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VIETNAM ACADEMY OF SOCIAL SCIENCES
GRADUATE ACADEMY OF SOCIAL SCIENCES
L
HA XUAN HUONG
MAKING COMPARISON BETWEEN DAILY LYRIC
FOLK OF TAY PEOPLE AND THAI PEOPLE IN
VIETNAM
Major: Folklore
Code: 9220125
SUMMARY OF THE DOCTORAL DISSERTATION
IN CULTURE
Hanoi - 2019
The dissertation completed at Graduate Academy of Social Sciences,
Vietnam Academy of Social Sciences
Supervisor: Prof. Dr. Nguyen Xuan Kinh
Reviewer 1: Prof. Dr. Le Chi Que
Reviewer 2: Assoc. Prof. Dr. Tran Duc Ngon
Reviewer 3: Assoc. Prof. Dr. Nguyen Thi Bich Ha
The dissertation will be defended at Graduate Academy Level Council of
dissertation assessment at Graduate Academy of Social Sciences, Vietnam
Academy of Social Sciences, 477 Nguyen Trai, Thanh Xuan, Hanoi.
Time: ………… date ………. month …… …year 201…
The dissertation may be found at:
- Vietnam National Library;
- Graduate Academy of Social Sciences Library
INTRODUCTION
1. The necessity of the thesis
1.1. Culture is one of important elements contributing to
create ethnics, distinguish this ethnic with other ethnic. In which,
folklore accounts for more dominance in reflecting thinking, emotion
of ethnic. Vietnam is a country with multi ethnic groups. Via forklore
of ethnics, we can recognize the harmony in variety of culture
relation between ethnic groups. Doing research by comparing
forklore of ethnic groups shall bring many abilities of discovering
typical features as well as general features.
1.2. Tay and Thai are two second and third crowded ethnic
groups in 54 ethnic groups of our country, playing a role of main
culture subject of the North – East and North – West. With a
distinctive value of culture and forklore, two ethnic groups play
important role in total Vietnam fork culture.
1.3. In the zone of forklore of Tay and Thai people, fairytail
and forksong are two the most plentiful and typical culture features
being closed to customs, habit, belief, and festival… of these ethnic
groups. So, it can be said, Tay and Thai forksong show the most
focal and clearest cultural identity of two ethnic groups
1.4. In minority ethnic groups, language in forksong has not
developed as an independent type so researchers consider forksong
without considering their folk, considering forksong as an object of
researching of forklore inspite of its performance art.
1.5. Forksong of Tay and Thai is plentiful and distinctive
with equal and different features. So, comparison between living
lyric forksong of Tay and Thai people in Vietnam is necessary to
contribute to discover the generality, popularity in culture of these
ethnic groups, simultaneously, displays the typical feature of each
ethnic in the picture of Vietnam culture, contributing to define the
catchet of nation culture.
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2. Purpose and duty of the thesis
2.1. Purpose of reseaching: Through making comparison
betwween daily lyric folk of Tay and Thai people, it is clear that the
unity and diversity of folk songs of ethnic groups in Vietnam general,
folk songs of Tay and Thai people particular, and explain the cause
of such unity and diversity.
2.2. Duty of researching: System of document and survey of
performance in the fact; analyzing, assessing aspects of living lyric
forksong of Tay and Thai, making it as the base for comparing and
affirming popular features and typical features of ethnic.
3. Object and scope of researching
3.1. Object of researching: Object of researching of the
thesis is living lyric forksong of Tay and Thai people in Vietnam
3.2. Scope of researching: We only do research living lyric
forksong of Tay people in Northeast and Thai people in Northwest.
Document resource is choosen to survey is biligual forksongs in published
works, including 500 songs of daily lyric folk of Tay with 4216 sentences,
286 songs of daily lyric folk of Thai with 6068 sentences.
4. Methodology and method of research
4.1. Methodology: During use of norms of literature research
without forgetting the typicality of forklore; when making comparison
living lyric forksong of two ethnic groups Tay and Thai, we pay
attention to relationship between the generality and particularity. The
generality here is whole mankind of forklore, the high homology of
forksong of ethnic groups in Vietnam. The particularity here is the
typicality of living lyric forksong of each ethnic.
4.2. Method of research: The thesis combines to use methods
of research below: countryside, statistic, comparison, interdiscipline..
5. New contributions about science of the thesis: The thesis
is first work putting living lyric forksong under view of comparison.
The thesis points out and explains homological different features of
living lyric forksong of Tay and Thai, forwarding to contribute voice
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of determining the generality of Vietnam culture from above features,
simultaneously, determining the ethnic typicality about culture of two
ethnic groups Tay and Thai. Besides, implementing the thesis under
the observation, association with literature of Kinh people shall supply
a more wholehearted view about the generality and the particularity of
two ethnic groups in expressing that generality under the impact of
natural environment, historical and social features... Silmuntanesouly,
the awareness of particularity of Tay, Thai culture also becomes more
clear and subjective in the eyes of other people.
6. Theoretical meanging and the reality of the thesis
6.1. Theoretical meaning: The thesis makes clear and assess
homologicaland different features of living lyric forksong of Tay,
Thai in the conncection with features of nature, society, culture,
history of ethnic. Comparising forksong to make clear culture
character of Tay, Thai people help two ethnic groups affirm
themselve. Silmultaneously, research results of the thesis contributes
more document and recoginition in learning the popularity and
typicality of ethnic forksong, relationship between ethnic, regional
culture with unified nation culture..
6.2. Meaning of the reality: Research result of the thesis can
be the base for preserving, developing distinctive culture values of
two minority ethnic groups who are playing an role of regional
culture subject in the mountanous area of the North, building a block
of nation solidarity. Besides, research result of the thesis also has
value to the reality of researching and teaching living lyric forksong
of Tay and Thai people in particular, forklore in general.
7. The structure of the thesis: Out of Introduction,
Conclusion, referent document and Appendix, Content is deployed
with four chapters as below:
Chapter 1: Overview of research situation and theoretical basis of the
thesis.
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Chapter 2: Overview of Tay people and Thai people in Vietnam and
their daily lyric folk
Chapter 3: Homological features of daily lyric folk of Tay people
and Thai people
Chapter 4: Different features of living lyric forksong of Tay people
and Thai people
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CHAPTER 1: OVERVIEW OF RESEARCH SITUATION
AND THEORETICAL BASIS OF THE THESIS
1.1. Overview about research situation
1.1.1. Situation of collecting, researching daily lyric folk
1.1.1.1. Situation of collecting daily lyric folk of Tay people: Living
lyric forksong of Tay people is collected fairly early and paid
attention to introduce under many bilingual forms.: Roi – Old culture
of Tay Nung literature (1970), Phong slư (1991), Lượn slương
(1992), Lượn cọi (1994), Lượn cằm Tày Hoàng Liên Sơn (1997), Sli
lượn couple sing of Tay Nung people in Cao Bang (2003), Chồm
bjoóc mạ (2005), Lượn then in the Eastern of Cao Bang (2010), Folk
poetry of Tay Nung in Lang area (2012), Iếu – Forksong of Tay
ethnic (2012), Lượn Tày: Lượn Tày Lạng Sơn, lượn slương (2012),
Idioms – byword Fork of Tay ethnic (2014), Byword and folk of Tay
in Ba Be lake (2014), Lượn rọi – antiphonary of Tay people (2016),
Tàng pây kết chụ (Way of making lover) (2016). In these works,
collectors publish living lyric forksong document belonging to types
as lượn cọi, lượn slương, rọi, iếu, lượn then… It can be said that,
store of living lyric forksong is very plentiful and has been collected,
published with a big amount.
