Tom Tat Tieng Anh

YÊN BÁI PEOPLE‟S COMMITTEE
MINISTRY OF CULTURE, SPORTS AND TOURISM

YÊN BÁI DEPARTMENT OF CULTURE, SPORTS AND TOURISM
VIETNAM NATIONAL INSTITUTE OF CULTURE AND ARTS STUDIES
ĐIỆN BIÊN PEOPLE‟S COMMITTEE
ĐIỆN BIÊN DEPARTMENT OF CULTURE, SPORTS AND TOURISM
LAI CHÂU PEOPLE‟S COMMITTEE

LAI CHÂU DEPARTMENT OF CULTURE, SPORTS AND TOURISM
SƠN LA PEOPLE‟S COMMITTEE

SƠN LA DEPARTMENT OF CULTURE, SPORTS AND TOURISM
INTERNATIONAL CONFERENCE
THE SAFEGUARDING AND PROMOTION
OF THE ART OF XÒE DANCE OF THE TAI PEOPLE
IN CONTEMPORARY SOCIETY
Hanoi, October 04 - 05, 2019

TABLE OF CONTENTS
Conference Program .......................................................................................................... 02
List of papers ...................................................................................................................... 08
Abstracts ............................................................................................................................. 14
1
PROGRAM OF INTERNATIONAL CONFERENCE
The Safeguarding and Promotion of the Art of Xòe Dance of the Tai People
in Contemporary Society
Co-organizers:
- Ministry of Culture, Sports and Tourism
- People‟s Committees of Yên Bái, Điện Biên, Lai Châu, Sơn La Provinces
- Viet Nam National Institute of Culture and Arts Studies
- Departments of Culture, Sports and Tourism of Yên Bái, Điện Biên, Lai
Châu, Sơn La Provinces
Venue: Conference Hall, Viet Nam National Villages for Ethnic Culture and Tourism
Date: October 04 - 05, 2019
DAY 1 - Pick up international participants at Noi Bai Airport to Mon Regency Hotel, no
Oct. 03 1 Phan Đình Phùng Street, Hanoi.
- Pick up provincial participants to Viet Nam National Villages for Ethnic
Culture and Tourism
- 18:00: + International participants have dinner at the Mon Regency Hotel, no 1
Phan Đình Phùng Street, Hanoi
+ Vietnamese participants have dinner at Viet Nam National Villages
for Ethnic Culture and Tourism
DAY 2 CONFERENCE DAYS
Oct.04
7:00 - Pick up international participants at Mon Regency Hotel, No 1 Phan Đình
Phùng Street to Viet Nam National Villages for Ethnic Culture and Tourism
- Pick up participants in Hanoi at Viet Nam National Institute of Culture and
Arts Studies to Viet Nam National Villages for Ethnic Culture and Tourism
7:30-8:30 REGISTRATION
Conference Hall, Viet Nam National Villages for Ethnic Culture and Tourism
PLENARY SESSION
8:30-8:40 Introductory Remark
8:40-8:50 Welcome Speech by a Leader of Yên Bái‟s People Committee

8:50-9:00 Opening Speech by a Leader of Ministry of Culture, Sports and Tourism
9:00-9:15 Keynote Speech by Assoc. Prof. Dr. Bùi Hoài Sơn, Director, Viet Nam National
Institute of Culture and Arts Studies
2
9:15-11:45 PANEL 1
Study Folk Dance of Ethnic Communities
Venue: Big Hall, Vietnam National Villages for Ethnic Culture and Tourism
Chairs:
- Assoc. Prof. Dr. Nguyễn Thị Phương Châm, Director, Institute of Culture Studies
- Mrs. Edaly Quiroz, Deputy Director of Intangible Cultural Heritage, National
Institute of Anthropology and History, Mexico.
Affiliation
Full Name Paper’s Title
Institutions
Prof. Dr. So National Gugak Safeguarding Korean Traditional

9:15-9:30 Dance.
Inhwa Center
Distinguished Performing Space, Norm Form and

Professor. Yunnan Academy, Their Transformation: The Current
9:30-9:45
Zheng, Xiaoyun China Situation of Dai Dance in China.
and Yu Tao
Prof. Dr. Liao, The Inheritance and Innovation of
Guangxi Normal
9:45-10:00 Guoyi Dai Folk Dance in Yunnan
University, China
(Liêu Quốc Nhất) Province of China.
10:00-10:15 TEA BREAK
M.A. Nguyễn Department of Social Xòe Dance in the Flow of Dancing

Đăng Hựu Sciences and Culture of the Tai in Viet Nam and
10:15-10:30
Humanities, Duy Tân China: Context, Identity and
University in Đà Nẵng Safeguarding Directions.
Prof. Dr. Trịnh Institute of Xòe Dance of the Tai in Relation to
10:30-10:45
Sinh Archeology Ancient Dances.
Institute of Sae Tai.
Information and
Dr. Souksavatd,
10:45-11:00 Journal of Science.
Bountheng
Academy of Social
Sciences of Lao
Department of Xòe Chá as the Identity of Chá
Dr. Phạm Đặng
Philology - Hanoi Village”: Fieldwork Research on
Xuân Hương -
11:00-11:15 National Social Behaviors of the Xòe Chá
M.A. Đỗ Thị
Pedagogical Team in Áng Village, Sơn La
Thu Hà
University Province.
3
From Love Story to Class Struggle:
Assoc. Prof. Dr. Re-contextualization and Cultural
University of
11:15-11:30 Yuki Politics of Song Chu Son Sao (Tiễn
Thammasat, Thailand
Mukdawijitra dặn người yêu) of Ethnic Tai in Viet
Nam.
11:30-11:45 Discussion
11:45-13:00 LUNCH
PANEL 2
Identification, Safeguarding, and Management of the Art
of Xòe Dance of the Tai
Venue: Big Hall, Vietnam National Villages for Ethnic Culture and Tourism
14:00-17:30 Chairs:
- Assoc. Prof. Dr. Từ Thị Loan, Former Director, Viet Nam National Institute of
Culture and Arts Studies
- Assoc. Prof. Dr. Lê Văn Toàn, Former Director, Viet Nam National Academy
of Music
Full Name Affiliation Institutions Paper’s Title
Prof. Dr. Bùi Viet Nam National Xòe Dance of the Tai from
Quang Thanh Institute of Culture and Perspectives of the upper Basin of
Arts Studies Mekong and Red Rivers
14:00-14:15 (Preliminary examination of 5 Tai
villages in Xishuangbana
Autonomous Prefecture, Yunnam
Province, China).
Institute of Vietnamese Ethnic and Regional Studies
Studies and Approaches in Research to
14:15-14:30 Assoc. Prof. Dr. Development Sciences, Recommend Solutions to the
Phạm Văn Lợi Viet Nam National Management, Safeguarding and
University, Hanoi Promotion of the Value of Xòe
Dance of the Tai.
Assoc. Prof. Dr. Director, Viet Nam The Safeguarding and Promotion
14:30-14:45 Lê Anh Tuấn National Academy of of Xòe Dance of the Tai Music.
Music
Mr. Đặng Viet Nam National Music and Xòe Dance.

14:45-15:00
Hoành Loan Academy of Music
4
Noong Luống The Art of Xòe Dance of the Tai
Commune, Điện Biên People Contributes to Safeguard and
15:00-15:15 Ms. Lường Thị Đại
District, Điện Biên Promote National Traditional
Province Culture.
15:15-15:30 TEA BREAK
Hanoi University of Safeguarding, Exploiting and
Assoc. Prof. Dr. Culture Promoting the Value of Xòe Dance
15:30-15:45
Dương Văn Sáu of the Tai through Tourism in
Contemporary Viet Nam.
Mr. Phạm Việt Dũng Director, Department Solutions of Management,
of Culture, Sports and Safeguarding and Promotion of the
15:45-16:00
Tourism of Điện Biên Value of the Art of Xòe Dance of the
Province Tai People in Điện Biên
Province.
Officer of Cultural The Art of Xòe Dance of the Tai in
M.A. Ngô Thị Management, Cultural and Religious Practices of
16:00-16:15 Hải Yến Department of Culture, the Tai in Sơn La Province.
Sports and Tourism,
Sơn La Province
Nà Củng Village, Xòe Dance in the Culture of the
16:15-16:30 Mr. Hoàng Mường So Commune, White Tai in Mường So - Phong Thổ
Ngọc Sứu Phong Thổ District, Lai District - Lai Châu Province.
Châu Province
Association of Let Make Xòe Dance of the Tai
16:30-16:45
Mr. Hà Lâm Kỳ Literature and Arts of People Performed in Every Family.
Yên Bái Province
Viet Nam National Searching for the Origin of Circle
16:45-17:00 Mr. Phạm Hùng
Institute of Culture and Xòe of the Tai in Northwestern Viet
Thoan
Arts Studies Nam.
WELCOME PARTY
- Go to Culture Village No 4
17:30-20:00
- Have an outdoor party at Culture Village No 4
- Perform Xòe dance in Northwestern Viet Nam
- Go back to hotels:
20:00
- International participants go back to the hotel in Hanoi
5
- Vietnamese participants stay in:
+ Hương Ly 1 Hotel, Muỗi Village,Yên Bài Commune, Ba Vì District, Hanoi
+ Hương Ly 2 Hotel, Quảng Phúc Village, Yên Bài Commune, Ba Vì District,
Hanoi
+ Guest house, Viet Nam National Villages for Ethnic Culture and Tourism
DAY 3
CONFERENCE DAY AND FIELD TRIP TO THE TAI VILLAGE
Oct. 05
Pick up international participants at the hotel in Hanoi to Viet Nam National
7:00
Villages for Ethnic Culture and Tourism
PANEL 3
Debate and Experience on Management and Safeguarding
of ICH and the Art of Xòe Dance
Venue: Conference Hall, Viet Nam National Villages for Ethnic Culture and
8:30-10:00 Tourism
Chairs:
- Assoc. Prof. Dr. Nguyễn Thị Hiền, Vice Director, Viet Nam National Institute
of Culture and Arts Studies
- Dr. Lê Thị Minh Lý, Member, National Committee of Cultural Heritage
Full Name Affiliation Institutions Paper’s Title
Prof. Dr. Director, Center for Reconsideration of Sustainability of
8:30-8:45 Hanhee Intangible Culture ICH in a Folk Community - Korean
Hahm Studies (CICS), Korea Cases.
The Audiovisual Mediation of
Dr. Barley University of London,
8:45-9:00 Cultural Heritage in Contemporary
Norton England
Society.
Deputy Director of ICH, The Safeguarding of Intangible
Mrs. Edaly National Institute of Cultural Heritage in Mexico:
9:00 - 9:15
Quiroz Anthropology and Experience and Lesson.
History, Mexico
Mrs. Lò Thị Nghĩa Lộ Town, Yên Some Important Issues in the
9:15-9:30 Huân Bái Province Management, Safeguarding and
Promotion of Xòe Dance of the Tai.
Member, National Intangible Cultural Heritage of
Dr. Lê Thị
9:30-9:45 Committee of Cultural Humanity: Opportunity and
Minh Lý
Heritage Challenge.
6
PLENARY SESSION AND CLOSING
10:00-10:15 Conclusion Remarks and Closing Speech by Associate Prof. Dr. Bùi Hoài Sơn,
Director, Viet Nam National Institute of Culture and Arts Studies
10:15-11:30 VISIT HOUSES AND OBSERVE THE TAI CULTURE
11:30-13:00 LUNCH
+ Domestic participants go back to Hanoi and provinces.
13:30 + International participants go back to the Mon Regency Hotel, no 1 Phan Đình
Phùng Street, Hanoi.
International participants have dinner at the Mon Regency Hotel, no 1 Phan
18:00
Đình Phùng Street, Hanoi
DAY 4 Pick up international participants at the hotel to Noi Bai Airport (The schedule is
Oct. 06 announced by the organizing board).
7
LIST OF PAPERS
TT Full Name Affiliation Institutions Paper’s Title
1. Mrs. Lê Department of Culture, The Art of Xòe Dance in Religious
Thị Lan Anh Sports and Tourism, Điện and Cultural Practices of the Tai
Biên Province Ethnic Community in Viet Nam.
2. Mr. Lò Văn Biến Nghĩa Lộ Town - Yên Solutions to the Safeguarding and
Bái Province Promotion of Xòe Dance of the Tai in
Contemporary Society.
3. MA. Nguyễn Mạnh Cường Viet Nam National Safeguarding and Promotion of the
Institute of Culture and Art of Xòe Dance of the Tai in the
Arts Studies Context of Changing Performance
MA. Lê Thanh Trung Viet Nam National Space (The case of resettlement
Academy of Music villages resulted from the
establishment of Lai Châu
hydropower plant, Huội Quảng,
Chát village).
4. Mr. Phạm Việt Dũng Director, Department of Solutions of Management,

Culture, Sports and Safeguarding and Promotion of the
Tourism of Điện Biên Values of the Art of Xòe Dance of the
Province Tai People in Điện Biên
Province.
5. MA. Phan Mạnh Dương Viet Nam National “Everyone can be part of dance” -
Institute of Culture and Uniting the Community throught Xòe
Arts Studies Dance Practice of the Tai in
Northwestern Viet Nam.
6. Mrs. Lường Thị Đại Excellent Practitioner, The Art of Xòe Dance of the Tai
Noong Luống Commune, People Contributes to Safeguard and
Điện Biên District, Điện Promote National Traditional Culture.
Biên Province
7. Mr. Tuấn Giang Institute of Theatre Xòe Dance of the Tai and Music in
Research-Hanoi Academy Contemporary Life.
of Theatre and Cinema
8. Prof. Dr. Hahm, Hanhee Director, Center for Reconsideration of Sustainability of

Intangible Culture Studies ICH in a Folk Community - Korean
Cases.
8
9. MA. Nguyễn Thị Hạnh Viet Nam National Xòe Dance of the Tai as a Cultural
Institute of Cultural and Asset in Need of Protection and
Arts Studies Promotion in accordance with the
International Convention.
10. MA. Nguyễn Thị Hảo Viet Nam National Promotion of Xòe Dance of the Tai in
Institute of Culture and Community - Based Tourism
Arts Studies Development in Northwestern Viet
Nam.
11. Mr. Tòng Văn Hân Excellent Practitioner, The Art of Xòe Dance of the Tai
Liếng Village, Noong Community in Mường Thanh, Điện
Luống Commune, Điện Biên Province.
Biên District, Điện Biên
Province
12. Associcate Professor, Dr. Vietnam National UNESCO‟s 2003 Convention,

Nguyễn Thị Hiền Institute of Culture and Communality of Xoè Dance of the
Arts Studies Tai People, and Safeguarding the
Dr. Hoàng Cầm Institute of Cultural Element in the Heritagization

