Exhibition to honour art-loving diplomats

In response to the Government’s policy to promote cultural diplomacy in addition to the economic relations, an exhibition gathering many works of art made by diplomats, who are working in Vietnam, opened in Hanoi on October 23.

The exhibition displays many lacquer and oil color paintings and installations by twelve diplomats from eleven countries, who are art enthusiasts.

A lacquer painting titled “Raking Mussels” depicts the image of a poor old Vietnamese woman who patiently toiling to earn her living.

The painter Hoang Hai, who is a Vietnamese diplomat says that his painting was inspired by a real woman he saw working in the central region of Vietnam.

“I started drawing 10 years ago without any guidance. Despite my busy schedule, I have always tried to devote time to the arts, which makes me feel enormous relief from the pressure of work,” Mr Hai confides.

Falling in love with Vietnam’s green fields and hardworking Vietnamese women, Mrs Malsawmi Muana has made a number of oil paintings.

Living in Vietnam for two years with her husband, Indian Ambassador to Vietnam, Mrs Muana said she has been through many places in Vietnam and has been inspired by the Vietnamese landscape and women.

Dang Thi Khue, an art researcher, highly appreciates the works of diplomats, adding that their styles are very special and extraordinarily open as if they are free from having to adhere to any strict guidelines about art.

“The works depicts their sense of life and work. The arts can be considered one of the best ways to relieve stress after work, especially for diplomats whose duties put them under a great deal of pressure,” says Ms Khue.

The exhibition aims to reveal hidden corners deep inside the diplomats themselves, says Nguyen Nga, director of the Maison des Arts where the exhibition is being hosted.

“The diplomats, who are not only art enthusiasts but also genuine artists, brought us visual universes of creativity and diversity. And I hope that the exhibition which is considered an initiation of the Government’s policy on cultural diplomacy, will offer a good place for diplomats from around the world to share their spare-time interests as well as their country’s cultural values,” she adds.

The event will last until November 5 at the Maison des Arts, 31A Van Mieu Street, Hanoi.

From: Nguyen Hanh

Traditional Opera brings audience back in time

HCM City audiences enjoyed a cai luong (reformed opera) performance titled Cung Phi Diem Bich (Concubine Diem Bich) by the Central Cai Luong Theatre, starring well-known Ha Noi artist Thanh Thanh Hien.

The performance tells the story of an officer in the court of a 13th century king, Tran Thanh Tong, who gave up his position, office and title to lead a religious life. He became a monk, named Huyen Quang.

Sceptical of his former officer’s religious devotion, the king sends Diem Bich, an imperial concubine and talented artist, disguised as a country girl, to the Hoa Yen pagoda on Yen Tu mountain, to tempt the monk.

Playing the concubine Diem Bich is a milestone for the actress Thanh Thanh Hien, returning to cai luong after a ten-year break.

The performance made its debut in a national competition for emerging theatre directors last December. It’s been a long time since Ha Noi’s cai luong theatres were packed with people. Now both artists and audiences are calling for an encore.

Acting as the concubine Diem Bich, Hien has a rare chance to show off her talent for singing and acting. In one scene,concubine Diem Bich beats a drum to force monk Huyen Quang to leave Buddha’s door and return to normal life with her.

In another scene, concubine Diem Bich plays a song which highlights her beauty and devotion in front of the monk.

When each note resounds, a silk scarf is tossed from the wings of the stage. As a man, Huyen Quang is attracted to the passionate music played by a beautiful woman, but the monk has to resist the temptation of normal life.

A musical upbringing

Thanh Thanh Hien was born into a cai luong family. Her mother was a cai luong singer, who performed through her eighth month of pregnancy, and her father worked in the same acting troupe in the northern city of Thai Nguyen.

In her first months of life, Hien accompanied her parents on tour.

By the age of 4, she had learned the performances by heart. Two years later, she was allowed to sing a few songs on-stage to help the other actors warm-up for their performance.

