Assessing the Tourism Potential of Traditional Handicraft Villages in Ho Chi Minh City, Vietnam

Article information

J. People Plants Environ. 2026;29(S2):243-257

Publication date (electronic) : 2026 April 30

doi : https://doi.org/10.11628/ksppe.2026.29.S2.243

Hoang Ngoc Minh Chau^1,, Do Minh Nhat²

¹Lecturer, University of Social Sciences and Humanities, Viet Nam National University Ho Chi Minh City, Ho Chi Minh City, Vietnam (USSH - HCMVNU)

²Researcher, University of Social Sciences and Humanities, Viet Nam National University Ho Chi Minh City, Ho Chi Minh City, Vietnam (USSH - HCMVNU)

^*Corresponding author: Do Minh Nhat, minhnhatdl0105@gmail.com, https://orcid.org/0009-0008-3007-1922

First author: Hoang Ngoc Minh Chau, hoangngocminhchau@hcmussh.edu.vn, https://orcid.org/0000-0002-5765-0149

This research is funded by Vietnam National Foundation for Science and Technology Development (NAFOSTED) under grant number 504.04-2025.02.

Received 2025 December 30; Revised 2026 March 11; Accepted 2026 March 20.

Abstract

Introduction

In Ho Chi Minh City in particular, and in Southern Vietnam in general, traditional handicraft villages have emerged very early, closely associated with the process of land reclamation and settlement by Vietnamese migrants from the North to the South since the 17th century. Alongside agricultural and commercial activities, a segment of the population developed handicraft production, forming villages that specialized in a single craft or in related trades. These craft villages not only contributed to stabilizing the local economy but also shaped the initial economic foundation of the ancient Saigon area. Over more than three centuries of formation and development, traditional craft villages have become an inseparable part of the historical, economic, cultural, and social evolution of the Saigon-Gia Dinh-Ho Chi Minh City region.

According to the study by Ton Nu Quynh Tran, as of 2002, Ho Chi Minh City had 65 traditional handicraft villages (Tran, 2002). However, another study by Truong Hoang Truong indicates that by 2011, only 16 craft villages remained in Ho Chi Minh City, representing a decline of 49 villages compared to ten years earlier Truong (2012), At present, many traditional handicraft villages in Ho Chi Minh City continue their production activities while gradually integrating with tourism development. Craft village tourism represents a distinctive form of cultural tourism that simultaneously exploits both tangible and intangible cultural values to meet visitors’ needs for experience and discovery. The products and artworks created by artisans not only hold economic value but are also regarded as unique tourism resources that embody the traditional cultural essence of the nation. This type of tourism satisfies various visitor motivations, including sightseeing, studying the history and culture of craft villages, and directly engaging in certain stages of the handmade production process. Consequently, craft village tourism not only generates economic benefits but also plays an important role in preserving and promoting traditional cultural values, while enhancing the image of Vietnam and its people to both domestic and international visitors.

Although traditional handicraft villages in Ho Chi Minh City possess significant economic and cultural value and strong potential to contribute to sustainable tourism development, there remains a lack of in-depth and systematic studies that assess the current utilization of these values and quantitatively evaluate their tourism development potential. Existing studies are largely descriptive in nature and have not yet applied a multi-criteria approach to determine the level of favorability and tourism exploitation capacity within the specific context of the city.

Addressing this research gap, the present study focuses on two key questions: (1) What is the current state of value utilization of traditional handicraft villages in tourism activities in Ho Chi Minh City? (2) What are the levels of favorability and tourism development potential of each craft village when assessed using a scientific criteria system? In doing so, the study not only contributes to the theoretical and empirical literature on craft village tourism but also provides useful evidence for policy formulation and strategic planning for the development of craft village tourism in Ho Chi Minh City.

Research on traditional handicraft villages has attracted the attention of many scholars both domestically and internationally from various perspectives, including history, culture, economics, and tourism. These studies have contributed to clarifying the formation characteristics, cultural and economic values of craft villages, as well as their role in tourism development. However, the assessment of tourism potential of traditional craft villages in Ho Chi Minh City has not yet been systematically examined.

