VIETNAM ACADEMY OF SOCIAL SCIENCES GRADUATE ACADEMY OF SOCIAL SCIENCES TRAN BACH DUONG "CÒ KE ÔỐNG KHÁO" OF THE MUONG PEOPLE IN HOA BINH Major Cultural studies Major code 9229040 ABSTRACT OF DOCTORAL[.]
VIETNAM ACADEMY OF SOCIAL SCIENCES GRADUATE ACADEMY OF SOCIAL SCIENCES TRAN BACH DUONG "CỊ KE ƠỐNG KHÁO" OF THE MUONG PEOPLE IN HOA BINH Major: Cultural studies Major code: 9229040 ABSTRACT OF DOCTORAL THESIS IN CULTURAL STUDIES Hanoi, 2023 The thesis is completed at: GRADUATE ACADEMY OF SOCIAL SCIENCES SUPERVISOR: Associ.Prof.Dr Kieu Trung Son Reviewer 1: Prof.Dr Le Hong Ly Reviewer 2: Associ.Prof.Dr Nguyen Thi Thu Phuong Reviewer 3: Associ.Prof.Dr Dao Dang Phuong The dissertation is defended at the Graduate Academy-Level Council of Dissertation Assessment at Graduate Academy of Social Sciences, no 477 Nguyen Trai, Thanh Xuan, Hanoi At ………… Dated ……… month …… …year 2022 The thesis can be found at: - Vietnam National Library; Graduate Academy of Social Sciences Library INTRODUCTION Reasons for the topic The Muong people in Hoa Binh are the owners of a rich and ancient cultural heritage Several unique ancient cultural elements have been passed down to today, such as the Gong art, Mo performance, and Doi calendar… Muong culture has been of interest since the early 20th century by French scholars, and todaythere exists any intriguing unknowns The thesis focuses on a folk music practice that is currently prevalent in the lives of the Muong people in Hoa Binh, known as "Cò ke ơống kháo." Currently, "Cị ke ơống kháo" exists vibrantly and widely in all Muonginhabited regions of Hoa Binh In the early 1990s, the Hoa Binh Tourism Company1 collected and introduced "Cị ke ơống kháo" as part of their tourism services From 2015 onwards, with the rise of social media networks like YouTube and Facebook, Muong individuals recordednumerous video clips about the performances of "Cị ke ơống kháo" in the communnity by using mobile phones It is evident that "Cò ke ôống kháo" is emerging in the social life of the Muong people as a cultural indicator Why can a form of folk music from an ethnic minority group maintain its stability during the cultural integration of the 21st century? Why has it not been weakened by the market music trends, as many other traditional folk music genres in Vietnam have?Furthermore, studying the folk music practice of "Cị ke ơống kháo" will help us better understand the cultural identity of the Muong people These questions serve as the driving force behind the doctoral candidate's choice of the topic "Cò ke ôống kháo" of the Muong people in Hoa Binh for their doctoral dissertation in Cultural Studies Objectives and tasks of study in the thesis 2.1 Objective of study The objective of the thesis is to study the existence and transformations of "Cị ke ơống kháo" within the dynamics of the cultural life of the Muong people in Hoa Binh The aim is to clarify its role and significance in Muong culture By doing so, the thesis discusses how the Muong people maintain their ethnic identity during the process of interaction and acculture 2.2 Tasks of study Currently Hoa Binh Tourism Joint Stock Company Firstly, collect and synthesize relevant materials to build the theoretical foundation and support the objectives of the thesis Secondly, clarify the appearances of the research object Thirdly, provide an overview of the socio-cultural context of the Muong people in Hoa Binh and its influence on the transformation of "Cị ke ơống kháo." Fourthly, study the transformation of "Cị ke ơống kháo" within the cultural movement of the Muong people Fifthly, compare "Cị ke ơống kháo" with traditional music of the Kinh people to explore their connections and contribute more evidences of exchange and musical acculturation between the Kinh and Muong ethnic groups Sixthly, discuss the issue of cultural exchange and acculturation between the Kinh and Muong cultures and the manifestation of Muong cultural identity through the research findings on "Cị ke ơống kháo." Research object and Scope 3.1 Research Object The musical activity of "Cị ke ơống kháo" among the Muong people in Hoa Binh 3.2 Research Scope The scope of the thesis is "Cị ke ơống kháo" in the cultural life of the Muong people in Hoa Binh Regarding the geographical