Even after 30 years, she still remembers the lyrics, "Con chim non giua troi dong gia lanh. Hoang hon roi chim moi canh biet ve dau.... Ngoi sao buon le loi soi anh mat u sau. Trong trai bon be gio oi thoi hoai chi nua," (The birdie is in chilly winter. Where does it fly to when the sunset begins.... Sad eyes shining by a lonely star.)

"The first lullaby I heard was cai luong and my first words were from literature," Hien said. "It’s very natural and very close. If you were born in a cheo (popular opera) family you will naturally love cheo," she said.

Hien inherited a lovely singing voice from her mother, but her highly-praised wide vocal range, praised by many cai luong experts, is all her own.

"My voice can hit high notes easily, but not low notes. I have to try a lot and practise everyday to gain the recognition of the southern people because cai luong originated from the south of the country," Hien said.

While audiences in the north tend to enjoy the spectacle and entertainment of cai luong performances, for the south it is the vocal artistry of the actors that is most important. "They don’t want the artist to show off their professional skills, but the artist’s cai luong voice," Hien explained.

A form of modern Vietnamese folk theatre, cai luong evolved from don ca tai tu (music of talents), which is a genre of improvisational chamber music that was created in southern Viet Nam during the second decade of the 20th century.

Cai luong blends southern Vietnamese folk songs, ritual music and later incorporates elements of hat tuong, a classical form of theatre based on Chinese opera, Hue court music and modern spoken drama.

To be a Cai luong singer

Thanh Thanh Hien’s debut was in the cai luong play Doi Dong Sua Me in 1986, where she played the role of Huong, a young girl who was intentionally switched with another child during wartime.

The play made her one of the most beloved and famous young cai luong singers in the north.

However, to gain the audiences’ recognition, Hien exhausted herself studying at the Ha Noi Theatre and Cinema College. She can still recall gruelling rehearsals where her throat was dry from singing and her body ached from learning to dance with the stick and sword.

Once a teacher told her that she was too small and weak to become a cai luong artist. "This stimulated me to try my best," she said.

It was not only her own effort which propelled Hien to fame, but also an unusual mixture of beauty, voice and a tireless love of cai luong.

One of the most important aspects is a voice which is suitable to cai luong. Many people have good voices, but are unable to sing cai luong, according to Hien. "I think aptitude can not be gained by [all] artists, even though they try their best," she said.

For Hien, cai luong is not just a profession, but an integral part of her existence. "Cai luong is my life and my breath. I sing everywhere in my home and on the road. I think about pitch in bed," she said.

The difficulties of studying cai luong never discouraged her.

An actor needs a good stage-voice, beauty and performance skill. Besides these essentials, the traditional artist also needs dancing skills because in traditional performances like tuong (classical opera), cheo (popular opera), and cai luong, artists have to dance on-stage.

"At the beginning, I was a northern artist singing cai luong and it didn’t convince the southern audiences. I had to teach myself with help from my southern friends. They showed me what is not southern cai luong. Gradually my voice was perfected and accepted by the southern audiences," she said.

Another direction

About ten years ago, Hien married a dan bau (monochord) artist and decided to shift to her husband’s workplace, Thang Long Dance, Song and Music Theatre. In the new theatre, Hien sings more modern music.

This new direction in her career didn’t make her sad because Hien didn’t lose cai luong. "I don’t think that my love for cai luong is shown by singing and performing cai luong every night," Hien shared.

During this period, Hien was invited to sing in a number of small private cai luong performances, but it was not until her performance in Cung Phi Diem Bich that Hien returned for a major performance, rightfully taking her place as one of the most talented northern cai luong artists.

When director Quynh Mai was searching for an actress to fulfil the role of Concubine Diem Bich, he didn’t have to look far.

"The people who love and understand cai luong can perform wonderfully, like Thanh Thanh Hien," Le Duy Hanh, chairman of HCM Stage Artists’ Association, said after he saw the performance Concubine Diem Bich at the competition last year.

The director’s vision was strengthened by Hien’s talent.

Despite high achievements in her field, Hien is eager to learn other kinds of traditional art such as cheo, ca tru, chau van, ho Hue and xam.

Hien also wants to help mentor other young cai luong artists. Her door is always open to young performers who want Hien to help them understand more about their profession.

