Among the traditional musical instruments of the Mong people in Lai Chau Province, the khen panpipe holds a special place, serving as a powerful symbol of their culture and identity. Dressed in colourful brocade costumes, young Mong men and women immerse themselves in the graceful khen dance. Every step and turn reflects their wishes for prosperity and happiness.
Vang A Sung from Sin Suoi Ho commune, said: “The khen was traditionally played by young Mong men and women to express their love for one another. Now we continue to preserve this beautiful tradition of our ancestors and safeguard the cultural identity of the Mong.”
Mong people say that the sound of khen is the voice of their soul. A folk verse says: “A Mong man who cannot play the khen is like a maize plant that cannot grow; a young woman who cannot appreciate its melodies is like a stream that does not know where to flow.” Mua A Mang, a respected elder from Muong Kim commune explained: “The Mong khen has six bamboo pipes, representing a father and his children, symbolising family unity. It is played on every occasion, such as ceremonies, festivals, courtship gatherings, Lunar New Year celebrations, and even funerals. The spring melodies are the most joyful because they accompany young men and women in courtship.”
During spring festivals, the khen calls young people together and helps kindle new relationships. In sacred rites of passage, it becomes a bridge linking the past with the present.
In recent years, increasing attention has been paid to preserving and promoting the art of the khen, including the establishment of Khen Clubs in hamlets, providing a strong foundation for keeping the tradition alive.
Nguyen Thi Viet Ha, Head of the Culture and Social Affairs Office of Mường Kim commune, said: “Preserving the cultural identity of the Mong people, including the khen, is an important task. We have advised local authorities to organise training courses on khen making and public performances.”
Director of the Lai Chau provincial Department of Culture, Sports and Tourism, Tran Manh Hung, said that preserving and promoting ethnic cultures is a central task in the local cultural and social development strategy. “We have organized numerous training courses, festivals and performances, drawing enthusiastic participation from local khen clubs. This indigenous art form has become a major cultural attraction.”
Preserving the sound of the khen means preserving the heart and soul of the Mong people, allowing their cultural identity to continue flourishing, contributing to Vietnam’s cultural diversification and the process of building an advanced Vietnamese culture imbued with national identity.
