Top 10 Most Famous Folk Performance Arts in Vietnam

Water Puppetry (also known as water puppet theater) is a traditional folk art form deeply rooted in Vietnam's rice farming culture. What started as a playful activity by farmers during breaks from their labor has evolved into a unique art form and a hallmark of Vietnamese cultural creativity.

Water puppetry isn't just about manipulating puppets on water; it blends various elements such as singing, dancing, music, acting, and comedy, along with sound effects, lighting, smoke, orchestral music, and dialogue, creating a dynamic and captivating performance.

The name itself, "Water Puppetry," reflects the essence of the performance—using water as the stage (referred to as the puppet house or water pavilion). The puppets are typically crafted from light wood, allowing them to float and move easily on the water's surface. Music is integral to the performance, with melodies from Chèo or northern folk songs accompanying the puppetry. The movements of the puppets are synchronized with the rhythm of the music, enhancing the drama. The content of the shows often revolves around popular folk tales, daily rural life activities like plowing, planting rice, duck herding, wrestling, and boat racing.

Today, water puppetry is a popular folk performance that attracts large numbers of tourists, especially younger audiences and international visitors who are drawn to its novelty and uniqueness.

Performance Venues: Thang Long Water Puppet Theater, Vietnam Water Puppet Theater, Cánh Diều Water Puppet Theater...

Quan Họ is a unique style of folk duet singing from the Red River Delta, particularly associated with the Kinh Bắc region (now part of Bắc Ninh and Bắc Giang provinces). It originated along the Cầu River, often referred to as the "Quan Họ River." Due to geographical divisions, Quan Họ is now known by local names like Quan Họ Bắc Ninh and Quan Họ Bắc Giang.

On September 30, 2009, the Quan Họ Bắc Ninh tradition was officially recognized by UNESCO as an Intangible Cultural Heritage of Humanity.

In a Quan Họ performance, two singers exchange songs in a call-and-response fashion. These singers, known as "liền anh" (male) and "liền chị" (female), engage in a lyrical dialogue that is rooted in deep respect and mutual understanding, often expressing themes of love and loyalty. The performances are usually held in informal spaces, such as courtyards, temple grounds, or on boats.

Quan Họ lyrics typically explore themes of love and fidelity, but the singers do not necessarily seek romantic relationships; instead, their interactions are based on equality and respect. The songs are traditionally performed in pairs, with each duet responding to the other in harmony.

Performance Locations: As of 2016, 67 Quan Họ villages have been included in the preservation list, with 23 villages in Bắc Giang and 44 in Bắc Ninh.

Tuồng (also known as hát bộ or hát bội) is a traditional Vietnamese theatrical form, recognized for its classical, intellectual nature. Combining literary language with Chinese characters and Vietnamese Nom script, Tuồng is a multidisciplinary art that blends literature, painting, music, and performance to express the deep values and cultural identity of the Vietnamese people. Historically, Đào Duy Từ (1572 - 1634) is credited as the pioneer who laid the foundation for the Tuồng art form, and in some regions, he is revered as the patron saint of Tuồng theatre.

In contrast to the Chèo theatre, Tuồng features a grand, heroic tone, with characters embodying devotion to the country and self-sacrifice for the greater good. The performances often explore the moral dilemmas between personal desires and the collective, between family and the nation. The characteristic of Tuồng is its tragic yet heroic nature, portraying the stage as one of bravery and valor.

Tuồng does not focus on realistic depictions but instead emphasizes the symbolic essence or 'spirit' of events and characters, encouraging the audience to use their imagination and engage in a co-creative process with the performers. The 'spirit' is considered the pinnacle of Tuồng's artistic expression. The language of Tuồng is characterized by loud, clear, and high-pitched voices. The most important vocal style in Tuồng is called 'nói lối' (speaking in rhythm before singing). There are two primary tones in 'nói lối': 'Xuân' (joyful) and 'Ai' (sorrowful and melancholic).

Famous Tuồng Artists: NSND Nguyễn Nho Túy, NSND Lê Tiến Thọ, NSND Mẫn Thu, NSND Ngọc Phương, etc.

Performance Venues: Vietnam Tuồng Theatre, Đào Tấn Tuồng Theatre, Hát Bội Theatre of Ho Chi Minh City, etc.

Hát xoan is a type of ritual folk song performed in the temple courtyards, dedicated to gods and deities, particularly the worship of the Hung Kings in the northern region of Vietnam. This form of folk art, closely tied to religious practices, incorporates elements of music, dance, and song, typically performed at the beginning of the lunar new year in Phú Thọ, the legendary land of the Hung Kings.

On November 24, 2011, the Hát Xoan tradition of Phú Thọ was recognized by UNESCO and inscribed on the Intangible Cultural Heritage of Humanity list as an urgent protection priority. The recognition ceremony took place on February 3, 2018, in Phú Thọ, where the provincial government, in collaboration with the Ministry of Culture, Sports, and Tourism, officially celebrated the inscription.

