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Hát Xoan Phú Thọ trong bối cảnh di sản hóa ở Việt Nam.Hát Xoan Phú Thọ trong bối cảnh di sản hóa ở Việt Nam.Hát Xoan Phú Thọ trong bối cảnh di sản hóa ở Việt Nam.Hát Xoan Phú Thọ trong bối cảnh di sản hóa ở Việt Nam.Hát Xoan Phú Thọ trong bối cảnh di sản hóa ở Việt Nam.Hát Xoan Phú Thọ trong bối cảnh di sản hóa ở Việt Nam.Hát Xoan Phú Thọ trong bối cảnh di sản hóa ở Việt Nam.Hát Xoan Phú Thọ trong bối cảnh di sản hóa ở Việt Nam.Hát Xoan Phú Thọ trong bối cảnh di sản hóa ở Việt Nam.Hát Xoan Phú Thọ trong bối cảnh di sản hóa ở Việt Nam.VIETNAM ACADEMY OF SOCIAL SCIENCE GRADUATE ACADEMY OF SOCIAL SCIENCES DO THI NHUNG XOAN SINGING IN PHU THO IN THE CONTEXT OF HERITAGIZATION IN VIETNAM Major Cultural Science Code 9 22 90 40 SUMMARY OF.
VIETNAM ACADEMY OF SOCIAL SCIENCE GRADUATE ACADEMY OF SOCIAL SCIENCES DO THI NHUNG XOAN SINGING IN PHU THO IN THE CONTEXT OF HERITAGIZATION IN VIETNAM Major: Cultural Science Code: 9.22.90.40 SUMMARY OF THE DOCTORAL DISSERTATION OF CULTURAL SCIENCE Hanoi, 2022 Work was completed at: ACADEMY OF SOCIAL SCIENCES Supervisor: Prof Ph.D Le Hong Ly Examiner 1: Prof Ph.D Bui Quang Thanh Examiner 2: Assoc Prof Ph.D Pham Quynh Phuong Examiner 3: Assoc Prof Ph.D Kieu Trung Son This doctoral dissertation will be defended at the Institute, at: Academy of Social Sciences, 477 Nguyen Trai, Thanh Xuan, Hanoi At , on date Month 2022 This doctoral dissertation can be found at: National Library of Vietnam The Library of the Academy of Social Sciences INTRODUCTION Rationale for the study Protecting and promoting the traditional culture of nation is one of the issues being concerned by cultural workers, managers and policy makers for socio-economic development in our country by 2017, Vietnam had had nearly 10,000 cultural relics at provincial and city levels; 3,463 national monuments; 95 special national monuments; 249 Intangible Cultural Heritage Sites are included in the list of National Intangible cultural heritage Among those heritages, UNESCO (United Nations Scientific, Educational and Cultural Organization) has registered World Cultural and Natural Heritages; 14 Intangible Cultural Heritage Sites The number of heritage sites is not only the pride of Vietnam, but also poses many challenges in the protection and promotion of heritage In fact, when assigned to different titles (provincial level- national level - special national level - world level heritages), heritage does not exist as it is The process of heritagization, with the selection of which heritage to be inscribed and the process of legacy surviving post-registration in Vietnam, is currently posing a lot of questions of close significance to the very existence of the heritage itself.; and it is necessary to study both theoretically and practically to be able to find the most suitable ways of maintaining and preserving, bringing lasting vitality to the heritage Xoan singing Phu Tho is a cultural heritage in the form of folk songs, rituals and customs, with a history of formation and existence associated with the belief of worshiping Hung Vuong of Vietnamese residents there Xoan singing was registered by the United Nations Educational, Scientific and Cultural Organization (UNESCO) as an Intangible Cultural Heritage in Need of Urgent Safeguarding on November 24, 2011; and on December 8, 2017, Xoan singing was removed from the list of Intangible Heritage Sites in need of urgent Safeguarding and transferred to the list of representative Intangible cultural heritage of humanity Since being recognized until now, the appearance of Xoan singing has changed significantly Heritage registration has had a strong impact on the policies and practices of Xoan singing, and at the same time entails complex dimensions in the relationship between the subject community, the state and the heritage Choosing the topic of Xoan singing in Phu Tho in the context of heritagization in Vietnam, the writer wishes to clarify how the process of legacy of Xoan singing in Phu Tho is, and also contributes to the discussion of the existence of this heritage in the context of contemporary Vietnamese society Purposes and tasks of the dissertation: 2.1 Purposes of the research: The thesis studies the appearance of the Phu Tho Xoan singing heritage after being registered by UNESCO through two stages, from November 24, 2011, in the list of the Intangible Heritage Sites in need of urgent Safeguarding and the second phase, from December In 2017, Xoan singing was removed from the list of Intangible Heritage Sites in need of urgent Safeguarding by UNESCO and registered in the list of representative intangible cultural heritages of humanity The thesis focuses on studying issues from practicing Xoan singing, collecting, recording, teaching, artisan work, etc to understand how Xoan singing is present in cultural life in Phu Tho after registration From the specific status of Xoan singing after registration, the thesis discusses issues in the protection and promotion of heritage (at all levels), looks at economic, political and cultural dynamics from the practices of Xoan singing legacy 2.2 Tasks From the above purpose, the thesis sets out the following research tasks: - Research on the issue of the legacy of cultural heritages, focusing on the political issues of heritage - Research on the context of heritage in Vietnam from economic, political and cultural aspects - Research and find out the process of Xoan singing in Phu Tho being selected and registered as a UNESCO Intangible Heritage Sites in need of urgent Safeguarding - Researching the post-registration developments of Xoan singing in Phu Tho, the process of emergency protection of Xoan singing, discussing the legacy of Xoan singing in the current context in Vietnam Object and scope of the study 3.1 Object of the study With the topic Xoan singing in Phu Tho in the context of heritagization in Vietnam, the thesis identifies the research object as the Xoan singing practices conducted in Phu Tho province after the UNESCO registration process, in reference to with previous Xoan singing practices The practice of Xoan singing taking place in Phu Tho is very diverse and rich, both in ancient Xoan wards, clubs, schools, offices, tourist attractions, cultural and artistic programs and in many other local rituals and festivals 3.2 Scope of the study In terms of space: The thesis explores the practices of Xoan singing taking place in Phu Tho, in which the study focuses on ancient Xoan villages such as: An Thai, Phu Duc, Kim Doi, Thet, some Xoan villages, new Xoan clubs, some schools, offices, and tourist sites in Phu Tho province have practiced teaching and performing Xoan singing In terms of time: The thesis studies the practice of Xoan singing in Phu Tho in the period since being registered by UNESCO as an Intangible Heritage Sites in need of urgent Safeguarding of humanity (2011) until now, in which, focus is on identification and analysis and discuss ongoing Xoan singing practices in reference to previous practices The period of the thesis to conduct the survey is from 2016 to 2021 Method of the study To accomplish the goals and tasks set out in the topic, the thesis determines to use the main methods including: - Methods of synthesis and analysis: This is the method used by the author of the thesis in the process of searching and synthesizing existing secondary materials on Xoan singing (both research and practical materials), on research views, protect and promote the heritage in general and the heritage of Xoan singing in particular - Methods of Ethnography, focusing on participatory observations and in-depth interviews In the process of learning about the status of Xoan singing after enrollment, the author of the thesis has observed the participation of Xoan performing practices that take place in ancient Xoan singing villages at festival times and festivals (especially on New Year's Festival and Hung King's death anniversary); in exchange activities, teaching and in daily time The practice of Xoan singing at Xoan singing clubs and Phu Tho folk songs, at schools and offices, or Xoan performing activities on local stages, especially performances for tourists, are also participated by authors In-depth interviews were conducted with Xoan practicing artisans in ancient Xoan villages, artisans and members of the Xoan Singing and Folk Song Club of Phu Tho province, people in Xoan village, staffs of the Department of of Culture, Sports and Tourism, officials of the Heritage Department, state officials at some agencies in the province (having participated in training courses on Xoan singing), officials of the Department of Education and Training of Phu Tho province, leaders of commune culture, some teachers at some primary schools and high schools in Viet Tri city, Tam Nong district (Principal, Vice Principal, teacher in charge of Union - Team, music teacher and assigned teachers to go to school and teach Xoan singing in schools), students (in primary schools, secondary schools and High schools) at some schools in the province The author also participated in and conducted notes and interviews in the annual Xoan singing training classes for government officials and teachers at schools Exchanges with local collectors and researchers, with directors - screenwriters of some provincial art programs and officials working on Xoan recording work were also carried out by the author during the time completing the dissertation In addition, because Xoan singing is an art form with music, lyrics, melodies, costumes, musical instruments, the thesis also applies the approach and analytical methods of musicology and acoustic ethnological music, especially in learning about notation, music and dance in Xoan singing In the process of implementing the thesis, the author always tries to adhere to the principles in exploiting Ethnographic materials The names of the correspondents were changed to ensure anonymity, and the interview materials were de-tape immediately after the field work The author also maintains a connection with reporters (via phone, Facebook ) to catch up on local activities in a timely manner Information posted from websites of tourist resorts, tourist centers in Phu Tho, cultural activities programs taking place in the province are regularly updated by the author New scientific contributions of the thesis - The thesis shows that Xoan singing is a cultural practice that has been created in history and continues to be created today, associated with spiritual, cultural, social, politics and economy in Phu Tho - The thesis points out issues related to the process of protecting and promoting the legacy of Xoan singing after registration, from the collection and inventory to the way Xoan singing was taught and practiced in ancient Xoan villages, at offices, schools and tourist sites, in cultural promotion programs in Phu Tho The thesis shows that the protection and promotion of Xoan singing on a large scale has increased the risks of heritage, as well as had strong impacts on the appearance of Xoan singing practice in the process of protecting and promoting the practice of Xoan singing with the problems of unification, museumization, universalization and valuing of Xoan singing, leading to mixed receptions in heritage practice - The thesis shows that, after being registered by UNESCO, Xoan singing tends to form two sub-categories: Religious Xoan (Xoan is practiced by the community in association with spiritual needs, with beliefs worshiped at communal houses and local shrines) and Xoan arts (Xoan is performed for diverse audiences outside), each subcategory has its own characteristics in terms of space, methods and principles of practice - The thesis emphasizes the approach of "living cultural heritage", with the view of heritage as an element in the whole of culture and society, respecting the private life of the heritage as well as the right to use the heritage of the practitioners aimed at promoting heritage values in the current context of heritagization in Vietnam Theoretical and practical significance In terms of theory: Through the case study of the Xoan singing heritage, the thesis points out the importance of the heritage approach as a living entity Heritage needs to be facilitated to develop as normally as possible in the cultural and social life of the locality In terms of practice: The research results of the thesis help provide a scientific basis for policy makers in designing and implementing appropriate programs/activities in the field of culture, especially with conservation of intangible cultural heritage - The research results of the thesis contribute to the knowledge system of the Vietnamese culture in particular and the knowledge of the cultural system of the ethnic groups in Vietnam in general The completed thesis can become a useful reference in research and teaching about culture The heritage approach of the thesis can become a useful reference for cultural management and heritage management in Vietnam Structure of the dissertation In addition to the Introduction, Conclusion, Appendix (including Photo Appendix) and References, the thesis is developed with specific chapters as follows: Chapter - Overview of the research situation, Theoretical basis and research object Chapter - The context of heritage in Vietnam and the process of registering the heritage of Xoan singing in Phu Tho Chapter - Appearance of Xoan singing in Phu Tho after heritage registration Chapter – The Heritagization of Xoan Singing: discussion issues Chapter THE OVERVIEW OF RESEARCH SITUATION, THEORETICAL BASIS AND STUDY SUBJECTS 1.1 The overview of research situation 1.1.1 Heritage studies and the politics of heritage Research on cultural heritage, including Intangible Cultural Heritage, has attracted the attention of many scientists and managers in fields such as culturology, ethnography, anthropology, cultural management, museums, etc Depending on the research purpose, experts have different approaches to Intangible Cultural Heritage In general, it can be seen that heritage studies often focus on a number of issues such as: views on heritage and the role of heritage; collection, inventory and documentation of Intangible Cultural Heritage; the process of protecting, exploiting and promoting the value of Intangible Cultural Heritage in society In the studies that refer to the issue of Intangible Cultural Heritage in Vietnam, most of them emphasize the changes of heritage, excessive interference of external organizations in managing, organizing and protecting of heritage through the forms of inventory, review, theatricalization, festivity Along with that, the studies on heritage also mention how external organizations gradually stripped of the rights and obligations of the host community, leaving them gradually lost and indifferent to their own heritage 1.1.2 Studies on Xoan singing and the heritagization of Xoan singing Studies on Xoan singing In very early times, Xoan singing has been interested by many researchers in culture, music, anthropology, etc in many aspects such as name, legend, origin, melody, chant until cultural values, measures to preserve and promote the value of this folk song Studies on preservation and promotion of Xoan singing The conservation and promotion of the Xoan singing has been mentioned in a number of studies by scientists and musicians since the 90s of the twentieth century, and has received more attention after it was recognized by UNESCO as an Intangible Cultural Heritage in urgent need of protection of humanity Studies on the heritagization of Xoan singing The studies on the heritagization of Xoan singing, on the heritage of Xoan singing have provided a theoretical system for heritagization, and at the same time pointed out the risks on the heritagization for heritage sites in the process of being registered and post-registration period The existing studies on Xoan singing show that this is a type of ritual folk song, associated with the custom of worshiping gods in local temples The choruses, songs, and rules of Xoan dancing are closely related to religious factors, so there is a risk on the heritagization of Xoan singing when this type of heritage is separated from the ceremonial environment and oratorio context is very large From the existing works, the thesis finds that there is still a big gap in the research on Xoan singing in the context of Vietnam’s heritagization.The heritagization of Xoan singing, including the creation of records for heritage recognition and the post-registration effects of heritage such as both increasing rights and limiting the rights of heritage subjects; participation, management, theatricalization, creation of traditions with Xoan singing as well as the issue of the existence of Xoan singing as a living organism with many changes to adapt to the needs of the people, in the context of local economic, political and socio-cultural has not been mentioned much in the research This gap is the content that the thesis aims at 1.2 General overview of Xoan singing 1.2.1 Xoan singing: the aspects of genre and origin 1.2.2 Organization and custom of Xoan singing 1.2.3 Xoan singing performance 1.3 Theoretical basis 1.3.1 Concepts of tools used in the thesis Cultural heritage In Vietnam, since the 90s of the twentieth century, the concept of "cultural heritage" has been understood as the property of the previous generation to be left to the next generation, or "generally only for cultural assets such as literature folklore, architectural works, sculptures, literary works that previous generations left to the next generation" (Vietnam Encyclopedia, p.39) According to the Law on Cultural Heritage (2009), “Cultural heritage is a spiritual and material product of historical, cultural and scientific value, which is handed down from generation to generation in the Socialist Republic of Vietnam” (p.2) According to the cultural value approach, cultural heritage includes