- Scope of application: History program in high schools (Standard program for grade 10); Local history program; Experiential program in high schools in Bac Ninh province.
4. Research purpose and tasks
4.1. Research purpose
- On the basis of affirming the significance of using cultural heritages in teaching History, the thesis affirms the role and significance of using Quan Ho folk cultural heritages in teaching History in high schools in Bac Ninh province.
- Select documents on Quan Ho Folk Songs Cultural Heritage to exploit and use in History teaching and propose some forms and measures to use documents on Quan Ho Folk Songs Cultural Heritage in History teaching.
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4.2. Research tasks
- Research on theoretical and practical basis of using Quan Ho folk songs in teaching methods in high schools.
- Find out the content of the Quan Ho Folk Songs Cultural Heritage documents that can be exploited and used in DHLS.
- Survey and evaluate the current situation of DHLS in general schools, and the current situation of using Quan Ho folk songs in DHLS in particular.
- Propose measures to use Quan Ho Folk Songs Cultural Heritage in the DHLS, thereby contributing to preserving and promoting the value of Quan Ho Folk Songs Cultural Heritage.
5. Methodological basis and research methods
5.1. Methodological basis
On the basis of the worldview and methodology of Marxism-Leninism, Ho Chi Minh's thought, the Party and State's guidelines and viewpoints on education, innovation in teaching methods, and the preservation and promotion of national cultural heritages.
5.2. Research methods
- Theoretical research: Research documents and resolutions of the Party, State, Ministry of Education and Training; documents on psychology, pedagogy, history teaching methods, historical documents; documents on cultural heritage and cultural heritage.
Quan Ho Folk Song Culture; History teaching program in high schools to determine the contents that can use Quan Ho Folk Song cultural heritage.
- Practical research: Investigating the current status of using Quan Ho folk songs in teaching methods in high schools.
- Pedagogical experiment: Prepare lesson, conduct pedagogical experiment on a specific history lesson, design a creative experiential activity for students; Use mathematical statistics in research to analyze and process data after the pedagogical experiment process.
6. Scientific hypothesis
If teachers can implement the requirements and measures for using Quan Ho folk songs in DHLS as proposed in the thesis, they will meet the goals of teaching in general and DHLS in particular, and at the same time contribute to educating awareness of preserving and promoting national cultural heritage.
7. Scientific and practical significance of the thesis' contributions
- Scientific significance: The thesis contributes to enriching the theoretical system and methods of DHLS on the issue of using cultural heritages in DHLS.
- Practical significance: The research results help high school history teachers apply them to teaching practice, contributing to improving the quality of subject education. At the same time, the research results are reference materials for lecturers and teachers of colleges and universities of education when teaching and learning the DHLS method; are reference materials for students, graduate students... majoring in history pedagogy; contribute to the preservation and promotion of national cultural heritage in general and Bac Ninh Quan Ho folk song cultural heritage in particular.
- Contributions of the thesis: Affirming the role and significance of using Quan Ho folk songs in DHLS; evaluating the practical use of Quan Ho folk songs in DHLS in high schools in Bac Ninh province; identifying documents on Quan Ho folk songs that can be exploited and used in DHLS; proposing measures to use Quan Ho folk songs in DHLS in high schools in Bac Ninh province.
8. Structure of the thesis
In addition to the introduction, conclusion, appendix, references, the thesis consists of 2 chapters:
Chapter 1: Theoretical and practical basis for using the cultural heritage of Bac Ninh Quan Ho folk songs in teaching Vietnamese History in high schools.
Chapter 2: Measures to use the cultural heritage of Bac Ninh Quan Ho folk songs in teaching Vietnamese History at Thuan Thanh High School, Bac Ninh province.
Chapter 1
THEORETICAL BASIS AND PRACTICAL USE
BAC NINH QUAN HO FOLK SONGS CULTURAL HERITAGE IN TEACHING VIETNAMESE HISTORY IN HIGH SCHOOLS
1.1. Theoretical basis
1.1.1. Concept of cultural heritage
Vietnamese cultural heritage is a valuable asset of the Vietnamese ethnic community and is part of the world cultural heritage, playing a great role in the cause of building and defending the country of our people.
Vietnam's cultural heritage is the crystallization of cultural creativity of the community of 54 ethnic groups, through a long historical process, inherited and recreated through many generations; it is the creative values from learning, exchanging and inheriting human civilization. Vietnam's cultural heritage, especially intangible cultural heritage, has strong vitality, is being preserved and promoted.
