Introduction: The position of Quan Lang singing in Tay culture
The Tay are the largest ethnic minority group in Vietnam, living mainly in northern mountainous provinces such as Lang Son, Cao Bang, Ha Giang, and Tuyen Quang. Over thousands of years of history, the Tay community has created an extremely rich treasure trove of tangible and intangible cultural heritage, in which music plays a prominent role. Alongside famous melodies such as Then singing, Luon singing, Sli singing, and Ru singing, the Tay also possess a unique form of performance tied to the most important life cycle ritual: Quan Lang singing (also called Quan Lang or Pu Quan lang).
Unlike Then singing, which has a spiritual, mediumistic character, Quan Lang singing is performed in traditional weddings. In the conception of the Tay people of Xu Lang, there is a saying: "Without Quan Lang singing, it is not a Tay wedding." This saying shows its central role, almost a necessary and sufficient condition for a wedding to be recognized as complete and meaningful. Quan Lang singing is not just an entertainment activity but a mandatory ritual, a formal and most noble means of communication between the two families.
Origin and nature of Quan Lang singing
Definition and names
Quan Lang singing (in the Tay language often called Pu Quan lang) is a system of folk poems and songs performed according to a certain procedural and ritual order in weddings. Those who perform this ritual are called Pu Quan Lang, which can be understood as "village officials," representing the prestige and wisdom of the whole family. They are not only good singers but must also deeply understand customs, have the ability to improvise poetry, and handle all situations flexibly during the performance.
According to Dr. Hoang Van Pao, Chairman of the Cultural Heritage Association of Lang Son Province, Quan Lang singing also has other names such as tho lau or wedding singing. It is important to emphasize that Quan Lang singing is not for public performance but to express the connection between people, between one family and another, and with the spiritual world of ancestors and deities. Because of this sacred meaning, any traditional Tay wedding must have Quan Lang singing, whether more or less.
Artistic characteristics
The special feature of Quan Lang singing is that it does not use any accompanying musical instruments or props. All artistic value lies in the simple, subtle lyrics and the responsive ability of the singers. Quan Lang songs can extend to hundreds of songs and thousands of lines, organized into specific parts according to each stage of the ritual. The content of the songs is often highly educational, teaching refined and elegant behavior, guiding people towards the values of truth, goodness, and beauty.
Three main stages of the Quan Lang singing ritual
The Quan Lang singing ritual in a traditional wedding is divided into three main stages, corresponding to the three phases of the marriage process. Each stage has its own songs and rituals, forming a complete whole.
Stage 1: Don (The groom's family comes to ask for the bride)
This is the opening stage, when the groom's delegation, led by Pu Quan Lang, arrives at the bride's house to carry out the procedures for asking for the bride. The groom's delegation usually consists of older men of prestige and with harmonious families. They bring betel and areca nuts and other necessary gifts according to custom.
The most distinctive feature of this stage is the ritual of overcoming challenges set by the bride's family. When the groom's delegation reaches the gate, they meet two children holding a string across the path. This string symbolizes a challenge, requiring the groom's Quan Lang to improvise poetry to show goodwill and sincerity. The string-chanting song (also called Hat khen len) often has clever metaphorical content, such as: "In the fifth and sixth months, we string lines to keep the fields straight, to bundle firewood in the cinnamon garden / It is not to block guests passing by here." Only when the song is accepted by the bride's family is the string lowered for the groom's delegation to enter.
After passing the gate, the Pu Quan Lang continue to sing to overcome further obstacles and challenges on the way into the house: singing when climbing the stairs, singing to be allowed into the house, singing for someone to spread the mat, singing to ask for water and betel. Every action in the ritual requires a corresponding song, creating a continuous and highly artistic performance sequence.
Stage 2: Nop (The bride's family hands over the bride)
After completing the procedures for asking for the bride, it is the bride's family's turn to play their role. In this stage, the representative of the bride's family is the Pa me (leading the bride-escorting delegation), who can be an older man or woman, also eloquent and knowledgeable about customs.
The songs in this stage include: singing to present to the ancestors (xieng tro) to ask permission from the bride's ancestors, singing to invite to eat (nai bom), singing to bow to ancestors (lay tang), and most importantly, singing to hand over the son-in-law and daughter-in-law (nop khoi, lua). The bride's family will sing in response in these sections to create a joyful atmosphere, while also expressing advice and entrusting their daughter to the groom's family. The content of the songs often teaches children to live properly as good daughters-in-law and sons-in-law, behaving appropriately in new family relationships.
