The sound of the clapper is not... alone.

Without blackboards or lesson plans, for decades, in the villages along the Gianh River, the rhythmic tapping of the clappers in Ca Tru singing has resonated regularly, persistently, and no longer alone. This is vivid proof of how generations of people have diligently preserved and passed on an art form considered a treasure trove of traditional Vietnamese music.

Classes on passing on the art of Ca Tru singing organized by the General Museum - Photo: DH

A classroom without a podium.

The Uyên Phong village Ca Trù Club (Tuyên Hóa commune) was established 23 years ago and currently has 28 members across five generations. The oldest member is nearly 80 years old, and the youngest is only 10. They don't view Ca Trù as a profession to be learned by rote, but rather as a way of life, a breath of life ingrained in their blood and flesh, naturally passed down through generations.

From a few elderly members at the beginning, the club now has a younger generation of students and teenagers who participate regularly. Every week, the children gather together to learn how to play the clappers, control their breathing, and pronounce words. And so, day after day, month after month, the melodies of Ca Tru gradually permeate their thoughts and breaths.

Besides learning to sing, the children also listen to stories about the village's history, the founders of the art form, and the years when Ca Tru was forgotten during the war. "Some children can even sing difficult, ancient songs. Their voices may not be perfect yet, but they have soul. Looking at them makes me feel at ease," said folk artist Dang Thi Thi of the Uyen Phong Ca Tru Club, visibly moved.

Tran Ha Thao Nguyen, a student at Chau Hoa Primary School (Tuyen Hoa commune), is one of the most outstanding "young talents" of the club. Initially, ca trù (traditional Vietnamese singing) was something completely new to her. To be able to sing with the right pitch and rhythm, the little girl had to practice each line of the song and each hand movement to make sure it was both light and even.

From being shy and reserved when standing in front of people, Thao Nguyen can now confidently sing and perform with a bright demeanor and emotionally rich style. Each melody, each rhythmic beat, has instilled in her young soul a special love for traditional music .

It's a simple yet enduring love, like the Gianh River silently flowing through countless seasons of rain and sunshine, still carrying within it the silt of memories and cultural pride. "At first, I found it difficult to learn, especially breathing and pronunciation, but the more I learned, the more I liked it," Thảo Nguyên said innocently.

In October 2009, the Vietnamese Ca Tru singing heritage was inscribed by UNESCO on the list of intangible cultural heritage of humanity in need of urgent safeguarding. In Quang Tri province, Ca Tru singing is currently practiced in the northern communes. Here, there are no organized Ca Tru performances based on family clans (unlike some northern provinces), but only in clubs.

A steady flow

Not only in Uyen Phong, but the art of Ca Tru singing in Quang Binh has recently been revived in many localities, especially in villages along the Gianh River. Currently, the province has nearly 10 Ca Tru clubs with the participation of hundreds of members. Folk artists and outstanding artists have become "living human treasures," diligently passing on their knowledge to generation after generation.

The teaching sessions are held regularly every week, under the roof of the village cultural center or in the village courtyard. There, the sounds of clappers and stringed instruments blend with the voices of children, creating a simple yet profound artistic space. There, the artisans are both teachers and mentors, patiently guiding each breath, rhythm, and pronunciation...

Like a tireless flow, Ca Tru (a traditional Vietnamese musical genre) gradually permeated the lives of the villages along the banks of the Gianh River. People sang Ca Tru during village festivals and community gatherings, with performances that were not elaborate or stage-driven, but were full of emotion and close to everyday life.

Distinguished artisan Ho Xuan The (Quang Trach commune) proudly recounts that, having dedicated 65 years to the art of Ca Tru singing and 26 years since establishing the Ca Tru Club in Dong Duong village, he and many generations of artisans here have diligently taught numerous young people. As a result, "the old bamboo dies, the new shoots grow," and these students have grown and spread far and wide, carrying with them the heritage of their homeland to continue spreading it in new environments.

The journey of preserving and passing on Ca Tru is not just about keeping an ancient voice, but also a way for the community to affirm its identity, nurture pride, and cultivate cultural awareness in each younger generation. Thanks to the perseverance of the artisans, the support of families and schools, the "young sprouts" of Ca Tru are gradually growing, their clear voices rising in everyday life.

Passing on the tradition of Ca Tru singing to the younger generation at the Ca Tru Club in Uyen Phong village - Photo: DH

Conservation is about keeping heritage alive.

Mr. Mai Xuan Thanh, Deputy Director of the Department of Culture, Sports and Tourism of Quang Tri province, said: “To date, throughout the country, Ca Tru (traditional Vietnamese singing) remains on the list of intangible cultural heritage in need of urgent protection. In Quang Tri, we have taken concrete steps in restoring and transmitting this art form, especially in coordination with clubs, artisans, and educational institutions in localities. This includes focusing on creating a platform and environment for young artisans to practice and perform, while also organizing training courses to ensure sustainable inheritance.”

However, as Mr. Mai Xuan Thanh himself acknowledges, that is still not enough. Preservation cannot stop at merely retaining and restoring the external form; more importantly, it must ensure that the heritage continues to live in community life, in the consciousness of the younger generation, and in familiar performance spaces.

Unlike other art forms, Ca Tru is a fairly popular but not widely disseminated form of performance due to its unique and challenging singing style. Therefore, teaching it is more difficult, especially since most of the artists are elderly. Time waits for no one; thus, passing on this heritage cannot wait for a convenient time but must be done with urgency and dedication starting today, requiring effort from many sides.

If one day, the melodies of Ca Tru singing resound in schoolyards, town squares, or amidst village festivals, it will certainly be thanks in part to those who silently "sown the seeds" of this heritage from their humble homes in the countryside.

Dieu Huong

Source: https://baoquangtri.vn/tieng-go-phach-khong-don-doc-196359.htm