This is her contribution to preserving and developing cai luong.

(Source: VNS)

The art of water puppet

In the world, there are many kinds of puppertry: rod puppet, string puppet, shadow puppet, effigy puppet, mask puppet, human puppet, etc. However, perhaps only Vietnam has the art of water puppet. This is the form of art that reflects the daily life of the inhabitants in the area planting wet rice whose activities are attached with ploughing, cultivating, sewing cloth and bailing water.

	"Tễu" is the most typical chracter

Water puppet art might have appeared from the early time of Lý Dynasty (1010 - 1225) or earlier; people were only sure about the vestiges of water puppet that were recorded at many places. The first writing evidence about dancing water puppet that we could read was the stele tower Sùng Thiện Diện Linh which had been built in 1121 at Long Đọi Sơn Pagoda, Hà Nam Province. There was a paragraph writing: "Release the golden turtle heading three mountains on the intermitten waves. It exposed the veiny shell to reveal its four legs on the sluggish river, gazed on the bank and judged the immense firmament. The cliffs stood precariously and the music was preluded melodiously. The grotto's entrance was opened and the saints emerged. They all had a manner of the Celestial Palace, but not like the normal world. The fairy stretched her hands to present "Wind Back" song and winced as well as praised for the good fortune. Precious birds sang and danced in blocks and tender animals were eager by teams [...]". However, the residents living in Rạch xã Hồng Quang village, Nam Trực District, Nam Định Province supposed that making puppets in the traditional puppet had occurred since the 10^th century. It has proved that water puppet art reached its climax in Lý Kings' days and was descended from this generation to the others, up to now.

The stage for performing water puppet, also called "water communal house" was at the front of the village's temple where two large water communal houses still survived to these days: Thầy (Instructor) Pagoda (in Hà Tây) and Gióng Temple (in Sóc Sơn, Ha Noi) communal houses.

The puppets which are called "con trò" (stimulating objects) are whittled from the timber of old fig trees that arre still pliant and light. These stimulating objects after deformed will be soaked in water for a period of time in order to become water-resistible. After that, the artists will cover them with a layer of paint that is also known as "lacquering paint", a folksy covering paint that is never absorbent from water.

Compared with the other types of this skin, Vietnamese puppets use water as a background which makes up the stage and hides the skills of performers. The audience cannot know what is happening under the water surface. The good thing of the artist creating this art is that he calculated the floating degree and the way the puppets could win the propulsive force of water so that the stimulating objects can act on the water lively. And that is one of the secrets of the guilds producing puppets. In the old days, the aged people could not impart this profession for their daughters as they would reveal the secrets after following their husbands. It is the reason why different guilds have their own parts of stimulating.

In addition, each puppet is considered as a work of folksy sculpture art. The face and clothes of the puppet has carried typical features of Vietnam along with them. They can reflect the war of founding and preserving the country of our forefathers during the glorious history with Two Misses Trưng Victry or historic Bạch Đằng combat or even just show a rural common life of people living here. The most typical chracter is Tễu with a plump body and an optimistic, mischievous smile. Normally, to begin the show, Tễu often appears humorously and does his duty as a naughty compere. Then the plot of the drama gradually happens.

In these years, the art of water puppet is now being investigated by scientists in order to be upgraded to have sn international stature. Many water puppet associations of Vietnam have participated in some international puppet dancing festivals and won a number of high prizes. We have caught the attention from plenty of audiences from many countries around the world so far. We hope that from those first encouraging bases, Vietnam can totally restore the art of water puppet that has been lost for many years.

Lacquer paintings – an original art of Vietnam

Among the common people in Vietnam, there have been many kinds of paintings since a long time ago such as Đông Hồ glazed paper paintings, oil-paintings, silk paintings, and lacquer paintings. Each type has its own special features that make Vietnamese people always feel proud when mentioning them with foreign friends from all over the world.

According to scholars specialising in portraying art, lacquer plays the first role in traditional materials in Vietnam's painting background. Opening to the world, Vietnam's lacquer paintings have got special attention because of its distinct nuance that expresses national characters strongly.

