Đàn Bầu

Believed to be as old as Vietnams’ early dynastic era, an extraordinary musical instrument exists through time holding with it centuries of beautiful music incorporated into lifelong histories of lives of the Vietnamese people. The Dan Bau is known to create soft, serene sounds, which, every melody produced by it embodies the beauty of the country and its people. One of the only two musical instruments thought to be of pure Vietnamese origin, the Dan Bau is the unequivocal presentation of the country’s unique culture.

Legends talk of a blind woman playing sweet music from the instrument as a means of living while her husband’s at war. That, they say, was the beginning of how the instrument was discovered and the unmistakable emotional appeal of its melody began to be appreciated. Though there’s not much to substantiate such story, one thing’s for sure, the sounds produced by the Dan Bau sends a powerful message of love, longing and beauty that never cease to evoke the hearts and souls of its listeners.

A single-stringed musical instrument, the Dan Bau is simple yet very unique. Đàn, meaning a stringed instrument, and bầu, which means gourd, the device is exactly what is says. In general, it consists of a few components which includes the soundboard serving as its resonator, the spout, gourd, string and a tuning peg. Though originally, the instrument is made of four parts: a bamboo tube, a wooden rod, a coconut shell half, and a silk string. The string runs across the bamboo and secured on one end to the rod, which is perpendicularly attached to the bamboo.

Present day Dan Baus are constructed using wooden soundboards in place of the bamboo. The traditional silk string have also been replaced with an iron string. The instrument’s spout, which is a flexible rod that varies the string’s tension, is made of buffalo horn that is square-framed at the root, while flat and gradually bent at the top. It plays an important role in producing sounds of different pitches beyond fundamental overtones of the instrument. The gourd used to cover the spout where the string is tied, acting as a resonator, still exists though it had been replaced by wood and serves nothing more than a decorative feature. Its tuning peg, which could be made of bamboo or wood, is located at the inside frame towards the bottom of the wooden soundboard. The iron string goes through a small hole at the end of the instrument's surface towards the tuning peg. A pointed stick made of bamboo or rattan is commonly used as pluck for this instrument.

Most of Dan Baus today now have modern tuning machines to allow adjustments of the string’s base pitch. Usually tuned to the C note, it uses harmonies or overtones. It is played by plucking the strings while touching it lightly with the side of the hand at a point producing a harmony. Though it does not require for one to be highly skilled in order to play the Dan Bau, a great deal of precision is needed to allow rise and fall of pitch along with lengthening and shortening of the notes with the aid of the flexible rod that permits the shifting tension of the string, thus, trills could be played. The technique involves gently tapping the string with the tiny finger of the right hand while the other fingers pluck the string using a long plectrum. With the left hand, the note’s pitch could be lowered by pushing the flexible rod using the index finger, or pulling the rod away with the thumb if a higher pitch is desired.

Used to be played solo or along poetry recitals, the instrument had now taken part in large orchestra to accompany stage operas. Music incorporating Dan Bau with their songs have taken a huge turn beginning the 20th century where players infused electrical pickups and amplifiers with the instrument to make its sound more distinct and audible to larger audiences. Still, solo performances are greatly appreciate and musical pieces exclusively composed for Bau solo, such as Vu Khuc Tay Nguyen (Dance of the Central Highland) by Duc Nhuan, Dong kenh trong (The clear channel) by Hoang Dam and Vi Mien Nam (for the South) by Huy Thuc are widely applauded.

Likened to the monochords of other parts the world, along which are the Tuntina of India, Cung of East Africa, Duxiangin of China, none can compare to the serene, melodious and inspiring tunes that reaches out to the emotions to wherever the wind carries its sound. Every pluck of the Dan Bau’s string is a tale of love and history in itself touching every listener’s heart while stirring their souls. The melody produced by the instrument may be viewed differently by every person as he connects with his own feelings. No matter how re-lived over the periods, and how time changed its visage, Dan Bau is one instrument that translates a great part of Vietnam and a true expression of emotions that will forever transcend time.

Hat Cheo: a Traditional Vietnamese Musical Performance Art

Traditionally performed by peasants inhabiting the Red River Delta villages during festivals and holidays, Hát Chèo is a distinct theatrical art with clearly defined characterization and plot. Ancient Vietnamese traditions of storytelling and folk singing greatly influenced the development of Chèo, of which, most of its appeal to the population is its characteristic of always embodying traditional values such as filial devotion, good morals, respect and courtesy, courage and justice. Due to its satirical and anti-establishment themes, the art wasn’t as popular to the royal courts as how it is to the commoners.

Definitely a more down-to-earth form of theatrical art compared to Tuồng, Chèo do not employ elaborate make-up, costumes and sparse stage settings. One aspect of Chèo that is similar to Tuồng is that it also use standard stock characters (usually a hero, a heroine and a clown) that are easily identified by the audience. Its themes and performance styles, however, are usually lighter. Chèo uses the language of common people, accompanied with proverbs, riddles and popular sayings, making it easier for the audience to connect with the performers and vice-versa. With every situation or character, there is a specific declamatory style or song that accompanies it. Traditionally, every performance is accompanied by an orchestra comprised of percussions, bamboo flutes, fiddles and lutes, of which, fiddles and percussions are deemed most important. Modern recreations now employ more instruments.

Chèo performances are often centered on romantic or tragic stories, but the clown or buffoon always adding comments on the action in an amusing or satirical way, as well as to mock pompous, ridiculous or dishonest characters injects humor to the plot but always translating a clear sense of humanity. With that, spectators are swayed with different emotions, moving them both to tears and laughter with the same story.

Chèo may possibly be Vietnam’s most ancient theatrical art form, but it can easily connect with contemporary audiences by infusing modern stories to traditional music. Consequently, Chèo is currently undergoing a revival and is growing in popularity not just in Vietnam but also in Vietnamese communities across the globe along with its now widening recognition by foreign tourists.

Hanoi lures tourists by cheo

Besides water puppetry, tourists to Hanoi can enjoy traditional cheo (traditional operetta) extracts, quan ho (love duets) and chau van.

To attract tourists, the Hanoi Department of Culture, Sports and Tourism has designed a special traditional art program at Hanoi Cheo Theatre. It was introduced for the first time to travel firm representatives on June 8. The show is around 60 minute long, comprising typical folk art music of Vietnam like cheo, quan ho, ca tru, hat xam, chau van, martial arts, dan bau (mono-chord), and circus.

Luu Duc Ke, Hanoitourist’s director, remarked that foreign tourists have only seen water puppetry in Hanoi. Visitors who stay for several days or return to the city a second time need new shows.

Ke praised the Hanoi Department of Culture, Sports and Tourism’s efforts, but recommended that the show should be changed a little in terms of costumes and actors.

Phan Duc Man, Kim Lien Tourism Company Chair, added that the content and length are appropriate, but items need to be more lively and the show needs to have exchanges between actors and the audience.

Some others proposed that the organizers need to pay more attention to translation and to print leaflets in various languages.

This show will be held at the Hanoi Cheo Theatre from 8mp everyday from June to December 2010.



