CA TRU PERFORMING ACTIVITES OF SOME CLUBS AND GUILDS IN HANOI

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1 1 MINISTRY OF EDUCATION AND TRAINING MINISTRY OF CULTURE, SPORTS AND TOURISM VIETNAM NATIONAL INSTITUTE OF CULTURE AND ARTS STUDIES Nguyen Duc Thang CA TRU PERFORMING ACTIVITES OF SOME CLUBS AND GUILDS IN HANOI Major: Cultural Studies Code: SUMMARY OF PHD DISSERTATION IN CULTURAL STUDIES Hanoi

2 2 The study has been completed at VIETNAM NATIONAL INSTITUTE OF CULTURE AND ARTS STUDIES MINISTRY OF CULTURE, SPORTS AND TOURISM Scientific supervisor 1: Assoc.prof.Dr. Bui Hoai Son Scientific supervisor 2: Dr. Nguyen Van Luu External Examiner 1: Prof.Dr. Le Hong Ly Institute of Cultural Studies External Examiner 2: Assoc.prof.Dr. Pham Xuan Thach University of Social Sciences and Humanities External Examiner 3: Dr. Le Thi Minh Ly Ministry of Culture, Sports and Tourism The dissertation will be defended before the Institute-level Examining Committee VIETNAM NATIONAL INSTITUTE OF CULTURE AND ARTS STUDIES 32 Hao Nam street, O Cho Dua ward, Dong Da district, Hanoi At... (.../.../.../...) The dissertation could be looked up at: - Vietnam National Library - Library of Vietnam National Institute of Culture and Arts Studie

3 1 PREFACE 1. Reasons for the research - Scientific reason: Overall, Ca trù has been only studied in terms of heritage, art and music, whereas the theoretical system related to changes in guild and club organization associated with the performing activities has still a certain gap, hardly the subject of intensive research in any work or treatise, especially since Ca trù was recognized by UNESCO as an intangible cultural heritage in need of urgent safeguarding in Practical reason: After ca trù was recognized by UNESCO, in 2010, the Ministry of Culture, Sports and Tourism has announced the National Action Program to protect ca trù in the period of with the main contents, including: To facilitate for the community exchanging, performing, learning and sharing experiences with other domestic and international communities to enhance the understanding in order to protect and promote the cultural diversity. Probably, the mentioned-above content is directly related to the research objectives of this thesis. Meanwhile, in the present social context, developed economy, dynamic and multidimensional trade, diverse and complex culture, many Ca trù guilds and clubs bravely take the initiative in the promotion of heritage values through activities of introducing and promoting the Ca trù art to tourists by organizing Ca trù performances, mainly under the booked tour. This is also one of the important reasons for selection of clubs and guilds in the inner Hanoi for the research by the student. 2. Objectives and tasks of the research 2.1. Objectives: To recommend and discuss the model of specific performing activities for clubs and guilds in the inner Hanoi and answer the research question mentioned above Tasks: To research the theoretical background system on Ca trù performing activities; To organize clubs and guilds in the past and at present, synthesize, compare, evaluate and take a position, safeguard method and transmission; To research performing activities of an art unit (which is club, guild) for a traditional art form as Ca trù, to thereby study its changes over time; To provide the main issues to be discussed. 3. Research subject and scope 3.1. Research subject: Research subject of the thesis is Ca trù performing activity, Ca trù heritage and changes in clubs and guilds in Hanoi Research scope: Theoretical issues, applied theory related to Ca trù performing activities; changes of club and guild organizations in

4 2 the past and at present; Study of promotion of the heritage values of Ca trù and changes in Ca trù performing activities of clubs and guilds in the inner Hanoi; Finding out the issues to be discussed. 4. Scientific and practical significance of the research Scientific significance: The purpose of the thesis is to improve the efficiency of safeguarding and promotion of the heritage value of Ca trù through transmission, creativeness of Ca trù cultural subjects, Ca trù performing activities and specific changes. Practical significance: These scientific results may be used by cultural heritage management authorities in Hanoi for the safeguarding and promotion of heritage values of Ca trù. In addition, the thesis aims to make the pilot model of clubs and guilds in the current context, to promote, popularize and safeguard the value. 5. Research method The author uses the interdisciplinary research method of cultural studies, which is mainly intensive folklore approach. Besides, the author uses research method of sociology to consider the clubs guilds from the angle of a social institution. 6. Thesis structure In addition to the preface (10 pages), conclusion (4 pages), the lists, tables, appendices and references (8 pages), the main contents of the thesis comprise of three chapters: Chapter 1. Theoretical background and overview of research, research subjects (43 pages); Chapter 2. Tradition and changes of some guilds and clubs in Hanoi in Ca trù performing (30 pages); Chapter 3. Issues in the activities of some Ca trù performing guilds and clubs in Hanoi since 2009 (46 pages). Chapter 1 THEORETICAL AND OVERVIEW OF RESEARCH, RESEARCH SUBJECTS 1.1. Theoretical background Concepts - Culture and Cultural studies: The author hereby provides the concept of Trần Ngọc Thêm: Culture is an organic system of values (physical and mental, static and dynamic, tangible and intangible, etc) that are created and accumulated by human over the course of practical activities, in interaction with the natural and social environment.

