rope or use people as the rope)

Activity 3: 'Touch' the heritage (10 minutes)
a. Objectives- Students have the experience of twisting the rope to use for tugging purpose; being able to indicate thecharacteristics of materials used for rope in 'Tugging rituals and games' of Viet Nam.
- Explore about the Sitting tugging ritual and game at Thach Ban Commune, Long Bien (Ha Noi).
b. Methods: Teamwork; quick quiz using the clip.
c. Procedures- Divide students into 3 or 4 groups(depending on the number ofavailable pieces of rope).

- Students work in groups, trying
to twist the rope properly.

- Gives each group 3 short pieces ofrope, asking them to try twisting it tomake a bigger, tronger rope.

Students of Class
6D at Thuc
NghiemSecondary
Schoolenthusiasticallyparticipating in
an interactive
activity, October
2020 (Photo by
Vu Phuong Nga)

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Activities of teacher- Show the short video No.2 about
sitting tug in Thach Ban, Long Bien, Ha
Noi.

Activities of students- Students watch the video andtry to remember the informationin the video as much as possible

Note: Guide students to take
important notes in order to answer
the questions afterwards.
After watching the clip, students
answer the following questions:
Q.1.

Content
Teacher concludes:
Tugging rituals and games reflect thecommunity cohesion and collective
strength; the value of a harmonious,
balanced natural environment (favorable
weather) to the socio-economic
development from past to present. From
there, we see the role of this heritage inconveying the message of positive
behaviors of our ancestors towards
natural environment.

In the sitting tug competition of ThachBan, how many villages participate?
Q.2. When participating in the sitting
tugging ritual and game in Tran Vu
Temple, Thach Ban, which God do theteams offer the gifts for worshipping?
Q. 3. In the offering items of theplaying teams to worship the God,
what do they include?
Q. 4. What is the original story ofsitting tugging ritual and game inThach Ban?
Activity 4: Practice playing the game (40 minutes)a) Objectives:- Students experience the game by directly playing it and draw meaningful lessons from the game.
b) Methods: Game practice on the school playground.
c) Procedures- Step 1: Teacher introduces purpose Students listen to the instructionof the game practice.
and try out.

* Purpose of the game:- Contributing to preserve andpopularize a folk game of our country;- Learning while playing, creating a fun
and comfortable atmosphere foreveryone;- Physical, endurance training; practicecoordination skills; showing solidarity,
collective spirit, and high discipline.
* How to play:- Step 2: Teacher instructs and model
the game’s techniques: holding therope, arranging the team members,
assigning the person in charge of‘tugging command’…

- Arrange by 4 teams with equal
number of students.
- Understand the playing rule
clearly.

- Provide students with importantnotes
oneffective
tuggingtechniques:- One match: 2 teams playing, with equal
number of each team.
- 2 teams hold the tugging rope tightly,
with a red ribbon in the middle of therope.
- Draw a chalk line (or place an object inbetween) as a boundary between two
teams (when the red ribbon is pulledcrossing the boundary towards a side,that side will win the game).

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Activities of teacher

Activities of students

Content+ Set up a reasonable squad before
playing (who should stand first,
second…)- Students cast lots to decide thefirst two team to compete thenext order.

+ Firm posture, neat outfit to avoid
unexpected troubles while tugging;- Prepare, organize the team andagree upon the "tactics" ofplaying the game.

When the start command is given,members of each team hold both hands
tightly on the rope, trying to pull the redribbon towards their side.

+ Focusing all efforts of teammembers when competing; Good
cooperation among team members;+ Assign one person in charge ofshouting out the ‘tugging command’to unite all members.

- Each competition consists of 3
matches, if one team wins 2 consecutive
matches then it doesn’t need to play the
3rd match. Each match lasts maximumof 1 minute (to avoid students losing
strength). The winner of each match has
2 points, the loser has no point.
- If results of all 3 matches is a draw,
teams will play an extra period of 30
seconds.
- The last 2 winning teams will enter the
final round to decide the game’s winner.

- Step 3: Teacher organizes the game.
d) Conclusion: Teacher and students
discuss on the insights and meaningof the game; what students can learn
from today's experience.

- The teams compete according
to the agreed rules.

Students of Class 6D
at Thuc Nghiem
Secondary School
practising tugging
game, October 2020
(Photo by Vu
Phuong Nga)

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V. Evaluation
Teacher guides students to self-assess activities the by cross-interviews between groups: Group 1 interviews
Group 2, Group 2 interviews Group 3 and so on ..., finally Group 4 interviews Group 1. (Assessment can be done at
the school-yard after playing the game, or in the classroom).
- Each team assigns 1 person to be the interviewer, 1 person to be the spokesperson of group.
- Suggested interview questions (slideshow on the board, or written on color cards for group to choose
randomly):(1) What is your insight after participating in today's activities on “Tugging rituals and games”?
(2) Through these activities, what have you learnt about Tugging rituals and games?
(3) In your opinion, what is the meaning of “Tugging rituals and games”?
(4) What will you do to propagate and disseminate the ICH of "Tugging rituals and games" in the community?
VI. Follow-up activities- Teacher guides students to retell today’s experience with parents, siblings, family members at home, and ask ifanyone has played (or watched) this game before, in which circumstance and where ...; ow they feel when playing/ watching the game.
- Encourage students to share the meaning of “Tugging rituals and games” and what they have learned fromtoday's activities with other friends and relatives.
VII. Appendix
Appendix 1: Answers for quick quiz, Activity 2
Question 1. In which country is "Tugging rituals and games" recognized as an ICH?
a. Only in Vietnam
b. Vietnam and Chinac. Vietnam and Korea
d. Vietnam, Cambodia, Korea, and the Philippines
Answer: d
Question 2. Traditionally, what are the farmer’s wishes that Tugging rituals and games demonstrates?
a. Everyone stays united and love each otherb. All marriages are sustainedc. Favorable weather, abundant crops, peaceful life
d. All three above mentioned ideas are correct
Answer: c
Question 3. In which season is Tugging rituals and games held?
a. Springb. Summer
c. Autumn
d. Winter
Answer: a
Question 4. What is the correct rule regarding playing teams of tugging game?
a. The number of teams must be an odd number
b. Two teams must have an equal number of peoplec. Each team cannot have more than 10 peopled. There are no specific rules
Answer: b
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Question 5. Is there any rule regarding the sex of tugging game players?
a. Regardless of players’ sex when playing
b. If a men's team competes against a women's team, the rule is that men's team always wins
c. Women are not allowed to play this gameAnswer: a
Question 6. What is the rule regarding the material of tugging string?
a. The string must always be ropeb. The string can be made from any materialc. The string materials can be rope, straw, bamboo, or rattan
Answer: b
Question 7. What is the rule regarding the space for organizing the game?
a.
b.
c.

The land area should be slightly inclined and sloping
Any area is fine
The land area for needs to be flat and spacious

Answer: c
Question 8. In which ethnic groups of Viet Nam is tugging game practiced?
a.
b.
d.
d.