Chau van or hat van is a traditional Vietnamese folk art which combines trance singing and dancing. Its music and poetry are combined with a variety of instruments, rhythms, pauses, and tempos. Hat chau van originated in the 16th century and spread quickly. The main musical instrument used in hat van performance is the dan nguyet or moon-shaped lute. The genre is famous for its use in rituals for deity mediumship. Chau Van serves two purposes: to help hypnotize the medium to receive the deities and to accompany the medium’s actions with appropriate music.

Cheo is a form of generally satirical musical theatre, often encompassing dance, traditionally performed by Vietnamese peasants in northern Vietnam. It is usually performed outdoors by semi-amateur touring groups in a village square or the courtyard of a public building, although it is today increasingly also performed indoors and by professional performers.

Quan ho singing is a Vietnamese folk music style characterized both by its antiphonal nature, with alternating groups of female and male singers issuing musical challenges and responses, and by the fact that most of the songs in the repertoire deal with topics of love and sentimentality. Quan ho was recognised as a UNESCO Intangible Cultural Heritage in 2009. Quan ho originated in what is now Bac Ninh Province, was first recorded in the 13th century and has traditionally been associated with the spring festivals that follow the celebration of Tet (the Vietnamese New Year). There are a huge number of quan ho melodies, with thousands of different songs recorded and written down.

Ca tru (also known as hat a dao) is an ancient genre of chamber music featuring female vocalists, with origins in northern Vietnam. For much of its history, it was associated with a geisha-like form of entertainment. Ca tru is inscribed on the list of Intangible Cultural Heritage in need of Urgent Safeguarding in 2009.

Xam or hat xam (Xam singing) is a type of Vietnamese folk music popularized in northern Vietnam, but is considered nowadays as an endangered form of traditional music. In the dynastic period, xam was generally performed by blind artists who wandered from town to town and earned their living by singing in common areas. Xam artists often play dan bau or dan nhi to accompany the songs themselves, sometimes they form a band with one singer and others who play traditional instruments such as drum or phach.

Dan bau is a Vietnamese monochord. While the earliest written records of the Dan Bau date its origin to 1770, many scholars estimate its age to be up to one thousand years older than that.

Water puppetry is a tradition that dates back as far as the 11th century CE when it originated in the villages of the Red River Delta area of northern Vietnam. Today’s Vietnamese water puppetry is a unique variation on the ancient Asian puppet tradition. The puppets are made out of wood and then lacquered. The shows are performed in a waist-deep pool. A large rod supports the puppet under the water and is used by the puppeteers, who are normally hidden behind a screen, to control them. Thus the puppets appear to be moving over the water. When the rice fields would flood, the villagers would entertain each other using this form of puppet play.

Where is the real Quan Ho?

The current Lim Festival is very bustling, attracting thousands of visitors. Quan ho is sung everywhere from houses to boats. People, including cultural experts, are optimistic about the development of Quan ho.

But it is really difficult to find a real Quan ho show which is organised according to traditional procedures.

We came to Dang Village when the Lim Festival was about to end and were welcomed warmly by Mrs. Hai Quynh. At 7pm, we went to the village pagoda. After the incense thurifying ceremony, guests started their performances. They were young ca tru singers from the Thang Long ca tru club and young calligraphers from the Vietnam Cultural Preservation Company.

The traditional Quan ho show began at past 8pm. Mrs. Hai Quynh and 6-7 old women, around ten middle-aged women, and some young girls sat down on sedge mats spread out in the pagoda’s yard. There were only four male singers. Listeners stood up around mats.

A quan ho researcher, Bui Trong Hien, said ancient Quan ho doesn’t have microphones or music. The light must be from candles and he asked listeners to keep quiet.

When two male singers, Mr. Ninh and Mr. Hien began to sing, some old people said: “I couldn’t hear a thing”. Mrs. Hai Quynh was resigned to seeking microphones and turning on speakers. The poor speakers couldn’t help listeners enjoy the real voices of singers and the deep-lying melodies of Quan ho songs.

Researcher Bui Trong Hien was discouraged, and went to sit in a corner. He said: “Only romantic people can imagine that we can resume ancient Quan ho in the current situation. Audiences are familiar to listening to Quan ho through speakers, radios and stages. They don’t know what real Quan ho is.”

Perhaps because of disorder, the Quan ho show, which was called ancient, couldn’t keep the audience. Luckily, after many listeners left, the real ancient Quan ho performance started.

Singers sat closely, put down micros, speakers and electric bulbs. The pagoda’s yard was lit by the moon only. Guests and old people stayed to enjoy the voices of singers.

In vaporous light, ancient Quan ho songs really charmed the audience. Mrs. Hai Mang and Mrs. Hai Co (70 and 74 years old) sang “Gio mat trang thanh”. Mrs. Ban and Mr. Lich (two living folk artisans of Quan ho) performed “Tuong nho ve nguoi”. Younger singers like Men, Oanh, Hue and Lan sang “Thu giai phien”, “Ba bon chiec thuyen ke”.

The show couldn’t finish though the “Goodbye” song was sung for 30 minutes. Some guests said they had never listened to such a wonderful Quan ho show.

Researcher Bui Trong Hien said real Quan ho show must include some phases, from the starting, to official and goodbye stages. These stages have close connections. Some shows can last for several days. Today, Quan ho shows include singer songs and singers don’t understand the ancient rules in singing Quan ho.

Quan ho is dual singing so to have a true Quan ho show, pairs of singers are needed (male and female singers in pairs). According to the Institute of Culture and Art, only Dang Xa village can organise true Quan ho shows because the village still has several male Quan ho singers who have good voices and good knowledge of Quan ho. Resuming ancient Quan ho shows is the idea of the institute.

Researcher Bui Trong Hien said other villages in Bac Ninh have many good female singers but they don’t have suitable male singers. The lack of male singers is a big problem of Quan ho Bac Ninh at present.

Quan ho is said to be developing again in Bac Ninh but some researchers worry that it is developing far from the tradition and origin.

The Institute of Culture and Art tried to hold some ancient Quan ho shows, but after they left Quan ho villages, villagers immediately brought electronic musical instruments to accompany Quan ho singers, Hien said.

Some villages organise real Quan ho shows, but for researchers only. However, Quan ho has advantages over other types of traditional arts because there are many people who still love and have a passion for this folk art.

Hat Tuong: a Traditional Vietnamese Musical Performance Art

Also called Hát Bội in Southern Vietnam, Hát Tuồng (or simply Tuồng) is a national classical theater in dramatic art form reflecting the country’s rich and unique culture. Being one of the oldest in the country, the art has existed since the late 12th century and is believed to be originally borrowed from Chinese opera performance techniques, improved, diversified and developed into a new form embodying Vietnamese characteristics and nature. The introduction of Tuồng to Vietnam springs from tales originating from the time of the Vietnam-Mongol conflict during the Yuan Dynasty where a known Chinese opera performer was held captive by the Vietnamese, whom the said prisoner was asked by the imperial court to impart his theater skills. That was believed to be the how Tuồng had its beginnings in Vietnam’s royal courts, to its elite community, and later on adapted by traveling troupes who entertained commoners. It didn’t take long for the art to become popular in the country, widely appreciated by the entire population, from peasants to the royalties alike.