most of the cultural values created by humans in the process of interacting with the natural and social environment It is the most quintessential, most typical part left after a series of creative human activities from generation to generation Because it has to be rigorously appraised by the recognition of the whole community for a long time, cultural heritage in terms of value is especially sustainable, in quantity is also much larger than the current values Therefore, cultural heritage is always considered the most important and basic part of culture Intangible cultural heritage According to Article of UNESCO's Convention for the Protection of Intangible cultural heritage (2003): "Intangible cultural heritageis understood as the customs, forms of expression, knowledge, skills and accompanying tools, objects, artefacts and related cultural spaces that communities and groups, in some cases, individuals are recognized as part of their cultural heritage” The Law amending and supplementing a number of articles of the Law on Cultural Heritage in 2009 defines: “ Intangible cultural heritageis is a spiritual product associated with communities or individuals, related cultural objects and spaces, and has historical value, culture, science, expressing the identity of the community, are constantly being recreated and handed down from generation to generation by word of mouth, profession, performance and other forms" (p 4) Along with the concept of Intangible cultural heritageis, there is also the view of the Intangible cultural heritageis in need of urgent protection According to the 2003 Convention, the creation of a list of Intangible cultural heritageis in need of urgent protection has the purpose of "taking appropriate safeguards" with cultural heritage at risk of being lost Heritagization From the suggestions of Hewison (1987), Bourdieu (1982), Salemink (2014), the thesis introduces the concept of the heritagization as follows: The heritagization is the process of selecting and introducing elements (an expression or a cultural practice) becomes cultural heritage This usually takes place in two stages: make a scientific profile and protect heritage in post-registration Community According to Keith W Sproule and Ary S Suhand (1998): “A community is a group of people, often living in the same geographical area, who identify themselves as belonging to the same group, often related by blood or marriage and may belong to the same religious group, political class” (According to Vo Que 2006: 11) At the 2002 International Conference on Intangible Cultural Heritage, UNESCO agreed to define a community as "people who are self-conscious about their attachment to each other, which is expressed in a sense of common identity, common behaviour, common activities or common territory", including: Cultural community: is a community that, through its culture, through its cultural approach or through variation from the common culture, is distinguished with other communities (more broadly, a country can be a cultural community); Indigenous community: is a community whose members believe they have origins in a certain territorial area; Local community: is a community living in a certain locality In Vietnam, community is understood as a collection of cultural subjects, who reside in a specific natural environment, sharing the same socio-economic context and cultural history, jointly recognize certain cultural heritages as part of their cultural identity Accordingly, the community is a collective of people of a village, a commune, or an inter-commune, the owner of the heritage, participating in the practice and promoting the value of the heritage in their spiritual life, as well as maintain meaningful practices in community life 1.3.2 Studying Xoan singing in the heritagization context With the name Xoan singing in Phu Tho in the context of Vietnam’s heritagization, the thesis poses the following research questions: How does the heritagization of Xoan singing in Phu Tho take place? The moves that govern the heritagization of Xoan singing and the problems posed with Xoan singing today? To answer the above questions, the thesis is interested in and uses a number of theoretical perspectives related to the process of protecting and promoting cultural heritage, including: the view of Protecting Intangible Cultural Heritage according to the 2003 UNESCO Convention, the view of Heritage Management, Conservation and Development by Ashworth (1997), the Heritagization theory by Oscar Salemink (2014) Applying the theory of heritagization and the view of protection - development of cultural heritage, the thesis focuses on understanding and discussing the heritagization of Xoan singing The practice of Xoan singing was registered by UNESCO as an Intangible Cultural Heritage in need of urgent protection of humanity (2011), was removed from the state of emergency protection by UNESCO and became a representative intangible cultural heritage of humanity (2017) The theoretical perspectives that have been suggested on heritagization, on heritage protection and development will be applied by the thesis author to find out the specific contents: 1) Context, process and purpose of the selection of registration of Xoan singing, making Xoan singing a cultural heritage; 2) The process of registering Xoan singing, the preparation and participation of the parties (scientists, authorities, communities) during the preparation of the Xoan singing heritage dossier; 3) The effects of the registration process after Xoan singing became an Intangible Cultural Heritage in need of urgent protection, and after Xoan singing was registered as a Representative Intangible Cultural Heritage of humanity These impacts are very diverse and take place in many aspects: the impact and change of Xoan performance spaces, the impact and change of Xoan singing practice (pitch notation, fixed the ancient Xoan singing songs, establishing Xoan singing clubs, theatricalizing Xoan singing, teaching and practicing Xoan singing in other spaces such as offices, schools, cultural activities inside and outside the province, ) The relationship between stakeholders (the state, the community) and the appearance of the post-honoration legacy is a matter of special attention in the thesis Conclusion of Chapter Chapter 2: THE CONTEXT OF VIETNAM'S HERITAGIZATION AND THE REGISTRATION PROCESS OF XOAN SINGING IN PHU THO 2.1 The Context of Vietnam's Heritagization 2.1.1 The context of economic, political and cultural The 1986 reforms initiated changes in many aspects in the economic, political and cultural life of Vietnam This change led to Vietnam's progress in a short time, when the economy overcame many difficulties and challenges, maintained growth, diversified economic types In addition to economic changes, scientific, educational and cultural activities have undergone many changes, and people's lives have been improved Vietnam joins the general flow of the world and participates in many new fields, including one dedicated to performance activities and expressing Vietnam's unique cultural identity This context raises the issue of re-awareness and correct awareness of culture and the 11 finding a typical culture to represent the province The selection conference on December 28, 2008 changed Xoan's fate From the list of provincial heritages submitted by the Department of Culture, Sports and Tourism, Xoan singing was selected This selection has led to a series of strong activities later to build heritage records, which are also activities that have a strong impact on the appearance of Xoan singing These are the collections and studies of Xoan in all aspects (practice space, practitioners, methods, documents ) from the end of 2008 The material on Xoan gradually thickens, the spatial map of the region The oval is thickened gradually Efforts to investigate, survey and collect documents about Xoan singing in this period have great significance for assessing the current status and forms of activities related to the Xoan festival and the art of Xoan singing A relatively comprehensive view of Xoan has been formed - from the way cultural activities are organized to related relics such as costumes, tools, music, documents in Chinese and Nom characters, etc On 24 November 2011, Hsat Xoan was officially recognized by UNESCO as an Intangible Cultural Heritage of Humanity in need of urgent protection, becoming an important milestone, having a strong impact on this cultural practice 2.2 The process of registering the legacy of Xoan singing 2.2.1 The process of choosing Xoan singing In the context that many localities have the need to register their own heritage to serve political, economic, tourism and cultural purposes, Phu Tho chose Xoan singing to compile a dossier to submit to UNESCO for registration Heritage is a long preparation process, involving the calculations of the Heritage Committee and the People's Committee of Phu Tho province on building a profile of human