Cao Diep Phoi, 70, a respected figure and Cam Phuc Nam Commune Party Secretary in the province, spoke with pride about the recent socio-economic progress in the Raglai community. With numerous Party and State policies supporting ethnic minorities, particularly in job creation, livelihood support, and housing, the Raglai’s quality of life has significantly improved. 

Many households engaged in agriculture (mango farming, goat rearing) have reached a comfortable standard of living, sharing experiences to help neighbors enhance their material and spiritual lives.

However, he lamented the risk of losing the sacred ma la instrument of the Raglai people. The number of artisans who can play ma la is decreasing, while the youth show little interest in ethnic culture.

The Raglai have various traditional instruments, including ma la, stone lithophone, sarakel horn, and chapi. Ma la is a unique bronze percussion instrument of the Raglai which is like a gong. But it is a flat gong without a boss, called a flat chime by highland ethnic groups.

Phoi is one of the few who know how to play and teach ma la. His greatest concern is the risk of cultural erosion.

Past generations of Raglai believed ma la represented the village in communicating and connecting with supernatural beings. Any dialogue or plea to the spirits required playing the ma la. Today, those who can play ma la are mostly elderly, and when they pass away, the sound of ma la may disappear.

Ma la available but remains silent

Since 2014, Phoi has poured his heart into preserving and teaching ma la.

“Not just Cam Ranh, I go wherever support is needed. I’m still encouraging elder artisans to preserve instruments like ma la and chapi. These are tangible cultural assets the Raglai leave for future generations. For intangible culture, like weddings or the grave-abandoning ceremony, I work with elders to streamline outdated practices while preserving ethnic traditions,” Phoi said.

However, he noted that ma la preservation faces significant challenges.

“The province has funded ma la purchases, and every village and commune has them. But after delivery, they need artisan tuning to sound right. Currently, many ma la remain silent because no one knows how to tune them. In most villages and communes, few people can play this instrument,” Phoi said.

He believes there should be more policies and directives for preserving and promoting ma la’s cultural value.

“Authorities need clear directives to instruct communes to hold ma la and folk song training classes. We face funding difficulties when trying to collaborate on these efforts,” he added.

Sustainable development 

Acknowledging Phoi’s concerns, Lo Quang Tu, Director of the Propaganda Department for Ethnic Minorities and Mountainous Areas, Ministry of Ethnic Affairs and Religion, said he was concerned about the declining number of Raglai artisans and the youth’s indifference to learning instruments like ma la.

“Comprehensive, sustainable solutions are needed from both authorities and communities to preserve the tangible and intangible cultural values of ethnic groups. Without this, their cultural identity risks fading,” Tu said.

He suggested a viable approach to preserving ma la and other Raglai cultural values: developing tourism tied to ethnic identity.

“Tourists love wearing ethnic costumes, playing traditional instruments, and sharing photos online. They are willing to pay for these spiritual experiences. This is a sustainable path, boosting income while preserving ethnic culture. Communities can collaborate on tourism, develop feasible projects, and seek loans through provincial ethnic affairs agencies or local organizations,” he said.

The Raglai are an ethnic minority of the Malayo-Polynesian language group, following a matriarchal system. They primarily live in the mountainous regions of South Central Vietnam, with the largest concentration on Khanh Hoa’s mountains. 

Ma la is played in sets. In Khanh Hoa’s Raglai tradition, a set has at least three pieces, including one “mother” ma la. A 4-piece set symbolizes one mother and three children (eldest, middle, youngest). Some regions use sets of 7, 9, or 12 pieces. Larger sets include multiple mothers: mother one, mother two, mother three, etc., with the “eldest mother” being the matriarch with husband and children, holding the highest authority.

Binh Minh