Tuồng performances are highly stylized and employ a great deal of symbolization where technical mastery is required from the actors to clearly describe the individuality of the characters they portray. How the performers’ faces are painted is another important aspect for the audience to easily identify the character’s personality where a black curly beard, for instance, suggest that the character is fierce and aggressive; a dragon’s beard could signify a king or nobleman; a fox’s or goat’s beard may imply a cunning or dishonest trait; and a hairless character could mean a student or any youthful role. Costumes of Tuồng characters are typically elaborate and quite extravagant. The stage, likewise, is very sparse and the settings are suggested rather than portrayed. For example, a fight scene between two actors portray a battle of thousands of soldiers between two opposing camps; or an actor brandishing a whip conveys the image of a man mounted on a horseback; and an actor using an oar suggests that the scene is taking place at sea and the character is on board a sailing vessel. All these symbolic features combined, greatly attract the viewers and bring their imaginations to work.

Tuồng performances could also have several varieties as well as regional differences. Between Vietnam’s north, centre and south, the genre can also be classified into more traditional, academic Tuồng and more comical, satirical Tuồng. Though Tuồng is known to be an ancient art form, new stories and plots with more contemporary themes (such as the struggle for national independence) are constantly injected into the art so it remains relevant and popular with the Vietnamese people.

Vietnamese music absorbs my soul

Lee Kirby told Tuoi Tre newspaper that he is infatuated with Vietnamese music and he knows many Vietnamese songs by heart.

Lee has performed and uploaded many Vietnamese songs like “Em oi, Ha Noi Pho”, “Diem Xua”, “Que Nha”, “Dem Thay Ta La Thac Do” and “Nong Nan Ha Noi” on YouTube and attracted a great deal of attention from Vietnamese around the world. Here are Kirby’s own words about his love for Vietnamese music.

“I’ve lived in Vietnam for a long time and I believe that I have become absorbed by Vietnamese music.

I love Trinh Cong Son’s music and I think that I can feel the beauty, which not only comes from the melodies and lyrics. Whenever I listen to Trinh’s music, I’m moved. It is difficult to explain as my Vietnamese is not very good while Trinh’s music is said to be difficult to understand even for many Vietnamese.

But someone has said that there is no border for arts in general and music in particular. I think it is true in my case.

I listened to Trinh’s “Diem Xua” the first time in Bach Ma, where we were admiring the waterfall, through the voice of my friend. At that time I felt the loss and sacrifice in that song. Surprisingly, I knew that the meaning of that song was what I thought it was. I believe that I began loving Trinh’s music at that moment. I decided to sing that song, even though I knew that it was difficult.

I didn’t plan to become a singing phenomenon with that song because first of all, I sang it because I liked it. I didn’t know that it was posted on YouTube. I was very surprised when many people asked me about it later.

Since then, I have had more motivation to sing Vietnamese songs. I have been invited to sing for Vietnamese people in many places in the world. It is a great happiness!

I felt lucky to be assigned to sing a Tran Tien song for overseas Vietnamese in the UK during the Tet holiday. I lost sleep for this great happiness.

Certainly, it is not easy to sing Vietnamese songs. I’ve made a list of must-do things before performing a Vietnamese song: Feeling the melody, translating the lyrics, committing lyrics to memory, practicing pronunciation, accompaniment by guitar, seeking assistance from experts, practicing and making some creative changes.

I’m glad that some foreign friends of mine now can sing several sentences in Vietnamese songs, which was an “impossible mission” several months ago. Many people asked me why I must work hard to sing Vietnamese songs when I am very busy with my job in England.

I think simply that is the way I show my respect to listeners and the music I love. Moreover, music is not simply melodies and lyrics, but it is the culture and soul of a country. Vietnam is now a second home in my heart.

Do you ask me whether I listen to modern Vietnamese pop music? I regret to say no because of many reasons that I can’t say here. However, I like and I’m impressed by some young singers who don’t sing market music products that are too easy and similar.

Many people asked me how much do I love Vietnamese music? You may burst out laughing when you hear that I love Vietnamese music in general and Trinh’s music in particular, to the point that if any singing contest requires only contestants who can sing in Vietnamese, not speak in Vietnamese, then I will surely register.

Video clips from Lee Kirby:
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Cai Luong: a Traditional Vietnamese Musical Performance Art

Characterized by a mix of a mix of Tuồng, southern Vietnamese folk music, Asian popular theatre and French comedy, Cải Lương is most often categorized as “reformed theater” or “renovated theater”. Its origin dates back from the 20th century in Vietnam’s Southern regions, where among its first performances took place in village squares. During the country’s French colonial period in the 1930’s, Cải Lương blossomed as a middle-class form of theater and become popular all over Vietnam, though its heartland remains in the south.

There are mainly two types of Cải Lương , Cải Lương Tuồng Cổ (the ancient form) and the Cải Lương Xã Hội (more modern in characteristics), both highlighting the moral values of the Vietnamese. Though the plots involved in Cải Lương Xã Hội performances deal with romance, domestic relationships centering on the cultural and social norms of the country, its stories generally feature the modern Vietnamese society. Because of its nature, Cải Lương Tuồng Cổ co performers are donned in old-fashioned costumes while its plots surround on legendary and historic tales of the feudal system.

Regardless the type of Cải Lương , it exhibits familiar aspects of which performers use a combination of spoken dialogue and nostalgic singing accompanied by background music in order to convey their thoughts and emotions and carry out their message to the audience. Its continuing absorption of contemporary themes and influences, along with the adoption of modern musical instrument allows the art to be constantly reinvented and reintroduced to the people in fresher themes, thus, causing the general public’s undying interest for the art. Even up to present, Cải Lương remains popular and is highly appreciated by Vietnamese locals and foreign visitors alike.

Hue Royal Court Music (Nha Nhac)

(from Hue Monument Conservation Centre)

Nhã Nhạc, meaning “elegant music”, refers to a broad range of musical and dance styles performed at the Vietnamese royal court from the fifteenth to the mid-twentieth century. Nha Nhac was generally featured at the opening and closing of ceremonies associated with anniversaries, religious holidays, coronations, funerals and official receptions. Among the numerous musical genres that developed in Vietnam, only Nha Nhac can claim a nationwide scope and strong links with the traditions of other East Asian countries. Nha Nhac performances formerly featured numerous singers, dancers and musicians dressed in sumptuous costumes. Large-scale orchestras included a prominent drum section and many other types of percussion instruments as well as a variety of wind and string instruments. All performers had to maintain a high level of concentration since they were expected to follow each step of the ritual meticulously.

Nha Nhac developed during the Le dynasty (1427-1788) and became highly institutionalized and codified under the Nguyen monarchs (1802-1945). As a symbol of the dynasty’s power and longevity, Nha Nhac became an essential part of the court’s many ceremonies. However, the role of Nha Nhac was not limited to musical accompaniment for court rituals: it also provided a means of communicating with and paying tribute to the gods and kings as well as transmitting knowledge about nature and the universe.