Studies Process.
13. Mrs. Lò Thị Huân Group 1, Tân An Ward, Some Important Issues in the
Nghĩa Lộ Town, Yên Bái Management, Safeguarding and
Province Promotion Xòe Dance of the Tai.
14. Mrs. Nguyễn Thị Thanh Deputy Director of the Safeguarding and Promoting Xòe
Hương Provincial Cultural Dance of the Tai People in
Center Community Activities.
15. Dr. Phạm Đặng Xuân Hương Department of Philology “Xòe Chá as the Identity of Chá
- Hanoi National Village”: Fieldwork Research on Social
Behaviors of the Xòe Chá Team in Áng
MA. Đỗ Thị Thu Hà Pedagogical University
Village, Sơn La Province.
16. MA. Nguyễn Đăng Hựu Department of Social Xòe Dance Tai in the Flow of
Sciences and Humanities, Dancing Culture of the Tai in Viet
Duy Tân University in Đà Nam and China: Context, Identity
Nẵng and Safeguarding Directions.
17. Mr. Hà Lâm Kỳ Association of Literature Let Make Xòe Dance of the Tai
and Arts of Yên Bái People Performed in Every Family.
Province
9
18. Mr. Lò Văn Lả Excellent Practitioner, Folk Dance Has Vitality in the Tai
House No 1 , group , People‟s Life.
T Hiệu Ward, Sơn La
City
19. Prof. Dr. Liao, Guoyi Guangxi Normal The Inheritance and Innovation of
(Liêu Quốc Nhất) University, China Dai Folk Dance in Yunnan Province
of China.
20. Mr. Đặng Hoành Loan Viet Nam National Music and Xòe Dance.
Academy of Music
21. Assoc. Prof. Dr. Từ Thị Loan Viet Nam National The Role of Xòe Dance in the
Institute of Culture and Community's Life and Its
Arts Studies Development in the Contemporary
Context.
22. Assoc. Prof. Dr. Phạm Institute of Vietnamese Ethnic and Regional Study
Văn Lợi Studies and Development Approaches in Research to
Sciences, Viet Nam Recommend Solutions to the
National University, Management, Safeguarding and
Hanoi Promotion of the Value of Xòe
Dance of the Tai.
23. Dr. Lê Thị Minh Lý Member, National Representative List of Intangible

Committee of Cultural Cultural Heritage of Humanity:
Heritage Opportunity and Challenge.
24. Assoc. Prof. Dr. Yukti University of Thammasat, From Love Story to Class Struggle:
Mukdawijitra Thailand Re-contextualization and Cultural
Politics of Song Chu Son Sao (Tiễn
dặn người yêu) of the Ethnic Tai in
Viet Nam.
25. MA.Vũ Hoa Ngọc Viet Nam National Safeguarding and Promoting Xòe
MA.Trần Thị Hiên Institute of Culture and Dance of the Tai Intangible Cultural
Arts Studies Heritage in Today's Development.
26. MA. Lê Thị Thanh Nguyên People‟s Security Upholding the Role of Prestigious
Academy People in Safeguarding and
Promoting the Art of Xoe Dance of
the Tai.
27. Dr. Norton, Barley University of London The Audiovisual Mediation of
Cultural Heritage in Contemporary
Society.
10
28. Dr. Nguyễn Huy Phòng Hồ Chí Minh National Challenges in the Safeguarding and
Academy of Politics Promotion of the Art of Xòe Dance
of the Tai.
29. MA. Quiroz Moreno, National University of The Safeguarding of Intangible

Edaly Guisell Autonomy, Mexico Cultural Heritage in Mexico:
Experience and Lesson.
30. Assoc. Prof. Dr. Dương Dean, Department of Safeguarding, Exploiting and
Văn Sáu Tourism, Hanoi Promoting the Value of Xòe Dance
University of Culture of the Tai through Tourism in
Contemporary Viet Nam.
31. Dr. Nguyễn Thanh Sinh Duy Tân University in Đà From Village to City: The Story of
Nẵng Conservation and Development of
MA. Vũ Thị Diệu Viet Nam Museum of Xòe Dance in Hanoi.
Ethnology
32. Prof. Dr. Trịnh Sinh Institute of Archeology Xòe Dance of the Tai in relation to
Ancient Dances.
33. Dr. So Inhwa Researcher, National Safeguarding Korean Traditional

Gugak Center, Korea Dance.
34. Dr. Souksavatd, Musicologist - Musical Sae Tai.
Bountheng critic
35. Mr. Hoàng Ngọc Sứu Excellent artist, Nà Củng Xòe Dance in the Culture of the White
Village, Mường So Tai in Mường So - Phong Thổ District
Commune, Phong Thổ - Lai Châu Province.
District, Lai Châu
Province.
36. Mr. Phạm Nam Thanh Viet Nam National Safeguarding and Promotion of Folk
Institute of Culture and Dances of the Tai People in Mường
Arts Studies Lay District, Điện Biên Province
since the Renovation (Đổi mới).
37. Prof. Dr. Bùi Quang Viet Nam National Xòe Dance of the Tai from
Thanh Institute of Culture and Perspectives of the upper Basin of
Arts Studies Mekong and Red Rivers
(Preliminary examination of 5 Tai
villages in Xishuangbana
Autonomous Prefecture, Yunnam
Province, China).
11
38. MA. Lưu Ngọc Thành Department of Cultural Activities to Safeguard and Promote
Heritage, Hanoi the Art of Xòe Dance in Viet Nam
University of Culture (Case Studies in Điện Biên, Sơn La,
Lai Châu, and Yên Bái Provinces).
39. MA. Phạm Thị Lan Thắm Hanoi University of Discussion on Solutions to
Culture Protection and Promotion of the Art
of Xòe Dance in Điện Biên
Province.
40. Mr. Nguyễn Đình Thi Chairman, Association of Six Old Xòe Dances and the Human
Literature and Arts of Values of the Black Tai People in
Yên Bái province Mường Lò Should Be Honored.
41. MA. Đặng Kim Thoa Viet Nam National Safeguarding and Promoting the
Institute of Culture and Value of Xòe Dance of the Tai: A
Arts Studies Cultural Anthropological
Perspective.
42. Mr. Phạm Hùng Thoan Viet Nam National Searching for the Origin of Xòe
Institute of Culture and vòng of the Tai in Northwestern
Arts Studies Viet Nam.
43. Dr. Vũ Hồng Thuật Viet Nam Museum of The Role of Community in
Ethnology Safeguarding and Promoting the
Mr. Trần Văn Sùng Ỷ Lai Hiên Limited Value of Xòe Dance in
Company in Hanoi. Contemporary Society.
44. Assoc. Prof. Dr. Lê Văn Viet Nam National Xòe Dance and Its Music in Cultural
Toàn Academy of Music Life of the Tai Ethnic Group.
45. Assoc. Prof. Dr. Lê Anh Viet Nam National The Safeguarding and Promotion of
Tuấn Academy of Music Xòe Dance of the Tai music.
46. Mr. Đào Duy Trình Division of Cultural Musical Instrument Making and
Heritage, Department of Music Combination in the Art of
Culture, Sports and Xòe Dance of the Tai People in Điện
Tourism of Điện Biên Biên Province.
Province
47. MA. Cao Trung Vinh Viet Nam National Xòe Dance in Kin Pang Then Ritual
Institute of Culture and of the Tai in Lai Châu Province.
Arts Studies
12
48. MA. Ngô Thị Hải Yến Officer of Cultural The Art of Xòe Dance of the Tai in
Management, Department Cultural and Religious Practices of
of Culture, Sports and the Tai in Sơn La Province.
Tourism, Sơn La
Province
49. Distinguished Prof. Faculty of History and Performing Space, Norm Form and
Zheng, Xiaoyun Culture, Hubei Their Transformation: The Current
University, China Situation of Dai Dance in China.
Researcher Yu Tao Yunnan Dai Nationality
Academic Association,
Kunming, China
13
THE ART OF XÒE DANCE IN RELIGIOUS AND CULTURAL

PRACTICES OF THE TAI ETHNIC COMMUNITY IN VIETNAM
Lê Thị Lan Anh*
The art of Xòe dance is an invaluable asset and a cultural product of the Tai
ethnic community. It serves as a playground where people seek entertainment after
their strenuous working days. Xòe dance is also a means of communication with
which people get united and become closer to each other. People from many ethnic
groups in mountainous areas greatly appreciate the art of Xòe dance; they are proud of
the cultural tradition created and transmitted by their ancestors.
The Art of Xòe has a long history; it was born and developed thanks to constant
work and creation of the Tai main practitioners. The oldest form of Xòe dance is Xòe
vòng (circle dance), then it has been developed into other forms such as Xòe khăn
(dance with scarves), Xòe nón (dance with conical hats, Xòe sạp (dance with bamboo
sticks), Xòe quạt (dance with fans) and Xòe chai (dance with bottles). These Xòe
dances were created by the Tai practitioners in association with their social life, and
from which they have evolved into today‟s performance forms.
Xòe dance is spiritual food indispensable to the community of the Tai. The
dance is performed during the Lunar New Year, wedding, and house-warming
ceremonies as well as in traditional festivals and other rituals such as Kin Pang Then.
It is also performed in cultural events, competitions and international cultural
exchange festivals. In Tai villages, there are performance groups which frequently
practice different forms of Xòe dance.
The art of Xòe dance of the Tai has spread to other ethnic communities thanks
to its capacity to attract a wide range of participants regardless of their age, gender and
ethnic origin. Ethnic groups whose traditional performing arts are influenced by the
art of Xòe dance of the Tai include the Khmu and the Hani.
Today, within the context of economic and socio-cultural development, the art of
Xòe dance has become an indispensable element to the spiritual culture of the Tai in
particular and people of Điện Biên province in general. Xòe vòng is a typical cultural
practice in major ceremonies as well as in many cultural and tourism events. Xòe dance
has been actively practiced and safeguarded by local communities. Xòe dance is not only
an element of cultural heritage of the highland residents, it would also be recognized as
invaluable element by other world communities./.
*
Department of Culture, Sports and Tourism, Điện Biên Province.
14
SOLUTIONS TO THE SAFEGUARDING AND PROMOTION OF XÒE

DANCE OF THE TAI IN CONTEMPORARY SOCIETY
Lò Văn Biến*
In the treasure of the Tai‟s folk culture, Xòe dance occupies a major part and
has a crucially important position. According to recent statistics, there are more than
36 types of Xòe dance; however, they are all typically derived from 6 main dances,
including Xòe vòng (circle dance), khắm khăn mới lảu (dance with a scarf and wine
offering), phá xí (four-direction dance), Xòe đổn hôn (move forward and backward),
Xòe dance nhuộm khăn (scarf tossing), and ỏm lọp tốp mư (circle dance with hand
clapping). Musical instruments used during the performance of Xoè dance include
drums, gongs, cymbals, mouth organs (khèn bè), and gourd lutes (tính tẩu).
Xòe dance manifests emotions, feelings and desires of the Tai through the
language of folk dance. Blended with music played by traditional instruments,
dancing movements of Xòe dance have naturally rooted in the life of the Tai
community.
Having said that, Xòe dance is a cultural heritage element of the Tai in
particular and all the Vietnamese in general. The safeguarding and promotion of Xòe
dance are practically significant to the development of Vietnamese culture in the new
context of international integration and economic development./.
*
Main Practitioner, Nghĩa Lộ Town - Yên Bái Province.
15
SAFEGUARDING AND PROMOTION OF THE ART OF XÒE DANCE OF

THE TAI IN THE CONTEXT OF CHANGING PERFORMANCE SPACE
(TheCase of Resettlement Villages Resulted from the Establishment of Lai Châu
Hydropower Plant, Huội Quảng, Chát village)
Nguyễn Mạnh Cường*
Lê Thanh Trung†
Xòe dance is a folk performing art of the Tai in the Northwestern region of
Viet Nam in general and in Lai Châu province in particular. In recognizing Xòe
dance of the Tai‟s prominent value and pervasiveness, the Ministry of Culture,
Sports and Tourism issued the official dispatch No. 2125/BVHTTDL-DSVH to urge
the authorities in Lai Châu, Sơn La, Điện Biên and Yên Bái provinces to prepare the
dossier entitled “the art of Xòe dance of the Tai” for the nomination to be inscribed on
the UNESCO‟s Representative List of Intangible Cultural Heritage of Humanity.
According to researchers, Phong Thổ district is one of the cradles where Xòe
dance of the Tai was born and nurtured. Over time, this form of folk dance has
become a spiritual and cultural practice that is indispensable to every aspect of the life
of the Tai people in Lai Châu.
However, the resettlement resulted from the establishment of Lai Châu
hydropower plant has recently brought about remarkable changes to the local
residents‟ living space and environment. More importantly, for the Tai people who
moved to live in resettlement villages, this process has strongly affected their customs
and religious practices, which are closely and inherently associated with the practice
of many folk dances. All of these issues have led many intangible cultural heritage
elements, including the art of Xòe dance to face the risk of being deformed and lost.
In the framework of the international conference titled “The Safeguarding and
Promotion of the Art of Xoè Dance in Contemporary Society”, we would like to
specifically focus on the examination of how the change in performance space and
environment has affected the art of Xòe dance of the Tai and which safeguarding
and promotion measures should be done in this given context./.
*
MA, Viet Nam National Institute of Culture and Arts Studies.
†
MA, Viet Nam National Academy of Music.
16
SOLUTIONS OF MANAGEMENT, SAFEGUARDING AND PROMOTION

OF THE VALUE OF THE ART OF XÒE DANCE OF THE TAI PEOPLE
IN ĐIỆN BIÊN PROVINCE
Phạm Việt Dũng*
1. An overview of Tai ethnic cultural characteristics and the value of Xòe

Dance of the Tai People in Điện Biên province
2. Assessing the current status of the management, protection and
promotion of the value of Xòe dance of the Tai people in Điện Biên province
2.1. The current situation of Xòe Dance of the Tai people in Điện Biên province
- General description of the formation and development of some basic Xòe
dances
+ Skills of practice and teaching by cultural owners.
+ Consciousness and responsibility of the community in safeguarding and
promoting Xòe dance.
- Safeguarding the art of Xòe dance has contributed to safeguard traditional
culture of the Tai people such as: folk performing arts - folk dances, musical
instruments, traditional costumes, social customs and beliefs. Xòe dance of all types
such as Xòe vòng (circle Xòe), Xòe khăn (dance with a scarf), Xòe quạt (dance with a
fan) are performed in such rituals as Kin pang Then, Kin pang Một, Kin hot pot. This
shows the two-way interaction between ritual practice and Xòe dance practice of the
Tai people, which is coexisting and complementing each other. So it is possible to
affirm that the art of Xòe dance plays a certain role in safeguarding a number of
traditional rituals.
- Assess the expanding of the art of Xòe dance in ethnic communities in Điện
Biên province.
2.2. The necessity to manage, protect and promote the value of Xòe dance
2.3. Solutions that have been implemented and achieved results in the
management, protection and promotion of the value of Xòe dance in recent years
- Implement the project on conservation and development of ethnic minority
culture in Điện Biên province in association with socio-economic development.
- Currently, the province has one Art troupe, one Cultural center and some
clubs for safeguarding music, folk songs and traditional dances for ethnic groups; The
*
Director, Department of Culture, Sports and Tourism of Điện Biên Province.
17
club of safeguarding and promoting Tai folklore has actively worked and made great
contributions to the promotion of Tai dance and music.
3. Solutions of management, protection and promotion of the value of Xòe
dance in the coming time
3.1. The management and direction
3.2. Propaganda
3.3. Transmission and teaching of Xòe dance
3.4. Expanding Xòe dance in the community, in schools, especially in villages
where there are facilities of tourism.
4. Conclusion
18
“EVERYONE CAN BE PART OF XÒE DANCE”- UNITING THE COMMUNITY

