The female shamans - Keepers of the soul of Southern Vietnamese shamanic singing.

A brief history of Hat Bong Roi (a traditional Vietnamese folk singing style).

According to the article "Tracing the Origins of Southern Vietnamese Shadow Puppet Theater" by Huynh Thanh Binh, the word "singing" in "shadow puppet theater" refers to performance art forms involving singing, music, dancing, plays, and a stage; the word "shadow" can be understood as referring to the female spirit mediums – those who perform the acts, or it can be understood as the shadow of a human being, distinguishing humans from ghosts (ghosts have no shadow in the light). And if the word "shadow" is understood as the soul, then the word "rỗi" (to be free/liberated) would mean saving or freeing the soul from evil. The author himself also likes this explanation because it fits the nature of shadow puppet theater: in the space of the temple, people with sincere hearts turn to the deities hoping for blessings, and their souls are purified by the solemn and respectful songs of the female spirit mediums.

Previously, many researchers in Northern Vietnam mistakenly believed that the "hat bong roi" ritual was a spatial shift from Northern to Southern Vietnam of the Tam Dai Tu Phu belief system, as this art form is also associated with the worship of goddesses and the Mother Goddess – a form of Shamanism. However, the cultural elements that make up "hat bong roi" originate directly from the South Central region, especially from Champa culture (this is clearly shown in the dance offering a tray by the female shamans; that tray is an image of a Champa tower – the dwelling place of the gods).

The exact origin of the shadow puppet theater remains undetermined; however, based on records in the two books "Gia Dinh Thanh Thong Chi" and "Dai Nam Nhat Thong Chi," this art form became popular in the 19th century.

The performance space for Hat Bong Roi (a traditional Vietnamese folk singing performance) is the temples in Southern Vietnam. These are places of worship dedicated to goddesses, the dwelling places of deities such as Thien Ya Na, Ba Chua Tien, Chua Ngoc, Ba Den, Ba Chua Xu, Cuu Thien Huyen Nu, Linh Son Thanh Mau, Thien Hau, Kim Hue, Thanh Anh La Sat, That Thanh Nuong Nuong, Co Hy, Thuong Dong, Co Hong, Co Hanh, Ba Kim, Ba Moc, Ba Thuy, Ba Hoa, Ba Tho, etc. However, Saigon audiences had the opportunity to enjoy Hat Bong Roi in a stage setting organized by Cultural Community Discourse (CCD) at the Kim Ngan Theater on July 13th. This change in performance space, while slightly altering the nature of the show (attendants are not there to seek good fortune but to enjoy and experience the performance), has brought this type of performance closer to the image of a true theatrical art form, where the female performers are not just "entertainers for the old woman" but also genuine artists.

A traditional Vietnamese folk singing performance can last for one or more days if additional acts are included, but the common format includes the following acts: Opening Ceremony, Invocation and Prayer to the Ancestors, Flower Offering Dance, Tray Offering Dance, Offering of Blessings, Placement of the Deities, and Performance of the Earth Goddess and Goddess folk play.

The female dancers take pride in their responsibility to "please Grandma."

Have you ever wondered why the people performing rituals, those responsible for serving the goddesses, are often female spirit mediums? Musician and researcher Le Hai Dang, in a conversation with viewers of the program "Bong Roi, Dia - Nang," offered an interesting explanation. According to him, these hermaphrodite figures, also known as Yin-Yang beings in Chinese, are called Yin-Yang people. And according to the I Ching, before the world was divided, it was a chaotic realm, with Yin and Yang as one entity. Later, they separated into two: light, pure energy rose to form the sky, while heavy, impure energy descended to form the earth. Thus, the female spirit mediums, with their bodies containing both Yin and Yang, symbolize the primordial chaos of the universe and therefore possess a connecting quality.

Although this is just Mr. Dang's personal interpretation based on observation and research, it has shed some light on the unique status of these female shamans. Because they are responsible for serving the deities, praying for national peace and prosperity, and family blessings, they do not marry, do not have children, and dedicate their lives to practicing so that their songs and dances can "please the goddess." They are always proud of their duty, considering it an honor.

In the Four Palaces of Shamanism, the female shamans only perform ritual functions, while the music is handled by the musicians; these musicians create a fantastical realm where the shamans can travel through different realms and assume different roles. In contrast, the female shamans in Southern Vietnam are artists; they use percussion instruments such as drums and clappers to accompany their singing. This is a short excerpt from "The Lady's Song" (source: http://www.vienamnhac.vn/bai-viet/nhac-co/hat-bong-roi-o-thanh-pho-ho-chi-minh).

On the incense offering, the rituals are performed at the shrines.

The divine spirits descended and resided in the same place.

A signpost for the Three-Gate Entrance was erected in the open air.

At the Lingxiao Palace, they summoned the Sleeping Emperor.

The Jade Emperor and the Jade King listened to the advice.

We invite the deities Nam Tao and Bac Dau to attend the banquet and return.

First, the eldest wife, Tien Nga.

We invite the second Lady of the Immortal Emperor, and we respectfully request the third Lady, Miss Huong.

Mrs. Tu Dong listened to the advice.

The Five Emperors' Lady is witnessing this hour.

Six ladies strolling through the flower garden.

Seven goddesses of the Upper Cave, guardian of the golden lotus throne

Moreover, the dances performed by these female dancers require just as much skill as those of a circus performer.

In addition, these female performers are also capable of dancing and performing traditional Vietnamese opera.

Hát Bóng rỗi – a national heritage that needs to be preserved

The "Hát bóng rỗi" performance is not just a form of folk performance with ritualistic characteristics; its structure, presentation style, and content can also be considered an artistic performance containing unique folk cultural features. For those who come to the temple seeking peace, "Hát bóng rỗi" is like a spiritual nourishment that helps purify their souls amidst the hustle and bustle of modern life.

However, to date, the art of spirit mediumship only exists in folk culture, meaning it is maintained through cultural practices, and the group responsible for maintaining and preserving this art form is the spirit medium herself. There has been no state funding or encouragement to help maintain and preserve this cultural heritage. Some television programs and competitions encourage the spirit mediums to participate, but these methods have not had a real impact on maintaining the culture. Meanwhile, becoming a true spirit medium, capable of performing skillfully, requires a great deal of time and effort. As shared by artist Phuong Thu, who plays the role of Tien in the "Dia-Nang" spirit medium performance, although she was fortunate to have her mother's silent support, the arduous path of training led her to almost give up and fall into temptation. Fortunately, thanks to her teacher, she rediscovered her love for the art of shadow puppetry and established her own troupe with the desire to maintain and develop this unique folk art form of the nation. Hopefully, in the future, on the path of preserving and developing shadow puppetry, there will be more support and encouragement from various sources so that the female shadow puppets are no longer alone.

Thu Trang