The events that shook Vietnam in the twentieth century – especially the fall of the monarchy and the decades of war – seriously threatened the survival of Nha Nhac. Deprived of its court context, this musical tradition lost its original function. Nevertheless, the few surviving former court musicians continue to work to keep the tradition alive. Certain forms of Nha Nhac have been maintained in popular rituals and religious ceremonies and serve as a source of inspiration for contemporary Vietnamese music.

"Bức Tường" (The Wall) to Dominate the Vietnamese Rock Scene Again

Looks like Vietnam’s rock fans has a new reason to celebrate. One of the most popular bands that rocked the country’s stages, Buc Tuong, has just told the public that they had reunited. The announcement was made on a press conference held on Thursday, introducing their new album to its millions of eager fans. It was on February of 2006 when the group last stood on stage in their "The Last Saturday” concert where they officially announced their split-up. Tran Lap, the band’s front man, revealed how everyone in the group started to gather and discuss their plans to reunite since over a year ago. For the past year then, the band re-grouped and worked together until they are ready to make the developments public. When invited to participate in two special music shows for Hanoi’s 1000thanniversary celebration, the rock band looked at it as their chance to tell everyone. Besides, even after the split-up in 2006, their love and passion for rock continued. “We realized that we should listen to our hearts’ call," claims Lap. He added that the more they practiced, the more they became inspired to write songs again. The five-member Buc Tuong (The Wall) said they had agreed to sing Bai Ca Song Hong (Red River Song) for Hanoi’s millennial anniversary event. Along with their resurfacing, fans will see a re-formed Buc Tuong who will now play a different genre (Modern Rock) in the new album they are to release in full-length. The album, which is now their fourth, is called Ngay khac (The different day) and includes more than ten new modern rock songs. Though exploring a new genre, the band leader says that the album is consistent with their previous music but refined the complicated hard rock and metal chords to a more youthful and modern rock style. If the album is successful, Buc Tuong will tour the country starting from Hanoi to Hai Phong, Da Nang, Nha Trang and HCM City later this year. Though the band did not say much about their album, they are confident that their songs will tell more. They are hoping that their new style will be warmly welcomed. Playing since March 1995, Buc Tuong’s career in the rock industry strings for 12 years along legends like Da Vang (Yellow Skin), The Light, Atmosphere, Buratinox, Thuy Trieu Do (Red Tide) and Microwave. Among their popular songs include Bong hong thuy tinh (Glass Rose) and Duong den ngay vinh quang (Road to glory). Their music elevated rock's status among the Vietnamese musical scene and greatly influenced the rock music industry in the country. With plenty of newer rock bands striving to make it to the industry, Buc Tuong knows no one else can fuel the stage like they can. Needless to say, the band never ceased to dominate Vietnam’s rock scene.

Đàn Tranh

As in any country, music have played a huge role in shaping people’s lives and for many centuries, have conveyed messages of love, sorrow, joy and hope from the hearts of the Vietnamese people, young or old, rich or poor.

In Huế, deemed as the cultural heart of Vietnam, a known musical instrument have graced the capital city for so long. Though widely used during the Ly and Tran dynasty (around the 10th century), the Đàn Tranh is believed to have existed earlier than that. A member of the board-zither family having 16 strings, Đàn Tranh is also called Dan Thap Luc. About 110 cm in length, this wooden instrument appears long and hollow resembling a pipe. It has a convex surface and is tapered at one end. Sixteen silk strings pass from the broad end towards the narrow end and on that point are secured by individual pegs which are also used for tuning. In the middle of the instrument lies a raised moveable bridge that allows pitches to be tuned to various notes.

Apart from the beautiful sounds created by the Đàn Tranh, the interesting designs and the appeal it holds captures the fancy even of the non-musicians. Foreigners or anybody who appreciates the exceptional qualities of the instrument uses it as living room centerpieces or for any other aesthetic intention. Indeed, the Đàn Tranh is a beautiful intricate item. With its wooden body usually covered in ornate lacquered designs or laid with mother-of-pearls, the instrument translates the allure of Vietnam’s culture.

Three different types of this instrument exists in the country. The ancient Đàn Tranh has 16 strings. The Đàn Tranh most used today has 17 strings and is slightly larger than its prototype. Then, a newer model developed by Nguyen Vinh Bao has 22 strings. Modern day Đàn Tranhs still have its bridges made of wood or bone tipped with copper. The traditional silk strings are replaced with steel-made and have varying widths. Just as in the past, artists still use picks in playing the instrument. Though the original tortoise-shell picks are still widely used, others can now opt for metal or plastic-made picks.

Believed to be derived from the Chinese Zheng, along with its relationship to other board-zither instruments like the Korean Kayagum, Japanese Koto and the Mongolian Yatga, the Đàn Tranh may share the same general characteristics and playing forms but it has taken its own unique identity in physical appearance, art works, sound, timbre and playing style. Over the periods, it has evolved into a unique musical instrument of its own embodying Vietnam’s wonderful culture and long history. But apart from that, it demonstrates more favorable characteristics of which, its size is most appreciated. With only 90cm to 110 cm in length compared to the 180cm size of Koto, 160 cm of Kayagum is 160cm, 145 cm of both the Zheng and the Yatga, it certainly is more advantageous in terms of portability and convenience. And as the instrument has 17 strings to 21 strings, it makes possible for more tonal range in such a small body. The strings of the Đàn Tranh are also pretty thin (most are .20mm thick), therefore, have less tension and can be easily bended to create all the notes required in modern Western music.

Both hands play an important role in creating wonderful melody from the Đàn Tranh. The right hand plucks the string and produces a sound while the left hand is vital for musicality since it presses on the left side of the string to bend its pitch and provide ornamentation. The strings are often plucked two at a time in octaves and the chords are usually in arpeggio. Some accomplished musicians may also use the left hand to pluck notes simultaneously with the right hand to produce larger chords. Together, a cheerful music is produced. Traditionally, the artist uses two or three fingers to pluck the strings of this instrument. Nowadays, the artist may use as many as four or five fingers to pluck the strings. Centuries of embracing the instrument have brought about newer characteristic in fingering techniques, pressing and releasing, and scale. Various techniques such as pitch bending are used to convey different emotions.

Similar to many great musical instruments, Đàn Tranh can be used in solo performances, song accompaniment, along recitals or orchestra. Its amazingly cheerful sounds have inspired many artists, poets and has taken huge roles in theaters, classical literatures and in many traditional festivals. The instrument is now incorporated into modern Vietnamese music and even in several Asian pop performances as an exotic solo or accompaniment to the modern band instruments. Its massive popularity is evident on how artists throughout the country widely prefer Đàn Tranh in their craft. The instrument had truly lived up to its proud reputation of being among the most dominant musical instruments in Vietnam since the 10th century. With the mix of blissful, exalting and purely positive emotions evoked by the sounds of the Đàn Tranh, it remains to be a proud symbol of Huế and a beautiful expression of the entirety of Vietnam.

Hue Festival 2010 – Evenings of Vietnamese Cultural Heritage Honor

The Hue Festival 2010 will be held from June 5-13, 2010 with the opening and closing ceremonies take place at Ngo Mon Square and Huong River.

