MINISTRY OF EDUCATION AND TRAINING
THAI NGUYEN UNIVERSITY
NGUYEN KIEN THO
HMONG POETRY
FROM TRADITION TO MODERN
THE SUMMARY OF LITERARY DISSERTATION
THAI NGUYEN, 2012
WORK DONE IN:
Thai Nguyen University
Thai Nguyen University of Education
Instructor: Assoc. Pro. – Dr. Tran Thi Viet Trung
Objection 1: .............................................................................................................................................
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Objection 2: .............................................................................................................................................
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This thesis will be defended in front of the council in:
Thai Nguyen University of Education – Thai Nguyen University
…/…/ 2012
The thesis can be found in the library of
Thai Nguyen University of Education - Thai Nguyen University
INTRODUCTION
1. The urgency of the dissertation
1.1. In the panorama of literature of Vietnamese ethnic
minorities, though it only occupies a modest position, we still have to
admit that ethnic Hmong (Hmongz) possesses a rich and unique
poetic treasure, which is the spiritual product of a people nurtured
and developed in a traditional and characteristic culture. To study
Vietnamese poetry, in general, and minority ethnics, in particular,
studying Hmong’s poetry - an integral part of the ethnic poetry – is
really necessary because of its contribution to the richness and
diversity of the poetry of Vietnamese peoples.
1.2. Until now, researches on Hmong have mainly been done
from the perspective of culturology, ethnography, with the exception
of a few collections and introductions which are completed by
scientists, folklore researchers and collectors. Studying about Hmong
poetry in a systematic way in order to reconstruct the appearance,
figuring out the features (in terms of content and art) with its own
characteristics; affirming the contributions-though modest-of Hmong
poetry to the poetry of Vietnamese ethnics as well as Vietnamese
poetry, is an essential and significant contribution to preserve and
promote the beauty of ethnical cultural character in poetry of a
country with plenty of ethnic minorities like Vietnam.
1.3.Studying
Hmong
poetry
systematically
and
comprehensively is a remarkable contribution for the work of
teaching, learning and researching Vietnamese minority ethnics
poetry at schools, universities and colleges; especially for Thai
Nguyen University, where teachers, scientists, researchers are trained
and they are the children of peoples in the area, including the
1
Hmong. This encourages self-esteem, national pride of each person
so that they are aware of preserving and retaining traditional cultural
values while our country is on the path of strongly and profoundly
international integration.
From those reasons, I have chosen Hmong poetry-from
tradition to modern to be the research subject for my dissertation.
2. History
2.1. From the issue of studying Hmong traditional poetry
The specialized collecting, researching on Hmong literature up
to date has achieved some certain results. Doan Thanh can be
considered the first to collect and compile Hmong folk. In 1967, the
Van hoc publisher released Meo Folk (Lao Cai) written by Doan
Thanh. The book contained the most typical and popular folk songs
of Meo which were arranged systematically according to four main
themes: Orphaned singing (gau tu giua), Daughter-in-law singing
(gau ua nheng), Love singing (gau plenh), Praying for soul singing
(gau tuo). In 1984, the book was reprinted with the name Hmong
Folk (Meo was renamed Hmong by the government). This book was
selected and revised by Hoang Thao. In addition to the main Doan
Thanh’s translation part, the compiler added two articles, including
Orphaned singing collected in Meo Vac (Ha Tuyen) by Le Trung Vu
and Daughter-in-law singing (North West) collected and extracted
by Mac Phi and Bui Lac. Specially, in that book, poet Che Lan Vien
fore worded with a profound respect for all folk-soul and singing of
Hmong. From 1995 to 2003, the poet and folklore collector Hung
Dinh Qui collected and translated three episodes of “The Folk of
Hmong in Ha Giang”. In 2004, Lao Cai Association of Literature and
Art, together with Publishing House of Culture and Ethnicity
2
released the book Mourning songs – Kruoz ce of the Mong Lenh in
Sapa by author Giang Seo Ga. This is not only a meticulously and
carefully collected work, but also a remarkable work about mourning
songs of Hmong, because in addition to the full record of 31
mourning songs (Kruoz ce) , the author did survey and compare the
contents of funeral songs which are popular in various Hmong in
Sapa, such as Hmong Lenh, White Hmong, Black Hmong.
