The preservation and promotion of traditional arts remained a central topic of discussion at a recent conference organized by the Vietnam Institute of Culture, Arts, Sports and Tourism in Hanoi.
Vietnamese traditional arts are incredibly diverse, encompassing theater (tuong cheo - a classical Vietnamese opera, cai luong - a form of folk musical theater from southern Vietnam, puppetry), dance (folk, royal, and religious dances), UNESCO-recognized folk singing (Ceremonial singing, Xoan singing, bai choi singing, quan ho singing, Hue royal court music), and fine arts (wood carvings, temple engravings, and statue sculptures). These art forms not only showcase the creative ingenuity of the Vietnamese people but also play a vital role in shaping and enriching the national culture.
According to Deputy Minister of Culture, Sports and Tourism Ta Quang Dong, traditional arts not only reflect the quintessence of national culture but also contribute significantly to the economy.
However, under the impact of the market mechanism, traditional arts are facing the risk of commercialization, fading away, and deformation. International integration also poses a great challenge when national cultural identity is at risk of being dissolved.
Researcher Bui Trong Hien emphasized that it is necessary to clearly identify the original and adapted elements to avoid the situation of fake identity. He cited the example of the Central Highlands gong orchestras hung in a long array following the scale of do, re, mi, or singing quan ho with accompaniment - these forms may be good but cannot be considered the original identity to preserve.
Associate Professor Bui Hoai Son believes that preserving traditional art cannot stop at just maintaining the status quo, but requires a flexible approach, both preserving the original elements and creating a creative space suitable for the new context. According to him, if only preserving rigidly without a strategy to connect with the public, traditional art will increasingly be far from real life and lose its vitality.
In addition, not correctly identifying core values can lead to confusion between conservation and unfounded restoration. Some traditional art forms have been significantly changed from the original, making conservation work more difficult. It is important to identify values that cannot be dissolved in order to build reasonable conservation and promotion solutions, and at the same time have specific support policies to ensure that traditional art not only exists but also has sustainable vitality in the modern environment.
The primary hurdle for traditional art today is a dwindling audience. According to People's Artist Xuan Bac, Director of the Department of Performing Arts, the focus must shift from performance-centricity to emphasizing the underlying cultural value of these art forms.
People's Artist Xuan Bac pointed to Xoan singing, stating that without adequate pre-performance information, audiences risk misunderstanding and losing interest in this valuable heritage.
The issue isn't a lack of quality in Xoan singing itself, but rather a gap between the performance style and the audience's need for deeper cultural understanding to truly appreciate its beauty and value. This challenge is mirrored across many traditional art forms.
Experts widely agree that blending traditional elements with contemporary folk influences can effectively connect younger audiences to national culture.
Director Trieu Trung Kien of the Central Opera House and a People's Artist, acknowledged that traditional artists are still grappling with the dilemma of whether to prioritize preservation or development. However, recent initiatives like the folk-themed programs of "Anh trai vuot ngan chong gai" and the music video "Bac Bling" have proven that new approaches can help younger audiences engage with traditional art in a more compelling way.
Associate Professor Bui Hoai Son emphasized that preserving and promoting traditional art is a delicate endeavor that demands a flexible approach. It is crucial to strike a balance between heritage and innovation, ensuring that traditional art is not constrained by rigid frameworks while also preventing its complete commercialization.
In addition, he also raised the issue of the legal framework for performing arts - whether a separate law is needed to regulate this field, when many current regulations have not yet been implemented.
