For a long time, when referring to traditional culture in Da Nang, people often group it within the broader cultural region of Quang Nam. This is because, throughout history, the land of Quang Nam - Da Nang has been a unified entity, closely connected in terms of geography, culture, and social life.

Da Nang Cau Ngu (Whale Worshiping) Festival was recognized as a national intangible cultural heritage in 2019. Photo: T.Y.

However, when Da Nang became a centrally-governed city, its culture began to develop distinct characteristics, blending traditional elements with modern influences, and seamlessly merging the past with the present.

“I call out the card, let’s see what comes out!”

"Listen closely, nine huts, listen closely indeed! I call out the card, let’s see what comes out..." The familiar chant seems to run through the veins of Distinguished Artisan Nguyen Thuc, the head of Bai Choi Club in Nai Hien Dong (Son Tra District). Like many young men from the fishing villages, he followed his father onto the boat at the age of 15, joining month-long fishing voyages on the open sea. As a fisherman living "to the rhythm of the waves", he was blessed with a resonant, robust voice with a natural vibrato. During long days drifting with his shipmates, he recalls how he would often perform Bai Choi chants or sing folk melodies from Quang Nam to ease homesickness and keep himself alert amidst the unpredictable winds and waves.

Over time, his love for folk songs and Bai Choi became the driving force that led him to leave the fishing trade behind. He slung his backpack over his shoulder and joined Bai Choi Folk Song Club (under Da Nang Stage Artists Association) to travel and perform in villages across Quang Nam and Da Nang. Throughout his journey with Bai Choi, Nguyen Thuc did more than just sing; he also collected and learned from veteran artisans to refine his skills and perfect his performance style. Many fishermen jokingly referred to him as the "rustic artist" because he never received formal training, yet his singing was impeccable, his chants hit the mark, and he had an extraordinary talent for spontaneously creating verses. To him, Bai Choi, Ba Trao, and other folk melodies are profound expressions of folk wisdom, distilled and passed down through generations.

Under the influences of urban life, Bai Choi in Da Nang still retains its original features in the performance style of olden times. According to Nguyen Thuc, the unique appeal of Bai Choi lies in its balance of elegance and earthiness—its lyrics can be light and poetic, yet profound and suggestive. The performance often incorporates folk singing styles like Ho Quang, Nam Xuan, Xuan Nu, and Xang Xe, with flexible phrasing paired with quirky card names like Ba Ga (Three Roosters), Noc Thuoc, Bach Hue, Dai Voi, and Tu Cang, evoking hearty laughter from the audience. Having over 30 years of experience as an “Anh Hieu” (the lead performer and host in Bai Choi), Thuc explains that the small huts used in Bai Choi performances are arranged based on the principles of the five elements and symbolize the cyclical nature of the Bat Quai trigrams: Kien, Doai, Ly, Chan, Ton, Kham, Can, and Khon.

With this perspective, the ancients regarded Bai Choi not merely as a form of entertainment but also as a symbolic ritual to ward off evil spirits during the New Year. “The folk wisdom embedded in the performance art of Bai Choi fascinates me the more I delve into it, inspiring me to contribute alongside the community in preserving this richly distinctive cultural tradition,” Nguyen Thuc humbly shared.

The redesign of stages and the integration of lighting and sound effects have been adopted by Bai Choi clubs in Da Nang to attract both locals and tourists. Additionally, folk artists and performers are eager to organize short-term classes for students and enthusiasts of this art form. These teaching sessions not only focus on singing techniques and the art of calling out Bai Choi verses but also provide learners with a deeper understanding of the history and significance of this cultural heritage in the spiritual lives of Central Vietnam's people.

To ensure that Bai Choi folk singing is not forgotten by younger generations, Distinguished Artisan Trinh Cong Son, a member of Da Nang Stage Artists Association, has skillfully infused "modern stories" into "ancient melodies". For instance, in the Bai Choi folk script "The Day Covid-19 Faced Justice", he incorporated messages like "Wear masks to cover your face/ Sanitize your hands five or six times a day/ Keep your nose, mouth, and hands clean/ Avoid gatherings, stay away from crowds," into the singing of Xang Xe and Ho Quang. This work has become an effective bridge between the past and present, blending tradition with contemporary relevance.