cultural heritage associated with Phu Tho province, associated with Hung Temple From the mission "to build the Hung Temple so that from the Hung Temple we can see the whole country and the whole country towards the Hung Temple" (General Secretary Le Duan, 1977), with the goal of "where the ancestral land and mother mountain Nghia Linh Hung Temple must be built" become a heritage of mankind recognized by UNESCO", "Hung Temple must become a representative heritage of humanity" (Nguyen Anh Tuan 2015), provincial leaders asked the cultural sector to advise and participate in " this campaign" The element of "Hung King worship" becomes an advantage of Xoan singing, and this aspect is fully exploited in many explanations of Xoan singing, which is clearly shown in the Heritage Profile of Xoan singing Performing religious acts of Xoan singing is identified with the origin, historical length, and ancient elements of this art form: "According to legend, the Hung Kings had merits in the early period of national construction In the ancient land of Phu Tho, Phu Tho people created Xoan singing to commemorate the merits of the Hung Kings Xoan singing has been handed down for thousands of years and is considered by the community as part of the heritage their culture"1 In addition, it can be said that the selection of Xoan singing is also related to another need of Phu Tho province and the Ministry of Culture about finding an art form associated with Hung Temple, with the Excerpt: Application for registration on the List of Intangible Cultures in Need of Urgent Protection in 2011 12 worship of Hung Kings symbolizes the sense of origin, the concept of ancestors of the Vietnamese people Xoan singing is not simply a cultural act of the local community that symbolizes the origin and stage of building a heroic nation of an entire nation This meaning of Xoan is emphasized, so in comparison with other local art forms, Xoan singing always holds a prominent strength2 In addition, the interview information also shows that the selection of Xoan singing is also related to "further calculations" in the profiling of Phu Tho's next heritage related to Hung Temple and worshiping beliefs worship Hung Vuong3 As a Phu Tho official said, "worshiping Hung Vuong is worshiping the origin of the nation, it is impossible to have a UNESCO heritage throughout the country, but if the original land does not have a heritage, it is impossible" Having a type of heritage in the "original space", related to Hung Temple and Hung King worshiping beliefs of the whole country is the aspiration and task that Phu Tho province set and determined to fulfill 2.2.2 The process of building a heritage profile of Xoan singing On 24 November 2011, UNESCO approved the decision No 6.COM.8.23 to register Xoan singing as a cultural heritage in need of urgent protection of humanity The above result is related to a painstaking process of preparing documents to be submitted to UNESCO, with the participation of Phu Tho Provincial People's Committee, Phu Tho Department of Culture, Sports and Tourism, Ministry of Culture, Sports & Tourism, Institute of Culture and Sports Music (under the Vietnam National Academy of Music), many scientists and many artists; but also the process of preparing for "labelled heritage", expanding ownership Xoan singing not only belongs to the community of owners (those who practice Xoan singing) but also under the management of government agencies at all levels (province, state) This process begins with the selection of Xoan singing, and then moves to investigate, collect, research, restore, and purchase copyrights for the state to make records of documents, artifacts, and animals people and places associated with this type of heritage 2.3 Heritage of Xoan singing in the process of heritage registration 2.3.1 Estate profiling and the process of extending ownership The whole process from the selection of Xoan singing (late 2008) to the UNESCO heritage registration of Xoan singing (2010) can be seen as the process of expanding the ownership of Xoan singing From a community practice, specifically here, Xoan wards in ancient Xoan villages, including Thet, Kim Dai, An Thai, Phu As recounted by musician D.H.L, when asked by the Ministry of Culture to choose between Xoan singing and Gheo singing (a type of performing art in Phu Tho), he replied, "Gheo cannot be compared to Xoan ('Xoan') .) there are a few factors, but first is the element of worshiping Hung Vuong, then the legendary story of this art" (Interview document 21/12/2021) In fact, while preparing the dossier of Xoan singing, Phu Tho province was also preparing for the second set of documents, and Hung Kings Worshiping Belief in Phu Tho was listed as a heritage by UNESCO in 2012, after Singing Xoan only 01 year 13 Duc, and Xoan singing, were stateized, through a series of mining operations , collection, research, take place on a large scale In documents and action plans, Phu Tho province mobilized many individuals to participate in exploiting Xoan singing They are researchers, collectors of folklore (both at central and local levels), cultural officials, musicians, managers, artisans, etc People's Committee of Phu Tho province Maximize the efforts of officials and researchers who have been researching on Xoan singing in Phu Tho and some artists who are preserving and preserving Xoan singing in the original Xoan singing localities "4 The system of historical, cultural and customary documents related to Xoan singing, forms of Xoan singing performance, previous space of Xoan singing performance, Xoan singing music, a system of personal records people, published documents (music sheet music, books, newspapers, magazines ), Han Nom documents, stamps of epitaphs related to Xoan singing at home and abroad, addresses with documents related to Xoan singing at home and abroad are listed in the list of materials to be collected In particular, Phu Tho Provincial People's Committee also considers the option of "transferring ownership of personal documents at an agreed price" with unpublished written documents; documents collected by the individual; documents, pictures, engravings, of individuals that can be collected; signed, edited or original Xoan singing songs that have been used on stage, on radio and television; costumes, props, musical instruments related to Xoan ward, Xoan artisans The whole political system has entered with the goal of capturing and possessing all information and documents about Xoan singing inside and outside the province As a result, in addition to possessing artisans, Xoan wards, and space for performing Xoan singing, the province also holds sovereignty over the entire system of Xoan singing materials and artifacts According to the statistics of Phu Tho Provincial Museum, the province currently has 1,987 photographic documents, 11 books, 32 articles (18 originals, there are versions on paper, photocopies and 14 typed files), 05 topics research, 40 DVD discs, 265 video files, documentaries, discs, 103 artifacts, 143 interview recording files, and many other materials on Xoan singing (see more Appendix 3) Thus, after registering the heritage, the artifacts, people and places related to Xoan singing have been extended their ownership, subject to inspection and supervision by the Phu Tho provincial government and UNESCO This paved the way for later interventions in a process called "protection and promotion of heritage", which strongly influenced the appearance of Xoan singing practices and related artists both inside and outside the old Xoan wards .4 Excerpts from the Conference Plan 14 2.3.2 Select the elements for a "traditional and authentic" heritage profile The popular notion of heritage being tied to the past and connecting the past causes heritage to be understood as "old", "traditional", "ancient" This has a strong impact on the heritage profiling process, making the search for authentic and antique elements of the heritage a top task The process of profiling the Xoan singing heritage is associated with the process of collecting documents and restoring related practices The materials that have been exploited in phases from 1954, 1967, 1998, 1999, 2002 became corpus for visualizations of Xoan singing, forming an authentic appearance of the heritage Not only the ancient Xoan songs, the customs related to Xoan (singing to worship the gods at the beginning of the year, singing at the shrines and temples at the beginning of the new year) were also simulated and reconstructed The selection for the heritage to have an ancient and authentic appearance is also carried out with the recording of Xoan songs mainly with elderly artists (31 artisans, aged 80 - 104) The goal of restoring ancient Xoan singing is also mentioned in the Heritage Profile of Xoan singing "to fully restore ancient Xoan singing in the shortest time while the last artisans are able to assist in this work" This point of view strongly affects the whole process of building