Report on the status of an element inscribed on the list of intangible cultural heritage in need of urgent safeguarding

A. Cover sheet

A.1.

State Party

Name of State Party

A.2.

Date of deposit of the instrument of ratification, acceptance, approval or accession

This information is available online.

Date of deposit of the instrument of ratification, acceptance, approval or accession

2005-09-20

A.3.

Element inscribed on the Urgent Safeguarding List that is the subject of this report

Name of element

Ca trù singing

Inscribed in

2009

Submitting State(s)

A.4.

Reporting period covered by this report

Please indicate the period covered by this report.

Reporting period covered by this report

01-01-2022 - 01-12-2025

A.5.

Other elements inscribed on the Urgent Safeguarding List, if any

Please list all other elements from your country inscribed on the Urgent Safeguarding List, together with the year of inscription; for multinational elements, please indicate the other States concerned.

Other elements inscribed on the Urgent Safeguarding List, if any

A.6.

Executive summary of the report

Please provide an executive summary of the report that will allow general readers to understand the current status of the element, any positive or negative impacts of inscription, the implementation of safeguarding measures during the reporting period and their possible update for the following years.

Executive summary of the report

1. Current Status of the Element
Ca trù continues to serve important socio-cultural functions. Beyond fostering community cohesion and preserving values, its role has expanded into intercultural dialogue, education, and tourism. The art form is gradually transitioning from a ritualistic and elite performance to one more accessible to the public.
However, its vitality varies significantly by region. Positive trends are evident in localities like Hà Nội, Quảng Trị, Hải Phòng, Hà Tĩnh, Bắc Ninh, and Hưng Yên, where active club networks, strengthened transmission, and a rejuvenating practitioner base are observed.
Conversely, persistent challenges remain in areas such as Nghệ An, Ninh Bình, Phú Thọ, and Hồ Chí Minh City, characterized by a limited and ageing practitioner pool, irregular activities, and a lack of successors.
Key risks to viability include:
The art's scholarly and demanding nature, requiring long training and limiting youth appeal.
The advanced age of master practitioners, risking disruption to core knowledge transmission.
The shift from a livelihood-based profession to a heritage practice focused on public performance, alongside difficulties in integrating into contemporary life and attracting young audiences.
A lack of stable, dedicated spaces for practice and performance.
2. Impacts of Inscription and Implementation of Safeguarding Measures (2022–2025)
UNESCO inscription has significantly raised public awareness and elevated Ca trù's status. Implemented safeguarding measures during this period yielded positive outcomes.
Organization and Human Resources: The national club network expanded, with 22 clubs in Hà Nội and 10 in Quảng Trị. Numerous transmission classes attracted hundreds of learners. Supportive policies for practitioners were issued, notably Hà Nội's Resolution No. 23.
Promotion & Valorisation: Festivals and performances were organized. Ca trù was introduced into schools, tourist sites, and festivals. Communication efforts increased, and new lyric creation was encouraged.
Research & Support: Documentation and inventory work advanced. Clubs received musical instruments and equipment.
These measures proved particularly effective in proactive localities like Hà Nội, Quảng Trị, and Hải Phòng, helping stabilize and gradually revitalize the element. However, overall impact remains uneven. Challenges related to practitioners' sustainable livelihoods and long-term youth engagement persist. Many activities remain project-based and heavily reliant on State funding.
Communities, including practitioners and clubs, actively participated as core actors in practice and transmission, supported by authorities, educational institutions, experts, and, to a lesser extent, businesses. However, their involvement in planning and monitoring processes is still limited.
Viet Nam recognizes the requirements for safeguarding elements on the Urgent Safeguarding List and commits to implementing more concrete and effective programmes in the next cycle.
3. Adjustments to the Safeguarding Plan for the Next Period (2026–2029)
The updated plan shifts focus from "emergency safeguarding" to "sustainable valorisation," addressing three main areas:
Strengthening Human Resources: Through in-depth transmission programmes, standardized teaching materials, and more systematic integration into formal education.
Enhancing Contemporary Relevance: By developing Ca trù as a distinctive cultural-tourism product, expanding digital outreach to youth, and establishing stable performance venues.
Improving Institutional Frameworks: By implementing the 2024 Cultural Heritage Law for UNESCO-inscribed heritage, refining support policies for practitioners and clubs, and strengthening scientific research.
In summary, Ca trù stands at a critical juncture: while consolidated in several regions, it remains at risk of decline in others. Future success depends on moving beyond campaign-based activities toward long-term solutions focused on systematic training, sustainable livelihoods linked to the heritage, and a community-centred approach in all decision-making processes.

A.7.

Contact person for correspondence

Provide the name, address and other contact information of the person responsible for correspondence concerning the report.

Title (Ms/Mr, etc.)

Ms

Family name

Duong

Given name

Thi Anh

Institution/position

Department of Cultural Heritage, Ministry of Culture, Sports and Tourism of Viet Nam/Official

Address

51 Ngô Quyền street, Cửa Nam ward, Ha Noi, Viet Nam

Telephone number

84.915 021 357

E-mail address

anhmiew@gmail.com

Other relevant information

B

Ms

B. Status of element inscribed on the Urgent Safeguarding List

Refer to the nomination file or to previous reports, if any, as the basis for reporting on the current status of the element, and report only on relevant changes since the date of inscription on the List or since the previous report. Nomination files, specific timetables and earlier reports, if any, are available at https://ich.unesco.org or from the Secretariat, upon request.

The State Party shall pay special attention to the role of gender and shall endeavour to ensure the widest possible participation of the communities, groups and, where applicable, individuals concerned as well as relevant non-governmental organizations during the process of preparing this report, and is asked to describe how it has done so in point D below.

B.1.

Social and cultural functions

Please explain the social and cultural functions and meanings of the element today, within and for its community, the characteristics of the bearers and practitioners, and any specific roles or categories of persons with special responsibilities towards the element, among others. Attention should be given to any relevant changes related to inscription criterion U.1 (‘the element constitutes intangible cultural heritage as defined in Article 2 of the Convention’).

Social and cultural functions

Ca trù is a traditional Vietnamese cultural and artistic practice that has long contributed to community cohesion and to educating successive generations about gratitude to ancestors and respect for their origins. This is particularly expressed through Hát cửa đình (communal house singing), performed in worship of village tutelary deities, ancestors and founders of the craft, and practised in 11 provinces and cities where Ca trù exists.
In community life, Ca trù is also performed in various other forms, including Hát Thờ (ritual singing), Hát Chơi (recreational singing), Hát Chúc Hỗ (ceremonial congratulatory singing) and Hát Thi (competitive singing). Historically, Ca trù was also performed in royal and courtly settings on special ceremonial occasions.
Today, following its revival, Ca trù is not only appreciated by Vietnamese audiences but has also become an art form chosen by many international visitors when travelling in Viet Nam. Traditionally, a Ca trù performing group (or giáo phường) consisted of one đào nương who sang while striking wooden clappers (phách), one kép playing the đàn đáy (three-stringed lute), and one quan viên playing the trống chầu (praise drum), who also commented on and evaluated the artistic quality of the performance. At present, the trống chầu drummer is regarded as an official member of each Ca trù practice group.
Ca trù melodies, known as thể cách, are formed through the close combination of two elements: music and poetry. Ca trù practitioners, including đào nương and kép đàn, must undergo long and rigorous training of a professional nature in order to master the vocal techniques, such as ornamented syllabic articulation, and instrumental techniques, including vibrato, accentuation and rhythmic modulation, in accordance with the stylistic characteristics of the genre.
In the past, Ca trù guilds were led by ông trùm or bà trùm. Today, these positions have been replaced by club leaders or directors of Ca trù centres who possess extensive knowledge and experience of the art. Formerly, Ca trù was practised mainly in communal houses, royal courts or official venues. Today, its performance spaces have expanded to include cultural centres, clubs, radio and television broadcasts, festival and competition stages, as well as performances serving cultural tourism, presented through both traditional repertoires and adapted forms.
Contemporary audiences have gradually developed a deeper understanding and appreciation of Ca trù. After several decades of decline, the heritage has received increasing attention from various sectors of society for its revival and recognition, and it is now appearing more frequently in contemporary cultural life.

B.2.

Assessment of its viability and current risks

Please describe the current level of viability of the element, particularly the frequency and extent of its practice, the strength of traditional modes of transmission, the demographics of practitioners and audiences and its sustainability. Please also identify and describe the threats, if any, to the element's continued transmission and enactment and describe the severity and immediacy of such threats, giving particular attention to any strengthening or weakening of the element’s viability subsequent to inscription.

