Múa dân gian đương đại vấn đề bản sắc trong xã hội việt nam thời kỳ hội nhập tt tieng anh

VIETNAM ACADEMY OF SOCIAL SCIENCES
GRADUATE ACADEMY OF SOCIAL SCIENCES

NGUYEN THU HANG

CONTEMPORARY FOLK DANCE:
IDENTITY ISSUE IN THE VIETNAMESE SOCIETY
IN INTEGRATION PERIOD

Major: Cultural Studies
Code: 9 22 90 40

ABSTRACT OF DOCTORAL DISSERTATION

IN CULTURAL STUDIES

Hanoi, 2019


The work has been implemented at:
GRADUATE ACADEMY OF SOCIAL SCIENCES
VIETNAM ACADEMY OF SOCIAL SCIENCES

Supervisors:
1. Ph.D. Hoang Cam

2. Ph.D. Doan Thi Tuyen

Review 1: Assoc. Prof. Dr. Tran Duc Ngon
Review 2: Assoc. Prof. Dr. Nguyen Van Cuong
Review 3: Dr. Vu Duong Dung

The dissertation has been defended at the Academy-level Doctoral
Dissertation Assessment Council, held at Graduate Academy Vietnam Academy of Social Sciences
At: ………: …….. of (dd/mm/yyyy) ………….. 2019
Reference materials available at:
- National Library of Vietnam
- Library of Graduate Academy of Social Sciences
- Library of Military University of Culture and Arts


INTRODUCTION
1. Rationale
In 1986, Vietnam officially opened to integration with all countries
worldwide in terms of various aspects. The rapid and powerful integration
occurred not only in the economic sector but also in other aspects of culture
and society, creating several worries and concerns in many social strata,
which focused on the problem how Vietnam could both integrate and
preserve her cultural identity in order not to be culturally mixed with other
nations’ one in the current integration trend. It is indicated in guidelines and
policies of the Party, the reality of cultural and art management and
practice, media talks, scientific workshops, etc.
The Vietnamese context in the integration period indicates the entire
society’s special concern on recognizing what is Vietnamese cultural
identity and how to preserve it. The candidate chooses her study object as
contemporary folk dance in an effort to review how, in the context of
integration, dancers and choreographers performed/established cultural
identity to meet demands of the state and the society… The dissertation
topic is “Contemporary folk dance: Identity issue in the Vietnamese
society in integration period”.
2. Objectives and tasks of study

- Objectives of study
After studying the identity issue in contemporary folk dance in
general and typical folk dance works in particular, the national and ethnic
culture creation in the present context of integration in Vietnam has been
further clarified in the dissertation.
- Tasks of study
In order to achieve such aforementioned objectives, there are three
tasks of study in the dissertation:

1


1) Presenting and analyzing the content, form of expression, etc. in
typical contemporary dance works which are evaluated to that have
combined "ethnicity", " imbued identity" and modern elements.
2) Learning and indicating artists’ and critics’ viewpoints,
evaluation and comments towards some contemporary folk dances,
especially viewpoints related to “cultural identity” presented in such works.
3) Reviewing and describing cultural and technical components
used to present the “national identity” and the “modernity” in contemporary
folk dance works.
3. Objects and scope of study
Objects of study
Objects of study in the Dissertation are Vietnamese contemporary
folk dance works and their related issues such as the context of birth, the
perspective of creation, expression technique and the discourse on cultural
identity in general and cultural identity in art works in Vietnam after
innovation in particular.
Scope of study
Studies in the dissertation are some typical contemporary folk dance

works. Some works that were born in the context of integration are chosen,
including Thân phận (Condition); Sương sớm (Morning Dew); Sóng lụa
ven đô (Silk waves on the outskirts); Nhinh sao (Star welcome); Nhịp điệu
tang sành (Tang Sanh Rhythm); Sắc màu non cao (Highland color); Séc bùa
hồn Chiêng (Gong soul Sec Bua); Huyền ảo vĩnh hằng (Eternal
fancifulness); Tiếng trống Paranul (Paranul drumming); Múa quạt (Tape fan
dance); 11 Keo moni Mekhala.
4. Methodology and method of study
- Methodology
Cultural identity
In the academic circles, there are still two opposing viewpoints
about cultural identity, ontological and constructivist viewpoints.
2


