Traditional craft villages open up opportunities for tourism development - Cao Bang Online Newspaper

Nestled amidst rolling mountains, traditional craft villages have existed for hundreds of years, intimately connected to the lives of the ethnic communities. Previously, people practiced these crafts simply to meet their daily needs and "preserve the traditions of their ancestors." But today, with innovative thinking, these traditional products have become OCOP (One Commune One Product) goods, and the craft villages have awakened their tourism potential. Transforming the working spaces into attractive experiential destinations for tourists from all over, they affirm the vibrant vitality of local culture in the flow of integration.

The incense-making craft in Phia Thap hamlet (Quang Uyen commune) attracts tourists year-round who come to experience and visit.

Traditional craft villages develop in harmony.

In Quang Uyen commune – a land considered the "giant blacksmith workshop" of the Nung An people – the sound of hammers and anvils resonates like a powerful, spirited symphony from the very beginning of the village. Blacksmithing in Phuc Sen is not just a livelihood; it's a source of pride. With 145 furnaces burning day and night across four hamlets, employing nearly 320 skilled workers, this area produces renowned agricultural tools and sharp knives.

I met Mr. Nong Van Hong in Pac Rang hamlet, a blacksmith with 40 years of experience in the trade. His hands were calloused and stained with soot, yet remarkably skillful. Mr. Hong started wielding a hammer at the age of 16, an age when many other children were still playing, but he already knew how to judge the hardness of steel by the color of the fire.

Mr. Hong, while heating a glowing red car leaf spring, shared his secret: "To make a sharp, durable knife, the secret lies in the eye and the hands. The best material is old car leaf springs, because they have the hardness and flexibility. But even good steel is useless if you don't know how to temper it. The craftsmen of Phuc Sen temper their knives with water, oil, and their family's inherited experience. You can tell if it's ready by looking at the molten steel running across the blade."

Thanks to the help of machinery, blacksmiths can now produce Japanese-style knives, American-style knives, and feng shui display knives with more beautiful designs than before.

The good news is that today's blacksmiths no longer see the scene of workers sweating profusely wielding sledgehammers by hand. Modernity has permeated every workshop. Mr. Hong pointed to the hydraulic power hammer pounding steel billets with a resounding clang: "With the help of machinery like grinding machines, lathes, power hammers... human labor has been greatly reduced. Productivity has increased exponentially, while quality remains assured because the most crucial steps are still decided by the hands of the craftsman."

Also in Pac Rang hamlet, Mr. Luong Van Bach, another blacksmith, shared about the change in market approach. Mr. Bach excitedly said: "In the old days, our ancestors only knew how to make curved knives, slicing knives, and chopping knives for use in the forest and in the kitchen. But now, the customer is king. Whatever design they want, whether it's a Japanese knife, an American knife, or a knife for feng shui display, we can make it all. Thanks to the support of machinery, the product lines are more refined, and the designs are much more beautiful."

This flexibility has helped many establishments in Phuc Sen achieve OCOP 3-star certification, becoming typical rural industrial products. The blacksmiths' workshops are now not only production sites but also attractive tourist destinations. Visitors enjoy watching the sparks fly from the knife sharpening process and marvel at the transformation of lifeless iron into useful tools.

Many Phuc Sen knife-making establishments have received OCOP 3-star certification, becoming typical rural industrial products.

Leaving the bustling atmosphere of the blacksmith village, we arrived at the tranquil and peaceful incense-making village of Phja Thắp (Quang Uyên commune). Nestled at the foot of Phia Tử mountain, this Nùng An village is as beautiful as a traditional ink painting.

On sunny days, Phja Thap is ablaze with color. Bundles of red-dyed incense sticks spread out like giant flowers, drying along the roads and in the courtyards of stilt houses. The subtle fragrance of incense and herbs wafts in the breeze, transporting visitors to a tranquil and peaceful atmosphere.

Ms. Hoang Thi Bay, a long-time incense maker in Phja Thap hamlet, is meticulously dipping each incense stick into a mixture of powdered gourd leaves and herbal sawdust. Ms. Bay explains that incense making here is entirely natural, without the use of chemicals. The ingredients—apricot trees, rice tree bark, gourd leaves, sawdust—are all sourced from the forest.

Mrs. Bay proudly shared: "In recent years, tourists, especially Westerners, have come to experience this in large numbers. What impresses tourists is not only the incense-making process, but also the image of Nung An women and children in their traditional indigo-colored clothing. They find it strange and interesting that the Nung An people have preserved their identity. When guests come to my house, I'm happy to guide them in making incense sticks themselves. After they finish, they buy them as gifts. Thanks to this, the incense-making profession now operates year-round, not just during the off-season. My family's income has also increased significantly."

Currently, 48 out of 51 households in Phja Thap (Quang Uyen commune) participate in incense making, creating jobs for more than 100 workers.

