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INTRODUCTION

1. The rationale behind the research Situated in the Northern delta, which is considered to be the cradle of a good number of crafts and craft villages, the area is home to 47 out of 52 crafts nationwide and 286 listed craft villages. One of the most remarkable crafts in the capital city is lacquering, which dates back to a long time ago and marks Vietnamese presence in world cultures. At present, Hanoi has eight lacquering villages, which is the highest number in the country. Since Hanoi and the rest of the country entered the doi moi (literally renovation) era, socio-economic growth has been strong and industrialization and modernization has expanded. However, such rapid development has given rise to profound changes, both positive and negative, in all fields including craft villages such as those specializing in lacquering. Lacquering in the villages of Boi Khe in Phu Xuyen and Vu Lang in is an established craft and its products are known for their technical and aesthetic quality in the Northern delta. Located in the two districts with relatively fast economic growth and the highest concentration of craft villages in Hanoi, lacquering in Boi Khe and Vu Lang villages has experienced multi-faceted changes brought about by both external and internal circumstances. Such changes are also common in other craft villages in Hanoi. Given the current situation, they are inevitable and much needed for sustained development of the craft in the villages. Due to the strong impacts of the market economy, a few traditional lacquering villages such as Binh Vong in Hanoi or Dinh Bang in Bac Ninh province have failed to maintain the craft. However, the craft in Boi Khe and Vu Lang remains active because of the artisans’ acumen and efforts to innovate products to meet new demands. Having said that, the craft is faced with quite a few challenges which, without governmental regulation, will be likely to result in bad planning and even put the craft in danger of distinction in the not too distant future. 2 As changes in traditional crafts in the Hanoi area are intensifying, it is essential to understand the transformation of the traditional lacquering craft in Boi Khe and Vu Lang villages including its nature, causes and implications. This is to help with the planning of the craft based on scientific grounds, which is of practical significance to the preservation and national cultural heritage and socio-economic restructuring in rural areas in the ongoing national industrialization and modernization. Given this context, it is ever more important to understand and honor those traditional craft villages which are gradually falling into oblivion such as Boi Khe and Vu Lang. Quite a few Vietnamese and international researchers are interested in studying the lacquering craft and lacquer villages in from different perspectives and to different extents. Some wish to explore their transformation. However, to date, the traditional lacquering craft in the villages of Boi Khe and Vu Lang has been barely researched, particularly from an interdisciplinary approach of cultural studies. 2. The objectives of the research The research aims to prove that transformation is inevitable for the survival and development of the traditional lacquering craft in the modern context in villages such as Boi Khe and Vu Lang. The research aims to establish scientific and practical grounds which can be used to help with the planning of the craft in the two above-mentioned villages. 3. The object and scope of the research 3.1. The object of the research The object of study in the research is the traditional lacquering craft in Boi Khe village (Phu Xuyen district) and Vu Lang village (Thanh Oai district) in Hanoi during its transformation and adaptation for survival. These villages have a relatively long history of doing the craft and they are known for their distinction in the basic lacquering techniques including lacquering, gilding and varnishing. However, in order to describe the face of the craft in the villages and its contribution, the research also looks at the traditional lacquering craft in several other villages in the Hanoi area and the Northern delta from a comparative perspective. 3.2. The scope of the research 3 Spatial scope: the traditional lacquering craft in Boi Khe village (in Chuyen My in Phu Xuyen district) and Vu Lang village (in Dan Hoa in Thanh Oai district) in Hanoi in the context of lacquering villages in the Northern delta. Time scope: Studying the milestones of the traditional lacquering craft in the villages of Boi Khe and Vu Lang from 1945 to 2013 reflecting its transformation. 