Reviving cultural roots among ethnic minority communities

Efforts to preserve and promote the value of folk culture and arts among ethnic minority groups in Dong Nai have been prioritized by all levels, sectors and localities in recent years, yielding positive results.

Members of the Mnong Folk Culture and Arts Club from Bu Gia Map Commune, Dong Nai Province, perform at the 2025 National Residential Area Community Arts Festival. Photo: Tran Thu Hien.

Many effective models and creative approaches have been implemented, helping to revive the cultural roots of ethnic groups, create a strong ripple effect within communities, and enrich the spiritual life of local residents.

Efforts to preserve traditional culture

In Binh Son Hamlet, Long Thanh Commune, a Cham-language class led for many years by Do Ho Sen, the Imam of Binh Son Mosque, has become a model for preserving and promoting Cham cultural values. Located inside the Cham community’s mosque, the class uses a curriculum he compiled and adapted from various sources in Cham-populated areas. Alongside giving language instruction, the class incorporates lessons on customs, traditional attire, cuisine, and musical instruments, helping younger generations better understand their origins and the importance of safeguarding their cultural identity.

Beyond language, localities with sizable ethnic minority communities have also worked actively to preserve and pass down gong culture - the “soul” of communal life. The Gong Club of Binh Trung Hamlet in Phu Trung Commune, Dong Nai Province, has 25 members, including respected elder artisans such as Dieu Phuong, Dieu Ble, Thi Bot, and Dieu Minh, who rehearse regularly and devote time to teaching the younger generation.

According to Duong Bich Van, Head of the Culture - Society Division of Phu Trung Commune, the gong performance tradition of the Stieng people is regarded as a heritage passed down through generations. Since 2021, the commune has opened multiple cultural training classes and organized gong exchanges and performances, helping instill ethnic pride and spread traditional cultural values in modern life.

Similarly, in the Binh Hoa Hamlet of Xuan Phu Commune, the Choro Gong Team has been effectively maintained for many years. In addition to regular rehearsals and performances during festivals and celebrations, team members actively teach gong-playing to Choro students and participate in performances for visiting tourist groups seeking to explore local culture.

Village elder Hung Van Xung (from Binh Hoa Hamlet, Xuan Phu Commune) shared: “The sound of the gongs is not only the music of festivals but the very soul of the Choro people. Whenever those sounds echo, it feels as though we are returning to our roots. That is why we always remind our children to cherish, preserve, and carry on this tradition so that the Choro gong culture will never fade”.

Promoting the effectiveness of art club models

The model of Then singing and Tinh gourd lute playing clubs among the Tay and Nung communities in various communes and wards has become a highlight in efforts to preserve ethnic minority folk arts in Dong Nai. Notably, Dong Tam Commune effectively maintains three Then singing and Tinh gourd lute playing clubs with the participation of more than 40 distinguished artisans; Thanh Son Commune has sustained its Then singing and Tinh gourd lute playing team in Hamlet 8 for more than a decade; and Ta Lai Commune has expanded the model within the Tay community, holding regular activities, rehearsals, and performances at local events while integrating the practice into tourism development.

Hoang Thi Huyen, Head of the Then singing and Tinh gourd lute playing team in Hamlet 8, Thanh Son Commune, said: “For many years, the Then singing and Tinh gourd lute playing have not been confined to the Tay and Nung communities but have also attracted participation from the Kinh, Muong, and others. What is especially encouraging is that young people are enthusiastic and eager to learn. As a result, the number of members in our Then singing and Tinh gourd lute playing team has continued to grow, and its activities have become increasingly effective”.

Beyond then singing and Tinh gourd lute performances, many other traditional art clubs and groups, such as Choro, Ma, and Stieng folk dance; sli and luon singing of the Nung people; and tam pot singing of the Ma people, are also thriving in communes such as Ta Lai, Song Ray, Bu Gia Map, and Bom Bo. These clubs serve not only as cultural gathering spaces but also as core performers in local cultural, sports, and community arts festivals, helping to promote the cultural identity of Dong Nai’s ethnic minority groups to audiences within and beyond the province.

According to Do Thi Thuy, Vice Chairwoman of the Phu Nghia Commune People’s Committee, the locality is maintaining and expanding numerous folk arts clubs that attract wide community participation. Notable among them are the gong clubs in the hamlets of Thac Dai, Dak Son 2, Dak Khau, and Phu Nghia. The commune also places special emphasis on the “school–heritage linkage” model, which helps students explore and gain a deeper appreciation of their cultural traditions.

Ton Thi Thanh Tinh, Director of the Dong Nai Center for Culture and Cinema, said that in recent years, the unit has placed special emphasis on producing artistic programs that highlight ethnic cultural identities, particularly performances that recreate gong spaces and folk singing traditions of ethnic minority communities. Many of these programs have participated in regional and national festivals and competitions, earning high rankings. These events not only provide opportunities for cultural exchange and the sharing of experiences but also serve as an occasion to showcase the cultural beauty of Dong Nai to visitors, contributing to the province’s cultural promotion and tourism development.

By My Ny - Translated by Quynh Nhu, Thu Ha