“Cultural heritage with integration and development” is the theme of this year festival. The theme closely links with the 1000th Thang Long- Ha Noi anniversary and 375th anniversary of Hue as the capital of the Southern region. This is a big national culture and tourism event features hundreds of cultural programs and tours which aim to honor cultural values of Vietnam and the central city of Hue in particular.

Many unique royal festivities will reappear such as Dan Nam Giao rituals, the royal palace night, the discovery of the legend of Huong River. Particularly, the Ao Dai festival with full of colors and luxury of Hue charming will be performed at 8pm on June 8. The Oriental night, a new program, will show the beauty of various traditional clothes of many Asian nations. Along with activities feature royal culture such as Hue royal music (Nha nhac), royal folk dance, Hue singing, royal cuisine…, the royal palace night – one of special shows – will be organized in the evenings of June 5, 8 and 11 at Dai Noi to explore the marvelous beauty of the place.

For the first time in Hue festival a unique performance entitled “The Breath of Water” will be showcased on a submerge stage in the evenings of June 6, 9 and 11, 2010 at Tinh Tam Lake. “Viet Beauty II” program will be the evening of honoring Vietnamese cultural heritage with traditional performances such as “ca tru”, “cheo” (traditional operetta) and folk songs. Tourists will own great opportunities to observe Hue’s traditional wedding ceremony, to boat on the Huong River, to float colored lanterns or to go around Hue by “xich lo” (pedicab) to enjoy wonderful evenings.

The coming Hue festival promises days and nights of respecting and honoring intangible heritage values of Vietnamese culture. Organizing every two years, the event is the great time for conservation and development of national cultural heritages over generations.

Spectacular Cultural Performances at Hue Festival 2010

The 6th Hue Festival 2010 themed “Cultural Heritage with Integration and Development”, once again, impressively honors cultural heritage of the city with hundreds of exceptional cultural and tourist festivities take place during June 5-13, 2010. This year festival is a grant and spectacular event to showcase the unique cultural values of Vietnam and Hue ancient capital, especially Hue royal arts and other exotic art performances from different Vietnamese sub-cultures.

Nam Giao Offering Ritual

The Nam Giao Offering Ritual, one of the main featured festivities this year, took place at 7:45 pm on June 9. From 2004, the ritual has in part restored for each time the festival was organized. Particularly, this year, the ceremonial process was precisely restored as it was in the feudal era of Vietnam. The ritual included two main activities, the ceremony to welcome King from royal palace to the offering ritual and the ritual at Nam Giao. As a dedication toward the millennium anniversary of Thang Long – Hanoi, 1,000 artists, actors and the public worn costumes with flags on hand contribute to the festivity, 1,000 lanterns was lighted and 1,000 white lotus was respectfully offered. Specially, 160 notables from eight villages represented historical cultural values of Thua Thien Hue in particular and Vietnam in general, performed the ritual at eight altars located at Phuong Dan (the second floor of Nam Giao Ritual).

The thorough preparation from historical documents to costumes and formalities along with the seriousness and expressiveness of talented performers brought audiences back to one of the traditional rites under the Nguyen dynasty featured the important of supernatural powers to desired prosperity and peace of the nation.

Oriental Night Shows

The Oriental Night Show, one of the most expected programs at this year event, took place on June 7,8,10,11 and 12 evenings at Dien Thai Hoa (Thai Hoa Palace) was a show to manifest the splendid beauty of traditional and unique costumes of Asian countries. Audiences had a memorable time to blend themselves in Imperial fashions featured particular Oriental ethnic cultural values of Japan, India, Laos, Korea, Mongolia, Thailand, China and the host country Vietnam. Cultural values were again highlighted at the festival.

The Breath of Water – a perfect beauty

It was the first time in history of Hue Festival, the Breath of Water showcase performed on the submerged stage at the Tinh Tam Lake. As a far-reaching meaning of this excellence performance, the show found its way to recall historical memory. Thousands of audiences presented at the show eyed the great combination of the three UNESCO intangible heritage values – Ca tru, Quan ho and Hue’s Nha Nhac (Royal music) – throughout attractive and logical construct of every single performances. In a free space, the rhythm of music was a breath of water and the representation of different Vietnamese sub-cultures mix in dances and sings was a perfect flow of the program. The unique of submerged stage’s design, the art of sounds and lights were well-supported to deliver a significant success exceed expectation of the very first showcase. Undoubtedly, the new Breath of Water art performance was a very interesting program and a breakthrough of Hue Festival 2010. It hopes to bring tourists close to Vietnamese culture, open the curiosity and discovery of Hue cultural values for those who ever visit the place.

The Hue Festival 2010 is on the last days of festivities. On the occasion of very last few evenings, many special cultural programs continue to imbue the unique of cultural characteristics of Vietnam to international friends.

Bracing Up for Hue Cultural Festival Kick-off On June

Something that began as a display of Vietnam’s royal heritage along with the interesting local culture of Thua-Thien-Hue province, the Hue Festival had turned into one of the biggest attractions marked in the country’s cultural calendar and a much looked-forward to event not just for the people of Hue, but in the whole of Vietnam and its known friends across the globe. The festival was first launched in 2000 presented by diverse theatre, music and dance performances coupled with colorful circus and puppetry acts. Since then, the Hue Festival is celebrated by the country biennially in even-numbered years.

The next Hue Festival celebration will take place on June 5-13, 2010. With activities centering on its theme “Cultural Heritage with Integration and Development”, a unique showcase of music and art performances featuring Vietnamese and Hue culture is expected alongside royal and folk festivities topped by participation of foreign art troupes. More than 40 groups of artists and performers from around 30 countries worldwide have committed to participate on the upcoming celebration. Performers from Europe, Asia, North America, Australia, and for the first time, Africa, will set foot on the city for the festival. The deputy of the Ministry of Foreign Affairs had assured of the most favorable conditions for accommodating the delegates and artists from foreign countries attending this event on their visa processing.

‘Le Grand Retour’ street show featuring giant puppets (by Tof Theatre group), a special visual art street display by Baladeux Circus group and a play performance by Vietnamese-Belgian comedian Michelle Nguyen are among the recent performances pledged by the respective artists from Belgium. Thomas Bailey, a renowned US singer-songwriter, will also jumpstart his first Asian tour on this year’s Hue Festival. His interesting American music coupled with bluegrass fiddle and guitar in an energy-filled performance is sure to set the crowd’s excitement to a higher level and increase the already vivacious spirit of every Hue celebration. Though a variety of performances by the visiting artists will be presented, the traditional Hue song and dance plays together with music performances of the Hue court remains as among the highlights during the 9-day festival.