4. Theoretical bases and approaches employed in the research into the transformation of the traditional lacquering craft in Boi Khe and Vu Lang 4.1. Theoretical bases 4.1.1. Some working terms Traditional lacquering Based on preceding scientists’ conceptions of traditional lacquering and given the current context, we consider traditional lacquering a working term in our research and have redefined it as thus, “Traditional lacquering is one of our country’s established handicrafts which have been passed down from generation to generation and have survived until today. It possesses artistic and technical prowess created and spread by different generations of artisans, innovated industrial methods and modern machinery. However, it remains basically a traditional craft and its products still manage to represent the nation’s unique culture.” Traditional lacquering villages Given the current context, we understand and define traditional lacquering villages as thus, “Traditional lacquering villages are agricultural villages which have practiced the traditional lacquering craft for generations, where at least 50 per cent of their households earn their living with the craft and where there is a concentration of artisans and skilled workers who use traditional techniques and are supported with certain modern technology to make and sell unique products that reflect local culture and national identity.” Transformation of the traditional lacquering craft Based on concepts of transformation in general and cultural transformation in particular, in our opinion, transformation of the traditional 4 lacquering craft is that of the basic elements of the craft such as materials, industrial processes, products, markets, customers, organization of production and business, human resources, training and artisans’ lives due to political, economic and social factors. 4.1.2. Some scientific arguments Since the dissertation studies the transformation of the traditional lacquering craft in the context of the current industrialization and modernization, preceding scientists’arguments have been chosen as theoretical foundations for our research. According to such scientists, cultural transformation in villages is an inevitable process in the current context and transformation of traditional crafts and craft villages in the industrialization and modernization period the diversification of transformational models and levels. 4.2. The main approach used in the research into transformation of the traditional lacquering craft in the villages of Boi Khe and Vu Lang Since the object of study in the dissertation is the traditional lacquering craft in its diverse and complicated transformation, we have chosen the interdisciplinary approach of cultural studies as the main approach for our research. This interdisciplinary approach, which uses the knowledge of different branches of science, will be one of the effective theoretical tools that help to realize changes in the traditional lacquering craft in Boi Khe and Vu Lang, formal and substantial alike. 4.3. Research methodology The research employs the interdisciplinary approach of cultural studies whereby different scientific branches are used to explore the various aspects of the object of study. Specific research acts include field trips to Boi Khe and Vu Lang, participant observation, group and in-depth interviews, reading of historical records and retrospective surveys in order to understand the various periods or stages of the craft in the villages. Analytical, synthetic, statistical and comparative methods are used to collect data for the research. Attention is paid to the interrelationship between economic and cultural factors from the viewpoint of cultural economics, which is a necessary approach to explore artisans’ profits or incomes and the contribution of the craft and the villages in the present context. 5 5. The scientific and practical significance of the research First, the research will add to the literature review on the transformation of crafts and craft villages in the Northern delta in the context of the market economy and national industrialization and modernization, a new and hot research question. The research uses case studies, which are common and highly prioritized in social sciences and humanities. Secondly, the research adds insights into the lacquering craft in the Hanoi area, thereby contributing to research into variations of the traditional craft in the Northern delta. Thirdly, researching the actual transformation of the craft in Boi Khe and Vu Lang helps to provide the authorities with scientific data so they can make policies and recommend feasible solutions that help the craft in the villages in particular and those in the Northern delta in general to survive and grow, thereby contributing to the realization of the “rich people, strong villages” objectives in the industrialization and modernization of agriculture and rural areas. 