However, to learn about how Vietnamese cultural identity is
manifested through folk dance works selected in this dissertation, the author
adopts constructivist viewpoint while reviewing and learning the identity
issue in contemporary folk dance works.
Identity in constructivist viewpoint is interpreted as follows:
On contrary to ontological viewpoint, constructivists think that all
identities always vary under effects of a context. Each context will act as
basis for constructing a new identity in service of new purposes. National
identity or cultural identity includes not only traditional, old things but also
new, ongoing things, not unattainable things but the very things in daily and
real life.
Choice of dance works
To learn how cultural identity has been created by choreographers,
12 contemporary folk dance works of 10 different regions and ethnic groups
such as Kinh, Thai, Muong, Cao Lan, Dao, Cham, Khmer, etc. have been

chosen by the candidate.
The candidate met and talked with each choreographer of the
aforementioned works, hosted talks and discussion in teamwork, organized
in-depth interviews…
There are three factors identifying the selected works in the
dissertation as typical works: (1) chosen by a choreographer; (2) these
works are recognized by local community; (3) most of these works won
awards…
- Method of study
To implement the topic, the candidate adopted qualitative research
method, synthesis method and materials analysis method.
5. New scientific findings of the dissertation
- It provides a new approach in art studies, especially contemporary
folk dance, focusing on cultural, social and political aspects of art works.
Contemporary folk dance, both in terms of content and artistic aspect
3


(material, language, music, etc.), according to this research approach, is
closely related to the context and the socio-cultural foundation where it was
born and existed.
- The topic is the first case-study of contemporary folk dance under
the constructivist perspective on identity, ...
6. Theoretical and practical meanings of the dissertation
- Theoretical meaning: By learning about constructive process of
cultural “identity” of the nation, shown by developing/manifesting
contemporary folk dance works, professional knowledge on cultural
identity of a nation or ethnic group in the contemporary context of Vietnam
are provided in the dissertation.
- Practical meaning: The dissertation’s study outcome will be a

useful reference material for later studies on identity through artistic
language.
7. Structure of the dissertation
In addition to the Introduction, the Conclusion, the dissertation is
comprised of 04 chapters:
Chapter 1: Overview on related studies and theoretical basis
Chapter 2: Vietnamese post-innovation society and national cultural
identities
Chapter

3:

National

cultural

identities

in

some

typical

contemporary folk dance works
Chapter 4: Contemporary folk dance: Creating national identities in
the context of integration.

4

Chapter 1
OVERVIEW ON RELATED STUDIES
AND THEORETICAL BASIS
1.1. Overview on related studies
Studies related to the following issues are overviewed:
1.1.1. Studies on dance and contemporary folk dance of Vietnam
In the history of dance art, Le Ngoc Canh (2009), History of
Vietnamese dance art, Dance art of Ma ethnic group (2005); Chau Ro’s
dance art (2005) and Vietnamese folk belief dance (1998).
In addition to Le Ngoc Canh’s published studies, the works of
Learning about Vietnamese dance art (2001) and Vietnamese dance art
(1979) by Lam To Loc or Folk dance in Vietnamese professional dance
works by Ung Duy Thinh (2006) are also ones that have make an important
contribution to further improve the practical research on folk dance treasure
of the nation ...
Dance and the ethnicity and modernity in dance works
The ethnicity and modernity are two terms used popularly in all
articles, showing artists’ exploration and perspective towards the issue of
determining ethnicity and national identity in dancing. Some outstanding
articles are: Discussing the tradition and development of Vietnamese dance
art by Le Ngoc Canh; The modern nationality in dancing by Lam To Loc;
Modern ethnicity, an orientation for the conservation and development of
Vietnamese dance art by Vu Duc Thoan; Some thoughts about preserving
dance art by Ngoc Cuong; Position of the national dance heritage in
modern ethnic dance art by Hoang Ha; and Directing toward the origin building a national identity- imbued dance art by Truong Le Giap ...
Folk dance development in the contemporary society
Since 2000 onwards, the Vietnamese folk dance development
towards the integration trend has been mentioned in such articles/reports
represented at conferences, workshops and professional magazines as

5


Dance Criticism Conference in December 2007; Workshop on Dance
Composition in the Market and Integration Mechanism in December 2008;
and Rhythm Magazine.
Thai Phien (2016), "Something about the national identity in dance
composition by ethnic minorities in Vietnam" (Rhythm Magazine No. 192);
The above-mentioned articles and books reflect an approach to
dance in the direction of historical research, characterizing the language of
dance movements of specific ethnic groups as well as the development of
contemporary folk dance. Artists and choreographers have initially
expressed their concerns about the development of Vietnamese folk dance
in the integration trend and initially raised the view on the so-called identity
that has been and is being shown in new dance works.
In her dissertation, there is not any study on art or language features
of Vietnamese contemporary folk dance, but discussion about how the
national “cultural identity” has been created/manifested in some typical
contemporary folk dances…
1.1.2. Studies on identity and national cultural identity
In the article "Vietnamese Cultural Identity" (2005, P: 239); The
article of "National identity in the Vietnamese cultural value system and
some related issues in the period of innovation and integration, (2014, P:
140), the author Nguyen Thuy Loan’s viewpoint was that "national identity
and a sense of perseveringly preserving national identity - a sustainable
value in the Vietnamese cultural value system”. In a different perspective,
Ngo Duc Thinh said that "a cultural identity of the Vietnamese people is
openness, receiving ability and sociability, from which foreign factors are
localized"….
Identity in the viewpoints at the Party’s Resolution is Vietnamese

