With the reciprocal simultaneous performance of the instrument and the player, the double drum dance of the Ba Na and the Cham people (Dong Xuan district) exudes generosity, improvisation and originality.
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| The performance of double drum dance by artists in Da Loc commune, Dong Xuan district |
Present on the festival day in Da Loc commune, Dong Xuan district, we witnessed Ba Na artisans passionately dancing double drums. Young couples stand opposite each other, drums strapped across their stomachs, stroking and patting the surface of the drums with their hands, their bodies bouncing, swaying, leaning to one side, looking at the other very vividly. The sound of the two drums blends flexibly, feeling like a dialogue, one person asks, the other answers.
Responding with sound and form
The double drum is a musical instrument used quite commonly in the cultural life of Phu Yen ethnic minority compatriots in general and the Ba Na people in Da Loc commune (Dong Xuan district) in particular. Especially on the occasion of buffalo stabbing festival, wedding ceremony, health celebration, etc., double drum dance (K’toang) is the highlight and bridge between people and gods.
According to Mr Doan Van Tuoi, who has a lot of experience in dancing double drums in village 1, Da Loc commune, the double drum consists of male and female drums. The double drum dancer must be male and in good physical condition; because during the drum dance process, they have to skillfully perform and combine very complex movements.
Each person has a drum and dances to the beat from their own hands, the rhythms are sparse, sometimes rushed, random tones overlap. All changes are diverse, reminding listeners of the murmuring sound of the stream, the flickering of fire and the pouring rain of the great forest.
The elder Tuoi said: “People call it double drum dance but not drumming because the performance of double drums is different. The movements during drum dance are modeled after the gait, running and jumping of animals. Double drum dance is not easy because it requires mental strength. Drums are heavy, but the hands have to dance continuously, the body is always moving, bouncing, bouncing, bouncing, etc. Therefore, the dancer must have health”.
Preserving identity
According to Mr Huynh Viet Hung, Head of Culture and Sports Division of Dong Xuan district, usually, Ba Na people perform double drums along with gongs to create a vibrant atmosphere for festivals. In the past, this type of musical instrument was considered as a means for humans to communicate with the gods. Now, in community activities, singing, dancing and double-drum dance are indispensable performances.
Participating in the performance of double drums at these festivals, Mr Le Van Diep from hamlet 5, Da Loc commune shared: “The Ba Na people’s double drums have been around for a long time. When I grew up, I started to practice drum-dancing. This is the traditional cultural identity left by our grandparents, so I and many young people in the village followed our fathers”.
“The sound of the double drums has been constantly ingrained in my mind. Now, I love them more than ever. Inspired by the older people, I realized that I need to preserve the cultural identity of my nation, and spread that passion to more young people”, said Mr Yo Y Noi in village 1.
Mr Nguyen Ngoc Thai, Deputy Director of the Department of Culture, Sports and Tourism said, “The art of performing double drums combined with three-gong and five-gong of Cham and Ba Na people (Dong Xuan district) is recognized as a cultural heritage at the national level in February 2016. Currently, this art has become a unique community-based tourism product, attracting a large number of tourists to participate, learn and experience, significantly contributing to the development of culture and tourism in Phu Yen province. Therefore, it is necessary and urgent to preserve and promote the value of intangible cultural heritage, including the art of performing double drums”.
Source: Phu Yen Newspaper
Translated by TRINH THUY
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