The festival also honors the 1,000th anniversary of Thang Long – Hanoi, thus, inauguration of the statue of King Quang Trung Nguyen Hue will be witnessed. The cultural performances will not only take place within the city, but will expand beyond venues used during previous years to surrounding towns and districts. However, the focal point of most of the festivities will be at the beautiful Hue Citadel on the banks of the Huong (Perfume) river. The festival’s opening ceremony will be held at the Ngo Mon Square. The next few days will be filled with massive entertainment. Among the key events to take place is the re-enactment of “Navy maneuver under the Nguyen Dynasties” on the evening of June 7, an Ao Dai Grand Fashion Show on the evening of June 8, and the Nam Giao Offering Ritual on the next night. Spectacular shows are to set on the evenings of June 6-12, among which are the “Voyage to reclaim the country’s land”, “The Perfume River’s legends”, “Royal Palace by Night”, “Viet’s Beauty” and the “The Oriental Night”. Royal activities and rituals will be demonstrated and a gastronomy festival with traditional Hue vegetarian dishes and royal delicacies will occur to add color to the celebration. The closing ceremony, which will be on the evening of the 13th, is to be held on the banks of the Huong River.

With every single day and evening packed with diverse art performances, this is anticipated to be the biggest Hue Festival ever to take place and will outnumber the 2,000 artists and 210,000 visitors who turned up in the last held Hue Festival in 2008. Known as the fifth held festival ever since the tradition began, the 2008 Hue Festival was another equally colorful celebration manifested by an exhibition of Martial Arts Contests, Ao Dai celebration, Nam Giao rite, Royal palace night and cultural performances on top of charming and splendid city decorations adding vibrancy to the whole occasion.

In continuity, this year’s Hue Festival will exude the same colorful characteristic and the unique expression of cultural diversity. Different sectors are working together to ensure things flow smoothly. The Department of Culture, Sports and Tourism are taking steps to ensure that there will be no price hikes during the festival season, which happened in the previous celebration. At present, the whole of Hue has about 6,000 hotel rooms to house the immense visitors expected to come and celebrate with Vietnam. With its lined-up programs imbued with the cultural characteristics of France, US, Japan, Australia and Central Africa, it also marks as a meeting place for ancient capital city representatives and countries with world cultural heritage sites and traditions like Vietnam itself. Featuring the cultural identity of the country and the central city of Hue in particular, the Hue Festival is one rich national tourism and cultural event which had successfully gained international recognition. A beautiful showcase of its unique culture, Vietnam will continue to present Hue Festival as an attractive biennial event not just for the Vietnamese, but for other countries to acquaint to. Vietnam and many across the globe then anticipates a huge blast-off this June 2010.

Calligraphy at Tết Festival: a Tradition of Art, Values and Good Fortune

As a well-known Tết tradition of the Vietnamese aimed at reviving the nation’s cultural art, locals and tourists alike would always make time to come up to the Văn Miếu street during the Lunar New Year holidays. Holding great historical and cultural value both for Vietnam and its people, the complex is one of the oldest sights in Ha Noi. What draws people to come to this place is the famous Temple of Literature established way back in 1070 by Emperor Lý Thánh Tông (1023 – 1072). Also known as Confucius Temple, the place presents quite a festive atmosphere during these times of the year.

The sight of yellow and red "câu đối" (sentence pair, hand-scripted characters expressing luck through parallel sentences) and calligraphic works on the temple's mossy walls is what everyone considers the main attraction along with the interesting view of calligraphers painting side-by-side along the tree-shaded temple streets while their finished works are hung out for display.

A kind of visual art rooted in the country’s Confucian tradition, calligraphy’s expressive, harmonious and skillful manner of writing scripts as an expression of beauty through the formation of the letter themselves only with the use of paint and simple brush tools never cease to amaze both locals and foreigners. The calligraphers themselves, demonstrating remarkable mastery of the technique, works their best to maintain the Confucian value they represent through their works. They show so much dedication on every piece and along with every letter they skillfully craft, they wish that the uplifting words will give good luck to the person who brings it home.

But quite surprisingly, most of the temple visitors during this year’s Tết holiday were young locals and foreigners who are more expectedly to appreciate the fast, modern life than the ancient Hanoian art of calligraphy. Especially for the tourists who find the whole experience quite a spectacle, they couldn’t help but endlessly take photos of calligraphers as they are in work. Though some of the calligraphers also write in English for tourists, it is seldom seen as an option. Even tourists themselves prefer the Chinese letters, and though clueless of all of the meanings they hold, they appreciate the craftsmanship itself along with hopes that it will bring them good fortune in the Year of the Tiger.

People often ask for the words Phước (luck and happiness), Lộc (prosperity) and Thọ (longevity) or poems and proverbs signifying good health, good luck and success for the new year. Calligraphers often notice that the words Đạt (Success), Phú (Wealth), Tâm (Heart), Nghĩa (Loyalty) and Tín (Prestige) are sought more often by the young while older people prefer Phước and Thọ. A calligrapher does not only require to be skillful but to be wise as well to be able to suit the word to the person’s age and gender along with his intentions.

Calligraphic artworks would vary between VND80,000 (US$4.2) to VND200,000 ($10.6), depending on its size. Some of these artists perform calligraphy as a form of hobby while others believe the art had brought them a more righteous and stable life. Some of them who have studied the skill for some time now believe that calligraphy had taught them to be calm and learn to live life more positively. In the past, calligraphers are compensated by villagers with simple gifts of food. At present, many of them still write the words not for financial gains, but instead, for preserving culture and reviving the art to its former glory.


While Chinese script dominates calligraphers’ work in Ha Noi, Vietnamese characters are more sought for in the south. But just the same, one special word can bring a whole family the luck they need for the rest of the year. Tourists, apart from seeking luck for their personal intentions, adore the work-of-art so greatly and intend to hang them on their living room walls as decorative pieces. Others, even, request for special words to suit as presents for loved ones. Today, with the popularity of advanced technology in Vietnam and despite computers’ ability to mimic any script with clarity and perfection, the country’s tradition of performing this art is still alive and well. Calligraphy will continue to flourish and will always hold a special place in many people’s lives.

Tours offered for Danang International Firework Festival

On March 27-28, four firework groups from the USA, Japan, France and Portugal will perform firework shows in the central city of Danang. The organizers hope to welcome 100,000 visitors with local travel firms having designed tours to the city.

Danang’s vice chairman Vo Duy Khuong said that this year the city will build a grand stand with 25,000 seats to serve visitors. Around 15,000 seats will be reserved for local people and tourists, priced 200,000 dong per ticket.

Many side-line festivals will be organized to celebrate the city’s 35th anniversary, including a procession of flower boats and flower-decorated vehicles, the release of 25,000 flower garlands and lanterns to the Han River, the festival for craft villages, an exhibition of ornamental trees and animals and Non Nuoc stone-made artworks, an exhibition of firework photos, a kite flying contest and a competition for water sports.

The organizing board reported that it will start selling tickets on March 1 but up to 70 percent of the tickets were booked by travel firms. It is anticipated that the festival will attract large numbers or tourists because it will take place in the weekend.

Some travel firms have sold tours to Danang this time. The Hanoi Redtour introduces a three-day tour to the firework festival plus visits to the Son Tra peninsula, the old radar station of the US, the Ban Co mountain and Ba Na. The price is 1.8 million dong/person, not including air ticket.

Vietravel Hanoi offers a three-day tour to the firework festival and visits to Danang’s tourist sites like the Han River swing-bridge, Son Tra peninsula, But, My Khe and Con beaches and Hoi An ancient town.