THROUGHT XÒE DANCE PRACTICE OF THE TAI
IN NORTHWESTERN VIET NAM
Phan Mạnh Dương*
The art of Xòe dance is closely attached to the life of the Tai in Northwestern
Viet Nam. The Tai perform Xòe dance in festivals to celebrate the springtime, in
rituals to celebrate new crops, in house-warming ceremonies, in weddings and in other
cultural events to express their emotions and to make new friends. Every time when
they participate in the circle of Xòe, they all feel they are part of the community. For
playing such an important role, the art of Xòe dance is perceived as part of the Tai‟s
ethnic identity and tradition, constituting the social unity and being indispensable to
the sustainable development of the Tai community. From 2015 to 2018, as part of the
National Target Program for Cultural Development, we conducted several field
studies with the use of cultural studies methodology to examine the art of Xòe dance
of the Tai in the Northwestern region of Viet Nam. This paper presents some of the
findings of the research, in which we argue that by participating in the practice of Xòe
dance, local people are able to create a bonding among themselves and contribute to
cultural exchanges among different ethnic groups and nations./.
Keywords: The art of Xòe dance of the Tai, community dance, Tai identity, ethnic
solidarity.
*
19
THE ART OF XÒE DANCE OF THE TAI PEOPLE CONTRIBUTES

TO SAFEGUARD AND PROMOTE NATIONAL TRADITIONAL CULTURE
Lường Thị Đại*
1. General introduction of the Art of Xòe dance of the Tai people

Xòe dance of the Tai people is the creative expression of many generations,
safeguarded by the people. It arises in the course of labor, daily activities, customs,
festivals, etc. It has been constantly adjusted and supplemented to suit the life and
aesthetic perspective of the people. They are the bearers who both create and enjoy
Xòe dance.
Xòe dance is a form of spiritual cultural activity rooted in and developed from
practical activities of social life and cultural communication of the community. Xòe
dance contains the aspirations and desires of the people in the community throughout
historical contexts. This is an important part of the national culture passed down from
generation to generation.
2. Xòe dance of the Tai people contributes to safeguard and promote
traditional culture of the nation as follows:
2.1. Contribute to the safeguarding of folk performing arts of the Tai people
- Safeguarding Xòe dances
- Safeguarding national musical instruments: drums, gongs, gourd lutes, small
round – shaped rattles, cymbals. Among them, gourd lute is often played in Then rituals
of the White Tai people, the remaining instruments are popularly used when performing
Xòe dances.
- Safeguarding Tai folk songs (dancing and singing folk songs - especially in circle
Xòe, boys and girls hold hands with each other to move their footsteps and sing folk
songs to show their love) and Then (Xòe dances accompanied with Then music and
songs to invite Then gods to the ceremony).
2.2. Safeguarding traditional costumes of the Tai people
Xòe dances performed by the boys and girls have contributed to safeguard
traditional costumes of the nation, especially the skirts - costumes honoring the beauty of
the Tai women.
2.3. Safeguarding social practices and beliefs
*
Excellent Practitioner, Noong Luống Commune, Điện Biên District, Điện Biên Province.
20
- Xòe dances are indispensable and performed in such rituals and festivals as: Kin
pang Then, Kin pang Một, Kin hot pot, Then Cầu con...
3. Conclusion
21
XÒE DANCE OF THE TAI AND MUSIC IN CONTEMPORARY LIFE

Tuấn Giang*
The paper presents several suggestions for the study of Xòe dance of the Tai,
ranging from its ancient to contemporary development, and its relevance to cultural
identity and indigenous mentality of the Tai groups in the Northwestern region. The
paper also identifies basic and particular principles of Xòe dance of the Tai‟s language
and rhythm in comparison to other folk and contemporary music genres. Moreover,
the paper presents some directions towards the sustainable development of Xòe dance
of the Tai in the contemporary life./.
*
Researcher, Institute of Theatre Research - Hanoi Academy of Theatre and Cinema.
22
RECONSIDERATION OF SUSTAINABILITY OF ICH

IN A FOLK COMMUNITY - KOREAN CASES
Hahm, Hanhee*
This paper is to reconsider the sustainability of intangible cultural heritage

(ICH) transmitted in the folk community in Korea. I will explore the socio-cultural
changes occurred in the community, the government policy and ICH‟s future. While
the role of ICH community is central to understanding of what the UNESCO
Convention is, it is a new challenge and dilemma with respect to its protection policy
on ICH. It raises tensions and conflicts among the authorized designation system,
customary practices and actors in the diverse fields of ICH. Korea has a well-
established, half century-long history of protection initiatives on ICH. The new
intangible cultural property law which reflected socio-cultural changes and the
UNESCO convention was implemented in 2016. The new law, however, does not
specify the importance of community as the basis of safeguarding its cultural tradition.
Community participation is not even considered as one of the criteria in the process of
evaluation for the protection system of intangible cultural property. The old criteria
still linger in the new law of ICH. Though the ICH community members do not fully
understand with the new protection system, they eager to be the beneficiary. They
plunge into the competitive designation process since they believe that ICH of their
community would die out soon. The folk community has been increasingly shrinking
due to migration and industrialization. Its cultures including music, dance, play,
beliefs, handicrafts, oral traditions, etc. are at risk. The government preservation
policy is still not positive toward the ICH based on community. Many ICH without
community would either disappear or transform into different art forms and contents
in the near future./.
*
Director, Center for Intangible Culture Studies.
23
XÒE DANCE OF THE TAI AS A CULTURAL ASSET IN NEED

OF PROTECTION AND PROMOTION IN ACCORDANCE
WITH THE INTERNATIONAL CONVENTION
Nguyễn Thị Hạnh*
Xòe dance of the Tai is a traditional dance closely attached to the life of the
Tai people in the Northwestern region of Viet Nam. This type of dance is performed
on special occasions, including village festivals, family reunions and weddings, as
well as in some other daily activities. In fact, Xòe dance has truly become a cultural
asset and a thread connecting community members. This status is gained not only
thanks to Xoè dance value, but also to the great efforts that many generations have
put in its safeguarding. This paper will focus on the examination of some measures
developed under the guidance of UNESCO‟s Convention to safeguard the intangible
cultural heritage of Xòe dance of the Tai. Specifically, the two major steps of the
inventory making process will be closely examined in this paper: firstly, establishing
a national inventory system and a list of cultural assets in need of safeguarding
(comprehensive inventory documents, measures used for making a list of important
cultural assets and the use of such inventory documents in the case of Xòe dance of
the Tai); secondly, implementing education measures to encourage and enhance social
appreciation of the intangible cultural heritage of Xòe dance of the Tai in Viet Nam./.
*
24
PROMOTION OF XÒE DANCE OF THE TAI

IN COMMUNITY-BASED TOURISM DEVELOPMENT
IN NORTHWESTERN VIETNAM
Nguyễn Thị Hảo*
Recently, the art of Xòe dance of the Tai, which has been included in many
tourism services in the Northwestern region, has contributed significantly to the
development of local economy. However, to improve the art of Xòe dance of the Tai in
close association with tourism development, it is necessary to increase a number of Xòe
dance groups in villages and develop a practical model similar to that of traditional
groups. By doing so, we can attract tourists and practitioners to participate in Xòe
dance. The art of Xòe dance of the Tai is an available resource for the development of
culture and community-based tourism, serving the interest of local people. This paper is
developed based on a specific case study of the art of Xoè dance in Northwestern Viet
Nam. The author suggests that the best way to safeguard intangible cultural heritage is
to let it “live” within the community itself and become a resource for economic
development and safeguarding of ethnic identity. This way will not only effectively
cherish, safeguard and promote the value of Xòe dance of the Tai, but also enable Xòe
practitioners to live on their own profession and other Xòe dance lovers to have spaces
for practicing and promoting the sustainable development of community-based tourism.
Keywords: The art of Xòe dance of the Tai, community-based tourism, heritage
safeguarding, community development.
*
25
THE ART OF XÒE DANCE OF THE TAI COMMUNITY IN MƢỜNG THANH,

ĐIỆN BIÊN PROVINCE
Tòng Văn Hân*
1. An overview of the Black Tai in Mƣờng Thanh

An overview of the name and basic function of the art of Xòe dance practiced
by the Tai in Mường Thanh.
2. The art of Xòe dance in cultural and religious practice (certain forms
associated with specific events)
2.1. Xòe dance practice on the occasion of faraway visitors come to one‟s
home
- Participants
- Time
- Songs associated with Xòe dance practice
- Significance of Xòe dance in the occasion of having visitors.
2.2. Xòe dance performance in house-warming ceremonies
- Time
- Participants
- Musical instruments
- Xòe dance steps
- Water plashing and rice throwing to pray for good luck
2.3. Xòe dance performance on New Year and new rice ceremonies
- Time
- Participants
- Movements
2. 4. Xòe dance performance in “Xên pang lảu nó” – the ritual with offerings of
bamboo shoot and wine
- Time
- Participants
- Musical instruments used in Xòe dance performance in Xên pang lảu nó
*
Main Practitioner, Liếng Village, Noong Luống Commune, Điện Biên District, Điện Biên Province
26
- Movements
2.5. Xòe dance performance in “cúng bản” – worshiping the village‟s deities
- Time
- Participants
- Movements
2. . Xòe dance performance in “Cúng mường”
- Time
- Participants
- Movements
2.7. Paper-cut images of Xòe dance in funerals of the Tai.
3. Some recommendations to the safeguarding and promotion of the art of
Xòe dance.
3.1. Encourage the Tai community to practice Xòe dance during the occasion of
Great National Unity Festival.
3.2. Encourage Youth Union units in communes where the Tai reside to
organize Xòe dance teams. Encourage grassroots units of the Youth Union to organize
Xòe dance teams in every village.
3.3. Encourage elementary and secondary schools to incorporate the art of Xòe
dance into their extra-curriculum activities along with modern forms of collective
performing arts. Xòe dance should be performed during school year opening and
commencement ceremonies.
3.4. Encourage people to actively practice Xòe dance in aforementioned events
and occasions./.
27
UNESCO’S 2003 CONVENTION,

COMMUNALITY OF XÒE DANCE OF THE TAI PEOPLE,
AND SAFEGUARDING THE ELEMENT IN THE HERITAGIZATION PROCESS
Nguyễn Thị Hiền*
Hoàng Cầm†
The UNESCO‟s 2003 Convention on the Safeguarding Intangible Cultural

Heritage (ICH) is central to its practice, management and safeguarding from bottom-
up. The birth of the 2003 Convention and the laws on cultural heritage and ICH have
created a legal framework for active role, self-determination as well as raising the
awareness of the community in safeguarding heritage. However, the safeguarding of
heritage in Viet Nam has not been implemented in accordance with the spirit of the
Convention 2003. For some elements, the role of the community has not been paid
properly and even in some places, the community itself is marginalized from its own
heritage. This approach has created many challenges for safeguarding of ICH. Based
on the 2003 Convention, the insider's perspective, as well as the fieldwork and study
of Xoè Dance of the Tai in the process of nomination process to be submitted to
UNESCO for the possible inscription on the Representative List of Intangible Cultural
Heritage of Humanity. In this paper, we will examine in depth the communality as
well as the role of the community in the practice and transmission of the Xòe Thai
people in Northwestern Viet Nam. Based on that, the paper will discuss the diversity
of approaches to the safeguarding of heritage in the context of the life of the local
community./.
Key words: 2003 Convention, community, communality, intangible cultural

heritage, Xòe dance of the Tai people
*
Associcate Professor, Dr.,Viet Nam National Institute of Culture and Arts Studies.
†
Dr., Institute of Cultural Studies.
28
SOME IMPORTANT ISSUES IN THE MANAGEMENT,

SAFEGUARDING AND PROMOTION OF XÒE DANCE OF THE TAI
Lò Thị Huân*
This paper resulted from the author‟s personal experiences and data collected
by researchers during their field studies in Mường Lò region, Nghĩa Lộ town in Yên
Bái province. The motive that drove the author to write this paper also came from the
current situation of safeguarding and promoting Xòe dance of the Tai in the town of
Nghĩa Lộ.
Firstly, Xòe dance of the Tai is an invaluable asset of the Tai ethnic group in
particular and Vietnamese people in general. Through dancing steps and their
embodied artistic value, the pure and distinctive identity and cultural essence of the
Tai are represented. Xòe dance has contributed to the creation of national cultural
identity and the essence of cultural treasure of all ethnic groups living together in Viet
Nam.
Secondly, through examination of Xòe dance in different localities, we can see
that Xòe dance in general and the art of Xòe dance in particular are relatively diverse,
rich in terms of their forms and movements (hand, foot and body movements when
dancing). The process of performance, the use of music instruments, music melodies,
props and performance spaces also differ among localities. Thus, in term of its forms
and practical manners, the art of Xòe dance in every region is itself diverse and has its
own distinctiveness.
Thirdly: Some fundamental recommendations to the management, safeguarding
and promotion of the value of Xòe dance of the Tai
1. Every single locality should develop a plan to survey, collect and synthesize
information as to the current status of Xòe dance in Tai communities within its
territory. Results of this baseline study will be helpful to generate effective and
appropriate solutions to the management, safeguarding, and promotion of the value of
Xòe dance.
2. Developing a plan for gathering Xòe dance of the Tai practitioners and other
people who are knowledgeable about this practice to write books about and to teach
Xòe dance for other people in the community. It is necessary for each locality to have
its own methodological and systematical studies devoted to the collection and
safeguarding of Xòe dance in its own territory.
*
Group 1, Tân An Ward, Nghĩa Lộ Town, Yên Bái Province.
29
3. Localities should pay attention to the publicization of Xoè dance value.