scope, the study focuses on three selected areas: - Firstly, in Su Ngoi commune, Hoa Binh city - Secondly, in Phong Phu commune, Tan Lac district - Thirdly, in Nhan Nghia commune, Lac Son district Regarding duration, the research will examine the existence of "Cị ke ơống kháo" in Muong culture from traditional to the present The traditional period is considered from 1986 (the year of Đoi moi reforms) and earlier The present period will cover the time from the Doi moi era to the current period (1986-2023) Research Methods Based on the requirements of the field of study and the fundamental characteristics of the research object, the PhD student employs an interdisciplinary approach by combining research methods from ethnology, sociology, and musicology The ethnographic fieldwork method is utilized to gather field data, which serve as the primary source of information for the thesis Observation and participation methods are employed by the researcher to gain a deeper understanding through experiences of "Cị ke ơống kháo" musical performances In addition, the researcher will use in-depth interviewing, synthesis method, document analysis, and comparative method Theoretical and practical significance of the thesis 5.1 Theoretical significance The thesis contributes suggestions on the approach and research methods for studying music from a cultural perspective It provides evidence of cultural connections between the Kinh and Muong ethnic groups and enhances the understanding of Muong cultural identity in Hoa Binh 5.2Practical significance The thesis clarifies the role and significance of "Cị ke ơống kháo" for the Muong people in Hoa Binh, identifying the motivations that have allowed it to persist vividly in Muong culture from ancient times to the present It also collects, analyzes, and organizes the musical compositions of "Cị ke ơống kháo" to establish a database that can serve future research Structure of the thesis In addition to the Introduction, Conclusion, References, and Appendix, it is comprised of four main chapters: Chapter 1: Overview of the research situation, theoretical basis, and an overview of the research area Chapter 2: Overview of "Cò ke ơống kháo." Chapter 3: "Cị ke ơống kháo" in community spaces Chapter 4: "Cị ke ơống kháo": acculturation and the expression of ethnic identity Chapter OVERVIEW OF THE RESEARCH SITUATION, THEORETICAL BASIS, AND THE RESEARCH AREA 1.1 Research overview 1.1.1 Research on Muong Culture and Music 1.1.1.1 General overview of Muong culture Since the early 20th century, French scholars have conducted research on Muong culture After 1945, Vietnamese scholars have conducted numerous studies on Muong culture In recent years, research works are often associated with discussion of current issues such as: re-perception of traditional Muong cultural values, Muong cultural transformation under the influence of the trend of integration, globalization, etc Recent studies on the cultural identity of the Muong people provide a comprehensive view of Muong cultural identity and the trends of change in the present era, as well as the existence of Muong cultural identity in tourism development 1.1.1.2 Studies on Muong folk songs The Muong people in Hoa Binh possess a rich treasury of folk songs The author has identified various genres of Muong folk songs, such as "Hat Xac bua," "Hat thuong rang," "Hat bo meng," "Hat loi thuong," and "Hat vi (hat bi)." One of the earliest studies on Muong folk songs is the book "Dan ca Muong (Hoa Binh)" (1960) Recent studies on Mo Mường, two notable publications being "Mo Muong Hoa Binh" (2010) and "Dedat, denuoc va phong tuc dao ly nhan van Muong" (2015), have contributed to the understanding of Muong folk songs 1.1.1.3 Studies on Muong musical instruments and melodies Bronze drums and gongs Bronze drums and gongs are two unique traditional musical instruments that have been recognized by archaeologists and historians as "typical artifacts associated with the Dong Son culture period and the history of the Muong people." "Cị ke ơống kháo" orchestra Some documents mention that the Muong people have a "Cị ke ơống kháo" orchestra or describe various musical instruments used by the Muong people Most of these musical instruments can also be found