cultural identity, sustainable values, quintessence of the community of
Vietnamese ethnic minorities which have been cultivated over thousands of
years of struggle for national construction and defense ... (Excerpt from
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Resolution No. 33-NQ/TW dated 9 June 2014, the 9th Party Central
Committee, session XI).
1.1.3. Studies on globalization, globalization, nationalism and
cultural identity
Nguyen Chi Ben (2010), "Vietnamese culture in the context of
international economic integration"; ... Truong Luu (2003) "Globalization
and the issue of national cultural preservation"; and Le Nhu Hoa (1996)
"Promoting Vietnamese cultural identity in the context of industrialization
and modernization"; the authors Nguyen Trong Chuan, Nguyen Van Huyen
(2002) in the book of “Traditional values in the face of globalization
challenges ”
Some viewpoints are that globalization is cause of the loss of
cultural identity, especially developing countries other than Europe and
America… On contrary, some researchers said that globalization wasnot in
relation with destruction of cultural identity. They even believed that
globalization could be seen as a motivation to create and reproduce
identities ... (see John Tomlinso 1999).
1.2. Theoretical basis
1.2.1. Concept on identity and cultural identity
Concept on identity
The term identity was firstly mentioned in the academic circles in
1950 by a famous American psychologist Erik Erikson (1902-1994) who
reviewed psychological situations affecting the adjustment of "personality
of self” ... Identity, therefore, refers to a stable psychological state that

comes from similar or identical identification about self/character of self
and others (Erikson 1950).
1.2.2. Concept on Vietnamese folk dance
According to viewpoints of Lam To Loc, Le Ngoc Canh, Ung Duy
Thinh: folk dance is a form of ethnic dances which were mostly created by
7


farmers…. and passed from one generation to others to meet cultural
demand of a community…
1.2.3. Concept on contemporary folk dance
On the basis of viewpoints collected by the candidate,
contemporary folk dance will be introduced in her dissertation as follows:
Contemporary folk dance is the folk dance works or dance works
composed in contemporary dance movement language with the content
topic reflecting the Vietnamese tradition and folk ... These works are
composed in the contemporary society – opening and integration period.
Contemporary folk dance indicates not only dance movement language but
also time, context of birth of a work.
1.2.4. Approach theory
In this dissertation, the candidate applies multi-disciplinary dance
approach of Thomas Helen to analyze significance and content of
Vietnamese contemporary folk dances. Helen Thomas developed a new
interdisciplinary

approach

to

contemporary

dance.

Based

on

anthropological and social studies on dance, which emphasizes the social
and dance interrelations, the author thinks that artists and choreographers
are strongly influenced and affected individuals. great influence of socioeconomic and social conditions. In the process of composing works, they
often consciously or unconsciously convey their views on society into
works. Art works in general and dance in particular, therefore, "not only
reflect the reality of life but also transform real life into its own context"
(1986: 66-67).
Sub-conclusion
The aforesaid studies indicate advantage, disadvantage and also
development of Vietnamese contemporary folk dance in the face of
demands of the new society.
However, it is seemed that neither study mentions in depth about
the involvement of dance in general and contemporary folk dance in
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particular in creating national cultural identity in the integration period.
This is also a target this topic aims at filling in.
Chapter 2
VIETNAMESE POST-INNOVATION SOCIETY
AND NATIONAL CULTURAL IDENTITY
2.1. Economic, foreign, cultural and social contexts of Vietnam after
innovation

It

marked

an

important

milestone

in

Vietnam's

strong

transformation in 1986. It can be said that, starting from this period,
Vietnam opened up for a comprehensive integration and the policies of the
Vietnamese authorities showed a revolutionary breakthrough in thought,
defining the development path of the.
Economic and foreign relation aspects
Before the national innovation, especially over 10 years of
socialism establishment nationwide (1975-1986), our economy was of
farmers – agriculture, severely devastated by the war; the development
model associated with centralized planning with major deficiencies in
solving development tasks, especially in the field of economics.
In fact, by the end of the 70s, the country really felt into a socioeconomic crisis. That situation has made innovation a very urgent need, a
pressing demand of life.
Since 1986 onwards, Vietnam has carried out the innovation and
boosted the international economic integration with a motto of