Cultural events and festivals should be organized annually, in which local people will
be able to participate as performers of Xòe dance. By doing so, local people will be
empowered with an ability to self-advertise and with an awareness of protection and
nurturing values of cultural traditions of their own ethnic group as well as Xòe dance.
4. The State in general and localities in particular should develop more
appropriate incentive policies for practitioners and people who are knowledgeable
about Xòe dance and other distinctive values of their ethnic culture. It is necessary to
provide annual funding for people who do research, collect, produce books and
organize transmission classes.
5. The State should develop policies in accordance with specific conditions of
each and any locality. Policies to attract domestic and international individuals and
organizations to invest on the field of culture should be accurately developed. Also,
further improvement in transportation systems and more closely collaboration
between heritage and tourism sectors should be considered./.
30
SAFEGUARDING AND PROMOTING XÒE DANCE OF THE TAI PEOPLE

IN COMMUNITY ACTIVITIES
Nguyễn Thị Thanh Hương*
1. The History of the Art of Xòe Dance of the Tai People

Originated from the primitive form of the Tai dances, arranged in a sequential
manner imbued with humanity and education in the Tai people's lives, Xòe dance has
developed and become very diverse performing arts such as: dance with a fan, dance
with a conical hat, dance with a scarf, butterfly dance, dance with a lamp...
The Xòe dances include:
- Khắm khen (Holding hands)
- Ðổn h n (Step backward and forward)
- Phá xí (Bố bốn – 4 direction dance)
- Nh m khăn (Raising scarlf)
- Khắm khăn mơi lảu (Raising scarlf to offer wine)
- Ỏm lọm tốp mư (Clapping hands and going round).
2. The art of Xòe dance plays an important role in the cultural and
spiritual life of the Tai people
Xòe dance has played an important role in the cultural and spiritual life of the
Tai people and considered an indispensable custom of the Tai people, which excited
everyone to participate in. Wherever hearing sound of drums and gongs, it is a
certainty that Xòe dance is being performed.
Xòe dance is performed in all the rituals to celebrate the Spring, the harvest, new
homes, weddings. During Lunar New Year holidays, Xòe dance is performed by many
people, regardless of day and night in every space, and usually held around the bonfire.
3. Safeguarding and Promoting Xòe Dance of the Tai People in the
Community
At present, Xòe dance is performed among the Tai people and spread out to
other ethnic groups because of its openness and includes all people to dance regardless
of age, ethnicity and religion.
The opening of dance teaching classes to encourage people in the community to
participate in needs to be cared and organized regularly. Inviting main practitioners to
*
Deputy Director of the Provincial Cultural Center.
31
teach Xòe dance to the younger generation, which helps to raise awareness and
responsibility of the community to safeguard and promote heritage values.
Xòe dance should be put into activities at festivals and contests to enhance its
values and cross cultural characteristics that represent Vietnamese art./.
32
"XÒE CHÁ AS THE IDENTITY OF CHÁ VILLAGE":

FIELWORK RESEARCH ON SOCIAL BEHAVIORS OF THE XÒE CHÁ TEAM
IN ÁNG VILLAGE, SƠN LA PROVINCE
Phạm Đặng Xuân Hương*
Đỗ Thị Thu Hà†
The study of social behaviors of people/groups of music makers (including

songs, dances, etc.) first appeared in 1964 in the works Music Anthropology by Alan
Merriam and now becomes a central focus of ethnographic music researchers
(Merriam, 1964, 1977; Titon, 1993, 1997; Sugarman, 1997; Bohlman, 2001 ...). A
series of studies show that music is a cultural phenomenon created by society.
Everyone makes music while they are present in the world. Music is not made
complete when the individual makes it by himself; instead, it is accomplished in a
social group when each individual creates music in social bonds with others. Therefore,
the field work research of music needs to focus on the relationships and social behaviors
of the music creators; Musical sound structures are still recorded, but should only be
analyzed and interpreted as “part of the meaningful matrix” (Titon, 1997).
The purpose of this research is to examine the social behaviors practiced by the
team of practitioners of Xòe Chá (White Tai people) in Áng village, Đ ng Sang, Mộc
Châu during the restoration and performance of Xòe Chá since 2005 up to now. The
study shows that, right from its establishment, the team of Xòe Chá in Áng village has
been organized as a special social group with the role of creating Xòe Chá as an
identity of a village where Chá exists (a ritual when Mo Master eats Tet gifts of
adopted children); and the social behaviors performed by the team is an effort to
strengthen that society's status, role, mission and expectations. This process of
becoming an identity is seen through a behavioral process: identity search - identity
restoration - identity localization - identity performance (on the stages and in other
spaces) – consolidating the identities (recording tapes and discs) - creating social
capital for the members - putting the sacred in the identity and civilizing the identity ...
of the team of practitioners of Xòe Chá.
The study also shows that this fact has led to the existence of two types of Xòe
Chá in Áng village. One is for visitors (outsiders), and the other is for village
residents. The later type is no longer "status quo" due to changes in religious cultural
practices, health life and livelihoods of indigenous people in recent years.
*
Dr, Department of Philology - Hanoi National Pedagogical University.
†
MA, Department of Philology - Hanoi National Pedagogical University.
33
The study contributes to the field of ethnomusicology by presenting social

behaviors of the creators of music's appearance and identity. The research results
confirm the epistemology and methodology of ethnomusicologists in appreciating
long-term fieldwork, immersion in indigenous culture, and respect for indigenous
views; and generally, there is no need to emphasize the safeguarding, instead, but
focus on accretion and change./.
Keywords: music makers, Chá village, identity, social behavior.
34
XÒE DANCE TAI IN THE FLOW OF DANCING CULTURE OF

THE TAI IN VIETNAM AND CHINA: CONTEXT, IDENTITY
AND SAFEGUARDING DIRECTIONS
Nguyễn Đăng Hựu*
This paper examines the culture of Xòe dance as part of the flow of dancing
culture of the Tai ethnic group in Viet Nam and China. Approaching the subject-
matter from an anthropological perspective, the paper demonstrates that Xòe dance is
not merely a cultural practice, but it is also of a cultural form profoundly representing
social and religious characteristics as well as the ethnic identity of the Tai people. In
examining Xòe dance within transnational ecological – cultural – religious spaces, the
author suggests that the artistic value of the dance has been inherently created,
transformed and developed in accordance with actual contexts and core cultural
meanings. These contexts and cultural meanings have been both continuously
inherited and restructured throughout the flow of ethnic migration during the course of
history. The two simultaneous processes have created a sense of self-identification
among the Tai community in each country. Situating Xòe dance Tai in the context of
the transnational flow of ethnic culture, this paper pays attention to internal cultural
arteries, which are the context as well as the core of the living heritage. The paper
would like to emphasize that the identification of value and the safeguarding of
contexts and meanings associated with the dancing culture constitute an important
foundation for safeguarding and promoting Xòe dance‟s intrinsic value in the
contemporary context./.
Keywords: Xòe dance, similarity, identity, Viet Nam, China.
*
MA, Department of Social Sciences and Humanities, Duy Tân University in Đà Nẵng.
35
LET MAKE XÒE DANCE OF THE TAI PEOPLE PERFORMED

IN EVERY FAMILY
Hà Lâm Kỳ*
Xòe dance of the Tai people in the Northwestern region of Viet Nam in general
and in Yên Bái province in particular has been developed for the past 15 years among
the Tai community members and transmitted to outsiders. Regardless of what the
reasons are, it is a certainty that the good things result from the Central Resolution 5
session 8 (1998) on the safeguarding, promotion of national identity, national culture
on one hand, and the safeguarding intangible cultural values by the Tai people on the
other hand.
The vitality of Xòe dance, Tai culture, as well as cultures of other ethnic groups
has a remarkable significance, contributing to the socio-economic development,
national security and defense, including immature tourism. Provinces throughout the
country that own Tai cultural tradition, especially Xòe dance have been given priority
and attention to take advantage of exploitation, promotion and popularization of Xòe
dance in the communities. It leads to the fact that tourism is more attractive, people's
lives is better, bad cultural behaviors diminish in these provinces. It cannot be denied
that good results come from the contributions made by the Tai people themselves.
Having been a cultural manager and always interested in Tai culture in the
Northwest region, I have some own opinions.
1. Xòe dance and old Xòe dance
I have been wondering the term “Xòe dance” for a long time, is it true to call it
like that?
The phrase “Xòe dance” has only appeared for a few years in Yên Bái when
Mường Lò tourism has been noticed, then major festivals have been held, from which
Xòe dance spreads quickly. Today, the press, cultural managers, local authorities put
the phrase “Xòe dance” into the State documents!
I think Xòe dance is just a folklore term and an abbreviation of Xòe dance of
the Tai people. The Tai people are proud of having Xòe dance left by their
grandparents and they just call it Xòe dance. It is also called Xòe dance of the Tai
people by outsiders, probably to distinguish it from Xòe dance of the other ethnic
groups. If it is called Xòe dance rather than Xòe dance of the Tai people, it is
disrespectful toward an individual in the cultural complex of the Tai people.
*
Writer, Association of Literature and Arts of Yên Bái Province.
36
Is it possible if Xòe dance of the Mông people, or Kinh dance of the Kinh
people is just to be called in an abbreviation like Xòe Mông or Kinh dance? So Xòe
dance should be called “the art of Xòe dance of the Tai people” or “Xòe dance performed
by the Tai people” seems to be more respectful, complete and cultured. Similarly, Xòe Tà
Chải, Mã river singing become the trademark of Xòe dance of the Tay people in Bắc Hà
and a type of singing of the Viet (Kinh) people in Thanh Hóa respectively?
Old Xòe dance or the ancient melodies in Xòe dance of the Tai people are
controversial now. When did the word “ancient” exist? Which writing document of
the Tai people indicates? While Mường Lò in Yên Bái province states old types of
Xòe dance, do the Tai people in the Central provinces, in the Northwest, even in Laos
and Thailand admit it? It is convinced that Xoan ghẹo singing in Phú Thọ province is
said to have been dating since the Hùng King period. Quan họ folk songs came into
being from the Ly dynasties. It is believed that Xòe Tà Chải was created by the
ancestors of Hoàng A Tưởng, Xòe dance of the Tai people was created by Đèo Văn
Long. If it is true, this type of dance is not an old or ancient dance. Every cultural
activity comes from the working life of the people and they are the authors by
themselves. But the so-called “ancient” is synonymous with the “opening”, or very old
times, it must be singular. Determining exactly a type of activity will be of cultural
and historical values and the values of a tribe as well.
2. Safeguarding and promotion
In what direction the safeguarding and promotion of the value of ancient dance
of the Tai people should be? The current methods carried out by the Northwest
provinces are fairly good, but I see something is not right. For example, mass
promotion, popularization in schools, communal festivals, even national festivals ... all
are not wrong as it is good for tourism and wide spread. But the conservation part for
research, and the research for conservation and promotion seem not to correspond to
marketing. When it is not safeguarded (by senior practitioners) and when it is not well
researched, the promotion will surely be misleading, the young people will
misunderstand, foreigners think this is standards of Tai culture, the reporters write
articles but not necessarily understand anything about Xòe dance of the Tai people, or
about Tai culture. In the end, only the tip of the iceberg of the dance can be seen. For
example, every Tai girl will wear a piêu scarf, every Tai woman is Tằng cẩu ... and it
doesn't need to be clarified whether she is a Black or a White Tai. In any big formal
performance of Xòe dance, the present verses, the modern music and songs can be
heard. It's okay as it's a community festival. But who will take responsibility to clarify
the cultural values of that dance in front of television cameras, in front of foreigners,
and before artists, researchers on Tai culture nationwide?
37
Let make Xòe dance exist in every family as I above said. It seems that because
of tourism, Xòe dance of the Tai people is being sublimated and concerned in a certain
anniversary. Then live broadcast, then Guinness record, and then raise funding. So
what is the true brand of Xòe dance of the Tai people? I still believe that it is existing
in every family and practitioner. So why Xòe dance in family clusters, in small
villages, during the communal festivals of the Tai people is less interested by the
State? I have a feeling that this focus is to call on tourists rather than the traditional
activities of the community, and the community has to preserve its own cultural
capital. Similarly, the transmission of Xòe dance to preserve it is an extremely
difficult work, it must take place in a few small villages, a few families, done by
dedicated practitioners. After many years, only three or four children in the village are
able to get the title “Little Artisan”. When these little artisans grow up, they must have
a stable job in his ethnic environment so that after ten years, he or she will become a
choreographer, an actor, a researcher, and then an excellent artisan, a people's artisan
of the art of Xòe dance of the Tai people. This is only possible when the government
truly cares, the community has the same responsibility, and society invests in funding
sustainably. It is very different from the mass English training that is popular
nowadays. As for the establishment of clubs where plastic sandals worn to perform
Xòe dance for entertainment, or to bring Xòe dance from houses to perform in the
square, call it big performance of Xòe dance, or to popularize Xòe dance in schools, or
dancing and eating by young people in front of Westerners and so on cannot be called
Xòe dance or ancient Xòe dance of the Tai people as some MC often read on
television.
Let make Xòe dance performed and develop in every family, village, and
community. It is a solution to safeguard Tai cultural heritage.
Pay attention to the issue of “promoting” in a strict, scientific and vivid way,
because Xòe dance of the Tai people has been a brand, a traditional cultural entity of
54 ethnic groups in Viet Nam. Do not let it accidentally be abused.
I am Ha Lam Ky, a writer having modest knowledge of dance and music, so
my particular opinion is only as reference for those who are interested./.
38
FOLK DANCE HAS VITALITY IN THE TAI PEOPLE'S LIFE

Lò Văn Lả*
Folk dance is called “xẽ” by the Tai people, “xẽ” means dancing with
movements and raising hands up around the bodies. It was called “xẽ dộc xẽ dãng” in
the past when it was not yet a specific dance, which means skipping for joy. Over a
long period of time, the dances were step by step formed with specific movements and
folk dances that are existing gradually improved to suit new conditions.
There are two types of dance: dance which retains the basic features of
traditional folk dance and dance which is modified to suit the life throughout the
history. Folk dance of the Tai people is most evident in community activities such as
celebrations of new house, weddings, communal festivals; However, in recent years,
some rituals of folk dance and gongs playing have disappeared. In this paper, 3 issues
are mentioned by the author including the origin of dance with the three most basic
dances of the Tai people; musical instruments; and costumes. Besides, the situation of
conservation and promotion of the Tai‟s folk dances in the past years in Sơn La
province and proposing recommendations to the safeguarding of the Tai‟s folk dance
for its vitality in the Tai people‟s life will be also presented./.
*
Excellent Practitioner, House No 1 , group , T Hiệu ward, Sơn La city.
39
THE INHERITANCE AND INNOVATION OF DAI FOLK DANCE