among neighboring ethnic groups, especially the Kinh people, such as "cị ke" (flute), "ơống kháo" (panpipe), "đàn tam" (three-stringed lute), "đàn bầu" (monochord), "sênh tiền" (zither), and "trống con" (small drum), etc From reviewing the available folk music documents of the Muong people, the author has made several observations: Firstly, studies on Muong folk songs often spend most of their volume on reflecting lyrics in literary form Secondly, within the system of musical instruments used by the Muong people in Hoa Binh, there are some instruments that have been created since ancient times, such as bronze drums and gongs Thirdly, some documents mention the existence of the "Cò ke ôống kháo" ensemble or describe various musical instruments used by the Muong people, but there has been no in-depth research specifically focused on "Cị ke ơống kháo." 1.1.2 Vietnamese Music Studies from Perspective of cultural studies In general, music studies from a cultural perspective aim to investigate the existence and transformation of music within the dynamics of a cultural context over time 1.1.3 Vietnamese music studies from perspective of ethnomusicology 1.1.3.1 Trends in ethnomusicological research in Vietnam Composer To Vu, in his collection "The Vitality of Traditional Vietnamese Music," has discussed the application of Western music theory in searching and improving Vietnamese music It is evident that To Vu recognized the limitations of applying the standards of a unfamiliar music theory system to traditional Vietnamese music The book "The Music of Gongs in the Central Highlands of Vietnam" (2021) by Bui Trong Hien.The successes of Bui Trong Hien's musical structure analysis can provide explanations for cultural phenomena 1.1.3.2 Theoretical literature on ethnomusicology in Vietnam From 2010 to the present, the issue of theoretical ethnomusicology in Vietnam has been discussed more frequently Author Bui Huyen Nga states that due to the lack of training institutions in ethnomusicology in Vietnam, "it is rare to encounter research works that extensively examine music in its multidimensional relationship with cultural studies." The book "Issues in Research and Training of Vietnamese Ethnomusicology" (2016) by Le Van Toan (editor) and colleagues is the first work to address fundamental issues regarding the establishment of an ethnomusicology specialization in Vietnam The article "The Anthropology of Vietnamese Music " by Barley Norton provides a comprehensive overview of the research situation on Vietnamese music in recent decades 1.1.3.3 Ethnomusicological studies on Vietnamese music by foreign scholars Since the 1990s, several foreign ethnomusicologists have come to Vietnam and conducted research from this perspective Barley Norton spent many years in Vietnam learning to play đàn đáy for ca trù singing and the đàn nguyệt for văn singing, and obtained a Ph.D in music on hầu đồng ritual music in Vietnam In 2009, he published the book "Songs for the Spirits: Music and Mediums in Modern Vietnam," which demonstrates that music is not merely entertainment or adornment for life, but rather a means for individuals to reflect upon or shape society, culture, and themselves Lauren Meeker wrote two articles: "Searching for a Place on the Global Stage: Festivalization of Quan Họ Cultural Heritage" and "How Much for a Song? Local and National Representations of Quan Họ Folksong." Lonán Ó Briain conducted field research in Vietnam for three years from 2007 to 2016, and in 2018, he published the book "Musical Minorities: The Sounds of Hmong Ethnicity in Northern Vietnam." Ó Briain discusses the struggles of Hmong music amidst the social changes and skillfully connects it to the survival strategies employed by the Hmong people.