Internationally, many studies have focused on the relationship between craft villages and tourism development. The study by Gustami, Wardani, and Setiawan (2014) on Kasongan pottery village (Indonesia) shows that tourism has promoted the transformation from handicraft production for daily use to the production of aesthetic products and souvenirs for tourists. Meanwhile, Gao and Wu (2017), in their research on Yuanjia Village (China), highlighted the role of rural tourism in revitalizing traditional villages and creating sustainable livelihoods for local communities.

Recent studies have adopted quantitative approaches and sustainable development evaluation models. For example, Sari (2021) applied the AHP-SAW model to select tourism villages in Bali, while Liu et al. (2023) proposed a rural tourism development evaluation model based on the AVC theory. In addition, Li et al. (2024) suggested a framework for assessing the quality of cultural tourism spaces in traditional villages in China. Overall, international studies have provided diverse theoretical approaches and evaluation methods. However, these studies still have limitations in examining the long-term impacts of tourism on the cultural identity of traditional craft villages, as well as the role of local communities.

In Vietnam, many studies have examined traditional craft villages across the country. Research by Duong (2001), Bui (2002), Mai (2003), and Tran (2003) focused on clarifying the theoretical foundations, formation processes, socio-economic roles, and development orientations of craft villages in the context of industrialization and modernization.

More recent studies, such as Vu Tu Trang (2020), approach craft villages from a cultural perspective, emphasizing the tangible and intangible heritage values of traditional crafts. Several other studies have begun to explore the relationship between craft villages and tourism. Notable examples include the study by Nguyen Thi Kim Thanh et al. (2020) on tourist satisfaction in Bat Trang and Van Phuc craft villages, as well as the research by Phan (2022) assessing tourism development potential in craft villages in Da Nang. However, these studies mainly focus on certain localities in Northern and Central Vietnam or analyze only specific aspects such as tourist experiences, the craft village environment, or tourism development potential.

For Ho Chi Minh City, several studies have addressed traditional crafts and craft villages in the city. A notable example is the work “Traditional Handicraft Villages in Ho Chi Minh City” by Tran et al. (2002), which provides an overview of the historical formation and values of craft villages in the context of urbanization. The study by Dao Duy Huan and Nguyen Huu Hoai Phu (2005) analyzes the current situation and proposes solutions for developing non-agricultural craft villages in the suburban areas of the city, suggesting the linkage of craft villages with ecotourism activities.

In addition, the project “Survey of Traditional Crafts and Craft Villages in Ho Chi Minh City” by Truong (2012) compiled and described many representative crafts and craft villages, providing an important source of information for subsequent research. Other studies, such as those by Nguyen (2015) and Cao (2016), approach craft villages from cultural-social perspectives or from the viewpoint of export-oriented production. However, these studies mainly focus on describing the historical background, production characteristics, or cultural values of craft villages, and have not yet conducted in-depth assessments of their tourism development potential within Ho Chi Minh City.

Thus, it can be observed that although numerous studies have been conducted on traditional craft villages in Vietnam and in Ho Chi Minh City, these works mainly focus on the historical formation, production characteristics, cultural values, or economic development orientations of craft villages. To date, no study has systematically assessed the tourism development potential of traditional craft villages in Ho Chi Minh City based on scientific criteria and integrated analytical methods.

Therefore, the study titled “Assessing the Tourism Potential of Traditional Craft Villages in Ho Chi Minh City, Vietnam” not only helps fill this research gap but also provides a scientific basis for the conservation and promotion of craft village values in connection with sustainable tourism development in the context of ongoing urbanization.