Lacquer is also called "our own paint", which has a long-standing tradition. In previous centuries, wooden statues in village's communal houses, temples, pagodas were red-lacquered and trimmed with gold. Altars, parallel sentences panels, and horizontal lacquered boards were handled by lacquering with sparkling colours which were unfadable by time.

Many centuries going through, lacquer was researched and investigated and then upgraded to a higher position by Vietnamese artists. Lacquer paintings appeared required more abundant stuffs. They needed many kinds of colour powder, sheet gold, sheet silver, oyster shell, egg shell, and so on. But one indispensable traditional material which is imperative to have in creating new works is lacquer - "our own paint". This paint is made from wax-trees planted broadly in Phú Thọ. Resin taken from wax-trees is called "live paint". After storing many days, resin is dehydrated into ferment and then deposited into different layers of paint which have different colours. The highest one has darkest colour and is also the best type called "high quality paint". This quality paint has to go through many stages of storing, stirring and mixing with additives. After that, the outcome has very beautiful colours: red-brown, jet, glittering pink, etc.

Paintings after finishing need lots of time to be touched. It may be months, years, even plenty of years. The painters have to whet again and again their paintings to make them flat. Paints are drawn in many layers then can bring beautiful, occult and splendid colours. The colour board in lacquer has many types. If we take notice, we can realize the capabilities and preeminence of different ones. Black lacquer is shiny, glossy and profoundly mysterious. Cockroach-wing lacquer is lissome and limpid. Covering golden or silver colour, the other colours can change to create derivative colour bringing theatrical timbre. By coordinating ages of different-aged colours, colour powders also become vaporous and radiant. They make up sunk and floated parts of the paintings.

The 1930s was the time when lacquer paintings and other works of fine arts confronted a great renaissance. It confirmed that the ability to express ideas and feelings of lacquer paintings is unlimited.

Many lacquer paintings and art objects of Vietnam have been brought overseas in mass. Painters, much or little, often draw lacquer paintings by sudden inspiration and following their flow of emotions. Vibration in their heart is reflected through the work, without any rules or formulas. Because of those factors, the spirit in Vietnam's paintings turns to be profound. Painters who have strong attachment with lacquer and have published resounding paintings are: Nguyen Sang with his work "Afternoon rest"; Tran Van Can with "Miss Thuy"; Phan Ke An with the painting "Missing one evening in North west"; To Ngoc Van and "Spending the night on roadside"; Mai Van Nam with "Going to Bac Ha market"; Nguyen Van Ty with "Thatched cottage and foot of jackfruit"; Tran Đinh Tho and "Bamboo"; and Nguyen Gia Tri with "Spring Garden", "Bailing water to prevent blood", and "The girl at hibiscus mutabilis L flower".

Besides, not less young painters have created their style by breaking the old rules: On the ancient foundation, they bring in a great deal of new materials that they call "synthetic materials" with the ambition to create unprecedented aesthetic effects. Of course the experiments not always succeed. Sometimes they take part in making a slanting path and destroy the elegant, noble and traditional beauty of lacquer. Anyway, Vietnamese lacquer paintings have contributed into the whole garden of arts one unique and fragrant flower.

Source: Simple Vietnam

Beyond remedy for Cai luong

The traditional art of Cai luong is falling into obscurity, despite efforts to save it.

Quoc Hung, Director of the HCM City-based Tran Huu Trang Cai Luong Theatre, said though the state is interested in resuming and developing Cai luong, this art will only just exist, never develop.

Minh Vuong – Le Thuy, the famous couple of cai luong artists, are trying to bring back Cai luong at the age of over 60, as it brought fame to them in previous decades.

“Many new forms of arts have appeared so the number of loyal customers of cai luong is falling,” Minh Vuong said.

Though they deeply understand that it is a dim hope to bring Cai luong back to the golden age, this couple established a cai luong club named “Golden Stage”. The club introduced the first Cai luong play, entitled “Long River”, which attracted the audience’s attention.

