The Don ca tai tu music and song in southern Vietnam, a musical art withboth scholarly and folk roots, has been inscribed early this month onthe Representative List of the Intangible Cultural Heritage of Humanity.
World renowned music researcher Professor DoctorTran Van Khe said the UNESCO recognition should be a sign for youth tonot neglect this important cultural heritage of the south. He talksto Viet Nam News.
* How did you feel upon hearing the news that Don ca tai tu had been recognised by UNESCO?
The information came to me on December 5. Just one hour after that,several of my students sent emails to me and confirmed the news. I couldnot have been happier.
* Do you think that Don ca tai tu has sufficient historical background for such a qualification?
In the past, any type of art had to have enough historical and artvalue to be recognised. But the designation now looks at the value ofthe art and its interest from the public. Tai tu music is quite capableof reaching this standard and status.
Tai tu musicwas adopted, performed and practised by the community, so it has enoughvalue to be honoured, because it has deep and profound artistic value.It is an honour for Vietnam to have this art form recognised and valued.
In the past, the music was performed and listenedto by southerners. Later, it became popular in the central and northernregions. But the popularity was in Vietnam only. It then spread to someother countries, especially in the Vietnamese communities there. Nowforeigners also enjoy and understand the value of the music.
* It took years for Don ca tai tu for this recognition. What was the process and how was it understood by the world?
The recognition came as a result of Tai tu music being adoptedgradually by the international community. In 1972, Master Vinh Bao'sperformance, together with mine for OCORA discs was recorded in Paris.Later the disc was welcomed enthusiastically by the internationalcommunity. UNESCO sent representatives to meet me to discuss producing aUNESCO-branded record.
In 1973 and 1974, UNESCOunofficially recognised Tai tu music's value when they recorded aperformance by Vinh Bao and me. Then in 1994, the UNESCO record, onwhich I and musician Vinh Bao performed, was put on compact disc (CD)and it became a bestseller in Europe.
That means notonly do musical experts like Tai tu music, but also ordinary people whohave no knowledge of Eastern traditional music. Indirectly, the public"voted" for Vietnamese Tai tu music for its interesting artistic value.With official recognition, the world will now pay much more attention toTai tu music.
I hope that Vietnamese will bestartled by this news. I hope that it will make them think about whyforeigners see great value about their nation's traditional arts. Therecognition will benefit the music's development.
* You introduced Tai tu music to UNESCO in 1963. Can you speak about that?
At the time, UNESCO wanted to produce a collection of the best musicfrom countries outside Europe. I presented some music pieces sung byartist Bach Hue and musically accompanied by an ensemble includingmusician Sau Tung, her father. All of the music pieces were accepted. Itwas later in 1963 that the disc was popularised worldwide.
Before me, renowned musician Nguyen Tong Trieu and his music group were invited to perform in Marseille in 1900.
The music first appeared as an entertainment art form for people insouthern Vietnam. The music was taught to southerners by court musiciansfrom Hue (the central region of Vietnam). But southerners acquired andplayed the music in their own manner and style.
*It is undeniable that many Vietnamese young people do not like Don catai tu. What is your opinion? Do you hope that recognition will revivethe music among local youth?
I hope that it willmake them more aware that they have forgotten their nation's valuabletraditional arts. Young people's neglect of traditional music is like a"chronic disease". I have written an article about this, titled "Canbenh man tinh cua am nhac truyen thong Viet Nam" (Chronic "Disease" ofVietnamese traditional music) on Google and rediffusued by 28 electronicpapers.
During certain periods of history, theatmosphere was not conducive to music making. During the years Vietnamwas colonised by French, Tai tu music was not banned but it was notpromoted. In contrast, Western culture was popularised among Vietnamese.
When the war ended in 1975, the country was poor,so few people had time for entertainment. That was when people tried tohave enough rice and clothes. The country's situation made young peopleturn their back on Don ca tai tu.
Now, the bettereconomy is causing youth to ignore Tai tu music. Learning thetraditional music is not easy, and young people can earn only a smallamount of money for each performance. If they play Western music, theycan get a much better salary.
