Purple pageantry: Nha nhac was the music of choice to accompany major royal events in Hue. — VNA/VNS Photo Duc - Ha Strumming: The music peaked in popularity during Viet Nam’s last feudal dynasty, the Nguyen, until the dynasty collapsed in 1945. — VNS File Photo Tea ceremony: Women in traditional costume perform with cups at Hue Festival 2000. — VNA/VNS Photo Trong Duc Ladies in red: Nha nhac is back in town after UNESCO acknowledged it as one of humanity’s "intangible oral masterpieces". — VNA/VNS Photo Duc - Ha

by Nguyet Nhi and Phan Thuan An

An invaluable national musical form nearly consigned to oblivion only half a century ago is now the talk of Viet Nam after UNESCO recognised nha nhac (ritual music) as one of humanity’s "intangible oral masterpieces" in early November.

Nha nhac also means elegant music, and prior to the recent kudos, knowledge of this art form was limited to a small circle of performers and researchers, mainly in the historic capital of Hue, who campaigned long and hard for its recognition.

The United Nations Educational, Scientific and Cultural Organisation’s general director, Kiochiro Matsura stressed the endorsement of nha nhac was not simply recognition of its value, but also a call for all nations to commit to preserving this masterpiece. He said the announcement was the organisation’s first step in this direction.

Deputy director of the Hue Centre for Conservation, Phan Tien Dung, said the recognition would be "extremely significant" in reviving the traditional music but also to Hue in general.

Fit for kings

So why did nha nhac become Viet Nam’s first cultural form to make UNESCO’s list of intangible cultural heritage?

The music is mentioned in Ho Dynasty records dating back to 1402, reaching its zenith during the country’s last feudal dynasty, the Nguyen, before the dynasty collapsed in 1945.

This Vietnamese court music is similar to yayue in China, gagaku in Japan, and dang-ak and hyang-ak in Korea, but the typical instruments of two-chord fiddle, three-chord zither and bamboo flute used in nha nhac, distinguishes it from these others.

Regarded as the most sacred form of music, performances of nha nhac took place at grand royal ceremonies, religious events, as well as coronations, funerals and official receptions.

The kings favoured nha nhac to the point of granting it special status as official court music, thereby establishing it as a symbol of power, longevity, and prosperity of the dynasties.

Long-serving and talented musicians joined to the orchestras in their teenage years and were often promoted as court mandarins.

"There are two main branches of nha nhac," explained To Ngoc Thanh, general secretary of the Viet Nam Folklore Arts and Literature Association, namely tieu nhac and dai nhac.

"Tieu nhac consists of gentle melodies and used to be played during royal gatherings and parties, and dai nhac was used to provide a background for important events."

Nha nhac is the only musical genre in the country with a national scope. Its influence can be heard in ca Hue (Hue traditional singing), don ca tai tu (amateur music performance) and cai luong (an early 20th century form of singing theatre from the South).

The turbulent events that shook Viet Nam in the 20th century, especially the fall of the monarchy and subsequent decades of devastating wars, threatened the survival of nha nhac.

Deprived of its court context, this musical tradition lost part of its original social function to praise royalty and be performed in courts.

"Mainly for this reason it nearly disappeared," said Thanh.

For a quarter of a century up to 1975, Queen Tu Cung, mother of King Bao Dai, the last King of Viet Nam, royal court musician Nguyen Huu Ba, Professor Tran Van Khe and a number of artists worked hard to preserve nha nhac, but those individual efforts, although tremendous, failed to make a huge impact.

In the 1970s and ‘80s, the Ba Vu ensemble, the only remaining court music band, could hold only several poor performances due to lack of lyrics, musical instruments and costumes.

Musical revival

Dr Dang Van Bai, head of Cultural Heritage Department under the Ministry of Culture and Information, noted intangible heritage needs two factors for survival: those holding the secrets must wish to pass them down to younger generations who want to learn; and, the cultural environment and institutions must be available and able to conserve and promote it.

Happily for nha nhac, Dr Bai said the few Hue musicians who had kept playing the music were willing to pass its techniques to others.

Ten years ago, international experts gathered to discuss preserving and promoting Hue’s cultural heritage, one year after the inclusion of Hue’s citadel complex on the UNESCO World Cultural Heritage List.

Bright future: Nha nhac is no longer confined to a select few since its revival. — VNA/VNS Photo Hoang Minh

Since 1996, nha nhac has been taught by artisans to students at the traditional music faculty of the Hue College of Arts, with 15 students graduating with degrees in the music in 1999.

Many of the original venues in Hue for nha nhac have been gradually rebuilt: Thai Hoa Palace, The Mieu Temple, Nam Giao Esplanade and in particular, the Duyet Thi Duong royal theatre inside the royal court complex.

The reopening of Duyet Thi Duong, the UNESCO accolade, and growing public demand, now sees musicians performing four times a day.

Apart from the university training, authorities in Hue are working on plans to popularise the music not only inside, but also outside the country.

Dr Bai said initial success in reviving nha nhac prompted the Ministry of Culture and Information to plan the nomination of five other cultural achievements for UNESCO recognition the next 10 years: traditional water puppetry, Bac Ninh Province’s quan ho folk singing, ca tru (1,000-year-old choral chamber music), Tay Nguyen (Central Highland) gong performance, and Tay Nguyen epics. — VNS