Son Tung M-TP released his music video on 28/5, securing the second spot on YouTube's global most-watched video list within 24 hours. The production drew attention for its scale of investment and the integration of numerous folk cultural elements.

However, the opening scene depicting Son Tung M-TP riding a Lac bird sparked diverse opinions. Some viewers and specialists criticized the act of standing on a symbol deeply rooted in Dong Son culture as offensive and disrespectful to traditional values. Others argued against labeling it as an insult, pointing out past instances where stages and fashion designs drew inspiration from the Lac bird.

"This is a notable debate," stated Doctor Ha Thanh Van. She believes the discussion extends beyond a single image in a music video, touching upon a broader issue: how young artists engage with traditional cultural symbols in public and globalized spaces.

National Assembly delegate Bui Hoai Son noted that the Lac bird is linked to Dong Son bronze drums, a symbol of ancestral memory, the depth of ancient Vietnamese civilization, and the nation's aspiration to soar. Audience reactions underscore the sacred position traditional symbols hold in the community's consciousness today.

The image of Son Tung M-TP standing on the Lac bird. Photo: M-TP Entertainment

Lac bird imagery appears on many bronze drum surfaces and other bronze artifacts from the Dong Son culture. To date, no documentation proves that Dong Son inhabitants called it a Lac bird, nor that they worshipped it as a sacred creature or totem in a religious sense.

In an article, historian Phan Duy Kha mentioned that in 1902, the Ngoc Lu drum, the first bronze drum discovered in northern Vietnam, featured numerous birds depicted in flight and at rest. At the time, their species was unknown. In the 1950s, Professor Dao Duy Anh introduced the concept of the Lac bird in his works, including "History of Vietnam - From Origins to the Early 19th Century" (1955) and "Origins of the Vietnamese People" (1958).

According to researcher Tran Quang Duc, these works represent an important effort to create a new understanding of the Vietnamese people's origins. He quoted Professor Tran Quoc Vuong from 1974: "Lac bird? This is my teacher, Professor Dao Duy Anh's, naming. It's a label for an image. This label is beautiful, with high ideological value. Do you want another name? If you want to call it descriptively in rustic Vietnamese, then it's 'the egret, the night heron, the pelican'." Tran Quang Duc suggests that the name "Lac bird" is a product of modern academic thought.

The researcher contends that humans not only inherit but also continuously create, add meaning, and allow tradition to live on in new contexts. If the Lac bird is truly a symbol of the Vietnamese people, it belongs to everyone. "Each era has the right to reinterpret the past through its own language. Each generation has the right to find new meanings in old symbols that are relevant to their lives," he said.

A Dong Son bronze drum, part of businessman Nguyen The Hong's collection, adorned with a 12-winged sun, four primordial dragon figures, and six Lac bird figures. Photo: Ngoc Thanh

Regarding the scene of "Son Tung M-TP riding the Lac bird," experts suggest considering it within the music video's overall artistic intent. The production team stated that the scene alludes to cultural exchange. This segment can be interpreted as an aspiration to bring Vietnamese music, imagery, and identity into the broader global sphere. Mr. Bui Hoai Son believes that by placing a Lac bird model in the heart of downtown Los Angeles, Son Tung M-TP intends to convey that Vietnamese culture is not merely a relic of the past or confined to museum artifacts, but can actively participate in the global rhythm of life.

In recent years, many songs honoring Vietnamese identity have gained domestic acclaim and international recognition, such as "De Mi noi cho ma nghe," "See tinh" (Hoang Thuy Linh), "Vu tru co anh" (Phuong My Chi), "Bac Bling" (Hoa Minzy), and "Muc ha vo nhan" (Soobin). In this context, Son Tung M-TP's music video continues the narrative of promoting traditional values.

National Assembly delegate Bui Hoai Son commends Son Tung M-TP's choice to "go global without obscuring Vietnamese identity." The singer incorporated elements forming the nation's identity into the core of a contemporary pop product. This aligns with the spirit of developing cultural industries and building national soft power. While the artistic expression remains a subject of debate, overall, this represents an encouraging effort by an influential young artist.

Sharing this view, Doctor Hoang Duan, Deputy Head of the Department of Culture and Arts Management at Ho Chi Minh City University of Culture, analyzed that the image of the Lac bird flying in downtown Los Angeles expresses a desire to promote Vietnam internationally, rather than a lack of respect. From a broader perspective, it could symbolize "the traditional strength of our ancestors" empowering descendants to reach global heights in the new era.

Simultaneously, the incident raises questions about how to effectively and profoundly revitalize traditional cultural values. Experts emphasize that all creative endeavors must be founded on understanding, respect, and a responsibility to convey meaning accurately. Today's public readily distinguishes between serious and superficial works. Therefore, artists need to thoroughly research the origin, meaning, context of use, and sensitivity of any symbol when incorporating it into their work. Beyond in-depth research, Mr. Bui Hoai Son recommends artists seek consultation from cultural, fine arts, history, and ethnology researchers.

Artists also need to anticipate diverse public reception to handle situations more subtly. According to Ms. Ha Thanh Van, if controversy arises, they should demonstrate openness and respect for the audience through clear explanations, sincere receptiveness, and even adjustments when necessary.

Ultimately, fostering a healthy critical environment is the goal. The public should offer constructive feedback without escalating issues to extremes. Specialists should collaborate rather than only speaking out after a controversy erupts.

"We should not make young artists fear heritage," said Associate Professor, Doctor Bui Hoai Son. For researcher Tran Quang Duc, the concern is not young people modernizing tradition, but when people begin to "sanctify tradition to the point of making it untouchable, undebatable, and uncreative."

Phuong Linh - Mai Nhat