Research Methods

This study employed a combination of qualitative and quantitative research methods. The qualitative approach drew upon secondary data sources, including reference books, research compilations, journal articles, and conference proceedings. These materials were systematically collected, categorized, and synthesized to provide a foundational understanding of traditional handicraft villages and to support the formulation of the study’s analytical framework. To obtain primary data, field surveys were conducted across six traditional craft villages in Ho Chi Minh City. In-depth interviews were carried out with 99 craft households, distributed as follows: Thai My bamboo and rattan weaving craft village (25 households), Phu Hoa Dong rice paper village (11 households), Tan Thong Hoi bamboo screen village (4 households), Xuan Thoi Son basket weaving craft village (8 households), Le Minh Xuan incense stick making craft village (23 households), and Ly Nhon salt-making village (28 households). The households selected for interviews were primarily those with relatively large-scale production, extensive experience in their craft, and those who are currently involved in or have previously participated in receiving tourists. Therefore, they are considered representative samples of both production activities and the tourism exploitation capacity of the craft villages. In addition, because the field surveys were conducted multiple times during different research phases, the research team also carried out supplementary interviews with several households using random sampling in order to enhance the objectivity of the data. The differences in the number of survey samples among the craft villages mainly result from variations in the scale and the actual number of production households in each locality, as some craft villages currently have only a small number of households continuing their activities due to the impacts of urbanization and occupational shifts. Nevertheless, the overall survey sample still reflects the key operational characteristics of the craft villages and adequately meets the analytical requirements of the study.

These interviews aimed to explore the historical evolution, current production practices, cultural preservation efforts, and the potential for developing tourism activities within each village. The data gathered from local residents provided rich insights into craft sustainability, community participation, and the challenges faced in integrating handicraft production with tourism development.

In addition, 15 expert interviews were conducted with researchers, government officials in the tourism sector, and representatives of travel agencies in Ho Chi Minh City. These experts contributed valuable perspectives on assessing tourism potential, identifying key influencing factors, and proposing strategic directions for developing craft village tourism in Ho Chi Minh City.

The quantitative component of the study applied Multi-Criteria Analysis (MCA) in combination with the Analytic Hierarchy Process (AHP). Based on consultations with 15 experts, an evaluation criteria system was developed to assess the relative favorability and tourism development potential of the six selected craft villages. Specifically, the expert panel comprised seven tourism specialists, three cultural experts, two government officials responsible for tourism management in Ho Chi Minh City, and three representatives of travel enterprises. Notably, more than 50% of the experts had research or practical experience related to traditional craft villages. Expert opinions were collected through an online questionnaire (Google Forms) to obtain in-depth data on tourism exploitation capacity, the relative importance of evaluation criteria, and factors influencing tourism development potential in traditional handicraft villages in Ho Chi Minh City.

The AHP method was employed to determine the relative weights of the evaluation criteria through pairwise comparisons, thereby ensuring a logical and consistent prioritization of factors influencing tourism potential. This method has also been adopted by several previous studies, such as Chao et al. (2019) and Sari (2021), among others. This integrated approach enabled the study to both qualitatively interpret and quantitatively assess the tourism development capacity of traditional handicraft villages in Ho Chi Minh City.

Based on the expert survey, the author applied a 1-3-5-7-9 rating scale, with 2-4-6-8 representing intermediate values between two adjacent levels (Saaty và Vargas, 2012). After collecting the complete dataset, the author calculated the weights of each criterion, determined the eigenvalues of the comparison matrix, and computed the standard deviation and coefficient of variation. The results indicate that the coefficient of variation is below 40%, demonstrating that the dispersion among the criteria is not excessive and that the evaluation results are stable and reliable (Nguyen, 2015,) In addition, this method helps identify linear relationships among the criteria, thereby enabling accurate weight estimation for each criterion and providing an appropriate assessment of the tourism development potential of traditional craft villages.

Study area and data collection

The spatial scope of this study covers six traditional handicraft villages located in Ho Chi Minh City, including: Thai My bamboo and rattan weaving craft village, Phu Hoa Dong rice paper village, Tan Thong Hoi bamboo screen village, Xuan Thoi Son basket weaving craft village, Le Minh Xuan incense stick making craft village, and Ly Nhon salt-making village (Fig. 1). The selection of these six villages is based on Decision No. 385/QĐ-UBND, dated January 28, 2019, issued by the People’s Committee of Ho Chi Minh City, which approved the project “One Commune, One Product (OCOP) Program” to 2020. According to this decision, these are key villages prioritized for preservation and development. Collectively, they represent the diversity of the city’s handicraft sectors and are distributed across suburban districts with high potential for rural, ecological, and community-based tourism development. The inclusion of these six villages enables the study to provide a comprehensive reflection of the cultural and tourism exploitation potential of Ho Chi Minh City’s traditional handicraft villages.

Fig. 1

Images of six traditional craft villages within the scope of the study.

