Children on reality game shows the case of constructing of little adults in the voice kids of vietnam

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF LINGUISTICS & CULTURES OF ENGLISH SPEAKING COUNTRIES GRADUATION PAPER CHILDREN ON REALITY GAME SHOWS: THE CASE OF CONSTRUCTING OF “LITTLE ADULTS” IN THE VOICE KIDS OF VIETNAM Supervisor: Nguyen Hai Ha (M.A) Student: Nguyen Thi Thu Thao Course: QH2016.F1.E32 HA NOI – 2020 ĐẠI HỌC QUỐC GIA HÀ NỘI TRƯỜNG ĐẠI HỌC NGOẠI NGỮ KHOA NGÔN NGỮ VÀ VĂN HÓA CÁC NƯỚC NÓI TIẾNG ANH KHÓA LUẬN TỐT NGIỆP TRẺ EM TRÊN TRUYỀN HÌNH THỰC TẾ: TRƯỜNG HỢP TẠO DỰNG “LITTLE ADULTS” TRONG GIỌNG HÁT VIỆT NHÍ Giáo viên hướng dẫn: Nguyễn Hải Hà (M.A) Sinh viên: Nguyễn Thị Thu Thảo Khóa: QH2016.F1.E32 Hà Nội – 2020 ii ACCEPTANCE PAGE I hereby state that I: Nguyễn Thị Thu Thảo, QH2016.F1.E32, being a candidate for the degree of Bachelor of Art, accept the requirements of the College relating to the retention and use of Bachelor’s Graduation Paper deposited in the library In terms of these conditions, I agree that the origin of my paper deposited in the library should be accessible for the purposes of study and research, in accordance with the normal conditions established by the librarian for the care, loan or reproduction of the paper Signature Date iii ACKNOWLEDGEMENTS This thesis would not have been possible without the support and guidance of many teachers, to all of whom, I am profoundly indebted To begin with, I would like to express our sincere gratitude to Ms Nguyen Hai Ha, my supervisor, for her invaluable guidance, considerable encouragement, and passionate enthusiasm during the time of conducting this research She gave me a lot of support and helped me to make this thesis better Thanks to her constructive criticism, practical suggestion, and useful reference during the research process, I could complete the study Moreover, her elaborate comments and corrections on my usage of vocabulary and grammar helped me to improve my writing skill significantly Besides, I am wholeheartedly thankful for Ms Phung Ha Thanh, my lecturer She is the most erudite teacher I've ever had, and she also inspired me to conduct my research During the first stage when I had numerous difficulties in research orientation, she gave me constructive suggestions on how to develop a researchable problem and build a valuable thesis I also would like to dedicate this work to our family, especially my Mom She always stands by and encourages throughout the entire process I have been blessed by endless support, significant incentive, and understanding from my beloved family iv ABSTRACT The main purpose of this thesis is to examine the extent to which the reconstruction of “Little Adults” is relevant to the study of reality television in a non-Western country like Vietnam In particular, the case study selected is The Voice Kids of Vietnam, one of the most popular reality gameshows for children over the last decade The research locates “Little Adults” as a cultural phenomenon that is appropriate for the Vietnamese contemporary society The transplantation and formation of “Little Adults” in Vietnam are analyzed through a series of historical conditions, along with political, economical, and social changes, that affect the notions of Vietnamese children/childhood over time This thesis reveals that “Little Adults” in the contemporary context is conceptualized as a balanced, dynamic tenet that represents both children’s aspiration of their abilities and adults’ expectations on children The case the Voice Kids of Vietnam is brought in as a visual illustration of how “Child Star”, as a subset of “Little Adults”, is differently cultivated The researcher argues that, while The Voice Kids of Vietnam seems to share neoliberal criteria in the logic of choice, competition and “self” promotion, it still demonstrates adaptability and highlights national characteristics; hence, the programme not only differs from the Western interpretation but also aligns with state agenda As The Voice Kids of Vietnam is a music show, the research will be methodically approached with the interdisciplinary ethnomusicology to examine music from the cultural and social aspects of the people who make it, instead of only its isolated sound component v LIST OF TABLES Table Title Performances of Nha Thy (Cam Ly’s team, The Voice Kids of Vietnam 2015) Performances of Kieu Minh Tam (Luu Thien Huong’s team, season 7) Performances of Tuan Anh and Xuan Phuong (Vu Cat Tuong ’s team) in season (2018) Performances of Minh Chien (Bao Anh ’s team) in season (2018) Page 41 47 51 54 LIST OF ABBREVIATION RTV Reality Television vi TABLE OF CONTENT CHAPTER 1: INTRODUCTION Background Of The Study Research problems and questions Theory Mode Of Inquiry 13 Overview Of The Chapters 14 CHAPTER 2: THE RECONSTRUCTION OF “LITTLE ADULTS” 16 Conceptions Of Childhood/Children Over Time 16 Vietnamese Notions Of Children/ Childhood 18 Vietnamese Children In Wartime 19 Vietnamese Children In Globalizing Era 21 The Reconstruction Of “Little Adults” In Vietnam: A Summary 27 CHAPTER 3: “LITTLE ADULTS” IN THE VOICE KIDS OF VIETNAM: THE CULTIVATION OF “CHILD STARS” 29 How “Little Adults and “Child Stars” converge 29 The social construction of “Child Stars”: “Child Stars” as a manifestation of “Little Adults” 29 “Child Stars” As A Singular Discourse In The Voice Kids Of Vietnam 33 Different Strategies, Different Routes To Stardom 38 Cam Ly - a “preservationist” of the customary