heritage records, and later on, directly affects the way Phu Tho protects and promotes this heritage, typically the regulation that requires artisans in the Ancient Xoan wards are not allowed to perform new Xoan songs, they must perform old Xoan songs as signed when making records Chapter Sub-Conclusion Chapter 3: THE APPEARANCE OF PHO THO XOAN SINGING AFTER REGISTERING THE LEGACY After many efforts of Phu Tho province in finding the type of heritage to submit to UNESCO for approval; followed by the decision to choose Xoan singing and build a profile of Xoan singing; On November 24, 2011, Xoan singing was officially recognized by UNESCO as a cultural heritage in need of urgent protection of humanity This recognition by UNESCO has caused many parties to participate and directly (or indirectly) affect Xoan singing, forming a Xoan appearance with many notable issues From 2011 to now (2019), the practice of Xoan singing basically goes through two stages of protection and promotion The first stage, from 2011 to 2017, the period of emergency protection, with a series of continuous and powerful programs and actions aimed at bringing Xoan to life on a large scale (not only in four ancient Xoan villages but within the Phu Tho province) The second stage, from 2017 to now, after Xoan was transferred from the list of Heritage in need of urgent protection to the list of representative intangible heritage of humanity This context has led to the implementation of many policies, strongly affecting the practice of Xoan singing and the appearance of the heritage 3.1 Activities of inventorying, collecting, composing, and recording Xoan writing 15 After being registered in the list of Heritage "in urgent need of protection of mankind", the goverment and Phu Tho province have issued and implemented many policies, programs and action plans with the aim of protect and promote Xoan 3.1.1 Activities of inventorying materials on Xoan singing 3.1.2 Activities of collecting and recording Xoan Collection of Xoan songs Phonographic recordings of Xoan 3.1.3 Put new lyrics and compose based on ancient Xoan material 3.2 Performance and teaching of Xoan singing after heritage registration 3.2.1 The following Xoan spaces after registration By 2017, there are 20 out of 30 communal houses and temples where the custom of singing Xoan singing to worship the gods at the beginning of Spring has been preserved and embellished, in which, relics have been restored in the original Xoan wards and communes Neighboring areas include Lai Len temple, Kim Doi village communal house, Thet communal house (Kim Duc commune), An Thai communal house, Cam temple (Phuong Lau commune) and Bao Da communal house (Duu Lau ward) Xoan is also performed, taught and practiced in offices and schools; at Xoan singing clubs throughout the province; at large and small stages in cultural and artistic activities or movement contests inside and outside the province In addition, Xoan (which has been fully documented on CDs and DVDs) is also more present in houses and public spaces; and on TV programs of Phu Tho province 3.2.2 Practicing and teaching Xoan singing after enrolling in ancient Xoan villages Unlike before when Xoan singing was performed only in the early spring, now, Xoan singing is practiced and taught in many different contexts and spaces The practice of Xoan singing can be divided into groups of purposes: 1) Serving religious activities and entertainment in the community, especially at the beginning of the year and during the Hung Temple festival; 2) Performing and welcoming researchers and journalists to learn about Xoan singing, usually practiced at communal houses and shrines where Xoan wards operate; 3) Catering to tourists (Vietnamese or foreign), usually in conjunction with travel agencies, and the Xoan performance part of the tour back to the source, visit the Hung Temple, and perform in the heritage space (family, shrine); 4) Serving art and cultural activities taking place inside and outside the province, especially participating in provincial or national cultural festivals However, as owners of a human cultural heritage, Xoan singing artists also participate in many other activities, such as performing for recording, making reports on Xoan; invited to teach cadres and teachers in the province and clubs; acting as advisors and judges in art programs of schools, wards/districts In addition, there are some individuals, who know Xoan, love Xoan, want to learn Xoan, also come to these Xoan wards, eat food staying at the houses of the ward bosses, living with the Xoan ward to ask to learn about Xoan, to be taught and practiced in the original Xoan space 3.2.3 Practicing and teaching Xoan singing at Xoan singing clubs and Phu Tho folk songs 16 In addition to the model of Xoan wards in ancient Xoan villages, Xoan singing is also practiced and taught according to the club model The model of Xoan singing and folk singing clubs was encouraged by Phu Tho province to establish and expand in order to promote the teaching and practice of Xoan singing on a large scale If in 2009, the whole province had only spontaneous clubs (Phu Ninh, Tien Du, Cao Mai), by 2010 there were 13 clubs (with 298 members), by October 2016, there were 34 clubs in the whole province Provincial club, with 1,413 members participating in activities and 99 clubs from district, commune/ward, zone/village levels In addition, there are many groups of Xoan singing that have established themselves out of a passion for this art form 3.2.4 Practicing and teaching Xoan singing in offices and schools In the action programs and projects to preserve and promote the value of Xoan singing, Phu Tho province attaches great importance to teaching work with the immediate aim of helping Xoan escape from the situation of "emergency protection", and after that is to be promoted in the long run Teaching activities are disseminated: 1) in the original Xoan wards; 2) at Xoan singing clubs (in the whole province, at all levels); 3) at agencies, units and schools in the province Up to 2016, Phu Tho Department of Culture, Sports and Tourism has organized classes to teach Xoan singing to neighboring artists in the original Xoan wards; community teaching classes (with 609 students); classes on teaching Xoan singing to folk music clubs of communes in the province with 120 participants; training course for nearly 100 people who are cultural officers of communes and wards, core members of folk music clubs in Viet Tri city and 16 communes with diffuse Xoan Regarding the teaching of Xoan singing in schools, 100% of schools in the province have implemented teaching Xoan singing in their music lessons and extracurricular activities Xoan singing is also taught and introduced at Hung Vuong University, Phu Tho Intermediate School of Culture, Art and Tourism, Phu Tho School of Education for Teachers and Education Managers Not only that Xoan is also taught in offices and agencies in the province 3.2.5 Practicing and performing Xoan singing in tourism and culture promotion In fact, all tours of Phu Tho include a performance of Xoan singing (at Hung Lo or Lai Len temple) Xoan singing has become an indispensable part of promoting the image of Phu Tho, sticking with the Vietnamese ancestor worship and Hung Temple Sub-conclusion of chapter CHAPTER 4: XOAN SINGING IN PHU THO IN THE CONTEXT OF HERITAGE AND PROBLEMS POSED In chapter 4, the thesis will discuss some issues related to the legacy of Xoan singing, including: the unification, the museum of Xoan singing, the universalization, the legacy of Xoan singing, about the valuation of Xoan singing, about the private life of the heritage, as well as about the existence of two forms of Xoan of beliefs and Xoan of arts as today 17 4.1 Xoan singing and the risk of unifying the Xoan song, the trend of conservation and preservation and the role and needs of the owner community Xoan singing is not a type of traditional folk song, practiced according to a pattern in all Xoan wards The interesting thing about Xoan singing, the diversity of Xoan songs in ancient Xoan wards has been "unified" through the teaching method according to the centralized classroom model, which has led to a simple, even misleading view about Xoan In Phu Tho,Xoan is everywhere, but is not much understood The popularity of Xoan easily lead to false views, simplifying Xoan and related practices When Xoan became a heritage, it was pushed to a central position in artistic activities in the province, leading to changes in both awareness and practice, and in general, indirectly marginalized other cultural heritages which administratively is not ranked at the same level (heritage of mankind) as Xoan singing The conservation of Xoan on a large scale and universality easily leads to the "impoverishment" of Xoan and other types of heritage, forming in the people the psychology that talking about art is talking about Xoan, and it is not possible to perform without Xoan Filled documents show that