Furthermore, he had initial observations, interpretation of some
differences in the text of the mourning songs used in the each Hmong
sector.
According to our initial survey, up to now, researching and
approaching to Hmong in the perspective of culturology,
ethnography, linguistics, etc. has been of interest and reached many
significant achievements. The typical works under this direction are
the articles of researchers such as Tran Quoc Vuong, Dang Nghiem
Van, Le Trung Vu, Cu Hoa Van, Tran Huu Son, Do Duc Loi, Tran
Tri Doi, Vu Anh Tuan, Nguyen Thi Bich Ha, Nguyen Thi Ngan Hoa,
etc. Overall, to some extent, it can be seen that the Hmong folk was
considered and studied quite specifically and completely. Here are
some typical works, articles: Eternal Daughter-in-law singing, Love
singing, Anger singing of Meo women by To Hoai (Journal of
Literature, No.2, 1965), Soul and Voice of Hmong by Che Lan Vien
(Introduction to Hmong Folk, Literature Publishing House, 1984).
Some theses for M.A on Hmong traditional poetry were successfully
defended at the University of Education, HaNoi National University
such as: The art of character-building in Hmong narrative poems
on the subject of love by Nguyen Thi Thu Yen, Hmong Folklore
Poetry by Hung Thi Ha (2003), Expressing love folk and Gau Tao
3
festival of Hmong by Nguyen Van Tiep (2003), Survey of praying
ritual of Hmong by Hoang Thi Thuy (2004), Decoding the linen
icon in Hmong folk by Dang Thi Oanh (2006), etc.
The above researches are important hints and directions for the
thesis author in approaching and researching Hmong literature,
especially Hmong poetry from tradition to modern.
2.2. To the issue of studying Hmong modern poetry
If the collection and study about Hmong traditional poetry has
reached a number of significant achievements, the study of Hmong
modern poetry is still very modest, small and scattered. In this
aspect, Minh Khuong (1920-2001) can be considered one of the first
who brought Hmong modern poetry to nationwide readers. In 1977,
his Sun – Flowers – Clouds (Luz hnuz pangx huoz) was published
by Hoang Lien Son Cultural Office. It introduced 26 poems written
by 18 poets and poetesses, including 17 poems of 11 Hmong author
(translated into Vietnamese by Minh Khuong). These are
compositions reflecting sincere thankfulness to the Vietnam
Communist Party and the leader. It praised the courage and
overcome the hardships in the resistance period against America to
protect the country and socialism. It praised the achievements in
victory, production and in the pleasant cultural socialist life that
people had achieved. Since the 90s of the twentieth century onwards,
the study of the literature of ethnic minorities, in general, is
increasingly concerned and carried out on a wide range, with a large
scale. However, perhaps due to the smallness of Hmong modern
poetry and there has not been any author with prominent names like
in some other people's poetry (Tay, Thai, Muong, Cham. etc.), there
is almost no research, criticism dedicated to the Hmong authors as
4
well as Hmong poetry. According to my survey, at present, there is
no scientific research works about Hmong literature Hmong, in
general, and Hmong poetry, in particular, as a specific object of
study (except for an MA thesis with the theme: Some characteristics
of Hmong poetry in modern era (since August 1945 Revolution) by
the author of this thesis (Nguyen Kien Tho), which was successfully
defended in 2008).
Through a survey about historical researches of Hmong poetry
from tradition to modern, there are some initial remarks as follows:
Firstly, the situation of researches about Hmong poetry: So
far, we have found that most researchers and collectors just focused
on Hmong traditional poetry, especially Hmong folk songs, whereas
Hmong modern poetry is not really interested (except for several
articles written by the author of this thesis).