Assessment of its viability and current risks

Current viability of Ca trù
The current viability of Ca trù shows clear disparities among localities. Several provinces and cities, including Hà Nội, Bắc Ninh, Hà Tĩnh, Hải Phòng, Hưng Yên and Quảng Trị, demonstrate positive signs of recovery and development. In these areas, the element is maintained on a regular basis through networks of Ca trù clubs with weekly or monthly activities. The frequency and scope of practice have expanded beyond traditional communal houses and temples to festivals, cultural events, tourist sites and schools.
Transmission activities have been diversified, combining traditional master–apprentice methods with structured training classes organised by provincial Departments of Culture, Sports and Tourism/Departments of Culture and Sports, with the participation of lecturers from the Viet Nam National Academy of Music and Ca trù heritage specialists. Encouragingly, the practitioner community has shown signs of rejuvenation, with the participation of pupils and students alongside elderly master practitioners. Audiences have also gradually expanded, attracting more young people and intellectuals.
However, in other localities such as Hồ Chí Minh City and the provinces of Ninh Bình, Phú Thọ and Nghệ An, the viability of the element remains seriously threatened. The number of practitioners is small and ageing, practice activities are irregular, and there is little or no successor generation. In these areas, sustainability is extremely fragile and depends almost entirely on elderly master practitioners.
Overall, since its inscription by UNESCO, the viability of Ca trù has been strengthened through increased awareness, expanded transmission and more frequent performances. Nevertheless, these improvements remain uneven and insufficient to fully prevent the risk of decline in many localities.
Threats, severity and urgency
Ca trù continues to face common threats that require urgent intervention.
First, its highly scholarly nature and limited accessibility constitute the most significant barrier. The use of Sino-Vietnamese lyrics, complex artistic techniques and long training periods (from three to ten years) make Ca trù difficult for young people to approach and pursue, resulting in a serious shortage of successors.
Second, the advanced age of master practitioners and the risk of disruption in transmission remain critical concerns. Many “Living Human Treasures” who hold core knowledge and skills are gradually passing away. Although successor generations exist in some localities, their professional depth remains limited, creating the risk of losing rare traditional thể cách and melodies.
Third, financial constraints and livelihood difficulties persist. Most Ca trù clubs rely on limited State funding and member contributions. Practitioners generally cannot earn a stable living from the practice, undermining long-term sustainability.
Finally, there is a lack of stable practice spaces and regular performance opportunities. Traditional performance spaces such as communal houses and temples are increasingly underused, while new venues remain limited, narrowing the environment for the element’s development.
These threats are highly urgent and require fundamental and sustainable safeguarding measures, focusing on systematic training, livelihood creation and audience development to ensure the long-term viability of Ca trù.

B.3.

Implementation of safeguarding measures

Please report on the safeguarding measures described in the nomination file, and previous report, if any. Describe how they have been implemented and how they have substantially contributed to the safeguarding of the element during the reporting period, taking note of external or internal constraints such as limited resources. Include, in particular, information on the measures taken to ensure the viability of the element by enabling the community to continue to practise and transmit it. Include the following detailed information concerning the implementation of the set of safeguarding measures or safeguarding plan:

B.3.a.

Objectives and results

Indicate what primary objective(s) were addressed and what concrete results were attained during the reporting period.

Objectives and results

During the period 2022–2025, local authorities actively implemented safeguarding objectives and achieved a number of concrete results, contributing to the maintenance and revitalisation of the viability of the element.
1. Organisation and human resources
Objective: To consolidate the network of Ca trù clubs, train successor generations, and support and honour practitioners.
Key results:
Development of club networks: Core practitioner groups of significant scale were established and maintained in many localities. Typical examples include Hà Nội (22 clubs), Hà Tĩnh (2 clubs with approximately 60 practitioners), Quảng Trị (10 clubs), Hải Phòng (10 clubs and one giáo phường), and Bắc Ninh (at least 10 clubs). Even in localities facing greater difficulties, such as Ninh Bình and Phú Thọ, efforts were made to sustain a small number of clubs.
Training of successor generations: Dozens of transmission classes were organised nationwide, attracting hundreds of learners of different age groups. The introduction of Ca trù into schools (e.g. Hải Phòng and Ninh Bình) and the organisation of introductory classes (e.g. Hà Tĩnh) proved to be effective approaches for engaging younger generations. Several localities successfully trained new practitioners; for example, Hà Tĩnh trained an additional three ca nương, two kép đàn and two quan viên.
Support and recognition of practitioners: Various specific support policies were promulgated, notably Hà Nội’s Resolution No. 23, as well as resolutions adopted by Hải Phòng and Hưng Yên. Efforts to nominate practitioners for State titles such as “People’s Artisan” and “Meritorious Artisan” were intensified; in Hà Tĩnh alone, 13 practitioners were awarded these titles.
2. Promotion and valorisation
Objective: To raise community awareness, expand audiences, and promote the value of Ca trù through performance and creative activities.
Key results:
Organisation of cultural events: Large-scale festivals and performances were organised, including the Hanoi Ca trù Festival (3rd edition in 2022 and 4th edition in 2025) and the expanded Ca trù Festival in Hải Phòng (2023). Other provinces actively integrated Ca trù into local festivals (e.g. Nghệ An), Heritage Nights (Phú Thọ) and various cultural events.
Expansion of performance spaces: Ca trù moved beyond traditional indoor performance settings and appeared at tourist sites (e.g. Thanh Hóa and Hưng Yên) and in public spaces, increasing accessibility for wider audiences.
Communication and creativity: Communication activities were strengthened, and the creation of new lyrics (over 30 works in Hà Tĩnh) reflected efforts to adapt the heritage to contemporary contexts.
3. Material support and research
Objective: To conduct inventorying and documentation and to provide equipment and musical instruments.
Key results: Several localities carried out inventorying, audio and video recording of master practitioners (e.g. Hải Phòng and Bắc Ninh). Ca trù clubs were supported with musical instruments and costumes, improving conditions for practice and transmission.

B.3.b.

Safeguarding activities

List the key activities that were carried out during this reporting period in order to achieve these expected results. Please describe the activities in detail and note their effectiveness or any problems encountered in implementing them.

Safeguarding activities

1. Transmission and training
Transmission and training were prioritised, designed in diverse forms to reach different audiences.
Implementation forms:
Intensive training classes: Provinces such as Hà Nội, Quảng Trị and Bắc Ninh organised short-term and long-term courses at Cultural Centers, with lecturers from the Viet Nam National Academy of Music participating (Bắc Ninh).
School-based transmission: Hải Phòng and Ninh Bình pioneered the introduction of Ca trù into extracurricular programs from primary to lower secondary education.
Community transmission: Hà Tĩnh maintained both introductory and advanced classes; Hưng Yên organised structured courses according to plans of the Department of Culture, Sports and Tourism.
Training for artistic units: Phú Thọ invited master practitioners from Hà Nội to train the provincial Art Troupe.
Results and challenges:
Results: Hundreds of learners of various ages were attracted, contributing to the rejuvenation of the practitioner community. School programs generated initial interest among young audiences.
Challenges: Effectiveness remains uneven. In provinces such as Nghệ An and Thanh Hóa, teaching is hindered by a lack of students, and drop-out rates are high. Bắc Ninh faces shortages of skilled masters for transmission.
2. Performance activities
Performances provide essential practice environments, opportunities for exchange, and public promotion of the element.
Implementation forms:
Large-scale festivals and competitions: Organised in Hà Nội, Hải Phòng, and Hưng Yên.
Community performances: Clubs performed at festivals, cultural and political events.
Integration with tourism: Thanh Hóa and Hưng Yên incorporated Ca trù into tourist attractions.
Open-space performances: Quảng Trị expanded performances into public and mass-art programs.
Results and challenges:
Results: Provided essential practice spaces, maintained skills and enthusiasm of practitioners, while raising awareness and expanding audiences.
Challenges: Activities remain seasonal and event-dependent. In Ninh Bình and Phú Thọ, stable performance venues and regular performance opportunities are limited.
3. Research, documentation, and communication
Research and documentation, along with communication, aim to safeguard and promote the heritage’s value.
Implementation forms:
Inventorying and documentation: Conducted in Hải Phòng, Bắc Ninh, Hưng Yên, and Hà Nội through interviews, video and audio recording, and collection of documents.
Multimedia communication: Produced reports and documentaries broadcast on television and in the press.
Publication and printing: Hà Tĩnh published reference materials and produced DVDs and CDs.
Results and challenges:
Results: Preserved valuable knowledge from elder masters, created a database for research and teaching, and increased social awareness.
Challenges: Activities remain fragmented and lack a comprehensive national system. Documentation in many localities has not been systematically developed. Media coverage has limited impact on younger audiences.
4. Material support, investment, and policy development
These activities create mechanisms and resources for safeguarding.
Implementation forms:
Legal framework: The 2024 Law on Cultural Heritage provides a legal basis. Relevant documents include Government Decrees No. 215/2025/ND-CP and No. 308/2025/ND-CP detailing the management, safeguarding and promotion of intangible cultural heritage.
Practitioner support policies: Issued in Hà Nội, Hà Tĩnh, Hưng Yên, and Nghệ An.
Material support: Investment in musical instruments, costumes, and operational funding for clubs.
Recognition of practitioners: Review and nomination for honorary titles.
Results and challenges:
Results: Strong material and moral incentives strengthened practitioners’ attachment to the art.
Challenges: Funding remains limited, insufficient to resolve livelihood issues.
5. Organisational consolidation and social mobilisation
These measures strengthen community foundations and diversify resources.
Implementation forms:
Club network consolidation: Supported the establishment and maintenance of clubs (Ninh Bình, Quảng Trị).
Social mobilisation: Sought sponsorship from enterprises and individuals (Hà Tĩnh, Quảng Trị) and linked activities with tourism (Hưng Yên).
Results and challenges:
Results: Built solid community foundations and mobilised resources beyond State budgets.
Challenges: Social mobilisation remains modest, and administrative restructuring initially complicated coordination among clubs.
Overall, safeguarding activities in 2022–2025 demonstrated a comprehensive approach—from training and research to performance, communication, and policy development. These measures achieved positive results, especially in proactive provinces such as Hà Nội, Quảng Trị, and Hải Phòng, contributing to the consolidation and gradual revitalisation of the element.
However, results are uneven. Many activities remain “campaign-based,” heavily dependent on State funding, and have not fully addressed core challenges: providing sustainable livelihoods for practitioners, attracting younger generations, and expanding audiences. The next period will require breakthrough measures, focusing on generating economic value from the heritage and innovative approaches, particularly targeting youth engagement.

