The traditional humanistic values ​​of the Ví and Giặm folk songs.

Most folklore researchers agree that the Ví and Giặm folk songs, like many other forms of folk songs from the Northern Delta region, originate from the working, producing, and daily lives of the people, and therefore have a long history of formation and development.

Various sources indicate that by the 17th and 18th centuries, the folk singing style of Ví and Giặm had developed significantly, becoming a popular form of folk performance among the communities of Nghe An and Ha Tinh provinces. From the 19th to the mid-20th century, Ví and Giặm folk songs were widely disseminated and formed several centers with the active participation of patriotic scholars and intellectuals such as Phan Boi Chau, Vuong Thuc Quy, Bui Chinh Lo, and Dang Van Ba…

Therefore, from a form of folk art of the working people, along with the refinement and improvement by many generations of artisans, and the meticulous participation of Confucian scholars, renowned figures, and academics over time, this folk song genre has become increasingly perfected, with a tight structure, refined lyrics, and carefully selected rhymes, to become an attractive cultural form with high artistic value.

During the resistance wars against the French and the Americans, the folk songs of Ví and Giặm were adapted into verses, call-and-response songs, and animated songs, becoming effective tools to encourage and motivate the spirit of soldiers, militia, and the people fighting to defend the Fatherland. This type of artistic activity does not require elaborate space, time, or performance circumstances; it does not need complex musical instruments, props, or costumes, and can be performed by individuals or groups, from small groups to large audiences… Therefore, it is easily accepted and disseminated, having a strong spread and influence in the community.

Ví and Giặm folk songs are a form of cultural activity closely associated with the lives of the people.,The folk songs of Nghe An province are a major part of the lyrical poetry and folk songs of the Nghe An sub-cultural region. People in Nghe An sing these songs at all times and in all places: while rocking their children to sleep, weaving, working in the fields, rowing boats, or milling rice... In the most natural way, these songs have become a popular artistic means for people to express their thoughts and feelings; for young men and women to express their love; for communities to show closeness and connection; and for people to express their love for their homeland and country. Furthermore, these folk songs exhibit a high degree of local character, allowing for maximum expression of the singer's thoughts and feelings in the local language—a characteristic unmatched by any other folk song genre in Vietnam.

In addition, the folk songs of Ví and Giặm are intangible cultural heritage with profound humanistic content and values..The content ranges from descriptions of daily life and production to reflections of history, customs, traditions, and rituals, praising love for one's homeland, and especially reflecting on love between men and women. These contents are expressed with profound depth and heartfelt emotion, reflecting the enduring struggle of people against the harsh natural environment. These folk songs, known as "ví" and "giặm," possess deep educational value, contributing to the moral and ethical education of people in all aspects of life, emphasizing filial piety, respect for parents, and praising faithful love, a life of loyalty and affection, honesty, nobility, and compassion.

Therefore, it is an effective tool contributing to the preservation and transmission of fine customs, good manners, and traditional cultural values. With these profound humanistic values, folk songs of the Ví and Giặm genres have made significant contributions to shaping the character of the people of Nghe An and Ha Tinh provinces, and to creating the cultural characteristics of a region renowned for its studiousness and scholarly achievements.

Furthermore, this is a form of folk performance with many unique artistic values, reflecting the distinct cultural identity of the locality. Ví and Giặm folk songs are strongly appealing because of their improvisational, flexible, and graceful style, as well as their structured and organized nature, clearly showcasing the characteristics of the locality. In terms of performance style, Ví and Giặm are performed in three forms: solo singing, call-and-response singing, and group singing. Regarding melody, rhythm, and tempo, Ví singing is a free-form, recitative style based on lục bát, song thất lục bát, and modified lục bát verse forms, while also depending on the context and the mood of the singer. Basically, they share a common melody. The only difference is that when sad, the voice is low; when happy, it is high and enthusiastic; when angry, it is hurried and irritated...

Giặm is a form of spoken singing with a clear rhythm and tempo, featuring strong and weak beats, and internal and external rhythms, usually in 3/4 and 6/8 time signatures. The lyrics of giặm songs are primarily based on five-word poems (five-syllable poems or ballads). A giặm song usually has many stanzas, the most common being each stanza with five lines, with the fifth line repeating the fourth. The two styles of singing, ví and giặm, are always performed interchangeably. Each singer can sing ví with a free melody, or giặm with strong and weak beats, or both. Each style of singing expresses a unique emotion and way of expression, but all reflect the spirit and character of the people of Nghe An province.

Cultural heritage in general is always an attractive and appealing aspect for tourists. Tourism focused on cultural heritage can leverage cultural potential to drive economic development. Through tourism activities, cultural heritage is widely introduced to the world. The close and synchronized integration of national cultural and tourism programs, incorporating folk songs and dances into tourism activities, is a feasible and necessary approach. This approach simultaneously preserves and promotes the value of heritage while achieving economic goals and tourism development.

Following the recognition of the Ví and Giặm folk songs as an intangible cultural heritage of humanity, numerous activities have been undertaken to encourage and integrate this folk music genre into tourism development. Most notably, the Center for the Preservation and Promotion of Nghe An Folk Songs has been tasked with supporting, training, and guiding the establishment of folk song clubs in hotels and restaurants.

To date, the Center has organized many performances to serve tourists from all over the world.

References

1. Nguyen Chi Ben, Bui Quang Thanh,Folk songs of Nghe An and Ha Tinh provinces: Vi and Giam, PublisherInformation CultureHanoi, 2013.

2. Hoang Trong Canh,Local terms with a parallel structure in Nghe Tinh folk poetry - Preserving and promoting the values ​​of Nghe Tinh folk songs and chants, PublisherNghe An, 2012.

3. Ninh Viet Giao,The scholarly quality in the lyrics of Nghe An's Vi and Giam folk songs - Preserving and promoting the values ​​of Nghe An's Vi and Giam folk songs., PublisherNghe An, 2012.

4. Vu Ngoc Khanh,Some observations on Nghe Tinh folk songs, MagazineArts and Culture of Nghe Tinh, No. 21, 1996, p. 117.