Saigontourist will organize tours from HCM City to Danang for three days, priced from 2-2.7 million dong/person, not including air tickets. Visitors can join the tour from Hanoi to Danang, Hoi An and Ba Na, also for three days, at a cost of 2.3 million dong per person.

Most of hotels in Danang have been booked by tourism companies. However, visitors can stay in Hue or Hoi An, only 20-40km from Danang.

Hanoi’s tourist festival scheduled for October

The Thang Long-Hanoi International Tourism Festival will run from October 2-5 at the Bao Son Paradise Theme Park.

At a meeting with the Ministry of Culture, Sports and Tourism on June 10, Vice Chair of the Hanoi People’s Committee Ngo Thi Thanh Hang said that the event is not only part of National Tourism Year but will also celebrate the 1,000th anniversary of Thang Long-Hanoi.

A wide range of cultural activities and performances, including love duets, traditional opera and water puppetry will be showcased at the event.

The ministry will hold a 400-stand tourism fair which will include at least 35 overseas tourist companies from key markets such as China, Japan, South Africa, France and the US as well as several representatives from the Asian Network of Major Cities and the Council for the Promotion of Tourism in Asia.

Hang said that the festival provides an opportunity for Hanoi to promote itself to international friends, but stressed that the city’s tourist industry needs to prepare carefully for the event if it wants it to be a success.

World Food Festival – Taste the World kicks off in Vung Tau City

The World Food Festival 2010 – “Taste the World” was officially opened in the evening of July 21 at Thuy Van street, Vung Tau City, Ba Ria- Vung Tau province. Thousands of local people and tourists were gathered at 3km long of Thuy Van street to taste hundred dishes of 31 countries and 31 Vietnamese cities and provinces. The five days event takes place from July 21 to July 25 aims to introduce specialties food of Vietnam and the world, bear and wine and wine mixing performance.

Right after the opening of the festival, talented chefs from each country demonstrated their cooking skills and brought audiences to their food stalls to introduce delicious traditional dishes. Participants had a unique chance to taste food across the globe right at the festival: Stir fried rice vermicelli (Thailand), mixed rice in stone pan (North Korea), steamed vermicelli (Slovakia), grilled mud fish (Long An); grilled frog in bamboo tube (Hue), Taco (Mexico), sausage (Germany), traditional salad (Brazil) and so many others. Tourists were happy and exciting when they tasted original Vietnamese food in Vietnam rather than elsewhere.

With five main themes for five days gastronomy, culture, festivities, shopping and relaxing, those messages are carried through daily focus such as Viet spirit day (July 22) features Vietnamese folk games and culinary culture seminars, International day (July 23) with wine and beer tasting, demonstration of bartenders, food and beverage contest and performance of well-known Disc jockeys. The highlight of the festival is the carnival on July 24 evening with traditional fashion shows and art performances from different countries. Specially, participants in the carnival are representatives from countries and audiences. The night is featured by a fireworks show. The closing ceremony is a cultural exchange with featured art performances of domestic and international famous artists.

Presented at the opening ceremony with the presentation of culinary culture, Professor Dr. Tran Van Khe stated the World Food Festival will bring Vietnam and the globe close together. The event is an opportunity for Vietnam to introduce traditional culinary culture to international friends and exchange experience with state-of-the-art global culinary culture. Nevertheless, Vietnam should maintain the old tradition of food and beverage to reflect the true value of national culinary culture.

This is the first time an important international event being hosted in Vietnam, particularly in Vung Tau as the biggest festival in the city. Far from food and beverage, the festival opens an opportunity for Vung Tau to be a new, friendly and impressive destination for tourists. It calls a chance to establish Vung Tau City as a culinary city and positions the event as a heritage festival, as Hue Festival.

Contemporary Vietnamese Traditional Weddings

The pace of change

Compared to how weddings in Vietnam are carried out in the past, there are notably significant differences to the modern traditional weddings in the country today. Cost is among the most obvious differences. Because of the growing sociable nature of people, pressures arising from these social relationships often lead to families of marrying couples having to spend a considerable amount of money to be able to throw a grand wedding bash and invite everyone in their circle of friends. Trying to keep up an image in the society is also another reason why marrying couples, as well as their families, are often compelled to either use up their entire life savings or borrow huge sums of money and spend the rest of their years trying to pay it off.

There is also a remarkable difference on the age of the couple intending to marry. In the past, age ranges of 16 to 18 for women and 20 to 21 for men were considered ideal ages to marry. But along with Western influences and the awareness of the value of education, maturity and the need to pursue a career, most of the middle-class city dwellers prefer to get married at a much later age. Working class couples, however, tend to marry earlier.

Contemporary beliefs

Before, when parents from both families mutually agree on setting up their children for marriage, both the bride and groom have no option but to oblige according to their parents’ wishes. Now, the traditional practice of matchmaking is no longer observed as much as it was in the past. However, the views of the couple’s parents are still strongly honored, and if the parents believe that the prospective spouse is unsuitable, young people have to heed their parents’ decision and end the relationship. Women above the age of 30 and men above 35 years old are considered too old for marriage. Usually, when they reach those ages, both the individuals’ and families’ standards for finding a partner tend to become more lenient. For them, having a partner, regardless of not being able to meet their expectations is better than not having a partner at all.

Some young people often seek the services of an astrologer to determine beforehand whether their planned union would be favorable. If the astrologer’s reading yield negative results, couples mostly stop pursuing each other and withdraw their plans of marrying.

Arranging the marriage

Before any marriage will take place, the young man’s parents usually consult a fortune-teller to see whether the couple is destined to live together as husband and wife. If so, the man’s family sets out a plan for their son to formally request the young woman's hand.

The practice of making the actual request is done by the young man's parents, or aunt and uncle if he is an orphan, and a middle person who goes out to inform the young woman's parents. The party brings along presents such as betel leaves and areca nuts, and asks what the family requires for their daughter’s hand. The young woman's parents will usually ask for a sum of money to cover the costs for the marriage preparations.

The engagement

The next stage in the process is the engagement period, which, once the consent has been given, usually follows several months after. However, in certain circumstances where one of the partners is studying in a distant university or perhaps working abroad, it can take much longer. Since Vietnamese people believe that some days are particularly auspicious, carefully choosing the appropriate days for the engagement and the wedding is another important decision for them, which they often turn to fortune-tellers for sound advice.

If the fiancée or her family decides to break off the engagement for any reason, they are obliged to return the gifts to the young man’s family. However, if the fiancé himself backs out from the planned wedding, the girl’s family is allowed to keep the presents.

The engagement is always considered a solemn ceremony. On that particular day, the young man, along with his entire family, comes to the house of the bride-to-be bringing along gifts such as betel nuts, cake, wine and cigarettes. Traditionally, young women wear red ao dais and a banquet is held after formal rituals are performed before the ancestral altar. The engagement ceremony is deemed the opportunity for the young woman's family to meet their future son-in-law and his family.

The wedding day

The wedding is the final stage of the entire preparation. The bride and groom are purposely prevented from seeing each other before the actual ceremony to avoid misfortunes and bad luck. On the night before the wedding, the bride’s mother will tend her daughter’s hair with several combs, on which, every comb holds a symbolic meaning. The third comb is believed to be the most important as it is the opportunity to ask for good fortune and happiness.