Tay people in Tuyen Quang
Thai people in Lai Chau
Giay people in Lao Cai
The Tay (Tuyen Quang), Thai (Lai Chau) and Giay (Lao Cai)

Answer: d

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Appendix 2: Reference readings on “Tugging rituals and games” 25
Tugging rituals and games are widely practiced in rice culture in some Asian countries, expressing the wishes of
farmers for favorable weather, good crops, peaceful life, and prosperity. Tugging rituals and games are usually
held during festivals, especially those organized in spring time. In each country or locality, tug of war has a little
difference in playing forms, reflecting historical and cultural characteristics, and specific context of each area.
Tugging rituals and games are born and nurtured by the community, a long-standing cultural activity, a belief andimportant custom of the community. In traditional festivals, tug of war is often played in the festive part of theevent, showing the collective spirit, discipline, solidarity of the whole community, the will to raise up and win,
training of physical strength, wisdom and endurance that help people develop comprehensively in terms ofintelligence, virtue, talent and art.

- Tug of war is a popular ritual and game in Vietnam Tug of war has a simple rule, playing tool and playground. A tugging match has 2 teams, the number of players inboth teams is equal. The two teams will firmly hold on a rope or a long bamboo, in the middle of the rope/bamboo tied a red ribbon to set the boundary of teams. When the playing command is shouted, members of eachteam hold tightly two ends of the rope / bamboo, the team that pulls the red ribbon towards their side is thewinner.
Each game consists of 3 matches; the team that wins consecutively 2 matches will be the final winner and does notneed to play the 3rd match. Each match usually lasts only a few minutes (time is determined by the organizers), somembers of each team must play very hard. Sometimes people also use the arms and hands to play the gameinstead of tugging a rope. In such case, the two heads of the each team hold each other's hands tightly, and thelatter hugs the belly of the former to tug toward their side. In the middle of the competition, any team withmember cut off will be the loser.
During festivals, whenever the tug of war takes place, the atmosphere will become extremely exciting, attracting
all attention. From the people directly play the game to those just serve the teams, or the audience, all eagerly
participate in the game, cheering it impartially without caring much on winning or losing.

25

http://thegioidisan.vn/vi/nghi-le-va-tro-choi-keo-co-trong-le-hoi-mua-xuan.html
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Tug of war in a festival in mountainous area of North Viet Nam
Tug of war is a kind of sport which is easy to play, anyone can join because it does not require much investment inplaying tools, and is suitable for spring festivals. Beside strength and toughness, this game also requires players tohave skillfulness, good techniques and tactics, and smooth coordination with teammates in order to win.
In some places, tug of war is not only a folk game, but also reflects the beliefs, viewpoint on life and the world ofrice farmers and their aspirations to harvest crops and cohesive community. The team that wins will bring goodluck to their community, be protected by the gods. Thus, the folk game in the festival, in addition to satisfying theentertainment need, also has a meaning associated to traditional customs and spirituality.
Tugging rituals and games have been inventoried in the following countries: South Korea (1969), Vietnam (2013),
Philippines (2013) and Cambodia (2013).

Tugging rituals and games in Korea
In Viet Nam, Tugging rituals and games are mostly practiced in the Northern midlands and North Central areas the long-standing settlement area land of Vietnamese people, the cradle of rice farming civilization, with thecenters are the provinces of: Vinh Phuc, Bac Ninh and Hanoi City. In addition, this heritage is regularly practiced by
ethnic groups in the northern mountains of Viet Nam such as the Tay (Tuyen Quang province), Thai (Lai Chauprovince) and Giay (Lao Cai province), who were early rice dwellers in history.

121
2
122

In Viet Nam, tugging rituals and games are mostly practiced
in the Northern Midlands and North Central regions
Tugging rituals and games in Korea, Vietnam, the Philippines and Cambodia has been officially recognized by
UNESCO as the Representative intangible cultural heritage of humanity on 2 December 2015.

Leaders and teachers ofThuc Nghiem Secondary
School taking picturewith IRCI scholars andthe Research team fromVME
andVNIES,
October 2019 (Photo by
Hoang Duc)

122
2
123

Teacher and students ofClass 6A, Yen Hoa
Secondary
School,taking picture with IRCI
scholars
andthe
Research team from
VME and VNIES after
the Literature lesson
integrated with theheritage of Hoan Kiem
Lake and Ngoc Son
Temple relic, October
2019 (Photo by Hoang
Duc)

Leaders of Yen Hoa
Secondary
School,teacher and students ofClass 8A taking picturewith Ca tru artist, IRCI
scholars
andthe
Research team from
VME and VNIES aftertheBiologylessonintegrated with theheritage of Ca tru
singing, October 2019
(Photo by Hoang Duc)

123
2
124

APPENDIX
LIST OF NATIONAL INTANGIBLE CULTURAL HERITAGES(Updated as of January 29th, 2019, in alphabetical order)
Category

Location

Date of
Recognition

Ai Lao singing while
dancing

Folk performingarts

Ha Noi (Phuc Loi
Precinct, Long Bien
District)

16/9/2016

2.

Ancestor worshipping
ritual of Lo Lo people

Social customs andbeliefs

Ha Giang Province(Lung Cu Commune,
Dong Van District)

27/12/2012

3.

Ancient script of Dao
peopleLanguages,
writings

Bac Kan Province

27/12/2012

4.

Ancient script of Dao
peopleLanguages,
writings

Lao Cai Province

13/10/2015

5.

Ancient script of Tay
peopleLanguages,
writings

Bac Kan Province

25/8/2014

6.

Ancient writings of Thai
peopleLanguages,
writings

Son La Province

10/3/2016

7.

Ba Be Long tong festival

Traditional
festivals

Bac Kan Province(Nam Mau Commune,
Ba Be District)

19/12/2014

8.

Ba Po Nagar Tower
festival in Nha Trang

Traditional
festivals

Khanh Hoa Province(Nha Trang City)

27/12/2012

9/9/2013

No.

Heritage name1.

9.

Ba trao singing

Folk performing
arts

Quang Nam Province(Duy Xuyen, Thang
Binh, and Dien Ban
districts, Tam Ky andHoi An cities)

10.

Bay Nui bull racing
festival

Traditional
festivals

An Giang Province

19/1/201611.

Binh Da festival

Traditional

Hanoi (Binh Minh
Commune, Thanh Oai

1/4/2014

124

2
125

Note

No.

Heritage nameCategory

Location

festivals

District)

Date of
Recognition

12.

Binh Dinh classicaltheatreFolk performing
arts

Binh Dinh Province

25/8/201413.

Birthday ceremony (Hatkhoan) of Nung people

Social customs andbeliefs

Bac Kan Province (NaRi District)

21/11/2016

14.

Bo Da festival

Traditional
festivals

Bac Giang Province(Tien Son Commune,
Viet Yen District)

23/1/201715.

Buffalo fight festival in
Do SonTraditional
festivals

Hai Phong City (DoSon District)

27/12/2012

Bung Kham festival

Traditional
festivals

Lang Son Province(Dai Dong Commune,
Trang Dinh District)

8/6/2015

Ca tru (ceremonial songs)

Folk performingarts

Bac Giang, Bac Ninh,
Ha Tinh, Hai Duong,
Hung Yen, Nam Dinh,
Nghe An, Phu Tho,
Quang Binh, Thai
Binh, Thanh Hoa, andVinh Phuc provinces,
Hai Phong, Ha
Noi, and Ho Chi MinhCity

27/12/2012

Cao Lan ethnic folk songs

Folk performingarts

Bac Giang Province(Deo Gia Commune,
Luc Ngan District)

27/12/2012

Can Tho chanty

Folk performingarts

Can Tho Province(Thoi Lai, O Mon, and
Cai Rang districts, Can
Tho City)

29/1/2018

Cat Dang lacquer craft

Traditional
handicrafts

Nam Dinh Province(Yen Tien Commune,
Y Yen District)

8/5/2017

16.