Ó Briain discussed the "struggle" of Hmong music in the face of changes in that social context, and skillfully related it to the birth strategies that the Hmong use in life to enjoy and survive 1.2 Theoretical basis 1.2.1.Theoretical framework and concepts used in the thesis 1.2.1.1 Cultural life 1.2.1.2 Orchestra and Vietnamese ethnic orchestra 1.2.1.3 Distinguishing between orchestra and band 1.2.1.4 Cultural identity 1.2.2 Theoretical framework of the thesis The doctoral candidate chose the theoretical framework of Ethnomusicology to construct the theoretical framework and methodology of the thesis: Studying the role and significance of "Cị ke ơống kháo" within the context of the cultural heritage it belongs to, which is the Mường culture of Hoa Binh province Additionally, the thesis applies the theory of cultural exchange and acculture to further develop the research This theory has been chosen for investigation in the thesis because the author discovered several similarities between "Cị ke ơống kháo" and certain musical cultural practices of the Kinh people 1.3 Overview of the research area 1.3.1 The Muong people with Hoa Binh province Hoa Binh province is located at the gateway of the Northwestern mountainous region in Vietnam, serving as a transitional area between the North Delta and the Northwest mountainous region The Muong people have been long-term residents in Hoa Binh province Population statistics from 1960 to the present consistently show that the Muong ethnic group constitutes the majority of the population in Hoa Binh province 1.3.2 Overview of the research points 1.3.2.1 Su Ngoi Commune, Hoa Binh City Su Ngoi is a commune located adjacent to the city center of Hoa Binh It has a population of over 4,000 people, with the Muong people accounting for 51%, the Kinh people accounting for 48.7%, and other ethnic groups making up approximately 0.3% Since 2017, the Khai hạ dinh Ngoifestival has been fully restored, consisting of two ritual parts and a communal gathering, held annually on the 8th and 9th day of the first lunar month 1.3.2.2 Phong Phucommune, Tân Lạc district Previously known as Thạch Bi, Phong Phu commune officially adopted its current name in 1957 In history, the Mường Bi harvest festival was interrupted since the late 1940s until it was reinstated by the local authorities and people in 2002 1.3.2.3 Nhan Nghia commune, Lac Son District Nhan Nghia commune is considered the center of the ancient and present-day Mường Vang region The Muong people account for 82.60% of the population, while the Kinh people and other ethnic groups make up 17.40% In 2012, the Ruoc But festival and Hang Dung festival were officially restored and have been organized on a 3-year cycle since then Chapter OVERVIEW OF "CỊ KE ƠỐNG KHÁO" 2.1 Identification of "Cị ke ơống kháo" 2.1.1 Name of "Cị ke ơống kháo" In the literal sense in the Mường language, "Cị ke ơống kháo" is a phrase composed of the names of two musical instruments, "Cị ke" and "ơống kháo" 2.1.2 Organization of the "Cị ke ơống kháo" band A typical "Cị ke ơống kháo" band consists of to members In some cases, the minimum number can be members, or it can exceed 10 members 2.1.2.1 Band leader of "Cò ke ôống kháo" Every band has a band leader who is responsible for general management They represent the band in negotiations including accept performance invitations from the community, negotiate fees, manage and distribute finances The band leader also organizes rehearsals and assigns tasks to the members 2.1.2.2 Members of the "Cò ke ơống kháo"band A common criterion for all "Cị ke ôống kháo" musicians is that they must have knowledge of customs and traditions and maintain a serious attitude towards their work, behaving appropriately in the spaces where the "Cò ke ôống kháo" band performs 2.1.3 Existence space of "Cò ke ôống kháo" In the past, each Muong village typically had a "Cị ke ơống kháo" band The number of musicians would vary (some would pass away due to old age, while others would go far away for work), but regardless of the quantity, they would gather together to form a band in each village Based on the above basic information, the doctoral candidate would like to present a preliminary understanding of "Cị ke ơống kháo," which will be further clarified in the following sections: "Cị ke ơống kháo" is a traditional folk band of the Mường people in Hịa Bình province They use it in ritual spaces and community entertainment 2.2 Artistic elements in the performance of "Cị ke ơống kháo" 2.2.1 Diversity in the names of melodies If we categorize them based on names, there are numerous "Cò ke ôống kháo" melodies, and each research area has its own system of "Cị ke ơống kháo" melodies 2.3.2 Artists in daily life 2.3.2.1 Economic life Playing "Cị