“Incorporating issues of public interest into Bai Choi performances does not diminish its traditional beauty. On the contrary, it brings this art form closer to everyday life,” shared Mr. Son. He added, “This ensures that every resident of Da Nang, in their hearts and minds, always cherishes the familiar chant, ‘I call out the card, let’s see what comes out...?’ — a hallmark of this unique art form that our ancestors have preserved and passed down through generations.”

Folk beliefs: unique variations across regions

In the spiritual life of fishing communities, Cau Ngu (Whale Worshiping) Festival is a familiar tradition. Yet, delving deeper reveals fascinating differences between the festival as celebrated in Da Nang and neighboring areas.

Researcher and musician Tran Hong explained that Whale Worshiping Festival is held annually by coastal fishermen from Thanh Hoa to Ca Mau, but each region adds its own distinct flair, despite adhering to unified customs and rituals. For example, in Da Nang, the festival takes place on the beach, whereas in Hoi An (Quang Nam Province), it is conducted on the water, right at the river mouth. Offerings are prepared at home and then brought out to the sea. In Hoi An, boats are linked together to form a ceremonial platform. The altar for offerings is placed on the main boat's bow, decorated with a five-colored flag, symbolizing the sacred and festive atmosphere of the occasion.

Beyond differences in ceremonial aspects, the timing of Whale Worshiping Festival also varies between regions. In Son Tra, Thanh Khe, and Lien Chieu districts, the festival is typically held during the second or third month of the lunar calendar. Meanwhile, fishermen in Cam Kim (Hoi An) celebrate the day on the 16^th day of the eighth lunar month, and those in Tam Xuan (Tam Ky) prefer the fourth lunar month. These variations in Whale Worshiping Festival across Da Nang and other areas of Quang Nam highlight the diversity of local customs and traditions, reflecting adaptations to the fishing seasons in each region. Researcher Tran Hong observed that Whale Worshiping Festival in Da Nang is deeply community oriented. The festive portion often features traditional folk games like tug-of-war, basket boat racing, and swimming competitions, creating a lively and joyful atmosphere that engages the entire community.

"If Hoi An hosts the festival near the estuary, emphasizing its sacred and spiritual aspects, Da Nang tends to transform the event into a vibrant cultural and tourism attraction, drawing large crowds of locals and visitors alike," the musician shared.

Beyond its spiritual significance, Da Nang’s Whale Worshiping Festival stands out as a cultural hallmark, officially recognized as a National Intangible Cultural Heritage in 2019. Le Van Le, a member of Thanh Khe District Whale Worshiping Festival Organizing Committee, shared that while the festival reflects unique local features, it consistently upholds the dual elements of ritual and festivity, lasting two to three days depending on its scale. The most distinctive aspect of the ceremony is the main altar, which is solemnly arranged, with additional smaller altars set up by individual fishing families for their offerings. Moreover, the captivating Ba Trao chants performed in vibrant costumes add an alluring charm to the festival.

According to musician Tran Hong, Ba Trao singing can be understood as "chanting while holding the oars". At the Whale Temple in Tan Thai Village (Man Thai Ward, Son Tra District), a preserved Ba Trao script written in Sino-Vietnamese characters dates back to the reign of King Tu Duc in the year 1850. This text is structured in three acts: setting sail, encountering a storm, and praying for the Whale Deity’s rescue. After years of studying this unique art form within the Whale Worshiping Festival, the musician summarized: “The style of Ba Trao singing in Da Nang demonstrates unity in diversity. Specifically, while it incorporates elements of traditional Hat Boi from Quang Nam—such as noi loi (narrative recitation), xuong (chanting), than (lament), and Southern melodies—it also seamlessly integrates various forms of maritime chants, including those used for anchoring, hoisting anchors, rowing, and leisurely boat chants.”

From a cultural perspective, Da Nang is a dynamic land that constantly evolves and adapts to modern life while preserving its traditional values. This is evident in how its people sustain and develop distinctive cultural features, viewing them as an inseparable part of their identity. It is this harmonious blend that has enabled the city to craft a unique cultural essence—both familiar and intimate, yet distinctive and captivating—ready to be passed down to future generations.

Reporting by TIEU VY – Translating by HONG VAN