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Practices of Then by Tày, Nùng and Thái ethnic groups in Viet Nam marks_1
  • Manage No, Sortation, Country, Writer ,Date, Copyright
    Manage No EE00000013
    Country Vietnam
    ICH Domain Oral traditions and representations Performing Arts Social practices, rituals, festive events Knowledge and practices about nature and the universe
    Address
    Practices of Then by Tày, Nùng and Thái ethnic groups in Viet Nam concentrate mainly in the northeast region (Bắc Kạn, Cao Bằng, Lạng Sơn, Hà Giang, Quảng Ninh, Thái Nguyên, Tuyên Quang and Bắc Giang provinces), the northwest region (Điện Biên, Lai Châu and Lào Cai provinces) and some other localities of Viet Nam. Main centres of Then heritage, such as Bắc Kạn, Cao Bằng, Lai Châu and Lạng Sơn provinces have great influences on other provinces. Tày, Nùng and Thái people still believe, appreciate and use Then ceremonies. They sing Then melodies with their favourite old or new lyrics. The similar forms of Then existing in several countries are Li-ke Jaad Tai of the Tai Yai people (Myanmar) and Mag-igal people (Malaysia). Zhuang people in Guangxi province, China also have the worships, rituals for curing illnesses and praying for peaceful life like Then.
Description Then a ritual practice indispensable in Tày, Nùng and Thái ethnic groups' spiritual life, reflects concepts about human beings, natural world and the universe (the Earth realm, the 3-layer Heaven realm). Then ceremonies describe a journey in which Then Master (Male/Female) controls ghost soldiers travelling from the Earth realm to the Heaven realm, the residing place of the gods, to offer worshipping items and show their praying requests for peace, bad luck relief, illness treatment, good crops, new house inauguration, initiation/title-conferring ritual (cấp sắc), blessings and happy new year. Then Masters start the journey by singing and plucking the tính lute (two or three-string lute). Depending on worshipping purposes, Then Masters will arrange worshipping trays to pray different native Gods, among whom Ngoc Hoang is the highest God. Then Masters often use a summoning tablet, a seal, a demon-expelling sword, a yin and yang rod, a bell, a fan and items such as pork, chicken, wine, rice, fruits and votive papers to perform Then ceremonies in the believer’s house, outdoor or at Then altar of the Master’s house. While practising, Then Master wears ceremonial dress, sings the language of his ethnic group and plays the tính lute, shakes the chùm xóc nhạc (rattle-bells), waves a fan. In some ceremonies, a female dancing group will accompany. Then rituals performances express Tày, Nùng and Thái’s cultural identities, from customs to musical instruments, dance and music. Then is always transmitted orally while its rituals are being conducted, reflecting the succession between generations.
Social and cultural significance Then ceremonies express aspirations of the individuals and communities in every day life; helping them overcome difficulties and problems. Then makes contributions to moral education, humane lifestyle and preservation of the good customs and cultural traditions of the Tày, Nùng and Thái, for example respect for the nature (advice not to kill wild animals, destroy plants and trees), show gratitude to parents, ancestors, live honestly, love and help others and work hard. The implementation of Then rituals is to maintain, practice, transmit and inherit the values of the element naturally and continuously of the community. Then ceremonies can be effective as a treatment therapy (Then for illness treatment, praying for peace, praying for bad luck relief), meeting the needs of enjoying the arts of music, creating the sympathy between humans and the natural and supernatural world; the community cohesion through preparation, contribution of offerings and support to the Then Master in conducting the rituals. In recent few decades, a performing form of Then singing – Tính lute has been developed from music of Then rituals, which makes Then melodies widely popularized, enriching the artistic performing activities. Practice of Then not only helps Then to be recreated continuously, making contributions to the benefits of the community’s life but also safeguards the identities of that community.
Transmission method Then Masters must be knowledgeable about the customs of their ethnic groups. They have good memory, can sing and play the tính lute as well as use the chùm xóc nhạc skillfully to describe a journey of ghost soldiers attractively. Then Masters directly transmit the knowledge and skills of Then: - Oral transmission of praying repertoires; teaching how to play the tính lute, chùm xóc nhạc, transfer of Then repertoires; and implement the rituals and procedures of Then rituals to disciples. Disciples must learn by heart the repertoires for worshipping, master in playing the instruments and belt and skilfully use stamps, summoning tablet, sword, fan and yin and yang items in the ceremony. - Instruction for believers and villagers to prepare the offerings and decorate the Then - practising places. Instructions for followers, disciples to serve in the ceremony (burn the incense, pour wine and bring offerings) at the ceremonies. Male Then Masters teach male - practising style and female Then Masters teach female style for both female and male disciples. Apart from acquiring and practising Then at the ceremony, the disciples come to Then Master house to learn more skills of playing the instruments, singing, regulations on rituals' procedures, studying themselves the customs and traditions related to their communities.
Community According to inventory results on Then by Tay, Nung, Thai ethnic groups in eleven provinces of Viet Nam, there are 817 Then Masters (213 males, 604 females), including 439 Tày, 328 Nùng, 23 Thái and 27 people of other groups (Kinh, Cao Lan, Dao and Hoa). Some elderly folk artists are Mr. Nguyễn Văn Thi (1939, Tày people, Bắc Kạn), Mr. Nguyễn Nông Chàu (1925, Tày people, Cao Bằng), Ms. Đèo Thị Tủi (1924, Thái people, Lai Châu), Ms. Mỗ Thị Kịt (1922, Nùng people, Lạng Sơn). Families and family lines practising Then are those of Mr. Nông Ích Nho (Cao Bằng), Mr. Đỗ Trung Huyền (Hà Giang), Ms. Mông Thị Sấm (Lạng Sơn), Mr. Hà Ngọc Cao (Tuyên Quang)…; clubs and groups practising Then singing - Tính lute include Tình Húc (Quảng Ninh), Chợ Đồn (Bắc Kạn), Bảo Lạc (Cao Bằng), Vị Xuyên (Hà Giang), Cẩu Pung (Lạng Sơn)…Each Then ceremony is chaired by a Then Master and a group of people including a disciple (worshipping assistant), believer, dancer team, members of the Then Master’s family and the community as well as the Tào Master (sorcerer) at some time. They participate in the process of preparing, conducting the rituals, through which they learn how to practise the career and then some become Then Master afterwards.
Type of UNESCO List Representative List of the Intangible Cultural Heritage of Humanity
Incribed year in UNESCO List 2019
Keyword
Information source
Vietnam National Institute Culture and Arts Studies (VICAS)
http://vicas.org.vn

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