Concepts of traditional occupations, craft villages, and traditional craft villages

According to Decree No. 52/2018/NĐ-CP of the Government of Vietnam on the development of rural industries:

Traditional occupation refers to occupations that have existed for generations, producing unique products with distinctive characteristics, which have been preserved and developed to the present day or are at risk of disappearance and extinction.

Craft village is defined as one or more clusters of residential communities (hamlets, villages, communes, or similar settlements), where numerous households participate in one or more rural industries as regulated in Article 4 of the Decree.

Traditional craft village refers to a craft village that possesses a traditional occupation that has existed for a long time and continues to be maintained and developed to the present.

Based on these definitions, traditional handicrafts are understood as production activities primarily performed by hand, using simple tools and requiring high levels of skill, experience, and creativity from artisans or skilled workers. These crafts often have a long history of formation and development in Vietnam, handed down through generations, with stable production techniques and materials sourced mainly from local resources. The products of traditional handicrafts are highly diverse, including handicrafts, tools, household goods, and processed products from agricultural, forestry, and aquatic resources. They reflect the cultural identity and distinctiveness of each region. Individuals engaged in the same craft typically live and work in close proximity, forming craft communities, which in turn constitute traditional craft villages. Within the scope of this study, the above concepts and regulations stated in Decree No. 52/2018/NĐ-CP serve as the theoretical foundation and guiding framework for analyzing, assessing, and identifying the characteristics of traditional handicraft villages in Ho Chi Minh City (Table 1).

Table 1

Criteria for assessing the potential for tourism development in traditional craft villages

Results and Discussion

Current situation of traditional handicraft villages

Le Minh Xuan incense stick making craft village (Binh Chanh district)

Le Minh Xuan Commune is well known for its incense stick making craft village, which has existed for many generations and continues to operate and develop today. The origin of incense production is believed to have been introduced by the Chinese community. After 1980, incense production facilities were relocated away from the city center due to environmental concerns, as incense manufacturing generates smoke and dust unsuitable for densely populated areas. Given the close connection between incense products and the spiritual and religious life of Vietnamese people, as well as the ongoing social demand, incense production has been maintained and further developed over time.

Notably, production techniques have undergone significant modernization. While the process was once entirely manual, in the past decade most incense sticks have been produced using simple machinery, which significantly increases productivity compared with traditional hand-rolling methods (Truong, 2012).

As of 2023, the village has only 58 households engaged in incense production, mainly concentrated in Hamlet 5. Production activities remain fragmented, with households operating independently without formal organization or coordination. According to local residents, incense making should continue to be developed because it brings economic benefits, meets the spiritual needs of the community, and represents a traditional cultural value deeply embedded in Vietnamese customs and beliefs (Source: Field survey results).

Thai My Bamboo and Rattan weaving craft village (Cu Chi district)

Residents in Thai My Commune cannot identify exactly when the bamboo and rattan weaving craft first appeared in their locality. Most recall that the craft was passed down from their grandparents, becoming a traditional family occupation over generations. Initially, weaving products were made for household use; later, they were traded in local markets, gradually forming residential clusters engaged in bamboo and rattan weaving across the commune. The craft was traditionally practiced alongside agricultural activities (Truong, 2012).

According to the Ho Chi Minh City Rural Development Sub-department (2020), the village once had one weaving establishment (producing simple export items), seven cooperative groups, and 195 households participating in production, involving over 390 workers with an average income of about 4 million VND per person per month. Our field survey found that currently 94 households continue weaving, producing traditional items such as sieves, baskets, trays, and winnowing pans. In addition, some artisans create highly aesthetic handicrafts with artistic value. Despite various transformations over time, the Thai My bamboo and rattan weaving craft village still plays an important role in local agricultural livelihoods by helping stabilize the income of many farming households in the commune.

Tan Thong Hoi Bamboo screen village (Cu Chi district)

The bamboo screen-making craft in Tan Thong Hoi Commune originated around the 1960s, when numerous local workshops produced lacquered bamboo blinds (Vu, 2020). Around 1978, the emergence of cooperative models across the country influenced local craftsmen, who established the Tan Tien Bamboo Screen Cooperative. However, by 1987, the cooperative was dissolved due to economic inefficiency. Since then, households have operated independently—managing production, negotiating with clients, and marketing their own products (Tran, 2002).