"Diversifying and multi-lateralizing foreign relations. Vietnam is ready to
be friends of all countries in the international community, striving for
peace, independence and development.
After the war end, especially in the innovation period from 1986 to
2000, embargo was removed; diplomatic relations were normalized and
9


established with all major countries in both economic and political fields ...
in the spirit of "Vietnam wants to be friends with all countries in the world".
Cultural and social aspects
Before the innovation period in 1986
Culture was always determined as a target, even a comprehensive
target of the career of national liberty, socialism establishment, also
motivation and the solidest foundation of the revolutionary career. It was
defined in the Vietnamese cultural draft that Culture was one of three fronts
of economy, politics and culture of the Vietnamese revolution with three
principles of a new culture, Nation – Science – People.
In the innovation/integration period
After 1986, together with the State’s open/integration policy, the
cultural and social aspects of Vietnam changed a lot: space was shrinking,
time was shortening, boundaries was losing, which made the connection
among regions taken place quickly and more powerfully than ever. Market
opening, eliminating barriers, expanding democratic freedom and
innovation, strengthening exchanges among countries provided good
chances for nations to talk and understand each other well. It affected the
national

spirit,

community

sense,

stimulated

the

national

spirit

development, boosted competition to raise the national position in the
region and the international community. In this period, cultural identity was
concerned in the society with discourses: "Integrate" but not "dissolve";
"Advance" and "Imbued identity".
On the social aspect, international integration gave significant
effects. Opening market, eliminating barriers, expanding democratic
freedom and innovation, strengthening exchanges among countries created
good chances for ethnic groups to communicate and know each other better.
This affected the national spirit, a sense of community, stimulating the
national spirit of development, promoting the spirit of competition to raise
the national position in the region and the international community.
10


2.2. Vietnamese cultural identity after the innovation
Since 1986, the milestone of Vietnam’s opening to the world
integration, cultural identity has become a discussion topic of both cultural
managers and practisers. The phrases of “cultural identity” “integrate but

not dissolve” have become political discourses; the guidelines and policies
of developing Vietnamese culture to be “advanced” and “imbued identity”
have turned into specific actions in different fields including art.
… Creating national identity during Vietnam’s integration has also
been shown at proactive status and encouraging to restore cultural practice,
traditional festivals which were inherent forgotten, etc.
2.3. Changes in cultural development policies of Vietnam after
innovation
The 6th National Congress in 1986: ... The slogan of "integrate, not
dissolve" become a central orientation for the development of national
culture.
The 7th National Congress in 1991: … it highlighted culture was
“spiritual foundation of the society, target and motivation of the
development process”.
The Resolution of the 5th Conference of the Central Committee
(July 1998): "Building and developing the Vietnamese culture to be
advanced and imbued with national identity". The Resolution of the 5th
Central Committee (session VIII) of the Party provided a strategic
significance in culture.
After the Resolution of the 5th Central Committee (session VIII), at
the IX, X, XI and XII National Congresses, the national cultural identity
continued being concerned.
Sub-conclusion
Globalization with policies of deep development and integration
into the world economy and culture has generated problems in the
development of national culture, especially the identity preservation...;
11


... The above analysis of Chapter 2 indicates ranges of challenges of

national cultural identity preservation: integration and cultural exchanges;
determining what is identity and how to preserve it ...
Chapter 3
NATIONAL CULTURAL IDENTITY IN
SOME TYPICAL CONTEMPORARY FOLK DANCE WORKS
3.1. Contemporary folk dance: the history of establishment and
development
Contemporary dance started in the 50s worldwide was a form of
dancing in combination with modern dancing factors and classic ballet. In
Vietnam, contemporary dance appeared in the end of 1998 through the
Vietnam-Australia cooperation.
Based on the contemporary dance concept and the peculiar
characteristics of this genre, contemporary folk dance is also understood as
a kind of dancing developed on basis of materials of Western contemporary
dance combined with folk dance.
Accordingly, it can be said that the birth of contemporary folk
dance was in the context of the society’s demand for modernity in the dance
works to match well with new spirit of the integration period, as well as
guideline demand and policies of the Party.
3.2. Identity and modernity in typical dance works
3.2.1. Via idea, topic and content of works
Artistic