17.

18.

19.

20.

125

2
126

Note

Location

Date of
Recognition

Traditional
festivals

Da Nang Province

10/3/2016

Cau Ngu (fish festival)

Traditional
festivals

Phu Yen Province

16/9/201623.

Cau Ngu (fish festival)

Traditional
festivals

Thanh Hoa Province(Ngu Loc Commune,
Hau Loc District)

11/9/201724.

Cau Ngu (fish festival) in
Khanh Hoa

Traditional
festivals

Khanh Hoa Province

27/12/2012

30/10/2018

No.

Heritage name21.

Cau Ngu (fish festival)

22.

Category25.

Cau Ngu (fish festival) in
Quang Binh

Traditional
festivals

Quang Binh Province(Quang Trach, Bo
Trach, Quang Ninh,and Le Thuy districts
and Ba Don Town,
Dong Hoi City)

26.

Ceremony for thedeliverance of the dead’s
souls

Traditional
festivals

Long An Province(Tam Vu Town, Chau
Thanh District)

19/12/2014

27.

Ceremony of giving
Social customs anddummies’ lives for Hoang beliefs
Sa soldiers

Quang Ngai Province(An Vinh Commune,
Ly Son District)

24/4/201328.

Ceremony of Linh Son
Mother Goddess’s
birthday - Ba Den
MountainSocial customs andbeliefs

Tay Ninh Province(Tay Ninh City)

4/9/2018

29.

Ceremony of startingnew crop (Pat Oong) of
Pu Peo people

Social customs andbeliefs

Ha Giang Province(Pho La Commune,
Dong Van District)

30/1/201830.

Ceremony of the King’s
ploughing field

Social customs andbeliefs

Ha Nam Province (DoiSon Commune, Duy
Tien District)

23/1/201731.

Chau van ceremony ofViet people

Social customs andbeliefs

Ha Nam and Nam
Dinh provinces

27/12/2012

126

2
127

Note

No.

Heritage nameCategory

Location

Date of
Recognition

19/12/2014

32.

Chhay-dam drum dance

Folk performingarts

Tay Ninh Province(Truong Tay
Commune, Hoa
Thanh
District)

33.

Con Son festival

Traditional
festivals

Hai Duong Province(Chi Linh Town)

27/12/2012

34.

Traditional
Dai Bai brass casting craft handicrafts

Bac Ninh Province(Dai Bai Commune,
Gia Binh District)

19/1/201635.

Dam swimming festival

Traditional
festivals

Ha Noi (Tay Tuu
Precinct, Bac Tu LiemDistrict)30/1/201836.

Dao Xa festival

Traditional
festivals

Phu Tho Province(Dao Xa Commune,
Thanh Thuy District)

21/11/2016

37.

Deng (textile) weaving
craft of Ta Oi people

Traditional
handicrafts

Thua ThienHue Province (A Luoi
District)21/11/2016

38.

Don ca tai tu music andsongs in southern Viet
Nam

Folk performingarts

An Giang, Ba RiaVung Tau, Bac Lieu,
Ben Tre, Binh Duong,
Binh Phuoc, Binh
Thuan, Ca Mau, Can
Tho, Dong Nai, Dong
Thap, Hau Giang, Kien
Giang, Long An, Ninh
Thuan, Soc Trang, Tay
Ninh, Tien Giang, Tra
Vinh, and Vinh Long
provinces, and Ho Chi
Minh City

27/12/2012

39.

Dong Ho folk paintings

Traditional
handicrafts

Bac Ninh Province(Song Ho Commune,
Thuan Thanh District)

27/12/2012

127

2
128

Note

No.

Heritage nameCategory

Location

Date of
Recognition

Dong Thap Province

30/10/201840.

Dong Thap chanty

Folk performing
arts

41.

Drums in Hmong
people’s ceremonies

Social customs andbeliefs

Lao Cai Province(Muong Khuong
District)30/1/201842.

Family line worshipping
ritual (Tu su) of Hmong
peopleSocial customs andbeliefs

Son La Province

21/11/2016

43.

Festival of A Sao Temple

Traditional
festivals

Thai Binh Province(An Thai Commune,
Quynh Phu District)

13/10/2015

44.

Festival of Ba Chua Xu
Temple at Nui Sam

Traditional
festivals

An Giang Province(Nui Sam Precinct,
Chau Doc City)

19/12/2014

45.

Festival of Ba Danh
PagodaTraditional
festivals

Ha Nam Province(Ngoc Son Commune,
Kim Bang District)

29/1/201946.

Festival of Bao Ha
TempleTraditional
festivals

Lao Cai Province (BaoHa Commune, Bao
Yen District)

13/6/2016

47.

Festival of Chem
communal house

Traditional
festivals

Ha Noi (Thuy PhuongPrecinct, Bac Tu LiemDistrict)

13/6/2016

20/6/201748.

Festival of Chieu Trung
TempleTraditional
festivals

Ha Tinh Province(Thach Ban and ThachHai communes, Thach
Ha District; Mai Phu
and Thach Kim
communes, Loc Ha
District)49.

Festival of Chin Gian
TempleTraditional
festivals

Nghe An Province(Que Phong District)

13/6/2016

50.

Festival of Con Temple

Traditional
festivals

Nghe An Province(Hoang Mai Town)

13/6/2016

128

2
129

Note

Location

Date of
Recognition

Traditional
festivals

Quang Ninh Province(Cua Ong Precinct,
Cam Pha City)

21/11/2016

Festival of Diem Village

Traditional
festivals

Bac Ninh Province(Hoa Long Commune,
Bac Ninh City)

19/1/2016

53.

Festival of Dong Ky
Village

Traditional
festivals

Bac Ninh Province(Dong Ky Precinct, Tu
Son Town)

19/1/2016

54.

Festival of Doc Cuoc
TempleTraditional
festivals

Thanh Hoa Province(Sam Son City)

27/9/2018

55.

Festival of Dong Bang
TempleTraditional
festivals

Thai Binh Province(An Le Commune,
Quynh Phu District)

16/9/2016

56.

Festival of Duom Temple

Traditional
festivals

Thai Nguyen Province(Dong Dat Commune,
Phu Luong District)

23/1/2017

57.

Festival of Ha, Thuong,
and Y La temples

Traditional
festivals

Tuyen
Quang Province(Tuyen Quang City)

23/1/2017

58.

Festival of Hai Ba Trung
TempleTraditional
festivals

Ha Noi9/2/2018

59.

Festival of Hao Xa
PagodaTraditional
festivals

Hai Duong Province(Thanh Xa Commune,
Thanh Ha District)

8/6/2015

60.

Festival of Hat Mon
TempleTraditional
festivals

Ha Noi (Hat Mon
Commune, Phuc Tho
District)

19/1/2016

61.

Festival of Hoang Cong
Chat Temple

Traditional
festivals

Dien Bien Province(Noong Het
Commune, Dien Bien
District)

8/6/2015

62.

Festival of Keo Pagoda

Traditional

Thai Binh Province

23/1/2017

No.

