To turn Nghe An folk songs into a tourism product.

(Baonghean)Folk songs are the crystallization of the emotions, soul, character, and life of the people in each region, creating the unique characteristics and distinctiveness of folk songs from different regions. This is what makes folk songs a tourism resource, but to become a tourism product, many other factors are needed.

Nghe An folk songs are both distinctive and rich, with many melodies and rhythms, including the recitation of the Tale of Kieu, the singing of Kieu, and Ca Tru (in the lowlands), as well as a treasure trove of folk songs and dances in the mountainous regions of ethnic groups such as the Mong, Thai, Tho, Kho Mu, and Dan Lai. The unique characteristics of Nghe An folk songs are numerous and cannot be fully described in a single article; I will only mention a few typical ones, such as their simplicity yet profoundness, and their straightforwardness, reflecting the character of the people here: "Anger may come with love, but love remains / If you go astray, I cannot bear it..."

The optimism, innocence, and playful nature of Nghe An people, mixed with a touch of witty banter, are unique features of Nghe An folk songs: there are scenes where lovers are forbidden by their parents, facing beatings, yet the girl remains steadfast in her devotion to her lover... The styles are also very diverse, encompassing both popular and scholarly styles, like Ca Tru. At one time, Nghe An was one of the centers of Ca Tru in the country, and it is now beginning to revive. Each folk melody is associated with a specific performance space. For example, the "Vi Phuong Vai" song requires someone involved in weaving and silk spinning, while "Vi Do Dua" and "Giao Duyen" songs can be performed on rivers and waterways, in picturesque settings.

A traditional Nghe An textile village stall in Hoi An (Quang Nam). Photo: PV

However, we still lack some elements to turn Nghe An folk songs into a tourism product. Firstly, there is a lack of a tourism market where tourism organizations and businesses can collaborate with folk song performers, working together towards the common goal of attracting tourists. Some localities, such as Vinh City and Nam Dan, have tried incorporating folk songs into tourism several times, but have failed to sustain and develop it due to a lack of collaboration, especially the role of tourism businesses.

The second reason is the lack of focus on developing new tourism products, including folk music performances. With current tourism products being monotonous and boring, this is a solution to attract and retain tourists in the long term, helping to overcome the long-standing seasonality. Thirdly, there is a lack of clear and specific policies to "nurture" folk music. For example, in Hue, performances of Hue folk songs on the Perfume River and listening to Hue court music at historical sites are included in tour packages sold to tourists, with the singing groups and boat owners receiving immediate payment on the tickets.

Currently, many localities in both the lowlands and mountainous areas of Nghe An have established numerous folk music clubs, including Ca Tru clubs – this is a positive sign, because with support from the State and tourism businesses, it will certainly develop strongly and positively. Once they become tourism products, these folk music clubs will have the opportunity to improve both their equipment and performance skills, attracting more and more tourists. Importantly, when folk music becomes a distinctive tourism product of Nghe An, we have contributed to bringing folk music back into people's lives and promoting it to friends both domestically and internationally.

Mai Ho Minh