[VIDEO] Travel back to the annual Ðiện Hòn Chén Festival in Huế, Việt Nam -- this time, to witness the practice and rituals of ancestor worshipping.
Picture yourself holding a pen. Put that pen up to an imaginary piece of paper on an imaginary desk and pretend to start writing. Which hand did you use? The hand that you picked to write is your dominant hand, and the choice you make is called handedness.
Most likely, you put up your right hand. A small percentage of you would have put up your left. If you are in an Asian country, let’s say Việt Nam, it would be an even smaller percentage.
So why is this? Loa’s Chí-Linh Đinh was wondering the same thing, so she tries get to the bottom of handedness in Việt Nam.
Việt Nam's worship of the Mother Goddesses has received UNESCO recognition as an “intangible cultural heritage of humanity” at the 11th Convention for the Safeguarding of Intangible Cultural Heritage held in Addis-Ababa, Ethiopia.
Imagine a rap battle, between two competing, freestyling artists. But instead of rappers, you've got Vietnamese villagers. And instead of rhyming lyrics, you’ve got folk music infused with poetry and lullabies. Now set it all in 13th-century northern Việt Nam. That’s what you get with quan họ, traditional call and response folk music. Loa’s Jenny Lý gives us a sample of this singing style.
There’s a part of Vietnamese performance art that is distinctly emotional -- melodramatic, you might even call it. Actually, we call it cải lương. It’s folk opera that amplifies human drama with plaintive notes and a haunting pitch. This week, Lilly Nguyễn goes back in time to her first musical memory of cải lương to discover the story behind this traditional musical theater.