1.1.1.2. Research result of daily lyric folk of Tay people:
Group of primary instruction, overview in essays, introduction at the
beginning of books publishing document of living lyric forksong of
Tay peoplen: About name: Sli, lượn lyric forksong of Tay Nung,
Lượn cọi Tày – Nùng. About classification: folklore of Tay, Folk
poetry of Tay – Nung in Lang area. About features of each group of
songs: Roi – Old culture of Tay Nung literature, Lượn rọi –
antiphonary of Tay people, Lượn slương, Phong slư, Lượn cọi, Lượn
then in the Eastern of Cao Bang, Lượn Tày: Lượn Tày Lạng Sơn,
lượn slương, Folk poetry of Tay Nung in Lang area, Idioms – byword
Fork of Tay ethnic, Iếu – Forksong of Tay ethnic. About general
features for the whole living lyric folksong or living lyric folksong in
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one local: Folklore of Cao Bang, Sli lượn couple sing of Tay Nung
people in Cao Bang, Folklore of Tay – Nung in Vietnam, Idioms –
byword - Fork of Tay ethnic.
Agroup of researching deeper about any matter or a specific
part of living lyric folksong in the thesises, monographs: Narrative
element in folksong of Tay, syrveying meaning of image in folk –
folksong of Tay Nung, lyric character in cắm nôm – folksong of Tay
in Van Chan, Yen Bai province, Ieu of Tay people in Bac Quang, Ha
Giang province- contents and art, Sing lượn slương of Tay people
(via survey in Yen Cu, Cho Moi district, Bac Kan province),
folkmusic of Tay – Nung – Dao ethnic groups in Lang Son.
1.1.2. Situation of collecting, researching daily lyric folk of Thai people
1.1.2.1. Situation of collecting daily lyric folk of Thai
people: Works introduce daily lyric folk of Thai people under
Vietnamese: Ẳm ệt luông, epic folksong byword of Thai ethnic in Mai
Chau district, Hoa Binh Province, Thai folksong (two hundred and
six folksongs of Thai about love), folksong of Thai in Mai Chau.
Works publish documentation of living lyric folksong of Thai under
bilingual: Thai folksong in Tay Bac – Vietnam, Khắp sứ lam of Thai
black in Noong Luong commune, Dien Bien district, Dien Bien
province, folksong of Thai Lai Chau, Book 1 - Chiêng xoong mố bók
(Spring of flower season), folksong of Thai Lai Chau, Book 2 – Poetry and
love folksong of Thai Muong So people . In the fact, quantity of daily
lyric folk of Thai are published under bilingual are not equal to the
plenty of this folksong store.
1.1.2.2. Situation of researching daily lyric folk of Thai
people: Group of preliminary and overview instruction in
introduction at beginning of books pubishing documentary of Thai
daily lyric folk and writings on magazine: Thai folksong (two
hundred six folksongs of Thai about love); Hạn Khuống, one kind of
traditionaly musical festival of Thay Tay Bac; Thai Lai Chau
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folksong, book 1 – Chiêng xoong mố bok (the Spring of flower
season), book 2 – Poetry and love folksong of Thai Muong So people.
Group of deeper research about matter in the monographs,
thesises, essays: Language with forming typical tonation in Thai
folksong; Lullaby and first life ceremonies for kids of Thai people in
Sop Cop district, Son La province; Decoding some symbols in folk –
folksong of Thai ethnic; Symbol of water from culture folklore of
Thai people in Tay Bac Vietnam.
1.1.3. Overview of research situation about daily lyric folk
of Tay and Thai people according to comparison: We have not seen
any works with elaborate comparison about the similarity and
difference between daily lyric folk of Tay and Thai ethnic groups.
The comparison just stays at general consideration: Lê Chí Quế in
Classifying folksong of ethnic groups in the North of our country, Võ
Quang Nhơn in Folklore of minority ethnic group in Vietnam,
Nguyễn Thị Huế in Trends of changing culture of moutaneous ethnic
groups in the North of Vietnam, musician Tuan Giang in Characters
of folksong of Mong Tay Nung Thai .
1.2. The thesis, inheritance and development: Inheriting
achievement of previous authors, we make the comparison daily lyric
folk of two ethnic groups Tay and Thai. Works publish documentary
of folksong supplied believable documentary for us to choose for the
research, survey. The works have supplied us with precious
suggestions, despite just at draft. Our contribution mainly tries to
make clear those suggestions and systematizing, flashing them under
a new view is the comparison to make outstanding the popularity,
typicality of living lyric folksong of Tay, Thai ethnic groups. The
thesis is the first deeply research according to comparison type of
living lyric folksong of two ethnic groups Tay and Thai.
1.3. Theoretical basis
1.3.1. Theory about living culture is a subject that its theory
has formed for a long time. Theory of living culture is applied in
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researching culture, folklore to define and assess phenomenons of
folklores in their relationships. In comparison of folklore,
comparison methods are used to be: Methods of Geography, history,
method of comparing structute, method of comparing from
approaching ethology, method of history.
Applying into researching this thesis, we define main object
need to be compared being daily lyric folk, it means the folk lyric;
main purpose is to point out similar and different features about
contents, prosody, feature of performance, so we combine with
various forms of comparison method: Comparing historical type,
comparing from approaching ethology. Our comparison in this thesis
mainly is parallel comparison.
1.3.2. Ethnic cultural identity: Ethnic identity is a
combination of objectivity and subjectivity. Basically, that is an
objective. Identity is not something that is only available in one
ethnic group and another without, but under the impact of factors
such as natural, historical and social environment…, that ethnic
group is more bold. As such, we see that the Tay and Tha have both
the commonness of the ethnic group (across the bolder), and their
own after a long process of settlement with new natural social
conditions on the territory Vietnam.
1.3.3. Folksong and performing folksong
1.3.3.1. Concept of folksong and classifying folksong:
Folksong is totally forms of singing folk lyric, including text,
tonation, and means of performing, environment, context of singing.
Basing on the closure of folksong with other field in human’s life, it
can be divided three sub – types: labor folksong, ceremony folksong,
living folksong. In different ethnic groups, the distribution of these
sub – types are not equal
1.3.3.2. Concept of performing and performing folksong: We
decline to widen meaning as of Nguyen Khac Xuong and Richard
Bauman, but not agree with homogeneous point of view of
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performing with phenomenon without sound as pantomime, dance…
of Nguyen Khac Xuong. We think that performance is expressuing,
presenting products in charge by human. Related to performance
including elements as: products, time, place, sound… in which,
human is the most important.
Performing folksong is a part of of performance including
form of expression, presenting poem in specific circumstances of
life. In performing folksong, it is necessary to pay attention to
comprehensive relation between elements: artistic words, melody,
manner of singing.
1.3.3.3. Relation between folksong performance with prosody
of artistic lyric: In researching, it is necessary to pay attention to
relationship between performing folksong with artistic lyric because of
products are boldly impressed the footprint of components out of
literature of overall living of folklore..