Secondly, the most primary and successful approach, to date,
remains the cultural perspective approaches (namely decoding
cultural icons in the cultural and art life of Hmong).
Thirdly, the study of Hmong poetry, according to our survey,
has just reached at the study of the characteristics of folk poetry or
modern poetry, separately. Yet, there has been no work about
Hmong poetry from tradition to modern in a sizable and systematical
scale, in order to point out the outstanding features of Hmong, and
the formation and development, continued evolution of Hmong
poetry throughout history as well. It is traditional and modern
features and characteristics of Hmong are presented vividly through
poetry.
The study of poetry of Hmong comprehensively and
systematically, set in the motion of Hmong poetry from tradition to
5
modern, has not been carried out. That has created a void in the view,
review and assessment about the achievements and limitations of
Hmong poetry among poetry of ethnic minorities, as well as
Vietnamese poetry. We believe that the implementation of the thesis
Hmong poetry-from tradition to modern is an attempt to fill (or
shrinking) this gap. In a thought, this is a necessary, useful for the
study of literature, especially the literature of the Vietnamese ethnic
minorities in the present period.
3. The object and scope of the study
This dissertation focuses on Hmong poetry from tradition to
modern through the following texts:
* Folklore:
- Meo Folk (Lao Cai), Doan Thanh, Van hoc Publishing
House, Hanoi, 1967
- Hmong Folk, Doan Thanh, Hoang Thao, Van hoc
Publishing House, Hanoi, 1984.
- Ha Giang Hmong Folk, Episode 1 - 3, Hung Dinh Qui, Ha
Giang Department of Culture and Information (2000, 2001, 2003)
* Modern Poetry: The poems of Hung Dinh Qui, Ma A Lenh,
Mua A Sau, Ho A Di, etc. and poems of Hmong authors which were
published in newspapers or included in the collection of poems.
4. Research Methodology
To implement the project, we will use some basic research
methods as follows:
- Statistical, classification method
- Analysis, synthesis method
- Comparing and matching method
- Type-researching method
6
-
Interdisciplinary
research
methods
(culturology,
ethnography, etc.)
5. Scientific contributions of the thesis
5.1. The thesis is a research about Hmong poetry from
tradition to modern by surveying Hmong poetry generally and totally
in order to find out and evaluate the natural characteristics of Hmong
poetry, from folklore (traditional) poetry to modern poetry.
5.2. By studying content and art of Hmong poetry, the thesis
highlights its movement and development process, the succession
and change from tradition to modern.
5.3. By assessing the situation and giving some opinions and
recommendations, the thesis will contribute to the conservation,
preservation and enhancement of the cultural character of Hmong as
a component which creates the unity, richness and diversity in the
culture of Vietnamese peoples, especially when our country is on the
path of deepening international integration.
6. The structure of the thesis
In addition to the Introduction, Conclusion, References and
Appendices, the main content of the thesis is deployed into three
chapters:
Chapter 1: An overview of Hmong ethnic
Chapter 2: The movement of the Hmong poetry in reflecting
content aspect
Chapter 3: The movement of the Hmong poetry in the art
structural aspect
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CONTENT
Chapter 1
AN OVERVIEW OF HMONG ETHNIC
1.1. The history of the ethnic - the blooded and tearful migratory
Ethnic Hmong (also called Na Meo, Meo, Meo, Mieu Ha or
Mau Trang) is a nation with a relatively large population (over 9
million), residing in many different countries all over the world. In
China, the Hmong is called Mieu, while in Laos it is called the Meo.
In addition, in almost every other country in the world, they are
known as the Hmong. In our country, before 1979, they were known
as the Meo.
So far, most of the researchers have endorsed the view that the
Hmong have existed in the Yellow River basin since more than 3000
years ago. This was confirmed at the First International Conference
on Asian Hmong / Miao held in Aixen Provence city, the Republic of
France (September 1998).
