Thai Nguyen not only leaves a lasting impression on tourists with its lush green tea hills, but it is also a land that preserves the rich cultural identity of the Tay people, where the sounds of the Tinh lute and Then melodies continue to flow persistently in the community's cultural life.
In the stilt houses of Phuc Luong commune (formerly part of Dai Tu district), the sound of the Tinh lute still regularly resonates every morning and evening, blending into the rhythm of daily life, creating a cultural space that is both familiar and possesses a profound, tranquil spiritual depth.
Having been involved with Then singing art for over 30 years, Ms. Dao Thi Thoa (born in 1977) has absorbed this melody since her childhood, starting with the gentle and heartfelt sounds in the songs sung by her parents.
"When I was a child, on winter nights sitting by the crackling fire, I would meticulously listen to my parents sing. Day after day, I listened so much that I became familiar with the songs and gradually memorized every word and phrase. The melody seeped into my soul without me even realizing it," Thoa confided.
The traditional Tày folk singing space in Phúc Lương commune (Đại Từ district, Thái Nguyên province).
However, as she grew up and directly played the instrument and learned how to keep the rhythm, Ms. Thoa truly understood the subtleties of this art form. According to her, the difficulty lies not in the lyrics, but in the technique of sustaining breath, the way of using vocal embellishments, and the absolute precision of the rhythm.
"Just knowing the lyrics isn't enough to sing well. To sing a Then song perfectly, the singer must master the rhythm of the instrument, because the sound of the instrument and the voice are two harmonious entities. If the rhythm is off, the soul of the song will become disjointed," Ms. Thoa said.
According to Ms. Thoa, the Tinh instrument is the soul and the connecting thread that creates this harmony. The crafting process of the Tinh instrument also requires meticulous attention to detail; the instrument consists of three main parts: the body, the neck, and three strings that create its characteristic sound.
The body of the instrument is made from a mature, dried gourd, which must be perfectly round with a smooth, even surface, measuring 15-25cm in diameter. The soundboard is carved from paulownia wood, with a standard thickness of only about 3mm.
On the wooden surface, the craftsman carved two rosette-shaped sound holes. Unlike the old style carved at the back of the body of the instrument, this new design allows the sound to resonate more clearly and distinctly.
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The chanting of folk songs in the schoolyardLate in the afternoon, the sounds of the zither and folk songs still echoed through the courtyard of Nong Thuong Primary and Secondary School (Bac Kan ward). In a small room at the end of the classroom block, more than a dozen Tay and Dao students attentively practiced each zither note and each folk song under the guidance of folk artist Ha Duc Dinh. The then song is handwritten, preserving the traditional lyrics and melody of the Tay people.
The neck of the instrument is crafted from mulberry wood or rotten mulberry wood, and must be straight and long, with one end passing through the soundbox and the other end bent into a crescent shape, a dragon head, or a phoenix head.
Traditionally, the strings were made from spun silk, but now they are replaced with nylon to increase durability and resonance. The fretboard is made smooth to allow the musician to easily manipulate vibrato during performances.
The sound of the zither is not only a rhythmic instrument, but also reflects the worldview and soul of the Tay people. Therefore, learning to sing Then requires empathy from the soul behind the zither in order to fully convey this heritage.
Unlike Quan Ho of Bac Ninh, which is a form of folk singing characterized by open and friendly exchanges between male and female singers and is often performed in festive settings to foster friendship and express romantic feelings, Then singing is spiritual in nature, representing the heartfelt connection between humans and the heavens and earth.
While Quan Ho folk singing requires a resonant, powerful, and vibrant tone to echo throughout the village square, Then singing demands a deeper, more subdued quality. This difference in characteristics makes it more difficult for Then singing to spread widely and become an easily accessible "tourist attraction" like Quan Ho.
The tradition of singing Then folk songs among the Tay community in Phuc Luong has been maintained through many generations.
Currently, the teaching of Then is still mainly done through oral tradition, with direct practice within families and communities.
The lack of a specialized curriculum or musical notation system makes this art form difficult to access, especially for the younger generation who are caught up in the fast-paced modern industrial life.
"Young people nowadays tend to pursue careers far from home, engrossed in the whirlwind of making a living in industrial zones and private enterprises in urban areas, or even settling there. Therefore, they have fewer opportunities to be close to this art form, and learning Then singing has become limited due to a lack of time and space for practice."
"Nowadays, most people who know about Then singing are elderly, while some younger generations are no longer interested. If our generation disappears, this folk art form will face the risk of fading away," Thoa lamented.
Vietnam encourages US businesses to expand investment in high technology.On the morning of June 26th, at the Government Headquarters, Deputy Prime Minister Ho Quoc Dung received Mr. Jeff Place, Supply Chain Director of Coherent Group (USA). During the meeting, the Deputy Prime Minister affirmed that Vietnam encourages US businesses to expand investment, especially in high-tech, innovation, and semiconductor industries. In the simple stilt houses, Ms. Thoa persistently plays her instrument and sings, the rhythmic melodies of Then singing continuing to permeate every house, keeping the flame alive for an entire cultural region.
"As long as I can still sing, I will keep singing. Later, if my children and grandchildren are interested in learning, there will still be someone to pass on the tradition so that this melody will not be forgotten," Ms. Thoa added.
Amidst the hustle and bustle of contemporary life, the survival of Then singing still relies on quiet "keepers of the flame" like Ms. Thoa. They are not just preserving a melody, but also a part of the soul of the mountains and forests of Thai Nguyen, waiting for succeeding generations to return to their roots and continue this sacred cultural thread.
Recently, the Thai Nguyen Provincial People's Council issued Resolution 43/2025/NQ-HĐND, prioritizing support for folk art clubs associated with art forms that have been officially recognized or are included in the national intangible cultural heritage list. The conditions are that the club must have a clear organizational structure, regular activities, a minimum of 20 members, and a master artisan directly teaching the art.
Accordingly, each commune will receive a maximum of 300 million VND, and each ward 200 million VND, for investment in equipment; in addition, each club will receive 30 million VND per year to maintain its activities. This policy, implemented from 2026 to 2030, aims to retain participants and maintain community cultural spaces.
Source: https://baovanhoa.vn/van-hoa/bao-ton-hon-cot-hat-then-trong-thoi-dai-so-223598.html
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