image

is

always

the

most

important

issue

for

choreographers. A complete work of art must have a specific topic, i.e.
what the work is about in society; it must have an artistic image through
which the choreographer can convey the content of the work, achieve the
purpose of creation in the work.
In the “Thân phận” (Condition) of choreographer Tuyet Minh,
Vietnamese women in the past suffered from extreme resignations under
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the feudalism. Strict rules in love made women never live in their love,
express themselves before others ... pent-up love became torn and painful.
Also exploring the topic with image of Vietnamese women, in the
“Sóng lụa ven đô” (Silk waves on the outskirts), audiences see the image of
women at different aspects and beauties, which are beauty in labor and
production, in soul of excitement and harmony with the integration period
... about Vietnamese women in the new era.
In addition to the images of Vietnamese women, the image of the
hometown with brown costumes, barefoot, straw and rice loads, truths,
shabbiness and happiness in love or good season of the people who daily
"look down on land " ... has also become the preferred choice of
choreographers. And “Sương sớm” (Morning Dew) is a work with

contemporary dance language, but the topic and content of the work are
completely a picture of the life of the Southern farmers, it is a typical work.
“Sương sớm” (Morning Dew) is a dance following the stories about
Shoes, Furniture … of choreographer Tan Loc. It is very successful and
leaves behind powerful impression in audiences who love dance
nationwide.
Besides the manner of exploring artistic images as mentioned in the
above works, the images about life and customs of mountainous ethnic
minorities are also powerful attractive for choreographers.
The work of “Nhịp điệu Tang Sành” (Tang Sanh Rhythm) of
choreographer Le Cuong describes typical festival culture of Cao Lan
ethnic group in Tuyen Quang in springs.
It is also a picture of daily life, a daily culture in the community of
mountainous ethnic groups. It is not about a spring festival such as in
“Nhịp điệu Tang Sành”, but a wedding of Dao ethnic minority in Dien Bien
with innocent descriptions of choreography through dance language. The
work of “Sắc màu non cao” (Highland color) is a dance work reflecting a
very specific cultural feature of Dao ethnic people in Dien Bien province.
13


The dance work "Nhinh sao"(Star welcome) expresses the concept
of the soul beauty of Thai girls visualized through the image of a Pieu scarf.
The work of “Séc bùa hồn Chiêng” (Gong soul Sec Bua) by
choreographer Dinh Xuan Thuong reflects the concept of attaching
importance to women in the society of Muong ethnic people in Hoa Binh
people through the symbol of Gong.
Following the length of our country, we arrived to some Southern
provinces to learn about how the picture of Southern homeland was
reflected in a dance work. Some works chosen by us are mostly of

choreographer Dang Hung, who detected Cham royal dance material and
developed Cham folk dance an extremely immense dance system in
Vietnam's folk dance treasure.
The works such as “Tiếng trống paranul” (Paranul drumming) and
“Múa quạt” and (Tape fan dance) are derived from open-air treasures,
collected and created into professional dance works by choreographers
Dang Hung. Also for the work of "Huyền ảo vĩnh hằng" ((Eternal
fancifulness); this is the result of uncovered treasure mining of People's
Artist Dang Hung.
The work of “11 Rô Băm Keo Moni Mekhala” of choreographer
Son Cao Thang is a dance work based on the story of Mekhala Goddess,
also known as "rain god, thunder god" who helps Khmer people’s
agriculture to be in favourable condition and good harvest of crops.
3.2.2. Via costumes and props of works
Costumes and props are the most remarkable typical expression
about distinctive features among regions because it directly contacts to
intuition of audiences. Therefore, when exploiting the topic of identity
characteristics of ethnic groups, choreographers seem to pay close attention
to how to effectively use the costumes and props to serve well the work of
highlighting the ideological topic of each work and distinguish dance works
of this region with one of other region.
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In the work of “Thân phận” (Condition): The dancer’s costume is
chosen by choreographer with a pink blouse, wide-tube pants (it has been
improved as compared to the traditional Vietnamese women's dress) ... The
actor's costume is a white long dress, designed in the style of old men's
dresses, blouses and wide-tube pants.
In the work of “Sóng lụa ven đô” (Silk waves on the outskirts):