According to legend and the historical evidence, the Hmong
used to have an independent country. However, they are a nation
with a strong sense of self-reliance who has never yielded to the
power of the brutal forces. Therefore, they did not stop fighting
against the oppression, domination of the Han, Manchu. All of the
struggles were drowned in a sea of blood. The arrival of the Hmong
to Vietnam was mainly due to their escape from the destruction. The
history of Hmong before coming to Vietnam was full of blooded and
tearful migratory.
1.2. Milpa economy and shifting habits
Milpa economy associating with shifting habits is the most
typical characteristics of the Hmong. It makes every Hmong family
8
to become an independent economic unit. They do everything
necessary to serve their own life. The Hmong is famous for
handicrafts like: knitting, weaving linen, wax pattern printing,
casting, forging, etc. Their handmade products are both highly
technical and unique. Moreover, they are very special because they
express the human civilization and cultural richness of the Hmong.
The Hmong economy absolutely lacks the sense of
community, let alone being the basis for cohesion and unity. That is a
huge obstacle to the economic development of this nation in the
context that both domestic and international economies are in the
increasingly powerful and profound integration.
1.3. Cultural life – “The soul and singing of Hmong”
1.3.1. Housing – the uniqueness in the Hmong architecture
The Hmong usually live in the tiled houses with earthen walls,
or wooden houses with thatched roof and wattle walls. General
structure of a traditional Hmong house consists of 3 spaces: the
middle compartment with a front door to look ahead (this is known
as the living room), behind the middle compartment is the holy
place; there are bedrooms and kitchen in the next compartment. In
the gable, there is a side door, but it is the doorway. Everyday,
family members use this door.
Hmong houses are not only suitable with specific conditions of
their life, but also express their particular conception of community
beliefs.
1.3.2. Apparel – the aesthetic characteristics of the Hmong
Apparel presents in the daily life of the Hmong. Apparel is not
only material wealth, but it also passes the value of ordinary matter
to express profound socio-cultural values of the Hmong from the
9
past. In the social turbulence of the present life, economic conditions
and cultural exchanges have led to the gradual loss in the traditional
costumes of Hmong, especially costumes of Hmong men. Therefore,
the encouragement, motivation and favorable conditions making for
the Hmong to retain and use their traditional costumes are a preserve
of traditional values and ethnical character. Along with other tangible
and intangible cultural values, Hmong costumes contribute to the
rich cultural diversity of the peoples of Vietnam.
1.3.3. Customs and habits – the basis of community coherence
Hmong is divided into five sectors: White Hmong (Hmong
Dou), Flower Hmong (Hmong lenh), Red Hmong (Hmong si), Black
Hmong (Hmong du) and Green Hmong (Hmong sua). This kind of
classification mainly bases on the uniforms of the women and the
more or less difference in tone or dialect.
Customs and habits of the Hmong is rich and characteristic,
including wedding ceremonies, funerals and other community
activities, partly formed due to the harsh living conditions and
reserved since the past. All customs and habits are expressed clearly,
uniquely and vividly in both folklore and written literature.
1.3.4. Spiritual life-the dwelling of religious beliefs
The Hmong believe in “animism”. All things and phenomena
have their souls. The Guardian system in the concept of the Hmong
is rich and diverse.
Spiritual life has contributed to the formation of psychological
characteristics, personality and stuff of Hmong people.
1.3.5. The voice, writing system and poetic tradition
Hmong language is the language of about 80.000 Hmong
people in our country. Hmong language belongs to the South Asian,
10
Meo – Dao language family. The Hmong has five sectors and five
respective dialects. Basically, the Hmong language is a unified
language. Currently, the scripts of the Hmong in the world have
rearranged to be the same. Also, the Hmong in the world agreed to
use a unified voice, it is the Hmong Do (White Hmong) because the
Hmong in countries with developing culture such as Thailand, the
United States, France, Australia, Laos, etc. are White Hmong. The
Hmong has a rich treasure of poetry which was formed and has
constantly developed throughout the history. Hmong poetry is the
reflection of the real life and spirit of Hmong ethnic from the past to
the present with features and characters.
