Some comments after the national ca trù festival in 2011
On behalf of the artistic body
Chairman
Prof. Dr.Sc Tô Ngọc Thanh
A. Ca trù in people’s cultural life and conception
After some ups and downs before and after the August Revolution in 1945, the government presently pays attention to ca trù and UNESCO dignifies it as the intangible cultural heritage in need of urgent safeguarding. ca trù achieves the deserved and firm position in the Vietnamese cultural property. People, leaders at all levels, and especially 15 provinces, in which ca trù is being practiced, understand that it is an invaluable heritage with historic values. Particularly, it is a refined and noble chamber music, but semplice as well.
The number of ca trù clubs in all provinces increases. The clubs, which were established early, start to develop thoroughly and try to perform the styles of forefather.
The number of listeners and learners significantly increases. Many of them have the age range from 9 years to 30 years.
In general, clubs make activity schedules for club members and participate in cultural activities in their provinces, for example, performances or festivals.
It can be said that ca trù is revived and develops with young and strong vitality.
B. Some words, spoken in the style “closing the door for mutual consultancy”
We need to strive more to help ca trù to return to its sparkling inherent beauty. Shortcomings are inevitable because it is the body, which has just revived. As a result, as a member in this field, I would like to raise some suggestions and comments so that the next ca trù festival can be better.
* Regarding melodies
Despite much attempt, most of us can perform only some musical forms (known as thể cách) in the environment of Hát chơi (singing for entertainment) such as Hát nói (recital melody) or Gửi thư (sending letters).
- Regarding thể cách, which are difficult and require hard practice, only Tỳ bà hành was performed twice and Non mai hồng hạnh was performed once.
- However, ten items in the style of Hát cửa đình (lit. singing at village’s communal house) and Hát cửa quyền (lit. singing in aristocratic homes) were performed with dance, singing, instrumental accompaniment, gongs, and big drums.
- Especially, we could enjoy ca trù Cổ Đạm, Diễn Châu, Quảng Bình with the skillful performance technique “lắc sênh” (shaking the clappers) and with the performance style of the Middle.
* With regard to Ca trù styles
There are many shortcomings in this aspect. It is understandable because it is inevitable for three copies to result in deviation from the original after a long time of oblivion. I would like to raise some issues as follows.
- Some instrumentalists do not learn ca trù instrument playing in a standardised way. Each instrument has five khổ musical patterns; however, they do not know how to play instruments in each khổ perfectly. Particularly, some instrumentalists do not know whether they should tune instruments with Tây Nguyên or Western timbre.
- Some singers play clappers wrong; especially, some stop to play clappers while singing.
- Feminism is presently popular; nevertheless, the fact that women play instruments and drums is a matter of debate. Should these women be called female instrumentalists?
- Some groups have not understood what real ca trù is although they are very enthusiastic. They should have a demanding program, which can be classified as ca trù. These groups should learn it strictly to avoid waste of manpower and money.
C. Some suggestions to the government
- Our festival involved the participation of 23 groups with the total number of 140 people from 14 provinces.
- In addition to the groups, who were supported by local authorities and cultural departments, many groups had to pay expenditure to take part in this festival because their local authorities could not afford their trips. This is a big difficulty not only for their participation in this festival but also for artistic restoration and training for the young generation.
- We respectfully suggest the Ministry of Culture, Sports, and Tourism and other concerned agencies help to build a long-term project for preserving and developing ca trù in provinces.
- Hopefully, our small wish can reach authorised leaders and can be realised. If it is, it is very lucky for the checkered fate of ca trù.
- Ca trù is our profession and our heart. Despite hard difficulties, we cannot yield because it is attached to us as a profession.
*
Wish folk artists, singers, instrumentalists, the leaders of the Ministry of Culture, Sports, and Tourism, the Vietnamese Institute for Musicology, and the provinces, in which ca trù is practised, good health.
See all of you in the next festival in strong solidarity as the lyrics of the song Thề non nước of Tản Đà.