* Sub - conclusion 1: In this chapter, we have rechecked research
situation about comparing living lyric folksong of Tay, Thai ethnic
groups and solved basically theoretical matters of researching the
comparison of living lyric folksong. We recognize that matters of
living lyric folksong of Tay, Thai little or much have been concerned
to discuss by researchers. Our thesis inherits theoretical poits which
are raised out and flashed under the view of comparison to find out
the similarity and difference of two folksong systems connotation of
culture inside. Besides, learning the theoretical basis of living
culture, folksong and performance are oriented fundamental for
researching comparison living lyric folksong of Tay, Thai when this
is parts of typical and plentiful folksongs of two ethnic groups in a
closed attachment with life.
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CHAPTER 2: OVERVIEW OF TAY PEOPLE AND THAI
PEOPLE IN VIETNAM AND THEIR DAILY LYRIC FOLK
2.1. Concept of Tay and Thai people in Vietnam
2.1.1. Tay people
Tay people belongs to language group of Tay – Thai, with
ancestor was Western Europe – Lac Viet in group of Bach Viet
ancient. Tay people was distributed on a stable area of North East
with North of Han, downward Kinh, Tay people in the modern is
formed on the base of local groups of Tay, Tay origins from Kinh,
Tay origins from Nung and other same ethnic groups come from
other sides of border. They have strong communication with culture
of Kinh, Han. Tay people belongs to valley culture.
2.1.2. Thai people
Thai people belongs to Bach Viet ancient as Tay people,
immigrated into Vietnam around century VII – XIII. They setted up
their influence in Western Europe both population and culture,
became a crowded ethnic group with their strength in Western
Europe. In the history, Thai people used to maintain their significant
self – governing and less communicated with Kinh and Han culture.
Thai people also belong to valley culture as Tay people with
qualification of economic development are similar to Tay people.
Cultural life is preserved many endogenous elements, less
communicated with culture of Kinh and Han. .
2.2. Daily lyric folk of Tay and Thai people – recoginition and
classification
2.2.1. Living folksong and daily lyric folk of Tay and Thai
people: Living folksong includes: lullaby, nursery rhymes, songs about
country love, nation, about family love and relative, about couple love,
dehortation. Living lyric folksong is a part in living folksong. It is called
daily lyric folk, we emphasize on the lyric of research object and get rid
of lullaby and nursery rhymes out of research scope..
2.2.2. Classifying daily lyric folk of Tay and Thai people
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Accepting classification opinion of Chu Xuan Dien, Tran Thi
An, especially the classification of Le Chi Que to daily lyric folk of
two ethnic groups Tay, Thai, we divide daily lyric folk of Tay, Thai
into single groups of singing and aniphoral; simultaneously,
arranging types of song upon below groups:
In daily lyric folk of Tay people, lubally including lượn cọi
(sing to call lover), lượn slương (love songs), lượn nàng ới (sing to
call girlfriend), lượn then (sing then), iếu (sing iếu), rọi (including:
phuối pác – speak in sentence uiwth rhyme, phuối rọi – speak
including chain of rhyme as singing lượn rọi – sing rọi), cắm nôm (
nôm);single singing including phong slư (billet doux is sent to
girlfriend and vice verse).
In daily lyric folk of Thai people, antiphonal including Khắp
báo xao (hát trai gái), khắp xai peng (singing love line), khắp tua
(antiphonal), khắp hạn khuống (singing at playground), khắp hặc
xơng, khắp xai xơng (love singing), khắp xe (singing xoe dance),
khắp tặc luông (hello sing)…; single singing including Khắp loong
tôông (singing on the field), khắp loong te (singing backup in the
river), khắp khơ nay chơi (troubadour), khắp xáng buôn (sing to
release sorrow).
* Sub - conclusion 2: In this chapter, we overview about Tay, Thai
people in Vietnam to point out historical and cultural circumstance
for forming and developing and existing of daily lyric folk of Tay,
Thai. From those, we sketch appearance of daily lyric folk of Tay,
Thai on main features to prepare for comparing this folksong of two
ethnic groups in the next chapters.
Tay, Thai people are two ethnic groups with the same origin,
and long resident history in the mountaineous area of the North.
Experiencing many variations in the history, step by step they have
affirmed their stability considering about distribution of population
and culture. In which, Tay people have established their influence in
Northern Earst, Thai people have established their influence in
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Northernwest. They account for valleys in the feet of mountains,
creating valley cultural ecology. Basic features of Tay culture is the
interchange of Tay, Kinh, Han culture elements; In which, Thai
people less is suffered from Kinh culture. These features shall affect
to the similarity and difference in daily lyric folk of Tay, Thai. And
these features shall affect largetly to the similarity and difference in
daily lyric folk of Tay, Thai
About daily lyric folk, we have made clear the connotation of
concept and classified basing on form of performance. Those shall
help us have an more clear overview about store of daily lyric folk
which are very plentiful and various so as to choose and delimite
necessary document during our processs of researching.
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CHAPTER 3: HOMOLOGICAL FEATURES OF DAILY
LYRIC FOLK OF TAY PEOPLE AND THAI PEOPLE
3.1. The similarity in reflecting the reality in
mountainous areas and human’s emotion
3.1.1. Daily lyric folk reflect the real life of residents in the
mountainous areas: By his love, pride, the author has reflected the
real landscape and life with deep moutaneous rural area of two ethnic
groups of the same valley culture ecology in the mountainous area of
the North with various and clinking culture features in daily lyric folk.
3.1.2. Daily lyric folk reflects the bosom, emotion of
human: Daily lyric folk of Tay, Thai is lyrical voice, reflecting
plentiful emotion world of human surrounding relationship, but it can
be considered basing on two big subjects: Couple love and family
life. This bases on the common emotion rule of human.
3.2. The similarity about way of expressing emotion of
lyric object: Via survey of daily lyric folk of Tay, Thai, we realize
that there is the similarity in four ways of artistic speaking of lyric
object are: Hinting, modest, emfasy, imperative, origining from the
demand of expressing content of lyrical object and meeting the shift
of performance procedure of the antiphonal. .
3.3. The similarity in using flower symbol
In daily lyric folk, Tay and Thai people use Flower symbol
with the density and plentiful instructions: flower is the measure of any
standards (beauty, virtue, love), flower is the human. The similarity as
above about using symbol flower in daily lyric folk of Tay, Thai
expresses the close in psychology, thinking about flower of residents
who have ever had the same ancient primary culture. Besides, the
metabolism of symbol flower from folklore to living lyric folksong of
Tay, Thai is process of decoding notions by language signals. When
making metabolism from folklore into living lyric folksong, symbol
flower shall be suffered from the influences of language features,
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folksong type and these shall make symbol flower more meaningful
and being closed with thinking, emotion of an ethnic group.
3.4. The similarity about performance procedure of
antiphonal and the participation of music into performance
3.4.1. Performance procedure of antiphonal: Daily lyric
folk of Tay, Thai people got three main journeys: Hello – expressing
emotion – goodbye. This feature is formed due to common
psychological rule of human: Historical tradition and information
principle of a conversation.
3.4.2. The participation of music into performance: Music
participates in performance: Music participates in performing daily lyric
folk of Tay and Thai peole at two levels are: simple singing and
development singing. The similarity about aesthetic awareness and
qualification of developing socio – economy leading to the existence of
both musical types in performing daily lyric folk of Tay and Thai people.