values 39 Luu Thien Huong - a rigorous trainer in musical techniques 45 Vu Cat Tuong - a breath of fresh air and “self” promotion 49 Bao Anh - the exploitation of contemporary hits 54 vii Influences Of The Coaches On Their Child Performers: A Summary 58 CHAPTER 4: CONCLUSION 61 REFERENCE 63 viii CHAPTER 1: INTRODUCTION This chapter introduces social contexts connecting with “Little Adults”, reviews the issue in the history of Vietnamese television for children and locates it in the current age of globalization, announces the research problems and questions, clarifies my mode of inquiry, and offers an overview of the chapters Background Of The Study Originating from Western countries during the 1990s, Reality Television (RTV) refers to an extensive television category possessing a variety of subgenres that are concerned with documenting ordinary people and testing their capability in contrived settings (i.e., an island or a stage), as Hill (2005) puts it “ a catch-all category that includes a wide range of entertainment programmes about real people Sometimes called popular factual television, reality TV is located in border territories, between information and entertainment, documentary and drama” (p.02) The attraction of RTV comes from the combination of entertainment and “authenticity” – real people, real events, real emotions, and real experiences with a focus on self-awareness and self-improvement, thereby stimulating its viewers to learn, practice and overcome difficulties in life to better themselves The emergence of RTV was essentially attributed to the transformation in the economy and entertainment industry, in particular, the deregulation and marketization (mostly in the USA and Western Europe) of media industries, and even the dominance of commercialism in the media environment (Hill, 2005) Upon first glance, it seems that RTV might be merely relevant to Western social contexts, but with the proliferation of media globalization of which the global trade of television entertainment formats is one of the most visible examples, RTV is in many ways becoming one of the most prominent features of modern global consumer culture (Moran, 2009) After having achieved great success in Western countries by attracting a huge number of audiences and generating a profusion of profits, the "wave" of RTV began to spread across national borders to Asian countries, including Vietnam While it has been consistently criticized, since the early days of this genre, that RTV for children is just a follow-up of adult versions to satisfy the producers' desperation for profit, I would argue that this explanation is indubitable but rather simplistic In other words, this is not to say that the rapid expansion of RTV for children does not involve financial factors, but neglecting cultural, historic and social forces might prevent thorough understandings The elucidation given by Kraidy and Sender (2011) is that most imported RTV formats have been significantly modified and adapted to communicate local traditions, values, and aesthetic standards Should imported TV programs not embody appropriate cultural and aesthetic elements, premature death is an inevitable result The concept of globalized formats, therefore, enables us to expand the scope of television studies beyond its industrial and technical dimensions; rather, it underscores diverse, reciprocal, and ensuing social discourses through television formats RTV for children in Vietnam has not stood outside this indispensable localization, and imperative localized changes stem from child-centered incentives Following the realm of research on children in screen-based media, I investigate the claim that Vietnamese RTV promotes a set of criteria that can be traced back to the notions of childhood/children in corresponding social contexts In my thesis, I would like to use the lens of media literacy and culture studies to examine how and to what extent reality shows for children in contemporary Vietnamese society has helped to reconstruct - what I suppose - the notion of children as “Little Adults” In order to carry out the research, I have selected “The Voice Kids of Vietnam” to be the main case study along with the purposive samples of four outstanding coaches Vietnamese programs for children: from “Little Flowers” to reality game shows In the process of television socialization brought by the post-Reform context of accelerating marketization and globalization, Vietnamese reality programs have inadequacy of appropriate songs for child performers, adopt this method However, the overexploitation and negligence of lyric modification tend to come with unwanted repercussions, since how to change the words to ensure both ideological and aesthetic values of the original needs to be delicately considered It should also be noted that every finished musical work encompasses the coordination of content and melody Therefore, to a certain extent, the "re-invention" of lyrics is considered to disrupt the harmony of the original song A research conducted by Erik and Dan (2019) demonstrates that musical salience is frequently associated with lyrical salience Accordingly, composers of popular music use several channels? to create an emotionally engaging experience for the listeners Lyrics, melody, chords, dynamics, instrumentation, and other aspects of a song operate in tandem to produce a consistent and compelling emotional scene The relationships among these elements are critical to