5 3 - Cultural heritage: According to the Convention for the safeguarding of the intangible cultural heritage 2003 by UNESCO and Law on Cultural Heritage: Cultural heritages are spiritual and material products having historical, cultural or scientific value and handed down from generation to generation in the Socialist Republic of Vietnam. - Intangible cultural heritage: According to the Law on Cultural Heritage: "Intangible cultural heritages are spiritual products associated with the community or individual, subject and relevant cultural space, having historical, cultural or scientific value, showing the identity of the community, being constantly recreated and handed down from generation to generation orally, performance and other forms." - Intangible cultural heritage in need of urgent safeguarding: According to the 2003 Convention, the creation of the list of intangible cultural heritages in need of urgent safeguarding has very clear purpose: With a view to implementation of appropriate safeguards, the Committee should make, update and publish the List of intangible cultural heritages in need of urgent safeguarding and will take the heritages of this kind to the List upon request of the member States. - Changes: Activities of the Ca trù clubs and guilds have also undergone many changes over time. In the framework of the thesis, the author discusses these changes in detail in the next chapters to make comparison between the past and present activities, to inherit, acquire and select the heritage values handed down by the ancestor to apply for some clubs and guilds today Art and folk art performing activities The folklore creation process of genres of traditional performing arts consists of three phases: 1) Community, subject of composition, creativity; 2) Performance and introduction; and 3) Enjoyment and reception by communities. In fact, the Ca trù art is in the group of folk dance singing and action in Vietnam. In addition to the singing and action element, Ca trù also has element of performing which is very obvious by its performing activities in the community, or the introduction to the public and tourists. Ca trù performing art has the highest spread in the territory, methodical and systematic organization, a clear manager, and the most professional form of performance and activities. Perhaps, the most special thing is that: Ca trù art is folk, scholarly and professional art, the most difficult in the ancient music in Vietnam. According to many researchers, Ca trù art has also been performed in a

6 4 professional manner from the ancient day when it is performed in the community at the occasion of ceremonies and festivals in the cultural space such as communal houses, villages, guilds, etc in methodical way, with programs, repertoire and plays, and artists are gathered in the guilds. Furthermore, the Ca trù previous guilds performed in a professional manner by establishing groups of Ca trù, managed by the leaders called ông trùm or quản giáp to serve guests in urban areas Overview of Ca trù Formation and development Ca trù originated from Đào nương singing, took the female voice as center and has been performed in the Việt life for over two centuries BC. The history said: "In the 3 rd year of An Dương Vương, Bính Ngọ (255 BC), the King came to the citadel gate, saw a golden turtle to discuss the future business, asked the cause of citadel collapse, and the golden turtle answered: Formerly, the king s son relied on the river and mountain of this land to take revenge, hidden in the Thất Diệu mountain where a ghost as a singer was buried". In the Early Lê dynasty, the 8 th year of Thiên Phúc (987), Emperor Đại Hành Hoàng ordered Khuông Việt to imitate a song to see the northern envoy Lý Giác off at his home. Unlike poetry style, an imitative composition means writing lyrics for an available song, and the singer relies on melody to sing. In the Lý dynasty, the 16 th year of Thuận Thiên (1025), in Thăng Long, the King Lý Thái Tổ defined singing, in which boys were called leaders (known as Quản giáp) and girls were called singers (known as Ả đào) (the common people called quản - đào). For the first time in our history, singing and and those who worked in the singing were appreciated and organized in groups for practice by the State. Consequently, the art of quản đào was increasingly developing and perfecting. In the Trần dynasty ( ), the music with leaders and singers was increasingly prevalent, showed its "dominant" role in social life. In the Later Lê dynasty, the 4 th year of Thiệu Bình (1437), King Lê Thái Tông ordered Lương Đăng to formulate the regulation on music festival. Music activities of quản - đào gradually narrowed its scope and were divided into two parts, including octet and ả đào singing. From the date of Hồng Đức (1470) to the date of Đức Nguyên (1675), the music practitioners must work in a new organization called

7 5 Ty giáo phường (an institution arranged by the dynasty to manage music in people). Performance art for sacrifice was to worship the gods, later known as cửa đình singing (singing at the village s communal house). From the second half of the nineteenth century to the first half of the twentieth century, the needs to listen to cô đầu singing thrived across the country. Many đào nương (singers) in rural areas flocked into Hanoi and other provinces and cities for earning their living. Those who were capable of budget could rent a place and open Ca trù playhouse, while those who did not have enough money had to sing for payment. That was the reason why there was a rise in number of cô đầu playhouse in urban areas in Vietnam at that time. To attract guests, the theater owners had to recruit young girls who cannot sing to entertain guests, called cô đầu rượu (wine maidens). According to Nguyễn Xuân Diện in Đặc khảo ca trù Việt Nam [Monograph on Vietnamese Ca trù], Ca trù was basically completed in terms of playing style in the 15 th century. While the art and archaeological materials are insufficient to confirm Ca trù was present from the Lý dynasty (the 11 th century), the poem of Lê Đức Mao is the earliest and most reliable documentation of Ca trù to certainly indicate that Ca trù was present in the culture of Vietnam in the 15 th century Methodical system of Ca trù Name of Ca trù performing art - Ả đào singing: According to Đại Việt sử ký toàn thư [Complete Annals of Đại Việt] by Ngô Sĩ Liên: Under the reign of the King Lý Thái Tổ ( ), a female singer, whose name was Đào Thị, was very good at her singing career and was often rewarded by the King. People at that time admired Đào Thị's reputation. Therefore, they called singers Đào nương. Accordingly, Ả đào is considered the oldest name of the genre of Ca trù. - Cửa đình singing (singing at the village s communal house): This activity form of Ca trù was to serve the rituals to worship deities in the communal houses or temples of the villages. - Ca trù singing: There was a custom of hát thẻ (card singing). Thẻ (card) was called Trù, which is made of bamboo piece to write the number of money equivalent to the value of each card and to reward Ả đào instead of cash. Thus, Ả đào singing is also called Ca trù, meaning hát thẻ (card singing).