Costumes of the work evokes a joyful atmosphere of a new day, a new page
opened up for the fates of people who were suppressed and suffered from
despair in the past. The actor's costume is shown by the traditional costume,
blouse and skirt of Northern Delta girls, with a mixture of different colors
creating an extremely vivid and beautiful picture.
In the work of "Sương sớm” (Morning Dew): An indispensable
feature of Vietnamese farmers is the brown loose clothes of the Southern
people and when they work, they "heighten their pant tubes" for compact
convenience. In the "Sương sớm” (Morning Dew) the color of the farmer's
clothes has been changed to be fresher and colorful with all the different
colors, blue, brown, yellow ... But the classic high round neck design
remain and saw the flaps on both sides, with wide tube pants.
In the work of “Nhịp điệu tang sành” (Tang Sanh Rhythm): The
actor's costume basically retains the same patterns, designs and colors as the
traditional costumes of Cao Lan people ... The props used in the dance work
of “Nhịp điệu tang sành” are Tang Sanh drum.
The work of “Sắc màu non cao”(Highland color): The costume is
typical clothes of Dao ethnic people. Drum and bell are two props creating
the work’s soul.
For the work of “Nhinh sao” (Star welcome): Costumes used in the
work are traditional clothes of Thai ethnic people, a white high neck shirt, a
black velvet skirt with a green belt and a chatelaine ... The dance props of
the work is Pieu scarf .
15


In the work of “Séc bùa hồn Chiêng” (Gong soul Sec Bua), the
choreographer used traditional costumes of Muong girls. "White shirt,
green belt, back with chatelaine". The Muong girl’s dress is specially
designed, the pattern of the skirt hem is not exposed but inside the skirt, it

shows the discreet and delicate beauty of Muong girls ... The props of the
work are Gong. The Gong is also the artistic image of the work.
In the three works “Tiếng trống Paranul” (Paranul drumming);
Múa quạt (Tape fan dance);” Huyền ảo vĩnh hằng (Eternal fancifulness),
costumes and props are derived from traditional clothes of Cham ethnic
people.
In the work of “11 Robăm Keo Moni Mekhala”: Khmer women’s
costumes are attractive with Costumes of Khmer women are always noticed
by the picky, vibrant colors, sophisticated decorative patterns and decorated
with sparkling beads.
3.2.3. Via sound, light and stage scene
In the work of "Thân phận" (Condition), from the beginning of the
work, the actor appeared with lethargic, indeterminate, lonely and tired
steps. The light was flickered as if there was only light of a small kerosene
lamp in the dark room and music was not present. By 01'30, audience
seemed to hold their breaths and concentrated all their senses to listen and
penetrate every sentence in the poem "Floating cake" by poet Ho Xuan
Huong.
In the work of “Sóng lụa ven đô (Silk waves on the outskirts)”,
music of the work was composed by musician Ho Hoai Anh. It is a work of
folk nature, extremely close and familiar to Vietnamese farmers. The sound
of the monochord is the main sound, keeping the soul of the work.
In the work of “Sương sớm” (Morning Dew), the light is finely and
deeply arranged, especially the image of sun rising high through the leaves
or the dim light of the early morning.
16


Music of the play is mostly of Vietnamese folk melodies such as
sound of the 16-chord zither, the monochord, the traditional tune, the

typical Southern chanty or the melodies that create a happy atmosphere.
The work of “Nhịp điệu tang sành” (Tang Sanh Rhythm). The
typical rhythm of Tang Sanh drum has odd rhythm. The work of “Sắc màu
non cao” (Highland color): The choreographer adopts music with three
typical music instruments of Dao ethnic minority, namely: Drum, Bell and
Trumpet.
The work "Nhinh sao” (Star welcome): The music used in the work
is the typical melody of the Thai ethnic people, which cannot be mixed with
tones of other ethnic groups. These are the sounds of the Ma Hinh fruit, the
gong drum, and the Thai people’s two-string, music instrument rather than
the Tay people's three-string music instrument (according to the assessment
of Artist Cam Vui).
The work of “Séc bùa hồn Chiêng” (Gong soul Sec Bua): the main
music is the sound of sec bua, a familiar melody of Muong ethnic people.
The work of “11 Robăm Keo Moni Mekhala” mentions Khmer
people’s traditional music while telling about five tone orchestra which is
comprised of seven music instruments and can create five sound while
performing. In detail: copper, iron, wood, leather and steam, shown on 7
different types of music instruments ... About lighting when performing
works, there are differences depending on which stage the work is
performed on.
Sub-conclusion
At the content of Chapter 3, the candidate has focused on analyzing
12 typical contemporary folk dance works of various regions nationwide.
Different ethnic groups have been chosen to assure diversity and
enrichment in analyzing the dance works with the topic reflecting the
national identity.
17