IN YUNNAN PROVINCE OF CHINA
Liao Guoyi*
The Dai people are mainly distributed in Xishuangbanna and other places of
Yunnan Province in China. Dai Folk Dance originated from myths and legends,
religious beliefs and their living environment. Dai Folk Dance can be divided into
self-entertainment dance, performance dance and sacrificial dance.
Peacock Dance is the most representative of Dai Folk Dance, in addition to the
Elephant Dance, Fish Dance, Butterfly Dance and so on. The Dais believe that the
peacock is a sacred bird symbolizing happiness, so the Peacock Dance is popular.
The most representative master of Peacock Dance in the 1950s-1960s was Mao
Xiang, a dais and a model of male peacock dance. In 1956, he collated and created the
classic work "Two-man Peacock Dance".
Dao Meilan in the 1970s is also a Dai. Dao Meilan performance the peacock
dance nature, euphemism delicate and gentle, known as the "Peacock Princess", well-
known throughout the country.
In the 1990s, Yang Liping created the perfect image of peacock dance, and
became the true artist and creator of the Dai Peacock Dance. In 1994, her work "The
Bird's Spirit" won the Gold Award of the 20th Century Dance Classic of the Chinese
Nation.
The dancers pushed the Dai Folk Dance to the whole country and made
Peacock Dance a household name in China. The inheritance and development of Dai
folk dance are based on the innovation and development of traditional culture. In
recent years, the combination of Dai folk dance and tourism has become more and
more close, which has become a major feature of tourism inYunnan./.
*
Professor, Guangxi Normal University, China.
40
MUSIC AND XÒE DANCE

Đặng Hoành Loan*
To understand the music used in Xòe dance of the Tai people first of all, we
need to understand the performance space associated with this art form. Xòe dance is
performed in three main spaces with three different performance scales and artistic
content. Out of these spaces, the one that is of artistic feature devoted to Then
performance.
Similar to all other forms of folk beliefs, in Then practice, the masters are those
who are well-educated, knowledgeable about social affairs and capable of various
artistic creation such as singing, playing musical instruments and dancing. The
profession of a Then master is normally transmitted through generations within his
family. Especially, Then masters are respected by the whole community who
considered them as an “intellectual treasure”. Be sick? Consult the Then master! Have
an argument or fighting over the land? Consult the Then master! Be infertile? Consult
the Then master! Build a new house or children‟s marriage? Consult the Then master!
Organize community‟s events? Consult the Then master! So on and so forth. Then
masters will help and give them advice.
Such prestige owned by a Then master results from his long-time engagement
in the religious practice within the community‟s social life. Every time the master
performs the ritual, he helps deliver social knowledge, especial one that associated
with performing arts, to his community.
To persuade community members and make them believe in the religion they
are devoted to, the circle of Then masters has attempted to elaborate folk arts and art
organizations since early times. The organization included the Then masters acting as
main artists and some groups of dancers and background musicians as supporting
artists.
Each Then master always had his own group of dancers and musicians to assist
him. The head of the dancing group was called Mẻ Đa. Mẻ Đa was a dance instructor
and a person who directed the dance performance during the ritual held by Then
master. Mẻ Đa recruited and taught young girls at the ages of 12-13 to make sure that
they could become true artists in couples of years later. These young girls would
replace those who reached the marriage ages. The dance schools organized by Mẻ Đa
trained a countless number of folk artists over the history.
*
Musicologist, Viet Nam National Academy of Music.
41
Background music for dancing was played by Tính Tẩu (Gourd lute) lutenists,
who were called Báo Khá. They were instrumentalists closely attached to Then Masters.
Whenever Then Masters held their rituals, Báo Khá went with them. Báo Khá played
Tính Tẩu very well and they knew many music pieces used in Then dance. Báo Khá was
also knowledgeable about every single dance form. Their music was blended with
dance movements of Then masters. Báo Khá therefore was the soul of the Then dance.
They were outstanding Tính Tẩu lutenists and instructors within their community.
In acknowledging the attractiveness of Xòe dance and Tính Tẩu music used in
Then rituals, the community gradually “lifted” these practices out of their sacred space
and entered them into their daily life‟s entertainment activities. For us, the dance
which was firstly used in daily practices was Xòe vòng (circle dance), in which people
moved around the Pang tree in Kin Pang Then ritual. Xòe vòng was very popular
amongst communal practices, since its easy steps allowed everyone to be part of the
circle. The background music was played by drums and gongs, thereby making the
dance more animate. Xòe vòng has become an artistic tradition in the life of the Tai
people. “Thus, when speaking about people who lost their roots and forgot their
ethnic origin, people normally use the sentence: “they forgot Xòe dance already”, or
even worse “They lost Xòe dance”*. This is the second performance space which was
originated from Then rituals.
When wealthy noble classes emerged in the Tai society, provincial and regional
officials exploited the art of Xòe dance associated with Then rituals. They organized
professional Xòe dance groups to perform in ceremonies and diplomacy receptions
under their authority. It was said that, the person who transformed Then-related Xòe
dance into a professional art form was artist Điêu Chính Ngâu. The professional form
of Xòe dance had standardized dancing principles and their performers were
professional dancers who were recruited and trained properly. These noble Xòe dance
groups performed in their own exclusive space. This is the third space of Xòe dance of
the Tai.
All the three performance spaces of Xòe dance of the Tai share a common
music resource, that is, music associated with Then. However, in compliance with
different dance forms, the music is developed variedly into many variations.
Until the present, the art of Xòe dance of the Tai has only performed in two
spaces: Then rituals and community practices. Xòe groups were dismissed since the
Northwestern region was liberated.
Xòe dance is the soul and pinnacle of the Tai‟s folk arts. It has been integral to
the life of the Tai people. Xòe dance will face the risk of being fallen into the oblivion
*
Quàng Văn Kín, Việt Nam Hương Sắc No.35/1996
42
if social-cultural authorities neglect Xòe dance and let the community themselves
struggle to safeguard it. Thus, to safeguard and promote Xòe dance of the Tai, the role
of cultural - social managers play the most significant part./.
43
THE ROLE OF XÒE DANCE IN THE COMMUNITY’S LIFE AND

ITS DEVELOPMENT IN THE CONTEMPORARY CONTEXT
Tu Thị Loan*
Xòe dance is a cultural practice important to the life of the Tai communities in
some Northern mountainous provinces of Viet Nam. The art of Xòe dance is closely
associated with customs, traditions, festivals as well as other forms of cultural and
artistic practices of the Tai people. Xòe dance has been a thread to bond all
community members together; it has also presented the Tai‟s ethnic identity and a
basis on which new cultural values are constantly created.
However, for different reasons, there were times when the practice of Xòe dance
was declined and gradually fallen into the oblivion. For recent years, thanks to the
State‟s policies on safeguarding and promoting cultural heritage of ethnic groups in Viet
Nam and the increase in spiritual demands of the people, the practice of Xòe dance has
been restored and increasingly developed. Many Xòe dance groups and clubs have been
established; Then masters and rituals associated with Xòe dance have been honored and
encouraged; Xòe dance festivals have been massively expanded; Xòe dance
performances have increasingly been popular among community‟s activities.
While the art of Xòe dance, for decades, has demonstrated its strong vitality
and pervasiveness, there have also been several issues and negativities recently
emerging in the protection and promotion of such element of cultural heritage. These
include excessive expansion, hybridization, commercialization, and politicization.
Basing on the analysis of the role and value of Xòe dance, its development in the
current life of the Tai communities, this paper aims to identify the problems posed to
the protection and promotion of the element‟s value in the contemporary context./.
*
Associate Professor, Dr., Viet Nam National Institute of Culture and Arts Studies.
44
ETHNIC AND REGIONAL STUDY APPROACHES

IN RESEARCH TO RECOMMEND SOLUTIONS TO THE MANAGEMENT,
SAFEGUARDING AND PROMOTION OF THE VALUE
OF XÒE DANCE OF THE TAI
Phạm Văn Lợi*
Xòe is a cultural heritage element and a cultural practice indispensable to the

community of the Tai in Viet Nam. Xòe dance has many historical, cultural, social
and artistic values, especially those associated with social behaviors and interpersonal
relationships within the Tai community and between them and other ethnic
communities. Xòe dance of the Tai has been recognized as an element on the list of
national intangible cultural heritage. The Prime Minister then assigned the Ministry of
Culture, Sports and Tourism to prepare the dossier entitled “the Art of Xòe Dance” for
UNESCO‟s consideration of inscribing this element on the Representative List of
Intangible Cultural Heritage of Humanity. However, there is still a need to study Xòe
dance under various angles/approaches in order to facilitate effective and appropriate
solutions to the management, protection and promotion of its values. This paper uses
ethnic and regional study approaches as well as the interdisciplinary methodology to
examine Xòe dance. It aims to produce effective recommendations to the
management, safeguarding and promotion of Xòe dance values in contemporary
Vietnamese society./.
*
Assoc. Prof. Dr. , Institute of Vietnamese Studies and Development Sciences Viet Nam National University, Hanoi.
45
INTANGIBLE CULTURAL HERITAGE OF HUMANITY:

OPPORTUNITY AND CHALLENGE
Lê Thị Minh Lý*
Intangible cultural heritage serves as the soul and the representative cultural
expression of each country and nation. More and more Viet Nam's intangible cultural
heritages are identified and safeguarded at the national and international levels. For
the inscribed elements on UNESCO‟s lists, especially those which have been
inscribed on the Representative List of Intangible Cultural Heritage of Humanity,
there is a need of a proper research approach to safeguard them both appropriately in
the spirit of the 2003 Convention on the safeguarding of intangible cultural heritage,
while ensuring a balance and harmony between safeguarding and development.
Heritage actors, the custodian communities, groups and individuals play a very
important role.
The paper presents the perspective of safeguarding and promoting the
performance of Xoè dance of the Tai in contemporary life./.
Keywords: intangible cultural heritage, community, subject, values,

performance art, identification, representation, safeguarding, promotion.
*
Dr, Member, National Committee of Cultural Heritage.
46
FROM LOVE STORY TO CLASSS TRUGGLE:

RE - CONTEXTUALIZATION AND CULTURAL POLITICS OF SONG CHU
SON SAO (TIỄN DẶN NGƢỜI YÊU) OF THE ETHNIC TAI IN VIETNAM
Yukti Mukdawijitra*
Ethnic Tai is ranked the third largest ethnic group in Viet Nam. Based on the
“ethnography of speaking” framework, I employ ethnographic fieldworks, historical
research, and literary studies to focus on a Tai folktale titled Song Chu Son Sao (Tiễn
dặn người yêu, “advising my lover”), referred as SCSS hereafter. SCSS is original to
the Tai. By unknown author, the whole folktale of SCSS was written in Thái Đen (Tai
Dam) script with about 2,000 sentences in verse. It was one of the most popular texts
recited by the Tai in various special occasions. It is a romantic story of a man and a
woman. To Vietnamese government-sponsored ethnologists, however, SCSS shows
signs of class consciousness that emerges among the ethnic people themselves. Given
that, since the late 1950s, the Vietnamese government has sponsored scholars to study
and translate this story into Vietnamese. A number of versions of SCSS have been
published. An excerpt of SCSS is selected to be thought in a high school textbook
teaching school students nowadays. I argue that SCSS is an example of ethnic cultural
artifacts that creates the “subjectivity” of both the ethnic people and the Vietnamese
nation. Despite implementing its strong cultural assimilation policy, Viet Nam has
revived and appropriated ethnic cultural practices continuously. This cultural policy is
a statecraft appropriating ethnic cultures in order to create ethnic subject. However,
the policy provides a condition for the ethnic people‟s to preserve ethnic identity and
culture. As a result, this paper sheds new light on understanding of relationships
between nation-states and ethnic minorities through the re-contextualization and
cultural politics of a love story./.
*
Associate Prof. Dr, Thammasat University, Thailand.
47
SAFEGUARDING AND PROMOTING XOÈ DANCE –

THE TAI’S INTANGIBLE CULTURE HERITAGE
IN TODAY’S DEVELOPMENT
Vũ Hoa Ngọc *
Trần Thị Hiên †
Xòe is a traditional dance which reflects the working life, the struggle for
survival against nature, and the vehement vitality of the Tai throughout their struggle
against foreign invasion. Xòe dance represents the desire of the Tai people for a
peaceful and prosperous life. People who participate in Xòe dance stand in a circle
and hold each other‟s hands. Females and males usually stand next to each other.
When dancing, if it is a single circle, it will move counterclockwise; whereas, in case
of double circles, then one will move clockwise and another will move
counterclockwise. One of elements that make Xoè dance attractive is its folk and
rustic nature that enables people to practice and understand the dance easily.
Attractive music background is also significant to the popularity of Xòe dance.
Like other geographic regions of Viet Nam, the Northwest has also been facing
both opportunities and challenges made available by recent economic developemnt.
Throughout of these constant changes, the ultimate goal of “building up an advanced
culture deeply imbued with national identity” has always been upheld. Xòe dance of
the Tai is one of elements characterizing the Northwestern culture in particular and
Viet Nam‟s national culture in general. Tradition, acculturation and adaptation coexist
within this kind of dance. If developed in accordance with trends of the time, Xòe
dance of the Tai will definitely be effectively safeguarded, promoted and honored./.
*
M.A, Researcher, Viet Nam National Institute of Culture and Arts Studies
†
M.A, Researcher, Viet Nam National Institute of Culture and Arts Studies
48
UPHOLDING THE ROLE PRESTIGIOUS PEOPLE IN SAFEGUARDING

AND PROMOTING THE ART OF XÒE DANCE OF THE TAI
Lê Thị Thanh Nguyên*
Not only is the art of Xòe dance a form of the Tai‟s folk dances, but it also
contains many artistic values presenting through the use of music, costumes and food,
as well as in associated behavioral and religious culture. In the cultural and spiritual
life of the Tai community, the art of Xòe dance has been their indispensable spiritual
food. Moreover, the art of Xòe dance has been one of the indications or cultural
peculiarities which helps to identify the Tai people.
The Tai community, the owner of the art of Xoè dance plays the predominant
and decisive role in safeguarding, protecting and promoting the value of this form of
art. Among them, the most prominent position is always belonged to people with high
reputation and are knowledgeable about the art of Xoè dance of the Tai. With their
capacity, these people can positively influence the safeguarding and promotion of Xoè
dance in the Tai community. In this paper, they are referred to as prestigious people.
This paper focuses on the clarification of specific activities which represent the
practical and significant contribution of prestigious people to the safeguarding and
promotion of the art of Xoè dance of the Tai in their community life. Based on this
basis, the paper presents some solutions to further improve and promote the role of
prestigious people in the safeguarding and promotion of the art of Xoè dance of the
Tai in the future./.
*
MA, People‟s Security Academy.
49
THE AUDIOVISUAL MEDIATION OF CULTURAL HERITAGE

IN CONTEMPORARY SOCIETY
Barley Norton*
The production of audiovisual materials about intangible cultural heritage

(ICH) is part of a broader process of heritagization that is sweeping across many parts
of the world. UNESCO states that films about heritage help to „increase visibility and
awareness‟ and they are often tied to cultural tourism and sustainable development.
Yet despite the importance of films in the inscription, management and promotion of
ICH, the audiovisual representation of heritage has received little scholarly attention
(see Norton 2018).
This paper reflects on how film intersects with the heritagization of cultural
traditions focusing on three broad areas. First, it will briefly outline the status of
videos in the process of nominating elements for inscription on UNESCO‟s ICH Lists.
Second, it will consider the potential of film as a medium for safeguarding cultural
heritage in contemporary society. This will include discussion of the audio visual
dissemination of intangible culture in today's ever-changing new media environment.
Third, it will reflect on different approaches to the audiovisual representation and
digital circulation of the Xòe Dance of the Tai people in Viet Nam./.
*
Dr, University of London.
50
CHALLENGES IN THE SAFEGUARDING AND PROMOTION

