Mountain spirit through the sound of flute

Every day, Su breathes life into each bamboo stick and piece of wood to create panpipes - sacred musical instruments and cultural symbols of the Mong people.

Thao A Su in Sang Nhu village is only 20 years old this year - an age when many young people of the same age are engrossed in urban dreams, with modern technology, but Su has chosen for herself the path of traditional values, of the quiet sound of the traditional panpipe of the Mong people. In Mu Cang Chai, there are not many panpipe makers and only Su is that young. Every day, Su breathes life into each bamboo stick, each piece of wood to create panpipes - sacred musical instruments, cultural symbols of the Mong people.

Sang Nhu Village is only a few kilometers from the center of Mu Cang Chai commune, but it is uphill to the mountain. On that road is a majestic terraced field, low wooden houses of the Mong people interwoven to create a beautiful picture.

Su’s house was the same, perched halfway up the mountain, at the foot and in the distance were terraced fields, white clouds, pine forests, and bamboo forests. Right in front of the gate was a towering hawthorn tree bearing fragrant fruit. Su sat in front of the door, holding a small knife, carving a gourd.

Seeing a guest, Su quickly stopped, quickly pulled out a chair, and made tea. Su said, having been exposed to the flute since childhood, the sound of the flute has been an indispensable part of my life.

The Khen resounds in festivals celebrating bountiful harvests, in bustling weddings, in moonlit nights of love between couples, and even in ceremonies to send the deceased back to their ancestors. The sound of the Khen is not only music , but also language, memory, an invisible thread connecting people with the earth and sky, with the past and the present.

A Su's father - Mr. Thao Cang Sua - a famous panpipe artist in the region, was also his first and greatest teacher.

“I don't know since when, the image of my father sitting meticulously next to bamboo and wood pieces, his calloused hands skillfully carving and assembling them, has been imprinted in my mind.”

_{Thao A Su - Sang Nhu Village, Mu Cang Chai Commune}

The sound of his father's flute nurtured Su's soul and love for the flute. When he was still in boarding school, on weekends, Su would come home and follow his father to learn how to choose bamboo, how to cut wood, how to sharpen copper blades. At first, his small hands were clumsy and awkward, but with perseverance and burning passion, A Su gradually mastered the most sophisticated techniques.

“My father said, making a panpipe is not just making a musical instrument, but making a part of the soul of our nation. Each panpipe must have its own voice, must carry the spirit of the mountains and forests, the feelings of the Mong people” - A Su said, his eyes sparkling with pride when talking about his father.

Sitting with Su on the porch, watching Su meticulously chisel and polish, one can see that the process of making a Mong flute is a laborious journey, requiring meticulousness, patience and wholeheartedness. Su explained that the main materials are bamboo and wood. The bamboo must be of the right age, not too old or too young; the flute's body is usually made of po mu wood, which is durable and has beautiful grain.

“The most important thing is to choose bamboo. Bamboo must be naturally dried for a period of time to ensure durability and standard sound. If the bamboo is too young or not dried in enough sunlight, the sound of the flute will not be clear and warm,” Su added.

After selecting the right materials, Su begins the shaping process. Bamboo tubes of different sizes are heated over a fire and then gently bent, creating a curve that also creates a path for the air to pass through and produce sound.

Next comes the resonator, usually made from po mu wood, hollowed out inside to form a resonance box. A copper tongue is attached to the resonator. This is the heart of the resonator. The copper leaves are thinly spread and carefully polished, this step is mostly done by feel.

Su said: "Each person has a different way of making copper leaf, testing the sound differently, mainly based on personal feelings."

Finally, the finishing stage, grinding, polishing and decorating. Each stage is carried out carefully by A Su, not missing any small details. Su works with high concentration, eyes following every line, ears listening to every smallest sound.

Although only 20 years old, A Su has many years of experience making panpipes. The panpipes created by Su's talented hands carry the sweat, effort and love of young people preserving traditional culture.

A Su's panpipes are not only trusted by the villagers and communes but also sought after by tourists from all over the world. Many foreigners, when coming to Mu Cang Chai, were surprised and delighted by the unique sound and rustic beauty of the Mong panpipes. They came to A Su to own a work of art bearing the imprint of the local culture. In particular, Su also had customers from Thailand placing orders.

Each Khen A Su makes is not only a handmade product, but also a part of his aspiration. Su hopes that the sound of the Hmong Khen will not only resonate in the Sang Nhu village, but also fly far and wide to reach more people, so that the world can understand more about this rich culture.

Su confided: "Nowadays there is new technology for making reed pipes such as plastic gourds and plastic tubes, but the sound is not good, as if something is missing."

That's right! The "lack" that Su mentioned is the love for the panpipe, the desire to preserve traditional culture.

When asked about his future plans, Su shared that he wanted to earn money to build a yard, build a barn and buy more equipment for his house . Selling the panpipes would help him do those things. So, A Su's future plans are also tied to the panpipes.

“I dream that one day, when tourists come to Mu Cang Chai, they will not only remember the terraced fields but also the sound of Mong flutes,” Su shared with a gentle smile.

In modern life with the introduction of diverse cultures, the fact that a young man like Thao A Su chose to preserve traditional professions and make a living from traditional professions is something to be admired. That not only shows a deep love for the homeland and people but also proves the strong vitality of traditional culture in the hearts of young people.

The sound of the Hmong flute, through Su's hands and breath, is not only the sound of a musical instrument but also the voice of the mountains and forests, the echo of ancestors, the voice of a nation. The sound of the flute carries the breath of the earth, of trees and grass, of the love story of couples, of the desire for a prosperous and happy life.

When A Su gently blew into the panpipe, the deep and high sounds echoed, drifting through the terraced fields, blending with the sound of the wind, then soaring into the sky. That was the sound of the panpipe, the “soul of the mountain” being preserved, being breathed into new life, through the hands and heart of a young, passionate man. Thao A Su, with his determination and love, is continuing to write the story of the Mong panpipe - an indispensable part of the majestic Northwest.

Source: https://baolaocai.vn/hon-nui-qua-tieng-khen-post888478.html