3.5. Iếu and cắm nôm – the interference of daily lyric folk
of Tay and Thai people: The interference is expressed in name,
natural language feature, the chastity, repeat of phrasals and structure
in the internal song, freedom poem, and the appearance of Thai
toponyms in living lyric folksong. This feature is origined from
culture interference in the condition of alternative living, closed
living, from the proximinity of tribe origin and together the same
valley culture ecology.
* Sub – chapter 3: Daily lyric folk of Tay, Thai is similar at
following points: Firstly, living lyric folksong of Tay, Thai all
reflects the real life and emotional world of human. This is based on
the psychological rule of human and life appearance of two ethnic
groups. Secondly, there is the similarity about ways of artistic
speaking of lyric object including: Hinting, modest, emfasy,
imperative, origining from the demand of expressing content of
lyrical object or upon the requirement of each stage of singing in
antiphonal. Thirdly, symbol flower appears in two systems of
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folksong with high frequence and plentiful meaning directions. This
origins from the same feature in psychology, thinking of thinking
about flower of tribes who have had the same ancient primary culture
and are regulated by features of language and type of literature.
Forthly, there is the similarity of three journeys: Hello – expressing
emotion – goodbye. This feature is formed due to historical tradition
and the informative of a conversation. About music, performing
living lyric folksong of Tay, Thai at simple singing and development
singing reflects the similarity about development qualification of tribe.
Fifthly, two types of folksong Tay are iếu and cắm nôm bringing
themselves the footprint of living lyric folksong of Thai, related to
the close of resident place of living, orgine as well as condition of
living of two ethnic groups.
CHAPTER 4: DIFFERENT FEATURES OF DAILY LYRIC
FOLK OF TAY PEOPLE AND THAI PEOPLE
4.1. The difference about lyric object
4.1.1. Lyric object with the behavior of harmony,
moderation and culture in daily lyric folk of Tay people: This
behavior is expressed at showing love, missing, antagonism when
meeting obstacle in love of Tay couple. This is the result of
comprehensive impact of affect of family mechanism, temporary
society, features of culture and natural environment to characters of
Tay people in the reality. Since then, it affects to collective
psychology and leads the crowd all like lyric object with way of
harmony, cultural, standard behavior as human at the middle age.
4.1.2. Lyric object with active, frank behavior and self –
awareness in daily lyric folk of Thai people: This behavior is
expressed at being active in searching, keeping individual happiness,
talking about sex, self – determine, being frank in love. Deep causes of
this is at the certain democracy for the lovers to learn eachother,
especially, open attitude, loving of the tribe for woman. Besides, the
behavior of lyric object is dream of Thai folk about human in the fact.
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4.2. The difference about prosody of atistic poem
4.2.1. The interweaving of Han and Viet language in artistic
poem: In the artistic poem of daily lyric folk is available of alternating
many Viet language with old phonetic, word Han – Viet with phonetic
and tonation are quite similar to modern language, songs are composed
in Vietnamese. This feature origins from complex process of
anthropology and process of interference of Kinh, Tay, Han language
happened in thousand years, especially from century XVII till now.
Mean while, daily lyric folk of Thai has only the appearance of Viet
language with very little level and in ancient phonetic form.
4.2.2. Formulas of artistic poems
4.2.2.1. System of images, symbols: In daily lyric folk of Tay
people, being popular image, symbol are human due to the psychology of
liking the ornate, savant under the influence of Han, Kinh culture; images,
symbol origin from nature like the moon, star, bee, butterfly, bird… due to
the nature and sense of Tay people towards nature. In daily lyric folk, it
is popular with image, symbol of water due to residential condition related
to much water space and the awareness of Thai people about the role,
relation of water to life of human on many fields; images, symbols origin
from handmade like: shirt, craft, blanket, pillow, thread… due to related
to custom, religiosity of Thai people.
4.2.2.2. The repeat of language in different scopes: In daily
lyric folk of Thai people, it is popular to repeat vocabulary and
structure in scope of a work due to related to freedom poem style and
language characters without marks. In daily lyric folk of Tay people,
it is popular to repeat frame of structure and opening sentence within
scope of work group with the same subject as the expression of
composed formulas to arrange songs with the same subjects into one
chapter lượn, simultaneously, related to features of using type of
seven words.
4.2.2.3. About using classic references: In daily lyrical folk
of Tay people, there’re appearances of three different souces: Han
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tribe, Viet tribe and ethnic. Tay people use classic references thickly
sometimes is alternated in the songs, sometimes uses to sing a long
chapter. This feature is related to the influence of writing literature of
Kinh people with favor of intellect and savant. Mean while, daily
lyric folk of Thai people useless classic references.
4.2.3. The popularity of poem styles
4.2.3.1. The popularity of style seven words in daily lyric folk
of Tay people: Seven words style accounts for majorly in living lyric
folksong of Tay. In which, lượn slương uses four sentences with seven
words each. Lượn cọi, phong slư, rọi… use sevens without ending.
Using this style is affected by literature writing of Kinh people.
4.2.3.2. The popularity of freedom style in daily lyric folk of
Thai people: All songs of daily lyric folk of Thai use freedom style
uiwth two types are khống khái and xư bắc, being suitable with
creating rhyme for easy remembering while old writing of Thai is
without full stop.
4.3. The difference about feature of performance
4.3.1. The organization of antiphonal: In Thai people, it is
popular both separate singing and team singing. For Tay people, the
footprint about separate singing, it means that performance without
organization but dim. Organizing team singing with stable and clear
form with the most outstanding.
4.3.2. Space, time of performance: In Tay people, it is the
most popular to festival lượn and lượn at home with fairly stable
form and public: Time of organizing is festival or available visitor
and it is organized at night at stilt house. For Thai people,
performance is freer about space and time.
4.3.3. Performance according to book: In Tay people, it is
available of performance according to books as lượn cọi, phong slư,
performing songs of lượn tuổng during performing lượn slương due
to features of songs belonging to this style is quite long. Herely, it is
17
emergent the role of singing book, slấy cá (teacher) and the role of
pjấy lượn.
4.3.4. The participation of choreography into performance:
In performance of daily lyric folk of Thai people in the funny
festivals, parties is often available of xoe dance due to the
development of dancing of Thai. In which, performance of living
lyric folksong of Tay people is absent in folk choreography.
Sub - conclusion 4
Daily lyric folk of Tay and Thai people is different at
following points: Firstly, lyric object in daily lyric folk of Tay people
has the way of gentle, moderative and gloss behavior, reflecting the
respect of order, enjoying the leisure of Tay people in the fact and the
influence of Kinh culture via gloss behavior. Behavior of lyric object
in living lyric folksong of Thai embody the initiative, strength due to
the democracy of the tribe and show the human’s model in their
dream. Secondly, under the view of prosody of artistic poem, daily
lyric folk of two ethnic groups of Tay, Thai is distinguished by many
points. In daily lyric folk of Tay people, that is the alternation of
Han, Viet elements in artistic poem, using classic reference with
thick frequence, system of image, symbol is human and image,
symbol origin in nature, the repeat in group of folksongs with the
same subject at the level of structure frame and opening sentence, the
popularity of seven words style. In daily lyric folk of Thai people,
that is image, symbol of water and image and symbol origining from
the artifial, the repeat in the internal of song at vocabulary and
structure of sentence, freedom style. Thirdly, performing daily lyric
folk of Thai people is prominent at freedom, vivid: freedom about
space, time, popularity both way of primary organization is primary
and form; Vivid by the participation of choreography. Performance
of Tay people is prominent at the stability and high organization by
its way of primary performance, maning public way of performance
18
GRADUATE ACADEMY OF SOCIAL SCIENCES
L
HA XUAN HUONG
MAKING COMPARISON BETWEEN DAILY LYRIC
FOLK OF TAY PEOPLE AND THAI PEOPLE IN
VIETNAM
Major: Folklore
Code: 9220125
SUMMARY OF THE DOCTORAL DISSERTATION
IN CULTURE
Hanoi - 2019
The dissertation completed at Graduate Academy of Social Sciences,
Vietnam Academy of Social Sciences
Supervisor: Prof. Dr. Nguyen Xuan Kinh
Reviewer 1: Prof. Dr. Le Chi Que
Reviewer 2: Assoc. Prof. Dr. Tran Duc Ngon
Reviewer 3: Assoc. Prof. Dr. Nguyen Thi Bich Ha
The dissertation will be defended at Graduate Academy Level Council of
dissertation assessment at Graduate Academy of Social Sciences, Vietnam
Academy of Social Sciences, 477 Nguyen Trai, Thanh Xuan, Hanoi.