Heritage name51.

Festival of Cua Ong
Temple52.

Category

129

2
130

Note

No.

Heritage nameCategory

Location

Date of
Recognition

festivals(Duy Nhat Commune,
Vu Thu District)Festival of Ky Cung and
Ta Phu temples

Traditional
festivals

Lang Son Province(Lang Sơn City)

8/6/2015

64.

Festival of Lang SuongTempleTraditional
festivals

Phu Tho Province(Trung Nghia
Commune, Thanh
Thuy District)

4/9/2018

65.

Festival of Lanh Giang
TempleTraditional
festivals

Ha Nam Province(Moc Nam Commune,
Duy Tien District)

20/6/2017

66.

Festival of Le Mat Village

Traditional
festivals

Ha Noi (Le Mat
Village, Viet Hung
Precinct, Long Bien
District)19/12/2014

67.

Festival of Long Khe
TempleTraditional
festivals

Thai Binh Province(An Khe Commune,
Quynh Phu District)

11/9/2017

68.

Festival of Luu Xa
communal house

Traditional
festivals

Ha Noi (Hoa Chinh
Commune, Chuong
My District)

21/11/2016

69.

Festival of Ngu Doi
TempleTraditional
festivals

Vinh Phuc Province(Vinh Ninh Commune,
Vinh Tuong District)

30/1/201870.

Festival of Phuong Do
communal house

Traditional
festivals

Thai Nguyen Province(Xuan Phuong
Commune, Phu Binh
District)30/1/2018

71.

Festival of Qua Son
TempleTraditional
festivals

Nghe An Province(Boi Son Commune,
Do Luong District)

4/9/2018

72.

Festival of Quang Lang
Village

Traditional
festivals

Thai Binh Province(Thuy Hai Commune,
Thai Thuy District)

21/11/2016

63.

130

2
131

Note

Location

Date of
Recognition

Festival of Suoi Mo
TempleTraditional
festivals

Bac Giang Province(Nghia Phuong
Commune, Luc Nam
District)

8/6/2015

Festival of Thanh Liet
TempleTraditional
festivals

Nghe An Province(Hung Lam
Commune, Hung
Nguyen District)

27/9/201875.

Festival of Tho Vuccommunal house

Traditional
festivals

Tuyen Quang
Province (Hong Lac
Commune , Son
Duong District)

27/9/201876.

Festival of Thuong
TempleTraditional
festivals

Lao Cai Province (Lao
Cai City)

16/9/2016

77.

Festival of Thuong Liet
Village

Traditional
festivals

Thai Binh Province(Dong Tan Commune,
Dong Hung District)

27/9/2018

Festival of Tran Temple

Traditional
festivals

Thai Binh Province(Tien Duc Commune,
Hung Ha District)

27/1/2014

79.

Festival of Tran Temple

Traditional
festivals

Nam Dinh Province(Loc Vuong Precinct,
Nam Dinh City)

19/12/2014

80.

Festival of Tran Thuong
TempleTraditional
festivals

Ha Nam Province(Nhan Dao Commune,
Ly Nhan District )23/1/2017

81.

Festival of Truong Ba
TempleTraditional
festivals

Quang Ngai Province(Tra Xuan Town, Tra
Bong District)

08/5/201782.

Festival of Trieu Khuc
Village

Traditional
festivals

Ha Noi (Tan Trieu
Commune, Thanh Tri
District)

29/1/201983.

Festival of Trinh Xuyen
communal house

Traditional
festivals

Hai Duong Province(Nghia An Commune,

08/6/2015

No.

73.

74.

78.

Heritage nameCategory

131

2
132

Note

No.

Heritage nameCategory

Location

Date of
Recognition

Ninh Giang District)Festival of Truong Lam
communal house

Traditional
festivals

Ha Noi (Viet Hung
Precinct, Long Bien
District)30/1/201885.

Festival of Va Temple

Traditional
festivals

Ha Noi (Trung Hung
Precinct, Son Tay
Town)

19/1/2016

86.

Festival of Vongcommunal house

Traditional
festivals

Bac Giang Province(Song Van Commune,
Tan Yen District)

8/6/2015

87.

Festival of Vinh Nghiem
PagodaTraditional
festivals

Bac Giang Province(Tri Yen Commune,
Dung Yen District)

9/9/2013

88.

Festival to pray forbumper crop of San Chay
peopleTraditional
festivals

Thai Nguyen Province(Phu Luong District)

30/1/201889.

Festival to pray for rainof Yang Pơta ApuiSocial customs andbeliefs

Gia Lai Province

8/6/2015

90.

Fire dancing festival of Pa Traditional
festivals
Then people

Ha Giang Province(Tan Bac Commune,
Quang Binh District)

27/12/2012

91.

Flax cultivation andweaving techniques of
Hmong people

Folk knowledge

Ha Giang Province(Lung Tam Commune,
Quan Ba District)

19/1/2016

30/1/2018

84.

92.

Folk songs of Bo Y people

Folk performingarts

Ha Giang Province(Quyet Tien
Commune,Quan Ba
District)93.

Forest worshipping ritual(Mo dong tru) of Nung
peopleSocial customs andbeliefs

Ha Giang Province(Hoang Su Phi
District)

16/9/201694.

Forest worshipping ritualof Phu La people

Social customs andbeliefs

Ha Giang Province(Nan Sin Commune,
Xin Man District)

27/9/2018

132

2
133

Note

No.

Heritage nameCategory

Location

Date of
Recognition

95.

Forest worshipping ritual(Mu dang mai) of Thu
Lao people

Social customs andbeliefs

Lao Cai Province (TaGia Khau Commune,
Muong Khuong
District)

13/6/201696.

Forest spirit worshipping
ritual of Pu Peo people

Social customs andbeliefs

Ha Giang Province(Pho La Commune,
Dong Van District)

27/12/2012

97.

Forging craft of Nung An
peopleTraditional
handicrafts

Cao Bang Province(Phuc Sen Commune,
Quang Uyen District

29/1/201998.

Ga ma do (forest
worshipping ritual) of Ha
Nhi people

Social customs andbeliefs

Lao Cai Province (Bat
Xat District)

13/10/2015

99.

Ga Ma Thu (village
ceremony) of Ha Nhi
peopleSocial customs andbeliefs

Dien Bien Province(Sin Thau, Chung
Chai, Sen Thưong andLeng Su Sincommunes, Muong
Nhe District)

29/1/2019100.

Gau tao festival

Traditional
festivals

Ha Giang and Lao Cai
provinces27/12/2012

101.

Giong festival of Phu
Dong and Soc temples

Traditional
festivals

Ha Noi27/12/2012

102.

Hai Thuong Lan Ong
festival

Traditional
festivals

Ha Tinh Province(Huong Son District)

13/10/2015

103.

Han Khuong of Thai
peopleFolk performingarts

Yen Bai Province(Nghia Lo Town)

23/1/2017104.

Hat nha to (singing forreligious rituals)

Folk performing
arts

Quang Ninh Province

8/6/2015

105.

Hat Trongquan (alternate songs
with drum

Folk performingarts

Bac Ninh Province(Ninh Xa
Commune, Thuan

19/1/2016

133

2
134

Note

No.

Heritage nameCategory

Location

accompaniments) at Bui
Xa Village

Date of
Recognition

Thanh District)106.