According to the Law on Cultural Heritage No. 28/2001/QH10; Law on Cultural Heritage amended and supplemented No. 32/2009/QH12 [29]:
“Cultural heritage includes intangible cultural heritage and tangible cultural heritage, which are spiritual and material products of historical, cultural and scientific value, passed down from generation to generation in the Socialist Republic of Vietnam”.
Article 4, Clause 1 stipulates:
“Tangible cultural heritage is a material product of historical, cultural and scientific value, including historical-cultural relics, scenic spots, relics, antiquities and national treasures.
Intangible cultural heritage is a spiritual product of historical, cultural and scientific value, passed down through oral tradition, craft, performance and other forms of preservation and transmission, including language, writing, literary works, art, science, philology, oral tradition, folk performances, lifestyles, ways of life, festivals, secrets of traditional crafts, medical knowledge,
medicine, tradition, culinary culture, traditional costumes and other folk knowledge".
According to the Law on Cultural Heritage No. 32/2009/QH12 Article 1, amending and supplementing Clause 1, Article 4:
“Intangible cultural heritage is a spiritual product associated with a community or individual, objects and related cultural spaces, having historical, cultural and scientific value, expressing the identity of the community, constantly being recreated and passed down from generation to generation by word of mouth, craft, performance and other forms”.
In Article 2, Decree No. 92/2002/ND-CP details the implementation of a number of articles of the Law on Heritage, Intangible Cultural Heritage includes: Languages and writings of Vietnamese ethnic groups; Folk literature, including myths, proverbs, sayings, idioms, parallel sentences, fables, folk songs, folk poems, epics, epics, funeral orations, prayers and other forms of oral literature; Folk performing arts, including music, dance, singing, theater, parodies, antiphonal singing, games and other forms of folk performance; Lifestyle, ways of life expressed through codes of conduct - dealing with others; customary laws, ethical standards, rituals in dealing with ancestors, grandparents, parents, nature, funerals, weddings, naming ceremonies, actions, greetings - invitations and other customs and practices; Traditional festivals include festivals that promote patriotism, love of nature, national pride, traditions of fighting against foreign invaders, honoring national heroes, cultural celebrities, praising the people's industrious and creative spirit, promoting humanity, the desire for freedom and happiness, and the spirit of community solidarity; Traditional crafts; Folk cultural knowledge including knowledge of medicine, traditional pharmacy, culinary culture, nature and production experience, military strategy, experience in creating literary and artistic works (academic), traditional costumes, country, climate, weather, resources... and other folk knowledge.
The above classification is only relative. Cultural heritage in general and intangible cultural heritage in particular, no matter from which perspective, are always closely associated with human life, expressing the cultural identity of each nation. Cultural heritage speaks of historical depth, architectural features, and spiritual life. Cultural heritage is what the past left behind, so it has great significance, is a mirror reflecting the past and partly helps us understand more clearly about national history.
1.1.2. Cultural heritage of Bac Ninh Quan Ho folk songs
1.1.2.1. Origin of Quan Ho
The meaning of the name Quan Ho has many different explanations, which can be divided into two main streams: Folk concept - the explanation of Quan Ho people; Concept of Quan Ho researchers.
According to folk beliefs, there are three different concepts about the meaning of the name Quan Ho, associated with the origin of Quan Ho. These are the concepts that Quan Ho means "The family of the mandarin"; Quan Ho means "The mandarin stops" and Quan Ho means "The mandarin and his family".
According to researchers, there have been many articles and research works on Quan Ho, but there has not been any in-depth research on the origin of Quan Ho. The most notable is the article "Quan Ho name and origin" by Quan Ho music researcher Hong Thao, published in Van Nghe Ha Bac issue 2-1990. The author believes that Quan Ho first appeared in the 15th century, the time of the birth of Luc Bat poetry - a popular form of Quan Ho lyrics. At the same time, the Lien Anh and Lien Chi singers called each other "Quan Ho" "to exalt and poeticize their friends".
Although Quan Ho is explained in many different ways about its origin and the explanation of the name Quan Ho, in general, Quan Ho is a form of folk song typical of an ancient Kinh Bac region, which has existed for a long time. Quan Ho has deep roots in the lovemaking and dialogue activities between men and women since ancient times that most ethnic groups related to the Vietnamese have. It exists daily, most concentrated and sublimated in the festival activities of the people. Because
The characteristic of this type is word of mouth, so it has a strong influence and spread in the community.