Sub-conclusion
Living in the mountains with extremely harsh circumstances
and conditions has produced a Hmong people with economic life,
customs, social life, spiritual life full of styles and characters.
Besides, that is the source of poetic inspiration, contributing to a
consistent poetic tone from folk poetry to modern poetry of the
Hmong.
Chapter 2
THE MOVEMENT OF HMONG POETRY IN
REFLECTING CONTENT ASPECT
2.1. Theory of some of the basic concepts
2.1.1. The concept of “tho ca” (poetry) in “Hmong traditional poetry”
“Tho ca” (poetry) is a combined concept using both Chinese
and Vietnamese elements. “Tho” is translated into Vietnamese from
“thi”, which means “a literary type with clear rime”; “ca” in Pinyin
means “singing”. “Tho ca” (poetry) is made from the definition of
those concepts. In Hmong traditional literature, there was only folk-
11
song but there was no folk-verse, because all rhyme things were for
singing. Therefore, actually, we were just able to study the lyrics of
these songs.
Hmong poetry in modern era (since 1945), except for some
formally innovated written poems in the last years of the twentieth
century, almost all Hmong poems are able to be sung. In fact, many
poems written by Hmong authors became common to the people in
the form of songs. Consequently, to some extent, Hmong poetry in
modern era can be considered associating with singing as well.
2.1.2. The concept of “truyen thong” (tradition) and “hien dai”
(modern) in “from tradition to modern”
“Truyen thong” (tradition) and “hien dai” (modern) are from
Pinyin. In Etymological interpretation dictionary (1998) of Vu Ngoc
Khanh and Nguyen Thi Hue, they explained that “truyen thong”
(tradition) means “habits or customs from generation to generation”.
According to professor Nguyen Lan in Sino-Vietnamese words and
meanings dictionary, “truyen thong” (tradition) means “things passed
down from generation to generation”.
Studying of traditional and modern qualities (i.e. the
movement Hmong poetry from tradition to modern) in Hmong
poetry is the process of determining the qualities, virtues of Hmong
poetry in its motion, change, inheritance and development, which
also means determining the value of Hmong poetry in asymptotic
and integrated journey into the flow of Vietnamese modern poetry.
2.2. Hmong poetry and the process of expanding the topic
associating with the change and development in community life
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2.2.1. Harsh and majestic nature – the cradle of the Hmong soul
and personality
The process of moving and developing of Hmong poetry from
tradition to modern associated with the expansion of natural theme.
From the consideration of nature scenery, the background of moods
and activities, poets are used to regarding nature as aesthetic objects,
along with the expansion of space and point of view. Hmong typical
nature made a contribution to the formation of Hmong soul and
personality.
2.2.2. Love and life – the strong and vehement soul melodies
Hmong poetry portrays people and their life in two ways: the
material life (daily activities) and the spiritual life (the emotional
levels). Then, the panorama of Hmong people and life was revealed
lively and emotionally.
2.3. Hmong poetry and its vessels of inspiration
2.3.1. From pitiable – tragic inspiration
Pitiable – tragic inspiration in Hmong poetry is the screening
of harsh and bitter tragedies of Hmong ethnic in the history. They are
the tragedies of national destiny, community fate and the fate of
individual with their all implications.
2.3.2. To lyrical – praiseful inspiration
The lyrical – praiseful inspiration not only appears in Hmong
poetry in modern times, but also was expressed in Hmong traditional
poetry clearly. However, only after the August Revolution, when
Hmong had get rid of these dark corners of life to build a new life, a
new future for their people, did the lyrical – praiseful inspiration
truly emerge. They are songs about new life brought to by the
Revolution, the Party and Uncle Ho.
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2.3.3. Contemplative – reflective inspiration with Hmong way of
thinking and expressing
The Hmong is an ethnic which is keen on philosophy. The
philosophy of life can be easily found in Hmong folk. The heuristics,
philosophy has become a trait of the Hmong, it is the basis of
creating a complex contemplative – reflective inspired rhythm in
Hmong poetry in modern times.