Time: ………… date ………. month …… …year 201…
The dissertation may be found at:
- Vietnam National Library;
- Graduate Academy of Social Sciences Library
INTRODUCTION
1. The necessity of the thesis
1.1. Culture is one of important elements contributing to
create ethnics, distinguish this ethnic with other ethnic. In which,
folklore accounts for more dominance in reflecting thinking, emotion
of ethnic. Vietnam is a country with multi ethnic groups. Via forklore
of ethnics, we can recognize the harmony in variety of culture
relation between ethnic groups. Doing research by comparing
forklore of ethnic groups shall bring many abilities of discovering
typical features as well as general features.
1.2. Tay and Thai are two second and third crowded ethnic
groups in 54 ethnic groups of our country, playing a role of main
culture subject of the North – East and North – West. With a
distinctive value of culture and forklore, two ethnic groups play
important role in total Vietnam fork culture.
1.3. In the zone of forklore of Tay and Thai people, fairytail
and forksong are two the most plentiful and typical culture features
being closed to customs, habit, belief, and festival… of these ethnic
groups. So, it can be said, Tay and Thai forksong show the most
focal and clearest cultural identity of two ethnic groups
1.4. In minority ethnic groups, language in forksong has not
developed as an independent type so researchers consider forksong
without considering their folk, considering forksong as an object of
researching of forklore inspite of its performance art.
1.5. Forksong of Tay and Thai is plentiful and distinctive
with equal and different features. So, comparison between living
lyric forksong of Tay and Thai people in Vietnam is necessary to
contribute to discover the generality, popularity in culture of these
ethnic groups, simultaneously, displays the typical feature of each
ethnic in the picture of Vietnam culture, contributing to define the
catchet of nation culture.
1
2. Purpose and duty of the thesis
2.1. Purpose of reseaching: Through making comparison
betwween daily lyric folk of Tay and Thai people, it is clear that the
unity and diversity of folk songs of ethnic groups in Vietnam general,
folk songs of Tay and Thai people particular, and explain the cause
of such unity and diversity.
2.2. Duty of researching: System of document and survey of
performance in the fact; analyzing, assessing aspects of living lyric
forksong of Tay and Thai, making it as the base for comparing and
affirming popular features and typical features of ethnic.
3. Object and scope of researching
3.1. Object of researching: Object of researching of the
thesis is living lyric forksong of Tay and Thai people in Vietnam
3.2. Scope of researching: We only do research living lyric
forksong of Tay people in Northeast and Thai people in Northwest.
Document resource is choosen to survey is biligual forksongs in published
works, including 500 songs of daily lyric folk of Tay with 4216 sentences,
286 songs of daily lyric folk of Thai with 6068 sentences.
4. Methodology and method of research
4.1. Methodology: During use of norms of literature research
without forgetting the typicality of forklore; when making comparison
living lyric forksong of two ethnic groups Tay and Thai, we pay
attention to relationship between the generality and particularity. The
generality here is whole mankind of forklore, the high homology of
forksong of ethnic groups in Vietnam. The particularity here is the
typicality of living lyric forksong of each ethnic.
4.2. Method of research: The thesis combines to use methods
of research below: countryside, statistic, comparison, interdiscipline..
5. New contributions about science of the thesis: The thesis
is first work putting living lyric forksong under view of comparison.
The thesis points out and explains homological different features of
living lyric forksong of Tay and Thai, forwarding to contribute voice
2
of determining the generality of Vietnam culture from above features,
simultaneously, determining the ethnic typicality about culture of two
ethnic groups Tay and Thai. Besides, implementing the thesis under
the observation, association with literature of Kinh people shall supply
a more wholehearted view about the generality and the particularity of
two ethnic groups in expressing that generality under the impact of
natural environment, historical and social features... Silmuntanesouly,
the awareness of particularity of Tay, Thai culture also becomes more
clear and subjective in the eyes of other people.
6. Theoretical meanging and the reality of the thesis
6.1. Theoretical meaning: The thesis makes clear and assess
homologicaland different features of living lyric forksong of Tay,
Thai in the conncection with features of nature, society, culture,
history of ethnic. Comparising forksong to make clear culture
character of Tay, Thai people help two ethnic groups affirm
themselve. Silmultaneously, research results of the thesis contributes
more document and recoginition in learning the popularity and
typicality of ethnic forksong, relationship between ethnic, regional
culture with unified nation culture..
6.2. Meaning of the reality: Research result of the thesis can
be the base for preserving, developing distinctive culture values of
two minority ethnic groups who are playing an role of regional
culture subject in the mountanous area of the North, building a block
of nation solidarity. Besides, research result of the thesis also has
value to the reality of researching and teaching living lyric forksong
of Tay and Thai people in particular, forklore in general.
7. The structure of the thesis: Out of Introduction,
Conclusion, referent document and Appendix, Content is deployed
with four chapters as below:
Chapter 1: Overview of research situation and theoretical basis of the
thesis.
3
Chapter 2: Overview of Tay people and Thai people in Vietnam and
their daily lyric folk
Chapter 3: Homological features of daily lyric folk of Tay people
and Thai people
Chapter 4: Different features of living lyric forksong of Tay people
and Thai people
4
CHAPTER 1: OVERVIEW OF RESEARCH SITUATION
AND THEORETICAL BASIS OF THE THESIS
1.1. Overview about research situation
1.1.1. Situation of collecting, researching daily lyric folk
1.1.1.1. Situation of collecting daily lyric folk of Tay people: Living
lyric forksong of Tay people is collected fairly early and paid
attention to introduce under many bilingual forms.: Roi – Old culture
of Tay Nung literature (1970), Phong slư (1991), Lượn slương
(1992), Lượn cọi (1994), Lượn cằm Tày Hoàng Liên Sơn (1997), Sli
lượn couple sing of Tay Nung people in Cao Bang (2003), Chồm
bjoóc mạ (2005), Lượn then in the Eastern of Cao Bang (2010), Folk
poetry of Tay Nung in Lang area (2012), Iếu – Forksong of Tay
ethnic (2012), Lượn Tày: Lượn Tày Lạng Sơn, lượn slương (2012),
Idioms – byword Fork of Tay ethnic (2014), Byword and folk of Tay
in Ba Be lake (2014), Lượn rọi – antiphonary of Tay people (2016),
Tàng pây kết chụ (Way of making lover) (2016). In these works,
collectors publish living lyric forksong document belonging to types
as lượn cọi, lượn slương, rọi, iếu, lượn then… It can be said that,
store of living lyric forksong is very plentiful and has been collected,
published with a big amount.