Finally, there is theelement of psychology. Young people who learn Tai tu music think thatthey are not so talented as others who play modern music.
They try to hide their traditional musical instruments, while tryingto show their Western-style violin for everyone to see. All of thesefactors force local youth to neglect Tai tu music and run aftercontemporary music.
* Has Tai tu music's development been influenced by globalisation?
The situation has become worse as a great part of Vietnamese youthfollow South Korean and other foreign music. When Korean stars arrive,most youth of the entire country want to greet them and are ready to buytickets of 200,000 VND to 1 million VND (10-50 USD).
It is totally different with a traditional music programme prepared byrenowned artists. Six-hundred free tickets were delivered, and finallyonly 200 people came. Globalisation has contributed to the love offoreign music and abandonment of Tai tu music.
But we are lucky that a small percentage of Vietnamese youth still love Tai tu music. They know the value of the music.
* The music is also being used commercially on the stage for tourism purposes. Do you agree with this trend?
Bringing Tai tu to the stage and performing it for tourism should notbe encouraged. Initially, artists played the music not for money intheir communities.
The music should be played in an unofficial place with all the musicians' passion and joy.
Now, the music is used in the tourism industry but foreign touristscannot understand it after listening to it in a short period of time.This activity will further degrade the music quality. In tourism, theperformers play the music for money. Don't turn Tai tu music into astage art and a commodity to sell for money.
* Taitu music has been around for more than 100 years. You are now 92. Yourlife is closely attached with the ups and downs of music. Do youremember the first time you heard Tai tu music?
WhenI was still in the womb, my uncle played the flute for me. When I wasborn, my uncle again played the flute and my grandfather played ty ba(pear-shaped lute) to greet me. All of people in my family played Tai tumusic. When I was about to stand on my feet, I jumped up under therhythm of my grandfather's traditional music.
Ihave conducted research on all types of Asian and Vietnamese traditionalmusic, not only Tai tu music. When I lived in other countries, I oftenused Tai tu music to introduce foreigners to traditional Vietnamesemusic.-VNA
World renowned music researcher Professor DoctorTran Van Khe said the UNESCO recognition should be a sign for youth tonot neglect this important cultural heritage of the south. He talksto Viet Nam News.
* How did you feel upon hearing the news that Don ca tai tu had been recognised by UNESCO?
The information came to me on December 5. Just one hour after that,several of my students sent emails to me and confirmed the news. I couldnot have been happier.
* Do you think that Don ca tai tu has sufficient historical background for such a qualification?
In the past, any type of art had to have enough historical and artvalue to be recognised. But the designation now looks at the value ofthe art and its interest from the public. Tai tu music is quite capableof reaching this standard and status.
Tai tu musicwas adopted, performed and practised by the community, so it has enoughvalue to be honoured, because it has deep and profound artistic value.It is an honour for Vietnam to have this art form recognised and valued.
In the past, the music was performed and listenedto by southerners. Later, it became popular in the central and northernregions. But the popularity was in Vietnam only. It then spread to someother countries, especially in the Vietnamese communities there. Nowforeigners also enjoy and understand the value of the music.
* It took years for Don ca tai tu for this recognition. What was the process and how was it understood by the world?
The recognition came as a result of Tai tu music being adoptedgradually by the international community. In 1972, Master Vinh Bao'sperformance, together with mine for OCORA discs was recorded in Paris.Later the disc was welcomed enthusiastically by the internationalcommunity. UNESCO sent representatives to meet me to discuss producing aUNESCO-branded record.
In 1973 and 1974, UNESCOunofficially recognised Tai tu music's value when they recorded aperformance by Vinh Bao and me. Then in 1994, the UNESCO record, onwhich I and musician Vinh Bao performed, was put on compact disc (CD)and it became a bestseller in Europe.
That means notonly do musical experts like Tai tu music, but also ordinary people whohave no knowledge of Eastern traditional music. Indirectly, the public"voted" for Vietnamese Tai tu music for its interesting artistic value.With official recognition, the world will now pay much more attention toTai tu music.