OF THE ART OF XÒE DANCE OF THE TAI
Nguyễn Huy Phòng*
Xòe dance is a representative art form of the Tai living in the Northwestern
region of Viet Nam (mainly in Lai Châu, Sơn La, Điện Biên, and Yên Bái provinces).
In a Xòe performance, dance movements are harmoniously combined with tender
sounds of đàn tính (gourd lutes) and somber tones of gongs and drums. Xòe dance
vividly reflects the Tai‟s hard working life and their struggle against nature in order to
survive. Xòe dance also represents the desires of the Tai people for a cozy, happy and
peaceful life. Xòe is a friend and a spiritual motive with which the Tai can overcome
difficulties and uphold their belief in community strength and in themselves to gain
better values.
Safeguarding and promoting the art of Xòe dance of the Tai in contemporary
life have enjoyed many advantages, yet they have also faced many other challenges,
especially in the transmission of the heritage to younger generations. Besides, other
issues have emerged, including the negligence of local people, the absence of skilled
practitioners and the subsistence pressure faced by the populace, various downsides of
market-oriented economy and impacts of global integration.
This paper therefore focuses on identifying challenges posed to the
safeguarding and promotion of this form of art, thereby presenting certain
recommendations to improve the vitality of Xòe dance of the Tai in contemporary
context of Viet Nam./.
*
Dr, Hồ Chí Minh National Academy of Politics.
51
THE SAFEGUARDING OF INTANGIBLE CULTURAL HERITAGE

IN MEXICO: EXPERIENCE AND LESSON
Edaly Quiroz*
Mexico is without a doubt one of the richest countries in terms of cultural

diversity, having at its base 68 linguistic groups and more than 300 variants.
Nevertheless, this cultural heritage has also borne several challenges in the
methodologies for the safeguarding, awareness preservation and promotion of our
cultural heritage in the three levels of Mexican government (municipal, state and
federal).
Now then, from the Mexican perspective, what is “Intangible Cultural
Heritage”? What are the mechanisms and actions developed for the implementation of
the Convention for the Safeguarding of the Intangible Cultural Heritage (UNESCO
2003)? What has been done to provide a legal structure for its protection?
Similarly to the rest of the world, in Mexico the use of the term “Intangible
Cultural Heritage” to refer to traditions, uses and customs that give identity to a
community, group or individuals, opened a debate that generated great controversy.
Consequently, the application at the national level of an international instrument that
establishes commitments and very specific obligations has not been free of polemic.
In this sense, the objective of this presentation is to give the public a general
approachment of the Mexican situation that prevails in relation to the national
implementation of UNESCO‟s 2003 Convention.
In order to pursue this objective, the presentation will address two cases to
exemplify both, the experience and the lesson. The first, "The Pirekua, a traditional
p'urhépecha song", is a case that illustrates the context of conflict and division inside
the bearer community as the result of the inscription as Intangible Cultural Heritage of
Humanity by UNESCO, what have we learnt from that? On the other hand, there's an
experience of success based on the community participation on the safeguarding of
their ICH, "The ritual ceremony of the Voladores (a traditional flying dance)", what
can we share?./.
*
MA, National University of Autonomy, Mexico.
52
SAFEGUARDING, EXPLOITING AND PROMOTING

THE VALUE OF XÒE DANCE OF THE TAI THROUGH TOURISM
IN CONTEMPORARY VIETNAM
Dương Văn Sáu *
Beyond the community of the Tai ethnic group, Xòe dance, an element of
intangible cultural heritage with prominent cultural and humanistic values, is
appreciated as one of extremely valuable assets of Vietnamese nationalities. Xòe
dance of the Tai has been experiencing many changes happening in parallel with the
intensive transformation of the Tai during their development and integration with
other ethnic communities in Viet Nam. In this context, there has emerged the
necessity of safeguarding and promoting the value of Xòe dance of the Tai art as a
cultural asset of the nation - state. Measures to safeguard and promote the value of
Xòe dance of the Tai are diverse and some of which are made possible thanks to the
rapid growth of tourism in Viet Nam. We therefore choose to integrate the
safeguarding and promotion of Xòe dance of the Tai with tourism development,
considering Xòe dance of the Tai a cultural source and property./.
*
Assoc. Prof. Dr. Dean, Department of Tourism, Hanoi University of Culture.
53
FROM VILLAGE TO CITY: THE STORY OF CONSERVATION

AND DEVELOPMENT OF XÒE DANCE IN HANOI
Nguyễn Thanh Sinh*
Vũ Thị Diệu †
The Tai people in Viet Nam originated from Yunnan province (China) who
migrated many different times. Their residence centers are in Điện Biên, Lai Châu,
Sơn La, Yên Bái, Thanh Hóa, Nghệ An, Hòa Bình provinces and after the year 1980,
they migrated to the provinces in the Central Highlands. Xòe dance is inevitably
mentioned when speaking of intangible culture of the Tai people. It not only brings
the value of entertainment, community cohesion on the occasion of great events of
individuals, clans, villages, but also implies spiritual values, ritual practices, and
ceremonies at the place where the Tai people reside. In Hanoi, there is a group of the
Tai people who maintain activities related to Xòe dance. The research results show
that the Tai people in Hanoi have a close relationship with the local Tai people in the
field of conservation, development and performance of Xòe dance in the community
life for the interest of tourism development and economic income on the one hand and
transmission of the art of Xòe dance from generation to generation on the other hand.
A multi-sited fieldwork also shows that there is a connection between the Tai
people in Sơn La. Lai Châu, Điện Biên provinces and the Tai group in Hanoi, in
which they shared how to safeguard and develop Xòe dance effectively through the
experience of organizing Xòe dance activities at Viet Nam Museum of Ethnology in
recent years. It can be said that, due to the two-way relationship between the Tai
people in Sơn La and the Tai people in Hanoi is the relationship that has similarities of
ethnicity, beliefs, and culture, the sharing of experience in the field of performing Xòe
dance for tourists has become a special phenomenon of Tai culture in Viet Nam today./.
*
Dr, Duy Tân University in Đà Nẵng.
†
MA, Viet Nam Museum of Ethnology.
54
XÒE DANCE OF THE TAI IN RELATION TO ANCIENT DANCES

Trịnh Sinh*
Xòe dance of the Tai is a cultural product of the Tai ethnic group. The author
compares Xòe‟s collective dance routines, which move in a circle form, with other
ancient dances presented in images engraved on the Đ ng Sơn bronze drum and in
circle statues popular during the Dianyue (Điền Việt) culture in Yunnan. At the same
time, the author also examines Xòe dance in its relation to traditional dances of other
ethnic groups in the Central Highlands and those of the Katu in order to demonstrate
that collective circle dance is a common heritage of a large region and it has been
practicing since the ancient times up to now.
According to archeological and ethnic philological materials, the Tai arrived in
Viet Nam since the time of Đ ng Sơn culture. They followed the route along the Red
River and integrated into Vietnamese community since then. Perhaps, the Tai people
have contributed to our treasure of cultural heritage since early times as shown in
many dances engraved on bronze drums as well as in images of mouth organs (khèn
bè) a bamboo musical instrument, seen in circles of bronze human statues popular
during Đ ng Sơn culture./.
*
Prof. Dr, Institute of Archeology.
55
SAFEGUARDING KOREAN TRADITIONAL DANCE

So Inhwa*
After the Japanese occupation of Korea (1910-1945) ended, the Korean

government made attempts to revive and preserve traditional culture and arts in order
to re-establish Korean national identity. In the midst of the Korean War, in 1951, the
government established the National Gugak Center with Korean traditional musicians
and dancers. More than ten years later, in 19 2, the government enacted the “Cultural
Heritage Protection Act” for the preservation of cultural heritage, and two years later,
began designating holders of intangible cultural heritage.
These two programs have had a significant impact on the performing arts scene
in general. Several great dance masters came to be designated as holders of intangible
cultural heritage, which drew people‟s attention and reinvigorated performances of
Korean traditional dance. Traditional dance performers, who had belonged to the
lowest classes in the past, experienced a rise in status both through being designated
“national treasures” and through the government‟s financial support. Different genres
of Korean traditional dance, from court to folk, came to be regarded as high culture
under the protection of the government.
This paper will first introduce Korean traditional dances that have been
designated as intangible heritage by the state, a province, or a city; 1) dances performed
in open spaces, such as shamanic and Buddhist ritual dances, folk mask dances, etc., 2)
dances performed indoors, such as those supported by the female artists (gisaeng)
institution, etc., 3) court dances, both those of the court and of local government offices,
the Royal Ancestral shrine, the Confucian shrine, etc. Then, it will review the role of the
government, other performance organizations, and educational institutions have had in
safeguarding and promoting the dances. Emphasis will be placed on dances designated
as intangible cultural heritage. Finally, it will address recent issues regarding the system
itself and try to suggest ideas for future development./.
*
Dr, Researcher, National Gugak Center.
56
SAE TAI
Souksavatd, Bountheng*
Lao PDR is a multi-ethnic country, according to 2019 statistics, there are 50

Xonphau in Laos today. Sae Tai or Ten Sae is an ancient dance of the Tai people in
Laos. Sae Tai consists of 2 dances: Sae Vorng and Sae Taap sac. Sae Vorng is popular
with the Tai Dom people, so it is called the Ten Sae Tai Dom or Sae Tai Dom. And
Sae Taap sac or Ten kham May Pong ofthe Tai Deang people. Tai people has moved
from Southern China to Dien Bien Phu (Muong Thanh) Viet Nam since the seventh
century, and a few continue to migrate to Laos and permanently settle there.
Therefore, Xonphau Tai in the North-eastern provinces of Laos such as Hua Phan,
XiengKhouang, Luong Nam Tha... have origins close to the Tai in the Northwest of
Viet Nam including the provinces of Son La, Lai Chau, Dien Bien Phu ... From a folk
dance, Ten Sae or Ten kham May Pong gradually become a means of communication,
community connection and more importantly, it has become a unique cultural feature
joint for XonphauTai in Laos. Along with the Lamvong dance, Sae Tai has become a
vibrant national dance, an indispensable spiritual dish of the Lao Xonphau community
in festivals, weddings, birthdays, up new house.../.
*
Dr, Musicologist - Musical critic.
57
XÒE DANCE IN THE CULTURE OF THE WHITE TAI

IN MƢỜNG SO, PHONG THỔ DISTRICT, LAI CHÂU PROVINCE
Hoàng Ngọc Sứu*
Within the territory of Lai Châu province, there are more than 20 ethnic groups
living together and their distinctive cultures constitute a rich and diverse cultural
landscape. Unfortunately, in the 20th century, due to two severe wars, this cultural
landscape was altered drastically, leading to the loss of many cultural practices. Until
the early 2000s, some of these cultural elements, among them Xòe dance and tính tẩu
(gourd lute) have been revived thanks to constant joint efforts of local governments
and practitioners.
The traditional dance of the Tai, known as Xòe, reflects the community‟s
culture. It is also the quintessence of the Tai‟s long-lasting customs, which have been
safeguarded and developed in accordance with natural laws. Over time, the dance has
become a typical representation of the vehement vitality of the community of the Tai
people. Moreover, Xoè dance is not only a distinctive cultural asset of the Tai, but it is
also indispensable spiritual food of all ethnic groups living in the Northwestern region
of Viet Nam.
In order to improve the safeguarding and promotion of the form of Xòe dance,
the author of this paper would like to present several recommendations as follows:
Firstly: More attention and support from the State and Party level should be
made available.
Secondly: Conducting surveys and research at main districts and communes
which are significant sites in the history of the Tai ethnic group.
Thirdly: Providing financial support to transmission activities, including
teaching gourd lute (tính tẩu) playing techniques, Xòe dances and Tai folk songs.
Fourthly: Organizing transmission classes twice a year, combining gourd lute
(tính tẩu), Xòe dances and folk songs.
Fifthly: Target students of transmission classes are youths, high school and
secondary school students. The classes should be held during the summer break.
Sixthly: Providing financial support to practitioners participating in
transmission classes. /.
*
Main Practitioner, Nà Củng Village, Mường So Commune, Phong Thổ District, Lai Châu Province.
58
SAFEGUARDING AND PROMOTION OF FOLK DANCES

OF THE TAI PEOPLE IN MƢỜNG LAY DISTRICT, ĐIỆN BIÊN PROVINCE
SINCE THE RENOVATION (ĐỔI MỚI)
Phạm Nam Thanh*
In the late 90s of the twentieth century, the movement of restoring Tai folk
dances after a long period of interrupted decades developed quite strongly in the
mountainous provinces of Northwestern Viet Nam. Mường Lay - a place where many
Tai people live, is one of the cradles creating the dances of the Tai people, a locality
where folk dance teams were established and organized professionally during the
French colonial period, a district where there are positive changes in the conservation
and restoration of folk dances.
In the context of ritual activities not being fully restored and the shortage of
practitioners due to their aging and weak health, the safeguarding of folk dances is
facing difficulties. In order to maintain and develop the folk dance heritage, the
authorities, professional agencies and the Tai community in Mường Lay have to
change the purpose, function and origin of folk dances. Besides, professional artists
have also created new dances basing on folk dances to suit practical needs. This paper,
therefore, presents the current status of the conservation and promotion of folk dances
of the Tai ethnic community in Mường Lay district, Điện Biên province since the
Renovation (1986). In the paper, the data collected through author's fieldwork
research on the restoration of Tai folk dances in Mường Lay District, Điện Biên
Province in the 90s of the 20th century and the data of the General Survey on Dance
Heritage (Xòe) in the area published in the Report by Viet Nam National Institute of
Culture and Arts Studies in collaboration with Department of Culture, Sports and
Tourism of Điện Biên Province implemented in 2016 - 2018 will be used./.
*
Doctoral candidate, Viet Nam National Institute of Culture and Arts Studies.
59
XÒE DANCE OF THE TAI FROM PERSPECTIVES