Hat Trongquan (alternate songs
with drum
accompaniments)

Folk performingarts

Hai Duong Province(Thuc Khang
Commune, Binh
Giang District)

19/1/2016

107.

Hat Trongquan (alternate songs
with drum
accompaniments)

Folk performing
arts

Hung Yen Province

21/11/2016

108.

Het cha of Thai people

Traditional
festivals

Son La Province(Dong Sang
Commune, Moc Chau
District)

8/6/2015

109.

Het Khoan ceremony ofNung people

Social customs andbeliefs

Thai Nguyen Province(Dong Hy District)

13/10/2015

19/12/2014

110.

Homon (Epic) of Ba Na
peopleFolklore

Gia Lai Province (Dak
Doa, Dak
Po, K’Bang and Kong
Chro districts)

111.

Homon (Epic) of Ba NaRo Ngao people

Folklore

Kon Tum Province

19/12/2014112.

Hue singing

Folk performing
arts

Thua Thien-Hue
Province

8/6/2015

Initiation ceremony of
Dao Quan Chet people

Social customs andbeliefs

Phu Tho Province(Xuan Thuy
Commune, Yen Lap
District)

29/1/201930/10/2018

8/6/2015

113.

114.

Initiation ceremony of
San Diu people

Social customs andbeliefs

Thai Nguyen Province(Nam Hoa Commune,
Dong Hy District and
Ban Dat Commune,
Phu Binh District)

115.

Initiation ceremony ofSocial customs and

Bac Kan Province

134

2
135

Note

No.

Heritage nameCategory

Location

Date of
Recognition

Tay people

beliefs

Keo mo (bamboo
tugging)

Social customs andbeliefs

Ha Noi (Xuan Lai
Village, Xuan Thu
Commune, Soc Son
District)19/12/2014

117.

Keo song (rattan tugging)

Social customs andbeliefs

Vinh Phuc Province(Huong CanhTown, Binh Xuyen
District)19/12/2014

118.

Kate festival of ChampeopleTraditional
festivals

Ninh Thuan Province

20/6/2017

119.

Khan (Epic) of E De
peopleFolklore

Dak Lak Province

19/12/2014

120.

Khap Nom (folk songs) of
Tay people

Folk performingarts

Lao Cai Province (VanBan District)

30/1/2018121.

Kho gia festival of BlackHa Nhi people

Traditional
festivals

Lao Cai Province (Bat
Xat District)

19/12/2014

122.

Khoi Kim ceremony(worshipping the forest)of Red Dao people

Social customs andbeliefs

Lao Cai Province

13/10/2015

123.

Khu Cu Te New Yearfestival of La Chi people

Social customs andbeliefs

Ha Giang Province(Xin Man and Hoang
Su Phi districts)

25/8/2014

124.

Kiep Bac festival

Traditional
festivals

Hai Duong Province(Chi Linh Town)

27/12/2012

125.

Kim Bong woodwork

Traditional
handicrafts

Quang Nam Province(Cam Kim Commune,
Hoi An City)

21/11/2016

126.

Kin Pang Then ceremonyof White Thai people

Social customs andDien Bien Province(Muong Lay Town)

8/6/2015

116.

135

2
136

Note

No.

Heritage nameCategory

Location

Date of
Recognition

23/1/2017

beliefs127.

Knowledge andtechniques of writing
letters on leaves of
Khmer people

Folk knowledge

An Giang Province (TriTon and Tinh Bien
districts)

128.

Knowledge of stone field
cultivation of residents of Folk knowledge
Ha Giang Stone Plateau

Ha Giang Province(Quan Ba, Yen Minh,
Dong Van, and Meo
Vac districts)

25/8/2014129.

Ky yen festival at Gia Loc
communal house

Traditional
festivals

Tay Ninh Province(Trang Bang Town,
Trang Bang District)

27/12/2012

130.

Ky yen festival at Tan
Phuoc Tay communal
house

Traditional
festivals

Long An
Province (Tan Phuoc
Tay Commune, Tan
Tru District)

19/12/2014

131.

Ky yen festival of Binh
Thuy communal house

Traditional
festivals

Can Tho Province(Binh Thuy Precinct,
Binh Thuy District)

30/1/2018132.

Lacquer craft in Tuong
Binh Hiep

Traditional
handicrafts

Binh Dương Province(Tuong Binh Hiep
Precinct, Thu Dau
Mot City)

6/4/2016

133.

Le Thuy heave ho

Folk performing
arts

Quang Binh Province(Le Thuy District)

8/5/2017

134.

Traditional
Lieu Doi wrestling festival festivals

Ha Nam Province(Liem Tuc Commune,
Thanh Liem District)

23/1/2017135.

Lion dance of Tay people
and Nung people

Lang Son Province

8/5/2017

136.

Long Hau boat and canoe Traditional
handicrafts
making craft

Dong Thap Province(Long Hau Commune,
Lai Vung District)

19/12/2014

Folk performing
arts

136

2
137

Note

Location

Date of
Recognition

Traditional
festivals

Tuyen Quang
Province

27/12/2012

Long tong festival of Tay
peopleTraditional
festivals

Thai Nguyen Province(Dinh Hoa District)

8/5/2017

Long tong festival of Tay
peopleTraditional
festivals

Lao Cai Province (VanBan District)

30/1/2018

140.

Luon Coi of Tay people

Folk performingarts

Thai Nguyen Province(Dinh Hoa District)

30/1/2018

141.

Luon Coi of Tay people

Folk performingarts

Bac Kan Province (Pac
Nam District)

29/1/2019142.

Luon Sluong of Tay
peopleFolk performingarts

Bac Kan Province

25/8/2014

143.

Men Loong Phat Ai(Cockscomb New Year
Festival) of Cong people

Social customs andbeliefs

Dien Bien Province(Pa Thom Commune,
Dien Bien District,
Nam Ke Commune,
Muong Nhe District,and Pa Tan
Commune, Nam Po
District)

29/1/2019144.

Mo of Muong people in
Hoa Binh

Social customs andbeliefs

Hoa Binh Province

19/1/2016

145.

Mo Tham That ceremony Social customs andbeliefsof Tay people

Lao Cai Province(Lang Giang
Commune, Van Ban
District)

29/1/2019146.

Maturity ceremony of E
De people

Social customs andbeliefs

Phu Yen Province(Song Hinh and Son
Hoa districts)

4/9/2018

147.

Mat weaving craft

Traditional

Dong Thap Province

9/9/2013

No.

Heritage name137.

Long tong festival of Tay
people138.

139.

Category

137

2
138

Note

No.

Heritage nameCategory

Location

Date of
Recognition

handicrafts(Dinh An and Dinh
Yen communes, Lap
Vo District)148.

Me Tri green rice flake
making

Traditional
handicrafts

Ha Noi (Me Tri
Precinct, Nam Tu
Liem District)

29/1/2019149.

My Long rice paper
making craft

Traditional
handicrafts

Ben Tre Province (MyThanh Commune,
Giong Trom District)

30/10/2018

150.

My Long sea worshipping Traditional
festivals
ritualTra Vinh Province (MyLong Bac, My Long
Nam communes and
My Long Town, Cau
Ngang District)

31/10/2013

151.

Na nhem festival

Traditional
festivals

Lang Son Province

8/6/2015

152.