1.1.2.2. Quan Ho cultural space
Quan Ho folk cultural heritage exists and spreads over a large area. However, Quan Ho cultural activities actually only exist in a certain area, which is the 49 original Quan Ho villages. Currently, Bac Ninh province has 44 Quan Ho villages. Quan Ho villages in Bac Ninh are distributed in Bac Ninh city (14 villages), Tien Du district (11 villages), Yen Phong district (17 villages), Tu Son district (2 villages).
Quan Ho singing is often held during spring festivals. From January to March every year, entering the idle farming period, the weather is cool and dry, convenient for organizing village festivals. The spring festival of any Quan Ho village is bustling with Quan Ho singing activities. In addition, Quan Ho is also sung in the fall, summer or any day of the year on occasions such as longevity celebrations, housewarmings, weddings, etc. There are two forms of Quan Ho singing: outdoor Quan Ho singing and indoor Quan Ho singing.
Regarding performance forms, during its existence and development, Bac Ninh Quan Ho folk songs have formed many singing forms. Among them, popular in the whole region, Quan Ho has 4 different performance forms: Congratulatory singing, congratulatory singing; worship singing (also known as Quan Ho worship singing); festival singing and watch singing.
The basic organization of Quan Ho is commonly called “Quan Ho group” (in Thi Cau, it is called Quan Ho yard). Each original Quan Ho village has a Quan Ho group of men and a Quan Ho group of women. The leaders of the Quan Ho group are the Boss and the Boss. Each Quan Ho group has 5 Lien Anh or 5 Lien Chi who directly go “playing Quan Ho”. Each Lien Anh or Lien Chi has a name in numerical order, from Anh Hai to Anh Sau, from Chi Hai to Chi Sau. In addition, each Quan Ho group has a person who specializes in composing new Quan Ho voices and antithetical songs. Although not part of the organization, each group has special servants, especially “children” of ten or twelve years old who study. This is a method of training the next generation of Quan Ho.
Quan Ho culture is a synthesis of many elements, including Quan Ho costumes. Quan Ho costumes play an indispensable role in Quan Ho cultural performances. Quan Ho players' costumes are simple and carry the national cultural identity: the male singers wear turbans, white shirts, white pants, and each person has a large black umbrella called a luc soan umbrella as a prop. The female singers wear conical hats, and wear shirts with three or seven colors in pink, lotus petals, red, yellow, green, brown, and purple... around the waist, the female singers tie a peach silk strip, blending with the peach-colored yếm in front of their chests, creating an extremely beautiful look. In the family space, the female singers can wear black crow-beak scarves. Props such as umbrellas and conical hats of the male singers and female singers are both useful and contribute to creating a graceful and soft look when singing.
There are many customs in Quan Ho socializing, typically the custom of making friends. This is a special feature in Quan Ho cultural activities. When Quan Ho makes friends, they must be of different genders (yin and yang mutually seek each other) and different villages (village to village). When making friends, Quan Ho are always older brothers, older sisters, younger siblings of each other, very rarely do Quan Ho make friends and marry each other. When going to festivals, Quan Ho make friends often invite each other to go together. Whenever the village has a festival or happy event, Quan Ho make friends often invite each other to sing at home. Between Quan Ho make friends, there is always respect, affection, protection and mutual help.
The custom of inviting a group: To sing Quan Ho, there must be a group: a male Quan Ho group and a female Quan Ho group. Each Quan Ho group usually has from 4 to 6 people and is named from Anh Hai, Chi Hai to Anh Sau, Chi Sau, there is no Chi Eldest, Anh Eldest in a Quan Ho group. In a Quan Ho group, they live together, protect, love, and stick together. Quan Ho groups often have the activity of "sleeping in a group" at the house of a male or female in a Quan Ho group to learn the lyrics and practice their voices. These Quan Ho groups are often lifelong friends in both singing and daily life.
Communication in Quan Ho cultural activities requires everyone who comes to Quan Ho to be polite and elegant from their costumes, gestures, language when speaking, standing, sitting... to the betel and water cup. Therefore, communication in Quan Ho singing is a beautiful value in the culture of lifestyle, communication culture past and present. Because through elegant and polite behaviors and gestures, we understand