1.1.1.2. Research result of daily lyric folk of Tay people:
Group of primary instruction, overview in essays, introduction at the
beginning of books publishing document of living lyric forksong of
Tay peoplen: About name: Sli, lượn lyric forksong of Tay Nung,
Lượn cọi Tày – Nùng. About classification: folklore of Tay, Folk
poetry of Tay – Nung in Lang area. About features of each group of
songs: Roi – Old culture of Tay Nung literature, Lượn rọi –
antiphonary of Tay people, Lượn slương, Phong slư, Lượn cọi, Lượn
then in the Eastern of Cao Bang, Lượn Tày: Lượn Tày Lạng Sơn,
lượn slương, Folk poetry of Tay Nung in Lang area, Idioms – byword
Fork of Tay ethnic, Iếu – Forksong of Tay ethnic. About general
features for the whole living lyric folksong or living lyric folksong in
5
one local: Folklore of Cao Bang, Sli lượn couple sing of Tay Nung
people in Cao Bang, Folklore of Tay – Nung in Vietnam, Idioms –
byword - Fork of Tay ethnic.
Agroup of researching deeper about any matter or a specific
part of living lyric folksong in the thesises, monographs: Narrative
element in folksong of Tay, syrveying meaning of image in folk –
folksong of Tay Nung, lyric character in cắm nôm – folksong of Tay
in Van Chan, Yen Bai province, Ieu of Tay people in Bac Quang, Ha
Giang province- contents and art, Sing lượn slương of Tay people
(via survey in Yen Cu, Cho Moi district, Bac Kan province),
folkmusic of Tay – Nung – Dao ethnic groups in Lang Son.
1.1.2. Situation of collecting, researching daily lyric folk of Thai people
1.1.2.1. Situation of collecting daily lyric folk of Thai
people: Works introduce daily lyric folk of Thai people under
Vietnamese: Ẳm ệt luông, epic folksong byword of Thai ethnic in Mai
Chau district, Hoa Binh Province, Thai folksong (two hundred and
six folksongs of Thai about love), folksong of Thai in Mai Chau.
Works publish documentation of living lyric folksong of Thai under
bilingual: Thai folksong in Tay Bac – Vietnam, Khắp sứ lam of Thai
black in Noong Luong commune, Dien Bien district, Dien Bien
province, folksong of Thai Lai Chau, Book 1 - Chiêng xoong mố bók
(Spring of flower season), folksong of Thai Lai Chau, Book 2 – Poetry and
love folksong of Thai Muong So people . In the fact, quantity of daily
lyric folk of Thai are published under bilingual are not equal to the
plenty of this folksong store.
1.1.2.2. Situation of researching daily lyric folk of Thai
people: Group of preliminary and overview instruction in
introduction at beginning of books pubishing documentary of Thai
daily lyric folk and writings on magazine: Thai folksong (two
hundred six folksongs of Thai about love); Hạn Khuống, one kind of
traditionaly musical festival of Thay Tay Bac; Thai Lai Chau
6
folksong, book 1 – Chiêng xoong mố bok (the Spring of flower
season), book 2 – Poetry and love folksong of Thai Muong So people.
Group of deeper research about matter in the monographs,
thesises, essays: Language with forming typical tonation in Thai
folksong; Lullaby and first life ceremonies for kids of Thai people in
Sop Cop district, Son La province; Decoding some symbols in folk –
folksong of Thai ethnic; Symbol of water from culture folklore of
Thai people in Tay Bac Vietnam.
1.1.3. Overview of research situation about daily lyric folk
of Tay and Thai people according to comparison: We have not seen
any works with elaborate comparison about the similarity and
difference between daily lyric folk of Tay and Thai ethnic groups.
The comparison just stays at general consideration: Lê Chí Quế in
Classifying folksong of ethnic groups in the North of our country, Võ
Quang Nhơn in Folklore of minority ethnic group in Vietnam,
Nguyễn Thị Huế in Trends of changing culture of moutaneous ethnic
groups in the North of Vietnam, musician Tuan Giang in Characters
of folksong of Mong Tay Nung Thai .
1.2. The thesis, inheritance and development: Inheriting
achievement of previous authors, we make the comparison daily lyric
folk of two ethnic groups Tay and Thai. Works publish documentary
of folksong supplied believable documentary for us to choose for the
research, survey. The works have supplied us with precious
suggestions, despite just at draft. Our contribution mainly tries to
make clear those suggestions and systematizing, flashing them under
a new view is the comparison to make outstanding the popularity,
typicality of living lyric folksong of Tay, Thai ethnic groups. The
thesis is the first deeply research according to comparison type of
living lyric folksong of two ethnic groups Tay and Thai.
1.3. Theoretical basis
1.3.1. Theory about living culture is a subject that its theory
has formed for a long time. Theory of living culture is applied in
7
researching culture, folklore to define and assess phenomenons of
folklores in their relationships. In comparison of folklore,
comparison methods are used to be: Methods of Geography, history,
method of comparing structute, method of comparing from
approaching ethology, method of history.
Applying into researching this thesis, we define main object
need to be compared being daily lyric folk, it means the folk lyric;
main purpose is to point out similar and different features about
contents, prosody, feature of performance, so we combine with
various forms of comparison method: Comparing historical type,
comparing from approaching ethology. Our comparison in this thesis
mainly is parallel comparison.
1.3.2. Ethnic cultural identity: Ethnic identity is a
combination of objectivity and subjectivity. Basically, that is an
objective. Identity is not something that is only available in one
ethnic group and another without, but under the impact of factors
such as natural, historical and social environment…, that ethnic
group is more bold. As such, we see that the Tay and Tha have both
the commonness of the ethnic group (across the bolder), and their
own after a long process of settlement with new natural social
conditions on the territory Vietnam.
1.3.3. Folksong and performing folksong
1.3.3.1. Concept of folksong and classifying folksong:
Folksong is totally forms of singing folk lyric, including text,
tonation, and means of performing, environment, context of singing.
Basing on the closure of folksong with other field in human’s life, it
can be divided three sub – types: labor folksong, ceremony folksong,
living folksong. In different ethnic groups, the distribution of these
sub – types are not equal
1.3.3.2. Concept of performing and performing folksong: We
decline to widen meaning as of Nguyen Khac Xuong and Richard
Bauman, but not agree with homogeneous point of view of
8
performing with phenomenon without sound as pantomime, dance…
of Nguyen Khac Xuong. We think that performance is expressuing,
presenting products in charge by human. Related to performance
including elements as: products, time, place, sound… in which,
human is the most important.
Performing folksong is a part of of performance including
form of expression, presenting poem in specific circumstances of
life. In performing folksong, it is necessary to pay attention to
comprehensive relation between elements: artistic words, melody,
manner of singing.
1.3.3.3. Relation between folksong performance with prosody
of artistic lyric: In researching, it is necessary to pay attention to
relationship between performing folksong with artistic lyric because of
products are boldly impressed the footprint of components out of
literature of overall living of folklore..
