Chiêng Mường
The gong of the Mường ethnic group
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Exhibition of ancient bronze drums and Muong gongs at the Hoa Binh Provincial Museum
Hisrory
Hisrory
The Mường Gongs have been referenced for thousands of years in the epic "The Birth of Earth and Water" of the Mường ethnic group (A native ethnic group with the fourth largest population, having a long-standing presence in Northern Vietnam). Initially, Gongs were created out of the need to signal within sparsely populated communities, traversing mountainous terrain, making travel difficult, and also to ward off wild animals. Along with societal development, Mường Gongs have been employed in various human activities, such as hunting, warfare, weddings, and rituals. The sound of the gong symbolizes beginnings, endings, connecting people with deities, bringing luck, and protection. According to Mường beliefs, each gong houses a sacred spirit, with age intensifying its sanctity. If a gong is left untouched or poorly maintained, its sound no longer carries far, and its spirit may fall into a slumber, losing its sacredness and connection to the divine. Hence, the Mường people cherish and venerate the gong, considering it a treasure that represents the power and wealth of its possessor.
Crafting
Crafting
The Mường Gongs are crafted from bronze, sometimes blended with precious metals like gold or silver. There are two primary manufacturing methods: casting and forging. Casting involves melting bronze and pouring it into molds, resulting in smooth-surfaced gongs with numerous tiny dots. The second method involves using hammers and anvils to forge the bronze metal into the shape of the gong, creating gongs with surfaces featuring various patterns and unevenness compared to the smoothness of cast gongs. Nevertheless, both manufacturing techniques produce gongs with equally good sound quality.
An ancient Mường flat gong without knob in Hoa Binh province
An ancient Mường flat gong without knob in Hoa Binh province
Mường gong with knob
Mường gong with knob
Categorize
Categorize
The Mường people have two main types of gong: gong with knob and flat gong without knob. Flat Gong is usually used individually and are not part of gong ensembles. Nowadays, they are rare in the community. Gongs are more common and can be used both individually and in gong ensembles. Concerning tonality, the Mường people categorize gongs into three types: "Khầm" gongs, which are large and have deep tones; "Bồng" gongs, which have moderate tones; and "Chót" gongs, smaller in size and producing higher-pitched tones. Additionally, the Mường people also classify gongs based on their age, believing that the gong's "life" relates to human life stages (male-female, husband-wife, etc.).
Performance
Performance
When playing the Chiêng, the Mường people use a striking technique, holding the Chiêng with the left hand forward, not too high above the face, while the right hand holds the mallet to strike either the boss of the Chiêng or its center if there's no boss, to produce the clearest and farthest sound. The mallet is usually made from guava wood, rosewood, or vông wood. Its head is made larger and covered with fabric or animal skin, tailored to fit each Chiêng.
In the past, Chiêng Mường was often performed individually or in sets of 4, 5, 7, 9, or 12 Chiêng. Recently, the Mường people have organized larger Chiêng ensembles, sometimes exceeding 1000 instruments for orchestration. However, the most typical ensemble consists of 12 Chiêng, including 4 "Khầm" Chiêng with deep tones, 4 "Bồng" Chiêng with moderate tones, and 4 "Chót" Chiêng with high pitches. The structure of a Chiêng piece usually starts with higher and moderate tones, with the main melody carried by the "Bồng" Chiêng, complemented by the high-pitched sounds of the "Chót" Chiêng, and rhythm maintained by the "Khầm" Chiêng. Towards the end of the music, the piece concludes with the deep tones of the Chiêng ensemble.
When played individually, the sound of the Chiêng can serve as a signal, such as when the Mường people strike the Chiêng three times, which is a signal for mothers to return home to breastfeed their babies. It can also be used for signaling work hours, hunting times, or to accompany the passage of a deceased soul to the spiritual world. During festivals or ceremonies, like housewarming or deity worship ceremonies, the Chiêng is often played as an ensemble, either in a static manner while sitting or standing inside a house, courtyard, or actively, moving around various places like lanes, fields, and hills. A performance is typically divided into three parts:
The first part includes the Chiêng ensemble playing music while walking along or welcoming guests. They form a line from the village to the center of the festival.
The second part involves the Chiêng ensemble performing various pieces like welcoming songs, offering songs, rain-calling songs, songs for celebrating a new rice crop, and songs symbolizing good luck. They circle around the flagpole or a bamboo pole while playing Chiêng music.
The third part features the Chiêng ensemble moving and playing songs while walking around the village, performing various parts according to the purpose and nature of the ceremony.
Ensemble of Mường gongs playing melodies: Bến Rậm Sông Bờ, Khen Đất Khen Mường, Trầm Hầm
The performance of 400 Mường artisans.
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