|
| Chanting While Sawing Wood (keo cua lua xe) |
|
 Both boys and girls play the game of keo cua lua xe. Two children sit opposite each other, holding each other’s hands tightly. While reciting a song, they push and pull each other’s arms and pretend as if they are sawing a piece of wood between them.
|
|
|
| Boat racing |
|
 In some places there are only two boats in competition (in Ðào Xá, Phú Tho), a male boat with the figure of a bird at its head and a female one decorating with a figure of a fish. These two figures symbolize the yin-yang harmony (bird: in the sky – yang, fish: in the water – yin). The movements of the ores waken up the Water God. This kind of boat racing only takes place at night and ends at the crack of dawn. |
|
|
| Word arrangement |
|
 They hold sticks to which is attached colourful tassels. They are often divided into two lines with two leaders (tong co tien and tong co hau) standing at either end of each line. These leaders usually put on white trousers with three-knotted cloth belt, gauze tunics, turbans, holding square flags. |
|
|
| Vieing for Ball |
|
 In the courtyard of the village communal house, two groups of youth wearing loincloths compete enthusiastically to vie for the ball to throw it at either a hole in the east or in the west amidst the boisterous sound of drums and cry of the audience. The winner is the side with higher number of times of throwing the ball at the other side’s hole. |
|
|
| Blind Man’s Buff |
|
 The goat and goat catcher are blindfolded with handkerchiefs. The game begins when the catcher yells, “Done!” The goat can move wherever he or she likes but must occasionally bleat. The catcher listens for the bleats and grapples to find the goat. In turn, the goat must move quietly to avoid being trapped. Since both players are blindfolded, the goat and goat catcher must use both their ears and wits to win. |
|
|
| Vietnamese Rugby or Vat Cu |
|
Suddenly, the drum stops. Then it resumes, but this time in three long series and accompanied by the metallic sound of a gong. Three respectable old men in long blue robes with puffed sleeves appear. The man in the middle holds a multi-coloured flag; the man on the right, a small drum; and the man on the left, a gong. These are the referees. Behind them come two teams of twenty players each. These young, well-built men are barebacked, with colourful loincloths and red or yellow belts designating their team. The captain of one team holds a tray with a ball on it, covered with a pink cloth.
|
|
|
| The Art of Traditional Wrestling |
|
 Were it not for the dry rhythm of the drum and the overheated ambiance appropriate for sporting events, the surroundings might be a set for an artistic performance, insofar as Vietnamese traditional wrestling (vat) resembles dancing. Indeed, the most impressive aspects of this extremely popular sport are its picturesque and well-choreographed qualities. |
|
|
| The Pull of Natural Forces (keo co) |
|
 Players divide into two teams and stand face to face along a bamboo cord. A red piece of cloth marks the middle of the cord, which is above a line drawn with lime in the dirt. After a signal from the referee, players tug the cord as hard as possible to pull the red cloth towards their side. Eventually one team loses strength and let’s go of the cord; the audience cheers the other team as winners. |
|
|
| Bamboo Swings (Danh Du) |
|
 Swings and the associated games come in many kinds and variations. However, the most common Vietnamese swings involve a wooden platform, not a seat. One or two people stand on the platform and swing themselves high in the air, even tens of meters, until their bodies are almost parallel to the ground. Their goal is a prize hanging from the top of the swing's frame.
|
|
|
| Nu Na Nu Nong |
|
 This is a girls’ chanting game. Several girls sit side by side with their legs stretched out. The head of the game recites a song; at each word, she uses her hand to touch another girl’s leg or foot. There are several variations of the song, all of which start with the alliterative nonsense phrase nu na nu nong. One example goes as follows: |
|
|
| Battle of the Chickens (choi ga) |
|
 Raising roosters for cockfighting requires heavy investments in time and labour. Professional trainers choose young chickens carefully, individually preparing their food and drink, bathing them, separating them from hens, and training them in fighting positions. A fighting cock must be so acquainted with its owner that it will allow only the owner to hold him. Fighting cocks, which come from three main species, are colloquially called "sacred chickens" or "combat roosters". Black roosters with a red comb and a long neck are full of stamina and will fight to the bitter end. |
|
|
| Human Chess |
|
 The chessboard is marked by paint on flat ground. Village festivals usually use the yard in front of a communal house or pagoda or a nearby field. Organisers select players plus a referee well in advance. All should be children of families with a good reputation. The referee and the two generals should come from wealthier families so they can treat their players to food. As the selection finishes, the referee convenes the 32 people, describes the costumes, and tells each person how to move as a chess piece. Players may sit on chairs and wear hats if it is sunny. They either wear boards with the Chinese names of their pieces or carry sign poles with the characters. |
|
|
| Releasing pigeons (tha chim) |
|
 Every year, Hoan Son and Tam Giang villagers organise bird-releasing festivals in the early summer and mid autumn during the third and the eighth lunar months. Each family raises two or three flocks of pigeons. Judges stipulate that each flock in the spring contest may have ten pigeons but only eight in the autumn. The contests are open to anyone-not just Bac Ninh residents. Bird lovers use these occasions to exchange experiences and learn from each other.