I hope that Vietnamese will bestartled by this news. I hope that it will make them think about whyforeigners see great value about their nation's traditional arts. Therecognition will benefit the music's development.
* You introduced Tai tu music to UNESCO in 1963. Can you speak about that?
At the time, UNESCO wanted to produce a collection of the best musicfrom countries outside Europe. I presented some music pieces sung byartist Bach Hue and musically accompanied by an ensemble includingmusician Sau Tung, her father. All of the music pieces were accepted. Itwas later in 1963 that the disc was popularised worldwide.
Before me, renowned musician Nguyen Tong Trieu and his music group were invited to perform in Marseille in 1900.
The music first appeared as an entertainment art form for people insouthern Vietnam. The music was taught to southerners by court musiciansfrom Hue (the central region of Vietnam). But southerners acquired andplayed the music in their own manner and style.
*It is undeniable that many Vietnamese young people do not like Don catai tu. What is your opinion? Do you hope that recognition will revivethe music among local youth?
I hope that it willmake them more aware that they have forgotten their nation's valuabletraditional arts. Young people's neglect of traditional music is like a"chronic disease". I have written an article about this, titled "Canbenh man tinh cua am nhac truyen thong Viet Nam" (Chronic "Disease" ofVietnamese traditional music) on Google and rediffusued by 28 electronicpapers.
During certain periods of history, theatmosphere was not conducive to music making. During the years Vietnamwas colonised by French, Tai tu music was not banned but it was notpromoted. In contrast, Western culture was popularised among Vietnamese.
When the war ended in 1975, the country was poor,so few people had time for entertainment. That was when people tried tohave enough rice and clothes. The country's situation made young peopleturn their back on Don ca tai tu.
Now, the bettereconomy is causing youth to ignore Tai tu music. Learning thetraditional music is not easy, and young people can earn only a smallamount of money for each performance. If they play Western music, theycan get a much better salary.
Finally, there is theelement of psychology. Young people who learn Tai tu music think thatthey are not so talented as others who play modern music.
They try to hide their traditional musical instruments, while tryingto show their Western-style violin for everyone to see. All of thesefactors force local youth to neglect Tai tu music and run aftercontemporary music.
* Has Tai tu music's development been influenced by globalisation?
The situation has become worse as a great part of Vietnamese youthfollow South Korean and other foreign music. When Korean stars arrive,most youth of the entire country want to greet them and are ready to buytickets of 200,000 VND to 1 million VND (10-50 USD).
It is totally different with a traditional music programme prepared byrenowned artists. Six-hundred free tickets were delivered, and finallyonly 200 people came. Globalisation has contributed to the love offoreign music and abandonment of Tai tu music.
But we are lucky that a small percentage of Vietnamese youth still love Tai tu music. They know the value of the music.
* The music is also being used commercially on the stage for tourism purposes. Do you agree with this trend?
Bringing Tai tu to the stage and performing it for tourism should notbe encouraged. Initially, artists played the music not for money intheir communities.
The music should be played in an unofficial place with all the musicians' passion and joy.
Now, the music is used in the tourism industry but foreign touristscannot understand it after listening to it in a short period of time.This activity will further degrade the music quality. In tourism, theperformers play the music for money. Don't turn Tai tu music into astage art and a commodity to sell for money.
* Taitu music has been around for more than 100 years. You are now 92. Yourlife is closely attached with the ups and downs of music. Do youremember the first time you heard Tai tu music?
WhenI was still in the womb, my uncle played the flute for me. When I wasborn, my uncle again played the flute and my grandfather played ty ba(pear-shaped lute) to greet me. All of people in my family played Tai tumusic. When I was about to stand on my feet, I jumped up under therhythm of my grandfather's traditional music.
Ihave conducted research on all types of Asian and Vietnamese traditionalmusic, not only Tai tu music. When I lived in other countries, I oftenused Tai tu music to introduce foreigners to traditional Vietnamesemusic.-VNA
