VietNamNet Bridge – Folk music researcher Bui Trong Hien recently completed a report on the revitalisation of hat cua dinh (singing at the village’s communal house). It is the oldest form of ca tru singing, which has been recognised by UNESCO as an intangible cultural heritage in need of urgent safeguarding since 2009.

Folk music researcher Bui Trong Hien.

Hien’s work is the first research on hat cua dinh to systematise a theory of the art form. He was supported by Nguyen Phu De, Nguyen Thi Chuc and Pho Thi Kim Duc, the last remaining ca tru master singers and musicians [practitioners recognised by the State for their accomplishments and efforts to maintain and pass on the art form to the younger generation]. His research is a milestone for the preservation and development of ca tru. He hopes young singers who learn from senior performers by oral and technical transmission will study his research on hat cua dinh theory.

Researcher Hien has gained renown in his field for his research on the Central Highlands’ gong cultural space, now recognised by UNESCO as an intangible and oral masterpiece of human culture.

Hien spoke about his research.

Why did you want to carry out the project to develop a systematic theory of hat cua dinh?

I am glad because my research is recognised by my colleagues who are veteran music researchers. This is the first time hat cua dinh has been systematised and specific regulations have been developed, which will help students of ca tru learn the form more easily.

I have been researching folk music for 20 years. I know about melody regulations of many traditional art genres such as cheo (popular theatre), tuong (classical opera), quan ho (love duet singing), xam (blind buskers) and others. But I had previously only researched the history and the origins of ca tru.

I spend much time listening to records and tapes by the late master singers. Some of them are very old and damaged by time. It takes time to listen and rewrite sentences sung by the late artists. If I don’t do this, however, the records and tapes will be spoilt.

Many ca tru clubs have been revitalised in Hanoi, allowing young singers to emerge and carry on the art form.  What makes you think that ca tru is fading away?

That is a good point. I think we need to encourage young singers to engage in traditional music and ca tru in particular. However, I think I have to take responsibility for ca tru.

In 2014, I was invited to be a member of the jury members at the National Ca Tru Festival. The panel included artisan Nguyen Phu De, who is the last remaining well-known ca tru musician of the 20th century.  He used to perform ca tru at the two spaces of the cua dinh (communal house) and the ca quan (singing bar).

We saw hat cua dinh repertoire on the stage, which the singer performed with a paper fan. Only master musician De knew that it was wrong and he gave an analysis of its departure from the traditional form. I recognised the important role of the senior performer like musician De.

After the festival, I came home and talked with my wife and decided to stop all my work. I went to the northern province of Hai Duong to live with musician De, learning all things about ca tru. During this time, I became obsessed with finding material sources to support my research. I aimed to finish my research as soon as possible because of De’s old age. When I completed my basic research in early 2016, the artist suffered a stroke. 

How did you begin to systematise a theory of hat cua dinh theory?

My work was delayed until the end of 2016. Associate Professor Doctor Tu Thi Loan, acting director of the Viet Nam National Institute of Culture and Arts Studies, considered my research important. She asked me to set up a project on ca tru preservation in Hanoi. I decided to train ca tru singers with a new method.

Beginning in February 2017 the singers from Phu Thi Ca Tru Club studied theory to learn the basics. In the past, ca tru singers passed on the music and poems that comprise ca tru pieces orally, usually within their family. Ca tru has fifty-six different musical forms or melodies and each of the singers names the melodies differently.

This makes the young learners confused. My research is to review the development of ca tru and provide a general conception about ca tru. 

Are you ready to defend your work against opponents?

Yes, I’m ready to answer any questions. My work is based on scientific research including field trips and meetings with ca tru artisans. One of the most important things is to rewrite the sung sentences and words from old records and tapes by the late artisans. 

Frankly, I feel like a child learning the alphabet when I’m researching ca tru. At present, there are many young singers learning to sing ca tru. But I see they don’t have basic knowledge of ca tru. I hope young ca tru singers will spend time studying ca tru. 

Source: VNS