Nang Hai festival of Tay
peopleTraditional
festivals

Cao Bang Province(Tien Thanh
Commune, Phuc Hoa
District)20/6/2017

153.

Nang Hai festival (Moon
festival) of Tay NganpeopleTraditional
festivals

Ha Giang Province(Vo Diem Commune,
Bac Quang District)

27/9/2018154.

Nao Pe Chau New Yearfestival of Black Hmong
peopleSocial customs andbeliefs

Dien Bien Province(Muong Dang
Commune, Muong
Ang District)

8/6/2015

155.

New Year ceremony forbumper crop (Tiu siang
thun boau liu) of Dao
peopleSocial customs andbeliefs

Bac Kan Province(Dong Xa Commune,
Na Ri District)

19/1/2016

156.

New Year’s dance
ceremony (Nhang chamdao) of Dao people

Social customs andbeliefs

Thai Nguyen Province(Dai Tu District)

21/11/2016

138

2
139

Note

No.

Heritage nameCategory

Location

Date of
Recognition

157.

New Year festival of Giay
peopleSocial customs andbeliefs

Ha Giang Province(Tat Nga Commune,
Meo Vac District)

25/8/2014

158.

New Year festival of the
Fish of Tay people

Social customs andbeliefs

Ha Giang Province(Yen Minh District)

16/9/2016

159.

New Year festival ofwater splashing (Bunhuot nam) of Lao people

Social customs andbeliefs

Dien Bien Province(Nua Ngam
Commune, Dien Bien
District)

11/9/2017160.

Nghinh Ong festival

Traditional
festivals

Ho Chi Minh City (CanGio District)

9/9/2013

161.

Nghinh Ong festival

Traditional
festivals

Ben Tre Province(Binh Thang
Commune, Binh Dai
District)

10/3/2016

162.

Nghinh Ong festival

Traditional
festivals

Soc Trang Province(Tran De Town, Tran
De District)

29/1/2019163.

Ngu tro Vien Khe (DongAnh folk songs)

Folk performing
arts

Thanh Hoa Province(Dong Anh Commune,
Dong Son District)

11/9/2017164.

Nha nhac – Vietnamesecourt music

Folk performing
arts

Thua Thien - Hue
Province

27/12/2012

Noi ly, hat ly of Co Tu
peopleFolk performing
arts; Languages,
writings

Quang Nam Province(Dong Giang, Nam
Giang, and Tay Giang
districts)

13/10/2015

166.

Non Nuoc stone carving
craft

Traditional
handicrafts

Da Nang Province(Hoa Hai Precinct,
Ngu Hanh SơnDistrict)25/8/2014

167.

Ok Om Bok festival of
Khmer people

Traditional

Tra Vinh Province

25/8/2014

165.

139

2
140

Note

No.

Heritage nameLocation

Date of
Recognition

Folklore

Dak Nong Province(Tuy Duc, Dak Song,and Dak Mil districts)

19/12/2014

30/10/2018

Category
festivals

168.

Ot Ndrong (epic) of
Mnong people

169.

Pa Dung singing of Dao
peopleFolk performingarts

Thai Nguyen Province(Phuc Chu Commune,
Dinh Hoa District and
Yen Ninh Commune,
Phu Luong District)170.

Pao dung singing of Dao
peopleFolk performingarts

Tuyen Quang
Province

31/10/2013

171.

Phai Lua festival

Traditional
festivals

Lang Son Province(Hong Phong
Commune, Binh Gia
District)30/1/2018172.

Phu Day festival

Traditional
festivals

Nam Dinh Province(Kim Thai Commune,
Vu Ban District)

9/9/2013

173.

Phu Khe wood carving
craft

Traditional
handicrafts

Bac Ninh Province(Phu Khe Commune,
Tu Son Town)

19/1/2016174.

Phu Lang pottery

Traditional
handicrafts

Bac Ninh Province(Phu Lang Commune,
Que Vo District)

19/1/2016175.

Phu Le Sac bua singing

Folk performingarts

Ben Tre Province (Phu
Le Commune, Ba Tri
District)

23/1/2017176.

Poon Poong performance Folk performingartsof Muong people

Thanh Hoa Province(Cao Ngoc Commune,
Ngoc Lac District)

21/11/2016

Binh Thuan Province(Phan Hiep
Commune, Bac Binh
District)27/12/2012

177.

Pottery making craft ofCham people

Traditional
handicrafts

140

2
141

Note

Heritage nameCategory

Location

Date of
Recognition

Puppet of Tay people inTham Roc and Ru Nghe

Folk performingarts

Thai Nguyen Province(Binh Yen and Dong
Thinh communes,
Dinh Hoa District)

8/6/2015

179.

Put initiation ceremony(Lau Put) of Tay people

Social customs andbeliefs

Bac Kan Province(Dong Phuc
Commune, Ba Be
District)30/1/2018180.

Put Tong ceremony of
Red Dao people

Social customs andbeliefs

Lao Cai Province (SaPa District)

31/10/2013

181.

Quan ho Bac Ninh folk
songs

Folk performingarts

Bac Ninh and Bac
Giang provinces

27/12/2012

182.

Quya Hieng festival(Festival of crossing theyear) of Red Dao people

Traditional
festivals

Ha Giang Province(Ho Thau Commune,
Hoang Su Phi District)

8/6/2015

183.

Quyen Son folk songs

Folk performingarts

Ha Nam Province (ThiSon Commune, Kim
Bang District)

29/1/2019

184.

Ritual to pray forpeace (Pang A) of La Ha
peopleSocial customs andbeliefs

Son La Province(Muong La, Quynh
Nhai, and Thuan Cha
districts)

30/1/2018

185.

Roong Pooc festival of
Giay people

Traditional
festivals

Lao Cai Province (TaVan Commune, Sa Pa
District)

31/10/2013

Ruoc Co festival at Ba
Cho Duoc

Traditional
festivals

Quang Nam Province(Binh Trieu
Commune, Thang
Binh District)

25/8/2014

187.

San Chi ethnic folk songs

Folk performingarts

Bac Giang Province(Kien Lao Commune,
Luc Ngan District)

27/12/2012

188.

Sang co singing (Luu Tamsinging by repartees) ofFolk performingarts

Thai Nguyen Province(Phu Luong District)

19/1/2016

No.

178.

186.

141

2
142

Note

No.

Heritage nameCategory

Location

Date of
Recognition

San Chay people
189.

Silver carving craft ofHmong people

Traditional
handicrafts

Lao Cai Province (SaPa District)

31/10/2013

190.

Silver carving craft of Red Traditional
handicrafts
Dao people

Lao Cai Province (SaPa District)

30/1/2018

191.

Singing and dancing
ceremony under cottontree (Kin Chieng Booc
May) of Thai people

Thanh Hoa Province(Xuan Phuc
Commune, Nhu
Thanh District)

20/6/2017

192.

Sinh ca singing of Cao Lan Folk performing
peoplearts

Tuyen Quang
Province

13/10/2015

193.

Slaw của chisel craft ofNung Din people

Traditional
handicrafts

Lao Cai Province(Muong Khuong
District)

31/10/2013

Son Doc Glutinous ricechupatty making craft

Traditional
handicrafts

Ben Tre Province(Hung Nhuong
Commune, Giong
Trom District)

30/10/2018

8/6/2015

194.

Social customs andbeliefs

195.