8 6 - Cửa quyền singing (singing in royal palaces): This is the activity form of Ca trù art in the rituals of the royal court in the feudal period. - Nhà trò singing (singing or dancing while pulling funny tricks): Ả đào (singer) both sang and danced, making gestures of the mad, drunker and hunter, etc. Therefore, it was called Hát Nhà trò (Nhà trò singing). - Nhà tơ singing: It is also called Hát Nhà tơ, meaning singing in mandarin's ty (Service). - Cô đầu singing: Famous ả đào educated juniors so that they could take singing as their profession. Therefore, whenever they performed in festivities they had to deduct a little of money from the performance to give their teacher called tiền Đầu (Đầu money). Later, the word cô was replaced with the word ả for the clearness and the word đầu was replaced with the word đào to show the praise to experienced famous singers who helped them to achieve success. Also, they were rewarded a lot đầu money, so they were called Cô đầu. - Ca công singing: Ca công is a noun to talk about artists in giáo phường (musical guild). Thus, Ca công singing was to imply music of musical guild. - Ca nương - Ả đào: Ca nương - Ả đào is important member of the Ca trù party, who acts as a singer at the singing party, both sings and plays the clappers (known as the phách). - Instrumentalist (known as Kép, kép đàn): Kép (instrumentalist) and đào (singer) are important members of the Ca trù singing organization, often also referred to as đào kép, or today known as ca nương - kép đàn, in which the kép plays music (instrumentalist), and đào sings. - Quan viên, cầm chầu: Quan viên means the audience of Ca trù. In a Ca trù singing, Quan viên may also participate to beat the praise drum (cầm chầu). They may be both audience and member of the Ca trù group. In addition to the name of cultural subjects in Ca trù, to create artistic value of music in Ca trù, there should be harmony of performing art, musical instruments and singing of đào nương, which, phách (the clapper), đàn đáy (three-stringed lute) and trống chầu (praise drum) are the soul of Ca trù art Methodical system of Ca trù related to organizations, institutions - Quản giáp: According to Việt Nam ca trù biên khảo [Researching on Vietnamese Ca trù], the leader of the guild is called ông trùm, and the leader of ông trùm called quản giáp or if quản giáp is the leader of

9 7 the guild, he is kép hát (singer). Quản giáp should not be understood as an authority. - Giáo phường (guild) is an organization of Ca trù singing composed of many family name. Cô đầu (singers) and kép (instrumentalists) of each region have their own full name. In the Lê dynasty, the guild consisted of two types of royal and folk guild. The royal guild acted as a guild service (known as Ty giáo phường). In addition, giáo phường is also called giáo phòng. Besides, there are Nhà trò hamlets, Ả đào village, which are also cultural spaces of Ca trù similar to the guild. - Association of guilds (known as Ty giáo phường) is an association of guilds of communes, villages and families. Ty giáo phường specialized in holding the custom of music (folk music), collected, revised and propagated folk dance music. There were palace guild service (provincial service today) and district guild service including the communes, villages and families Ca trù regions throughout the country Currently, there are 15 provinces and cities with the operation of the Ca trù clubs and guilds in the country. Most of them are located in the provinces and cities of Northern to Hà Tĩnh, Quảng Bình and Ho Chi Minh City. The famous Ca trù regions include Hà Tĩnh Ca trù region with Ca trù cradle of Cổ Đạm village, Nghi Xuân district; Ca trù former Hà Tây area with the Ca trù villages and guilds such as Chanh Thôn, Ngãi Cầu; and especially the Ca trù region in eastern Hanoi such as Đông Anh, Bắc Ninh, Hưng Yên, Hải Dương with dense ancient Ca trù villages and guilds. There were previously hundreds of Ca trù villages and guilds throughout the country. There is a total of more than 60 Ca trù clubs, guilds and groups which are operating. Before being recognized as the world s intangible cultural heritage in 2009, the number of Ca trù clubs has increased significantly, but the number of experienced Ca trù artists has continued to decline because many of them died. In terms of the clubs and guilds, there are about 20 Ca trù clubs, guilds, groups and centers operating in both rural and urban area of Hanoi. In some neighboring localities of Hanoi and across the country, there are many active clubs, such as Ca trù Đào Đặng village, Trung Nghĩa commune, Hưng Yên city, and Giáo Phòng Ca trù Club in Hưng Yên; Ca trù Nguyễn Công Trứ temple club, and Ca trù Cố Viên Lầu club in Ninh Bình; Ca trù Nguyễn Công Trứ Club, Ca trù Cổ Đạm Club, Ca trù cultural center club of Nghi Xuân district in Hà Tĩnh; Ca trù Đông Dương Club in Quảng Bình.

10 Ca trù heritage values The value of music, performing art, literature, entertainment - The value of music, performing art: It can be said that in terms of the music art, Ca trù is the common name of many methodical tunes that should be classified among 46 tunes (According to Đỗ Bằng Đoàn-Đỗ Trọng Huề in Việt Nam ca trù biên khảo [Researching on Vietnamese Ca trù]), basically divided into three styles: Hát chơi (singing for entertainment) includes 15 tunes; Hát cửa đình (singing at the village s communal house) includes 12 tunes; Hát thi (competitive singing) includes the remaining tunes. The number of tunes has not been determined yet. Ca trù is extremely selective about the guests and performance space, has complex and sophisticated vocal music techniques, and Ca trù singing is possibly most difficult. Because of the beauty of Ca trù singing, when the Ca trù performing art is presented in a quiet and rather narrow space of the communal house, the audiences still feel its clarity through each clapper and music that is mixed with the singing of the singer. This is the value of music and performing. - The value of entertainment, diplomacy: According to Nguyễn Xuân Diện in Lịch sử và nghệ thuật ca trù [History and Arts of Ca trù], at that time, An Thanh guild in Lập Thạch district was invited to the capital to sing to welcome delegation from countries, which showed that the guilds participated in diplomatic ceremonies of the state since the old days. The value of Ca trù heritage is also reflected on the aspect of entertainment. In the ancient times, Ca trù singing is to serve the king, mandarins and people, exchanges and activities of villages and communes. In the French colonial period, Ca trù singing in the inner Hanoi was changed into cô đầu singing, cô đầu rượu for the purpose of entertainment (in terms of unhealthy entertainment) of the fast set Reflection of some particular historical, cultural and social periods Ca trù was present in Vietnam feudal society from the eleventh century, then clearly expressed in the fifteenth century under the Lê dynasty. Ca trù had different names such as nhà tơ singing, cửa đình singing, cửa quyền singing, ả đào singing, cô đầu singing, etc that showed the different historical periods and different cultural spaces in rural areas, villages, communes of the feudal system in Vietnam or in urban areas with the guilds, groups, and associations. In fact, during the feudal periods, Ca trù was not mass art, had diverse public and diverse audience so that it reflected some historical periods but had inconsiderable impact.