2.4. The movement and development of Hmong poetry
associating with the perception of the world and human beings
The Hmong have their own notions about nature and the
universe, based on their polytheistic belief, and a simple and
innocent concept. Those notions have been ingrained into their minds
and they dominated many rituals, customs in their spiritual life.
Sub-conclusion
With an unobstructive literature, in general, and poetry, in
particular, moving straightly from tradition to modern, Hmong
poetry contains many special characteristics from the perspective of
reflecting content: The process of expanding topics, themes
associating with the change and development in community life; the
process of transformation of artistic inspired polyphonic; the
movement, development of cognitive capacity, along with the
perception of the world and people. Material and spiritual lives,
cultural characters, Hmong soul have been manifested in a real, vivid
and profound way.
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Chapter3
THE MOVEMENT OF THE HMONG POETRY IN
THE ARTISTIC STRUCTURAL ASPEC
3.1. The movement in terms of the style structures
3.1.1. From style structures of Hmong traditional poetry
Hmong traditional poetry is an excellent way of direct
expression, stating the need to communicate and share feelings.
Through two basic forms, monologue and dialogue, Hmong
traditional poetry prevails to render in oratorio environment.
With the form of asking and answering, that Hmong traditional
poetry mainly uses retorting, from poetic structure to verse, both
creates a harmonious balance and conveys the emotional, charismatic
and haunting messages engraving on readers’ hearts
3.1.2. To the innovating trend of structure style
In addition to the poetic structural trend influenced by
traditional poetry, Hmong modern poetry also has characteristics of
modern poetic structures. This is proved in the use of poetic styles,
the way to pent words, especially the way to rhyme the verses and
poems.
3.2. The movement in terms of verse structures
3.2.1. Verse structures in Hmong traditional poetry
In the verse structure of Hmong traditional poetry, there was
little variation in the number of words in each clause. Rhythmic
element was ensured by the balance of tones and images. At the
same time, a verse could describe the two actions, two moods of two
lyrical characters. This type of structure occupied a sizable position
in Hmong folk. Also, the way to pause in Hmong verses is very
flexible. Rhythm in Hmong poems does not seem to be decided by
15
the verse, but the stanza. In other words, the structure of the stanza is
the rhythm of a poetic specified number of words in each sentence
and repeated in a certain sequence.
3.2.2. Verse structures in Hmong modern poetry
In the process of mobilization and development, Hmong poetry has
tended to change in terms of verse structures. The poems composed
by modern Hmong poets somewhat pay more attention to the rhythm
of the verse. The verses of 5, 6 – 8, 7 or 8 words with the rhythm
clearly show that Hmong poetry is heading towards the
characteristics of modern poetry. Along with the presence of
structure in each poem, the rhythm has an important role of
conveying artistic ideas of the authors.
3.3. The movement of Hmong poetry associated with the
expansion of the world of images and symbols
3.3.1. A prosperous world of images
The imaginative expansion process of Hmong poetry in
modern times is the process of expanding awareness and point of
view. The imaginative world of Hmong poetry has been expanded so
as
to
express
its
characteristics
and
diversity
as
well.
3.3.2. The world of symbols and its expansion
The development of Hmong poetry from tradition to modern
associated with the expansion of the world of symbols. There, beside
the traditional symbols which still frequently appear in Hmong
modern poetry, are new symbols, such as the characteristics of
Hmong people and their lives in a new historical period. The
expansion of the world of symbols in Hmong poetry demonstrates
the cognitive process about the world, people and society;
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demonstrates the “growth” in the spiritual life of Hmong people. The
world of symbols is the link between Hmong traditional and modern
poetry.
3.4. The movement of the linguistic structures in Hmong poetry
3.4.1. From the influence of traditional poetic language
The acquisition, influence and creative development of
traditional folk poetry circuit created a nuance, a structural unity in
language, in the form of poetry, and the use of cultural and
traditional
literature
treasure
for
Hmong
modern
poetry.
