Viewpoints on Preserving and Promoting Cheo Art in Hai Phong City

"Only then will the Party's propaganda be effective" [95].

Through this, it shows that the Party has emphasized that, whether favorable or difficult, whether peaceful or war, culture is always a front, where leaders must be present and promote their leadership role. Culture must be deeply rooted in national traditions, exploit and promote the best values of national traditions, must be associated with the practical life of the people, sympathize with the masses, and be a reliable companion of the masses.

It can be said that the above guiding views are also the starting point for the birth of many traditional art units across the country, which have contributed great values to the cause of building and defending the country over the past decades.

At the 5th Conference of the Party Central Committee (VIII tenure) issued Resolution No. 03-NQ/TW dated July 16, 1998 on building and developing an advanced Vietnamese culture imbued with national identity, in the specific goals and tasks section, it was clearly stated: “Strive to create many literary and artistic works of high ideological and artistic value, imbued with the spirit of humanity and democracy, having a profound effect on building people. Our country's literature and art reflect the vivid, truthful and profound reality of the people's cause in the revolution and resistance, in building socialism and defending the Fatherland as well as recreating the nation's resilient and indomitable history. Ensure freedom of creation while promoting the civic responsibility and social responsibility of artists and cultural figures. Improve the quality and promote the effectiveness of research and theory. Take care of the material and spiritual life, create favorable working conditions for artists”.

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In the Conclusion of the 10th Conference of the Party Central Committee, 9th tenure (2004), our Party continued to set the goal "In the process of expanding international integration and cultural exchange, along with focusing on building

new values of contemporary Vietnamese culture, it is necessary to continue to promote the work of preserving, inheriting, and promoting the good values of traditional national culture and selectively receiving the quintessence of world culture, keeping up with the development of the times".

In Resolution No. 23-NQ/TW dated June 16, 2008 of the Politburo on continuing to build and develop literature and art in the new period , the Politburo identified policies and solutions for developing literature and art in the new period, including those related to traditional art: "Developing projects and mechanisms to preserve and disseminate traditional literature and art forms... Strengthening measures to build and develop mass literature and art, guiding and encouraging the masses to participate in creating, preserving, teaching and promoting the traditional cultural and artistic values of the nation".

At the 9th Conference of the 11th Central Executive Committee, Resolution No. 33-NQ/TW dated June 9, 2014 on building and developing Vietnamese culture and people to meet the requirements of sustainable national development was issued. The Resolution continues to maintain the viewpoint that "Culture is the spiritual foundation of society, the goal and driving force for sustainable national development. Culture must be placed on par with economics, politics and society". Among the tasks and solutions set out, our Party continues to identify culture, including traditional performing arts, as having a very important position and role in socio-economic development and the process of promoting international integration.

Through studying the major resolutions of the Party on cultural development from 1998 to present, it can be seen that the consistent viewpoint of the Party and the State in preserving and promoting traditional cultural values is to build a mechanism to reasonably and harmoniously resolve the preservation and promotion of artistic heritage with socio-economic development; linking the preservation and promotion of artistic heritage with

develop tourism; restore and preserve some traditional art forms that are at risk of fading away; create all conditions for artists to explore and create many works of ideological and artistic value, truly and vividly reflecting the life, history of the nation and the cause of national renewal; mobilize the strength of the whole society to develop culture and art, encourage the creation of new cultural values, absorb the quintessence of human culture, and enrich national culture. At the same time, innovate methods and diversify the forms of operation of art organizations to gather and create conditions for artists and the masses to participate actively and effectively. Encourage people to create, pass on and promote national cultural and artistic values. Have a mechanism to encourage artists and artisans to promote their talents, creative abilities, and promote art; respect and honor intellectuals, artists and artisans on the basis of their contributions to the country; focus on developing young talents and abilities.

The Party's guiding viewpoints show the goal of developing art in a comprehensive direction, contributing to building an advanced culture of the country in the context of globalization, developing art of the people, by the people and for the people.