11 9 In addition, Ca trù has values of culture, education, profound belief in the historical periods Overview of Ca trù research and Ca trù performing activities Research before 1954 Data for the research of Ca trù includes a variety of sources, is currently present among the common people such as statues, parallel sentences, horizontal lacquered board, royal patent, epitaph, annals in the monuments, and the beliefs, customs, taboos; songs handed down in the guilds. Each of these sources has certain value in understanding and studying the Ca trù. Hán Nôm documentation is very precious and reliable for research on the Ca trù history, Ca trù research history, performing art and poetry text - Ca trù. Đại Việt sử kí toàn thư (Complete Annals of Đại Việt) by Ngô Sĩ Liên, or Khâm định Việt sử thông giám cương mục [The Imperially Commissioned Itemized Summaries of the Comprehensive Mirror of Việt History] are authentic historical documents which have spent a certain number of lines to record the issues related to Ca trù art. According to Nguyễn Xuân Diện in Góp phần tìm hiểu lịch sử ca trù [Contribution to the study of history of Ca trù], the ancient poetry document Đại nghĩa giáp bát thưởng đào đại văn by PhD. Lê Đức Mao ( ) composed before 1505, recorded in Lê tộc gia phả [Family annals of Lê dynasty] (A.1855, library of Han Nom Research) is the earliest document carrying the words Ca trù. The richest is the books on Ca trù in the treasure of Han Nom bibliographies, including poems composed for Ca trù. According to Ca trù cung đình Thăng Long [Ca trù Thăng Long court], among some Ca trù literature written in Chinese characters they include Ca trù bị khảo by Vũ Ngọc Phác, or Ca trù thể phách [How to sing Ca trù and play the praise drum] by Nguyễn Hữu Thanh. In addition, there are national language books such as Hát ả đào by Phạm Văn Duyệt H.1923, Đào nương ca by Nguyễn Văn Ngọc H.1932, and Hát ả đào Hà Liên Besides, it cannot but mention the materials of Ca trù such as: Văn chương trong lối hát ả đào [Literature in ả đào singing], Nam Phong magazine, 1923, Saigon; Khảo luận về cuộc hát ả đào [Treatise on ả đào singing], Nam Phong magazine, 1923, Saigon; Nguyễn Tường Tam, Người ca kỹ họ Nguyễn, 1927, Hanoi. The deep articles use the most beautiful words to describe and praise the Ca trù art by Phạm Quỳnh such as Văn chương trong lối hát ả đào [Literature in ả đào singing], or some articles of Nguyễn Xuân Khoát, Ngô Linh Ngọc are derived from these.

12 Research since 1954 In this period, a number of articles published in scientific journals such as Literature, Han Nom, Culture and art, Music, etc of the authors of Vũ Ngọc Khánh, Nguyễn Hữu Mùi, Dương Đình Mình Sơn, Duệ Anh - Bạch Vân, Nguyễn Đức Mậu, Nguyễn Xuân Diện, Nguyễn Thụy Loan, Tú Ngọc, etc also contributed to the collection of materials and studies of Ca trù, and music in Ca trù. The collections such as Việt Nam ca trù biên khảo [Researching on Vietnamese Ca trù] by Đỗ Bằng Đoàn, Đỗ Trọng Huề; Vũ trung tùy bút by Phạm Đình Hổ, Hát ả đào [ả đào singing] by Trần Văn Khê, and Tuyển tập thơ ca trù [Anthology of Ca trù poetry] by Ngô Linh Ngọc, Ngô Văn Phú in 1987are special materials on Ca trù art, and Ca trù history; The previous studies in the Journal of Nam Phong or latter the intensive researches by PhD. Nguyễn Xuân Diện such as Góp phần tìm hiểu lịch sử ca trù [Contribution to the study of history of Ca trù]; Ca trù qua các khế ước, điều luật by the researcher Trần Thị Kim Anh, Không gian văn hóa - các chức năng văn hóa xã hội và những hình thức biểu hiện của nghệ thuật ca trù [Cultural space Social and cultural functions and manifestation forms of Ca trù] by the researcher Bùi Trọng Hiền, Âm nhạc ca trù [Music of Ca trù] by the associate Professor, PhD. Vũ Nhật Thăng, Thơ trong ca trù, Hát nói Nguyễn Công Trứ [Singing while speaking of Nguyễn Công Trứ], Ca trù nhìn từ nhiều phía (Ca trù from different perspectives) by PhD. Nguyễn Đức Mậu or Phan Thư Hiền writing about Nguyễn Công Trứ với ca trù, musician Dương Đình Minh Sơn with Ca trù cung đình Thăng Long [Ca trù Thăng Long court] are extremely valuable works so that the graduate student inherits, learns and uses in the thesis. Besides, it is possible to mention the Proceedings of the International Scientific Conference of Ca trù singing of the Việt people 2006 [Hát ca trù người Việt năm 2006] in Hanoi with a number of valuable research projects on Ca trù of some domestic and foreign scholars. Based on the thesis or work related, for the study groups of Ca trù in Vietnam and around the world, as of today, according to the knowledge and understanding of the author, there were 02 PhD theses separately studying the art of Ca trù and being successfully defended in 2007 by a Vietnamese author (Nguồn tư liệu Hán Nôm với việc nghiên cứu ca trù [Han Nom documents with the study of Ca trù] of Nguyễn Xuân Diện); and in 2012 by a foreign author (Lịch sử và âm nhạc của ca trù [History and music of Ca trù] - Alienor Anisensel - Paris Ouest-Nanterre