3.4.2. To modern trend and the expression of individual creativity
In Hmong modern poetry, communicating language and daily
speech of the people is put into poetry in a very subtle and natural
way. Modern structures of language contribute to the expression of
author’s creative personality.
Sub-conclusion
From the aspect of artistic structure, Hmong poetry has its own
characteristics. It is the movement from tradition to modern. There,
the values of traditional poetry are remained stable, reserved and
turned to become the characteristic values of modern poetry.
Hmong modern poetry is the poetry of the simplicity and casualty.
Poetic language is rich at images and music. Poetic structure was
influenced by traditional poetic structure of Hmong, while developed
in the artistic structure trend of modern poetry. The way of
expressing is close to the way of thinking and feeling of ethnic
minorities. Moreover, it expresses the Hmong character. Hmong
poets has not stopped creating, self-renewed for the verse, helping
Hmong poetry approach the standard of artistic value in the current
poetry.
17
CONCLUSION
1. Hmong traditional poetry is a unique cultural treasure which
truly and lively reflects the life of Hmong people. It exists as an
indispensable spiritual food in their life. That is the basis and one of
the most decisive factors for the formation and development of
Hmong modern poetry.
2. Hmong poetry is a unique cultural component which
reflects the traditions, way of feeling, thinking and philosophy of life
forged by many generations, and became the common property of
the whole community. The value of Hmong poetry is the real
reflection of feelings, pure dreams of people. They are the feelings of
nature, humans and life, true love, fidelity, familial happiness; the
modes of social behavior; and a wholesome and interesting form of
entertainment. As reading Hmong poems, the readers can get a quite
comprehensive understanding of social and spiritual life, the bond
unity of Hmong community.
3. Hmong poetry is not only rich in its content but also special
in the artistic structure. Especially, there are many special rules that
create unique characters for Hmong traditional poetry and deeply
impact on Hmong modern poetry. The verse structure has its
movement; variation, inheritance and change from traditional
structures, making Hmong verses become more and more modern.
The simple and casual way of using words and images; the unique
and copious world of symbols; the creative acquisition and using
traditional language and poetic images; together with the tendency of
researching, exploring, experiencing, innovating in thinking and
expressing, all of those things have given Hmong poetry both
18
traditional characters and the typical art of modern poetry, helped it
approach and stain into the general flow of current poetry.
4. However, with the exception of honorable achievements
created from the characters, personality, in both terms of content and
art, Hmong poetry still reveals some limitations: It is the small
number of poets; the content fails to reflect in a rich and
comprehensive way; Hmong traditions and spiritual life have not
been conveyed in poetry as poetic and various as they are; the
community activities are not properly interested in. On the other
hand, the artistic way of thinking in Hmong modern poetry is heavily
influenced by traditional poetry; there is no certain style or
personality; there have not have been any valuable works to the
poetry of ethnic minorities, in particular, and Vietnamese poetry, in
general.
5. The movement from tradition to modern poetry of the ethnic
minorities, in general, is a natural process. It lively expressed the
cultural and spiritual life of the ethnic minorities in their way to a
prosperous and happy life; gradually removed bad customs;
promoted the positive elements to enrich the national culture through
inheritance as well as change in the domestic and international
integration. However, we found that those laws and facts have not
blurred the characteristics of Hmong poetry. On the contrary, they
enriched Hmong, retained the traditional characteristics and reflected
a clear imprint of modern poetry. It significantly contributes to the
expression and performance of poetry of ethnic minorities, in
particular, and Vietnamese poetry, in general. On the other hand,
while studying about this thesis, there are a lot of problems needing
to be studied deeply, many promising approaches to Hmong poetry.
19
Of course, it requires more sophisticated and enthusiastic
researchers. I hope that in the coming years, the value of Hmong
poetry will be exploited to find out more and more unique and
characteristic values from the distinctive cultural power source of
this ethnic.