On the other hand, in the current integration trend, to ensure the right value and create sustainable development for public service units in general, and public performing arts units in particular, the Party and the State have advocated innovating the management mechanism, increasing autonomy for public service units in order to gradually eliminate subsidies for public service units in a number of fields, such as: health, culture, education... The above policy has been realized through Decree No. 10/2002/ND-CP dated January 16, 2002; Decree No. 43/2006/ND-CP dated April 25, 2006 and Decree No. 16/2015/ND-CP dated February 14, 2015 of the Government regulating the mechanism.

autonomy of public service units. Including specific regulations on prices, fees and roadmap for calculating prices of public service units. The content of the Decree shows that in the near future, most public performing arts units will have to be fully financially autonomous, or convert their operating model to that of a business.

The policy of the Party and the State is absolutely correct, because when the country enters integration, it must accept the general trend of humanity. Equitization of state-owned enterprises, gradually granting autonomy to public service units is the right direction in the current period. It can be seen that the nature and purpose of the above Decrees are to resolve the problems that have existed in the past to liberate labor, creativity, create development and social justice.

But one of the shortcomings is that when public performing arts units are completely autonomous, they seem to no longer be responsible to the State for preserving traditional artistic heritage. And so, the problem of preserving traditional artistic heritage in general, and Cheo art in particular, will be a difficult problem to solve, requiring management agencies to have feasible solutions to harmoniously resolve between preservation, promotion and development.

From the above reality, a task for cultural management levels today is to have solutions to preserve traditional arts in general, and Cheo art in particular, to promote traditional cultural values, contributing to preserving national identity.

1.2.2.3. Viewpoints on preserving and promoting the art of Cheo in Hai Phong city

Through the process of studying the works of researchers on Cheo art, through analyzing the current status of Cheo art conservation in Hai Phong city as well as some localities and Cheo art troupes across the country,

The country can give some views on preserving the art of Cheo in Hai Phong city.

First of all, as we know, theatrical art in general originates from culture, culture is the spiritual foundation of theatrical art. Traditional theater is a form of culture, a product of culture. To understand and promote any theatrical art, we must first start from culture, by culture and for culture. If separated from culture, all perceptions of theatrical art will be one-sided and lack dialectics. Therefore, the work of preserving Cheo art in Hai Phong city cannot be separated from the above law, requiring preservation to be closely linked to the cultural environment of the city, must be placed under a dialectical view between the theatrical work and the general cultural background where it was born. This requires the state management agencies of culture in Hai Phong to deeply understand the cultural environment that gave birth to the city's traditional theatrical art, to understand how traditional theatrical art is the offspring of culture and society. On the other hand, with the current development and cultural exchange, the work of preserving and promoting the art of Cheo in Hai Phong also needs a broad perspective so as not to lose cultural roots and not fall behind the culture of the times.

Solutions to preserve and promote the art of Cheo theater in Hai Phong city also follow the law of development of national culture, it is necessary to preserve Cheo art in both forms of "static" preservation and "dynamic" preservation:

- Preserving "static" by preserving the characteristics, structures, and artistic methods of Cheo; Hai Phong Cheo troupe practices exemplary works and performances, encourages and motivates veteran and prestigious artists in the profession to participate in recording, filming, and teaching the next generation; conducts filming and photography

Photos and notes to document in detail (when needed, use that as a basis for reconstruction).

- In addition to static conservation measures, it is necessary to carry out "dynamic" conservation. In Hai Phong, the requirement to carry out the conservation of the city's Cheo art in a "dynamic" form is to place the conservation work in the cultural environment of the city - a seaport city with a highly developed service economy. The issue of preserving traditional art here is not only to preserve a cultural heritage but also to develop the economy associated with tourism services, attracting tourists to see and enjoy traditional art, and at the same time associated with the promotion of traditional culture to foreigners who come to live, work and work in the city.

1.2.3. Content of management activities to preserve and promote the art of Cheo in Hai Phong

Through studying documents and materials on state management of performing arts in general, the researcher understands the content of management of Cheo art activities in Hai Phong including:

- Develop and direct the implementation of strategies, plans and projects to manage activities to preserve and develop the art of Cheo in Hai Phong city.