musical communication The musician Stephen Sondheim, for example, has commented that he selects rhythms in music to match the natural inflections of speech, and considers the natural rhythms of speech when writing melodies (Erik & Dan, 2019) Returning to the case of Minh Chien, an illustrative inappropriate lyric modification is evidenced by the performance "Ngắm hoa lệ rơi" (Seeing flowers, tears falling) Its original version is a youth song about the love story With its gentle, mournful melody and sentimental lyrics, the song expresses the intensity of nostalgia and loneliness of a man after a breakup When being used in The Voice Kids of Vietnam, the song's content has been transformed into brotherly affection, through the lyric revision The problem is that, in addition to some adjusted ones, other sentimental verses which are initially composed to depict romantic relationships, are now applied to family affection This inappropriateness makes the song’s content ambiguous, disconnected, and illogical: “[ ] Hugging your faded shadow so tightly Let me embrace my body in a lonely color 56 We have promised to stand by each other eternally I still remember but today only sorrow left We must be separated from one another as the flowers gradually fade away Feeling sad when I looked at the flowers as the flow of tears falls You have gone away, and I know for sure that I will not have a chance See you again, how much happiness is broken I always wish you come back to see me again.” (“Ngắm hoa lệ rơi”- Version performed by Minh Chien) The above illustration is the modified version performed by Minh Chien, in which there are only four alterations from the original: 1) the first verse originally is “Beside the new lover, you have forgotten”; 2) “stand by each other” in line is changed from “love each other”; 3) in line 4, the initial “our affection fades away” is changed into “only the sorrow left”; and 4) the two last verses are modified from “So be it, this love is now broken/ Always, I wish you a delicious smile.” Another example is the performance “Mùa thi” (The season of examination) that was originally “Bùa yêu” (Love amulet) Whereas the alternated lyrics in “Ngắm hoa lệ rơi” (Seeing flowers, tears falling) prevents the cohesion in the song’s content, this method employed in “Mùa Yêu” (Love amulet) creates a dissonance between melody and lyrics Based on the literal meaning of love amulet – a superstitious object helping a person in his/her love aspiration – the song praises the seductive charm of the Vietnamese woman, from appearance, personalities to lifestyle To deliver this message, “Bùa Yêu” (Love amulet) is mixed with a melodic combination of folk and haunting ingredients Hence, this type of melody seems unlikely to be harmonious when collaborating with the lyric entirely about children's learning activities in “Mùa thi" (The season of examination) 57 version by Minh Chien In addition, the rewriting of "Mùa thi", though being coherent in its content, is judged to be insufficiently polished and meaningful The method of rewriting the lyrics in the following clarification is criticized to be more like a parody than an artistic performance, because the content is majorly satirical, rather than conveying educational or aesthetic values “Why is it that I still have to work hard after the school year? Whether or not to take the exam, I still have to study Although I no longer have any exam, I still study a lot.” (“Mùa thi”) However, considering the mission of "nurturing young musical talents" of the show, this is probably not a clever training strategy The journey of Minh Chien in The Voice Kids of Vietnam neither helps him identify, enhance his own style, qualify his vocal progress compared to the previous program, nor create emotional attachment in the audience After the performances, Minh Chien is remembered mostly by his confidence and professional performance, rather than singing talent Therefore, though being trusted as a highly potential contestant in the Blind Audition round, Minh Chien is eliminated in the semi-final round Influences Of The Coaches On Their Child Performers: A Summary The coaches are the direct instructors of contestants, so their influence on the contestants is inevitable However, this is not an absolute and homogenous influence If the coach can “meander” individually with different mentorships under the general mission of Child Star cultivation, the child stars, to a certain extent, can also independently choose how to build their own image, and direct their future path In other words, it can be considered as a two-sided relationship, because the candidates themselves, both before and after the show, are the ones who take the initiative in 58 deciding their music direction, instead of being completely impacted by the coach Among the four contestants in the preceding analysis, Nha Thy is examined to be remarkably influenced by her coach Before The Voice Kids of Vietnam, Nha Thy expresses her forte in the Revolutionary music, and her singing accent is the Northern After the production, Nha Thy keeps participating in other music competitions for children, and she selects to perform sentimental and folk songs, although this is not her preference before The Voice Kids This proves the significant influence of the coach model on her contestant A similar impact is recognized in the case of Minh Chien Leaving The Voice Kids, Minh Chien keeps performing vibrant youth music, instead of