By analyzing the dance works, the candidate has indicated that
identity components chosen by choreographers are close to life of local
people, where the works reflect, through daily activities, festivals or folk
stories or legends, which can be distinguished and recognized without
confusing with others.
Chapter 4
CONTEMPORARY FOLK DANCE: CREATING NATIONAL
IDENTITY IN THE CONTEXT OF INTEGRATION
4.1. Selective identity in the works
In the works analyzed at Chapter 3, it is clearly indicated that when
choreographers choose artistic images to reflect the national cultural
identity, most of them have exploited thoroughly stories, artistic images that
are considered as characteristics of national or ethnic culture. The
characteristics of regional, ethnic or national identity are constructive,
passed down from generation to generation in the process that ethnic groups
themselves build their own cultural identity in comparison with other ethnic
groups or it is created by outsiders. Choreographers, especially those
belonging to a certain ethnic group, experienced in imbued manner these
"characteristics" by their process of living and long-term experience in the
cultural tradition they wanted to transfer in their works while doing their
career... This is evident in the process of creating dance works about Muong
cultural identity by choreographer Dinh Xuan Thuong, a native of Hoa
Binh, whose childhood was raised by the Da river water, living in his
grandmother’s and mother’s stories about the achievements of Muong
people, ..., in the "Nhinh sao" (Star welcome) by choreographer Lo Van
Dai, who is also of Thai ethnic minority, so he was close and easy when
exploiting traditional beauty and stories of the homeland as artistic images
in his works. In the work of “Nhịp điệu Tang Sành” (Tang Sanh rhythm)
reflecting the identity of Cao Lan ethnic people in Tuyen Quang,
choreographer Le Cuong possessed a long history of studying and learning

about Cao Lan ethnic culture.

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It is same as interpretation by Clifford Geerts: to understand
significance of local factors in the works (music, light, costumes, props,
artistic images…), it is necessary to consider it in the context of culture,
society and politics of such works.
Accordingly, through the artistic images and materials to reflect
topics of ethnic identity, choreographers have proactively explored and
chosen the existing factors that have been existed for long in the life of
ethnic community, been familiar, close and identified and recognized as
identity.
Another reason that should be considered is the context of the
works’ birth…The manners the choreographers choose components
indicated in each work are closely related to social and political factors.
There are different objective and subjective reasons. What a dance work
tells about and how it is composed are powerfully governed by its
choreographer’s viewpoints on environment, people and community’s ones.
Therefore, it is not automatically that the dance work tells about a thing or
this factor but not the other one is chosen. Like Thomas Hellen in her
doctoral dissertation titled “Movement, modernism and contemporary
culture: the problems of a cultural sociology of dance”. In this work,
Hellen argues that, in the process of composing works, choreographers are
strongly influenced individuals and greatly influenced by economic,
cultural and social conditions ... Artworks in general and dances in
particular "not only reflect the reality of life but also transform the reality of
life into its own context." (1986: 69).
Therefore, in order to reflect identity characteristics of each region,

or nation, each choreographer proactively found different methods of
exploring and selection. Of many factors deemed to be identities of this
region or others, choreographer’s selection is absolutely depended on
thinking and individual perceptions of each choreographer on those
elements. It is also impossible to ignore the influence of ethnic
communities, meaning that the selected elements must be recognized and
identified by the community.
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4.2. Modern factors selected to use in the work by
choreographer
To assure contemporary folk dance works that have not only
cultural identity but modernity and advance as demanded by the society,
choreographers adopt different methods in their works and pay attention to
such factors… Adoption and use of modern factors to reflect in each work
also indicate relations among choosing methods, selected factors with
appropriation and connection with selected factors as identity and external
characteristics, which are the economic, political, social context and views,
discourses of contemporary society ... as the sociological interpretation of
Hellen Thomas.
The viewpoints of “deep description” of Geetz also indicate that
internal characteristics of each work are in close relations with external
characteristics. Analyzing a work aims at finding its significance and
internal causes other than scientific values.
4.3. Contemporary folk dance and constructing/creating
national cultural identity in the context of integration
In the context of Vietnamese society in the period of opening and
integration, the rapid and powerful economic development and the world
cultural integration into Vietnam result in concerns about the decrease or