Because of the high production cost, domestic demand for bamboo screens was limited. Most products were sold outside the locality or exported to Japan, France, the United States, and Taiwan (Truong, 2012). In 2020, the village still had one production facility, 110 households engaged in screen-making, and about 440 regular workers with an average annual income of 1 million VND per person (Ho Chi Minh City Rural Development Sub-department, 2020).

However, our 2024 field survey revealed that bamboo screen production has now completely ceased in Tan Thong Hoi. Only about three households remain involved in trading raw bamboo materials sourced from other areas and reselling them to producers in Phuoc Vinh An Commune (Cu Chi District). This is a regrettable situation, as the craft once represented a distinctive local cultural identity but is now nearly extinct.

Phu Hoa Dong rice paper village (Cu Chi district)

Phu Hoa Dong Commune is easily recognizable by rows of rice papers being sun-dried along Provincial Road 15 and throughout village lanes — a distinctive image of the rice paper-making craft. Although some households have transitioned from manual to mechanized production, many continue to preserve traditional methods. Each stage of production—from grinding rice, steaming, drying, to packaging—is still performed manually. Many families also combine rice paper making with farming activities.

Between 1978 and 1980, when rice paper began to be exported, production in the village flourished. The number of rice paper ovens increased from 1,000 in 1985 to 1,500 in 1996, and 2,000 by 1998 (Tran, 2002). Currently, the village has 70 enterprises, production facilities, and cooperatives (including 6 enterprises, 1 cooperative, and 63 household businesses), along with 15 manual producers. About 940 out of 7,260 households (12.9%) are engaged in rice paper production. The total output reaches about 90 tons per day, employing more than 3,000 workers with an average income of approximately 8 million VND per month and generating monthly revenue of around 100 billion VND (Phu Hoa Dong Commune People’s Committee, 2024). This industry has significantly contributed to the local economy.

Xuan Thoi Son basket weaving craft village (Hoc Mon district)

Xuan Thoi Son is an agricultural commune located in the center of Hoc Mon District, bordered by Hoc Mon Town and Tan Xuan and Tan Thoi Dong Communes. The basket weaving craft has existed for over a century, originating from the area’s abundant bamboo resources, which residents utilized to create daily household items. Currently, only about 10 households continue the craft. The Xuan Thoi Son basket weaving craft village now has 20 active households, employing about 20 regular workers. The average monthly income is approximately 1.2 million VND per person, with most workers being elderly residents or housewives engaged part-time to supplement household income (Ho Chi Minh City Rural Development Sub-department, 2020). Although small in scale, the craft has provided employment opportunities for local residents and continues to supply essential products for agricultural producers and traders of vegetables and fruits in southern Vietnam.

Ly Nhon salt-making village (Can Gio district)

Ly Nhon Commune is a remote coastal area in Can Gio District, located to the south of Ho Chi Minh City. The commune is traversed by two major rivers, the Soai Rap River and the Vam Sat River, which facilitate waterway trade and cultural exchange with neighboring provinces such as Long An, Tien Giang, and Ba Ria-Vung Tau, as well as with Ho Chi Minh City. Thanks to its coastal location, Ly Nhon has favorable natural conditions for salt production.

According to local accounts, salt-making began around 1980, when a migrant from Tien Giang settled in the area, hired workers to make salt, and taught the technique to local residents. The salt-making season typically lasts from October to March (lunar calendar), depending heavily on weather conditions. Seawater is channeled into fields divided into grid-like sections, where evaporation and crystallization occur over 7–10 days depending on sunlight intensity. Once crystallized, salt is collected, stored in piles, and sold to traders (Source: Field survey results)

In 2019, the village had 487 salt-producing households, with a total production area of 986 hectares and an annual output of 66,784 tons (Ho Chi Minh City Rural Development Sub-department, 2019). By 2024, Ly Nhon Salt-Making Village had 489 out of 1,543 households participating in salt production, employing 1,252 workers, with an average household income of 96 million VND per year (Ly Nhon Commune People’s Committee, 2024). Most salt producers are low-income households. The city government is currently promoting the conversion of inefficient salt fields to aquaculture in order to improve household incomes (Ho Chi Minh City Rural Development Sub-department, 2020).