13 11 University - France, with supervision of Professor, PhD. Trần Văn Khê and Professor, PhD. Trần Quang Hải). Since 1954, the documents such as Việt Nam ca trù biên khảo [Researching on Vietnamese Ca trù] by Đỗ Bằng Đoàn, Đỗ Trọng Huề; Vũ trung tùy bút by Phạm Đình Hổ, Hát ả đào [ả đào singing] by Trần Văn Khê, the intensive researches by PhD. Nguyễn Xuân Diện such as Góp phần tìm hiểu lịch sử ca trù [Contribution to the study of history of Ca trù]; Không gian văn hóa - các chức năng văn hóa xã hội và những hình thức biểu hiện của nghệ thuật ca trù [Cultural space Social and cultural functions and manifestation forms of Ca trù] by the researcher Bùi Trọng Hiền, Ca trù nhìn từ nhiều phía (Ca trù from different perspectives) by PhD. Nguyễn Đức Mậu and và collections such as Đặc khảo ca trù Việt Nam [Monograph on Vietnamese Ca trù] or Hát ca trù người Việt [Ca trù singing of the Việt people] published by Vietnamese Institute for Musicology mention issues related to the guilds, guild associations and their performing activities before 1954, as well as the changes of Ca trù guilds, more precisely, the cultural oblivion, Ca trù performing space in the period when there are hundreds of singing bars with thousands of wine maidens in Hanoi. The author bravely selects and inherits these studies to include in the sections and chapters of the thesis as a basis for evaluating the changes. In summary, the author is fortunate to inherit a lot of works, books, documents, proceedings and theses of scholars, writers, researchers, and doctors who have done the thorough research on Ca trù. However, in terms of intensive and systematic research on changes of the clubs and guilds in Hanoi today and its performing activities in contemporary life, since 2009, it has not been a subject of any monograph, from the view of the past and the present. Summary of Chapter 1 Chapter 1 addressed three important issues to be a basis for intensive research on the changes, current situation and models in the following chapters. The theoretical background and overview of the research related to the thesis are the foundation to apply the theoretical system, the nature of the concepts and points to the thesis. Studying overview of Ca trù, situation of Ca trù research in general and Ca trù performing activities in particular is to clarify the theoretical points, the nature of issues associated with Ca trù, Ca trù heritage values, cultural

14 12 space of Ca trù clubs and guilds in the past and at present to connect issues to be studied in this thesis as a basis for the following chapters. Chapter 2 TRADITION AND CHANGES OF SOME GUILDS AND CLUBS IN HANOI IN CA TRÙ PERFORMING 2.1. Tradition of guilds Overview of organization, space and tradition of the ancient guilds According to Nguyễn Xuân Diện in Lịch sử và nghệ thuật Ca trù [History and Art of Ca trù], Ca trù guilds are orderly and tightly organized. The best interests of the guilds are confirmed in a stone stele placed in front of the village s communal house that means to have the rights to manage this communal house. Singers (known as Đào nương) and instrumentalists (known as kép đàn) must be of the guilds. Each guild is a family, and specifically named that is only used among the guilds. Previously, the association of guilds is an organization which managed performing activities equivalent to the district level. Guilds of communes are managed by the association of guilds. Leader of the association of guilds is ông Trùm and the communal houses of the district are kept by the guilds. These guilds have the full right to perform at the village s communal house, or invite other guilds to sing and perform in the festivals of the village and enjoy benefits. In particular, the guilds will be performing and singing in the opening ceremony of the communal house which is completely renovated and repaired. On the contrary, the guilds also take some responsibilities to sing in the sacrificial rituals of the village, depending on the regulation between local villages and the guilds. The rights of guilds are determined by a stone stele placed solemnly in front of the village s communal house. In the ancient guilds, the respect of teachers is highly appreciated. Students consider the teacher as their parents, to testify their gratitude for ever. The old famous ả đào often educate juniors so that they could take singing as their profession and are greatly respected. Therefore, whenever they performed in festivities they had to deduct a little of money from the performance to give their teacher. For guilds, all work as the annual ancestor commemoration ceremony, the custom of Ca trù ancestor name taboo, the worship of teacher, allocation of singing money, and the "Mở xiêm áo" ceremony to recognize a singer qualified to practise her career are organized and observed strictly and voluntarily.

