Hmong flute class on Ta Chu peak

Leaders of Tram Tau district visited and presented gifts to the Mong flute class of Mr. Ho A Thao.

The Secretary of the Tram Tau District Party Committee, Giang A Thao, softly said: "The sound of the bamboo flute from Mr. Ho A Thao's classroom is diligently imparting knowledge to students in Ta Chu village, Ban Cong commune, day and night."

Passion since childhood.

Born in 1974, inheriting his father's genes, Hờ A Thào has been fascinated by the sound of the Hmong flute since childhood. To this day, A Thào can't remember how many villages in the Northwest highlands he's traveled through with his father, but he only remembers that whenever that melody plays, it's like an "electric current" runs through him.

“When I was 5 or 6 years old, my father taught me how to play the Hmong flute. Then, I followed him to many festivals and funerals for the Hmong people. Over time, the sound and melody of the flute became deeply ingrained in my mind without me even realizing it. By the age of 15, I was playing the flute at funerals and festivals in many villages, not only in Tram Tau and Mu Cang Chai, but also in Son La, Lai Chau, and Dien Bien ,” Thao shared. Compared to other ethnic minorities, in Hmong culture, only men perform solo Hmong flute performances. Therefore, from a young age, not only Ho A Thao but most Hmong boys diligently learn or are guided by elders in their families and clans on how to play the flute. But to produce a Hmong flute sound that pleases the people is not something every “forest boy” can do. “Is learning to play the Hmong flute difficult?” - "Just knowing how to play the flute isn't too difficult, but to understand the flute, to become proficient, to master the notes, especially the breath control, and to play skillfully in many genres is very difficult," A Thào replied.

Thanks to his love and fascination with the Hmong flute since childhood, now, whether sad or happy, the flute is always by A Thào's side. Especially, whenever his Hmong flute plays, even the most discerning or less passionate art-loving people are drawn into a completely different world and space. There, they can feel the vast, majestic sounds of the mountains and forests, yet also the sincerity and simplicity of the lives of the local people in the highlands of Trạm Tấu. Therefore, many Hmong families, even those not yet well-off, are determined to send their children to Hờ A Thào to learn the Hmong flute.

Hờ A Thào's teaching of the Hmong flute has contributed to creating core "nucleus" who will continue to pass on the flute to future generations.

"Igniting the passion" for the younger generation.

We were surprised to find that, now atop Ta Chu mountain, Ho A Thao not only makes his own reed pipe music even more captivating but also opens classes to teach it to the children of the Mong ethnic group in the area.

As Hờ A Thào said, the Hmong mouth organ is very unique, but not everyone can play it skillfully. The Hmong mouth organ is usually performed in various forms: solo, duet, and group performances. The difficulty of performing the Hmong mouth organ lies not only in simply playing it but also in combining it with dance, incorporating intricate, difficult, and highly artistic movements. The dance movements are also very rich and diverse, including jumping, leg movements, spinning, and sideways rolling. Therefore, few young people today learn it, and the risk of its disappearance is very high. Hờ A Thào's decision to open a Hmong mouth organ class stems from his desire to preserve, protect, and promote the value of the traditional Hmong mouth organ, to help more young people understand and play it, to nurture their passion, and to become core members who will continue to teach the instrument to future generations.

To open the class, Ho A Thao spent many years compiling lesson plans for teaching the Hmong flute in both Vietnamese and Hmong languages. Distinguished artisan Giang A Su, former Secretary of the Tram Tau District Party Committee, acknowledged: “Personally, although I am knowledgeable about the Hmong flute and have taught it to my children and grandchildren through hands-on instruction, to teach it systematically and comprehensively, from basic to professional levels, only Ho A Thao can do it. There are very few people in Vietnam who teach the Hmong flute as well as him.”

During the recent summer break, 17-year-old Giàng A Chua from Pá Lau commune decided to enroll in Hmong flute lessons taught by Hờ A Thào. As a young person who loves his ethnic musical instrument, A Chua dedicated all his efforts to learning. “Initially, I found it very difficult, and there were times I wanted to give up. But with Teacher Thào’s dedicated guidance in memorizing the notes, breathing techniques, and then practicing songs and learning to play the flute while dancing, I have now mastered the flute and know how to play many songs,” A Chua confided.

Like A Chua, Hờ A Thắng in Xà Hồ commune, after graduating from the Hmong flute class taught by teacher Thào, is now confidently playing the flute while dancing. “Before, when participating in festivals, I would often stand and watch the elders play and dance with the flute. Now, after being taught by teacher Thào, I have learned the basics and can play many melodies and songs, especially at festivals and funerals,” A Thắng shared. A Chua and A Thắng are two of more than 25 people who have attended the Hmong flute class taught by Hờ A Thào since 2020. Hờ A Thào said: “Learning to play the khene (a type of bamboo flute) isn't difficult, but to play a complete song or melody requires persistent practice. That's why the students live and eat together for 90 consecutive days. During that time, I act as their teacher, father, and mother, taking care of their food, sleep, and rest. Moreover, during the teaching process, I am very patient and meticulous, teaching each note, breathing technique, and especially inspiring them to love playing the khene, so the young people progress quickly.”

For outsiders like us, looking at Mr. Hờ A Thào's lesson plan for teaching Hmong flute playing, with its 24 pieces covering various genres, both joyful and sad, such as kneeling, ending a piece, breakfast, lunch, dinner, pig slaughtering, incense burning, summoning spirits, greeting guests, welcoming guests, changing pieces... our heads feel like a tangled mess. Yet, with his innate musical talent, A Thào has trained many young people to skillfully play the Hmong mouth organ (khen) combined with Hmong dance, creating graceful, captivating, and unique Hmong mouth organ melodies such as " Foot-jumping dance ," " Turning and changing places ," "Turning in place ," "Playing the mouth organ," " Squatting dance ," etc. Secretary of the Tram Tau District Party Committee, Giàng A Thào, affirmed: "The Hmong mouth organ is a musical instrument that plays a crucial role in the life and cultural activities of the people, clearly reflecting their spiritual life and traditional beliefs. Therefore, Hờ A Thào's work has made a significant contribution to preserving, conserving, and promoting the unique cultural identity of the Hmong people. Moreover, through the sound of the mouth organ, the Hmong people become more connected and blend their culture with other ethnic groups, and it is also an important basis for Tram Tau to attract more domestic and international tourists to the locality."

"With perseverance, one can achieve anything." Overcoming countless difficulties, hardships, and the sweat and effort put into preparing lesson plans and teaching many young people, Hờ A Thào's Hmong flute class not only demonstrates passion and enthusiasm but also shows his responsibility in preserving the cultural identity of the Hmong ethnic community. This joy is further amplified when the folk art of Hmong flute performance from the three districts of Mù Cang Chải, Trạm Tấu, and Văn Chấn ( Yên Bái ) has been included in the National List of Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism.

VAN TUAN

Source