MUSIC, ART and LITERATURE EVENTS

To provide opportunities for community members from diverse groups to experience the richness and splendor of the Vietnamese culture, VCSMW organizes musical recitals and art shows annually. These performing arts events serve to promote, support and encourage promising young Vietnamese musicians and artists in their quests for artistic excellence.

A brief introduction to Vietnamese Music and Dance

The origin of Vietnamese music traces back nearly 4,000 years. Although similar to the music of other Southeast Asian countries, it is also very distinct in terms of style, composition, mood, modal system and performance. Vietnamese music not only varies from other Asian music, it also varies within itself. It ranges from ritual music, chamber music, ensemble music, folk music to theater and poetry accompaniment. It also differs depending on the regional traits found in the music. These traits identify the music as originating in the North, Central, South or Highland region of Vietnam.

There is no harmony per se in Vietnamese traditional music; rather the musicians employ complicated rhythms to accompany and enrich the melodies. Unlike Western music, Vietnamese modal system requires a variety of flexible pitches beyond those produced by the standard scale. Vietnamese musical instruments, therefore, give the composer and performer a greater range of pitches, often with the assistance of different "ornaments".

Vietnamese Musical Instruments

There are more than 50 different Vietnamese musical instruments, which are divided into three main groups: strings, winds and percussions.

Dan Nguyet is a two-stringed lute with a flat, circular body. It is related to the Chinese "Moon Lute" instrument.

Dan Tranh is a sixteen-stringed zither with high and movable bridges. The strings are plucked with plectums attached to the fingers of the right hand, while the left hand is used for ornamenting the notes by pressing the strings. Through a common Chinese ancestry, this instrument is closely related to the Japanese koto.

Dan Day is the songstresses's three-stringed lute, which incorporates the peculiarities of the two-stringed Dan Nguyet, the four-stringed pear-shaped lute Dan Ty Ba, and the three-stringed lute Dan Tam. It is of Vietnamese origin.

Dan Nhi or Dan Co is a stringed instrument with a small, cylindrical body covered at one end with snakeskin. It has no frets. The bow passes between the two strings which themselves are stopped directly with the fingers. This instruments is also of Chinese descent but has relatives throughout Asia.

Dan Bau or Doc Huyen Cam is a monochord of Vietnamese origin. The string passes over an oblong body and is attached to a tuning screw at one end. The other end fits through a small wooden funnel and connects to a curved stalk. It is plucked with the plectum. At the same time, the back of the hand attenuates the instruments at its exact points of division. By bending the stalk with the other hand, one can produce all possible notes and various part-tone series. Nowadays, the Dan Bau is mostly played with a small electric amplifier and loudspeaker, so that its faint tone is audible in the orchestral context.

Sinh Tien is another instrument of Vietnamese origin, along with the Dan Day and the Dan Bau. It is composed of three wooden pieces of equal length: the first has two bamboo sticks and three coins on each stick; the second, with its inner surface serrated, has a bamboo stick with three coins attached; the third also has a serrated edge. By a special playing technique, these coin clappers can produce the sonority of clappers, scrapers, and sistrum.

Song Loan is a hollow wooden instrument about 7 cm in diameter that is played with the foot. It is attached to a flexible stick with a wooden ball on the end.

K'long Put is a folk music instrument from the central highlands. A number of thick, differently tuned bamboo tubes, open at one end, are played by the musician by clapping the slightly cupped hand in front of the different openings.

Vietnamese Folk Dance

Vietnamese folk dance plays an important part in Vietnamese daily life. Its significance only intensifies with the festivities. It has various forms, ranging from depictions of simple leisure activities to those of the supernatural. Vietnamese folk dance reflects the people's beliefs, desires, hope, affection adn love.

Mua Hoa Dang (Lotus Dance) this vibrant and colorful dance originated from the days of Vietnamese feudalism in the early 1600's. It was traditionally performed only at the "Thai Hoa" Imperial Palace when the Emperor prayed to the Buddha for national peace and prosperity.

Mua Cham (Cham Dance) originated from Cham, an aboriginal/native group from Vietnam's central region. The dance movements and fans are incorporated to mimic fluttering butterflies.

Mua Trong Com (Love Drum Dance) originated from Northern Vietnam. It is performed during special festivities where boys and girls discreetly exchange verses and songs of love and affection.

Mua Sanh Tien (Coin Clapper Dance or Imperial Dance) this dance was traditionally performed for the Vietnamese Imperial family during the "Tet" (New Year) festival. The dancers utilize idiophonic percussion instruments made from wooden sticks and coins to create different sounds ranging from shaking to concussion to frictional movement.

Mua Sap (Bamboo Dance) originally from the Highland, this popular dance was performed to celebrate special events, such as New Year's day. While two bamboo sticks are being clapped together rhythmically, dancers move in and out of the sticks.

(VCSMW acknowledges Dr. Tran Quang Hai and the Hong Lac Ensemble in providing us with most of the above information)