Stage 3: Dua (The groom's family escorts the bride home)
This is the final stage, when the groom's family officially receives the bride and brings her home. Before parting, the Pu Quan Lang of the bride's family sing the Slang lua song (advising the bride), giving final advice to the bride on how to behave with her husband, his relatives, and the new community. This is one of the most touching parts of the ritual, showing the deep affection between parents and children.
Then, the bride-escorting delegation from the bride's family accompanies the bride to the groom's house. Upon arrival at the groom's house, further rituals take place with the participation of both sides, continuing to use Quan Lang singing as a formal communication means to complete the final procedures.
Role and standards of Pu Quan Lang
Strict selection criteria
Pu Quan Lang holds a particularly important role, considered the highest representative of the groom's or bride's family. They act on behalf of parents and relatives in all matters during the wedding. Therefore, the selection of Pu Quan Lang is done with great care by both families. According to custom, the chosen person must be older, virtuous, prestigious in the community, skillful in dealing with others, knowledgeable, and well-versed in the customs and practices of the ethnic group. Especially, they must have a wife and children, a happy family, and the talent to improvise poetry.
On the groom's side, Pu Quan Lang are mainly older men who are good communicators and singers. On the bride's side, the Pa me can be male or female but must also meet similar standards. This careful selection stems from the belief that the songs of Pu Quan Lang are not just ordinary words but carry spiritual meaning, connecting with the ancestors of both sides and blessing the happiness of the young couple.
Role governing the entire wedding
According to researchers, Quan Lang singing always holds an important position and governs the entire process of a wedding. There is always a close, binding relationship between the wedding and Quan Lang singing: where there is a wedding, there is Quan Lang singing, and vice versa. The Quan Lang singers are not merely singers but also coordinators, leading all rituals from beginning to end. They must know when to sing what song and how to behave in each specific situation to ensure the wedding goes smoothly, according to etiquette, and brings joy to both families.
Deep cultural and humanistic values
Moral and behavioral lessons
Quan Lang singing is a "treasure of knowledge" about the behavioral culture of the Tay people. Through the songs, ancestors conveyed moral viewpoints and good rules of conduct in family and community relationships. The songs teach children to live properly as good daughters-in-law and sons-in-law, to respect elders and yield to younger ones, and to maintain harmony in the family. At the same time, the songs also bless the couple with happiness, prosperity, and many children and grandchildren.
Spiritual connection
Not only carrying educational value, Quan Lang singing also expresses the relationship between humans and the spiritual world. Rituals such as singing to present to ancestors and singing to bow to ancestors show the connection with the ancestors of both families, asking permission and seeking blessings for the young couple. This reflects the polytheistic beliefs and ancestor worship tradition characteristic of the Tay people.
Artistic value
Artistically, Quan Lang singing is a unique form of folk performance, combining poetry, music, and improvisation. The ability of Pu Quan Lang to improvise poetry requires intelligence, quick wit, and a deep cultural background. The songs are both solemnly ritualistic and entertaining, creating a joyful and exciting atmosphere for the wedding day.
Heritage preservation and promotion efforts
Risk of loss and restoration efforts
In the past, Quan Lang singing was practiced regularly and consistently in all Tay weddings. However, due to cultural exchange and modern lifestyles, this cultural feature is at risk of fading. Many localities, such as Binh Gia district (Lang Son Province), have focused on restoring this community cultural activity by collecting ancient Quan Lang melodies, organizing teaching classes by artisans, and holding exchange programs and art festivals. Restoration not only aims to preserve heritage but also creates an important highlight for community tourism development in Tay villages.
Recognition as a National Intangible Cultural Heritage
An important milestone in preservation is that the Quan Lang singing ritual of the Tay ethnic group was recognized as a National Intangible Cultural Heritage by the Ministry of Culture, Sports, and Tourism in 2023. This recognition is not only a source of pride for the Tay community but also an important legal basis for government levels and people to continue taking more practical actions to preserve and promote the heritage's value in contemporary life.
Conclusion
The traditional Tay wedding with the Quan Lang singing ritual is an extremely precious cultural heritage, reflecting the intellectual depth, artistic behavior, and rich spiritual life of this ethnic community. Quan Lang singing is not only a form of folk music but also a "thread" connecting two families and two lineages, a means of transmitting good moral values from generation to generation. Preserving and promoting the value of this ritual in the modern context is not only the responsibility of the Tay community alone but also the common task of the whole society in preserving the diversity and identity of Vietnamese ethnic culture.