6. The structure of dissertation In addition to the introduction (22 pages), conclusion (4 pages), references (11 pages) and appendix (28 pages), the dissertation consists of three chapters: Chapter 1. An overview of the traditional lacquering craft in the Northern delta and in the villages of Boi Khe and Vu Lang in Hanoi (37 pages) Chapter 2. The traditional lacquering craft in Boi Khe and Vu Lang in the context of the ongoing industrialization and modernization (37 pages) Chapter 3. The development of the traditional lacquering craft in the villages of Boi Khe, Vu Lang and new significances of the research (31 pages) Chapter 1 AN OVERVIEW OF THE TRADITIONAL LACQUERING CRAFT IN THE NORTHERN DELTA AND IN THE VILLAGES OF BOI KHE AND VU LANG IN HANOI 1.1. The traditional lacquering craft in the Northern delta 1.1.1. An overview of the history of the lacquering craft Lacquering is one of the crafts which have a long history in the world. In Vietnam, through historical records and archeological evidence, it can be 6 confirmed that lacquering existed in the Northern delta in about the 4 th century BC. In about the 1930s, the craft experienced an important turning point when lacquer paint was introduced to plastic arts, creating Vietnamese lacquer arts. 1.1.2. Basic traditional lacquering techniques Over time, thanks to the endless creativity of generations of artisans and artists, traditional Vietnamese lacquering has created a variety of techniques including varnishing, gilding, rubbing, inlaying and carving. Each lacquering village normally specializes in a particular technique and products. For example, Cat Dang is famous for its varnishing technique, Ha Thai its lacquering, Boi Khe its inlaying and Vu Lang and Son Dong their gilding. 1.1.3. Lacquering products in the lives of people in the Northern delta With more than 2,000 years’ history, the craft and its products have made an important contribution to the daily lives of people in the Northern delta including their cultural, spiritual, religious lives and their aesthetic needs. 1.1.4. Traditional lacquer villages in the Northern delta Traditional Vietnamese lacquering is believed to exist the earliest and prosper the most in the Northern delta. According to historical records, the most famous craft villages in the region included Cat Dang in Nam Dinh, Dinh Bang in Bac Ninh, Nam Ngu in Hanoi and Binh Vong in the former province of Ha Tay. Through historical ups and downs, some of the villages have disappeared and some have survived in Bac Ninh, Hai Phong, Nam Dinh and Hanoi. 1.2. The traditional lacquering craft in Boi Khe and Vu Lang 1.2.1. The traditional lacquering craft in Boi Khe 1.2.1.1. An overview of Boi Khe * Geography and administration Boi Khe is about 50 kilometers from downtown Hanoi. It is one of the seven administrative hamlets of Chuyen My commune of Phu Xuyen district. Situated in the lowest lying place in Hanoi, Boi Khe does not have many agricultural advantages. However, due to its proximity to a river, it enjoys favorable conditions for engaging in crafts including inlaid lacquering. Now approximately 80 per cent of the village’s households do this job. * History of the village 7 Boi Khe used to be a commune in Phu Xuyen district in Thuong Tin prefecture in Son Nam Thuong region in the early 19th century. In the early 20 th century, it belonged to Thinh Duc Thuong in Phu Xuyen district in Ha Dong province. After 1945, it became a hamlet in Minh Duc commune in Ung Hoa district in Ha Dong province. In late 1953, Boi Khe moved back to the administration of Chuyen My commune in Phu Xuyen district in Ha Tay province. Since 1 August 2008, when Ha Tay was merged into Hanoi, Boi Khe has been part of Chuyen My commune in Phu Xuyen district in Hanoi. * Typical tangible and intangible cultural values Like any other Vietnamese villages, Boi Khe is home to a lot of cultural values associated with local people’s lives and production including historical and cultural sites and traditional festivals. 1.2.1.2. The traditional lacquering craft * The history of the traditional lacquering craft Nobody knows exactly when the craft first started in the village. Local artisans only know that it has existed for a very long time and has been passed down from generation to generation. As a matter of fact, Boi Khe, which specializes in making inlaid lacquer, is situated in Chuyen My, which is believed to be the cradle of the inlaying craft. Therefore, there must be some connection between the two crafts. Many people in Chuyen My believe that Truong Cong Thanh, a native of Ngo hamlet and a renowned general of the Ly dynasty, was the person who spread the inlaying craft in the village. * Materials and tools Materials The main material used in traditional inlaid lacquer is the famous lacquer paint made in Phu Tho. Other materials include sawdust, stone powder, clay, wood, gold, silver, egg shells, shells and snail shells. Tools Boi Khe artisans’ tool kits partly explain how sophisticated this traditional craft is. In each stage of production there is a corresponding tool such as paint makers, and other tools used in shaping products. * The process of making traditional lacquer is composed of two main stages, making lacquer paint and making finished products. 