the issue of the role of the community in the Xoan singing heritage has diverse manifestations and is closely related to the policies of the state The owner community of Xoan has just been "enhanced", but in many cases, they also have limited power to decide for themselves many issues directly related to the practice of their own heritage The state has clearly demonstrated its role with the Xoan singing heritage in both the documentation and post-registration process, and this has had (in many cases it’s decisive) impacts on the practice of Xoan singing in the community (specifically in old Xoan wards) First of all, it is necessary to mention the role of the state in choosing Xoan singing to build heritage records After Xoan singing was registered, a series of programs and action plans were issued and implemented by the Phu Tho provincial government, showing the deep intervention of the state management system with the heritage Administratively, all work related to the practice, management, protection and promotion of this heritage is assigned to the Department of Culture, Sports and Tourism of Phu Tho province And everything related to Xoan singing has the intervention of this Department State intervention with Xoan also directly affects specific issues such as performance costumes, singing content, and performance methods 4.2 Xoan singing: strengthening the sense of heritage protection or a form of heritage universalization The policy of universalizing Xoan singing of Phu Tho province is part of the plan to "bring Xoan singing back to the daily lives of the Phu Tho and Vinh Phuc people" as stated in the objective in the Heritage Profile submitted to UNESCO The province's policies to protect and promote Xoan singing since 2011 up to now also clearly show that In ancient Xoan wards, Xoan singing, practice and transmission are regulated every Saturday night With the clubs of Xoan singing and Phu Tho folk songs, this work is also regulated to take place regularly Offices, schools, and 18 places that seem unrelated to the practice of Xoan singing often take place training classes for officials and teachers to understand and practice Xoan singing But is this reasonable, when in the past, Xoan singing practices also took place only at the beginning and the end of the lunar year, when people prepared for worshiping and early spring festivals in the local temples and shrines The weekly practice with artisans in ancient Xoan villages is formal, because in fact, the author's observations show that artisans can practice at any time if that's the need for their shows, just as they don't need to practice on that Saturday night if there's no need In the current Xoan wards, activities not only take place according to the needs of Xoan singing, but also start from many other life needs such as entertainment, exchange, sharing… Artists close together, share with each other in life, in many jobs and events, and they can sing together whenever there is a need As shared by the people in Xoan village, every time she hears the sound of Xoan drums, she remembers when she was a child, at the beginning of the year, the old people sang loudly, the children followed and listened, then memorized and fell in love, As shared by the people in Xoan village, every time she hears the sound of Xoan drums, she remembers when she was a child, at the beginning of the year, the old people sang loudly, the children followed and listened, then memorized and fell in love "I like it very much", "they keep singing for the first few months of spring, going to all these temples and shrines, no need to practice "5 This shows the vitality and necessity of culture and heritage in people's lives Administrative requirements, the need to universalize the heritage are policies that are not really tied to the private life of the heritage 4.3 Preserving and protecting Xoan singing and the private life of the heritage The introduction of Xoan singing into the community on a large scale, in different spaces in Phu Tho not only creates different perceptions about Xoan singing, but also blurs many important elements of this type of heritage The element of worshiping singing, associated with the space of the temple and the ritual practices of Xoan singing, gradually fades in awareness, and forms the mentality of being able to perform Xoan singing anywhere, everywhere and at any time Before the methods of protecting and promoting the Xoan singing heritage of the management agency, from the problems posed in the process of practicing the heritage both in the ancient Xoan wards and at work, schools, Xoan singing clubs and Folk songs throughout Phu Tho province, the story of the heritage's own life, and the way to protect the heritage emerged as a central theme Heritage, in fact, is always statically visualized, associated with tradition, characteristic, fixed, immutable, and therefore, associated with a conservation method of "museumization" of heritages Seeing heritage as a representation of tradition easily leads to an approach that sees heritage as an identity card through which practitioners and local/national identities are identified Xoan singing, in the process of making records and officially registered the intangible heritage in need of urgent protection, has always been protected and Interview material, December 2021 19 promoted in this approach, the most obvious manifestation of which lies in the notation of the Xoan singing song, fixed the documents as well as the form of teaching and practice according to an agreed pattern Any creativity on the spot, of the host community in ancient Xoan wards is not encouraged, even prohibited because of the fear that the heritage will be deformed or disappear Many anthropological studies have shown that there is no such thing as an invariable "culture" and "tradition" like a fixed frame to glance at that can easily distinguish this person, group of people, communities from other people, groups or communities Modernization and globalization with the strong role and impact of science, technology and technology have created an optimal condition for cultural contact, acculturation and change "Hybridization is a common expression of the process of social and cultural change in all cultures We should remember that there is no pure, unchanging traditional culture "(Evans, 2001, tr.277) Therefore, in his research, Salemink (2001) suggested using "construction of tradition", instead of "invention of tradition", with the meaning of tradition and culture is always recreated in an ever-changing context In other words, without an original tradition, fixed things are gradually being replaced by global culture (Salemink, 2001) The change of culture, of a heritage is inevitable, associated with the transformative attribute of culture And Xoan singing is no exception Therefore, any effort to preserve an invariable Xoan singing heritage will be against the survival law of the culture This also means that the cultural heritage management agency needs to give selfdetermination on how to protect, practice and promote the heritage to the practitioners themselves, because they are the ones who decide how heritage should be used, in what context and form With heritage, the important thing lies in the empowerment and rises empowerment of the cultural subject, because it is the host community who determines how the heritage will look This has been mentioned by researchers of culture and heritage, when in Vietnam there have been efforts to "try to stop the effects of time" on heritage (Salemink, 2001; Evans, 2001; Le Hong Ly, Nguyen Thi Hien, Dao The Duc, Hoang Cam, 2011) Lessons learned with researchers and managers are shown very clearly, that cultural preservation in the form of "presumptive frozen" (word used by Evans, 2001, tr.277) or museumization should be replaced by efforts "to create favorable conditions for the expression and practice of cultural" (Salemink, 2001, tr.207) Heritage is not fixed and immutable but is a living entity, "the nature of culture is ever-changing, as cultural actors are in ever-changing circumstances and find new ways face to those circumstances" (Salemink, 2001, tr.206) 4.4 The legacy of Xoan singing and the issue of heritage valuation Salemink (2014) argues that, due to the entanglement of different pricing systems from practitioners, from cultural experts, from government officials, from the market, at different levels ( local, national, transnational and international), recognition of Intangible Cultural Heritage can be a mixed blessing for communities that are 'bearers' - but perhaps no longer is the 'owner' - of cultural practices considered intangible 20 heritage The value of the heritage is assessed by outsiders, causing many unexpected impacts on the community In talks about Xoan singing, local people and artisans always show great pride in their heritage The value of Xoan singing, as emphasized in countless speeches, reports, television programs, and art