B.3.c.

Participation of communities, groups or individuals in the safeguarding activities

Describe how communities, groups or, if appropriate, individuals as well as relevant non-governmental organizations have effectively participated, including in terms of gender roles, in the safeguarding measures. Describe the role of the implementing organization or body (name, background, etc.) and the human resources that were available for implementing safeguarding activities.

Participation of communities, groups or individuals in the safeguarding activities

During 2022–2025, the safeguarding of Ca trù was implemented under a cooperative model of “State and people working together,” with diverse participation across multiple levels, creating a comprehensive protection mechanism.
1. The implementation of bearers and their roles
Community: Clubs and master practitioners served as the core actors, directly practising, transmitting, maintaining regular activities, and creating new compositions (e.g., 22 clubs in Hà Nội, 10 clubs in Quảng Trị and Hải Phòng).
Government authorities: State management agencies (Department of Cultural Heritage, Departments of Culture, Sports and Tourism) provided policy advice, coordinated resources, and issued supportive resolutions. Local authorities (communes, wards) offered direct support in funding and venues.
Professional and social organisations: Institutions such as the Viet Nam Academy of Music and the Institute of Culture, Arts, Sports and Tourism provided expert support. Universities—Hanoi University of Culture, Ho Chi Minh City University of Culture, and the School of Interdisciplinary Arts (Vietnam National University, Hanoi)—served as important channels for heritage education. Businesses and social organisations contributed through social mobilisation.
Individuals and spontaneous groups: In major cities, diverse participation included independent art groups, lecturers, and young artists actively promoting the heritage.
2. Gender considerations
Gender issues were addressed in several localities. For example, Hà Nội has flexibly allowed women to assume traditional male roles (such as đàn kép or trống chầu), creating equal opportunities and practically compensating for the shortage of practitioners.
3. Human resources
The main human resources were drawn from the community stakeholders, including master practitioners, club leaders (holding core knowledge and practical skills), and members and learners (practising and successor forces). Professional staff at Departments and cultural centers played managerial and coordinating roles, although many localities still face a shortage of highly specialised personnel.
Overall, the participatory model ensured that safeguarding activities engaged all relevant actors—from the grassroots level to formal institutions—while recognising the importance of gender balance and capacity development. This approach strengthened the community foundation and promoted intergenerational transmission, providing the human resources necessary for sustaining Ca trù in both practice and teaching.

B.3.d.

Timetable

Indicate in a timetable when each activity was implemented.

Timetable

1. Transmission and Training Activities
- Training classes: Held annually (2022-2025) in Bắc Ninh, Hà Tĩnh, Hải Phòng, and Quảng Trị.
- School-based transmission: Conducted each year in Hải Phòng.
- Transmission classes: Opened in Hưng Yên from 2023 through 2025.
- Training workshops: Held in Phú Thọ in 2024.
2. Performance and Seminar Activities
- Ca trù Festivals: Held in Hà Nội in 2022 and 2025.
- Competitions and performances: Staged annually in Bắc Ninh and Quảng Trị.
- Festivals and exchanges: Organized in Hải Phòng and Hưng Yên in 2022, 2023, and 2025.
- Hát nói poetry competitions: Held in Hà Nội in 2023.
- Specialized seminars: Conducted in Hà Nội in 2024.
- Street Festival participation: By Nghệ An in 2023 and 2024.
3. Promotion and Publicity Activities
- Regular promotion: Carried out annually in Hà Nội and Bắc Ninh.
- Television promotion: Broadcast yearly in Hải Phòng (2022-2025).
- Community/tourism performances: Held each year in Hà Tĩnh and Quảng Trị.
- Festival/event performances: Staged annually in Nghệ An.
- Heritage Night performances: In Phú Thọ (2023, 2024).
- Assigned-task performances: Conducted yearly in Phú Thọ.
4. Documentation and Research Activities
• Material collection/documentation: Undertaken annually in Bắc Ninh, Hà Tĩnh, and Hưng Yên (2022-2025).
• Inventorying/documentation: Carried out each year in Hải Phòng.
5. Support and Policy Activities
- Support policies: Issued and implemented annually in Hà Nội, Hà Tĩnh, and Nghệ An.
- Funding for clubs/practitioners: Provided yearly in Hải Phòng and Hưng Yên.
- Instrument/facility provision: Supplied annually in Quảng Trị (2022-2025).
- Plans/policies issued: In Bắc Ninh (2022, 2023).
- Social resource mobilization: Conducted yearly in Hà Tĩnh.
- New clubs established: In Hưng Yên (2023).
- Honorary title proposals: Finalized in Hà Nội (2025).
Continuity: Core activities—including teaching, promotion, funding, and club maintenance—were sustained throughout the period in most localities, demonstrating persistent safeguarding commitment.
Diversity: Activities ranged from large-scale events like festivals and competitions, which created annual highlights and platforms for practitioners, to focused initiatives such as specialized seminars and composition competitions (Hà Nội), reflecting deeper investment in quality and artistic substance.
Annual Focus: The years 2022 and 2025 featured major festivals (Hà Nội). The 2023–2024 period emphasized training, transmission, and documentation. The nomination of practitioners for state honors followed the regular cycle in 2025.
Local Variations: Provinces with stronger foundations (Hà Nội, Hải Phòng, Quảng Trị) maintained denser and more diverse activity schedules. Localities facing greater challenges (Phú Thọ, Nghệ An) had more limited or intermittent activities, primarily focused on festival participation and specific performances.

B.3.e.

Budget expenditures

Provide the detailed amounts of the funds used for the implementation of each activity (if possible, in US dollars), identifying the funding source for each (governmental sources, in-kind community inputs, etc.).

Budget

During 2022–2025, funding for safeguarding and promoting Ca trù primarily came from two sources:
- State budget (main source): covering key activities such as supporting practitioners, organising events, purchasing equipment, and teaching.
- Community contributions and socialisation (supplementary source): used for regular club activities, heritage site maintenance, and small-scale performances.
Expenditures can be grouped into three main categories, with illustrative figures from selected localities (exchange rate reference: 25,000 VND/USD):
a. Direct support for practitioners and clubs
- Monthly allowances for practitioners:
Hà Nội (Resolution 23): People's Artists: 1.6 million VND/month (64 USD); Meritorious Artists: 1.2 million VND/month (48 USD), based on teaching allowances of 500,000/300,000 VND/session, assuming 2–4 sessions/month.
Nghệ An (Resolution 29): Meritorious Artists: 1,000,000 VND/month (40 USD); People's Artists: 1,500,000 VND/month (60 USD).
Bắc Ninh: People's Artists: 1.8 million VND/month (72 USD); Meritorious Artists: 1.5 million VND/month (60 USD).
Hải Phòng: Support for Meritorious Artist Trương Quang Hiến: 1,000,000 VND/month (40 USD).
- Support for club activities:
Hà Nội: New club establishment: 50 million VND/club (2,000 USD); annual operation support: 20 million VND/club/year (800 USD).
Hà Tĩnh (Resolution 98): 30 million VND/club/year (1,200 USD), total 180 million VND for 2 clubs over 3 years (7,200 USD).
Hải Phòng (former Hải Dương): 5 million VND/club/year (200 USD).
Nghệ An: Active clubs: 5 million VND/year (200 USD); new clubs: 30 million VND (1,200 USD).
b. Event organisation, transmition, and equipment purchase
- Large-scale events: Hà Nội: Each Ca trù festival cost over 300 million VND (≈12,000 USD).
- Training and teaching classes: Hà Tĩnh: 40 million VND (1,600 USD) for intensive training and heritage restoration (2022).
- Equipment support: All localities allocated unspecified funds for musical instruments (đàn đáy) and performance costumes (Hà Tĩnh, Bắc Ninh).
c. Other support
Performance support: Hà Tĩnh provided 20 million VND (800 USD) for artists performing at special occasions (2022–2024).
Heritage protection: Hưng Yên allocated 500–600 million VND/year (20,000–24,000 USD) for safeguarding Ca trù and Trống quân.
Teaching and general club activities: Hải Phòng provided approximately 200 million VND (8,000 USD) in total from 2022–2024.
Overall, these funding arrangements reflect a combination of state and community support, covering essential needs for practitioners, clubs, events, training, and heritage maintenance, while ensuring continuity of Ca trù activities over the reporting period.

B.3.f.