* Sub - conclusion 1: In this chapter, we have rechecked research
situation about comparing living lyric folksong of Tay, Thai ethnic
groups and solved basically theoretical matters of researching the
comparison of living lyric folksong. We recognize that matters of
living lyric folksong of Tay, Thai little or much have been concerned
to discuss by researchers. Our thesis inherits theoretical poits which
are raised out and flashed under the view of comparison to find out
the similarity and difference of two folksong systems connotation of
culture inside. Besides, learning the theoretical basis of living
culture, folksong and performance are oriented fundamental for
researching comparison living lyric folksong of Tay, Thai when this
is parts of typical and plentiful folksongs of two ethnic groups in a
closed attachment with life.
9
CHAPTER 2: OVERVIEW OF TAY PEOPLE AND THAI
PEOPLE IN VIETNAM AND THEIR DAILY LYRIC FOLK
2.1. Concept of Tay and Thai people in Vietnam
2.1.1. Tay people
Tay people belongs to language group of Tay – Thai, with
ancestor was Western Europe – Lac Viet in group of Bach Viet
ancient. Tay people was distributed on a stable area of North East
with North of Han, downward Kinh, Tay people in the modern is
formed on the base of local groups of Tay, Tay origins from Kinh,
Tay origins from Nung and other same ethnic groups come from
other sides of border. They have strong communication with culture
of Kinh, Han. Tay people belongs to valley culture.
2.1.2. Thai people
Thai people belongs to Bach Viet ancient as Tay people,
immigrated into Vietnam around century VII – XIII. They setted up
their influence in Western Europe both population and culture,
became a crowded ethnic group with their strength in Western
Europe. In the history, Thai people used to maintain their significant
self – governing and less communicated with Kinh and Han culture.
Thai people also belong to valley culture as Tay people with
qualification of economic development are similar to Tay people.
Cultural life is preserved many endogenous elements, less
communicated with culture of Kinh and Han. .
2.2. Daily lyric folk of Tay and Thai people – recoginition and
classification
2.2.1. Living folksong and daily lyric folk of Tay and Thai
people: Living folksong includes: lullaby, nursery rhymes, songs about
country love, nation, about family love and relative, about couple love,
dehortation. Living lyric folksong is a part in living folksong. It is called
daily lyric folk, we emphasize on the lyric of research object and get rid
of lullaby and nursery rhymes out of research scope..
2.2.2. Classifying daily lyric folk of Tay and Thai people
10
Accepting classification opinion of Chu Xuan Dien, Tran Thi
An, especially the classification of Le Chi Que to daily lyric folk of
two ethnic groups Tay, Thai, we divide daily lyric folk of Tay, Thai
into single groups of singing and aniphoral; simultaneously,
arranging types of song upon below groups:
In daily lyric folk of Tay people, lubally including lượn cọi
(sing to call lover), lượn slương (love songs), lượn nàng ới (sing to
call girlfriend), lượn then (sing then), iếu (sing iếu), rọi (including:
phuối pác – speak in sentence uiwth rhyme, phuối rọi – speak
including chain of rhyme as singing lượn rọi – sing rọi), cắm nôm (
nôm);single singing including phong slư (billet doux is sent to
girlfriend and vice verse).
In daily lyric folk of Thai people, antiphonal including Khắp
báo xao (hát trai gái), khắp xai peng (singing love line), khắp tua
(antiphonal), khắp hạn khuống (singing at playground), khắp hặc
xơng, khắp xai xơng (love singing), khắp xe (singing xoe dance),
khắp tặc luông (hello sing)…; single singing including Khắp loong
tôông (singing on the field), khắp loong te (singing backup in the
river), khắp khơ nay chơi (troubadour), khắp xáng buôn (sing to
release sorrow).
* Sub - conclusion 2: In this chapter, we overview about Tay, Thai
people in Vietnam to point out historical and cultural circumstance
for forming and developing and existing of daily lyric folk of Tay,
Thai. From those, we sketch appearance of daily lyric folk of Tay,
Thai on main features to prepare for comparing this folksong of two
ethnic groups in the next chapters.
Tay, Thai people are two ethnic groups with the same origin,
and long resident history in the mountaineous area of the North.
Experiencing many variations in the history, step by step they have
affirmed their stability considering about distribution of population
and culture. In which, Tay people have established their influence in
Northern Earst, Thai people have established their influence in
11
Northernwest. They account for valleys in the feet of mountains,
creating valley cultural ecology. Basic features of Tay culture is the
interchange of Tay, Kinh, Han culture elements; In which, Thai
people less is suffered from Kinh culture. These features shall affect
to the similarity and difference in daily lyric folk of Tay, Thai. And
these features shall affect largetly to the similarity and difference in
daily lyric folk of Tay, Thai
About daily lyric folk, we have made clear the connotation of
concept and classified basing on form of performance. Those shall
help us have an more clear overview about store of daily lyric folk
which are very plentiful and various so as to choose and delimite
necessary document during our processs of researching.
12
CHAPTER 3: HOMOLOGICAL FEATURES OF DAILY
LYRIC FOLK OF TAY PEOPLE AND THAI PEOPLE
3.1. The similarity in reflecting the reality in
mountainous areas and human’s emotion
3.1.1. Daily lyric folk reflect the real life of residents in the
mountainous areas: By his love, pride, the author has reflected the
real landscape and life with deep moutaneous rural area of two ethnic
groups of the same valley culture ecology in the mountainous area of
the North with various and clinking culture features in daily lyric folk.
3.1.2. Daily lyric folk reflects the bosom, emotion of
human: Daily lyric folk of Tay, Thai is lyrical voice, reflecting
plentiful emotion world of human surrounding relationship, but it can
be considered basing on two big subjects: Couple love and family
life. This bases on the common emotion rule of human.
3.2. The similarity about way of expressing emotion of
lyric object: Via survey of daily lyric folk of Tay, Thai, we realize
that there is the similarity in four ways of artistic speaking of lyric
object are: Hinting, modest, emfasy, imperative, origining from the
demand of expressing content of lyrical object and meeting the shift
of performance procedure of the antiphonal. .
3.3. The similarity in using flower symbol
In daily lyric folk, Tay and Thai people use Flower symbol
with the density and plentiful instructions: flower is the measure of any
standards (beauty, virtue, love), flower is the human. The similarity as
above about using symbol flower in daily lyric folk of Tay, Thai
expresses the close in psychology, thinking about flower of residents
who have ever had the same ancient primary culture. Besides, the
metabolism of symbol flower from folklore to living lyric folksong of
Tay, Thai is process of decoding notions by language signals. When
making metabolism from folklore into living lyric folksong, symbol
flower shall be suffered from the influences of language features,
13
folksong type and these shall make symbol flower more meaningful
and being closed with thinking, emotion of an ethnic group.
3.4. The similarity about performance procedure of
antiphonal and the participation of music into performance
3.4.1. Performance procedure of antiphonal: Daily lyric
folk of Tay, Thai people got three main journeys: Hello – expressing
emotion – goodbye. This feature is formed due to common
psychological rule of human: Historical tradition and information
principle of a conversation.
3.4.2. The participation of music into performance: Music
participates in performance: Music participates in performing daily lyric
folk of Tay and Thai peole at two levels are: simple singing and
development singing. The similarity about aesthetic awareness and
qualification of developing socio – economy leading to the existence of
both musical types in performing daily lyric folk of Tay and Thai people.
3.5. Iếu and cắm nôm – the interference of daily lyric folk
of Tay and Thai people: The interference is expressed in name,
natural language feature, the chastity, repeat of phrasals and structure
in the internal song, freedom poem, and the appearance of Thai
toponyms in living lyric folksong. This feature is origined from
culture interference in the condition of alternative living, closed
living, from the proximinity of tribe origin and together the same
valley culture ecology.