Based on the statistical data in Table 2, it can be observed that the number of households engaged in traditional handicraft production in Ho Chi Minh City’s craft villages has fluctuated over the years, showing a gradual declining trend in quantity.

Table 2

Statistics on the number of production establishments and households engaged in traditional handicraft activities in Ho Chi Minh City in 1999, 2012, 2015, 2020, and 2023

Evaluation of the tourism development potential of traditional handicraft villages in Ho Chi Minh City

The assessment of tourism development potential in traditional handicraft villages requires the consideration of multiple factors; however, the level of importance of each factor varies. Applying the Analytic Hierarchy Process (AHP) method, we collected expert (CG - Authority) opinions on the relative importance of each criterion using a 9-point scale, where scores from 1 to 9 represent the increasing level of influence of each criterion on the tourism development potential of the craft villages. Pairwise comparisons among the evaluation criteria were then conducted following the procedure proposed by Saaty and Vargas (2012).

Based on the analysis, the weight of each criterion as evaluated by the experts is presented in Table 3 below.

Table 3

Weights of the evaluation criteria for assessing the tourism development potential of traditional handicraft villages in Ho Chi Minh City

To ensure the accuracy and reliability of the calculated weights, we conducted a detailed analysis of the parameters within the Analytic Hierarchy Process (AHP) method. This procedure involved testing the consistency of the pairwise comparison matrices among the criteria, followed by calculating the Consistency Ratio (CR) using the formula CR = CI/RI, where CI represents the Consistency Index and RI denotes the Random Index, which equals 1.24 for a matrix of this size (Saaty, 1980).

The Consistency Ratio (CR) plays a crucial role in determining the reliability of the derived weights. If CR ≤ 0.1 (or less than or equal 10%), the pairwise comparison matrix is considered to have an acceptable level of consistency, allowing the analysis results to be used for further evaluation. Conversely, if CR > 0.1 (greater than 10%), the inconsistency in judgments is deemed too high, requiring the matrices to be reviewed and adjusted to ensure logical coherence and precision.

The results of this consistency analysis yielded the CR values for each pairwise comparison matrix, thereby confirming the reliability and validity of the established weighting system.

As shown in Table 4, the Consistency Ratio (CR) values of all survey samples are very small and meet the reliability threshold, being less than or equal to 0.1 (or < 10%), in accordance with the theoretical standard proposed by Saaty and Vargas (2012).

Table 4

Parameters of the analytic hierarchy process (AHP)

In addition, the final weights of the evaluation criteria for assessing the tourism development potential of traditional handicraft villages in Ho Chi Minh City were determined based on the average values provided by the experts. The coefficient of variation was also calculated to examine the level of agreement or divergence among expert opinions. The detailed results are presented as follows.

According to Table 5, although the experts provided varying opinions regarding the importance levels of the six evaluation criteria, a clear pattern of agreement can be observed. The “attractiveness” and “conservation level” criteria received the highest level of consensus among experts regarding their relative importance, with coefficients of variation of 9.58% and 13.76%, respectively. These were followed by “infrastructure” (25.92%) and “village location” (29.66%). Meanwhile, the two criteria “connectivity” and “carrying capacity” exhibited relatively higher variation, at 31.38% and 34.26%, respectively, indicating some degree of divergence in expert assessments for these two factors.

Table 5

Weights, standard deviations, and coefficients of variation of the evaluation criteria for assessing tourism development potential in traditional handicraft villages

However, overall, the dispersion levels remain within the range considered acceptable by theoretical standards. Specifically, according to Nguyen Ha Quynh Giao (2015, p.46), when the coefficient of variation is below 40%, the data dispersion is not excessive, ensuring the stability and reliability of the results. Therefore, the variation levels in this study can be deemed both acceptable and dependable.

To evaluate the tourism development potential of the six traditional handicraft villages in Ho Chi Minh City, the authors classified the favorability levels for tourism exploitation into five categories: Very favorable (VF); Favorable (F); Moderately favorable (MF); Less favorable (LF); Unfavorable (UF). The scoring intervals for each category were determined using the following formula:

Δ X=Xmax-Xminm

Where: mmm = number of evaluation levels (in this case, m = 5).