Overall effectiveness of the safeguarding activities

Provide an overall assessment of the effectiveness of the activities undertaken to achieve the expected results and of the efficiency of the use of funds for implementing the activities. Please indicate how the activities contributed to achieving the results and whether other activities could have contributed better to achieving the same results. Also indicate whether the same results could have been achieved with less funding, whether the human resources available were appropriate and whether communities, groups and individuals could have been better involved.

Overall effectiveness of the safeguarding activities

The effectiveness of safeguarding Ca trù during 2022–2025 varied across localities and can be classified into three main groups:
High Effectiveness (Successful Models): Hà Nội, Quảng Trị, Hải Phòng, Hà Tĩnh, and Hưng Yên. Activities in these areas contributed to stabilizing, gradually restoring, and developing the vitality of the heritage. This success was supported by strong club networks, practical support policies, and large-scale events that reinforced community engagement.
Low Effectiveness (Critical Status): Nghệ An, Ninh Bình, Phú Thọ, Ho Chi Minh City, and Thanh Hóa. Efforts in these regions were largely reactive, unable to prevent declines in the number and quality of practitioners or to attract the next generation. The heritage here still requires urgent protection measures.
Medium Effectiveness: Bắc Ninh represents a middle case. Activities met basic objectives but lacked depth and failed to create breakthroughs in expanding the heritage’s influence.
1. Effectiveness of Fund Utilization
Overall, funding was focused and practical:
The most tangible impact came from direct support for practitioners and clubs (allowances and activity funding), which helped maintain the core workforce.
Funding for large-scale events (festivals and competitions) created platforms for practice, raised public awareness, and discovered new talent, producing positive social effects.
However, resources remain limited compared to needs, and sustainable livelihood for practitioners has not been fully addressed.
2. Assessment of Key Activities and Recommendations
Transmission activities are crucial for attracting the next generation. Integrating Ca trù into schools proved to be a correct approach.
Recommendation: Expand intensive community-based classes under direct guidance of master artists and expert consultation; systematically integrate Ca trù into the general music education curriculum.
Policy development and support provide a legal framework and financial incentives.
Recommendation: Diversify resources through stronger socialisation and community funding mechanisms.
Promotion and practice environment sustain the heritage’s presence.
Recommendation: Develop a structured digital communication strategy targeting youth; strengthen connections with cultural tourism to create experiential products with economic value, contributing to sustainable livelihoods.
3. Assessment of Human Resources and Community Participation
Existing human resources (artists, club leaders) possess relevant knowledge and skills but are aging and experiencing a serious shortage.
Communities actively participate in practice and teaching but are mostly involved in implementation rather than planning, monitoring, and evaluation.
Recommendation: Empower communities to participate in decision-making on resource allocation, enhancing ownership and effectiveness.
In conclusion, safeguarding activities between 2022 and 2025 have consolidated organizational and policy foundations. To achieve sustainable results, focus should shift to more in-depth activities: investing in high-quality formal training and developing livelihood models linked to the heritage, ensuring that Ca trù continues to thrive and attract new generations.

C

Duong

C. Update of the safeguarding measures

C.1.

Updated safeguarding plan

Please provide an update of the safeguarding plan included in the nomination file or in the previous report. In particular provide detailed information as follows:

1. a. What primary objective(s) will be addressed and what concrete results will be expected?
2. b. What are the key activities to be carried out in order to achieve these expected results? Describe the activities in detail and in their best sequence, addressing their feasibility.
3. c. How will the State(s) Party(ies) concerned support the implementation of the updated safeguarding plan?

Updated safeguarding plan

Based on the evaluation of the 2022-2025 implementation period, participating localities have proposed a new strategic orientation for the Ca trù Singing safeguarding plan. This involves shifting the core focus from "emergency safeguarding" to "sustainable promotion".
a. Main Objectives and Expected Outcomes
The new objectives concentrate on three pillars:
Consolidating human resources: Training a quality next generation of practitioners (in Bắc Ninh, Hải Phòng) and reviving endangered performance techniques (in Hà Nội), aiming for a rejuvenated and highly skilled practitioner base.
Connecting with contemporary life: Raising community awareness and integrating the heritage into tourism and education (in Hà Tĩnh, Quảng Trị), transforming Ca trù into a distinctive cultural-tourism product more familiar to the public, especially youth.
Strengthening institutions and infrastructure: Establishing fixed performance spaces (in Hà Nội), perfecting support policies (in Hải Phòng), and developing provincial-level master safeguarding projects (in Thanh Hóa, Nghệ An) to create a stable, long-term environment for the heritage.
b. Key Planned Activities and Feasibility Assessment
The new plan builds upon proven approaches while introducing strategic innovations:
Quality enhancement group: Organising in-depth transmission workshops (Hà Nội), compiling standardized teaching materials, integrating Ca trù into formal/experimental school curricula (Quảng Trị, Hồ Chí Minh City). High feasibility, contingent on close coordination between Culture and Education sectors and stable resources.
Space expansion group: Developing fixed, professional performance venues (Hà Nội) and integrating Ca trù into cultural tourism itineraries (Hưng Yên, Quảng Trị). Feasibility: Medium to High, depending on partnerships with tourism businesses and the ability to create appealing products.
Research and institutionalisation group: Conducting specialised studies (Bắc Ninh), formulating provincial-level master safeguarding projects (Nghệ An), and advocating for specific support policies (Phú Tho). Feasibility: Medium, requiring strong advisory capacity and attention from competent authorities.
c. Supporting Role of the State
The State plays a crucial role through:
Policy and legal support: Specifying safeguarding mechanisms under the 2024 Cultural Heritage Law; supporting master practitioners, clubs, and the development of heritage management and protection projects.
Resource support: Allocating budgets from the National Target Programme on Cultural Development; deploying experts to assist in transmission; organising periodic seminars and festivals for networking and experience sharing.
Promotional support: Facilitating Ca trù participation in international cultural exchange programmes, elevating its profile, and seeking international cooperation opportunities.
The updated plan demonstrates a clearer strategic vision, moving from reactive measures to proactive risk prevention and sustainable value creation. Its success will depend on enhanced regional linkage (to avoid fragmentation), long-term resource commitment, and the promotion of socialisation (community/private sector involvement) to alleviate pressure on the state budget.

C.2.

Timetable for future actitivies

Provide a timetable for the updated safeguarding plan (within a time-frame of approximately four years).

01574

Timetable

The following section details the planned activities by category across the 2026-2029 period.
1. TRANSMISSION & ADVANCED TRAINING ACTIVITIES
- Organizing intensive/advanced transmission workshops each year in Bắc Ninh, Hà Nội, Hà Tĩnh, Hải Phòng, and Hưng Yên.
- Conducting general training, transmission, and capacity-building courses annually.
- Integrating transmission into school curricula every year in Hải Phòng.
- Compiling dossiers for state honorary titles for practitioners, scheduled for 2029.
2. RESEARCH, DOCUMENTATION & POLICY DEVELOPMENT ACTIVITIES
- Reviewing and systematizing archival materials each year in Hải Phòng and Hưng Yên.
- Enhancing scientific research annually in Bắc Ninh.
- Developing teaching materials and instructional videos every year in Hà Nội.
- Conducting research and formulating supportive policies annually in Hải Phòng and Hưng Yên.
- Develop a Provincial Master Safeguarding Plan/Project in Nghệ An, scheduled for completion in 2026.
3. PERFORMANCE ORGANIZATION & EXCHANGE ACTIVITIES
- Organizing competitions, festivals, and exchange events will be held annually in Bắc Ninh.
- Local Ca trù Festivals in Hà Tĩnh and Hưng Yên are planned for 2026 and 2028.
- The major Ca trù Festival in Hà Nội, if following its 3-year cycle, is slated for 2028.
- Seminars to revive specific performance styles (thể cách) will be held in Hà Nội in 2026 and 2028.
- Participation in the National Ca trù Festival will align with the central authority's schedule.
4. COMMUNITY DEVELOPMENT & INFRASTRUCTURE ACTIVITIES
- Establishing new clubs is planned annually from 2026 to 2029 in Bắc Ninh and Hưng Yên.
- Constructing a dedicated performance space in Hà Nội is scheduled for 2027-2029.
- Restoring the Worship House of Ca Công in Lỗ Khê (Hà Nội) is an ongoing project with annual activities through 2030.
- Building/upgrading cultural spaces will occur each year in Bắc Ninh.
5. PROMOTION, DISSEMINATION & PRACTICE MAINTENANCE ACTIVITIES
- Strengthening promotion and dissemination efforts every year in Bắc Ninh and Hưng Yên.
- Conducting television broadcasting campaigns annually in Hải Phòng.
- Maintaining regular club activities and performances each year in Hà Tĩnh.
- Performing Ca trù at the Đền Cuông Festival annually in Nghệ An.
The core activities, including transmission, promotion, maintaining club operations, and research, are sustained throughout the four-year period, demonstrating a sustainable and stable safeguarding strategy.
2026 serves as the launch and foundational year, focusing on developing the provincial master plan (Nghệ An), initiating key training classes, and commencing large-scale research and documentation projects.
2027-2028 represent the intensive implementation phase, accelerating infrastructure development (e.g., the dedicated performance space in Hà Nội), establishing new clubs, and organizing major festivals and events. In-depth training and the revival of specific performance styles (thể cách) are also intensified.
2029 continues to maintain regular activities while shifting focus towards consolidation and review, aiming to assess and conclude the objectives set for the four-year cycle.
Overall, the proposed timeline appears feasible, with a reasonable allocation of both short-term and long-term activities.