ke ơống kháo" music is not considered as a regular or stable job, and the main source of income coming from providing funeral services is quite limited Due to this reason, "Cò ke ôống kháo" does not become a sustainable livelihood, and all artists have to earn a living through other occupations Among the various livelihoods, some artists engage in mental work such as being village leaders, cultural officials, accountants, teachers, etc Others perform skilled labor such as operating specialized cranes, carpentry, Organ players, industrial workers, and many of them have knowledge in crafting musical instruments for their own use Therefore, it can be observed that some fields within the livelihood require intelligence and dexterity, indicating that many "Cị ke ơống kháo" artists possess intellectual abilities 2.3.2.2 Interests and lifestyle "Cò ke ôống kháo" artists share a common trait in their lifestyle: they have an outward orientation and maintain extensive relationships within the community This can be seen through their hospitable and genuine attitude Perhaps the nature of their work, involving frequent encounters with strangers and developing community connections, has shaped them to be open, approachable, and willing to share their daily life experiences 2.4 The role of "Cị ke ơống kháo" for artists 2.4.1 "Cị ke ơống kháo" creates the social position of artisans in the community 2.4.1.1 The "Cò ke ôống kháo"is smart and skillful The artist "Cò ke ôống kháo"possesses purely human ingenuity qualities developed through training, abilities that are easily recognizable in a concrete way and are not related to mystical powers The community highly appreciates the intelligence of the "Cị ke ơống kháo" artists and trusts their skills They often receive the sincere help and sharing of the community when the family organizes big events such as house building, funerals, anniversaries, and weddings 2.4.1.2 The artist "Cò ke ôống kháo" is knowledgeable about Muong culture The work of artits is associated with events in society, from religious practices at festivals or in each family such as funerals, weddings and other customs In general, the community always considers "Cị ke ơống kháo" 11 artists to be knowledgeable about traditional culture, so they often consult artisans about thatfield 2.4.2 Artistic value of "Cị ke ơống kháo" for artists 2.4.2.1 Interaction in orchestra performance Interaction in orchestra performance is a non-verbal communication between artistswhile playing music, helping them achieve a psychological and emotional harmony to perform better 2.4.2.2 Development of interaction in orchestra performance Some aspects of interaction in the orchestra performance of "Cị ke ơống kháo" include companionship, musical support, leadership, and physical cues 2.4.2.3 Significance of interaction in orchestra performance The interaction in orchestra performance explains why musicians are passionate about the music of "Cị ke ơống kháo" as they have experienced an ecstatic state within that music Perhaps, that is the compelling reason for people to join the "Cị ke ơống kháo" orchestra and remain devoted to it throughout their lives Chapter "CỊ KE ƠỐNG KHÁO" IN THE CULTURAL LIFE OF THE MUONG PEOPLE AND CURRENT TRANSFORMATIONS 3.1 "Cị ke ơống kháo" in the cultural life of the Muong people 3.1.1 "Cị ke ơống kháo" in funeral ceremonies Funeral ceremonies are considered the "most important ritual in one's life" by the Muong community The funeral band of the Muong people consists of two instrumental groups: Instruments used in funeral ceremonies: bamboo flute, drum, single gong The "Cị ke ơống kháo" band The reason why the bamboo flute is not used in the "Cò ke ôống kháo" band is evident through the prohibitions associated with its use It is believed that the sound of the bamboo flute is an omen of revelry, and even a signal of death On the contrary, "Cị ke ơống kháo" is not bound by any prohibitions, and the musicians can practice and perform the music wherever they want, such as in their own homes, housewarming celebrations, weddings, etc It can be said that the music of "Cị ke ơống kháo" is not limited to the somber atmosphere of funeral ceremonies or the sanctity of rituals 12 3.1.2 "Cị ke ơống kháo" in