Chapter II tells about the wedding of Huyen Tran princess and Champa King Jaya Sinhavarman III (also called Che Man in Vietnamese). Pretty princess Huyen Tran was the daughter of King Tran Nhan Tong who promised to give his daughter in marriage to the Champa King to strengthen their bilateral relations. The royal wedding ceremony is reinvigorated meticulously, yet, features the sadness from the bottom of Huyen Tran’s heart. The vividly red flamboyant flowers flowing with the water and the boat carrying her to the groom’s house just tell us how heart-broken she was at sacrificing her own youth and real love for national affairs.

Chapter III reminds the audience of the busy port city of Hoi An in the past, which was always packed with vessels, sailors, and merchants, who came, traded, and left, despite many of them falling in love with locals. Hoi An women were really hard-working and fully taking care of house shores, leaving their significant others secured to embark on long voyages to make their ends meet. The scene of Hoi An women carrying lanterns and walking in windstorms alone highlight their courage to bear the hardships in life and become the spiritual support for their husbands and lovers. The image of a girl waiting for her lover is absolutely captivating and artistic. She desperately misses her far-away loved one and writhes with worries whenever a tropical storm is approaching, causing him a lot of troubles offshore or even putting him at risk. She worries about death but cannot lend a helping hand on spot. She asks the God of Heaven to protect him and back him back to her safe and sound. The woman, petrified of waiting for her significant other, is a conventional symbol of loyalty in love. No matter how long and traumatic, she insists on sitting there waiting for him day by day with her forever love.

Chapter IV highlights the cultural interference in the prosperous trading port of Hoi An. Such a subtle arrangement of art the show’s director has produced when using music as the story teller. The audience is treated to a symphony played by famous musical instrument as a background for iconic dances of Vietnam, China, Japan, and Portugal. A performance of 30 Vietnamese artists on “Dan Bau”- a Vietnamese monochord or a traditional one-string musical instrument, is considered the zenith of the entire repertoire. It suggests the necessity for indigenous culture to be respected and preserved in the face of cross culture.