C.3.

Budget for future activities

Provide the estimates of the funds required for implementing the updated safeguarding plan (if possible, in US dollars), identifying any available resources (governmental sources, in-kind community inputs, etc.).

Budget

Although a detailed budget for the next four-year period has not yet been formulated, the participating localities have agreed to continue the combined funding model of state and social resources, with the following specific structure:
1. State Budget (Primary and Stable Resource):
This continues to be identified as the main resource, with clearly defined allocation levels:
Central Budget/Ministry of Culture, Sports and Tourism: Supports large-scale projects, deploys experts, and organizes national-level festivals and performance events.
Provincial/Municipal Budget: Maintains existing support policies (e.g., in Hà Nội, Hưng Yên) and funds province-level activities such as festivals, training workshops, and equipment procurement.
Commune/Ward Budget: Supports regular grassroots activities and minor repairs to community practice spaces (e.g., in Hải Phòng, Nghệ An).
2. Socialized and Community Resources:
Aimed at supplementing funding and gradually reducing reliance on the state budget, this includes:
Internal Contributions: Club members contribute funds to cover costs of regular activities.
External Sponsorship: Mobilizing sponsorship from businesses, organizations, and individuals for specific performances, costume/instrument procurement, or training scholarships (e.g., in Hà Tĩnh, Quảng Trị).
Tourism Revenue: Generating income from integrating Ca trù into community-based tourism tours and itineraries (e.g., in Hưng Yên, Quảng Trị).
This financial structure aims to ensure stable resources for core safeguarding activities while progressively promoting the autonomy and initiative of the community and society.

C.4.

Community participation

Please describe how communities, groups and individuals, as well as relevant non-governmental organizations have been involved, including in terms of gender roles, in updating the safeguarding plan, and how they will be involved in its implementation.

00234

Community participation

The process of updating the Ca trù safeguarding plan for the next phase incorporated community consultation. A notable example is Hà Nội, which proactively conducted surveys and solicited feedback from district cultural departments, clubs, and master practitioners to shape its plan. This approach ensures the plan's practicality and alignment with grassroots needs. Thanh Hóa recorded community input through their proposals for support policies, demonstrating an indirect feedback channel.
Anticipated Roles of Stakeholders in Plan Implementation:
Core-Bearing Community (Clubs, Master Practitioners): Continue to be identified as the central force and primary agents responsible for core activities: transmission, practice, performance, creation, and maintaining regular club operations. Some localities (e.g., Bắc Ninh) also expect them to participate in monitoring implementation.
Government Authorities at All Levels (Departments of Culture, Sports and Tourism/Departments of Culture and Sports, People's Committees, etc.): Serve a supportive, facilitative role by enacting policies, allocating funds, organizing major events, and providing logistical and infrastructural support.
The plan also expands participation to include:
Educational Institutions: Acting as a channel for heritage education and outreach to younger generations (Hồ Chí Minh City, Quảng Trị).
Researchers and Specialists: Providing expert advice and technical consultation (Hà Nội, Bắc Ninh).
Private Enterprises: Offering financial support, performance venues, and contributing to tourism development (Quảng Trị).
Regarding Gender Roles in Plan Implementation: Hà Nội encourages the participation of women in roles traditionally held by men, such as instrumentalists (kép đàn) and rhythm/praise drummers (trống chầu). This is not only a gender equality measure but also a practical solution to address practitioner shortages, implemented with due respect for the art form's integrity.

C.5.

Institutional context

Please report on the institutional context for the local management and safeguarding of the element inscribed on the Urgent Safeguarding List, including:

1. a. the competent body(ies) involved in its management and/or safeguarding;
2. b. the organization(s) of the community or group concerned with the element and its safeguarding.

2005-09-20

Institutional context

a. Government Agencies Involved in Management and Safeguarding
The Department of Cultural Heritage (Ministry of Culture, Sports and Tourism) is the state management agency for cultural heritage at the national level.
The People's Committees of the provinces/cities of Hà Nội, Bắc Ninh, Hà Tĩnh, Hải Phòng, Hồ Chí Minh City, Hưng Yên, Nghệ An, Ninh Bình, Phú Thọ, Quảng Trị, and Thanh Hóa have the role of providing overall direction and approving major policies and plans.
Local Management Agencies: The provincial/municipal Departments of Culture, Sports and Tourism or Departments of Culture and Sports.
Coordinating/Implementing Agencies: These include subordinate units of the Departments (such as Cultural Centers, Theaters), commune/ward People's Committees, and other relevant departments.
b. Community Organizations
These consist of Ca trù Clubs and Guilds (giáo phường) in the 11 provinces and cities where the art of Ca trù singing is practiced.

D

Thi Anh

D. Participation of communities in preparing this report

Describe the measures taken to ensure the widest possible participation of the communities, groups and, where applicable, individuals concerned as well as relevant non-governmental organizations during the process of preparing this report.

Participation of communities in preparing this report

In preparing this report, the provinces and cities cooperated with communities to varying degrees in gathering information. The approaches can be classified into two main forms:
1. Proactive Surveys and Direct Interviews: This is the most systematic method, applied in several localities such as Hà Nội and Hà Tĩnh. The local management agencies (Departments of Culture, Sports and Tourism / Departments of Culture and Sports) directly conducted field surveys and interviewed master practitioners and club members using specific criteria. Notably, Hà Nội issued an official written request for information.
2. Consolidation from Existing Activities and Reports: This was a more prevalent method. Information was gathered indirectly through:
Regular activities such as club meetings, training workshops, and exchange events (e.g., in Hải Phòng, Nghệ An).
Reports from grassroots authorities (commune/ward People's Committees) and practicing entities (e.g., Theaters, Cultural Centers), as seen in Phú Thọ and Thanh Hóa.
The process of providing financial support and professional guidance to clubs also established a communication channel for information collection (e.g., in Hải Phòng).

E. Signature on behalf of the State Party

The report should be signed by an official empowered to do so on behalf of the State, and should include his or her name, title and the date of submission.

Name

Hoàng Đạo Cương

Title

Deputy Minister of Culture, Sports and Tourism

Date

15-12-2025

Signature

Upload signed version in PDF

Report on the status of an element inscribed on the list of intangible cultural heritage in need of urgent safeguarding

Cover sheet

State Party

Name of State Party

Date of deposit of the instrument of ratification, acceptance, approval or accession

This information is available online.

Date of deposit of the instrument of ratification, acceptance, approval or accession

20-09-2005

Element inscribed on the Urgent Safeguarding List that is the subject of this report

Name of element

Ca trù singing

Inscribed in

2009

Reporting period covered by this report

Please indicate the period covered by this report.

Reporting period covered by this report

10-2009 -

Other elements inscribed on the Urgent Safeguarding List, if any

Please list all other elements from your country inscribed on the Urgent Safeguarding List, together with the year of inscription; for multinational elements, please indicate the other States concerned.

Executive summary of the report

Please provide an executive summary of the report that will allow general readers to understand the current status of the element, any positive or negative impacts of inscription, the implementation of safeguarding measures during the reporting period and their possible update for the following years.

Executive summary of the report

The inscription of Ca trù singing (hereby referred to as Ca trù) on the Urgent Safeguarding List has raised the awareness of the whole society on the values and significance of the element and of its safeguarding. A number of safeguarding measures have been implemented in order to help revive the element and to bring it out of the urgent need for safeguarding. Specific measures include:
• Amending the Law on Cultural Heritage (2009) and circulating sub-law legal documents, including the Circular on preparation of intangible cultural heritage inventory and nomination for the National intangible cultural heritage List.
• Drafting of the Decree on the recognition of “People’s Master Artist” and “Excellent Master Artist” titles for intangible cultural heritage bearers and related incentive policies for intangible cultural heritage artists and artisans, including those of Ca trù.
• Inventorying, updating information on the viability of Ca trù and inscription of Ca trù into the National intangible cultural heritage List (first round in 2012) for safeguarding at national level.
• Promoting Ca trù on mass media channels, thus more people are aware of and appreciate Ca trù.
• Organizing Ca trù festivals at various scopes and levels: National Ca trù events in 2011 and 2012 attracted a large number of artists from Ca trù clubs of 15 provinces across the country. A festival of Ca trù was organized in Hải Dương province and a number of other regular indoor and outdoor events and performances open freely to public in Hà Nội, so on.
• Ca trù artists and clubs have been being supported with their teaching activities. The Association of Vietnamese Folklorists has already awarded "Folk Master Artist" (or Nghệ nhân dân gian in Vietnamese) title for Ca trù artists in Bắc Ninh and Hải Dương provinces. Many new Ca trù clubs have been established in Bắc Giang province.
• The Action Plans for the Safeguarding of Ca trù for 2010-2020 in Hải Dương and Hà Tĩnh provinces have been adopted and being implemented. A plan of protection and promotion of Ca trù has been integrated into the Project on Preservation and Promotion of Ethnic Cultural Heritage in 2011 – 2020 in Bắc Giang province.
• Ca trù has been introduced to a wider community of domestic and internernational audience. Up to now, there are over 60 active Ca trù clubs. They organise regular activities, performances, and exchanges of activities and artists among themselves for the maintenance and transmission of this valuable intangible cultural heritage element. In addition, a number of schools introduce Ca trù in their regular curiculum for students.
In sum, with joint effort of various governmental management and professional agencies, together with active participation of communities, many of the objectives of safeguarding and promoting of the values of Ca trù have gained significant achievement: through different means and forms of dissemination and promotion, including organization of Ca trù festivals at all levels and collaboration with tourism sector to introduce and bring the element to tourists inside and outside of Vietnam. Consequently, communities and the wider society understand better the values and meaning of Ca tru; various old melodies and dances of Ca tru have been revived. Bigger number of people and groups in the communities have access to and practice Ca trù on regular basis.
However, the safeguarding of Ca trù still faces a number of challenges due to the fact that many among the master artists, who can transmit Ca tru are reaching their old age; local officials are limited in knowledge of traditional music and lack of ICH management experiences; lack of budget and favarable conditions for Ca tru practices at various Ca tru clubs.

