In the crisp cold leading up to Tet Binh Ngo 2026, the community cultural house in So residential area, Nam Trieu ward, resonated with laughter. Under the warm, bright lights, Bui Thi Min, 64, head of the Phuc Le hat dum Club in Nam Trieu ward, cleared her throat and sang in a clear voice, "Meeting here, let us sing a song. My heart is joyful, like jasmine in bloom...".

Around her, a group of men and women prepared to line up, singing according to their prior assignments. They were not preparing for a grand stage performance but practicing for the hat dum festival on the fifth day of Tet.

A practice session of the Phuc Le hat dum Club. Video: Le Tan

Min spent her entire life as a farmer, never attending formal classes, learning hat dum solely from her predecessors. In her memory, hat dum did not originate from a glittering stage but from her mother's lullabies, from muddy feet in the rice fields, and from fishing trips along the riverbanks. It is deeply intertwined with the settlement of the ancient Tong Phuc region, which now encompasses Phuc Le, Pha Le, and Lap Le communes.

The former Tong Phuc area was purely agricultural, where strenuous labor fostered a need for conversation and companionship. People sang to greet and get acquainted right in the rice fields, as expressed in the lyrics: "Seeing your brisk walk, I wish to befriend you so we become a pair. Oh, the fate of friendship...".

According to Min, the name "hat dum" comes from the word "dum," meaning to gather in groups or circles around singing couples. When these lyrical songs from the fields were brought into the festive atmosphere of Phuc Le pagoda, they became an indispensable cultural ritual every spring.

A distinctive feature of Thuy Nguyen hat dum, setting it apart from other folk song genres, is the custom of unveiling the face. In ancient society, women in Tong Phuc typically wore a triangular scarf over their heads, covering their faces when going out. When the festival began on the fifth day of the first lunar month, no girl would remove her scarf. They walked in groups of five to six, creating a sense of mystery and allure for visitors.

During the call-and-response singing with the men, if a girl developed feelings for a young man or admired his quick wit, she would slowly remove her face covering. This moment often drew gasps from the crowd, captivated by the young woman's beauty revealed from behind the fabric. This custom not only enhanced the festival's appeal but also showcased the modest and discreet nature of women from the ancient coastal region. Romantic and poetic verses thus gained deeper meaning, as they represented a connection of souls before seeing faces.

Min performing call-and-response at the Hat Dum Spring At Ty 2025 Festival. Photo: Luu Quang Pho

According to folk artisan Bui Thi Min, hat dum is not merely a flirtatious song but a comprehensive knowledge contest, performed through nine structured steps: greeting, expressing affection, riddles and explanations, echoing, inviting, soldier songs, letter songs, wedding songs, and farewell songs.

The history and practical life of the Bach Dang estuary region are skillfully woven into the riddles. Singers need not only a good voice but also knowledge of historical texts and regional geography.

A riddle from the men might challenge the knowledge of an entire group of women, such as: "Tell me how many bends the river has. How many spans the bridge, how many gates the citadel. Where do waves rise at Bach Dang with ironwood stakes against invaders, and who is the hero?" The women must then quickly respond with historical anecdotes about Saint Tran or the glorious battles on the waterways of Thuy Nguyen.

Dinh Nhu Hang, head of the Lap Le hat dum Club, noted that this competitive aspect is the most interesting. The losing side must leave a token, such as a face covering, a conical hat, or an umbrella. To reclaim the keepsake, they must win in a subsequent singing session or provide a more profound answer. This rule extended the ancient festival, often from the second to the tenth day of Tet.

Musically, Thuy Nguyen hat dum possesses unique musicological value. The pitch of hat dum in the Tong Phuc region revolves around three main notes: la, re, and mi. This is an ancient scale, developed from poetic recitation or spoken-word singing. The rhythm is slow and leisurely, in triple meter, primarily based on the luc bat and song that luc bat poetic forms. This simplicity allows singers to focus entirely on the lyrics. Most words correspond to a single note, without word inversion or additions.

Each song often concludes with an expressive phrase like "Oh, the fate of friendship" or the affectionate call "Oh, my dear!". The main melodic line is built on continuous ascending and descending fourths, creating a narrow, wave-like shape, rustic and enduring like the character of Hai Phong farmers.

Many elderly people in the Tong Phuc region still maintain the tradition of wearing face coverings when going out. Photo: Luu Quang Pho

Despite its strong connection to labor, hat dum has experienced periods of decline due to changing times. Min stated that this art form was once almost forgotten, only occasionally performed by elders.

A turning point came in 2005 when the Phuc Le commune government decided to restore the tradition. "At that time, the commune supported each person with 5,000 VND for a practice session. The amount was not large, but it was an acknowledgment for people to put aside farm work and sing," Min recounted. From those practice sessions, the movement spread. Today, Thuy Nguyen has eight hat dum clubs operating regularly, with over 100 ancient songs documented as teaching materials.

In 2018, the Ministry of Culture, Sports and Tourism added Thuy Nguyen hat dum to the National Intangible Cultural Heritage List. This not only recognized its historical value but also underscored the responsibility to preserve the cultural essence of the coastal region for future generations. "Hat dum is not something to be stored in a museum. For me, as long as there are listeners and people to sing call-and-response, hat dum lives on," Min said.

Although it has become a national heritage, the future of hat dum remains uncertain. Each club currently has about 20 members, but most are elderly, with the youngest being over 40. To sustain it, artisans like Min diligently continue their activities in community clubs. Additionally, local schools invite her to teach this art form to students.

Many children in the Tong Phuc region are taught this heritage art form. Photo: Luu Quang Pho

The singing practice at the cultural house concluded late at night. Min gently wiped sweat from her forehead, her eyes following the children gathered to watch the older members practice singing, her hands still gently tapping to the lingering farewell lyrics: "Leaving, I feel wistful. I leave my heart with you... Oh, my dear!".

On the upcoming fifth day of Tet, Min will again stand at the communal committee, singing call-and-response with other clubs. Although she no longer covers her face with a triangular scarf as in ancient times, the subtlety and quick wit in her lyrics remain intact. For her, as long as the people of Tong Phuc cherish their mother tongue and value luc bat poetry, the hat dum songs will continue to sprout from the soil, flourishing strongly each spring.

Le Tan