Currently, 48 out of 51 households in Phja Thắp participate in incense making, creating jobs for over 100 workers. Income from incense making accounts for half of each household's total income. Many traditional stilt houses have been renovated into spacious homestays, welcoming guests. Visitors can enjoy sticky rice cooked in bamboo tubes, sleep in stilt houses, and wake up in the morning to make incense alongside the locals. This is the sustainable community tourism approach that Phja Thắp is striving for.

  When talking about traditional craft villages in Cao Bang , one cannot overlook Bo To sugar cane syrup village (Phuc Hoa commune). This is where the memories of the sugar cane syrup making craft, dating back to the 1950s, are preserved. Faced with a saturated market of cheap refined sugar, there was a time when the sugar cane syrup industry seemed on the verge of extinction. But with their love for the craft and their resourcefulness, the people of Bo To revived the village through quality and brand building.

We met Mr. Luu Quang Long, Secretary of the Party Branch of Bo To Hamlet. Mr. Long said: Currently, Bo To Hamlet maintains 30 hectares of sugarcane. 80 households participate in production, supplying 240 tons of sugar to the market each year. A special feature is that the people strictly adhere to food safety regulations, using no preservatives, maintaining the original golden color and characteristic sweet taste. In 2019, the village was recognized as a traditional craft village. In 2020, Bo To cane sugar achieved OCOP 3-star rating. Thanks to this, Bo To cane sugar is now available in supermarkets and organic food stores. The selling price ranges from 60,000 to 80,000 VND/kg, many times higher than before. Each household earns 60-100 million VND per year. The people are very happy.

Traditional craft villages - repositories of cultural values.

The appeal of the craft villages of Quang Uyen and Phuc Hoa lies not only in their products but also in the cultural value they bring. This is evidenced by the experiences of tourists and photographers alike.

Mr. Ruggero Todesco, a tourist from Italy, couldn't hide his surprise upon arriving in Quang Uyen. He shared: "This place is truly beautiful. Not only the scenery, but the people here are very friendly. I am impressed by how they preserve their cultural identity. Seeing them making knives and incense firsthand, I understand more about the value of labor and the spirit of the local people. These are precious experiences that you won't find anywhere else."

The working spaces of traditional craft villages have become golden opportunities for photographers to capture stunning moments.

For photographers, traditional craft villages are a "treasure trove" of images. Mr. Nguyen Van Hau, Chairman of the Vietnam Association of Photographic Artists in Phu Tho province, remarked: "Only by visiting Cao Bang can you truly see how special this land is. Traditional craft villages like Phja Thap, known for its paper-making, vermicelli production, and knife-making, are clustered together, forming a vibrant heritage area. One visit isn't enough for us artists; we have to return many times to fully appreciate the industrious and creative beauty of the Nung An people."

Ms. Duong Van Anh, a female photographer fascinated by spiritual perspectives and cultural identity, shared her feelings: "My impression of the Phja Thap incense village is very profound. From splitting the bamboo strips to forming the incense sticks, each step is filled with meticulousness and spirituality. These are golden moments for photography."

The revival of traditional craft villages is the result of timely support policies and innovative thinking. Cao Bang province has identified the development of craft villages in conjunction with tourism as a key strategic direction. During the 2023-2025 period, the province allocated over 23.6 billion VND to support these villages. This figure is expected to increase to over 50 billion VND in the 2026-2030 period.

Mr. Be Binh An, Vice Chairman of the People's Committee of Quang Uyen commune, said: "We aim for each craft village to become a tourist destination. The development of craft villages must be linked to the construction of advanced new rural areas to create livelihoods. At the same time, we will invest in infrastructure such as exhibition halls, performance spaces, parking lots, and check-in points to serve and attract more tourists."

In particular, the "wind" of digital technology has swept through traditional craft villages. In Pac Rang and Phja Thap, the sight of young ethnic minority people using their phones to livestream sales, post advertisements on Facebook and Zalo, or create TikTok videos to introduce their products is no longer uncommon. A young blacksmith in Phuc Sen shared: "Now, we can sell goods nationwide even from our stilt houses. We offer promotions, free shipping... customers love it." The application of digital technology not only helps expand the market but also strongly promotes the cultural image of Cao Bang on the internet.

Mr. Nong Thanh Man, Deputy Director of the Department of Agriculture and Environment, emphasized the role of policy mechanisms: "To ensure the sustainable development of craft villages, we are reviewing and developing clearer support mechanisms for machinery and equipment for preliminary processing and manufacturing. In particular, we are closely coordinating with the Department of Culture, Sports and Tourism to develop specific tour routes to bring tourists to the craft villages. Only when people can make a living from their craft can it be preserved for the long term."

  Looking at the overall picture, with 9 craft villages and 2 traditional craft villages, creating jobs for over 1,500 workers and generating revenue exceeding 25 billion VND annually, Cao Bang is on the right track, laying the foundation for the future. These craft villages are transforming, not only preserving memories but also becoming a driving force for household economic development, contributing to the construction of new rural areas.

Hoang Ngoi

Source: https://baocaobang.vn/lang-nghe-mo-huong-phat-trien-du-lich-3185330.html