Minh Vuong said it is hard to arrange a Cai luong play at this time because besides difficulties in seeking funding, it is also difficult to find a script suitable to modern existence because the characteristic of Cai luong is “lengthiness”. Some Cai luong troupes were ashamed to perform the best extracts to draw audiences and not make them leave shows early. But this way was not approved of by Cai luong fans so Cai luong artists have to arrange new plays.

The Golden Stage is practicing a famous Cai luong play, named Durian leaf, hoping to lure more audiences. Minh Vuong said he sometimes has to play the role of a young person because it is difficult to find young cai luong artists.

Cai luong artist Vu Luan, with over ten years of experience, plans to arrange a famous Cai luong play entitled Loi Vu.

“I’m willing to personally invest in this project and to cope with any difficulty to bring this play to the stage to serve the remaining Cai luong lovers,” Vu Luan said.

Quoc Hung, Director of the Tran Huu Trang Cai Luong Theatre, said the theatre set up a cai luong club in 2000 to mobilise various resources to reintroduce Cai luong but the club had to close after arranging two plays because it couldn’t attract people.

The Theatre recently got fame for arranging two great cai luong plays, named Kim Van Kieu and Swan Coat. The two projects proved that Cai luong can fit in with the modern age.

However, Hung said: “After Kim Van Kieu and Swan Coat, we don’t dare to venture further. Luckily, we didn’t suffer a loss.”

Tran Huu Trang Theatre wishes to bring the two plays to Hanoi to serve northern audiences but it can’t afford to now.

Quoc Hung mentioned a sad fact: Young cai luong artists aren’t focusing on their profession but singing at bars and night clubs to earn their living. Many young artists forget lyrics while performing.

Besides the decline of young artists, Quoc Hung complained of the serious downgrade of equipment and facilities for cai luong.

Vietnam National Tuong Theatre Great Efforts for Tuong Preservation

Tuong (Classical drama) was formed in the 12th century, and in the 17th century it was very much in vogue. A Tuong play consists of dances, songs and music which are highly stylized, conventional and imbued with symbolism. In chronological order and by their contents, the Tuong plays are divided into traditional plays, royal plays, social plays and modern plays. Tuong has been preserved from generation to generation and has become a unique performance art of the Vietnamese nation.

Founded in 1959, the Vietnam National Tuong Theatre's forerunner is the national northern Tuong troupe. When the theatre first opened it had only 19 artists and other employees. Now its staffing has increased to almost more than 120.

Having acknowledged that Tuong is something very important for many Vietnamese people, the theatre has been greatly contributing to preserving this kind of traditional art while constructing and performing numerous plays featuring different styles of Tuong, both traditional and modern. The theatre offers performances across Vietnam and in foreign countries like France, Germany, USA, the former Soviet Union, Spain, the Republic of Korea and Japan, with these performances attracting a large number of spectators.

With almost 50 years working in the field, the theatre has become a notable traditional art performance unit and a reliable address for audiences. In recognition of its achievements, the State presented the theatre second and third-grade Independence Decorations and first, second and third-grade Labor Orders while granting many awards to individuals including 11 People’s Artists and 34 Honored Artists of the theatre, and confering title ‘Young Talent’ on many of the theatre’s artists.

Theatre director Hoang Van Khiem said that Tuong is an outstanding art of performance of Vietnam, which features sustainable cultural, spiritual and art merits of the Vietnamese nation. This is why Tuong was, is and will still be important for Vietnamese people of different strata, he said. In the context of economic globalization, theatre artists have been working hard to preserve and develop this special kind of art, he added.

In late 2001 the Ministry of Culture and Information allowed the theatre to manage the Hong Ha playhouse that is located at 51 Duong Thanh, Hoan Kiem, Hanoi. Hong Ha has since then become a venue for art performances the Vietnam National Tuong Theatre and other art perfomance units that offer shows in Hanoi.

At 17h on Wednesday and Thursday weekly, the theatre offers special performances, including notable Tuong plays, part of a Tuong play like Ong Gia Cong Vo Di Xem Hoi (Old man carries his wife on his back to a festival) and Ho Nguyet Co Hoa Cao (Ho Nguyet Co turning into a fox), and Hue royal concerts, among others.