After having pointed out the characteristics and consistency in
Hmong poetry from tradition to modern, as being a researcher who is
interested in and would like to retain and develop the values of
Hmong poetry, with concerns about the future of poetry of this
people, I want to express my opinions and recommendations on the
preservation and promotion of the value of Hmong poetry, in
particular, and the Hmong cultural characters, in general:
First, the trend of globalization and international integration is
going on with an increasingly fast-paced. It dominates and alters the
material and spiritual life of all peoples. The phenomenon of cultural
interference, cultural “invasion”, has become gradually popular in
both depth and width. The problem is that Hmong poets have to stay
in tune with the lives of contemporary poetry and compose valuable
works compared with the poetry of the whole country. Also, they
have to preserve and promote the values of Hmong traditional
characters, this means to be (or to reach) a kind of poetry both
traditional and modern. At first, they must be poetic flowers in the
poetic garden of the Vietnamese people; at the same time; it must be
a kind of strange flowers, unique in both colors and odors. However,
acquiring new trend, new expression in the art of thinking associates
with the loss of traditional cultural values, drives Hmong modern
poetry to be the same as Kinh poetry in the way of thinking and
expression. To overcome this problem, there must be policies and
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measures aimed at training and retraining Hmong authors, especially
the young; seek for Hmong gifted students to foster. Besides, the
National and Local Association of Arts and Literature need to
organize more and more tours for students to learn, exchange their
literary and art experience. Furthermore, they need to open
composition camps for Hmong artists, encouraging them to write
about the lives of Hmong people, publishing and popularizing
Hmong
literary
works
nationwide.
The
preservation
and
development of Hmong language (i.e. increasing Hmong literacy,
Hmong language in remote areas) are the issues involving in the
development of Hmong culture, in general, and Hmong literature and
poetry, in particular.
Second, in recent years, the Party and Government have been
very interested in the material life and cultural life of Hmong people.
However, in my opinion, the most important and essential problem is
to recreate a cultural environment and space for Hmong people to
express their cultural characters, and retain the traditional cultural
values which are gradually eroded. Furthermore, this will help the
Hmong to be fully aware of their nation to be proud of their tradition
and devoted to the tradition.
Third, in the curriculum of universities in mountainous areas,
there need to be a course on the literature of ethnic minorities in
specific regions. This will make conditions for ethnic students to
understand the cultural values of their ethnics (including Hmong).
Together, this help the post - graduate students who work in the
mountainous areas to integrate into the lives of the people and fulfill
duties, attach to ethnic minorities, in general, and Hmong, in
particular.
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THE PUBLISHED SCIENTIFIC WORKS RELATING TO
THE THESIS
1. Nguyen Kien Tho (2008), “The need of being serious in
speaking, writing on Hmong names”, Van nghe Thai Nguyen, No.
24 (271).
2. Nguyen Kien Tho (2008), “The trial to recognize Hmong
modern poetry”, Van hoa cac dan toc, No. 09 (177).
3. Nguyen Kien Tho (2010), “Hmong poetry in the modern
times”, Ban sac dan toc trong tho cac dan toc thieu so Viet Nam hien
dai, The Publisher of Thai Nguyen University, p.297-348.
4. Nguyen Kien Tho (2011), “Hung Dinh Qui - Poetry is the
way back to the national origin”, Van hoa cac dan toc, No. 09, p.3133.
5. Nguyen Kien Tho – Tran Thi Viet Trung (2011), “Hmong
poetry in the modern times – Some outstanding features”, Nghien
cuu giao duc, No.10, p.22-32.
6. Nguyen Kien Tho (2012), “Hmong poetry and the
inspiration source”, Khoa hoc va Cong nghe, Thai Nguyen
University, No. 08, p.199-204.
7. Nguyen Kien Tho (2012), “Some characteristics of Hmong
poetic structures in modern time”, Van hoa Nghe thuat, No. 339
(September), p.87-90.
8. Nguyen Kien Tho (2012), “Visually thinking about poetic
images in Hmong poetry in the modern times”, Dien dan Van nghe
Viet Nam, No. 213 (October), p.18-20.
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