programs is multifaceted, both historically with the period of Hung Vuong founded Vietnam country), about beliefs (San Xoan worships the Hung Kings who have meritorious services to the country, worships the gods with meritorious services to the community, expresses the Vietnamese people's spirit when drinking water, think of its source), about art (the quintessence of singing, dancing, drums in the art of Xoan singing),… This notion of value gives rise to the mentality that the heritage "cannot be ignored", the Xoan village "must be invested", "the communal house must be monumental"6 This in fact led to the state and Phu Tho province investing a lot of money in the restoration and construction of communal houses to serve Xoan singing7, and performing arts works of Xoan singing But investing a lot of money in monuments, superficial activities like focusing on the body, while many life-related issues and policies for artisans are still unfinished, leading to boredom in many people In addition, there is a mentality that Xoan singing needs to be featured in all local cultural, economic and political events and activities Therefore, artisans and club members must participate in the practice of Xoan singing, participate in serving programs related to Xoan singing in any circumstances and at any time with only a small amount of support, that affects the lives of many artisans, and being "artisans" bring burden to them In addition, the valuation of heritage by economic values as "heritage brings value" leads to the waiting mentality of the government and local people about investments for economic development of local from the outside, and from the very values that Xoan singing can bring When the inheritance involves the interests and calculations of the value of many parties, but it causes the bearers of the estate to bear a lot of burden, it leads to inadequacies in policies and instability in the psychology of those involved 4.5 Heritage of Xoan singing and different forms of heritage Efforts to inventory, survey, protect and promote Xoan singing in Phu Tho have in fact created a diverse face for this cultural practice In fact, there are two subcategories of Xoan singing in Phu Tho: (1) Religious Xoan singing, with methods and practices associated with worshiping the Hung Kings and gods at local communal houses and temples; (2) Artistic Xoan singing, with a variety of Xoan forms to serve other cultural needs such as entertainment, tourism, political performances to express local cultural identity through the type of Xoan singing heritage recognized by UNESCO… Interview material at Xoan village - Phu Duc, 12/2021 Lai Len Temple (Kim Duc) was invested 40 billion VND, built new items of rituals, screens, lotus ponds, Ta Vu, Huu Vu, art galleries, on an area of 1.7 hectares 21 In fact, Xoan singing is not a stage of the worshiping ritual Observations at Lai Len Temple (Kim Duc), Thet Temple, Cam Temple, An Thai Communal House (Phuong Lau) during the New Year's offerings and during the Hung Temple festival show that, after the offerings to the gods is the Xoan singing performance Xoan singing can be performed in the communal house (at Thet, Kim Dai, in the ancestral temple of Hung Vuong) or sung outside the communal house (An Thai), but does not belong to the ritual part, but sings for the purpose of inviting and entertaining for gods This spirit-oriented communication actually takes place only in two times: Lunar New Year (early lunar year) and Hung King's death anniversary (Tenth of March, lunar year) Mentally, the religious form of Xoan singing is only practiced during these two times of the year However, the religious purpose of Xoan singing is always emphasized in many forms of introducing, protecting and promoting the heritage This gives rise to a direction to preserve and promote the focus of Xoan singing in association with Hung Vuong worship, and almost, Xoan singing has not received much attention, especially in the 2011-2015 period, and many problems arose in the process of protecting and promoting Xoan singing Originally, Xoan singing takes place in a religious space, at communal houses and temples, but even when Xoan singing is separated from the spiritual context, participating in performances, arts, entertainment, etc, worshiping singing forms are still forced to remain the same, causing controversy over whether to "preserve their original form" or "can be modified" to meet the diverse needs of different practice subjects in real life Xoan singing is separated from the spiritual context, but the performance style is still forced to remain the same as when performing in spiritual spaces, even if it is a practice taking place on stage, at workplacce or at school This makes the artists themselves feel constrained when they are forced to practice the Xoan singing songs outside the spaces which the worshiping part of this genre belongs CONCLUSION As of 2021, Vietnam has 14 intangible cultural heritages registered by UNESCO as an intangible cultural heritage representing humanity This number will increase in the coming time due to UNESCO's policy to promote intangible cultural values for the socio-economic and cultural development of member countries In fact, the recognition of UNESCO has created conditions for countries with heritage to preserve, protect and exploit the cultural values of each country well, whereas they were once underappreciated or even damaged, destroyed However, with this registration, many intangible cultural heritages are respected to protect and promote its values in each member country, moreover, promote cultural values to the whole world Vietnam is no exception With the registration of these cultural heritages, those cultural heritages are protected and valued; On the other hand, it is also known to friends from all over the world about the unique cultural values of Vietnam, at the same time, contribute significantly to the economic, social and cultural development, especially cultural tourism, a phenomenon that is taking place strongly in Vietnam and 22 the world today Intangible cultural heritage representing humanity Xoan singing of Phu Tho is such a phenomenon Along with 13 other intangible cultural heritages of Vietnam have been recognized such as: Court Music of the Nguyen Dynasty, Space of Gong Culture in the Central Highlands, Quan Ho Folk Song in Bac Ninh, Ca Tru, etc Xoan singing in Phu Tho also experienced all the problems of a legacy from making registration documents to activities after being registered as a prestigious heritage This thesis has recognized Xoan singing in that context From the point of view of cultural heritage in the sense that the state uses internationally recognized cultural heritage as political tools to express ideas, ways and powers over the people, and from there to the general population in order to manage the people within the framework of the regime This sometimes shows that people are left out of the very legacies passed on by their forefathers However, on the people's side, with their practices, they also exploit those things to serve their daily lives so that they are not left out, as well as to survive the best they can in the context of the existence of that heritage so that they can survive and develop while still protecting the legacy of their ancestors It is also the politics of heritage, a theoretical issue of interest to many researchers for cases such as this phenomenon These are the theoretical issues used by the thesis to examine and illuminate the reality of the intangible heritage of Xoan singing in Phu Tho The content of the thesis has clarified the appearance of Phu Tho Xoan singing in the past for the people of Phu Tho, especially the villages with this intangible cultural value The thesis is not intended to introduce Xoan singing in Phu Tho, but instead has generalized its origin, genre, organization, related customs and habits, etc., giving the readers an idea of this intangible culture of Phu Tho It can be seen that Xoan singing is an art form that has existed for a long time in this land Xoan singing has been closely associated with the people of Phu Tho from generation to generation, practiced by people during Tet holidays, in their spiritual life as well as in their cultural and artistic activities From there to see why throughout history, Xoan singing has existed and developed in the lives of the people here These matters serve as the background for the registration and maintenance of the development of Xoan singing in modern times Like every other cultural phenomenon, after being honored, Xoan singing in Phu Tho has suffered all the effects of the context in which it exists The first is the socioeconomic context Facing the strong economic development trend of the country, Phu Tho is not an exception The current economic conditions have changed a lot, industrial zones are appearing more and more, urbanization is strongly taking place, the people's living standards are