15 Custom and activities of a guild In each guild, an instrumentalist who has sufficient talent and virtue is appointed as a leader to arrange all work of the guild, called ông trùm at district level (i.e Quản giáp). Besides, the management council of the guild includes the leaders of each commune (also known as the leader of the village s communal house). In the past, quản giáp is recognized by the government as a village official, and has the right to control over all work in every guild. The guilds share the keeping of the communal house and temples in each region where they live as their livelihood. In social terms, this is a very stable and organized guild. The guilds never "infringe" the other s business area. All work of đào kép in the guilds is arranged and managed by quản giáp. There are traditional rules as customary law of villages and communes in each guild. Gathering as a separate organization demonstrated that right from the early days, Ca trù had professionalism. For example, when the mandarins wanted to invite ả đào to sing in the banquet, it is necessary to inform the quản giáp in advance to choose singer. The villages or families who want to hold ả đào singing in the ceremonies or parties shall also negotiate with quản giáp in advance Singing activities of guilds in Hanoi in the late nineteenth century and early twentieth century The 19 th century is considered the period when ả đào singing officially became an elegant pleasure of Confucian scholars. They used to ả đào singing to express their repressed feelings. Gradually, Hát chơi (singing for entertainment) is no longer jubilant in which đào nương wears brilliant dress, dances, sings, plays musical instruments or lute as in the Lê dynasty but becomes more loving and profound in the singing. In the first half of the twentieth century, some guilds in Hanoi remain their old custom, transmit their styles of singing, keep the singing at the village s communal house in the city and villages, and hold the ancestor commemoration ceremony and singing competition. Afterwards, along with the development of Ca trù, the guilds have also changes. While the guilds in rural areas keep the longstanding tradition, the guilds in urban area gradually change with the loosening of rules and regulations and in the early twentieth century, the guild organizations are only formalistic, and cô đầu playhouses manage activities and professional activities of đào nương. Thus, the ancient guilds have some specific manifestations: Firstly, the ancient guilds are orderly, organized, close and methodical, have

16 14 specific cultural institutions, and are admitted by the community and society. Secondly, to counterbalance the disparagement of some subjects in some historical periods of feudal society, the artists themselves have formed a community cultural space with value equivalent to a social unit - a small model in the model of villages. Thirdly, in certain historical periods, the guild is a humane social organization to protect and help those who are considered "good-for-nothing singers". Fourthly, the guild is the expression of professional activity method of Ca trù art. Performing activities of the old guilds are quite professional and methodical Ca trù performing of some guilds and clubs in Hanoi Overview of Ca trù guilds and clubs in Hanoi There are tens of clubs and guilds in the suburban and urban area in Hanoi, dividing into the following groups: The first group: The Ca trù longstanding guilds that have kept their tradition and identity such as Lỗ Khê Ca trù guild (suburban area), Thái Hà guild (urban area); These two guilds also established Thái Hà and Lỗ Khê Ca trù guilds to mainly serve the activities, performance and introduction; The second group: The ancient guilds that are currently operating as clubs such as Đồng Trữ, Phượng Cách, Phú Đô, Thượng Mỗ and Yên Nghĩa guilds (in urban area of Hanoi); The third group: Guilds that developed from clubs, such as Thăng Long guild; The fourth group: Newly-established Ca trù clubs such as Hanoi Ca trù club, Thăng Long Ca trù cultural center, UNESCO Ca trù club, Phú Thị Ca trù club, etc. In terms of activities, Ca trù clubs and guilds can be divided into two following groups: - The long-standing guilds, to be as part of the old guilds, such as clubs of group 1, group 3 and part of clubs of Ca trù villages of group 2. - The guilds perform to serve guests to promote the value of heritage: In recent time, the guilds that perform to serve guest include Thăng Long Ca trù guild, Hanoi Ca trù club, Bích Câu Đạo quán Ca trù club (formerly), Ca trù Thái Hà Ca trù guild, etc Subject of creation and transmission Subject of creation In early 2009 (before the UNESCO recognized it as the world s intangible cultural heritage), according to the statistics of the Vietnamese Institute for Musicology, there are 21 Ca trù artists at the age of throughout the country. Now many of them died. There are some experienced artists, including 40-50% in Hanoi. In Hanoi, when the Ca trù art began to be interested in and restored again in the recent time, several

17 15 generations of artists in Hanoi passed away. They brought with them a lot of assets that are the tunes, the singing, the thorough understanding of performance space, how to sing, how to play musical instruments, how to dance, how to take role in the golden age of the Ca trù art. After the experienced artists of Ca trù in Vietnam and Hanoi, there are many famous ca trù artists in Hanoi such as the artists Nguyễn Văn Mùi from Thái Hà Ca trù guild, Nguyễn Thị Vượn born in 1927, Nguyễn Thị Khiếu born in 1928 in Chanh Thôn, Văn Nhân commune, Phú Xuyên district, Hanoi; The folk artist Nguyễn Thị Chúc born in 1930, and the meritorious artist Phó Thị Kim Đức, born in 1931, in Ngãi Cầu village, Hoài Đức district, Hanoi. They are the masters who transmit the art of Ca trù in clubs such as Tràng An Ca trù Club, Thăng Long Ca trù Club, Chanh Thôn Ca trù Club, etc. In addition to the elderly Ca trù artists, there is also great contribution of the subsequent generation of artists such as Lê Thị Bạch Vân, Phạm Thị Huệ, Nguyễn Thị Thúy Hòa, Phạm Thị Mận, etc. In fact, the great and old generation of Ca trù is not much. The important secrets of playing musical instrument and singing are partially lost, fallen into oblivion, however, it is necessary to nurture and train a generation of youth, talent and passion for Ca trù to prevent Ca trù from including in "need of urgent safeguarding" Transmission Today, Thăng Long Ca trù guild has many Ca trù artists who come from Hanoi and surrounding provinces to participate as long-time members or collaborators. The clubs and guilds such as Thái Hà, Thăng Long, Lỗ Khê, Chanh Thôn, Đồng Trữ and Yên Lộ also attach special importance to the transmission. In recent years, the transmission for the descendants of the Ca trù clubs and guilds in Hanoi has made significant progress. On the other hand, in addition to bring new blood into the clubs and guilds in Hanoi, they also have emphasized on training the younger generation who is in kindergarten and primary school. Transmission and training have received large attention of clubs and guilds in the inner Hanoi. Typically, the guilds of Thái Hà, Lỗ Khê and Thăng Long, in recent years, have always pay attention to the training, transmission and assistance so that the young people strengthen, understand and maintain the custom and practice of the guilds, meanwhile, Hanoi Ca trù Club only emphasizes on the promotion of the value of heritage. The guilds are interested in re-creating the ancient songs, the ancient clappers and ancient dances to train the next generations because they are ancient Ca

