Central Thua Thien-Hue province is famous for chanty. Previously, thechanty is popular in all regions of the country, especially in thecentral region. Chanty is important to the folk type of Vietnam. TheMinistry of Culture, Sports and Tourism web portal provides an indepthlook at the folk cultural activities full of Hue character.
Chant of husking rice is a very popular cultural folk activities inthe rural area of Thua Thien-Hue. This is a type of folks which isperformed with exciting rhythm and attracts audiences. On the wide brickyard, surrounded by several rice mortars, artisans (may be directlyholding the pestles or not) and performing chanty to the rhythm of thepestle. The part of chanty is called “chorus”.
Theattraction of the chant of husking rice, one part comes from the closeattachment, exchanges between chanty performers and audiences, or inother words, those who participate in the chanty are performers. Theopening part is a folk melody to serve a fixed labour activities(husking rice) the chanty melody is gradually separated from theoriginal purpose which is become a type of letters and arts activities.In the country sides, when finishing husking rice, people still put ricehusk into the mortar to pound to take the sound from the pestle tocreate the rhythm.
* Chant of husking rice – the type of letters and arts full of stage characters
Rice husking chanty not only stops in the meaning of labor andentertainment in rural areas but it also contain many deep meanings.Previously, that is a type of traditional folk letters and artsactivities containing musical factors, literature, performing arts, oneaesthetic script which is not simple but lyrical and exciting.
Chant of husking rice is a feature of the wet rice culture, whichrecorded the historic remarks of the past, which reflects thecombination of the ethnic groups in labor as well as in other socialrelations. Under the view of literature, one complete performance ofchant of husking rice also reflects one side of the development rule ofliterature and art of the communities of ethnic groups. In the moderntime, the farming as well as other handicrafts which have been nearlymechanised, then leading to some methods of relevant letters and artsattached to labor being fainted. Therefore, researchers also developcultural heritages of ethnic groups when it is not too late.
Chant of husking rice could be born for long, at the latest in theDong Son cultural era that the vestiges is the form of sailing, huskingrice, blowing a trumpet which are sculptured on the face of the bronzedrum. Due to the industrialisation, in the decades at the end of the20th century, chant of husking rice is nearly separated from theoriginal place and is now on the way to become a type of folk stage inthe festivals in rural and urban areas.
Most ofvillages and communes in Thua Thien-Hue are shortly called Hue, as wellas provinces in the north central region, chant of husking rice is offenin parallel with husking rice in the houses of the landowners. In somecases, when running out of rice, but the chanty is still exciting,people put rice husks in the mortar to replace rice for the chanty tocontinue and sometimes, it last through night. Due to the excitingfeatures of the melodies, and performances, and the aesthetic, lyricaland humorous features of chanty sentences, chant of husking riceattaches to labor in villages, communes, then penetrates into districts,provinces and Hue urban area for many decades in the role of a type ofletters and arts full of stage character.
Chant ofhusking rice in the central region, especially in Huel has appeared inmany decades and could be developed at the beginning of the 20th centuryso the stable and popular features in the melodies, genres ofperformance, and structures. Therefore, beside in some cases, chanty isperformed in the stage in a formal way, most of chant of husking rice isperformed in labor and in social life so it has casual features. Firstand foremost, about the time, it is often that chant of husking ricehappens at night, but it does not fix in hour, date and month such astypes of stage art such as love duet song, “Den hen lai len” like formsof songs in the spring festivals in the north, “Nho ngay mong 7 thang 3,tro ve hoi Lang tro ra hoi Thay” (Remember on 7 march, returning toLang festival, and back to Thay festival”. As for time, it can beperformed inside the house, in the yard, or in the communal house, or inthe market corner, etc.