festivals During our fieldwork, we often witnessed the "Cị ke ơống kháo" band performing at various festivals, specifically the Khai Festival at Ngòi Temple in Su Ngoi commune, the Khai Muong Bi Festival in Phong Phu commune, Tan Lac district, and the Procession of the Buddha Festival in Nhan Nghia commune, Lac Son district in 2018 (this festival is held every three years) The majority of festivals with processions of the Muong in Hoa Binh province nowadays include the participation of the "Cị ke ơống kháo" band 3.1.2.1 Participation in processions The process of festival usually begins with a ritual procession In these processions, the "Cò ke ôống kháo" band marches at the front 3.1.2.2 Performances at ritual sites During the main ritual ceremonies, the "Cò ke ôống kháo" band is positioned either on the right or left side of the ceremonial site They perform continuously while the ritual offerings are performed, pausing only when the shaman recites invocations and then continuing their performance during subsequent rituals (incense offering, wine offering, etc.) 3.1.3 Practice and transmission of "Cị ke ơống kháo" The leisure time that artists have for practicing and transmitting the music of "Cò ke ôống kháo" is usually in the evenings when they take a rest after a day's work 3.2 Transformations in the performance of "cị ke ơống kháo" today 3.2.1 Transformations in funeral performances In the early 1980s, the authorities campaigned against superstitions and occult practices among the Muong people There was a period of time when funeral rituals and the performance of "Cị ke ơống kháo" music were restricted In the past, people had to personally invite a band as a gesture of respect Nowadays, the process of invitation has become less cumbersome, and they simply need to ask for the phone number of the band leader (through acquaintances in the community) and contact them to invite the band to perform music There is a growing trend of "assembling" skilled "Cò ke ôống kháo" performers from various places into a "selecting" band The current form of burial rituals among the Muong people is gradually changing, and this also affects the performance of "Cị ke ơống kháo." The application of scientific and technological advancements has 13 become widespread, and most "Cò ke ôống kháo" bands today use electronic sound systems to amplify their music 3.2.2 Transformations in festival performances Observing the current restored Mường festivals, the role of cultural management organizations is clearly evident The costumes of "Cị ke ơống kháo" performers are provided by the festival organizing committee In some festivals, the "Cị ke ơống kháo" music must be played according to the committee's requirements The "Ban âm" talent competition in the Khai hạ Mường Bi festival Since 2015, the Khai hạ Mường Bi festival has organized a talent competition among "Cị ke ơống kháo" bands, known as the "Bản âm" competition for representative bands from different communes in Tan Lac district The "Ban am" competition was actually an initiative of the Cultural Department of Tan Lac district, which was included in the festival program 3.2.3 Expansion of practice and performance scope 3.2.3.1 Performances in tourism services In 1994, Hoa Binh Tourism Company (now Hoa Binh Tourism Joint Stock Company) established an Ethnic Culture Team to collect "Cị ke ơống kháo" music, chiêng Xắc bùa, and traditional dances of ethnic minority groups in Hoa Binh province to serve tourism services 3.2.3.2 Staging of "Cị ke ơống kháo" Music In many Muong festivals, "Cị ke ơống kháo" has been incorporated into the cultural welcoming programs of the festivals as a musical performance In various places, cultural officials encourage performers to showcase "Cị ke ơống kháo" at public art competitions Besides instrumental performances, they also experiment with using "Cị ke ơống kháo" as accompaniment for Muong folk singing 3.2.3.3 Establishment of clubs and promotion on television and social media In recent years, many elderly associations in the communes of Hoa Binh province have established "Cị ke ơống kháo" clubs for individuals with a shared interest in traditional music Central television channels such as VTV1 and VTV5 have introduced "Cị ke ơống kháo" to