Located in the land of Tho Xuan with rich historical traditions, the origin of the famous Lam Son uprising, Xuan Pha play in Xuan Pha village, Xuan Truong commune, Tho Xuan district, Thanh Hoa province has become an indispensable part of the national cultural flow. According to researchers, this play appeared during the Dinh dynasty (968 - 980) and flourished under the early Le dynasty. Xuan Pha play stands out with 5 folk dances symbolizing the "Five neighboring countries paying tribute": Hoa Lang (Kingdom of Goryeo), Tu Huan (Luc Hon Nhung), Ai Lao (Thai - Lao people), Ngo Quoc (an ancient country in China) and Chiem Thanh (Champa people). Each dance not only displays artistic techniques and aesthetics but also conveys cultural and historical stories through costumes and performing movements.
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Every year, from the 10th to the 12th of the second lunar month, Xuan Pha play is recreated at the Xuan Pha Temple relic, becoming a unique festival of Tho Xuan land. The artisans in the village take turns performing the plays, from the mysterious and splendid beauty of the Champa play, the witty beauty of the Tu Huan play to the softness and strength of the Ai Lao play. Considered the pinnacle of the fusion between royal dance and folk performing arts, Xuan Pha play vividly depicts the aesthetics and creative spirit of the Vietnamese people. Over thousands of years, this heritage has retained its appeal and continues to be a unique cultural symbol of the nation. Xuan Pha play is imbued with the mark of performing arts combining the royal court and Vietnamese folk. The unique dances are both sophisticated and mysterious, exuding a mysterious and brilliant look, deeply reflecting the aesthetic concept of the nation, while expressing the simple and creative soul of the farmers.
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Artisans from Doai village, Xuan Truong commune (Tho Xuan - Thanh Hoa) recreated the Champa dance with vivid and unique images. The lord's costume was made from red-dyed silk, the army's shirt was made from beans, all meticulously designed. The lord and his army wore red square scarves, wore shirts with a pông collar, and a Siem collar wrapped around their bodies, creating a majestic and splendid look.
During the dance, the lord solemnly recites the funeral oration, two statues respectfully offer incense, joining the dance rhythm of the troops wearing strangely shaped wooden masks. The dance movements are reminiscent of the postures of ancient statues, a characteristic of Champa culture.
The artisans of Thuong village, Xuan Truong commune (Tho Xuan - Thanh Hoa) brought a lively performance through the Hoa Lang dance. The performance featured characters such as grandfather, grandson, grandmother and ten soldiers, each dressed in typical costumes.
The costumes of the characters performing the Hoa Lang play include long dresses, high cowhide hats, fans in the left hand and oars in the right hand. In particular, the characters wear cowhide masks painted white, with eyes decorated with peacock feathers. The lord's hat is intricately carved with a dragon, while the soldiers' hats have moon motifs, creating a majestic and traditional cultural look.
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| Artists perform the Hoa Lang play. |
According to the artisans in Xuan Truong commune, in the 5 Xuan Pha plays, each play has its own distinctive color costume. In the Hoa Lang play, the artisans wear navy blue shirts. In the Chiem Thanh play, the costumes are mainly red. Meanwhile, the Luc Hon play is performed in indigo blue shirts. The Ngo Quoc play has azure blue costumes, and the Ai Lao play is special with long pants, white blouses, indigo blue leggings, and a Lao brocade woven with Lao patterns draped from the right shoulder to the left hip, creating a unique beauty for each play.
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| Laotian game. |
The Ai Lao dance is performed by artisans from Yen village, Xuan Truong commune (Tho Xuan - Thanh Hoa) in a lively and attractive way. The performance includes ten soldiers along with elephants and tigers, all in harmony with the bustling sound of bamboo flutes being continuously beaten. The dance movements not only symbolize the power of hunting but also demonstrate the artistic grace and softness.
In the dance, the lord wears a dragonfly-winged hat and a cloak, exuding majesty. The soldiers wear hats made from banyan roots, wrapped around their shoulders, wear leggings and hold bamboo sticks. They line up in two rows, performing movements simulating hunting and gathering scenes, vividly recreating the unique and rich culture of this land.
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| Wu Kingdom's Dance. |
The artisans of Dong village, Xuan Truong commune (Tho Xuan - Thanh Hoa) recreated the Ngo Quoc dance with great appeal and artistic value. The performance includes the characters of two fairies, a princess and ten soldiers, all wearing soldier hats, blue shirts, and holding oars. The opening part is led by supporting characters such as the medicine seller, the candy seller and the geomancer, each performing a lively impromptu dance. After that, the stage is given over to the fairies, the princess and the soldiers, creating a solemn and colorful atmosphere.
The Ngo Quoc performance ends with a boat dance and lyrical and lingering lyrics:
The wind blows the sails out to sea/ He returns to the North, I return to An Nam/ Wherever it rains, lightning strikes/ Rain passes over Lang Thanh, thousands of blue clouds flash.  |
| Artisans from Trung village, Xuan Truong commune (Tho Xuan - Thanh Hoa) perform the Tu Huan dance (Luc Hon Nhung) with liveliness and uniqueness. |
The play Tu Huan depicts the image of the great-grandmother, mother and ten children with 5 pairs, from young to old with 1, 2... 5 teeth. The upside-down woven bamboo hat has bamboo strips to make the hair white, worn on a red square cloth covering the head. Hearing the drum beat, the old great-grandfather, the servant beside him holding a fan, circled around the temple yard twice, bowing and greeting. The mother beat the cymbal and danced to the rhythm of three near the altar, kneeling and bowing.
Following the drum beat, the 10 children performing the Tu Huan play split into pairs, moving back and forth following their mother’s dance. The mother beats the cymbal, dances to the beat of three near the altar, and kneels down to worship according to the ritual. The harmonious coordination and profound content of the play create an emotional performance, recalling the unique beauty of the nation’s folk culture.
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| Artists perform Xuan Pha play. |
The artistic imprint shines brightly through each Xuan Pha dance. Xuan Pha dance is not only a form of performance but also an artistic masterpiece, where the solemnity of royal dance and the simplicity and freedom of folk dance converge. This is the crystallization of creative talent, national pride and historical depth, bringing a unique appeal, surpassing the limits of space and time.
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Each dance in Xuan Pha is like a vivid picture, recreating the diverse diplomatic and cultural scene between Dai Co Viet and neighboring countries. Not only are they simple artistic movements, the dances also convey stories of solidarity, harmony and cultural exchange, demonstrating the intelligence and talent of the Vietnamese people. With lively music, elaborate costumes and graceful dance movements, Xuan Pha paints a world that is both solemn and mysterious, yet lively and brilliant. Each dance, each sound carries profound layers of meaning, evoking pride and love for the homeland. Therefore, Xuan Pha is not only a precious intangible cultural heritage of Vietnam but also a symbol of the longevity of folk art, a treasure worthy of being preserved and honored on the world cultural map./. Source: https://dangcongsan.vn/multimedia/mega-story/tich-tro-xuan-pha-toa-sang-di-san-van-hoa-xu-thanh-687432.html
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