Chant of husking rice is aamateur type of letters and arts so it does not have coaches ordirectors or actors or actresses, but are famers, young girls and boysvolunteer to be the members of the mortar when husking rice as well aswhen relaxing. Those are people who have the talent of letters and arts,high polished chanty voice, singing sentences that in each village andcommune, there are only several people. They become famous folk singersnot through schools but trained by social life. The audiences arelaborers and those who live in the village and communes who gatheraround the mortar under the bamboo groups of the villages.
* Husking rice chanty: the typical features in structure
Chant of husking rice is the replying melody. Each rice mortar hastwo, four or six people. Each performance of chant of husking rice hasthree parts: greeting chanty, separating chanty, jumping on thebandwagon chanty. Jumping on the bandwagon chanty is the main part,which is flexible and cheerful; replying chanty sentences arethoughtful, show great warmth, or humorous, naughty, or lyrical. Thespecial feature of the chant of husking rice is that it has theparticipation of the farmers who has ability to say poetic sentences;replying, performing without thinking.
Despitebeing taken place in any environment, each complete performance of chantof husking rice in Hue always follows a stable and tight structurein the organization of performance as well as the genres of performing.
As for the organisation of performing: Onechanty mortar often has four artisans (two boys and two girls), formingtwo couples of different sexual chanty teams: one couple of female andmale singing out full of deep affection, one couple of female singingout chanty of arresting. The couple singing out chanty of deep affectionsurrounds the lyrical topic, they seem to be as a couple of boy andgirl expressing love and the miss in the relation of a partner or acouple. The couple of chanty of arresting, in the south, it is calledarresting to reflect the way of provoking, teasing each other in thecouple relation. The poetic sentences of chanty often are folk poems(folk songs) or can be copied basing on the stories of Pham Cong CucHoa, Lam Sanh Xuan Nuong, Kieu, Luc Van Tien to sing. Each coupleperforms chanty to respond to each other in the scale of the topicwhich is not direct but in turns come between each other following theform: deep affection – arresting – arresting – deep affection –arresting.
As for the genre and order ofperformance: the melodies of chant of husking rice in the sound systemof national traditional music. During the process of performance, thereis not music to support, there are only the sounds of drums to praise,the attractive responding chanty sentences. This type of chanty isperformed following the method of co-performance including two sides of“Xuong” and “Xo”. As for “Xuong” side, it is made by an individual butit is not fixed that the members in the mortars in turns participate inperforming per the genre of responding for each couple. As for “Xo”side, the group reply by the accompanying sounds such as “ho ho ho ho”,the typical features in the melody of husking rice chanty. The order of acomplete performance of chant of husking rice is taken place in thethree connected phases: greeting chanty, jumping on the bandwagonchanty, separating chanty.
“Greeting chanty”:Greeting chanty can be also called the opening part, the chantysentences contain the content of offering and greeting audiences. Thischanty phase has the feature of ritual forms replacing the openingsentences of the chanty so the opening sentences of chanty are often forolder people or artisans who are famous for chanty. The sentences ofhusking rice sentences including greeting chanty which are not oftensmoothly, but simple but very cool and exciting, lyrical because it isthe warm-hearted sound of the community of villages and communes inrural areas.
“Jumping on a bandwagon chanty”:after greeting chanty, it is the phase of the main chanty, the key partof the chanty. Each member of the chanty mortar per their topic in turnsperform and reply to each other that the artisans make a convention, inwhich there is “the couple of deep affection and the couple ofarresting”.
The couple of deep affection replies toeach other in the love relation, in the rhythm of love. Those are themoods of grief, sadness, happiness, missing to share with each other.The responding content likes a love story in the daily life which ispoetised as a script in the chanty voice.
Also in the topic of deep affection, artisans can transfer “tuong” chanty or story chanty.
The couple of arresting combining with the couples of deep affection,performing to respond to each other in the contrast relation. Thecontent of the chanty sentences contains many meanings of provoking,challenging each other through the forms of responding. This chantycouple seems to present humor beside the misery of the love of couples.