18 16 trù, original Ca trù that is fallen into oblivion after many centuries. These concerns are seen as a positive signal in the safeguarding of Ca trù heritage value because in the aspect of promotion, if the ancient dances, clappers or songs are used to perform, it is very difficult to reach visitors and the public as well, but new songs and dances should be performed Changes in the performing activities of the guilds and clubs In the old days, Ca trù heritage included institutions which were Ca trù guilds, villages, and singing bars. Today, it also has clubs. However, its focus is Ca trù artists, or in other words the public. That is the most evident change in institution. The management in the form of Ca trù Club in Hanoi was conducted in 1991, and then club developed more strongly ( to present), that is a very effective model of community, close to the model of traditional "guild", to safeguard Ca trù in a new environment which has many difficulties and shortcomings. In fact, the new model of club has an institutional space for Ca trù art, finds an environment for practice and performance whether there are many challenges. - Thái Hà ca trù guild is essentially a long-standing ca trù family in Hanoi nearly 200 years, both an ancient Ca trù guild, and a model of Ca trù Club for transmission and activities for generation of the family and for those who love Ca trù, to perform and introduce the visitors. The basic changes after a long history of nearly 200 years of Thái Hà Ca trù guild represents natural and objective factor. - Thăng Long Ca trù guild is the image of a Ca trù guild that has made significant changes compared to the nature of previous guild. If the previous guilds were created based on the Ca trù villages where the singing groups gathered together, the Thăng Long Ca trù guild was founded based on the change (and partly upgrade) from club into guild. Being a precursor of the Thăng Long Ca trù Club with its activity model as the model of Hanoi Ca trù Club today, the artist Phạm Thị Huệ and the elderly artists were determined to establish the model of the guild again. This is the fundamental change of Ca trù guild model, from the ancient Ca trù guild model to the Ca trù Club, and then gradually into Ca trù guild model in urban area today. Thus, at this time, Thăng Long guild has not been recognized as a guild, even in urban area, by the specialists, researchers, senior Ca trù artists and other clubs and guilds, but its work is very laudable because, if activities are done properly and well as a guild, then later, the next generations will find it a Ca trù guild in the true sense of the word and will be responsible for protecting such cultural space.

19 17 - Hanoi Ca trù Club is an organization model of activities, cultural exchanges and art for those who are interested in and capable of performing the Ca trù art in the true sense of a club. If the Thăng Long Ca trù guild dramaticly changed towards the model of guild, Hanoi Ca trù Club has different thinking, which simply introduces and performs well the identity of Vietnamese Ca trù for visitors to see, listen to and understand the value of Ca trù art. Summary of chapter 2 Being one of the long-standing Ca trù regions, there is the highest number of ca trù clubs, guilds and villages in the country, but Ca trù activity in Hanoi is individual, fragmentary, spontaneous and short of direction, as "every man for himself", short of "connection" to form a solid block for sharing, exchange and mutual learning. The model of club and guild such as Hanoi Ca trù Club, Thăng Long Ca trù guild, Thái Hà Ca trù guild shows positive development, promotion and popularization of Hanoi Ca trù heritage values, but the number of clubs and guilds of Hanoi to demonstrate the role of promotion through artistic performance is too few compared to a massive space that Hanoi Ca trù has. In comparison with the practices and institutions of the ancient guilds, the present clubs and guilds have certain changes. Activities of Ca trù art performing have popularity and more different performance space. Chapter 3 ISSUES IN THE ACTIVITIES OF SOME CA TRÙ PERFORMING GUILDS AND CLUBS IN HANOI SINCE Socio-economic context of Hanoi related to the art performing activities of some guilds and clubs For some Ca trù guilds and clubs in Hanoi, also in the socio-economic context of the Capital as in the past years, their activities meet very difficulties. If the State-owned theaters, or art units managed by Ministry of Culture, Sports and Tourism and the People's Committee of Hanoi city still operate partially by the state budget each year, some clubs and guilds have not been subsidized or funded by any organization or state agency. Possibly, in two contexts: 1) Socio-economic context of modern Hanoi, international integration and 2) The context where the heritage of Ca trù has 6 years of operation as the world s intangible cultural heritage in need of urgent safeguarding, the performing activities of some clubs and guilds in Hanoi is a highlight in recent years. In the situation of no socialization at all costs, lack