OF THE UPPER BASINS OF MEKONG AND RED RIVERS
(Preliminary examination of 5 Tai villages in Xishuangbana Autonomous
Prefecture, Yunnam Province, China)
Bùi Quang Thanh*
Until the present, the circle of social sciences and humanities in both Viet Nam
and China has basically agreed that ancestors of the Tai people discovered and settled
in upper basins of Mekong and Red Rivers in Southern Yunnan province, China.
From there, a group of them moved southward into countries such as Viet Nam, Laos
and Thailand after the 6th century. This finding which results from scientific research
coincides with records in the Tai‟s ancient histories and with various myths having
been circulated in the folklore over generations. Spreading along these powerful
migration flows, the art of Xòe dance has become a cultural nucleus which is deeply
imbued with the distinctive Tai identity. Moreover, following the steps of the Tai
people during their exploration of and settlement in new lands, Xòe dance has become
rooted and flourished in the practical life of local communities, integrating with
indigenous culture and surviving in a sustainable way. Until recently, dozens of
research studies, MA and Ph.D. dissertations and scientific theses in Viet Nam have
examined and studied the art of Xòe dance as a cultural heritage element representing
diverse values of the Tai community in the Northwestern region as well as in many
other provinces throughout the country. At the same time, there exists a shortage of
scientific research studies that appropriately examine and analyze the origin of this art
form within the land of the Tai ancestors. Not many studies have been able to trace the
historical evolution of this distinctive cultural heritage element. To fill these gaps, this
paper initially provides a new source of data which was collected through a survey of
Xòe dance practice in five villages of the Tai people in the upper basins of Mekong
and Red Rivers (Southern Yunnan Province, China). The survey was conducted in
December 2018 and its results can possibly serve as a practical basis for a comparative
study on the creative evolution and development of Xòe dance in different cultural
spaces in order to identify both acculturation and localization of this special art form.
This research, therefore, is of significance in understanding the diversity, richness and
cultural values of Xòe dance of the Tai in Viet Nam./.
Keywords: Xòe dance, Tai ethnic group, Yunnan, Mekong, Red River, upper basins.
*
Prof. Dr, Viet Nam National Institute of Culture and Arts Studies.
60
ACTIVITIES TO SAFEGUARD AND PROMOTE

THE ART OF XÒE DANCE IN VIET NAM
(Case Studies in Điện Biên, Sơn La, Lai Châu, and Yên Bái provinces)
Lưu Ngọc Thành*
Until now, the art of Xòe dance has been an invaluable element of intangible
cultural heritage in the national cultural heritage system of Viet Nam. It represents the
cultural identity closely associated with the daily life of the Tai in the Northwestern
region of Viet Nam. The art of Xòe dance of the Tai has attracted a large community
of participants and it is often practiced during the most special occasions of the year,
including the New Year ceremony, festivals and other communal events of Tai
villages. For recent years, local governments in Điện Biên, Sơn La, Lai Châu and Yên
Bái provinces have carried out many activities specifically aiming at Xòe dance of the
Tai. This paper focuses on three main issues: 1. Policies of the Vietnamese State and
Party on safeguarding intangible cultural heritage of the country‟s ethnic communities
and those specially associated with Xòe dance; 2. Restoration and safeguarding of
Xòe dance of the Tai art based on ancient Xòe routines; 3. Dissemination,
publicization, and propagation of Xòe dance of the Tai information to raise the
community‟s awareness about the value of this intangible cultural heritage element.
These subject-matters are examined through a field study in some Tai villages, where
Xòe dance of the Tai are still practiced, in Điện Biên, Sơn La, Lai Châu and Yên Bái
provinces in late 2018. Based on the results of this study, the author seeks to
contribute to the safeguarding and promotion of the art of Xòe dance of the Tai in the
Northwestern region of Viet Nam in the contemporary context by identifying some
issues that need to be taken into further consideration./.
*
MA, Department of Cultural Heritage, Hanoi University of Culture.
61
DISCUSSIONS ON SOLUTIONS TO PROTECTION AND ROMOTION OF

THE ART OF XÒE DANCE IN ĐIỆN BIÊN PROVINCE
Phạm Thị Lan Thắm*
The art of Xòe dance is a typical feature of the Northwestern region in general
and in Điện Biên province in particular, it is associated with the Tai ethnic community
throughout the history of Viet Nam. Xòe dance in Điện Biên province is often held by
the Tai people on important occasions of the year, especially the Spring Festival, the
anniversary of the liberation of Điện Biên province and other cultural events. In the
spaces where the above events took place, Xòe dance could gather a lot of people to
participate in, regardless of residents or tourists. In recent years, thanks to the
community‟s awareness of its great value and potential, the authorities at all levels in
Điện Biên province especially the cultural sector from the provincial to the communal
levels/ wards/ towns together with the Tai community in villages and hamlets have
had many meaningful activities with the aim of safeguarding and promoting the value
of the art of Xòe dance./.
Keywords: Xòe dance, protection of Xòe dance, promotion of Xòe dance.
*
MA, Hanoi University of Culture.
62
SIX OLD XÒE DANCE AND THE HUMAN VALUES

OF THE BLACK TAI PEOPLE IN MƢỜNG LÒ SHOULD BE HONORED
Nguyễn Đình Thi*
- An overview of the Tai ethnic group in the Northwestern region of Viet Nam:
history of formation, residence locality, cultural geography.
- A brief of the Tai people in Mường Lò; introduction of the formation and
development of Xòe dances of the Tai people in Mường Lò - Yên Bái.
- An analysis of meanings and human values of the 6 old xòe dances including:
+ Khắm khen (Holding hands)
+ Ðổn h n (Step backward and forward)
+Phá xí (Bố bốn - 4 direction dance)
+ Nh m khăn (Raising a scarf)
+ Khắm khăn mơi lảu (Raising a scarf to offer wine)
+ Ỏm lọm tốp mư (Clapping hands and going round).
- An analysis of the typical values of the 6 old xòe dances including aesthetic
values; symbolism, education; profound philosophies in every movement of Xòe dance.
- Analyzing the role of Xòe dance in the life and culture of the Black Tai in
Mường Lò. The importance of safeguarding and promoting Xòe dance of the Tai people.
- Assess the situation and the involvement of local governments in
safeguarding and honoring Xòe dances.
- Review and propose Xòe dance of the Tai people to be inscribed as cultural
heritage of humanity./.
*
Chairman, Association of Literature and Arts of Yên Bái Province.
63
SAFEGUARDING AND PROMOTING THE VALUE OF XÒE DANCE

OF THE TAI: A CULTURAL ANTHROPOLOGICAL PERSPECTIVE
Đặng Kim Thoa*
The paper presents some ideas concerning the study of Xòe dance of the Tai
with cultural anthropological and sociological perspectives. Xòe dance of the Tai is a
prominent representation of the Tai‟s agricultural culture, tradition and identity. Xòe
dance of the Tai also reflects the reality of material and spiritual culture of the Tai in
Northwestern region of Viet Nam.
The art of Xòe dance of the Tai is not only a tradition popular among the Tai
communities but also a cultural space important to ethnic harmonization in the context
of international integration and globalization. The value of Xòe dance of the Tai can
be appreciated through anthropological, sociological and folklore approaches,
suggesting that this form of art has been transformed during the transition of the Tai
culture from an agricultural to an industrial one.
1. Anthropological essence of Xòe dance of the Tai
The anthropological essence of Xoè dance is constituted by its pastism and
informality. Xòe dance of the Tai therefore is constantly losing pieces of itself and
changing to fit into new human societies. Xòe dance of the Tai‟s characteristic exists
based on the need to communicate and exchange among humans and their societies.
Xòe dance of the Tai is developed in accordance with economic, cultural and
social level of each and any given era.
Dancing elements deemed to be unsuitable to the need of people in
contemporary society will be fallen to oblivion; whereas new elements will emerge,
leading to new ways of communicating and exchanging among people.
2. Sociological issues associated with Xòe dance of the Tai
The sociological essence of Xòe dance of the Tai lies in the fact that it is a form
of folk art continuously practiced from the past to the present. Xòe dance of the Tai
exists in both real and virtual social spaces, including villages of the Tai in the
Northwestern region, streets of Hanoi, Internet-based social network sites and foreign
countries where a large number of the Tai people currently reside.
3. Cultural identity of Xòe dance of the Tai
The cultural essence of Xòe dance of the Tai is summarized in the following poem:
Without Xòe dance, people will not be happy
*
64
Without Xòe dance, rice will not grow

Without Xòe dance, corn will not bear flowers
Without Xòe dance, boys and girls will not become couples*
Therefore, the cultural identity of Xòe dance of the Tai is constituted by the
Tai‟s mentality, customs, and their culture associated with agricultural production./.
*
Ju. M. Lotman (2009), Ký hiệu học văn hóa (Cultural Semiotics), Nxb Đại học Quốc gia Hà Nội (Hanoi
National University Publishing House).
65
SEARCHING FOR THE ORIGIN OF XÒE VÒNG OF THE TAI IN

NORTHWESTERN VIET NAM
Phạm Hùng Thoan*
1. Several forms of Xòe vòng (circle dance) recently seen in community

practices of Tai villages include:
a. Dance with a single circle and by a single group.
b. Circle dance by multiple groups
c. The Black Tai‟s ancient form of six-step Xòe with props
2. Xòe vòng in religious rituals of the Tai:
a. Xòe vòng in the White Tai‟s “Kin Pang Then” ritual
b. Xòe vòng in the Black Tai‟s “Kin lẩu nó” ritual
3. Xòe vòng in community practices and xòe vòng in rituals are different in
their social functions.
4. Regarding the origin of xòe vòng:
a. Ritual-related origin
b. Xòe vòng is a new form of artistic practice, which emerged during the
French colonialization era.
5. Xòe vòng is a dance emerged earliest in the ancient Tai society.
a. Artistic signal can be “read” in the structure of Xòe vòng
b. The similarity between the image of Xòe vòng of the Tai and other forms of
quần vũ (collective dance) practiced by some ethnic groups in Indochina:
. Circle dance depicted in patterns engraved on bronze drums of the Viet
. Soang “Tung Tai” of the Gia Rai,
. Soang vòng of the Ba Na,
. Lăm Vông of the Laos,
. Lăm Thôn of the Khơ Me.
In conclusion, Xòe vòng is earliest traditional dance to merge in the non-
hierarchical society of the Tai during ancient times. This dance manifests the cult of
the sun and equality and equal relations among ancient Tai people./.
*
66
THE ROLE OF COMMUNITY IN SAFEGUARDING AND PROMOTING

THE VALUE OF XÒE DANCE IN CONTEMPORARY SOCIETY
Vũ Hồng Thuật
Trần Văn Sùng
Speaking of the Tai in Northwestern region of Viet Nam is to speak of the

culture of Xòe dance. Xòe is a folk dance originated from the Tai‟s working life and
has been kept and transmitted by the community over thousands of years. Whenever
they complete an important mission or celebrate a special cultural and social event, the
Tai perform Xòe dance when space and time allow for it. They dance in one or
multiple groups with different types of Xòe dance. The attractiveness of Xòe dance
lies in the animation of folk music played by simple instruments, the poetic nature of
folk songs and the diversity of dance movements. Xòe dance is also very easy to
practice and therefore it can be performed by a large number of people regardless of
their age and gender. The purpose of Xòe dance is to unite the community, express the
desire for a prosperous, happy and everlasting life and to overcome difficulties and
hardship in agricultural production. The vitality of Xòe dance has been safeguarded
until today thanks to efforts of many individuals and communities. In villages, many
senior practitioners and social associations have worked days and nights to transmit
the traditional cultural value of Xòe dance to their children and grandchildren. They
have also committed to the production of new forms of Xòe dance and integrate them
into the community‟s contemporary life in an effective way. Thus, Xòe dance is not
only an intangible cultural heritage element of the Tai in the Northwestern region, but
it is also part of Vietnamese culture and an invaluable resource of the country.
Therefore, managing, safeguarding and promoting the value of Xòe dance of the Tai
in our today‟s society is a very complicated task, involving different perspective,
perception and approaches.
This research aims to review and evaluate the role of community in managing,
safeguarding and promoting the value of Xòe dance of the Tai in the contemporary
context. From this starting point, we seek to explain the relationship between the state
and the community in the safeguarding and promotion of heritage value. At the same
time, we also identify main development tendencies of Xòe dance and point out
potential advantages and challenges faced by Xòe dance once it is inscribed on the
UNESCO‟s Representative List of the Intangible Cultural Heritage of Humanity./.

Dr., Viet Nam Museum of Ethnology.
67
XÒE DANCE AND ITS MUSIC

IN CULTURAL LIFE OF THE TAI ETHNIC GROUP
Lê Văn Toàn*
Xòe dance of the Tai is one of performing arts in the treasure of intangible
cultural heritage of Viet Nam‟s ethnic communities. Music plays a vitally
indispensable role in the art of Xòe dance of the Tai. In other words, without music,
Xòe dance of the Tai and its complete and attractive performing art products that
combined music and dance will certainly not come into existence.
The function of music used in Xòe dance of the Tai is to create and maintain
the pace essential to the stability and unity of this collective form of dancing. The
diversity of timbres made by multiple music instruments also creates an aesthetic
diversity and richness in Xòe dance of the Tai‟s soundscape.
Musical instruments commonly used in the night of Xòe dance of the Tai
include drum, tính tẩu (gourd lute), thanh la (palm-sized gong), chiêng (bigger gong),
and sometimes even several songs are used.
Musical instruments used in some types of Xòe dance of the Tai, such as the
Xòe dance associated with rituals, Xòe vòng (circle dance) or the artistic Xòe dance of
the Tai (performance), are not merely instruments. Instead, they and other props are
used to create and keep the dancing rhythm. Music of Xòe dance of the Tai is an
expression of sound and music creation of the Tai. Therefore, this paper will focus on
the examination of different ways in which musical instruments are used, musical
pieces are composed, and the language of music is created for Xoè dance
performances. The author will also discuss how different musical instruments are
combined together and how each of them is played during Xòe dance of the Tai
performances.
Even though representations of music differ locally and regionally, they all
reflect a common thing: music is the rhythmic fulcrum for Xòe dance of the Tai. Xòe
dance of the Tai rhythm is of an even type, suitable to the regularity and delicacy of
2/4 or 4/4 beats. Thus, it is also necessary to examine the role of rhythm in Xòe dance
of the Tai music, since it is important and fundamental to the connection between
music and dance.
Most of old and contemporary Xòe dance of the Tai forms often use percussion
instruments to keep the main rhythm for dance steps. Along with the percussion
*
Assoc. Prof. Dr., Viet Nam National Academy of Music.
68
group, some woodwind and string instruments may also be included to create
background music for Xòe dance of the Tai.
Specifically, percussion instruments include drum, gong, and cymbal. Those
belonging to the woodwind category include pí lê and khèn bè; whereas tính tẩu is of
the string category. Today, many kinds of electronic musical instruments have also
been used to create background music for Xòe dance of the Tai.
How rhythmically diverse is the structure of the language of music used in Xòe
dance of the Tai? What is the art of sound harmonization in the folk orchestra that
accompanies Xòe dance of the Tai dance?
How is the integration of music essence and dancing language expressed in Xòe
dance of the Tai? The poetic delicacy of music rhythm and the diversity of timbres
produced by various instruments are issues that need to be clarified in this paper./.
69
THE SAFEGUARDING AND PROMOTION OF XÒE DANCE

