Non Khăn Rằn & “The Ca Mau áo (traditional Vietnamese dress) is waiting”

Although his main job is as a broadcaster and editor for the Voice of Vietnam Radio, Nguyen Huu Nhan has fallen in love with music. Not only does he possess a natural, expressive voice, but he also has the ability to compose songs with folk and lyrical influences. "Ao Ca Mau Co Doi" (The Dress of Ca Mau Waits) is one of his notable works, earning him the rather interesting nickname "Non Khan Ran" (The Checked Scarf).

Besides her songwriting abilities, Non Khăn Rằn also possesses a sweet voice with a touch of narrative quality.

I'm very pleased that you agreed to this interview. Could you share a little about yourself?

Nguyen Huu Nhan: My hometown is Long An. My nickname, "Non Khan Ran" (Non the Checked Scarf), comes from my love for the Southern Vietnamese checkered scarf, as a way to identify myself to friends. I have many checkered scarves and always carry at least one with me in all my daily activities. People probably know me best as a 9X generation farmer who likes to share his rural life through cooking videos on TikTok. However, my long-term career has been as an editor and broadcaster for VOV Mekong Traffic Radio, Vietnam Voice Radio, under the name Huu Nhan.

- Personally, I'm very impressed with the song "Ao Ca Mau Co Doi" (The Shirt of Ca Mau Waits). What was the idea behind this song, and what messages did you want to convey?

Nguyen Huu Nhan: One day, I was listening to music at 2 AM when suddenly, the song "New Dress of Ca Mau" by composer Thanh Son came to mind. The image of the "new dress" as sung by the late singer Phi Nhung evoked many emotions in me, prompting me to write a melody (even though I am neither a composer nor a singer). A question suddenly arose in my mind: Will the "new dress" from 10, 20, or even longer, still retain its original simplicity and innocence, inviting strangers from all directions, or will it be tainted by the wind and frost of time? I boldly used my imagination to "continue" the story of "New Dress of Ca Mau," writing the song "Does the Ca Mau Dress Wait?" The title of the song is both a question and an affirmation of the Ca Mau dress's unwavering loyalty and faithfulness, "waiting" even if it is worn and faded. This song was written in just 30 minutes.

- The highlight of this song is the My Tra folk melody at the end. Could you share your reason for choosing this particular melody?

Nguyen Huu Nhan: As a son of the Mekong Delta, I have a deep love for folk songs and melodies, so I'm familiar with and impressed by some of them, such as Ly Tri An and Ly My Tra... Ly My Tra was chosen by chance, fitting the emotions of the song. Ly My Tra is often combined with Cai Luong (Vietnamese traditional opera) with its incredibly sentimental vocal embellishments, so when I incorporated it into the song, I had many concerns: Would the audience accept this new arrangement and different singing style? Fortunately, the majority of the audience was tolerant and accepting. This particular folk melody connected my song with a small audience of sentimental folk music.

- What were the most interesting aspects or memorable moments during the production of this music video?

Nguyen Huu Nhan: Initially, I posted a snippet of this song on TikTok, but there wasn't much of a huge response. However, by some stroke of luck, more than a week later, the snippet became widely known. Being in the music industry for the first time, I felt a bit pressured and had no intention of releasing the song. But after many viewers messaged me, I decided to make a truly "homemade" music video, scheduled for release at 8 PM on March 22, 2024. I spent two days filming the MV alone using my phone. Upon learning of my amateur work, singer Tran Ngoc Han and singer-songwriter Truong Le encouraged and helped me create a more polished MV. On the morning of March 22nd, the MV, filmed at a branch of a river in Ho Chi Minh City with a crew of just two people—myself and singer-songwriter Truong Le—was edited that same day to meet the release deadline. On the way back, my car broke down, and I had to push it quite a distance, almost making me late. What haunts me a bit when I watch the music video again is the many flaws in my appearance, because I did my own makeup and hair and didn't have enough time to do post-production to hide them (laughs). As for the music video I filmed myself with my phone, I will release it soon as a keepsake.

- After the music video was released and received positive feedback, how did you feel about receiving so much love from the viewers?

Nguyen Huu Nhan: Before "Ao Ca Mau Co Doi," I released my first music video, also a "homemade" production, titled "Buon Phan Do Quyen." The MV only garnered 1,500 views on YouTube over a year, so I only set a target of 5,000 views for "Ao Ca Mau Co Doi." It wasn't until the support increased nearly 100 times compared to my first MV that I realized the song was, to some extent, "alive" in the hearts of the audience. Some singers even offered to cover it or commissioned me to compose something new. However, I haven't dared accept anyone's offer yet, because I feel my abilities are still limited. I can only silently thank them for this interesting experience with art.

The melancholic melody, profound lyrics, and unadorned voice of Non Khan Ran make the song "Ao Ca Mau Co Doi" (Is Ca Mau Waiting?) leave a lasting impression on the audience.

- Having fallen in love with this southernmost land, what is it about the land and people of Ca Mau that impresses you the most?

Nguyen Huu Nhan: Ca Mau crab! Of course, I'm impressed by the famous Ca Mau crab. My first visit to Ca Mau was in my first year of university. At that time, I participated in the "Spring Volunteer" campaign at Nguyen Viet Khai 2 Primary School. I was surprised because everything, from the mangrove trees and nipa palms to the crabs, the forest clams, and the catfish... were so similar to my ancestral hometown. I got to ride in a small boat, enjoy catfish, visit the Ca Mau Cape National Tourist Area... and especially, I received a warm welcome from the locals, teachers, and students at the school. It was this heartfelt affection that made me so shy when saying goodbye that I covered my face with a checkered scarf and cried. Furthermore, when people saw the countryside videos I posted on TikTok, many assumed my hometown was Ca Mau because the scenery and the local dishes were so similar. I felt happy and secretly considered Ca Mau my second home. At the same time, because I work at a radio station specializing in the Mekong Delta region, Ca Mau is also one of the 13 provinces and cities closely associated with my work.

Ca Mau mangrove forest. Photo: NGUYEN TRONG THANG

- After those impressive folk songs, can you reveal your upcoming musical plans?

Nguyen Huu Nhan: Since gaining some recognition from the audience through the song "Ao Ca Mau Co Doi" (The Dress of Ca Mau Waits), although not a singer or songwriter, I've been fortunate enough to experience some of the work of a composer. Besides that, I've also been given the opportunity to sing, but I haven't dared to accept this new role yet. I don't aim to achieve the title of singer or songwriter... therefore, each of my songs isn't influenced by any other factor except emotion.

Currently, I have released a series of three songs that tell the same story: "The Dress of Ca Mau Waits," "Who Is My Older Sister Waiting For?", and "Mother is My Older Sister." Right now, I want to maintain the purity of my songwriting, not seeking any profit from the music, so I still have over 10 songs that haven't been released yet. When I've worked hard enough, I will release a product. If I have sufficient funds, I will release one song per month until the end of 2024. I hope my compositions can further connect love between couples, family affection, and love for my homeland. In the following songs, I will incorporate the characteristics of people from the Mekong Delta, its landmarks, scenic spots, and even its cuisine.

Thank you!

 

Huu Nghia performed

 

Source: https://baocamau.vn/non-khan-ran-ao-ca-mau-co-doi--a32907.html