20 18 of funding, the neglect of travel companies, lack of budget for popularization, the inadequate attention of State agencies, no interest of domestic audience, or oblivion of the young people for the traditional art, the Hanoi Ca trù Club, Thăng Long Ca trù guild, Thái Hà Ca trù guild, and some other clubs and guilds have made this heritage value more and more precious Organization of performance today Currently, in Hanoi, the old quarter and the urban area, there are two most outstanding clubs and guilds of the Ca trù village that are frequently mentioned in the press, interested and enjoyed by visitors, including Hanoi Ca trù Club (performing at No Hàng Bạc) managed by the artist Bạch Vân and Thăng Long Ca trù guild (performing at No. 87 Mã Mây in , at Quan Đế temple, No. 28 Hàng Buồm since early 2015) managed by the artist Phạm Thị Huệ, and Thái Hà Ca trù guild managed by the famous praise drum artists Nguyễn Văn Mùi. Activities of promotion and advertising of Hanoi Ca trù Club, Thăng Long Ca trù guild and Thái Hà Ca trù guild mainly focus on: Performing the art of Ca trù to serve visitors in two major locations in Hanoi old quarter and in the space of Thái Hà Ca trù guild; Performing in places upon request by the guests, promotion programs and abroad; Branding, marketing, product promotion to attract visitors from partners as well as individuals; Coordinating with the longstanding Ca trù villages and wards in Hanoi such as Ca trù villages of Lỗ Khê, Chanh Thôn, Ngãi Cầu, An Khánh, Đồng Trúc, Yên Lộ and some Ca trù villages and clubs in the neighboring provinces of Hải Dương, Hưng Yên, Bắc Giang, etc to find talented artists, train and transmit the younger generation. It can be affirmed, in terms of promotion and advertising of Ca trù, that Ca trù clubs and guilds which are currently operating have made great contributions. However, when almost tourists are international, that means how is the promotion and advertising of the values if the Vietnamese people are outsiders? Daily Ca trù performing program In the context of competition and many problems difficult to reach an agreement, both Hanoi Ca trù Club and Thăng Long Ca trù guild have arranged the performing program in shifts every week. However, in terms of economics, there is not any performing program in every Sunday evening that is a matter of concern and it s time the Ca trù clubs and guilds work in Sunday evening, review their competitiveness and marketing capacity, earn more revenue, perform all the week and many different sessions during the day under the order of travel companies.

21 Contents of a performance - At the opening, when the guests are stable, MC introduces in Vietnamese first and then in English (in the special programs which all the visitors are of a non-english speaking country, the clubs and guilds will ask the interpreter of delegation). Preamble includes: 1) Introducing overview of history and art of Ca trù in Vietnam; 2) Introducing the artists, performers: Ca nương (singer), kép đàn (instrumentalist), quan viên (audience), assistant artists; 3) Introducing the basic instruments of Ca trù art; 4) Introducing the content of performance; 5) Some notes to the participants such as the phone off, no noise in space, do not chew gum, do not ask questions not related to the Ca trù art (especially questions related to politics, history, war, conflict,...); 6) Inviting the artists to perform section 1. - In the performance, MC will introduce each song and dance in the program. Guests will experience by playing the clapper, beating the drum, playing the đàn đáy (three-stringed lute) and particularly training the sound absorption according to Ca trù tone under the guidance of artists. The foreign visitors are delighted at the experience and consider it the most interesting part of the entire contents of Ca trù performing. At the end of the program, the visitors will listen to one or two special ca trù songs and see Bỏ bộ dance of this art Human resources Among total 11 people directly participating in the program, approximately 3 members are collaborators. The collaborators are university students in Hanoi who have foreign language skills, mainly English, love the art of Ca trù, want to contribute to the operation of the clubs and guilds, and earn extra income which is insignificant. For Thăng Long guild, the workforce can be more. Among the artists who directly perform, each club has one group of 01 singer, 01 instrumentalist and 01 praise drummer who are elderly, experienced and famous artists in the Ca trù village Improve the effectiveness of performing activities Firstly: The clubs and guilds should take the initiative to find direction, solve shortcomings to gain quality and attractiveness of performance. Secondly: The clubs and guilds should speed up the promotional activities to attract tourists, especially foreign visitors because they could not attract domestic visitors much. Thirdly: To improve and enhance the quality, effectiveness and form of performance to be more attractive to tourists. Fourthly: After each performance, the clubs and guilds should consult the audience s opinion to exactly assess the quality of performance, learn from experience and provide

22 20 better service. Finally: If there is the possibility of investment or investors in a heritage theater to perform Ca trù properly, this is the best thing and the greatest opportunity to get rid of current difficulties Audience of the current performing program Composition, number of tourists, audience, purpose Hanoi Ca trù Club and Thăng Long Ca trù guild have a fixed and most regular schedule of performance in the city today, including three performances per week. Although these places have not really met the requirements to serve the audience because of unfavorable traffic, being located in the narrow old quarters, inconvenience to seat tourist cars, regulation on traffic limit in the inner Hanoi, and uncomfortable and narrow facilities, in fact, they have made an effort to get a stable audience per performance. At some nights, seats of Hanoi Ca trù Club are fully booked that is a dream figure of Ca trù artists because the average number of audience is often per performance per evening. There is sometimes only one audience in a performance, but the artists perform wholeheartedly. Among nearly 100 foreign audiences after 5 performances at Hanoi Ca trù club, U.S visitors account for 20.93% which is the highest proportion; then UK visitors account for 17.44%; French visitors account for 10.47%; Australian and Japanese visitors account for 9.3%; Chinese, Korean and Singapore visitors account for 6.98%; and visitors from other countries (Saudi Arabia, Thailand, Malaysia, Canada, etc) account for 11.62%. According to the survey of 200 participants, only 2% of the audience is Hanoian, 8% of the audience is domestic tourists, but 90% of the audience is foreign visitors Assessment on Ca trù performing activities by the public and audience in Hanoi urban areas In surveys of the old house at No. 87 Mã Mây and Kim Ngân Temple at No Hàng Bạc, many foreign tourists said that this is a very lovely cultural experience, gentle music deluting people, a very interesting way to temporarily go away from noisy streets of Hanoi. A good thing in the survey results is that 100% international audience said they want to see Ca trù next time and recommend their friends, colleagues and relatives to see Ca trù, a genre of traditional culture of Vietnam Subject of creation, transmission, training There have been many questions, such as does Ca trù now have the inheritors while the transmitters have not been treated well and provided with the transmission space? Artist is the subject, the living human treasure, the