The performances of Hát Xoan are often organized by local 'phường Xoan' (song guilds) during spring festivals. These guilds perform in temple courtyards, with specific songs sung at designated times, including during the festival of the Hung Kings, on the 5th day of the lunar new year. Each guild chooses a specific position in the temple to perform.

There are three main stages in a Hát Xoan performance:

• Ritual Stage: Expresses emotions and prayers to the deities, seeking their blessing for peace and prosperity.
• Singing Stage: Depicts the daily lives of the people, praises the beauty of nature, and recounts folk tales.
• Love Duet Stage: Reflects the romantic relationships between young men and women, with a focus on the poetic and earthly aspects, distinct from the sacred tone of the ritual songs.

Performance Locations: The four ancient 'phường Xoan' are An Thái, Phú Đức, Kim Đới, and Thét, all located in Việt Trì City, Phú Thọ Province.

Hát Xẩm is a traditional folk performance that has a deep humanistic, aesthetic, and educational value. It has been around for more than 700 years and is known as a form of street performance that was especially common in feudal society. Xẩm was not only a livelihood for the visually impaired but also served as a form of entertainment for farmers during their leisure time. It is the heartfelt voice of the people, reflecting their emotions, thoughts, and social concerns.

Initially, Hát Xẩm was performed by the poor, particularly blind individuals, as a means of earning a living. Over time, it has been transformed into a stage performance and is now featured in tourist venues. Xẩm performances typically take place in public spaces like markets or streets, where crowds gather. The music is often improvised, with performers creating lyrics on the spot.

The art of Hát Xẩm blends song with storytelling, carrying both a narrative and poetic elements. The songs are primarily passed down orally and do not have specific authors. They reflect the hopes, dreams, and everyday concerns of the common people, especially farmers and women in ancient feudal society. Topics often include themes of optimism, love, gratitude to parents, and during wartime, the songs would inspire patriotism, loyalty to the Party, and sacrifice for the nation and people.

Notable Artists: NSƯT Hà Thị Cầu (Ninh Bình) – the “Last Xẩm Singer of the 20th Century,” Vũ Đức Sắc, Thân Đức Chinh, Nguyễn Văn Khôi, etc.

Performance Locations: Hà Thành Xẩm Club, Hải Thành Xẩm Club, etc.

The Gong Music of the Central Highlands is a sacred form of music that spans five provinces in Vietnam’s Central Highlands: Kon Tum, Gia Lai, Đăk Lăk, Đăk Nông, and Lâm Đồng. On November 25, 2005, the Gong culture of the Central Highlands was officially recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity.

The predominant spiritual beliefs in this region include ancestor worship, Shamanism, and the veneration of nature spirits. These beliefs are deeply intertwined with the daily lives of the people, creating a mystical world where gongs serve as the sacred instruments that connect humans to the divine and the supernatural. It is believed that the older a gong is, the more powerful its spiritual force. Almost every family in the region possesses gongs, symbolizing wealth and power.

The cultural space of the gongs is defined by several elements: the gongs themselves, the musical compositions, and the musicians who play them. The gongs are used during important ceremonies such as weddings, harvest celebrations, and water spirit rituals. These events typically take place at ceremonial sites such as longhouses, communal houses, riverbanks, ancestral houses, and sacred forests near the villages.

Today, the annual Gong Festival is a major event that not only preserves the region’s cultural heritage but also serves as a popular tourist attraction.

Performance Locations: The five provinces of the Central Highlands (Kon Tum, Gia Lai, Đăk Lăk, Đăk Nông, Lâm Đồng)

Đờn ca tài tử is a traditional folk art form from the Southern region of Vietnam, originating in the late 19th century. It draws influences from northern Tuồng music, southern ceremonial music, Hue singing, and folk music of Central and Southern Vietnam. On December 5th, 2013, Đờn ca tài tử was recognized by UNESCO as an Intangible Cultural Heritage with significant influence, covering 21 provinces in the southern part of Vietnam. This art form blends instrumental (đờn) and vocal performances, created by local people as a form of entertainment after hard working hours. The term "tài tử" refers to skilled individuals, with instrumentalists called "tài tử đờn" and singers called "tài tử ca".

The performances typically involve a group of 4 to 8 people and are accompanied by five main instruments: the đàn tranh, đàn tỳ bà, kìm, đàn có, and đàn tam, often combined with a seven-hole flute. Both male and female performers are equally involved. Performances can occur not only during special events but also upon request from tourists or spontaneously. The usual performance locations are shady areas, temples, or even boats. The themes of Đờn ca tài tử often revolve around the beauty of nature, life, and the daily activities of the working people.

Although Đờn ca tài tử is not as popular as before, it remains a beloved art form that is still regularly performed.

Famous Đờn ca tài tử artists: Cao Văn Lầu, Trần Văn Khê, and others.

Performance region: 21 provinces in Southern Vietnam.