8 * Typical products include worshipping objects and handicrafts. 1.2.2. The traditional lacquering craft in Vu Lang 1.2.2.1. An overview of Vu Lang * Geography and administration Vu Lang is in the north of a residential area in Dan Hoa commune in Thanh Oai district in Hanoi. It is about 30 kilometers to the south of downtown Hanoi. Basically, Vu Lang is an agricultural village. One of its sidelines is making lacquered statues. Now approximately 90 per cent of the village’s households are engaged in this craft. * History of the village According to senior citizens in the village, nobody knows exactly when Vu Lang was established and who did it. They only have some basic information obtained from legends which says the village was called Vu Lang Trang before the dynasty of Le Canh Hung. It belonged to Tuyen Cam commune in Thanh Oai district in Ung Thien prefecture. In the early 20 th century, Vu Lang became a commune in Thanh Oai district in Ha Dong province. In 1947, it merged with Canh Hoach into Dan Chu commune. At present, Vu Lang is a hamlet in Dan Hoa commune in Thanh Oai district in Hanoi. * Its typical tangible and intangible cultural values include communal houses, temples and pagodas which preserve a lot of invaluable antiques and the Vu Lang village festival. 1.2.2.2. The traditional lacquering craft * The history of the traditional lacquering craft There is no written mention of when Vu Lang came into being and who first started the craft in the village. However, Vu Lang pagoda keeps a number of old statues dating back to 300-400 years ago. The family annals kept at Vu Lang communal house say that these statues were made by the village’s talented artisans. Therefore, it can be concluded that the craft of making lacquered statues has existed for a long time and has been passed down from generation to generation. * Materials and tools - Materials 9 The two main materials are lacquer paint and wood. Other materials include sawdust, local white clay, which gives best quality in the country, paper made from do plants, red color made from cinnabar and gold and silver, which are always purchased in Kieu Ky in Gia Lam district in Hanoi. - Tools: Similarly to the lacquering craft in Boi Khe, handmade tools used in the craft in Vu Lang are very varied to match its sophisticated stages of production. * The process of making lacquer is composed of two main stages, making wooden molds and lacquering. * The typical products of the village include statues for worshipping purposes and worshipping objects. 1.2.3. The characteristics and values of the traditional lacquering craft in Boi Khe and Vu Lang It can be said that Boi Khe and Vu Lang have established their reputation with certain characteristics and values. Most generally speaking, the craft in the villages has brought about technical, aesthetic and economic values to the communities as well as historical and cultural values represented by its products. Mini-summary Lacquering came into being very early in Vietnam. It first started in the Northern delta. With more than 2,000 years’ history, the craft plays a certain role in Vietnamese daily and spiritual lives. The traditional lacquering craft in the Northern delta is practiced in gilds or villages specializing in making lacquer paint and possessing various industrial techniques. Among such villages, Boi Khe in Phu Xuyen district and Vu Lang in Thanh Oai district in Hanoi are famous for their inlaid and gilded lacquer. Over time, the craft has gone through ups and downs. At some point in time, it prospered. At other times, it went stagnant or was even faced with dangers of extinction. However, thanks to artisans’ determination to preserve the craft and the Party’s and State’s policies after 1986, the craft has recovered in Boi Khe and Vu Lang and are growing again, thereby improving people’s lives. 10

