Based on that reality, Ho Chi Minh City is developing a project for managing, protecting, and promoting the value of the intangible cultural heritage of Southern Vietnamese folk music and singing (Don Ca Tai Tu) for the period 2026-2030, with a vision to 2035.
Concerning issues
Đờn ca tài tử originated in the late 19th century, a fusion of Hue court music, the music of the Ngũ Quảng region, and the folk ceremonial music of Southern Vietnam. Through generations of dedicated artists, this art form has become a unique cultural activity of the people of Southern Vietnam.
In 2013, Southern Vietnamese folk music (Đờn ca tài tử) was inscribed by UNESCO as a Representative Intangible Cultural Heritage of Humanity. This recognition acknowledges the unique value of this folk art form, which has been closely associated with community life for over a century. Over the years, many localities in the Southern region, including Ho Chi Minh City, have implemented projects to preserve and promote the value of Đờn ca tài tử. Following the administrative boundary consolidation, Ho Chi Minh City currently has 282 Đờn ca tài tử clubs with approximately 3,190 participants. The city also has 5 National Folk Artists (NSND) and 26 Meritorious Artists (NSƯT) working in this field.
There are no longer as many intimate gatherings in gardens, riverside areas, or villages as before. Traditional community spaces are gradually shrinking, while new performance models have not yet been sustainably developed.
Despite appearing at tourist destinations, festivals, cultural events, and online platforms, Don Ca Tai Tu (Southern Vietnamese folk music) still lacks a performance space that truly reflects its diverse, rich, and unique nature.
Festivals, competitions, exchange programs, and performances are organized more frequently. Some schools have incorporated traditional Southern Vietnamese folk music (Đờn ca tài tử) into extracurricular activities. Many performance programs serving tourism, festivals, and cultural events have been implemented, contributing to bringing this art form closer to the public. However, the achievements have not yet resolved the existing difficulties. In reality, the majority of participants in traditional Southern Vietnamese folk music activities are middle-aged and elderly. The aging of members in many clubs is becoming increasingly evident. Meanwhile, the number of young people studying and engaging with this art form remains quite limited.
In particular, the number of artisans playing traditional musical instruments such as the fiddle, zither, and gourd lute is increasingly scarce. Many clubs have singers but lack instrumentalists. Some places have to invite artisans from other localities to help or are unable to maintain regular activities as before.
In some areas, the practice of Don Ca Tai Tu (traditional Southern Vietnamese folk music) tends to lean more towards Vong Co and Cai Luong (reformed opera) styles rather than preserving the original melodies and characteristic performance techniques of the art form. This diminishes the authenticity and depth of this heritage. Many dedicated artists are still struggling to make ends meet. Income from performing and teaching is insufficient for them to live off their profession. Therefore, attracting young people to learn is also challenging as career opportunities are not yet clearly defined.
According to the Ho Chi Minh City Department of Culture and Sports, the permanent agency advising the City People's Committee on the implementation of the Project, the strong development of the market economy , urbanization, and the increasing emergence of modern forms of entertainment have directly impacted the space for the existence of traditional Southern Vietnamese folk music. "There are no longer as many intimate gatherings of kindred spirits in gardens, riverside areas, or villages as before."
"Traditional community spaces are gradually shrinking, while new performance models have not yet been sustainably established. Although it has appeared at tourist destinations, festivals, cultural events, and online, Don Ca Tai Tu still lacks a performance space that truly reflects its diverse, rich, and unique nature," one expert commented.
Many current heritage promotion programs have failed to create lasting appeal for the public, especially young people. The introduction of Don Ca Tai Tu (traditional Southern Vietnamese folk music) into schools has only reached the introductory stage. The limited time and unengaging approach make it difficult for students to deeply engage with this art form.
Meanwhile, the potential for exploiting traditional Southern Vietnamese folk music (Đờn ca tài tử) for tourism remains quite large but has not been exploited to its full potential. Performance programs for tourists are still fragmented, and have not yet formed distinctive cultural products capable of competing and creating a unique identity for Ho Chi Minh City…
The holder of the heritage must be able to make a living from their profession.
Given the above situation, the development of this Project is urgent and important. The draft Project on the management, protection, and promotion of the intangible cultural heritage of Southern Vietnamese folk music and singing in Ho Chi Minh City for the period 2026-2030 sets out many specific objectives.
One of the key objectives is to expand the network of traditional Southern Vietnamese folk music clubs to all communes, wards, and special zones within the city. Each locality will have at least one club that receives support in terms of meeting venues, musical instruments, and operating funds. The city also aims to complete the inventory of all artisans, clubs, and practitioners of traditional Southern Vietnamese folk music; and to digitize all documents related to this heritage.
Notably, the proposal suggests building three to five spaces for practicing traditional Southern Vietnamese folk music (Đờn ca tài tử) in various areas of the city. These will serve as venues for composition, performance, teaching, and exchange for artists and the public who love this art form. In addition, Đờn ca tài tử will be regularly performed at historical sites, museums, tourist attractions, shopping centers, and prominent public spaces in the city.
Training the next generation is also identified as a key task. Each year, the city will organize training for approximately 20 young artisans, prioritizing the training of players for instruments that are currently scarce. Many solutions have been proposed to bring Don Ca Tai Tu closer to students, such as developing curricula suitable for each educational level, expanding clubs in schools, organizing Don Ca Tai Tu competitions in schools, and providing practical experience programs. Simultaneously, the application of digital technology in promoting the heritage will be promoted. Social media platforms, specialized websites, digital databases, and modern performance technologies will be utilized to reach young audiences and expand the reach of Don Ca Tai Tu…
A notable point in the draft plan is the perspective that preservation must be linked to development. Accordingly, preserving Don Ca Tai Tu (Southern Vietnamese folk music) should not be limited to performances, festivals, or honoring artists, but should create conditions for the communities involved to earn a living from the art form. The plan emphasizes the need to connect heritage preservation with economic and tourism development. Performance spaces, cultural tourism products, heritage education activities, performance programs for tourists, and souvenirs bearing the mark of Don Ca Tai Tu are all considered necessary directions.
Heritage can only endure when it is regularly practiced in community life. To achieve this, those who directly possess the heritage must have the conditions to continue to be involved in the craft, pass it on to the next generation, and find opportunities for development from the very values they are preserving.
Source: https://baovanhoa.vn/van-hoa/nhung-khoang-trong-dang-lo-236208.html
