Then – a singing genre of the Tay, Nung and Thai ethnic people in Viet Nam, is not merely a ritual practice but also a spiritual bridge linking humans with deities – a resonance of hopes for peace, bountiful harvests, and community cohesion.

Then singing is currently performed at many cultural and tourism events.

In Vietnam’s rich treasury of folk culture, Then is regarded as a precious gem, embodying elements of belief, art, and humanity.

Nurturing national cultural identity

The ritual practice of Then was named in the list of Intangible Cultural Heritages of Humanity during the 14th session of the UNESCO’s Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage in December 2019, becoming a source of national pride and a reminder of the responsibility to preserve and promote a cultural tradition that has nurtured generations.

Since then, the art genre has been continually revitalised and promoted, serving as a “fresh spring” that flows endlessly into contemporary life.

Then practice is an essential part in the spiritual life of the Tay, Nung and Thai ethnic groups, and practised in many northern provinces, including Cao Bang, Thai Nguyen, Lang Son, Son La, and Quang Ninh.

These rituals are closely tied to the milestones of each person’s life, such as the full-month ceremony, peace prayer, maturity ritual, and longevity celebration. Each Then chant conveys a blessing and a belief, both sacred and familiar.

It is said to have originated in the late 15th century during the rule of Mac Dynasty. Legend has it that in Mac Dynasty, there were two kings who had special love for music and singing.

They developed a handmade gourd lute called dan tinh and established two singing troupes to perform at the royal court. Ordinary people found it interesting and started learning it, preserving this form of singing till date.

Then performance reflects the cultural characteristics of those ethnic groups, from music to dancing and musical instruments. The ethnic groups believe Then singing was handed down from the God belonging to a mysterious world to which only “Ong Then” and “Ba Then” can contact.

People’s Artist Nong Thi Lim, 85, from Lang Son province, shared that whenever she sings, she is not only singing for her village but also connecting with ancestors and the heavens. Thus, Then carries the power to unite the community and help people overcome hardships.

Meanwhile, People’s Artist Hoang Thi Bich Hong from Thai Nguyen province said Then not only holds aesthetic value but also fully reflects the spiritual, historical, and social life of the Tay and Nung ethnic communities.

Preservation efforts

Over the centuries, Then has been passed down and preserved within communities. Veteran artists like Hong and Lim have been the “torchbearers,” bringing Then from stilt houses to the stage, and from ritual spaces to art classrooms.

Young artist Xuan Bach, a lecturer at Viet Bac Art and Culture College in Thai Nguyen province, expressed his desire to bring Then into the classroom so that students not only learn the techniques but also grasp the spirit of the heritage.

In addition to teaching and transmission, many localities have integrated Then into modern life. In Quang Ninh and Lang Son, community-based tourism featuring Then performances has provided livelihoods for local residents while supporting the preservation of this cultural heritage.

The Then singing heritage has transcended the boundaries of a folk ritual to become a symbol of identity and a cultural pride of the Vietnamese people.

The journey of preserving and promoting Then today requires not only the dedication of artisans and artists, but also the engagement of young people, the community, and cultural managers. Preserving Then is a responsibility and a way to affirm Vietnam’s cultural identity in the course of global integration.

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