Contact person for correspondence

Provide the name, address and other contact information of the person responsible for correspondence concerning the report.

Title (Ms/Mr, etc.)

Mr

Family name

Nguyen The

Given name

Hung

Institution/position

Department of Cultural Heritage (DCH)/Director

Address

51 Ngo Quyen Street, Hoan Kiem District, Hà Nội, Viet Nam.

Telephone number

(84-four) 39436131 or (84) 913510142

Fax number

(84-four) 39439929

E-mail address

nthung@dsvh.gov.vn

Other relevant information

Alternative contact: Ms. Nguyen Thi Thu Trang, Vice Head of ICH Management Division, DCH. Email: trangnguyen@dsvh.gov.vn; Tel.: (84-four) 39438025 or (84) 904346000.

B. Status of element inscribed on the Urgent Safeguarding List

Refer to the nomination file or to previous reports, if any, as the basis for reporting on the current status of the element, and report only on relevant changes since the date of inscription on the List or since the previous report. Nomination files, specific timetables and earlier reports, if any, are available at https://ich.unesco.org or from the Secretariat, upon request.

The State Party shall pay special attention to the role of gender and shall endeavour to ensure the widest possible participation of the communities, groups and, where applicable, individuals concerned as well as relevant non-governmental organizations during the process of preparing this report, and is asked to describe how it has done so in point D below.

B.1.

Social and cultural functions

Please explain the social and cultural functions and meanings of the element today, within and for its community, the characteristics of the bearers and practitioners, and any specific roles or categories of persons with special responsibilities towards the element, among others. Attention should be given to any relevant changes related to inscription criterion U.1 (‘the element constitutes intangible cultural heritage as defined in Article 2 of the Convention’).

Social and cultural functions

Ca trù is a traditional art form with unique importance in the Vietnamese society. It holds significance in many rituals, belief practices, literature and other traditions that embodied the spiritual and philosophical system of the Viet people. Recital melody (hát nói) is unique form of traditional Vietnamese poetry that was born out of Ca trù and for centuries, held pertinent position in Vietnamese literature genre of logographic script (chữ Nôm).
Initially, Ca trù was often performed in village communal space during ceremonies worshipping the village tutelary god. Later on, it was performed in royal palaces and at private houses, in “singing bars” (ca quán) and at singing competitions (known as hát thi). Ca trù became a fully developed music genre in the 15th century.
The various forms of Ca trù is performed in two types of ocasions according to their cultural and social functions:
- Religious function: religious singing at worship locations such as temples, pantheons, and ancetral houses. These ceremonies acted as social practices and hence, there are also other important ceremonial instruments such as gong (cồng) and main drum (trống cái).
- Artistic function: singing ocations organised at private houses or at pantheons for entertainment purposes such as birthdays, weddings, etc. Besides, there are also performances organised at private functions for Ca trù admirers and those who were curious about the art as well as for tourists.
Hát thi (competitive singing) and hát chơi (singing for entertainment) performances are going through many changes in term of forms and functions. In the past, competitive Ca trù singing only took place in specific festivals. Nowadays, they are organised in various forms and occasions, mostly through local Ca trù festivals organised by national and provincial cultural management agencies and professional associations at various levels (communal, district, provincial, regional or national) with the participation of Ca trù groups and clubs from all around the country.
Only performed on stage today, hát chơi has become a pure performing art rather than a daily entertainment for the aesthetic enjoyment of upper and middle classes as it did in the past. The quan viên cầm chầu, or praise drummer, is no longer part of the participating audience. In addition, Ca trù clubs organise regular activities periodically. Some clubs, such as Thăng Long Ca trù Guild, Thái Hà Ca trù Club, etc. not only organise activities for their members but also carry out regular performances for the wider audience or upon request, collecting entrance fee in order to cover part of the club's activities. In these cases, the guild leader or head of the club plays an important role in maintaining Ca trù practices.
Furthermore, Ca trù has also been performed on stage to introduce and to promote the art form widely to the public at home and abroad.

B.2.

Assessment of its viability and current risks

Please describe the current level of viability of the element, particularly the frequency and extent of its practice, the strength of traditional modes of transmission, the demographics of practitioners and audiences and its sustainability. Please also identify and describe the threats, if any, to the element's continued transmission and enactment and describe the severity and immediacy of such threats, giving particular attention to any strengthening or weakening of the element’s viability subsequent to inscription.

Assessment of its viability and current risks

Although Ca trù is no longer performed regularly and widely as in the past, its viability is maintained among its own bearers and in the wider society.
Since UNESCO’s recognition, the number of active Ca trù clubs has increased from 20 at the time of the nomination file submission to 60 at the present with a growing number of participants. Until now, there are 23 Ca trù master artists and nearly 500 people who can sing Ca trù. Provinces such as Hải Dương, Nghệ An, Hà Tĩnh, Bắc Giang, Hưng Yên have issued incentivised policies to Ca trù practitioners and master artists.
Government agencies, local communities and clubs often organise transmission activities with the participation of master artists for children and community members. Traditional teaching methods are maintained in combination with Western notation method, aided by audio and visual tools for self-teaching and learning that allows Ca trù to reach wider audience.
A significant body of knowledge on traditional forms of Ca trù has been collected and revived. Traditional performing spaces have been restored. Master artisits recieved recognition. These are all indicators of increased awareness and appreciation for Ca trù.
Challenges faced by Ca trù include:
- Decreasing number of artists who can transmit the art of Ca tru. Among 23 master artists, 17 are already in old ages. In April 2014, artist Nguyễn Thị Chúc passed away. Only a small number of individuals and family lines still carry out this practice. Recently, there have been a number of accelerated courses to equip young artists with the basics of Ca trù for commercial performances. However, safeguarding effort has been focusing too much on quantitative objectives rather than quality. Ca trù has not been formally introduced as a specialisation in music and art institutions.
- Diminising in the diversity of performing styles. The limited number of capable artists and performing groups leads to a gradual homogenisation of Ca trù performing style towards the dominant Hà Nội style.
- Many Ca trù clubs, most of those were established on voluntary and self-financed basis, struggle to maintain their operation. Hà Nội had 15 Ca trù clubs in 2009 yet only 11 remain in 2013. To make ends meet, some practitioners had to give up their career in Ca trù to seek other jobs. Some clubs have to adopt more popular music, such as quan họ , besides Ca trù.
- There is little interest in the wider society in Ca trù for its complicated lyrics, the use of Sino-Vietnamese (Hán Việt) and its distinct musical forms or melodies (thể cách). Few remaining quan viên, or praise drummers, from the audience who can participate in the performance. Majority of young generation have little interest in this art form.

B.3.

Implementation of safeguarding measures

Please report on the safeguarding measures described in the nomination file, and previous report, if any. Describe how they have been implemented and how they have substantially contributed to the safeguarding of the element during the reporting period, taking note of external or internal constraints such as limited resources. Include, in particular, information on the measures taken to ensure the viability of the element by enabling the community to continue to practise and transmit it. Include the following detailed information concerning the implementation of the set of safeguarding measures or safeguarding plan:

B.3.a.

Objectives and results

Indicate what primary objective(s) were addressed and what concrete results were attained during the reporting period.

Objectives and results

After Ca trù was inscribed on the UNESCO List, Viet Nam has set the overarching goal of reviving the art form and lifting it off the status of urgent safeguarding. Specific objectives include:
1. To raise awareness of communities and of the whole society about the values and importance of the safeguarding of Ca trù;
2. To revive old repertoires and to maintain the practice of Ca trù among communities;
3. To enhance the values of Ca trù in social and spiritual life of Viet Nam through Ca trù festivals and performances; and
4. To promote tourism in sustainable development.
After four years of implementation of the above objectives through specific safeguarding activities and projects, Ca trù has gradually been revived. Specific achievements include:
- The 2012 inventory result in 10 out of 15 provinces indicates there were 62 Ca trù clubs, 17 masters and 23 artists, and 493 practitioners.
- Two melodies, dedicated to the worship of Ca trù patriarchs, were collected in Hải Dương Province.
- Some clubs such as Hà Nội Ca trù Club, Thăng Long Ca trù Guild have established clear direction with regular activities, organizing performances with ticket sale to maintain stable operation, attracting young audience and becoming familiar venues for tourists in Hà Nội, and touring performances domestically and internationally.

