Vietnam The Arts

History. Vietnam’s greatest writer is universally recognized as Nguy[n Du, who wrote Truy_n Ki]u (Tale of Kieu), an epic in verse. Truy_n Ki]u is about the tragic life of an aristocratic woman, and it openly criticizes imperial society and describes the hardships of the peasants’ life. Vietnamese of all ages and social classes can recite passages from the epic. Though this and all other early Vietnamese literature was written in the Chinese ch n®m script, when the French occupied Vietnam, they sought to curtail Chinese influence by banning Chinese and instituting the Latin-based qu#c ng script. Literature written in the vernacular flourished by the 1920s and 30s and played a significant role in the nationalist struggle against colonial power.

The Current Scene. Vietnamese author B=o Ninh’s The Sorrow of War (1996) is exceedingly powerful and one of the few well-known Vietnamese books written about the American War. The 2002 novel Catfish and Mandala, by Vietnamese-American Andrew X. Pham, tells of the author’s bike adventure through the country and his subsequent reconciliation with his country of birth. American author Karin Muller’s Hitchhiking Vietnam is written in the same vein. Poetry remains a popular literary form, though today’s poems are mostly written in reaction to the false Socialist patriotism that preceded it.

Visual Arts

History. Pre-modern Vietnamese art was a reflection of traditional Chinese styles. Painting, never as popular in Vietnam as in other Asian countries, usually involved landscapes as well as figural themes such as Ddragons and unicorns. Portrait painting was popular among wealthier families for the purpose of ancestor worship. Lacquer painting was first introduced during the 15th century and involves applying up to 12 layers of paint extracted from tree sap to a wooden background; while time-consuming, the practice’s results are visually stunning. The method was traditionally used to decorate pagodas and palaces.

Early sculpture focused on figure-carvings of the Buddha, although the lotus flower was also a hit theme. The Hindu kingdom of Champa produced great sculpture, much of which is on display at the Chàm Museum in à N{ng . During the colonial period, painting and sculpture were heavily influenced by French Impressionism. During the 1930s and 40s, Vietnamese modernist artists reawakened national interest in art. Styles diverged during the war-torn decades following WWII. In the south, the style was more romantic, with the occasional violent, realist streak; in the Democratic Republic of Vietnam, inspirational and occasionally ludicrous propaganda scenes abounded. Unsurprisingly, themes other than Socialist Realist ones were “discouraged” by the state. In fact, they still are—though to a much lesser extent.

The Current Scene. Today, Vietnam’s artistic scene is centered in Hà Nÿi, but traditional folk art (including weaving, musical instrument construction, and wood figure carving) is found in all regions. The handicraft villages surrounding Hà Nÿi provide an opportunity to witness artists busy at ancient practices of metal work, embroidery, and paper-making. Every other year, Hu\ celebrates the arts with a large festival. The commercialization of the visual arts—often sold en masse in the streets—has led to a rebirth of traditional art forms, including lacquer- and silk-frame-painting. Since the opening of the economy to foreign influences, the government’s hand in the art scene has diminished, allowing for the creation of more controversial and individualistic works. Many new galleries are popping up in Hà Nÿi and HCMC as a new generation of young painters and sculptors—many graduates of the Fine Arts University in Hà Nÿi—draws both national and international attention. The artistic community near à Låt is an ideal place to catch up on the latest national trends.

Architecture. Traditional Vietnamese architecture, which stresses line symmetry and harmony, is largely influenced by the Chinese. Although some have been destroyed or have weathered over time, many pagodas, temples, and palaces have been preserved and still stand today. The Imperial Palace in Hu\ remains an impressive monument to intricate but simple style. In the south, the Chàm influence is more apparent and is markedly distinct from the northern style, with more blocky, meticulously carved surfaces and an emphasis on Hindu religious figures.

Dance And Drama

History. Indigenous Vietnamese dances differ greatly across regions, as each minority group traditionally performs rituals specific to its own village. Every year during the T\t Celebrations, men and women celebrate the new year with a ritual dance (called the Unicorn Dance in the south and the Dragon or Lion Dance in the north) that signifies peace, complete with elaborate choreography and costumes.

All theatrical productions involve some sort of musical accompaniment. Hát tu·ng and c=i l™£ng (reformed opera) are popular in Central and Southern Vietnam. Tu·ng was influenced by Chinese opera in plot, costumes, and instrumentation, while c=i l™£ng combines elements of tu·ng with Western musical traditions. A third popular genre, múa r#i n™øc (water puppetry), originated in the north. Wooden puppets cavort across the surface of a shallow pool, acting out fairy tales. Puppeteers, standing knee-deep in water behind a screen, manipulate the puppets with rods.

The Current Scene. The best way to catch a glimpse of the rich traditions of dance and drama at work today is to schedule your trip around a festival—try for T\t if at all possible. Water puppetry is still big; the best place to admire it is the Thng Long Water Puppet Theater in Hà Nÿi . The biannual Hu\ festival is also dazzling, with its international performing artists.

Music

History. Folk songs (dñn ca) originated in the countryside and were sung at festivals and in the fields. Musical theater is also characterized by regional variation. Most famous is the northern hát chèo, which combines singing, acting, and dancing. ÿng S£n drums, dating back to the earliest dynasties, are still used today, as are the Œàn b<u (monochord) and bamboo flute. During the American War, Western-style music became popular, particularly in the south. Lyrics were often politically charged and served as a means of resistance, although the government restricted complete freedom of expression.

The Current Scene. Today, traditional music troupes sometimes stage performances in Hà Nÿi theaters, and, more rarely, in HCMC. The Opera House in Hà Nÿi holds regular performances, although the Western tradition prevails in this performing space . Popular Western music floods karaoke bars throughout the country. Vietnam even has its own pop idol contest on television, called Morning Star—A Destination. The government has expressed concern over the lyrics and dress embraced by popular artists, but the show remains a hit.

Film

Vietnamese film does not have a particularly prolific history, although Vietnam itself is the subject of many American and French films. Most of the films coming out of Vietnamese Feature Film Studies in North Vietnam, until the market reforms of 1986, were essentially political propaganda. The focus turned to reunification after the war, and the films were largely the work of directors from the College of Stage Arts and Cinematography in Hà Nÿi. Today, however, a few Vietnamese directors are emerging on the international scene, with their aesthetically stunning work that centers on the challenges of daily life in Vietnam. The most famous director is Tran Anh Hung, known for his award-winning The Scent of Green Papaya (1993), in addition to Cyclo (1995) and The Vertical Ray of the Sun (2000). Vietnamese-American directors Tony and Timothy Bui have added to this theme with their respective films Three Seasons (1999) and Green Dragon (2001). Daughter from Danang (2002), directed by Gail Dolgin, chronicles a Vietnamese-American woman’s journey to her country of birth to find her mother. Every other year since 2003, the Vietnamese International Film Festival has celebrated Vietnamese cinema in Irvine, CA.

As for films about Vietnam, the options are endless. American War films abound; some are of legendary status, like Francis Ford Coppola’s Apocalypse Now (1979), based on Joseph Conrad’s novel Heart of Darkness, and Stanley Kubrick’s Full Metal Jacket (1987). For a more detailed list, please refer to Additional Resources . The French film Indochine, directed by Regis Wargnier, addresses the colonial period in the most romanticized of manners.