著者

大泉 さやか

出版者

一般財団法人 アジア政経学会

雑誌

アジア研究 (ISSN:00449237)

巻号頁・発行日

vol.66, no.1, pp.21-36, 2020-01-31 (Released:2020-03-12)

参考文献数

39

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This paper investigates the control exerted by the Vietnamese government on the distribution and performance of South Vietnam era songs after the end of the Vietnam war—which is referred to as the Liberation of the South—and explains why the government recently announced the abolition of the special control system intended to censor these songs. Soon after the end of the Vietnam war, the government prohibited South Vietnam era songs, due to their decadent and antigovernment characteristics. However, Vietnamese people living overseas, most of whom had been exiled from former South Vietnam to Western countries, have continued to sing these songs in their communities. From the latter half of the 1980’s, Vietnam incentivized Vietnamese people living overseas to return, either temporarily or permanently, because of their financial potential. The government also gradually eased restrictions on South Vietnam era songs. Until 1999, several government agencies maintained control on the use of South Vietnam era songs. Until 2012, provincial-level government agencies remained in control of local stage performances. After 2012, the Department of Performing Arts (DPA), under the Ministry of Culture, Sports and Tourism, was tasked with controlling permissions related to songs composed in South Vietnam before 1975 and overseas, and in 2016, the range of the DPA’s control expanded to songs composed before 1975 and overseas. Ongoing debates reveal that the contemporary censorship system had already reached its limit because (1) no authoritative entity, including the DPA itself, fully understands which songs had been permitted since the end of the 1980’s, and (2) the DPA cannot control the vast number of songs that fall under the literal interpretation of the present decree, as “the songs composed before 1975” technically includes all songs composed in Northern Vietnam before 1975. Considering Vietnamese song markets, Vietnamese singers living or traveling internationally tend to return or expand their business to Vietnam due to the international markets’ shrinkage; this encourages singers to refrain from engaging in politically sensitive activities in international communities. From around 2012, Boléro songs, which are often South Vietnam era songs, have comprised a major trend in Vietnam. However, people superficially refer to nostalgia for songs that were sang in former Saigon, concealing the South-Vietnamese identity of these songs. The Vietnamese government intends to remove the special control system to overcome such procedural limitations, accompanied by the atmosphere in Vietnamese song markets as they attempt to limit the proliferation political messages in South Vietnam era songs.

著者

大泉 さやか

出版者

京都大学東南アジア地域研究研究所

雑誌

東南アジア研究 (ISSN:05638682)

巻号頁・発行日

vol.56, no.2, pp.148-184, 2019 (Released:2019-01-31)

参考文献数

82

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In December 2016, the element titled “Practices related to the Viet beliefs in the Mother Goddesses of Three Realms” was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity. Under Vietnam’s socialist government, rituals and festivals related to the beliefs in Mother Goddesses had been prohibited as superstition before the Doi Moi period. Even though these beliefs and related practices were reevaluated and revived as a beautiful tradition, especially after the 1990s, there has been constant debate over whether beliefs in Mother Goddesses can be categorized as superstition. The question here is why Vietnam’s government applied for the inscription of this element while it had not yet concluded the debate. In this article, by considering this question we examine how Vietnam’s government intends to increase control over this element through naming, protecting, and avoiding its transformation. We also demonstrate that the framework for the heritagization of this element has been changed from theaterization to purization as beliefs, so that the government can criticize and prevent stage adaptation or theaterized rituals as an unintended transformation of heritage.

著者

大泉 さやか

出版者

京都大学東南アジア地域研究研究所

雑誌

東南アジア研究 (ISSN:05638682)

巻号頁・発行日

vol.52, no.2, pp.235-266, 2015-01-31 (Released:2017-10-31)

被引用文献数

1

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This study investigates how the collection and study of folklore in socialist Vietnam contributed to the Communist Party of Vietnamʼs and the governmentʼs cultural policy. It focuses on the Sino-Vietnamese terminology used in the folklore studies of socialist Vietnam and explains their changes in relation to cultural policy. From the end of the 1950s, the collection of folk literature (van hoc dan gian) was promoted in provincial areas because of the Partyʼs mass cultural policy. There, both politicians and scholars recognized that the collection of folk literature could not be separated from the collection of folk arts. This led them to introduce the term van nghe dan gian (VNgDG), a phrase that combines the terms for folk literature and folk arts, to reorganize the collection. In the late 1970s, the Party strengthened its control over the cultural sphere to abolish traces of the “old regimes.” It thought that VNgDG contained many “old” elements that needed to be modified into more appropriate ones. And as China-Vietnam relations critically worsened at the end of the 1970s, VNgDG was finally criticized as being of “no use” because of its Chinese oriented content and methodology. On the other hand, scholars had to highlight the tradition of “Vietnamese culture” in order to confront the “long-lasting Chinese culture,” which led them to approach folklore from a historical perspective. At the same time, some scholars commented that VNgDG had become too “socialized” and emphasized the importance of scientific research on folklore. Consequently, they began to use the new term van hoa dan gian (VHDG), which literally means folk culture, to rejuvenate folklore studies. Currently, after the Law of Cultural Heritage was issued in 2001, the popularization of the concept of “intangible cultural heritage” (di san van hoa phi vat the) has made the status of the term “VHDG” unstable.

著者

大泉 さやか

出版者

京都大学

雑誌

東南アジア研究 (ISSN:05638682)

巻号頁・発行日

vol.52, no.2, pp.235-266, 2015-01-31

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Abstract This study investigates how the collection and study of folklore in socialist Vietnam contributed to the Communist Party of Vietnamʼs and the governmentʼs cultural policy. It focuses on the Sino- Vietnamese terminology used in the folklore studies of socialist Vietnam and explains their changes in relation to cultural policy. From the end of the 1950s, the collection of folk literature (van hoc dan gian) was promoted in provincial areas because of the Partyʼs mass cultural policy. There, both politicians and scholars recognized that the collection of folk literature could not be separated from the collection of folk arts. This led them to introduce the term van nghe dan gian (VNgDG), a phrase that combines the terms for folk literature and folk arts, to reorganize the collection. In the late 1970s, the Party strengthened its control over the cultural sphere to abolish traces of the "old regimes." It thought that VNgDG contained many "old" elements that needed to be modified into more appropriate ones. And as China-Vietnam relations critically worsened at the end of the 1970s, VNgDG was finally criticized as being of "no use" because of its Chineseoriented content and methodology. On the other hand, scholars had to highlight the tradition of "Vietnamese culture" in order to confront the "long-lasting Chinese culture, " which led them to approach folklore from a historical perspective. At the same time, some scholars commented that VNgDG had become too "socialized" and emphasized the importance of scientific research on folklore. Consequently, they began to use the new term van hoa dan gian (VHDG), which literally means folk culture, to rejuvenate folklore studies. Currently, after the Law of Cultural Heritage was issued in 2001, the popularization of the concept of "intangible cultural heritage" (di san van hoa phi vat the) has made the status of the term "VHDG" unstable.