Thus, the recorded result is ΔX = 0,3 and the scores for each level evaluating the favorable level are specifically as follows.

Based on the results presented in Table 6, the levels of favorability were classified according to the following value ranges: Unfavorable: below 3.09; Less favorable: from 3.09 to 3.37; Moderately favorable: from 3.37 to 3.66; Favorable: from 3.66 to 3.94; Very favorable: 3.94 and above.

Table 6

Evaluation scores and ranking of tourism development potential for craft villages in Ho Chi Minh City

Through the application of the Analytic Hierarchy Process (AHP), we established weights for the six evaluation criteria reflecting their relative importance in assessing the tourism development potential of the traditional handicraft villages. A corresponding scoring scale was also developed to measure the level of favorability for tourism exploitation in each village in Ho Chi Minh City.

In combination with the field survey results conducted at the six villages, the author assigned scores to each criterion according to the predefined indicators. The scoring results and evaluation levels for each craft village are presented as follows.

Based on the results in Table 7, the tourism development potential of traditional handicraft villages in Ho Chi Minh City can be classified according to specific levels. The Le Minh Xuan incense stick making craft village and Phu Hoa Dong rice paper village were assessed as very favorable (VF) for tourism exploitation. Meanwhile, the Thai My bamboo and rattan weaving craft village was ranked as moderately favorable (MF), and the Ly Nhon salt-making village as less favorable (LF). In contrast, the Tan Thong Hoi bamboo screen village and the Xuan Thoi Son basket weaving craft village were both rated as unfavorable (UF) for tourism development.

Table 7

Summary of the evaluation criteria results for assessing the tourism development potential of traditional handicraft villages in Ho Chi Minh City

This assessment not only reflects the current situation but also corresponds closely with the context and actual conditions of the six villages in Ho Chi Minh City discussed earlier. Each village possesses its own advantages and challenges, and the potential for developing tourism depends on multiple factors to ensure a comprehensive and realistic evaluation.

Le Minh Xuan incense stick making craft village

According to the analysis, this is one of the two villages identified as very favorable for tourism development. This high rating can be attributed to its long-standing history, the cultural and spiritual appeal of incense products, vibrant production activities, and the stable number of households involved over time. The village has also become a well-known attraction among both domestic and international visitors.

Le Minh Xuan was officially recognized as a craft village by the Department of Agriculture and Rural Development under Decision No. 15/QĐ-SNN dated January 20, 2014. However, the village still faces challenges related to weak coordination among stakeholders and conflicts between community groups and local authorities (Author’s interview). Most households operate independently, while local government policies to support investment and tourism development remain limited. Furthermore, local residents are inexperienced in welcoming and serving tourists, and during our field survey, we encountered significant difficulties in approaching and communicating with local officials.

Phu Hoa Dong rice paper village

This village was recognized as a traditional craft village under Decision No. 4568/QĐ-UBND dated October 14, 2024. The Phu Hoa Dong rice paper brand has been closely linked to the economic, cultural, and social development of Cu Chi District for centuries. The craft has brought both prestige and identity to the community. In recent years, Phu Hoa Dong rice paper has not only met domestic demand but has also been exported to international markets, including the United States, Japan, and South Korea.

However, the number of households engaged in the craft has declined. Some have shifted from manual production to mechanized methods to increase productivity and competitiveness, which has partially reduced the traditional cultural authenticity of the craft. The village also faces challenges in attracting a younger workforce to sustain and revitalize its craft heritage.

Tan Thong Hoi Bamboo screen village

This village represents a regrettable case in which Ho Chi Minh City has lost a once-vibrant cultural asset. As previously mentioned, bamboo screen production in Tan Thong Hoi has nearly disappeared, with only a few households remaining engaged in related activities. The craft no longer thrives within the community, and its economic contribution has diminished significantly. Therefore, it is essential to implement proper preservation and investment policies to revive this traditional craft and integrate it into the community’s cultural and tourism development.

Thai My Bamboo and Rattan weaving craft village

Although the number of weaving households has declined in recent years, Thai My remains relatively active. The village produces a wide variety of bamboo and rattan products, and households cooperate effectively in production and market access. However, tourism activities related to the craft are still at an early stage and have not yet attracted a large number of visitors. Thus, the village’s tourism potential remains underdeveloped compared with other traditional craft villages.

