A distant field appears
The contemporary dance performance "Straw" recently premiered in Hoi An, showcasing a rich blend of emotion and artistry, marking a significant milestone for the names Tan Loc and Duc Tri. Through "Straw," the Vietnamese public has come to appreciate the interplay between contemporary dance and nature, with the stage set against the backdrop of the vast horizon amidst the rustling of rice paddies.
"Straw"—even its name evokes a simple, poignant reflection on the human condition, deeply rooted in life. The haystack in the yard has never been separate from the feeling of the Vietnamese village. Perhaps, amidst some wanderings, a wisp of smoke from the distant fields in the evening is enough to evoke vague feelings of loss. Smoke and straw, like two complementary categories, create an interplay that touches the emotions.
Throughout the contemporary dance performances choreographed by Nguyen Tan Loc, the flow of Vietnamese culture is evident. Or rather, it's a never-ending "retracement of identity" for those deeply committed to national spirit. Visual art evokes emotion not only through images and sounds but also through the layers of thought embedded in each line and movement.
In the middle of the field, as the afternoon sun fades, the straw strands are twisted into shapes, sometimes delicate, sometimes tightly packed. Duc Tri's music always carries a folk flavor, sometimes familiar, sometimes strange, but never boring. In "Straw," he freely brings the Vietnamese countryside from his memories with melodies from Central and Southern Vietnam, or hints of the Northern delta with the sounds of drums, flutes, and stringed instruments...
Watching "Straw," a distant village field comes to mind for each person...
The return
In 2020, a group of elderly bamboo weavers, over 70 years old, from the headwaters of the Thu Bon River, made a trip to Saigon. For the first time, these elderly farmers and foresters, dressed in elegant attire, attended an exhibition. They weren't officially recognized as artisans, but for three years, they worked diligently with artist Trung Nghia to create 10 artworks from bamboo strips and resin, in a collection titled "The Broken Basket Remains, But the Bamboo Bank." Trung Nghia used bamboo to speak about nature and the elderly weavers to speak about humanity. All of this served as an opening to national memory, a reflection on contemporary life.
Identity is the opening idea and will never end with the artistic aspirations of every person who loves their homeland. Through art, each artist engages in social life, raising a voice of national pride from their own strong language. Trung Nghia, Nguyen Tan Loc, and many other contemporary artists are following the most natural instincts of their hearts.
Within the circle of identity, the search for national values also includes the unwavering commitment of those practicing traditional crafts. While artists interpret life through the losses of the past and try to cling to them, those who live by the breath of traditional crafts, unconsciously, have preserved their profession through the ups and downs of fate. Of course, despite countless setbacks, the descendants continue to follow in their ancestors' footsteps. It is this invisible thread from the rhythm of life passed down through generations that makes them practice their craft as a matter of course.
The cultural spirit of Quang Nam's centuries-old traditional craft villages is deciphered precisely in their harmony with nature. They use natural materials and treat nature with respect. Furthermore, the people in these craft villages value their ancestors and lineage. Amidst cultural exchanges, thankfully, the identity of the craftspeople is strong enough to avoid being overly affected.
The purity of Thanh Ha red pottery or the intricacy of the new glaze colors from young artisans, ultimately, all serve to preserve the name of Thu Bon as an ancient pottery village. The delicate carvings from the Kim Bong carpentry guild, the only connection between the two, also originate from the principle of hand-carving the gables, decorative elements, and other details in sacred structures.
I sat and listened for hours to the stories of both young and old artisans. There was always a glimmer of hope for a return, strangely enough!
Source: https://baoquangnam.vn/vong-tron-ban-sac-viet-3141112.html
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