OF THE TAI MUSIC
Lê Anh Tuấn*
In analyzing data collected through field studies conducted by the Viet Nam
Institute of Musicology and other sources, we found that background music used in
Xòe dance performances of the Tai is very diverse. Depending on the nature of each
Xòe dance form, the Tai people create specific music pieces and use specific
instruments. Then, background music used in Xòe dances gradually takes its root the
consciousness of the people; only listening to the music, they can visualize certain
Xòe routines. Music is also a powerful inspiration source which urges people to
participate in Xòe dances. In the art of Xòe dance music is an important element
contributing to the beauty of the dance as well as to the cultural identity of the Tai.
In the contemporary context where Viet Nam has been experiencing countless
changes, the traditional use of background music in Xòe dances of the Tai has
gradually fallen into oblivion and been forgotten. Therefore, what should we do to
safeguard and promote such precious music resource associated with the art of Xòe
dance?
The foregoing issues lead us to further discussion concerning:
- The diversity and richness of music used in the art of Xòe dance of the Tai
- Role and significance of music in the art of Xòe dance of the Tai
- The current state of music usage in Xòe dance of the Tai
- Measures to safeguard and promote traditional music in the art of Xòe dance./.
*
Assoc. Prof. Dr., Viet Nam National Academy of Music.
70
MUSICAL INSTRUMENT MAKING AND MUSIC COMBINATION

IN THE ART OF XÒE DANCE
OF THE TAI PEOPLE IN ĐIỆN BIÊN PROVINCE
Đào Duy Trình*
1. General introduction about the position, the role of musical instruments

and the combination of music in the art of Xòe dance of the Tai people
The music in Xoè dance has contributed to create a joyful and bustling space
of the Tai people‟s villages where they hold a circle Xòe dance that not every
ethnic group has. The oldest musical instruments in the art of Xòe dance were made
from natural products deeply attached to people since the prehistoric times in the
mountains and forests such as the pieces of wood, bamboo and neohouzeaua. The
natural products have been used to tap each other to create a sound that harmonizes
with the beat rhythm of Xòe dance and later various types of musical instruments
such as drums, gongs, cymbals, gourd lute (tính tẩu), two - chord fiddle (đàn nhị)
have been created by humans.
The Tai people love to sing and live in stilt houses made of bamboo and
neohouzeaua materials that are harmony with nature and take advantage of nature.
Many researchers believe that the rhythm created by the Tai people‟s walk on the
floor of the stilt houses gives them a rich, rhythmic feel deeply absorbed into the
people since they were inside mothers‟ cradles and goes throughout their life later;
especially, the use of music in Xòe dance and bamboo dancing has raised their legs
as if speaking in harmony with the music at the bustling time, and settling with
each step.
2. Introduction of gourd lute, its manufacturing and usage features in the
art of Xòe dance of the Tai people
For the Tai people, gourd lute is not only a musical instrument associated with
their daily life, but also a cultural symbol. It is indispensable in the nights of Xòe
dance and communal festivals.
“Tính” means a lute, while “tẩu” means a gourd in Tai language. Tính tẩu
(gourd lute) is a popular musical instrument not only of the Tai people but also of
some ethnic groups in the Northwestern region like the Tay, the Nung... But gourd
lute of the Tai people are typical, both in structure and sound.
*
Division of Cultural Heritage, Department of Culture, Sports and Tourism of Điện Biên Province.
71
Gourd lute is played in Xòe dance, communal festivals, antiphonal singing

nights,... In rituals, it is used as the accompaniment for prayers of priests when the
musical instrument becomes sacred.
Introducing the legends of gourd lute; how to make and play the gourd lute
3. Introduction of the drum, its making and usage in the art of Xòe dance
of the Tai people
Drum is also an indispensable musical instrument in Xòe dance and múa sạp
(dance with bamboo sticks) of the Tai people. The drumbeat echoes as if inviting
people to join the communal festivals, holding hands around the fire in the middle of
the mountains and forests.
The making of drums is carried out with very strict steps: Offering for the
blessing of the earth and the god of heaven, the offerings include 01 sticky rice, 2 cups
of wine and 3 fathoms of fabric.
Rhythm of drum is diverse. Depending on different contexts, there will be different
ways of beating and using of rhythm. Drums can be used singly to give a signal or
alerting of fire or house fire ...but this case is rarely used. Drums are mainly used and
indispensable in Xòe dance, múa sạp (dance with bamboo sticks), communal festivals,
and performing arts, celebration of the new home with other musical instruments such as
gongs and cymbals that create a very typical sound of the mountains.
Introducing the legend of drum; how to make drums and the role of drum in
the art of Xòe dance of the Tai people
The contexts of playing the drum.
4. Other musical instruments used in the art of Xòe dance
Gongs are called “sánh” in Tai language. Gongs are usually made of brass with
round shape like a hat having diameter of about 20 cm to 60 cm, with or without a
knob in the center.
The cymbals are called “xánh”, the small round – shaped rattle is called “mắc
hính” in Tai language.
Gongs can be used singly, or a combination of all three types creating a chord that
is of human meaning, showing a desire for development and longevity of the nation.
As usual practice, drums are played by men, gongs by women, cymbals by children,
small round –shaped rattles by young girls to create vibrant and captivating sounds.
5. Combination of musical instruments in the art of Xòe dance of the Tai
people in Điện Biên province
Gourd lute is played in most of Xòe dances as background music. The sound of
gourd lute blends with gentle dance movements by young men and women as if
72
attracting visitors to Xòe dance. Besides, gourd lute is used in the rituals of Then
worshiping when the sound of gourd lute of the Tai people is dull and pleasing to call
on the spirits and ghosts in the sky to witness the sincerity of descendants, to bless
their children healthy and good crops.
Rhythm of drum is diverse. Depending on different contexts, there will be
different ways of beating and using of rhythm. Drums can be used singly to give a
signal or alerting of fire or house fire ...but this case is rarely used. Drums are mainly
played and indispensable in Xòe dance, dance with bamboo sticks, communal
festivals, performing arts, celebration of the new home with other musical instruments
such as gongs and cymbals that create a very typical sound of the mountains./.
73
XÒE DANCE IN KIN PANG THEN RITUAL

OF THE TAI IN LAI CHÂU PROVINCE
Cao Trung Vinh*
Kin Pang Then is a ritual of the White Tai in Lai Châu province. Then masters
and their adopted children usually organize Kin Pang Then rituals in early Spring
(after the Lunar New Year). This is the time for adopted children and villagers to
express their gratitude to deities, ancestors and Then masters, who have bestowed
them with a year full of good things. During the ritual, participants also pray for a
peaceful village life, favorable weather, prosperous business and good health.
During the whole process of the Kin Pang Then, then singing, music of a tính
tẩu (gourd lute) and Xòe dance are the most important elements constituting the
values of this ritual for the local community. Many researchers even argue that, the
Xòe dance in the Kin Pang Then ritual may be seen as the one from which other forms
of Xòe dance came from and have been practiced by many Tai communities
nowadays.
This study therefore focuses on the interpretation of meanings associated with Xòe
dance in Kin Pang Then ritual of the White Tai in Nậm Nhùn district, Lai Châu province./.
*
74
THE ART OF XÒE DANCE OF THE TAI IN CULTURAL

AND RELIGIOUS PRACTICES OF THE TAI IN SƠN LA PROVINCE
Ngô Thị Hải Yến*
The Tai in Sơn La are divided into two branches: White Tai and Black Tai.
Besides, there are several local groups of Tai such as Black Tai in Yên Châu, White
Tai in Mộc Châu, White Tai in Phù Yên and White Tai in Ngọc Chiến (Mường La).
The art of Xòe dance is significant to the cultural and religious life of the Tai.
For them:
Without Xòe dance, flowers will not bloom
Without Xòe dance, people will not be happy
Without Xòe dance, boys and girls will not become couples.
In community‟s cultural practices such as village‟s festive events, New Year
ceremonies, house-warming ceremonies, and especially in rituals and religious rites
organized annually or regularly like: Xên bản, Kin Pang Then of the White Tai in
Quỳnh Nhai; Hết Chá of the White Tai in Mộc Châu; Xên Lảu Nó of the Black Tai;
and Xên Một of the White Tai in Phù Yên. In every single ritual of each Tai group,
Xòe dances and musical instruments consist of both those typical to the region of
concerning group and those similar to all of the rest Tai people.
Today, Xòe dances, cultural activities and rituals of the Tai have been at risk due to
many factors, such as the disappearance of ritual masters and changes in living conditions
and environment. Nonetheless, the art of Xòe dance of the Tai and its significance in
cultural practice and rituals of the Tai will be ensured to be safeguarded./.
*
MA, Officer of Cultural Management, Department of Culture, Sports and Tourism, Sơn La Province.
75
PERFOMING SPACE, NORM FORM AND THEIR TRANSFORMATION:

THE CURRENT SITUATION OF DAI DANCE IN CHINA
Xiao Yun Zheng*
Yu Tao†
Dai is a nationality in China but it is sharing common ethnic origination,

historical memory and culture with many kinds Tai ethnic people in Southeast Asia
countries, such as Viet Nam, Laos, Myanmar, Thailand, also India. The dance is an
essential part of their social life and a symbol of the cultural identification. It has been
deeply rooted in Dai people‟s spiritual world and social life, related with their identity,
religion, daily life, social interaction, recreation, festival, healthy, arts, etc. The
performing space is not just important for the dance performing, but also for its
existence and inheritance. Traditionally, the Dai dance was the village based form that
mainly existed in the village, performing in the occasions of festivals, religious
activities, recreational activities, celebrations, dinner, and so on. But after 1950s, the
performing space of the Dai dance has been extended to a large scale from the village
to a diversiform spaces, for example, the local festival activities, celebrations, tourism,
and the public stages like in the theatres, performing an important role in the public
life, large festivals and tourism. Goes with the transformation, the norm form of the
Dai dance also changed a lot in past decades. Mainly, current Dai dance are four
spaces based: village, arts stage, tourism, festival-celebration. The norm forms are
different based on in the spaces. It also reflected different meanings in different
spaces, for example, as the most positive space, the dance in the village reflected
strong meanings of collective consciousness, cultural identity, harmony, unity and
recreation. Depended on the field works, this paper intentions to exploring the
transformation and current situation of Dai dance in an opening social circumstance of
the globalization in China, to discuss its change, protection and prospective, also
benefits understanding of the diversity of Dai - Tai dance beyond the countries./.
Key words: Dance, Dai nationality, performing space, transformation, China.
*
Distinguished Professor, Faculty of History and Culture, Hubei University, China.
†
Researcher, Yunnan Dai Nationality Academic Association, Kunming, China.
76

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YÊN BÁI PEOPLE‟S COMMITTEE

MINISTRY OF CULTURE, SPORTS AND TOURISM

LAI CHÂU PEOPLE‟S COMMITTEE

SƠN LA PEOPLE‟S COMMITTEE

Hanoi, October 04 - 05, 2019

Conference Program .......................................................................................................... 02

List of papers ...................................................................................................................... 08

8:30-8:40 Introductory Remark

8:40-8:50 Welcome Speech by a Leader of Yên Bái‟s People Committee

Prof. Dr. So National Gugak Safeguarding Korean Traditional

Distinguished Performing Space, Norm Form and

10:00-10:15 TEA BREAK

M.A. Nguyễn Department of Social Xòe Dance in the Flow of Dancing

Mr. Đặng Viet Nam National Music and Xòe Dance.

10:15-11:30 VISIT HOUSES AND OBSERVE THE TAI CULTURE

4. Mr. Phạm Việt Dũng Director, Department of Solutions of Management,

8. Prof. Dr. Hahm, Hanhee Director, Center for Reconsideration of Sustainability of

12. Associcate Professor, Dr. Vietnam National UNESCO‟s 2003 Convention,

Dr. Hoàng Cầm Institute of Cultural Element in the Heritagization

23. Dr. Lê Thị Minh Lý Member, National Representative List of Intangible

29. MA. Quiroz Moreno, National University of The Safeguarding of Intangible

33. Dr. So Inhwa Researcher, National Safeguarding Korean Traditional

THE ART OF XÒE DANCE IN RELIGIOUS AND CULTURAL

SOLUTIONS TO THE SAFEGUARDING AND PROMOTION OF XÒE

SAFEGUARDING AND PROMOTION OF THE ART OF XÒE DANCE OF

SOLUTIONS OF MANAGEMENT, SAFEGUARDING AND PROMOTION

1. An overview of Tai ethnic cultural characteristics and the value of Xòe

“EVERYONE CAN BE PART OF XÒE DANCE”- UNITING THE COMMUNITY

THE ART OF XÒE DANCE OF THE TAI PEOPLE CONTRIBUTES

1. General introduction of the Art of Xòe dance of the Tai people

XÒE DANCE OF THE TAI AND MUSIC IN CONTEMPORARY LIFE

RECONSIDERATION OF SUSTAINABILITY OF ICH

This paper is to reconsider the sustainability of intangible cultural heritage

XÒE DANCE OF THE TAI AS A CULTURAL ASSET IN NEED

PROMOTION OF XÒE DANCE OF THE TAI

THE ART OF XÒE DANCE OF THE TAI COMMUNITY IN MƢỜNG THANH,

1. An overview of the Black Tai in Mƣờng Thanh

UNESCO’S 2003 CONVENTION,

The UNESCO‟s 2003 Convention on the Safeguarding Intangible Cultural

Key words: 2003 Convention, community, communality, intangible cultural

SOME IMPORTANT ISSUES IN THE MANAGEMENT,

3. Localities should pay attention to the publicization of Xoè dance value.

SAFEGUARDING AND PROMOTING XÒE DANCE OF THE TAI PEOPLE

1. The History of the Art of Xòe Dance of the Tai People

"XÒE CHÁ AS THE IDENTITY OF CHÁ VILLAGE":

The study of social behaviors of people/groups of music makers (including

The study contributes to the field of ethnomusicology by presenting social

Keywords: music makers, Chá village, identity, social behavior.

XÒE DANCE TAI IN THE FLOW OF DANCING CULTURE OF

Keywords: Xòe dance, similarity, identity, Viet Nam, China.

LET MAKE XÒE DANCE OF THE TAI PEOPLE PERFORMED

FOLK DANCE HAS VITALITY IN THE TAI PEOPLE'S LIFE

THE INHERITANCE AND INNOVATION OF DAI FOLK DANCE

MUSIC AND XÒE DANCE

THE ROLE OF XÒE DANCE IN THE COMMUNITY’S LIFE AND

ETHNIC AND REGIONAL STUDY APPROACHES

Xòe is a cultural heritage element and a cultural practice indispensable to the

INTANGIBLE CULTURAL HERITAGE OF HUMANITY:

Keywords: intangible cultural heritage, community, subject, values,

FROM LOVE STORY TO CLASSS TRUGGLE:

SAFEGUARDING AND PROMOTING XOÈ DANCE –

UPHOLDING THE ROLE PRESTIGIOUS PEOPLE IN SAFEGUARDING

THE AUDIOVISUAL MEDIATION OF CULTURAL HERITAGE