Soong co singing of San
Diu people

Folk performing
arts

Tuyen
Quang Province (SonNam, Thien Ke andNinh Lai
communes, Son
Duong District)

196.

Soong co singing of San
Diu people

Folk performingarts

Thai Nguyen Province(Dong Hy District)

13/10/2015

197.

Soong co singing of San
Diu people

Folk performing
arts

Vinh Phuc Province(Lap Thach, Tam Dao,
Binh Xuyen districts
and Phuc Yen Town)

30/10/2018

198.

Space of the gongs
culture in the Central

Folk performing

Dak Lak, Kon
Tum, Gia Lai, Dak

27/12/2012

142

2
143

Note

No.

Heritage nameCategory

Location

Date of
Recognition

Highlands

arts

Nong, and Lam Dong
provinces

199.

Straw mat weaving craft

Traditional
handicrafts

Long An Province(Can Duoc, Ben Luc,and Tan Tru districts)

19/12/2014

200.

Su gie pa New Yearfestival of Bo Y people

Social customs andbeliefs

Lao Cai Province(Muong Khuong
District)19/12/2014

201.

Tac Xinh dance of San
Chay people

Folk performingarts

Thai Nguyen Province(Phu Luong District)

25/8/2014202.

Tang tung Da dance of
Co Tu people

Folk performing
arts

Quang Nam Province(Dong Giang, Nam
Giang, and Tay Giang
districts)

25/8/2014

203.

Tao mass ordination
ceremonies of Tay
peopleSocial customs andbeliefs

Bac Kan Province (NaRi District)

21/11/2016

204.

Textile weaving craft of
Co Tu people

Traditional
handicrafts

Quang Nam Province(Dong Giang, Nam
Giang, and Tay Giang
districts)

25/8/2014

205.

Thai Xoe art

Folk performingarts

Dien Bien Province

31/10/2013

206.

Thai Xoe art

Folk performingarts

Lai Chau Province

8/6/2015

207.

Thai Xoe art

Folk performingarts

Son La Province

8/6/2015

208.

Thai Xoe art at Muong
Lo-Nghia Lo

Folk performingarts

Yen Bai Province(Nghia Lo Town)

8/6/2015

209.

Thanh Chau birds’ nest
exploitation

Traditional
handicrafts

Quang Nam Province(Cam Thanh

21/11/2016

143

2
144

Note

No.

Heritage nameCategory

Location

Date of
Recognition

Commune, Hoi An
City, and Cu Lao
Cham Island)
The art of Bai choi

Folk performing
arts

Binh Dinh Province

25/8/2014211.

The art of Bai choi

Folk performing
arts

Quang Nam Province

25/8/2014212.

The art of Bai choi

Folk performingarts

Phu Yen Province

25/8/2014

213.

The art of Bai choi

Folk performingarts

Da Nang City

21/11/2016

214.

The art of Cham rieng
cha pay of Khmer people

Folk performingarts

Tra Vinh Province(Tan Hiep Commune,
Tra Cu District

24/4/2013

215.

The art of decoration on
traditional costumes of
Red Dao people

Social customs andbeliefs

Tuyen Quang
Province (Son Duong,
Ham Yen, Chiem Hoa,
Na Hang, and Lam
Binh districts)

29/01/2019

216.

The art of du ke theatreof Khmer people

Folk performingarts

Soc Trang Province

25/8/2014

217.

The art of Hmong
people’s Khen

Folk performingarts

Ha Giang Province

13/10/2015

218.

The art of Hmong
people’s Khen

Folk performingarts

Lao Cai Province

13/10/2015

219.

The art of Hmong
people’s Khen

Folk performingarts

Thai Nguyen Province(Phu Luong and Dong
Hy districts)

8/5/2017

220.

The art of Hmong
people’s Khen

Social customs andbeliefs

Son La Province (Moc
Chau District)

30/01/2018

210.

144

2
145

Note

No.

Heritage nameCategory

Location

Date of
Recognition

221.

The art of khen dancingof Hmong people

Folk performingarts

Bac Kan Province

8/6/2015

222.

The art of Muong gongsin Hoa Binh

Folk performingarts

Hoa Binh Province

19/1/2016223.

The art of patterndecoration on costumesof Red Dao people

Folk knowledge

Bac Kan Province(Ngoc Phai
Commune, Cho Don
District)30/1/2018

224.

The art of patterndecoration on costumesof Xa Pho people

Social customs andbeliefs

Lao Cai Province

19/12/2014

225.

The art of patterncreation on traditional
costumes of Flower
Hmong people

Folk knowledge

Dien Bien Province(Sa Long Commune,
Muong Cha District)

11/9/2017226.

The art of Ro-bam of
Khmer people

Folk performingarts

Tra Vinh Province

8/5/2017

227.

The art of Ro-bam of
Khmer people

Folk performingarts

Soc Trang Province(Tai Van Commune,
Tran De District)

29/1/2019228.

The art of The (dance) of
Tay people in Ta Chai

Folk performingarts

Lao Cai Province (TaChai Commune, Bac
Ha District)

19/12/2014

229.

The art of traditional
pottery making of Champeople in Bau Truc
Village

Traditional
handicrafts

Ninh Thuan Province(Phuoc Dan Town,
Ninh Phuoc District)

20/6/2017230.

The art of water
puppetry in Nguyen Xa
and Dong Cac

Folk performingarts

Thai Binh Province(Nguyen Xa and Dong
Cac communes, Dong
Hung District)

4/9/2018

231.

The ceremony oferecting New Year’s poleand Gu set of Co people

Social customs andbeliefs

Quang Nam Province(Tra Kot and Tra Nu
communes, Bac Tra

25/8/2014

145

2
146

Note

No.

Heritage nameCategory

Location

Date of
Recognition

My District)232.

The culture of Cai Rang
floating market

Social customs andbeliefs

Can Tho Province (CaiRang District)

10/3/2016

233.

The custom ofworshiping Tan Vien Son
Thanh in Ba Vi

Social customs andbeliefs

Ha Noi (Ba Vi District)

30/1/2018

234.

The mass ordination
ceremonies of Dao
peopleSocial customs andbeliefs

Bac Kan, Ha Giang,
Lao Cai, and Yen Bai
provinces27/12/2012

235.

The mass ordination
ceremonies of Dao
peopleSocial customs andbeliefs

Tuyen Quang
Province

31/10/2013

236.

The mass ordination
ceremonies of Dao
peopleSocial customs andbeliefs

Thai Nguyen Province

25/8/2014

237.

The mass ordination
ceremonies of Dao
peopleSocial customs andbeliefs

Son La Province

21/11/2016

238.

The mass ordination
ceremonies of Nung
peopleSocial customs andbeliefs

Thai Nguyen Province(Dong Hy District)

8/5/2017

239.

The performing art oftwin-drums, tri-gongs
with nobs, and quingongs at Xi Thoai

Folk performingarts

Phu Yen Province(Xuan Lanh
Commune, Dong
Xuan District)

13/10/2015

240.

Then ceremony of Giay
peopleSocial customs andbeliefs

Lao Cai Province (Bat
Xat District)

29/1/2019

241.

Then ceremony of Tay
peopleSocial customs andbeliefs

Lao Cai, Quang Ninh,
and Tuyen Quang
provinces27/12/2012

242.