Xuan Thoi Son basket weaving craft village

This village was rated as unfavorable for tourism development. Similar to Tan Thong Hoi, the vitality of the craft has greatly diminished. With the changing market economy, traditional handmade products have become less competitive compared with modern industrial goods. Consequently, most residents have abandoned the craft and switched to other occupations to secure their livelihoods.

Ly Nhon salt-making village

The Ly Nhon salt-making village was classified as less favorable for tourism development. Nevertheless, it remains one of the officially recognized traditional craft villages under Decision No. 4566/QĐ-UBND, issued by the Ho Chi Minh City People’s Committee, acknowledging “Ly Nhon Traditional Salt-Making Village.” Currently, the village focuses primarily on salt production and trade, with limited understanding or participation in tourism-related activities among local residents. The main challenge is the lack of governmental attention in developing policies and tourism products specific to the village.

A noteworthy example relevant to Ly Nhon is the Thiềng Liềng Islet community-based tourism model, which, despite its remote and isolated location, has successfully developed into a recognized community tourism destination in Ho Chi Minh City through systematic and well-planned investment. This model could serve as a valuable reference for developing community-based tourism in Ly Nhon.

Conclusion

This study aimed to assess the sustainable tourism development potential of traditional handicraft villages in Ho Chi Minh City and to propose strategic solutions to enhance their role in the city’s sustainable tourism development strategy.

Throughout the research process, multiple methods were employed, including field surveys, in-depth interviews, and secondary data analysis, complemented by quantitative approaches such as the Analytic Hierarchy Process (AHP) and Multi-Criteria Analysis (MCA). The assessment focused on six representative villages: Le Minh Xuan incense stick making craft village, Phu Hoa Dong rice paper village, Thai My bamboo and rattan weaving craft village, Tan Thong Hoi bamboo screen village, Xuan Thoi Son basket weaving craft village, and Ly Nhon salt-making village.

Comparisons with craft villages in other localities in Vietnam reveal considerable differences in the level of craft village tourism development. In cities with a longer tradition of developing craft village tourism, such as Hanoi and Da Nang, many craft villages have been effectively integrated into tourism products. For example, Bat Trang pottery village and Van Phuc silk village in Hanoi have become well-known destinations in cultural and experiential tour programs, thanks to the combination of preserving traditional crafts, developing souvenir products, and creating experiential spaces for visitors. Similarly, in Da Nang, craft villages such as Nam O and Tuy Loan have gradually been linked with tourism activities through sightseeing routes, cultural festivals, and traditional craft experiences. Compared with these models, many craft villages in Ho Chi Minh City still face limitations in tourism infrastructure, the organization of visitor spaces, and linkages with travel agencies.

At the Southeast Asian level, several countries have successfully developed craft village tourism as a distinctive cultural tourism product. In Indonesia, Kasongan pottery village in Yogyakarta has developed into a well-known handicraft tourism center where visitors can directly participate in pottery-making activities and purchase local products. Similarly, in Thailand, craft villages in Chiang Mai have been planned as craft tourism clusters associated with exhibition shops, craft demonstration spaces, and experiential activities for visitors. These models demonstrate that spatial planning of craft villages, product branding, and stronger participation of local communities are key factors in enhancing tourism development capacity.

The findings reveal a clear differentiation in tourism potential among the villages. The Le Minh Xuan and Phu Hoa Dong villages demonstrate high potential for tourism development; Thai My is at a moderate level; Ly Nhon is less favorable; and Tan Thong Hoi and Xuan Thoi Son currently face significant challenges in integrating their crafts into tourism products.

The study also acknowledges certain limitations. The survey scope was limited to six representative villages, which may not comprehensively capture the diversity of all traditional crafts in the city. Moreover, due to time constraints, the study did not conduct detailed quantitative measurements of the socioeconomic impacts of craft tourism activities. These limitations suggest avenues for future research, particularly in expanding the study area and incorporating quantitative impact assessment models to provide deeper insights into the sustainable development of craft village tourism in Ho Chi Minh City.

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