On the actual wedding day, the bride’s family, along with the invited guests, gathers at her house to await the arrival of the groom. Shortly before the groom’s party comes, the bride slips away to don her wedding dress.

Gifts from the groom's family

The groom’s parents and his immediate relatives are preceded by an odd number of young men smartly dressed in shirt and tie, worn with dark trousers. Each carries a tray covered in a red cloth, or alternatively a large red and gold canister containing gifts of betel leaves, areca nuts, wine, fruit, cakes, and tea. Though the young men carrying such gifts used to walk in the past, this part of modern-day wedding parties is now carried out with the use of automobiles.

Vietnamese tradition looks at red as a lucky color that will lead to a promising future. Thus, in traditional Vietnamese weddings, red also becomes a dominant color. Such belief is widely practiced even today. And though there are several changes employed to the traditional ways, the entire concept remains the same. So upon arrival the young men carrying the presents, the same number of young women dressed in red ao dais are expected to meet them, receive the gifts, and the same young women are tasked to take the gifts inside the house. There is a superstition that anyone who helps out in the wedding ceremony who does not receive his or her due share of compensation, either in money or goods, may not have the chance to marry. So during the time the gifts are handed over to the women, each of the young women also hands her male counterpart a small amount of money.

Accepting the gifts

The leading couple of the groom’s party enters the bride’s house carrying a tray of small cups of wine and offers the bride’s parents a drink. By accepting the toast, the bride’s parents symbolically agree to admit the groom’s party. In the past, the acceptance is often celebrated by lighting firecrackers. But the risks for accidents and recent regulations on firecracker use had put an end to the tradition.

The groom's family introduce themselves and asks permission for their son to marry their daughter. A respected person from the bride's family usually hosts the ceremony and instructs the bride’s parents to formally present their daughter. It is during this moment where the bride comes in, dressed in a traditional red ao dai. The groom, on the other hand, wears a dark suit or a black ao dai.

The ceremony

The wedding ceremony is performed in front of the altar. Both the bride and the groom kneels down to pray and seek for their ancestors' blessing to be married. The couple then pays respect to the bride’s parents by bowing to them and thanking them for raising and protecting her since birth. After that, both couples bow their heads on each other - - - a gesture which symbolizes their gratitude and respect for their chosen life partners. The Master of Ceremonies then advises the marrying couple on starting a new family, after which, the parents from both sides take their turn in sharing their experiences and giving their blessings.

At this point, the groom and the bride exchanges wedding rings. The parents would then also give the newly-weds valuable gifts such as gold bracelets, earrings and mostly considered precious items.

The wedding banquet

After the ceremony, families of both the bride and groom join the guests who were not present at the ceremony at a large banquet. This is usually a large gathering, often attended by hundreds. The groom, bride, and their family are once again introduced to the guests and a toast is proposed. Meals are then served at the table.

It is during the reception where the groom, bride, and their parents take rounds on every table to thank and express their gratitude to their guests. Along with each stop at every table, the guests, in turn, give the couple envelopes as a sign of blessing to the newlyweds. These envelopes mostly contain wedding cards or monetary gifts. After the banquet, the bride leaves together with the groom’s party and head to the groom’s house, as it is where she is expected to live. Shortly after, the bride’s party follows to have a look around the groom’s house. Such is done for them to be assured that their daughter will be in good hands and would be comfortable with her new accommodation.

Hanoi to host the 2nd International Puppetry Festival 2010

The 2nd International Puppetry Festival 2010 will be held at Hanoi from September 4 to September 9, 2010, according to press release of Ministry of Culture, Sports and Tourism. The event is one of many art and cultural activities toward 1000th anniversary of Thang Long – Hanoi and to celebrate important national holidays in 2010.

Seventeen art troupes represent for thirteen countries with twenty-three performances have registered for this year festival, in which twelve are international art troupes. Those name Cairo Puppetry Theatre (Egypt); Train Theatre (Israel); Hobbyhut Chiang Mai Group (Thailand); Itim Theatre (Philippines); Art troupe of Ministry of Art and Culture (Cambodia); Behind the Actors Group (Indonesia); Matscots and Puppets Group (Singapore); Vulneable Youth Development Association (Laos); Puppetry art troupe of Ministry of Culture (Myanma); Aswara puppet Group (Malaysia); Guangxi puppetry art troupe (China); Cuba puppet Group (Cuba).

Vietnam, the host country, has five representatives at the festival. The list includes Vietnam Puppet Theatre, Thang Long Puppet Theatre, Hai Phong puppetry art troupe, Dak Lak puppetry art troupe and Ho Chi Minh puppetry art troupe.

The opening ceremony will take place on the evening of September 4 at Hanoi Opera House. All performances will alternatively showcase at three locations Thang Long puppetry Theatre, Vietnam puppetry Theatre and Hong Ha Theatre.

The International Puppetry Festival 2010 offers a perfect occasion for Vietnamese puppetry artists to introduce and promote Vietnam’s traditional puppetry art to International friends and to exchange experience among artistes to dedicate creative performances to audiences. The event also is an opportunity for Vietnam’s puppetry art to absorb quintessence in puppetry and to develop national puppetry arts in the context of international integration. Hosting on the occasion of celebrating 1000th birthday of the ancient capital Thang Long – Hanoi, the festival aims to introduce historical value of Vietnam’s traditional culture to countries.

The gold cup of the festival worth US$1,000 and the winning troupe, the one with excellence performance, will bring home the cup with all respective honor.

80 artists from 14 countries perform in HANOI SOUND STUFF 2010

Eighty artists from 14 countries will perform at HANOI SOUND STUFF FESTIVAL organized by Hanoi Academy of Music and M.A.M productions. Artists will keep the three-day festival rocking, from 26 to 28 March 2010 in Giang Vo exhibition center (148 Giang Vo Street, Ba Dinh district, Hanoi, Vietnam).

Toward the 1000 year celebration of Hanoi, under the theme Green Space, HANOI SOUND STUFF 2010 is the only festival of its kind in Hanoi this year, aspiring to showcase experimental and cutting edge music and art for young people in Vietnam, and to connect music and art with environmental awareness raising and education.

The festival runs from 9 AM till late at night with various live activities (fashion shows, games, movie screening, workshops and music performances) designed for different spaces including indoor and outdoor stages, workshop space (indoor), and environmental displays (outdoor). Details of the activity program will be changed day by day.

Hanoi Sound Stuff Festival is the only international music festival in Vietnam initiated by musician Tri Minh. The idea has been realized since 2008 under the theme Future Sound. The festival in 2009 was called Green Music. Hanoi Sound Stuff 2010 is the third festival. and boasts a record number of participants and activities as compared to previous years.

Tickets available all around Hanoi, go to www.hanoisoundstuff.com for location of tickets.


Culture Department

Goethe-Institut Hanoi
56-58 Nguyen Thai Hoc
Ba Dinh, Hanoi
Viet Nam

Tel: +84.4.3 734 22 51/52/53
Fax: +84.4.3 734 22 54

www.goethe.de/vietnam