“Seperating chanty”: all the meetings ends, andso do chanty performances, when separating, it is often loath to partwith each other. Separating chanty reflects such moods, and hopes for ameeting in the chanty performances and in social life.-VNA
Chant of husking rice is a very popular cultural folk activities inthe rural area of Thua Thien-Hue. This is a type of folks which isperformed with exciting rhythm and attracts audiences. On the wide brickyard, surrounded by several rice mortars, artisans (may be directlyholding the pestles or not) and performing chanty to the rhythm of thepestle. The part of chanty is called “chorus”.
Theattraction of the chant of husking rice, one part comes from the closeattachment, exchanges between chanty performers and audiences, or inother words, those who participate in the chanty are performers. Theopening part is a folk melody to serve a fixed labour activities(husking rice) the chanty melody is gradually separated from theoriginal purpose which is become a type of letters and arts activities.In the country sides, when finishing husking rice, people still put ricehusk into the mortar to pound to take the sound from the pestle tocreate the rhythm.
* Chant of husking rice – the type of letters and arts full of stage characters
Rice husking chanty not only stops in the meaning of labor andentertainment in rural areas but it also contain many deep meanings.Previously, that is a type of traditional folk letters and artsactivities containing musical factors, literature, performing arts, oneaesthetic script which is not simple but lyrical and exciting.
Chant of husking rice is a feature of the wet rice culture, whichrecorded the historic remarks of the past, which reflects thecombination of the ethnic groups in labor as well as in other socialrelations. Under the view of literature, one complete performance ofchant of husking rice also reflects one side of the development rule ofliterature and art of the communities of ethnic groups. In the moderntime, the farming as well as other handicrafts which have been nearlymechanised, then leading to some methods of relevant letters and artsattached to labor being fainted. Therefore, researchers also developcultural heritages of ethnic groups when it is not too late.
Chant of husking rice could be born for long, at the latest in theDong Son cultural era that the vestiges is the form of sailing, huskingrice, blowing a trumpet which are sculptured on the face of the bronzedrum. Due to the industrialisation, in the decades at the end of the20th century, chant of husking rice is nearly separated from theoriginal place and is now on the way to become a type of folk stage inthe festivals in rural and urban areas.
Most ofvillages and communes in Thua Thien-Hue are shortly called Hue, as wellas provinces in the north central region, chant of husking rice is offenin parallel with husking rice in the houses of the landowners. In somecases, when running out of rice, but the chanty is still exciting,people put rice husks in the mortar to replace rice for the chanty tocontinue and sometimes, it last through night. Due to the excitingfeatures of the melodies, and performances, and the aesthetic, lyricaland humorous features of chanty sentences, chant of husking riceattaches to labor in villages, communes, then penetrates into districts,provinces and Hue urban area for many decades in the role of a type ofletters and arts full of stage character.
Chant ofhusking rice in the central region, especially in Huel has appeared inmany decades and could be developed at the beginning of the 20th centuryso the stable and popular features in the melodies, genres ofperformance, and structures. Therefore, beside in some cases, chanty isperformed in the stage in a formal way, most of chant of husking rice isperformed in labor and in social life so it has casual features. Firstand foremost, about the time, it is often that chant of husking ricehappens at night, but it does not fix in hour, date and month such astypes of stage art such as love duet song, “Den hen lai len” like formsof songs in the spring festivals in the north, “Nho ngay mong 7 thang 3,tro ve hoi Lang tro ra hoi Thay” (Remember on 7 march, returning toLang festival, and back to Thay festival”. As for time, it can beperformed inside the house, in the yard, or in the communal house, or inthe market corner, etc.
Chant of husking rice is aamateur type of letters and arts so it does not have coaches ordirectors or actors or actresses, but are famers, young girls and boysvolunteer to be the members of the mortar when husking rice as well aswhen relaxing. Those are people who have the talent of letters and arts,high polished chanty voice, singing sentences that in each village andcommune, there are only several people. They become famous folk singersnot through schools but trained by social life. The audiences arelaborers and those who live in the village and communes who gatheraround the mortar under the bamboo groups of the villages.