loss of national identities. Many actions have been performed in
Vietnamese society, which reflects not only in policies but also in academic
discussion.
The birth of contemporary folk dance shows efforts of the dance
sector in building the dance art that meets development demands of the era,
which are to ensure two features, “modern” and “imbued identity” in the
same work. Accordingly, choreographers’ choices in this period aim at
finding out materials that are considered as the most identifiable
characteristics of each specific ethnic group of Vietnam.
All objective causes of the social context have governed the
viewpoints and creative thinking of artists and choreographers.
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Accordingly, choreographers’ choices and writing style are powerfully
influenced by the political needs of the society where it reflects.
Vietnamese contemporary folk dances have been composed by
choreographers in an effort to construct/create Vietnamese national
identities against the risks of its loss as result of the context of integration.
Sub-conclusion
Contemporary folk dances are born to build an “advanced and identityimbued” culture of Vietnam in the context of integration;
The national factors are chosen by choreographers basing on cultural
practice, behavior and festivals that have been existing in the community;
Concepts of so-called national identity vary among different generations
of choreographers... The birth of contemporary folk dance is an expression of
the political needs of a society.
CONCLUSIONS
In this dissertation, we apply multi-disciplinary approach to dance to
learn about the relation between contemporary folk dance and cultural
identity in the context of Vietnamese integration in the innovation 1986. As

indicated in anthropological and sociological studies of dance (Thomas
Helen), in the process of creating their works, artists and choreographers are
often strongly governed and influenced by the socio-economic and cultural
events as well as policy orientation. They often consciously or
unconsciously transfer their viewpoints on society into the works. The
works, therefore, not only reflect the life reality but also committing to
memory the society's understanding and viewpoints on a certain issue of
artists into their work.
By learning the typical contemporary folk dance works, it is clearly
shown that in Vietnam choreographers are remarkably influenced by the
culture and political/social viewpoints while creating their dance works.
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When creating a work, discussions on the necessity of an “advanced” but
“identity-imbued” culture in the context of integration and globalization
govern significantly content, artistic images, etc. of each dance work.
Representations and analysis at Chapter 3 and Chapter 4 show that in
order to create identity in dance works, cultural factors that are considered
as characteristics and cultural identities of specific ethnic groups are chosen
by choreographers. It is a result of observation, experience in real life of
individuals. These specific cultural elements are often close to the life of the
people where the work reflects, through daily activities, festivals or through
stories in folk, legends, etc. Identity elements are exploited on the basis of
cultural practices that have existed from generation to generation, a
characteristic that ethnic groups and outsiders consider as unique cultural
characteristics of each specific nation, from which national identity can be
distinguished / identified but not mixed with others’.
When reflecting national identity, a choreographer often pay attention
to meaning of movement, performance language of each movement in each

dance; and regardless of how the choreographers create and combine
modern dancing movement and language, demand of retaining the “soul”
and “core” of the story and characters must be met. At that time the identity
is like/must be built on the facts and information already available (that is
the long tradition of the people). Types of costumes, props used in
contemporary folk dance works (i.e. identity creation tools) must be
changed in such manner to ensure consistency with specific language and
political and social environment of the work; Types of costumes, props or
elements that express identity through the language of movement, content
or artistic images ... of a nation must be identified by such ethnic
community when viewing the work.
Another important element is that in order to understand identity
elements and modernity in a work, as well as content and form of
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expression, such work must be placed in a specific political and social
context.
Accordingly, the very changes in the Party’s viewpoints, direction
ideas in career of developing culture in the context of integration are great
revolution helping the entire nation to review, reassess values of national
culture and cultural identities, specially cultural practice, tangible and
intangible cultural heritages ... which were thrown away in a period in the
past. From the 4th Central Party Committee’s Resolution to the 5th Central
Party Committee’s Resolution, 8th session (1998), the issue of national
identity and how to preserve it to integrate but not dissolve have become a
key task in the cultural development strategy of Vietnam in the new
context. The 5th Central Party Committee’s Resolution, 8th session had a
broader, more comprehensive viewpoints about culture and development,
cultural heritage, identities and characteristics of Vietnamese culture,

building and developing an advanced Vietnamese culture imbued with
national identity. It is determined in the Resolution that Vietnamese culture
is achievement of thousands year of creative labor, struggling for country
construction and defense of the Vietnamese ethnic minorities, is the result
of exchanging and absorbing the quintessence of many world civilizations
to constantly improve themselves. Vietnamese culture has built up the soul,
stuff, and spirit of Vietnam, highlighted the glorious history of the nation.
Vietnamese culture is unified and diverse within the Vietnamese ethnic
community. Over 50 ethnic minorities in our country have specific cultural
values and characteristics, which supplement each other, enrich Vietnamese
culture and strengthen national unity as basis for maintaining equality and
improving cultural diversity of ethnic minorities.
Accordingly, actions such as restoring folk cultural practices,
traditional festivals, building and restoring religious works that were
demolished ... are done synchronously nationwide. And all of these actions
derive from the political perspective of the ruling circles and the demands
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