the public Additionally, self-recorded videos showcasing performances by "Cò ke ôống kháo" artists are increasingly shared on social media platforms like YouTube 3.2.3.4 Transformations in musical instruments, vocal techniques, melodies, and musical transitions 14 Today, the Muong people use both self-made "cò ke" and those purchased from the Kinh In general, the bands are investing more in musical instruments and equipment to enhance their performances 3.3 Causes of transformation 3.3.1 Objective causes The fundamental and primary causes that have led to the recent transformations in the practice of "Cò ke ôống kháo" can be attributed to the strong cultural exchanges and integration occurring across various aspects of Muong society in Hoa Binh Additionally, there is an influence from state cultural management agencies in terms of cultural heritage preservation and cultural identity 3.3.2 Subjective causes The transformations in the practice of "Cị ke ơống kháo" are also influenced by the perception and attitudes of the cultural subjects, namely the Muong people in Hoa Binh As mentioned earlier, the process of cultural exchange and integration acts as both an objective cause and a significant driving force for the noticeable changes in the community's awareness 3.4 Role and significance of "cò ke ôống kháo" for the Muong community 3.4.1 Meeting aesthetic needs Firstly, the music of "Cị ke ơống kháo" possesses aesthetic value Secondly, "Cị ke ơống kháo" is an essential element in Muong funerals and festivals Thirdly, "Cị ke ơống kháo" carries symbolic significance within the community This is particularly evident in Sủ Ngòi commune, where the Kinh and Muong people live together Just by listening from a distance, the residents of Su Ngoi can distinguish whether it is a Muong or Kinh funeral based on the melodies played 3.4.2 Creating empathy and sharing Funerals are significant events for the members of the bereaved family In this entire context, the artists, along with the music of "Cị ke ơống kháo," become the companions who empathize and share the grief The music of "Cị ke ơống kháo" also contributes to creating empathy between visitors and the bereaved family 3.4.3 Role and significance of "cị ke ơống kháo" in current transformations 3.4.3.1 Becoming a cultural marker of the mường people in Hoa Binh 15 "Cị ke ơống kháo" is gaining attention from the authorities, media, researchers, and most importantly, the Muong community It is included in tourism activities, presented on public stages, showcased on social media and national television channels, and has become part of folklore clubs in cultural establishments such as Muong communal cultural houses It is gradually becoming a source of cultural pride within the Muong community 3.4.3.2 Traditional education role In the process of teaching "Cị ke ơống kháo," the artists also educate their students on ethics, lifestyle, and the need to understand Muong customs and traditions This includes the procedures and rituals involved in funerals and festivals, enabling them to behave appropriately according to cultural norms and standards 3.4.3.3 Serving as a rich source of Muongtraditional music "Cò ke ôống kháo" represents a rich source of Muong folk music It can be collected and promoted in the tourism industry or analyzed and used as material for professional music compositions Chapter "CỊ KE ƠỐNG KHÁO" IN ACCULTURATION AND ETHNIC IDENTITY EXPRESSION 4.1 "Cị ke ơống kháo" in the cultural interactions and acculturation of the Kinh and Muong people 4.1.1 Cultural similarities between the Kinh and Muong The Muong people and the Kinh people have a close relationship, from their anthropological characteristics to their geographical living space, especially in terms of cultural similarities Most studies from the early 20th century until now have acknowledged that the Kinh and Muong people were originally from the same root, and later separated into two ethnic groups around the 6th to 8th centuries 4.1.2 The position of "Cị ke ơống kháo" in traditional Muong music Currently, we know that "Cị ke ơống kháo" is an inherent element of traditional Muong music However, we have discovered that "Cị ke ơống kháo" occupies a unique position Firstly, "Cị ke ơống kháo" does not