* Sub – chapter 3: Daily lyric folk of Tay, Thai is similar at
following points: Firstly, living lyric folksong of Tay, Thai all
reflects the real life and emotional world of human. This is based on
the psychological rule of human and life appearance of two ethnic
groups. Secondly, there is the similarity about ways of artistic
speaking of lyric object including: Hinting, modest, emfasy,
imperative, origining from the demand of expressing content of
lyrical object or upon the requirement of each stage of singing in
antiphonal. Thirdly, symbol flower appears in two systems of
14
folksong with high frequence and plentiful meaning directions. This
origins from the same feature in psychology, thinking of thinking
about flower of tribes who have had the same ancient primary culture
and are regulated by features of language and type of literature.
Forthly, there is the similarity of three journeys: Hello – expressing
emotion – goodbye. This feature is formed due to historical tradition
and the informative of a conversation. About music, performing
living lyric folksong of Tay, Thai at simple singing and development
singing reflects the similarity about development qualification of tribe.
Fifthly, two types of folksong Tay are iếu and cắm nôm bringing
themselves the footprint of living lyric folksong of Thai, related to
the close of resident place of living, orgine as well as condition of
living of two ethnic groups.
CHAPTER 4: DIFFERENT FEATURES OF DAILY LYRIC
FOLK OF TAY PEOPLE AND THAI PEOPLE
4.1. The difference about lyric object
4.1.1. Lyric object with the behavior of harmony,
moderation and culture in daily lyric folk of Tay people: This
behavior is expressed at showing love, missing, antagonism when
meeting obstacle in love of Tay couple. This is the result of
comprehensive impact of affect of family mechanism, temporary
society, features of culture and natural environment to characters of
Tay people in the reality. Since then, it affects to collective
psychology and leads the crowd all like lyric object with way of
harmony, cultural, standard behavior as human at the middle age.
4.1.2. Lyric object with active, frank behavior and self –
awareness in daily lyric folk of Thai people: This behavior is
expressed at being active in searching, keeping individual happiness,
talking about sex, self – determine, being frank in love. Deep causes of
this is at the certain democracy for the lovers to learn eachother,
especially, open attitude, loving of the tribe for woman. Besides, the
behavior of lyric object is dream of Thai folk about human in the fact.
15
4.2. The difference about prosody of atistic poem
4.2.1. The interweaving of Han and Viet language in artistic
poem: In the artistic poem of daily lyric folk is available of alternating
many Viet language with old phonetic, word Han – Viet with phonetic
and tonation are quite similar to modern language, songs are composed
in Vietnamese. This feature origins from complex process of
anthropology and process of interference of Kinh, Tay, Han language
happened in thousand years, especially from century XVII till now.
Mean while, daily lyric folk of Thai has only the appearance of Viet
language with very little level and in ancient phonetic form.
4.2.2. Formulas of artistic poems
4.2.2.1. System of images, symbols: In daily lyric folk of Tay
people, being popular image, symbol are human due to the psychology of
liking the ornate, savant under the influence of Han, Kinh culture; images,
symbol origin from nature like the moon, star, bee, butterfly, bird… due to
the nature and sense of Tay people towards nature. In daily lyric folk, it
is popular with image, symbol of water due to residential condition related
to much water space and the awareness of Thai people about the role,
relation of water to life of human on many fields; images, symbols origin
from handmade like: shirt, craft, blanket, pillow, thread… due to related
to custom, religiosity of Thai people.
4.2.2.2. The repeat of language in different scopes: In daily
lyric folk of Thai people, it is popular to repeat vocabulary and
structure in scope of a work due to related to freedom poem style and
language characters without marks. In daily lyric folk of Tay people,
it is popular to repeat frame of structure and opening sentence within
scope of work group with the same subject as the expression of
composed formulas to arrange songs with the same subjects into one
chapter lượn, simultaneously, related to features of using type of
seven words.
4.2.2.3. About using classic references: In daily lyrical folk
of Tay people, there’re appearances of three different souces: Han
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tribe, Viet tribe and ethnic. Tay people use classic references thickly
sometimes is alternated in the songs, sometimes uses to sing a long
chapter. This feature is related to the influence of writing literature of
Kinh people with favor of intellect and savant. Mean while, daily
lyric folk of Thai people useless classic references.
4.2.3. The popularity of poem styles
4.2.3.1. The popularity of style seven words in daily lyric folk
of Tay people: Seven words style accounts for majorly in living lyric
folksong of Tay. In which, lượn slương uses four sentences with seven
words each. Lượn cọi, phong slư, rọi… use sevens without ending.
Using this style is affected by literature writing of Kinh people.
4.2.3.2. The popularity of freedom style in daily lyric folk of
Thai people: All songs of daily lyric folk of Thai use freedom style
uiwth two types are khống khái and xư bắc, being suitable with
creating rhyme for easy remembering while old writing of Thai is
without full stop.
4.3. The difference about feature of performance
4.3.1. The organization of antiphonal: In Thai people, it is
popular both separate singing and team singing. For Tay people, the
footprint about separate singing, it means that performance without
organization but dim. Organizing team singing with stable and clear
form with the most outstanding.
4.3.2. Space, time of performance: In Tay people, it is the
most popular to festival lượn and lượn at home with fairly stable
form and public: Time of organizing is festival or available visitor
and it is organized at night at stilt house. For Thai people,
performance is freer about space and time.
4.3.3. Performance according to book: In Tay people, it is
available of performance according to books as lượn cọi, phong slư,
performing songs of lượn tuổng during performing lượn slương due
to features of songs belonging to this style is quite long. Herely, it is
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emergent the role of singing book, slấy cá (teacher) and the role of
pjấy lượn.
4.3.4. The participation of choreography into performance:
In performance of daily lyric folk of Thai people in the funny
festivals, parties is often available of xoe dance due to the
development of dancing of Thai. In which, performance of living
lyric folksong of Tay people is absent in folk choreography.
Sub - conclusion 4
Daily lyric folk of Tay and Thai people is different at
following points: Firstly, lyric object in daily lyric folk of Tay people
has the way of gentle, moderative and gloss behavior, reflecting the
respect of order, enjoying the leisure of Tay people in the fact and the
influence of Kinh culture via gloss behavior. Behavior of lyric object
in living lyric folksong of Thai embody the initiative, strength due to
the democracy of the tribe and show the human’s model in their
dream. Secondly, under the view of prosody of artistic poem, daily
lyric folk of two ethnic groups of Tay, Thai is distinguished by many
points. In daily lyric folk of Tay people, that is the alternation of
Han, Viet elements in artistic poem, using classic reference with
thick frequence, system of image, symbol is human and image,
symbol origin in nature, the repeat in group of folksongs with the
same subject at the level of structure frame and opening sentence, the
popularity of seven words style. In daily lyric folk of Thai people,
that is image, symbol of water and image and symbol origining from
the artifial, the repeat in the internal of song at vocabulary and
structure of sentence, freedom style. Thirdly, performing daily lyric
folk of Thai people is prominent at freedom, vivid: freedom about
space, time, popularity both way of primary organization is primary
and form; Vivid by the participation of choreography. Performance
of Tay people is prominent at the stability and high organization by
its way of primary performance, maning public way of performance
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