B.3.b.

Safeguarding activities

List the key activities that were carried out during this reporting period in order to achieve these expected results. Please describe the activities in detail and note their effectiveness or any problems encountered in implementing them.

Safeguarding activities

- Increasing awareness of the communities and of the whole society on the values and significance of the safeguarding of Ca trù.
Inventorying and documentation of Ca trù were strengthened. The awareness of artists, practitioners and the communities on the safeguarding of the element was enhanced through their participation in inventory activities. The gained knowledge on Ca trù values increased the sense of pride and appreciation among communities. Particular results achieved include: documentation and inventory of traditional melodies, dance, instruments, books and other materials, objects relating to Ca trù; identifying artists, updating information and data on Ca trù in the cultural heritage database of the Institute of Musicology, Provincial Department of Culture, Sports and Tourism of Hải Dương, Nghệ An…
For the revitalisation of values and cultural functions of Ca trù, the responsible authorities and government agences have conducted research, dissemination and promotion activities inside and outside the country. Scientific conferences, studies, and researches have been implemented (Institute of Musicology, Quảng Bình province). Materials on Ca trù have been widely disseminated including: translation of Hán Nôm (Sino-Vietnamese) materials on Ca trù, DVD “Ca trù – a cultural heritage of Viet Nam”, Book “Ca trù Hà Nội in the past and the present” (2010) by Nguyễn Đức Mậu, “Ca trù Hải Dương” (2010), Documentary “Ca trù – the soul of Viet Nam” (2010), documentary CD “Ca trù in Hải Dương province” (2012) and “Ca trù clubs of Hải Dương” (2012).
Supported Ca trù clubs with their regular activities and stable operation, supported domestic and international research projects on Ca trù. Clubs receive not only domestic audience but also tourists and listeners from abroad, which indicates the increased interest in this art form, providing motivation and incentives for artists and practitioners to continue their work. There have been exchanges and performaces to promote Ca trù widely in Vietnam and abroad such as: series of performances and explaination of Ca trù organised for college and university students, for people living in Mỹ Đình and Cầu Giấy districts (Hà Nội) in 2012; performing troupes from Thái Hà Ca trù Club (Hà Nội), Hà Nội Ca trù Club, Tứ Kỳ Ca trù Club (Hải Dương) performed in Shanghai (China) at the 42th International Conference of the International Council for Traditional Music (ICTM) in 2013; singers from Thăng Long Ca trù Guild were invited to teach Ca trù at a university in Taiwan and to introduce Ca trù to university students of Cleveland, Ohio, USA in 2013, Ca trù performances organised in France, Australia, Korea, Thailand, etc.
- Revitalisation of old Ca trù repertoires and maintaining its viability in the communities
Through studies and collections of various govenrment agencies, clubs, and individuals, many traditional songs and melodies have been revitalised such as bài bông (disposing flowers) song and dance by master artist Phó Thị Kim Đức, the full performance of Hát Cửa đình (singing at the village’s communal house) with the full set of instruments and old melodies and dances (by Thăng Long Ca trù Guild). Besides these traditional repertoires, some Ca trù clubs have reintroduced the art to its orginal performing spaces at village communal houses, in traditional worshiping spaces.
Government agencies at all levels have provided support to Ca trù clubs to revitalise and transmit Ca trù to community members including: organising transmission classes taught by master artists in Hưng Yên, Hải Dương, Hà Nội, Quảng Bình, Bắc Ninh, Thái Bình, Bắc Giang, Phú Thọ, Vĩnh Phúc…; providing print and audio-visual materials on Ca trù as references for the revitalisation of the Hát Cửa đình (Hải Dương); compiling and choreographing traditional repertoires such as Bài bông and Tứ linh dances (Hà Nội). Besides regular practice and performaces, Ca trù clubs also organise transmission classes to other clubs. For example Thái Hà Ca trù Club shared and taught its 5 special melodies to 20 other clubs around the country.
Collaboration between government authorities and communities and groups who are traditional bearers to introduce Ca trù in schools (Nghệ An and Thanh Hóa provinces), organising classes of Ca trù and integrating Ca trù in the curriculum of art and cultural institutions in the provinces (Hải Dương and Hưng Yên);
- Promotion of the values of Ca trù in the spiritual and social life of communities through festivals and performances
In 2011, Institute of Musicology organised a National Ca trù Festival with participation of 23 troups from 14 provinces/cities. The festival showcased traditional repertoires in their original performing spaces such as: Hát Cửa đình, Hát Cửa quyền, Hát Chơi và Hát Thi. There are also regular Ca trù festivals at provincial, city, and district levels as well as performances by Ca trù clubs (Hà Nội, Hải Dương, Nghệ An, Hà Tĩnh…).
The Institute of Musicology will organise the Second National Ca trù Festival in August 2014.
Ca trù festivals and Ca trù clubs’ practice and performances all indicate the viability and reach of Ca trù to the audience and to a broader society. Through these activities, many old melodies in danger of disappearing such as Hát thờ, Hát cửa đình, Hát cửa quyền, Hát Ca quán have been inventorised and safeguarded. Ca trù groups are also encouraged to be creative and to strengthen their capacity. For instance, Hồ Chí Minh city collaborated with Phú Thọ province to organise a writing workshop to create new rylics for old melodies.
- Promotion of tourism for sustainable development
Some Ca trù clubs have regular performances for both domestic and international audience, many among those are tourists (such as Hà Nội Ca trù Club, Thăng Long Ca trù Guild, Thái Hà Ca trù Club in Hà Nội). Particularly, Thái Hà Ca trù Club with its 7 generations of Ca trù practitioners and artists have attrached a large amount of audience.
Restoration of heritage sites relating to Ca trù was conducted in Phú Thọ, Bắc Ninh, Hà Tĩnh, Thái Bình. These sites served as venues for heritage practitioners, tourists and Ca trù admirers to learn, enjoy, and understand better about this art form.

B.3.c.

Participation of communities, groups or individuals in the safeguarding activities

Describe how communities, groups or, if appropriate, individuals as well as relevant non-governmental organizations have effectively participated, including in terms of gender roles, in the safeguarding measures. Describe the role of the implementing organization or body (name, background, etc.) and the human resources that were available for implementing safeguarding activities.

Participation of communities, groups or individuals in the safeguarding activities

- Ca trù clubs remain regular activities, practice, performance and participate actively in specialised events as well as entertainment programmes during holiday seasons. Club members contribute financially on voluntary basis for club operation. Clubs also receive financial support from local and national government agencies and private companies. The Vietnamese Institute of Musicology provided funding for transmission class for three clubs in Hưng Yên, while the Department of Performing Arts (Ministry of Culture, Sports and Tourism), together with individuals and businesses in and outside the province donated musical instruments and costumes. In Hà Tĩnh, the Society and Family Newspaper, Minerals and Trade Corporation of Hà Tĩnh and a number of individuals in the area provided funding to Ca trù clubs in the province.
- Master artists are often invited to teach the next generation of practitioners in Ca trù clubs. Most of these transmission courses are provided for free. Many individuals have had significant contribution to the transmission, safeguarding, and promotion of Ca trù such as Mr. Nguyễn Nghĩa Nguyên for establishing a Ca trù club (passed away in 2011), Mr. Trần Hải (passed away in 2012) for teaching đàn đáy (the three-stringed lute) for 10 years from 2001 to 2011, Mr. Nguyễn Quang Phiệt for establishing and maintaining a club from 2006 to 2011, Mr. Cao Xuân Thưởng for composing songs and mentoring club activities with his extensive knowledge of Ca trù, singers Cao Thị Bích Lâm and Nguyễn Thị Mai for teaching many songs to young students, instrumentalist Nguyễn Đình Phúc and drummer Nguyễn Minh Tiến for their significant contribution to transmission activities, and so on.
Hà Nội Ca trù Club has 18 practitioners and master artists, 12 of whom are able to participate in transmission activities. Every Thursday and Sunday afternoon, the club provides free classes to ten students at the residence of master artists. Thái Hà Ca trù Club currently has 13 members, among whom three master artists are capable of teaching. The club has organised transmission courses to other Ca trù clubs all around the country since 2002. These classes, often with six students, are organised on a regular basis, every Sunday afternoon at the artists’ residence. The club also has three foreign students from England, France, and the United States of America, who are also working on their master theses on Ca trù. Thăng Long Ca trù Guild currently has 14 members including three master artists, two among whom can teach singing, playing the lute, and drumming. After several years of teaching and performing free of charge, the club has now introduced a ticketed regular performance schedule for visitors, three times per week, with the audience interaction and English translation, thus becoming a favourable venue for tourists in Ha Noi.
- A number of clubs also promote their activities on the Internet such as Thăng Long Ca trù club’s website www.catruthanglong.com or a Facebook page of Hà Nội Ca trù Club: www.facebook.com/CatruHanoiClub.

B.3.d.

Timetable and budget

Indicate in a timetable when each activity was implemented and the funds that were used for its implementation, identifying the source of funding for each (governmental sources, in-kind community inputs, etc.).