Chầu văn, also known as hát văn, is a form of spiritual music tied to the rituals of the Mẫu Tam Phủ and Mẫu Tứ Phủ worship (including the deities Mẫu Thượng Thiên, Mẫu Thượng Ngàn, Mẫu Thoải, and Mẫu Địa) as well as the worship of Đức Thánh Trần (Trần Hưng Đạo), deeply rooted in Vietnam's folk traditions. This sacred genre uses music with spiritual tones and lyrics that are solemn and respectful, embodying a form of devotional singing. Chầu văn originated in the Red River Delta and court music of Hue.

There are four main styles of hát văn:

• Hát thi: A competitive singing style, mostly performed solo.
• Hát thờ: Performed during the full moon, the first day of the month, and during the New Year.
• Hát hầu đồng: A ritual where spirits of the gods possess mediums, known as ông Đồng or bà Cốt, to communicate with the living.
• Hát cửa đền: Sung during the early spring, for visitors of sacred sites.

In a typical Chầu văn performance, the sequence includes inviting the deities to enter, recounting their legends, requesting their blessings, and bidding them farewell. The singer (cung văn) performs with musicians providing accompaniment, and there are assistants who prepare offerings and garments for the deities to align with the ritual.

After facing a decline in popularity around 1954 due to associations with superstition, hát văn saw a resurgence in the 1990s. In 2016, the practice of "Worshiping the Mẫu Tam Phủ" was recognized by UNESCO as an Intangible Cultural Heritage of Humanity.

Famous Chầu văn artists: Hoài Thanh, Thanh Long, Khắc Tư, Trọng Quỳnh, NGƯT Xuân Hinh, and others.

Performance region: The main centers for Chầu văn are Nam Định, Hà Nam, Ninh Bình, and some areas in the Red River Delta.

Ca trù, also known as hát cô đầu or hát nhà trò, is a unique form of vocal music that originated in the 15th century in Northern Vietnam and North Central Vietnam. This genre was favored by the aristocracy, intellectuals, and even the imperial court, combining poetry and music in a refined and sophisticated way.

A typical Ca trù performance involves three main participants:

• Đào nương/Ca nương (female): The central figure and soul of the performance, she sings while tapping a wooden clapper.
• Kép (male): The instrumentalist who plays the lute for Đào nương.
• Quan viên (male): The overseer and judge of the performance, responsible for drumming and evaluating the quality of the singing, playing, and clapping.

As a form of chamber music, Ca trù performances are typically held in small, intimate spaces. The Đào nương sings from a mat in the center, with the Kép and Quan viên positioned on either side. If a performance is composed and performed right there on the mat, it is referred to as "tức tịch" (right on the mat).

On October 1, 2009, Ca trù was officially recognized by UNESCO as an Intangible Cultural Heritage in need of urgent safeguarding. There is an ongoing nomination to list Ca trù as a World Cultural Heritage. The Ca trù tradition is spread across 16 provinces in the Northern region, including Phú Thọ, Hà Nội, Bắc Giang, Bắc Ninh, Vĩnh Phúc, Hải Phòng, Hải Dương, Hưng Yên, Hà Nam, Nam Định, Thái Bình, Ninh Bình, Thanh Hóa, Nghệ An, Hà Tĩnh, and Quảng Bình. Ca trù is considered a masterpiece of the oral and intangible heritage of humanity.

Famous Ca trù artists: NSND Quách Thị Hồ, NSND Phó Thị Kim Đức, Folk artist Nguyễn Thị Khướu, and others.

Performance regions: Northern Vietnam and North Central Vietnam.

Originating in the 10th century, Chèo is a unique form of folk theater that holds a significant place in the cultural and spiritual life of the Vietnamese people. Over time, this traditional theatrical art, once popular in the Red River Delta region, gradually spread to the midlands and northern mountain areas of Vietnam. With its outstanding artistic values, Chèo is currently being studied by Vietnam to have it recognized by UNESCO as an Intangible Cultural Heritage of Humanity.

Unlike other folk art forms, Chèo is known for its accessibility to the masses and is deeply rooted in national identity. It is considered a performance style for festivals, with a language that is rich in puns, multiple meanings, and vivid expressions. The performances require actors to demonstrate a combination of singing, dancing, and acting, accompanied by a variety of instruments such as drums, gongs, flutes, and the đàn nhị and đàn tranh, creating a powerful synergy with the lyrics.

The stories in Chèo often depict the simple lives of working-class people, highlighting virtuous qualities such as loyalty, morality, propriety, wisdom, and trust. They also criticize vices and social injustices while expressing themes of love, compassion, tolerance, and forgiveness. As a result, watching a Chèo performance provides not only entertainment and laughter but also an opportunity for introspection and reflection on life. The characters in Chèo are typically everyday people, often farmers, with tragic fates (especially women) involved in simple, relatable relationships such as parent-child, husband-wife, sibling, or master-servant.

Famous Chèo artists: NSND Thanh Ngoan, NSƯT Thùy Dung, NSƯT Ngọc Bích, NSƯT Kim Liên, NGƯT Ngọc Sơn, NSND Quốc Trượng, and others.

Performance venues: Hà Nội Chèo Theater, Vietnam Chèo Theater, Military Chèo Theater, Ninh Bình Chèo Theater, and others.