|
|
|
| Throwing a sacred ball through the ring (nem con) |
|
 According to tradition, before playing, the Tay people first prepare a tray of food, which they take to the field and offer to the Sky and Earth. Two balls and a bamboo ring on the tray represent vitality and virtue. The festival leader, who must have high status, prays to the Sky and Earth lo brings rain so that the community will have a good harvest. After this ceremony, the leader tosses the two balls high into the air. Everyone competes to catch them, signaling the beginning of festivities. |
|
|
| The Game of the Dragon-Snake (rong ran) |
|
 A large group plays the children's game rong ran (dragon-snake). In One person sits on a small hill or some location above the other players; he or she acts as the doctor. The other children stand in a line, holding each other's belts to form the body of the dragon-snake.
|
|
|
| Cat and Mouse Game (meo duoi chuot) |
|
| Each game requires between seven and ten people. They stand in a circle, hold hands and raise their hands above their heads. Then they start singing the song above. One person is chosen as the cal and another as the mouse. These two stand in the middle of the circle and lean against each other. When the others sing the last sentence, the mouse starts to run, and the cat must run after it. However, the cat must run in exactly the same route and manner as the mouse. The cat wins the game when it catches the mouse. Then the two exchange roles. If the cal runs into the wrong hole, it will be dismissed from that round. |
|
|
| The game of squares (O an quan) |
|
 Each player places the stone in one of the mandarin's boxes and five small pebbles in each of the other squares (see diagram above). Then the game begins. The first player takes up the contents of one square on his or her side of the board (but not a mandarin's box) and distributes the pebbles one by one, starting with the next square in either direction. (Since each square contains five pebbles at the beginning, the first move will distribute five pebbles to the left or right). |
|
|
| Kites that make music (dieu sao) |
|
 A typical adult's kite has four parts: the body, the steering string, the flying string and flutes. The frame is made of the smooth outer bamboo stalk and is well polished. Kite-makers shape bamboo straps into a crescent two to three metres long and one metre wide. After that, they cover the frame with pieces of cotton cloth or carefully glued paper. |
|
|
| Bamboo Jacks (choi chuyen) |
|
| The peak of the game is the last, most animated stage with all ten sticks in a bundle. During this stage, the player losses the ball and then transfers (chuyen) the pack of sticks from one hand to the other. She must successively switch the bundle, first once, then twice, then three or even more times before catching the ball. The hands of a girl playing chuyen open and close like small, nimble butterflies. If a player's hands are not swift or if her eyes are not sharp, or if she fails to coordinate the two, she will lose her turn. The game will pass to the next girl. Playing chuyen warms up the body and creates a lot of fun. |
|
|
| Spinning Tops (con quay) |
|
In the countryside, most children make their own tops out of guava, jackfruit, or longan wood. Sometimes they fashion tops from buffalo horn, though there tops are rare because horns are harder to obtain and more difficult to shape. City children frequently use wood scraps left from making furniture to fashion their tops. To Tich Street in Hanoi’s Old Quarter is famous for trading tops. A top has three parts: the head, body and nail. The head is shaped into a cylinder. The body is a sphere; the string is wound around its upper part. The nail must be accurately fixed into the bottom point of the top. Children in the countryside make strings from dry maize leaves; Hanoi children often use parachute string or cord.
|
|
|
| Rice cooking competitions (thi thoi com) |
|
 Contestants cook in the open air while in a bamboo boat floating on the village pond. Charcoal, the usual fuel, is prohibited. Instead, each competitor receives some dried sugar cane, which burns only with difficulty. The challenge increases if it is windy and raining. Each contestant must set her rice pot in exactly the right place to take advantage of the wind and avoid extinguishing the fire.
|
|
|
| Festival rituals |
|
 Festivals, as mentioned above, are to honour holy figures, i.e. gods or divinities to whose temples and shrines are dedicated. Very often a festival takes place in the courtyard of the village’s communal house which is spacious and convenient for the conduct of liturgical processes and rejoicing activities. As such, the ritual of god procession is held along the route from their places of worship to the place of liturgy. At the end of the festival, another procession will bring gods’ statues back to their temples. After the procession ritual are the ritual of presenting offerings to gods and the opening of the festival. |
|
|
| Overview of traditional festivals |
|
 Traditional festivals constitute a form of cultural activities, a spiritual product which the people have created and developed during the course of history. From generation to generation, the Vietnamese people preserve the fine tradition of “remembering the source while drinking water.” Festivals are events which represent this tradition of the community as well as honour the holy figures named as “gods” – the real persons in national history or legendary persons. The images of gods converge the noble characteristics of mankind. |
|