sentimental folk songs as he used to On this spectrum of diverse child star construction, Anh Tuan, Xuan Phuong (Vu Cat Tuong’s team), and Minh Tam (Luu Thien Huong’s team) reveal a combination of both “passivity” and discernible initiative Kieu Minh Tam has been committed to the authentic genres (nhạc thống) What she is profoundly influenced by her coach is the professional musical techniques Minh Tam (2019) once shared: “Ms Luu Thien Huong is very strict in technical training This helps me identify many mistakes that I have frequently made in the past” The two contestants of Vu Cat Tuong’s team, Anh Tuan and Minh Phuong are less wellknown child performers, both pre- and post-program, which creates an arduous process for the researcher to find out their specialties However, it can be observed within the show how Vu Cat Tuong exploits and empowers their potentials Xuân Phương, though not leaving a great imprint on the Blind Audition, possesses a colorful voice and impressive musical techniques- according to feedbacks from coaches Xuân Phương, in a response to the question of Lưu Hương Giang, admits having not discovered her own distinctive music taste Nevertheless, Vu Cat Tuong guides this girl to utilize her technical competence Through the guidance of Vu Cat Tuong, Xuan Phuong performs successfully divergent youth songs whose melodies vary Different from Xuan Phuong, Anh Tuan manifests his energetic, confident style since the first appearance Taking 59 advantage of his artistic aptitude, Vu Cat Tuong helps Anh Tuan perfect himself Not only does she appropriate youth songs which reflect the breath of contemporary life, but she also instructs Anh Tuan supplementary skills such as dancing and rapping 60 CHAPTER 4: CONCLUSION Acknowledging that "Little Adults" is a concept originating from the West, I started my research by explaining the appearance and popularity of “Little Adults” in the context of Vietnamese society In addition to the findings of historical, cultural and social factors related to “Little Adults”, the research results also show that the media as a communicator of mainstream ideologies, and specifically RTV as a literary form of neoliberalism, makes an important contribution to construct and promote “Little Adults” A subset of “Little Adults” created by media is called “Child Stars” that bears similar essences to “Little Adults”, but representing the narrower connection of Child and Adult Stars Once again, since Child Stars has its birth in the Western cinema, I have tried to shed light on the universality of “Child Stars” based on premises of “Child archetypes” and “Collective Consciousness” by Carl Jung In the second main part of the thesis, I scrutinize the transnational reality show “The Voice Kids of Vietnam”, and focus on four coaches with four different strategies to cultivate Child Stars Cam Ly represents a “cultural preservationist” of the customary values The songs she selects are mostly traditional categories namely folksongs, prewar and nationalistic music whose contents are to honor patriotism and family affection In terms of staging, Cam Ly tends not to exploit modernization, such as remixing old melodies; instead, she adheres to the song's originality and invests in the performing styles to deliver the song to its full potential and create effective emotional effects on the audiences Vu Cat Tuong has chosen to revive popular youth songs in the early 21st century Rather than training contestants to transform with various challenging genres, Vu Cat Tuong instructs the contestant to brand his/her “self-ness” Luu Thien Huong focuses on delicate technical training and the vocal mechanism that helps produce perfect sounds, restrain stage anxiety, and ignite confidence She is the one who persists the most rigorously in terms of music expertise throughout the programme Her song choice is highly challenging because most of the songs have been performed successfully by professional singers Bao Anh constructs child stars based on popularity 61 achieved by contemporary famous songs She often selects top hits on the present national market, making the performances more familiar and relatable to the audience, but leads to changes in lyrics so that contents are suitable for children These above divergent routes to nurture Vietnamese Child Stars reflect the vibrancy and diversity of the contemporary Vietnamese music industry This reflection of national cultural and aesthetic values creates a reality music programme with variety, but specific to Vietnamese culture Nevertheless, this study embodies certain boundaries I wish to go beyond in my future research Firstly, my study did not aim to critique the scholarly texts referenced in this thesis I examined and utilized them only to see how I could make sense of “Little Adults” and 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About The Voice Kids of Vietnam In the recent frenzied competition among Vietnamese television stations in adapting various Euro-American reality shows into localized programs, The Voice Kids of Vietnam, ... Vietnamese Children In Globalizing Era 21 The Reconstruction Of ? ?Little Adults? ?? In Vietnam: A Summary 27 CHAPTER 3: ? ?LITTLE ADULTS? ?? IN THE VOICE KIDS OF VIETNAM: THE CULTIVATION OF “CHILD STARS”... which the reconstruction of ? ?Little Adults? ?? is relevant to the study of reality television in a non-Western country like Vietnam In particular, the case study selected is The Voice Kids of Vietnam,