National Folk Songs Festival welcomed by ethnic groups

      The third National Folk Songs Festival has ended in the northern province of Bac Can. The leading festival for the country’s ethnic people was televised live every Sunday for several weeks. The president of the Association of Vietnamese Folklorists, Professor To Ngoc Thanh, has been the chief of jury since the first festival in 2005. He discussed the festivals with VNS.
You have been the chief of jury since the festivals started. Do you think people welcome the folk song festival?
To be exact, it was not the third festival as it was tried by the VTV centre in Da Nang city in 2001 and 2003. It was very successful and welcomed by ethnic people, including provincial authorities.
It received an extremely warm response from the Tay Nguyen (Central Highland) people.
I’ve led the jury at four regional performances in northern provinces of Bac Can, Bac Ninh, Lam Dong and Phu Yen. The festival is a cultural manifestation for ethnic people where they can sing to present their authentic cultural expressions. They can also learn various cultural quintessence from other ethnic groups.
I wish the Ministry of Culture, Sports and Tourism would pay more attention to the festival.
Because the festival focuses on the authenticity of ethnic folk songs, people like it very much. They are happy to see the folk songs and dances they have sung and danced in their daily lives performed on stage.
Before the festivals, there was not an opportunity for ethnic people to perform their folk music. We can see the creativity and intellect of ethnic people.
After many ethnic people asked why the festival was biennial and not annual, we decided to hold them nationally to meet demand as well as help rediscover original folk music.
What is the authenticity of folk music?
There are arguments about the authenticity of folk music. We believe the folk songs were created by the peasants living in the society of communal regimes, working the land in a natural way. That was society before our contemporary era so the authentic songs were handed down through generations.
Folk music is being changed from the original, which is unacceptable. The festival helps people conserve their folk music and it gives them opportunities to sing and show original folk music not known to others.
Are you satisfied with the performances at the festivals?
During the last two festivals there was some confusion. For example, some theatrical performances were set up to join the festival. But this time it was only one or two, which was good. Gradually, people recognise the natural beauty of folk music.
With modernising quan ho (alternating love songs between man and women) is accompanied by music. But in this festival people enjoy quan ho without music. They hear people perform quan ho with singing techniques like vang, ren, nen, lay (resounding, vibrating, moderating and staccating). The techniques aren’t heard when quan ho is performed with music.
We always think, incorrectly, that young people turn their backs on traditional culture. If we do not teach them and show them the beauty of the folk music they do not have a chance to hear folk music. The folk art performances on the television are renovated and theatrical works.
They are interested in pop, rap, rock and hip hop music. They have a right to make choices but the festival is a chance for young people to understand folk music. The number of young people involved is increasing.
Do you see something new from the festivals?
The festival is recovering all the folk music treasures forgotten during the last 30 years. Through the festivals more and more folk songs and dances are emerging. I think it is a basis for traditional cultural development.
For example, bai choi is typical singing genre from the central region. It features card playing from nine huts.
The special bai choi song originated when players, who usually get together in the spring, shouted out their cards. Gradually their words were transformed into a musical chant. After years of making bai choi more creative and elaborate, it became an independent folk song.
Another form of bai choi performed at the festival comes from the central province of Phu Yen. Known as bai choi hat rong, it is like hat xam (busker’s singing) in the northern area. Bai choi hat rong is performed by singers sitting on a market mat telling an ancient story.
When eight 80-year women and men performed ho gia gao (rice pounding) it was the first time it had been seen at a launch.