When tradition becomes a medium

For more than 12 years, the Dan Do collective has been developing a new musical language by crafting instruments from bamboo and ceramic, combining these with experimental music, performance, and contemporary art.

“We chose bamboo and clay because they are deeply intertwined with daily life and culture across Southeast Asia. Using these traditional materials opens up a rich source of inspiration and offers a chance to explore cultural depth,” said Nguyen Duc Minh, the group’s artistic and musical director.

In early 2025, Dan Do launched an ambitious project titled GOm Show, with ceramic as the starting point of a new sound journey. Unlike conventional performances, GOm Show does not tell stories through narration but evokes emotion through a wordless musical world shaped by the sounds of ceramic drums, clay pots, bells, and rotating clay pieces.

“Ceramic is earth, water, and fire. GOm doesn’t retell stories; it awakens memory. It rings like a part of Vietnamese heritage, telling stories through sound rather than words,” Minh emphasized.

Crafting instruments from ceramic is a daring choice - ceramic is fragile and its sound is unstable and unpredictable. But this unpredictability gives each performance a unique personality. In GOm Show, each performer must explore the resonance, vibration, and timbre of each piece to find their own expression.

“We don’t write sheet music for artists to follow. Instead, we create a testing ground where each person discovers their own artistic voice. Every performance is a process of creation, never a replica,” said Dinh Anh Tuan, co-founder of Dan Do.

Beyond its sound, GOm Show stands out as a collaborative creative model, bringing together artists from different generations - from the founders to young new members.

For Quynh Mai, one of the younger artists in Dan Do, ceramic instruments initially felt unfamiliar, and the working methods diverged from her previous experience. But the sincerity and dedication of senior members convinced her she was on the right path.

She acknowledged the challenges: ceramic instruments are fragile and demand patience and precision. Each rehearsal is more than technical training - it’s a journey of learning, creativity, and self-discovery. “We don’t just learn to perform. Each of us must find our own voice in the sound of clay. There’s pressure, but also joy,” she shared.

GOm Show is not only a musical project but also a community-based creative model. Production director Nguyen Phuong Lai explained: “We selected dozens of candidates from across the country, from trained musicians to passionate enthusiasts. After several rounds, the group now has 10 members, each with a distinct role in the creative process.”

GOm Show will premiere at the Hanoi Opera House on June 28 and 29. Afterward, the group plans regular performances at a Hanoi art space for both local and international audiences. They’re also working on a new project that combines wood-based instruments with dynamic staging, physical performance, and lighting - continuing their mission to explore and spread the value of tradition.

Preserving and continuing heritage

Another standout figure in this creative dialogue with tradition is young artist Ly Mi Cuong. Born in Lung Phin commune, Dong Van district, Ha Giang province, Cuong grew up surrounded by the sounds of the H’Mong khene, flute, and folk songs. At 15, he moved to Hanoi alone to study music, eventually gaining admission to the Vietnam National Academy of Music, marking the start of his journey to bring ethnic music to modern stages.

“I don’t want traditional music to exist only in museums or festivals. I want it on modern stages so young people feel connected and proud,” Cuong said.

In the 2023 Thanh Canh project, Cuong collaborated with artist Bao Trung (a beatboxer) and music director Nguyen Quoc Hoang Anh to create a multimedia performance where the H’Mong khene harmonized with beatboxing. “When Cuong plays the khene, I build the rhythm with my voice. It feels like a conversation - no words needed. Sound becomes the language,” said Bao Trung.

Cuong also works to inspire young people in the highlands, regularly hosting meetups with students and youth in Ha Giang. He encourages them to explore traditional instruments and take pride in their ethnic identity. He founded and leads H’Mong Culture, a community of H’Mong university students in Hanoi dedicated to preserving and sharing traditional values through music, performance, and cultural activities.

His latest personal project, Note Si, is an arts education initiative for H’Mong youth. In collaboration with local cultural officers, Cuong organizes classes, produces educational materials, and helps children get acquainted with traditional instruments. Many can now play the flute, mouth harp, and other instruments, expressing a natural love for ethnic music.

“In a globalized world, it’s admirable that a young H’Mong person still cares so deeply about their cultural heritage. Cuong is not only talented but also has a heart for his homeland,” noted artist Nguyen Quoc Hoang Anh.

Artists like Ly Mi Cuong prove that tradition is not just a memory to be preserved but a dynamic resource for discovery and connection. Through their creative integration of traditional and contemporary elements, young Vietnamese artists are reinventing heritage with bold, personal approaches.

PV