Traditional humanistic values ​​of Vi and Giam folk songs

Most folklore researchers agree that Vi and Giam folk songs, like many other types of folk songs of the Northern Delta, originate from the working, production and living life of the people, so they have a long history of formation and development.

Through various sources of documents, it is shown that by the 17th - 18th centuries, Vi and Giam singing had developed strongly, becoming a popular form of folk performance in the communities of Nghe An and Ha Tinh. From the 19th to the mid-20th century, Vi and Giam folk songs were widely circulated and formed a number of centers with the active participation of Confucian scholars and patriotic intellectuals such as Phan Boi Chau, Vuong Thuc Quy, Bui Chinh Lo, Dang Van Ba...

Therefore, from a form of folk art of the working people, with the carving and editing of many generations of artisans, the participation of Confucian scholars, famous scholars, scholars... over time, this type of folk song has been increasingly perfected, with a tight structure, sophisticated words, refined rhymes to become an attractive cultural form with high artistic value.

During the resistance war against the French and the Americans, Vi and Giam folk songs were adapted into verses, antiphonal songs, and folk songs, becoming effective tools to encourage and motivate the spirit of soldiers, militiamen, and people fighting to protect the Fatherland. This is a type of cultural activity that does not require elaborate space, time, or performance circumstances, does not require complicated musical instruments, props, or costumes, and can be practiced by individuals or groups, from small groups to large public performances... Therefore, it is easily accepted and popularized, and has a strong influence and influence in the community.

Vi and Giam folk songs are a type of cultural activity closely associated with people's lives.,is the main part of the folk lyric poetry treasure of the Nghe sub-cultural region. Nghe people sing Vi and Giam songs anytime, anywhere, when lulling their children to sleep, knitting, weaving, farming, rowing boats, milling rice... In the most natural way, Vi and Giam songs have become a popular artistic means for people to express their thoughts and feelings; for boys and girls to express their love; for the community to express their closeness and connection; and for people to express their love for their homeland and country. Besides, Vi and Giam folk songs also show a high degree of locality, allowing for maximum expression of the singer's thoughts and feelings in the local language, while no other folk song in Vietnam has such a strong dialect and vernacular character.

Besides, Vi and Giam folk songs are intangible cultural heritage with profound humanistic content and values..The content ranges from describing the production life to reflecting the history of customs, rituals, praising the love of homeland and especially reflecting the love between men and women. These contents are expressed in a very profound and passionate way because people always have to steadfastly fight against the harsh nature. The folk songs of Vi and Giam all have profound educational value, contributing to teaching people in all aspects of morality, ethics, lifestyle, promoting filial piety, respect for parents, praising faithful love, a life of affection, honesty, nobility, kindness...

Therefore, it is an effective tool to contribute to preserving and transmitting good customs, good manners, and traditional cultural values. With these profound humanistic values, Vi and Giam folk songs have made significant contributions to shaping the personality of Nghe - Tinh people in creating cultural characteristics of a land famous for its love of learning and academic achievements.

In addition, this is also a type of folk performance with many unique artistic values, reflecting the cultural identity of the locality. Vi and Giam folk songs have a strong appeal because of their singing style, which is both flexible and spontaneous, and also has a methodical and formal style, clearly expressing the characteristics of the locality. In terms of performance format, Vi and Giam are performed in three forms: sing-alone, sing-in and sing-out. In terms of melody, rhythm, and tempo, Vi singing is a free singing style, reciting verses based on the six-eight, six-eight, and six-eight variations, and at the same time depends on the context and temperament of the singer. Basically, they have the same melody. The only difference is that when sad, the voice is low; when happy, the voice is high and excited; when angry, the voice is urgent and angry...

Giam is a spoken singing style with clear rhythm and tempo, with strong and weak beats, internal and external beats, usually with 3/4 and 6/8 time. Giam lyrics are mainly based on 5-word poetry (five-word poetry or verse). A Giam song usually has many stanzas, the common type is each stanza has 5 lines, the 5th line repeats the 4th line. The two singing styles of Vi and Giam are always sung alternately together. Each person can sing Vi with a free melody, or sing Giam with strong and weak beats, or sing both. Each singing style has its own feelings and expression, but all exude the soul and character of the people of Nghe An.

Cultural heritage in general is always an attractive and appealing content for tourists. Cultural heritage tourism can promote and turn cultural potential into a driving force for economic development. Through tourism activities, cultural heritage is widely introduced around the world. The close and synchronous combination of national target programs on culture and tourism, including Vi and Giam folk songs in the tourism program is a feasible and necessary direction today. Thereby, both preserving and promoting heritage values ​​and achieving economic goals and developing tourism.

After the Vi and Giam folk songs were recognized as intangible cultural heritage of humanity, there have been many activities to encourage and bring this type of folk song into tourism development. The most prominent is the assignment of the Center for Preservation and Promotion of Nghe An Folk Song Heritage to support, train, and guide the establishment of folk song clubs in hotels and restaurants.

Up to now, the Center has organized many performances to serve tourists from all over.

References

1. Nguyen Chi Ben, Bui Quang Thanh,Nghe - Tinh folk songs, Publishing HouseCulture Information, Hanoi, 2013.

2. Hoang Trong Canh,Local words with parallel structure in Nghe Tinh folk poetry - Preserving and promoting the values ​​of Nghe An folk songs, Publishing HouseNghe An, 2012.

3. Ninh Viet Giao,The scholarly nature in the lyrics of Nghe An folk songs - Preserving and promoting the values ​​of Nghe An folk songs, Publishing HouseNghe An, 2012.

4. Vu Ngoc Khanh,Some comments on Nghe Tinh folk songs, MagazineNghe Tinh Literature and Arts, No. 21, 1996, p.117.