- Develop and promulgate legal documents, directives and management documents on organizing activities to preserve and promote the art of Cheo.

- Directing and guiding the implementation of Cheo art performance activities.

- Training and improving the qualifications of the management team and human resources of the Cheo stage art: professional authors, directors, actors, developing the audience market...

- Organize and direct inspection, evaluation and emulation work, and commendation

Reward for activities to preserve and promote the artistic value of Cheo.

1.3. Overview of the art of Cheo in Hai Phong city

1.3.1. History of Hai Phong Cheo art

Cheo art was born and developed in the Red River Delta (including the Red River basin and the Thai Binh River system) in the following localities: Hanoi, Vinh Phuc, Bac Ninh, Hung Yen, Hai Duong, Hai Phong, Thai Binh, Nam Dinh, Ha Nam and Ninh Binh. Ancient Cheo artists used Thang Long citadel as the starting point to divide Cheo into four regions (Chieng Cheo): Cheo Doai (Ha Dong - Son Tay); Cheo Bac (Bac Ninh - Bac Giang); Cheo Nam (Hung Yen, Thai Binh, Nam Dinh, Ninh Binh, Ha Nam) and Cheo Dong (Hai Duong, Hai Phong, Quang Ninh).

Among the four Cheo genres of East, South, West, and North, Hai Phong, Hai Duong, Quang Ninh, and the northern region of Hung Yen are classified as the East Cheo genre. Along with the historical development of the performing arts, the East Cheo genre has also had ups and downs along with other Cheo genres across the country.

Although not considered the cradle of Cheo art, but being the land adjacent to localities considered the birthplace of Cheo such as Thai Binh, Hung Yen, Hai Duong, Hai Phong was also one of the famous Cheo localities in the past. Since the 20th century, Hai Phong has become the largest commercial port and industrial city in the North. In 1911, the French colonialists built the City Opera House, creating conditions for Western art to enter Hai Phong. Due to the influence of Cheo Cai Luong in Hanoi, Hai Phong also had a number of private theaters such as: Van Minh Ca Quan (on Hang Kenh Street), Dai Quan (on Phan Boi Chau Street), Dai Chung (on Cat Cut Street) and Tran My Ngoc Theater (on Le Loi Street)... Therefore, from 1920 to 1945, this was a bustling city for theatrical activities. Many wards

Tuong and Cheo troupes... all come to Hai Phong to perform with many types, genres and extremely rich and diverse themes...

After the August Revolution in 1945 and the victorious resistance war against the French in 1954, the country's history entered a new phase, with many major changes in social life. The people's spiritual and cultural needs were given attention by the Party and the State. Policies and guidelines on cultural and information activities were continuously issued. At the Central level, the Cheo Research Board was established, the collection and exploitation of ancient Cheo funds were actively carried out, video and audio recordings were made to serve the teaching and dissemination work widely on the Voice of Vietnam radio system... Implementing the Party and State's policies, provinces across the North successively established Art Troupes, dozens of local Cheo Troupes were established in 1959, 1960 and one in the following years.

Like many localities in the North, Hai Phong Cheo Troupe was established during this time and operated alongside the vibrant activities of the amateur Cheo stage system.

1.3.1.1. Professional Cheo stage

Hai Phong Cheo Troupe is among the Cheo art units established in the early days of revolutionary stage art, with a team of artists inheriting artistic achievements from talented artisans of the Eastern Cheo.

Hai Phong Cheo Troupe was formerly the Red River Performing Arts Troupe , established by the Propaganda Department of the Left Bank Party Committee on October 15, 1954. After a short period of time, the Red River Performing Arts Troupe changed to the Left Bank People's Performing Arts Troupe , then to the Left Bank People's Cheo Troupe . In August 1963, the Left Bank People's Cheo Troupe merged with the Kien An Cheo Troupe , from then on it was called the Hai Phong Cheo Troupe. New Day

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