improved The old traditional villages, including Xoan villages, have now become streets, cities, communes and wards This has led to changes in space, facilities and people's needs Previously, Xoan singing only took place in the village, in the village festival, to worship the gods and serve the people of a village; nowadays, it has significantly expanded to many villages and more broadly to tourists from all over, including international In particular, Xoan singing is located in the space of worshiping Hung Kings, an intangible cultural heritage representing humanity previously honored by UNESCO Therefore, the presence of two World 23 Heritages in the same place has created a context of strong mutual influence and support In addition, the needs of local people as well as tourists from nearby communes in modern times inevitably have impacts on this cultural heritage, both positive and negative Placing the Xoan singing of today in the context of heritageization in Vietnam, the thesis examined how the post-honor process of the heritage took place; what the specific guidelines and policies of the local government were, to develop this art form How Xoan singing has been studied, collected and recorded in the past as well as in the present After being honored, how was the Xoan singing practice conducted? The work of inventorying, collecting, and even composing new Xoan songs; especially the work of teaching Xoan singing has been done in the space of Xoan villages, clubs, schools, etc in Phu Tho province How has Xoan singing changed in lyrics, music, performed at work, schools, tourist attractions, etc These are activities that have been carried out very actively and strongly throughout Phu Tho province and have had considerable success to some extent The thesis has shown this process and its results in the study area It can be seen that, after being honored, Xoan singing in Phu Tho has become a heritage that meets the needs of the locality in affirming its position and value in the lives of the people here Xoan singing in Phu Tho with the connection with the practice of worshiping Hung Kings is popular and widespread in Phu Tho, creating a unique cultural identity of Phu Tho in the new context This has been shown in the Xoan singing practice that took place in Phu Tho after being honored by UNESCO With activities to restore, protect and promote Xoan singing throughout the province, in ancient Xoan villages, in the clubs of Xoan singing and Phu Tho folk songs, in the office and school environment, it can be seen the positive changes as well as the limitations that it brings In fact, Xoan singing is not a legacy form with fixed practices The history of Xoan singing from the past to the present shows a development process of this art form, with the strong influence of different economic, political, cultural and social contexts issues in different times Xoan singing after being inscribed as a heritage has taken on a different face, with practices related to specific purposes (belief, education, tourism, politics, etc.) in the current context, and these practices are still being developed, according to specific local needs The process of Xoan singing being protected and promoted throughout Phu Tho province has led to the formation of two different subtypes of Xoan singing, including belief Xoan and artistic Xoan singing, in order to meet local religious and nonreligious needs This fact is both a derivative product of the heritage protection process and a challenge to the heritage protection work currently being carried out locally One thing that has not changed is that Xoan beliefs still exist sustainably at ceremonies and festivals at communal houses and temples on festivals and village festivals, which shows that Xoan singing is a religious activity like communal house singing in other festivals Here, Xoan singing is maintained as the previous tradition is to worship the saint to pray for his protection for the villagers to be peaceful and 24 prosperous in the year songs are sung to the gods to praise their merits, besides thanking them for their protection, it is also to make them happy to continue helping the villagers in the new year These religious Xoan practices ensure customs and preserve traditions passed down from generation to generation Meanwhile, Xoan performing arts has crossed the boundaries of religion to enter people's lives These practices can take place anywhere outside of traditional places of worship such as at clubs, festivals, fun festivals, at schools, cultural houses and entertainment resorts, with the meaning of a unique art form that only Phu Tho has Therefore, it becomes the "specialty" of Phu Tho to serve and attract tourists when visiting this land Unlike the religious Xoan, which must comply with strict regulations of customs, Xoan performing arts is more open, more relaxed and encourages the creativity of the singer Singers can satisfy all audiences, if they want to listen to ancient Xoan singing, they sing Xoan neck to those who are strict or want to learn and research; If they want to listen to fun and comfortable songs, they get what they want Like some other cultural phenomena in the country, such as the phenomenon of gongs in the Central Highlands performed for guests by Lach and Chil people in Da Lat Those who want to learn the old gong tunes have their own performance group, and those who want to listen and watch the new gong songs have a group of artists to meet them Thus, for the people, the politics of the heritage are clearly expressed by them On the one hand, according to the requirements of the customs, of preserving the identity as required by the state, they keep the religious Xoan tunes to serve that need; In addition, they use Xoan arts to exploit economic advantages in tourism activities The way of practicing the heritage of Xoan singing, which is currently being protected, shows both a static and unchanging point of view of heritage protection as a form of "museumization" of intangible cultural phenomena, oriented towards elements considered as values recovered from the tradition Besides, there is a dynamic conservation perspective so that this intangible cultural value is more popular and diversified, able to meet the needs of many visitors in the context of the opening of the market economy and tourism development This leads to different ways of receiving and reacting in practice and teaching not only for Xoan singing, but also in reality in other types of intangible cultural heritage This is also an open issue from this thesis for other studies on intangible cultural heritage in our country From the actual research, the thesis also raises the issue of approaching "living cultural heritage", with the consideration of heritage as an element in the whole of culture and society, respecting the private life of the heritage as well as the right to use the heritage of the practitioners in order to promote the values of the heritage in the current context of heritage in Vietnam Like other intangible cultural heritages, Xoan singing heritage has a life of its own in the present life How should Xoan singing be exploited so that, on one hand, its inherent values are still preserved, and on the other hand, this heritage can still be brought into modern cultural practice and bring economic benefits to the people of Phu Tho This is an issue that needs to be further studied in future works LIST OF PUBLISHED WORKS OF THE AUTHORS (Directly related to the thesis topic) Author (2016), Developing and compiling documents for some Xoan singing and Phu Tho folk songs for music teachers at primary schools in Phu Tho province in the current period, School-level topic, School of Training and fostering teachers and educational administrators in Phu Tho province Co-authors (2 authors) (2018), “Beliefs in worshiping Xuan Nuong in Huong Nha commune, Phu Tho”, Magazine Arts and Culture, no 413 (2018), pg 13-16 Author (2019), “More on discussion of the origin of Xoan singing of Phu Tho”, Magazine Studies on culture, no (45), pg 39-45 Author (2021), “Xoan singing in schools and heritage education matters”, Magazine Vietnamese culture study, no 2(194), pg.74-80 Author (2022), “Xoan singing in Phu Tho and activities of inventorying, collecting, composing and recording in heritage protection and promotion”, Magazine Society and education, no 4/2022 (season 1), pg 330-334 ... and promote Xoan 3.1.1 Activities of inventorying materials on Xoan singing 3.1.2 Activities of collecting and recording Xoan Collection of Xoan songs Phonographic recordings of Xoan 3.1.3 Put... judges in art programs of schools, wards/districts In addition, there are some individuals, who know Xoan, love Xoan, want to learn Xoan, also come to these Xoan wards, eat food staying at the houses... is not a type of traditional folk song, practiced according to a pattern in all Xoan wards The interesting thing about Xoan singing, the diversity of Xoan songs in ancient Xoan wards has been