Timetable and budget

The safeguarding activities were carried out as follows::
Activities Institutions Period Budget
VNĐ
Annual conferences on Inventory of Intangible Cultural Heritage Vietnamese Institute of Musicology 2010-2012 259,700,000
National Ca trù Festival 2011 590,650,000
Transmission classes for Ca trù practitioners 2012 244,000,000
Ca trù introductory classes in Hưng Yên province 2012 150,000,000
Ca trù introductory classes in Hải Dương province 2013 235,000,000
Publications and promotional materials 96,000,000
Public sessions on introduction and promotion of Ca trù 2012 40,000,000
Research project on “Ca trù in different performing contexts” 2012 15,000,000
Publication of the book “Ca trù in the past and at present” Department of Culture, Sports and Tourism of Hà Tĩnh province 2012 20.000.000
The first Cổ Đạm Ca trù Festival in Nghi Xuân District 2009 20.000.000
Supported activities of Ca trù clubs Department of Culture, Sports and Tourism of Hà Tĩnh province and supported sources 2009-2012 130.000.000
Supported artists in transmission activities Department of Culture, Sports and Tourism of Hà Tĩnh province 2009-2012 120.000.000
Supported artists to attend the National Ca trù Festivals 100.000.000
Published the book “Ca trù – volume II” Supported source in Hà Tĩnh province 2013 30.000.000
- Beside the above indicated budget, other provinces and cities where Ca trù is practiced also allocated part of their state budget to inventory activities, restoration of heritage sites, transmission and promotion activities, etc. However, specific amount is not available at the time of this report.
- Ca trù clubs often operate based on membership contribution and support from individuals and organisations with interests on Ca trù and from performance fees.
Particularly, Thăng Long Ca trù Guild (Hà Nội) has successfully raised funding from various sources including state and private organisations and individuals, such as the Norwegian Music Information Centre - MIC (2012). As a result, Meet Viet Nam awarded ten annual Odon Vallet scholarships for young singers. Hà Nội Old Quarter Management Board has committed to facilitate the performing venue for the club from 2010 to 2015. FPT University funded two scholarships for English learning from 2010 to 2011. The company 3inetworks supported the club in developing a website (2008-2011). The Vietnamese Culture Preservation Company funded 10 scholarships for learning Han Script (2008), and so on.
Giáo Phòng Ca trù Club, Đào Đặng Ca trù Club (Hưng Yên) received support from individuals and businesses in and outside the province, including instruments and sound system. Contribution from members of Đào Đặng Ca trù Club makes up funding of VND 38,000,000.
In February 2014, Department of Culture, Sports and Tourism of Ha Noi supported 5 sets of musical instruments for 5 Ca tru Clubs including: Ha Noi Ca tru Club, Thai Ha Ca trù Club, Thăng Long Ca trù Guild, Lỗ Khê Ca trù Club and Chanh Thôn Ca trù Club.

B.3.e

Overall effectiveness of the safeguarding activities

Provide an overall assessment of the effectiveness of the activities undertaken to achieve the expected results and of the efficiency of the use of funds for implementing the activities. Please indicate how the activities contributed to achieving the results and whether other activities could have contributed better to achieving the same results. Also indicate whether the same results could have been achieved with less funding, whether the human resources available were appropriate and whether communities, groups and individuals could have been better involved.

Overall effectiveness of the safeguarding activities

In the past four years, the safeguarding of Ca trù Singing has significantly progressed despite limited funding and human resource. Specific achievements include:
- Inventory:
Central management agencies, local communities, and individual practitioners have regularly updated the inventory on the status of the element, improved management capacity and raised awareness on the safeguarding and promotion of its values. The information and data acquired from such inventory provided directions to the safeguarding of the element at local and national levels.
- Transmission activities:
With the government support, many transmission classes have been organised within the local communities with direct participation of master artists in teaching, helping to increase the number of Ca trù practitioners and thus contributing to the preservation and promotion of the element. Robust efforts in transmission in 2012 have helped building a strong following generation of tradition bearers and practitioners in each province. Despite the limited budget for transmission activities, these efforts reflect a serious consideration of the government towards the heritage and its bearers, encouraging heritage practitioners to safeguard and transmit their knowledge and skills to future generations. More people have expressed interest in the art, enabling clubs to operate effectively.
- Promotion activities:
After its inscription on UNESCO List, many promotional activities for the element have been carried out with the aim to raise awareness of the society on the need for its safeguarding and transmission. Ca trù festivals were organised at national, provincial, and local levels with limitted budget but many exchange activities between clubs provided opportunities for practice, performance and encouraged the revitalisation and protection of Ca trù in various localities, increased the awareness and behavior of communities towards their heritage and its diverse performing spaces.
- Supporting artists:
In several provinces, master artists received daily allowance and teaching salary from the government (DoCST), allowing adequate time commitment in transmitting the element to future generations and directly implementing safeguarding and promotion activities. However, the budget for this activity is restricted.
- Safeguarding projects and programs at local level have achieved a number of positive results towards the safeguarding and promotion of Ca trù values.

B.4. Community participation

Please describe how communities, groups and individuals, as well as relevant non-governmental organizations have been involved, including in terms of gender roles, in updating the safeguarding plan, and how they will be involved in its implementation.

Community participation

Communities and individuals, Ca trù artists have been in close collaboration with management agencies to implement safeguarding activities to protect the heritage element including annual inventory, transmission classes, exchange performances between Ca trù clubs in and around the country, and participation in national Ca trù festivals. Heritage communities and practitioners have provided information and data for the annual inventory and reports at national level.
They have not only participated in an array of activities organised by the government, but also actively initiate their own actions with remarkable achievements such as establishment of Ca trù clubs, expanding practice opportunities for club members, encouraging and attracting wider participation of the younger generation in safeguarding efforts. However, due to shortage in funding sources, these activities and efforts are either not stable or systematic. Below are some exemplary efforts.
- Hải Dương Province has five Ca trù clubs. In the past four years, these clubs received a consistent increase in number of members. Each club has different venue and schedule, yet they all maintain regular activities and have been successful in transmission and promotion of Ca trù among their members and towards a wider audience. They have actively participated in training courses organised at local and national levels. Furthermore, Ca trù clubs, which belongs to the province’s Cultural Centre, organise each year, advanced training courses of Ca trù to their own members and members of other clubs in order to select representatives to participate in the national festivals and training courses. Master artists in the province show a high level of commitment, dedication and responsibility to transmit their knowledge and skills to the younger generation.
- In Hà Nội, many Ca trù clubs are active in transmission efforts. Since 2002, Thái Hà Ca trù Club has organised training and teaching activities to around 20 clubs nationwide. The club holds regular Ca trù classes, each with six students (four young students and two middle-aged learners), at the artists’ residence every Sunday. The club also supervises foreign students for their research on Ca trù.
- Performances with participation of the master artists, such as Mr. Nguyễn Phú Đẹ and Nguyễn Thị Chúc, with exchange activities between artists of Thăng Long Ca trù Club (Hà Nội) and the audience have attracted much attention of young audience. The club also organises regular performances and introductory teaching sessions.
- Performances by a number of Ca trù clubs together with other forms of folk performing arts in the outdoor stage in front of Đồng Xuân Market in Hà Nội have created a popular cultural venue for residents and tourists to frequent in the weekends.
Besides the participation of heritage communities and practitioners, physical and emotional support and attention from many organisations and individuals has helped to revitalise and maintain Ca trù in the cultural and social life of Viet Nam.

B.5. Institutional context

Please report on the institutional context for the local management and safeguarding of the element inscribed on the Urgent Safeguarding List, including:

1. the competent body(ies) involved in its management and/or safeguarding;
2. the organization(s) of the community or group concerned with the element and its safeguarding.

Institutional context

a. Responsible agencies in the management and safeguarding of the heritage:
1. Ministry of Culture, Sports, and Tourism (MoCST): the overall government management body of all cultural heritage, including Ca trù.
2. Department of Cultural Heritage: the technical body under MoCST responsible of providing technical and administrative supervision to the management of all cultural heritage, including Ca trù
3. Vietnamese Institute of Musicology: the responsible body for developing the Ca trù nomination file.
4. Department of Culture, Sports, and Tourism of 15 provinces and cities that possess Ca tru: specialised institutions under the auspices of provincial People’s Committee responsible for providing supervision and support to the implementation of safeguarding of cultural heritage, including Ca trù, in their respective province.
b. At the local level, over 60 Ca trù clubs in 15 provinces and cities play major role in the urgent safeguarding and promoting of Ca trù, keeping the element viable in today society.

B.6. Participation of communities in preparing this report

Describe the measures taken to ensure the widest possible participation of the communities, groups and, where applicable, individuals concerned as well as relevant non-governmental organizations during the process of preparation of this report.

Participation of communities in preparing this report

- Ca trù artists and practitioners provided information and data according to instructions of state management agencies in each part of UNESCO’s form.
- The heritage bearers participated in the research and survey at Ca trù locations, providing information for the report.
- Seminars with participation of different sectors concerned, including representatives of Ca tru practitioners and communities were organised to get input for local reports (Ha Noi case).

C. Signature on behalf of the state party

The report should conclude with the original signature of the official empowered to sign it on behalf of the State, together with his or her name, title and the date of submission.

Name

Lê Khánh Hải

Title

Vice Minister of Culture, Sports and Tourism

Date

23-06-2014

Signature