accompany the gongs Secondly, "Cị ke ơống kháo" does not combine with Muong folk songs 16 Thirdly, the Ơống - a unique musical instrument of the Muong people - does not participate in the orchestra of "Cị ke ơống kháo." Fourthly, "Cị ke ôống kháo" is only part of the music performed at funerals Fifthly, there is a gender imbalance in "Cò ke ơống kháo" orchestra 4.1.3 The position of "Cị ke ôống kháo" in traditional Vietnamese music 4.1.3.1 "Cò ke ôống kháo" as a component of Vietnamese traditional music Based on the shared aspects of musical arrangement, structure, and techniques of using musical instruments, it can be affirmed that "Cò ke ôống kháo" is a component of Vietnamese traditional music At the same time, it also shares similarities with the traditional music of the Southeast Asian region 4.1.3.2 "Cị ke ơống kháo" as a type of musical ensemble genre The use of musical instruments in an ensemble like "Cị ke ơống kháo" by the Muong people is not observed in other ethnic minority groups in the Northern mountainous region of Vietnam Perhaps it is only similar to the Bat am orchestra of the Kinh people in the Northern region, which constitutes the core characteristic of "Cị ke ơống kháo." From the aforementioned concerns, the researcher speculates that "Cị ke ơống kháo" might have been adapted by the Muong people from another closely related ethnic group: the Kinh people 4.1.4 Comparing "Cò ke ôống kháo" with some Kinh music organizations 4.1.4.1 Comparing "Cị ke ơống kháo" with the Hue royal cour music Firstly, they both belong to the genre of instrumental music Secondly, there are similarities in the structure of musical instruments Thirdly, they share similarities in performance techniques, such as "connecting pieces" and "repetition." Besides, there are some differences between the two orchestras, such as: Differences in performance space Differences in tonality All compositions of the Hue royal cour musicare based on a single tonality: the Northern tonality The compositions of "Cị ke ơống kháo" are not based on the Northern tonality but rather on the Southern, Nam Xuan, and Huynh tonalities 17 What are the reasons for these similarities between the two music ensembles? The researcher suggests that "Cò ke ôống kháo" may have undergone acculturation and influences from earlier periods In other words, the Hue royal cour musicand "Cò ke ôống kháo" may share a common root, which is the Thang Long royal cour music 4.1.4.2 Comparing "Cò ke ôống kháo" with the Bat am orchestra in Northern Vietnam The researcher further explores another musical phenomenon of the Vietnamese people for comparison, which is the Bat am orchestra in Northern Vietnam The difference between the Hue royal cour music and "Cị ke ơống kháo" contrasts with the similarity between the Bat am orchestra and "Cị ke ơống kháo," which includes: Firstly, similarities in the usage of performance space Secondly, the identical name of a composition: Lưu thủy Although they may differ in melody and tonality, the shared name is noteworthy Thirdly, similarities in their relatively independent position at funerals "Cị ke ơống kháo" only accompanies the performance of a flute and presents its own compositions Based on these comparisons, the researcher concludes that "Cị ke ơống kháo" bears a close resemblance to the Bat am orchestra of the Kinh people in Northern Vietnam This allows for the hypothesis to be proposed below 4.1.5 Hypothesis on the origin of "Cò ke ơống kháo" The researcher suggests that "Cị ke ơống kháo" is the result of the Muong people's adaptation of the Bat am orchestra of the Kinh people in Northern Vietnam The process of adaptation is believed to have started around the 16th century (Le Trung Hung - 1533) The additional evidence supporting this hypothesis is as follows: 4.1.5.1 Regarding the time and historical context Pham Đinh Ho in his book "Vũ trung tùy bút" (Miscellaneous Writings on Music) mentioned the tonalities of music during the Lê dynasty, indicating that as early as 1470 (during the Hong Duc era), tonalities such as Huynh and Nam existed, which are also present in the compositions of "Cị ke ơống kháo" today Therefore, the tonal basis of "Cị ke ơống kháo" might have originated from this period or even earlier 18