* Husking rice chanty: the typical features in structure
Chant of husking rice is the replying melody. Each rice mortar hastwo, four or six people. Each performance of chant of husking rice hasthree parts: greeting chanty, separating chanty, jumping on thebandwagon chanty. Jumping on the bandwagon chanty is the main part,which is flexible and cheerful; replying chanty sentences arethoughtful, show great warmth, or humorous, naughty, or lyrical. Thespecial feature of the chant of husking rice is that it has theparticipation of the farmers who has ability to say poetic sentences;replying, performing without thinking.
Despitebeing taken place in any environment, each complete performance of chantof husking rice in Hue always follows a stable and tight structurein the organization of performance as well as the genres of performing.
As for the organisation of performing: Onechanty mortar often has four artisans (two boys and two girls), formingtwo couples of different sexual chanty teams: one couple of female andmale singing out full of deep affection, one couple of female singingout chanty of arresting. The couple singing out chanty of deep affectionsurrounds the lyrical topic, they seem to be as a couple of boy andgirl expressing love and the miss in the relation of a partner or acouple. The couple of chanty of arresting, in the south, it is calledarresting to reflect the way of provoking, teasing each other in thecouple relation. The poetic sentences of chanty often are folk poems(folk songs) or can be copied basing on the stories of Pham Cong CucHoa, Lam Sanh Xuan Nuong, Kieu, Luc Van Tien to sing. Each coupleperforms chanty to respond to each other in the scale of the topicwhich is not direct but in turns come between each other following theform: deep affection – arresting – arresting – deep affection –arresting.
As for the genre and order ofperformance: the melodies of chant of husking rice in the sound systemof national traditional music. During the process of performance, thereis not music to support, there are only the sounds of drums to praise,the attractive responding chanty sentences. This type of chanty isperformed following the method of co-performance including two sides of“Xuong” and “Xo”. As for “Xuong” side, it is made by an individual butit is not fixed that the members in the mortars in turns participate inperforming per the genre of responding for each couple. As for “Xo”side, the group reply by the accompanying sounds such as “ho ho ho ho”,the typical features in the melody of husking rice chanty. The order of acomplete performance of chant of husking rice is taken place in thethree connected phases: greeting chanty, jumping on the bandwagonchanty, separating chanty.
“Greeting chanty”:Greeting chanty can be also called the opening part, the chantysentences contain the content of offering and greeting audiences. Thischanty phase has the feature of ritual forms replacing the openingsentences of the chanty so the opening sentences of chanty are often forolder people or artisans who are famous for chanty. The sentences ofhusking rice sentences including greeting chanty which are not oftensmoothly, but simple but very cool and exciting, lyrical because it isthe warm-hearted sound of the community of villages and communes inrural areas.
“Jumping on a bandwagon chanty”:after greeting chanty, it is the phase of the main chanty, the key partof the chanty. Each member of the chanty mortar per their topic in turnsperform and reply to each other that the artisans make a convention, inwhich there is “the couple of deep affection and the couple ofarresting”.
The couple of deep affection replies toeach other in the love relation, in the rhythm of love. Those are themoods of grief, sadness, happiness, missing to share with each other.The responding content likes a love story in the daily life which ispoetised as a script in the chanty voice.
Also in the topic of deep affection, artisans can transfer “tuong” chanty or story chanty.
The couple of arresting combining with the couples of deep affection,performing to respond to each other in the contrast relation. Thecontent of the chanty sentences contains many meanings of provoking,challenging each other through the forms of responding. This chantycouple seems to present humor beside the misery of the love of couples.
“Seperating chanty”: all the meetings ends, andso do chanty performances, when separating, it is often loath to partwith each other. Separating chanty reflects such moods, and hopes for ameeting in the chanty performances and in social life.-VNA