Then ceremony of Tay
peopleFolk performingarts

Cao Bang Province

25/8/2014

243.

Then ceremony of Tay

Social customs and

Ha Giang Province

8/6/2015

146

2
147

Note

No.

Heritage nameCategory

Location

Date of
Recognition

peoplebeliefs

244.

Then ceremony of Tay
peopleSocial customs andbeliefs

Thai Nguyen Province(Dinh Hoa District)

13/10/2015

245.

Then ceremony of Tay
people and Nung people

Social customs andbeliefs

Bac Giang Province

13/10/2015

246.

Then ceremony of Tay
people and Nung people

Social customs andbeliefs

Lang Sơn Province

13/10/2015

Tho Ha festival

Traditional
festivals

Bac Giang Province(Van Ha Commune,
Viet Yen District)

27/12/2012

4/9/2018

247.

248.

Thuy Nguyen singing
while speaking

Folk performingarts

Hai Phong City (PhucLe, Pha Le, Lap Le,
Tam Hung and Ngu
Lao communes, andThuy Nguyen District)

249.

Tien Cong festival

Traditional
festivals

Quang Ninh Province(Quang Yen Town)

8/5/2017

250.

Tien La festival

Traditional
festivals

Thai Binh Province(Hung Ha District)

15/4/2016251.

Traditional brass casting
craft of Che Village (TraDong)

Traditional
handicrafts

Thanh Hoa Province(Thieu Trung
Commune, Thieu Hoa
District)

4/9/2018

252.

Traditional embroidery in Traditional
handicrafts
Dong Cuu

Ha Noi (Dung Tien
Commune, Thuong
Tin District)

21/11/2016

253.

Traditional festival of Le
Chan the female general

Traditional
festivals

Hai Phong Province(Le Chan District)

10/3/2016254.

Traditional martial arts of Folk performing
Binh Dinh
arts

Binh Dinh Province

27/12/2012

147

2
148

Note

Category

Location

Date of
Recognition

Folk knowledge

Ha Giang Province(Viet Quang Town,
Bac Quang District)

4/9/2018

256.

Traditional textile
weaving craft of HrepeopleTraditional
handicrafts

Quang Ngai Province(Ba Thanh Commune,
Ba To District)

29/1/2019257.

Traditional tugging

Social customs andbeliefs

Tuyen Quang
Province

8/6/2015

258.

Traditional weaving craftof Tay people

Traditional
handicrafts

Bac Kan Province

19/12/2014

259.

Trang Bang craft ofmaking rice papers driedin dew

Traditional
handicrafts

Tay Ninh Province(Trang Bang District)

13/10/2015

Tro Chieng festival

Traditional
festivals

Thanh Hoa Province(Yen Ninh Commune,
Yen Dinh District)

20/6/2017261.

Tro Ngo festival of Giang
Village

Traditional
festivals

Lang Son Province(Yen Thinh
Commune, Huu Lung
District)

8/5/2017

262.

Tro Tram festival

Traditional
festivals

Phu Tho Province (TuXa Commune, Lam
Thao District)

21/11/2016

Truong Dinh festival

Traditional
festivals

Tien Giang Province(Go Cong Town and
Gia Thuan Commune,
Go Cong Dong
District)

10/3/2016

Truong Yen festival

Traditional
festivals

Ninh Binh Province(Truong Yen
Commune, Hoa Lu
District)19/12/2014

No.

255.

260.

263.

264.

Heritage nameTraditional paper making
technique of Red Daopeople

148

2
149

Note

Category

Location

Date of
Recognition

265.

Tomb abandoning
ceremony of Raglai
peopleSocial customs andbeliefs

Khanh Hoa Province(Ba Cum Bac
Commune, Khanh Son
District)27/12/2012

266.

Tomb abandoning
ceremony of Raglai
peopleSocial customs andbeliefs

Ninh Thuan Province(Phuoc Chien
Commune, Thuan Bac
District)30/10/2018

267.

Tugging

Social customs andbeliefs

Bac Ninh Province(Hoa Long Commune,
Bac Ninh City)

19/12/2014

268.

Tugging of Tay and Giay
peopleSocial customs andbeliefs

Lao Cai Province

25/8/2014

269.

Tugging of Thai people

Social customs andbeliefs

Lai Chau Province

13/10/2015

270.

Sitting tug of war

Social customs andbeliefs

Ha Noi (Thach Ban
Precinct, Long Bien
District)19/12/2014

271.

Tuong art of Quang Area

Folk performingarts

Da Nang City

8/6/2015

272.

Vi and Giam folk songs ofNghe area

Folk performing
arts

Nghe An and Ha Tinhprovinces27/12/2012

273.

Via Ba Ngu hanh festival

Traditional
festivals

Long An Province(Long Thuong
Commune, Can Giuoc
District)19/12/2014

274.

Village ceremony for badluck relieve (Ay lay) of
Dao Ho people

Social customs andbeliefs

Lao Cai Province (VanBan District)

30/1/2018

Vow festival of Hoa Lieu
Village

Traditional
festivals

Hai Phong Province(Thuan Thien
Commune, Kien Thuy
District)

8/5/2017

No.

Heritage name

275.

149

2
150

Note

No.

Heritage nameCategory

Location

Date of
Recognition

Hai Duong Province

27/12/2012

276.

Water puppetry

Folk performing
arts

277.

Worship of customs

Social customs andbeliefs

Long An Province

19/12/2014

278.

Worships of Hung Kingsin Phu Tho

Social customs andbeliefs

Phu Tho Province

27/12/2012

279.

Worships of Mother Au
CoSocial customs andbeliefs

Phu Tho Province(Den Mau Au Co, Hien
Luong Commune, Ha
Hoa District)

23/1/2017280.

Wrestling festival of Vinh
Khe Village

Traditional
festivals

Hai Phong Province(An Dong Commune,
An Duong District)

11/9/2017

281.

Xa Ma festival –Palanquin parade of
Hoang Chau communal
house

Traditional
festivals

Hai Phong Province(Hoang Chau
Commune, Cat Hai
District)

8/5/2017

282.

Xang Khan festival (Kinchieng booc may) of Thai
peopleSocial customs andbeliefs

Nghe An Province(Que Phong, Quy
Chau, Quy Hop,
Tuong Duong, Ky Son,
Con Cuong, and Nghia
Dan districts)

11/9/2017283.

Xoan singing in Phu Tho

Folk performingarts

Phu Tho Province

27/12/2012

Xuan Pha dances

Folk performing
arts

Thanh Hoa Province(Xuan Truong
Commune, Tho Xuan
District)

16/9/2016

Xuan Lai bamboo craft

Traditional
handicrafts

Bac Ninh Province(Xuan Lai Commune,
Gia Binh District)

10/3/2016

284.

285.

150

2
151

Note

No.

286.

287.

288.

Category

Location

Date of
Recognition

Xuong love duets of
Muong people

Folk performing
arts

Thanh Hoa Province(Cao Ngoc, Thach Lap,
and Minh Son
communes, Ngoc Lac
District)

29/1/2019

Y Son festival

Traditional
festivals

Bac Giang Province(Hoa Son Commune,
Hiep Hoa District)

8/6/2015

Yen The festival

Traditional
festivals

Bac Giang Province(Cau Go Town, Yen
The District)

27/12/2012

Heritage name

151

2
152

Note

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