Chapter2 THE TRADITIONAL LACQUERING CRAFT IN BOI KHE AND VU LANG IN THE ONGOING INDUSTRIALIZATION AND MODERNIZATION 2.1. Major factors behind the transformation of the traditional lacquering craft 2.1.1. Accelerated industrialization and modernization of agriculture and rural areas Our country’s renovation cause has entered a new stage, accelerated industrialization and modernization, of which one of the more important tasks is industrialize and modernize the agricultural sector and rural areas. This process requires effective use of resources, internal and external, and international integration for rapid and sustainable national development. To that end, one of the important tasks is restore and develop traditional craft villages where a lot of the nation’s unique cultural values are created and preserved. Since 1986, the Party’s and State’s views on the need to develop craft villages including those specializing in export goods and services have been materialized with a good number of regulations and policies applicable to crafts and craft villages, particularly handicrafts such as lacquering. Such policy documents can be considered to be the legal framework for the development of traditional crafts in general and handicrafts such as lacquering in particular. 2.1.2. Socio-economic transformation The renovation cause, which started in 1986 with the aim of shifting from a subsidized economy to a State-regulated market economy and transforming comprehensively all economic and social domains, has brought about enormous changes in the country’s socio-economic life. As people’s material well-being has improved, their spiritual needs have received greater care. This has provided good grounds for the craft of making lacquered worshipping objects and other handicrafts to prosper. Traditional lacquering villages such as Boi Khe and Vu Lang have managed to seize this opportunity and keep adapting themselves to the new situation. This presents their 11 comprehensive and diverse transformation. Given the rapid development of science and technology, the introduction of the market economy in the country and international and regional integration, traditional lacquering has a lot of opportunities to mechanize and modernize its production. 2.2. Concrete signs of the transformation of the traditional lacquering craft 2.2.1. Materials A lot of new materials have replaced old ones because they dry faster and are more effective and cheaper. Locally made lacquer paint has been replaced with Japanese made one and locally made red paint. Other materials have also been changed in order to suit the new paints and meet mass production needs. The palette has been diversified. The material used for rubbing and polishing is more convenient and the process is now faster thanks to the use of machinery instead of manual labor. In addition to wood, other materials such as plastic, ceramics, composite or bamboo have been used to make molds. Gold and silver have been replaced with tin to reduce costs. It totally makes sense when the villages are using new materials in order to meet market demands for affordable products. This is an acumen required of craft villages in the time of the market economy. 2.2.2. Industrial processes The new materials and machinery have helped production much faster and easier and have allowed mass production that can meet orders of any sizes. That may be the reason why production in these lacquering villages has been called industrial technology. 2.2.3. Products Products have come in a greater range of types, shapes, sizes and themes, thus satisfying customers’ varied needs. They are now becoming more unique and original in order to suit tourists’ taste. 2.2.4. Markets and customers At present, domestic and international markets for lacquered products have greatly expanded. The largest domestic market for worshipping objects is Northern provinces, followed by Southern provinces and some in the 12 central region. Overseas markets have opportunities for expansion because Vietnamese living there have increasing needs for worshipping objects to be placed in temples or houses. Unlike Vu Lang’s worshipping objects, Boi Khe’s handicrafts are mainly for export and have been exported to many countries in the world. 2.2.5. Organization of production and business Due to the impacts of the State’s renewed mechanisms and policies, the traditional lacquering villages have changed their method of production organization since 1992, from the original guilds to cooperatives to the modern-day household businesses. The scope of household production has expanded to meet current market demands. That large-scale enterprises have been founded has turned quite a few smaller-scale or household businesses into satellites specializing in a particular stage of production, which has created a closed cycle of production. This phenomenon is unprecedented. Buying, selling or transactions have taken broader definitions. They are no longer understood as direct contact between artisans and customers. Geographical distances are no longer an obstacle thanks to information technology. Apparently, artisans using the chisel and an internet-connected laptop is a new sight in craft villages including Boi Khe and Vu Lang. 2.2.6. Human resources Before 1954, lacquering in Boi Khe and Vu Lang used to be made mainly by guilds who were normally composed of relatives or co-villagers who had leisure time between crops. Nowadays, labor force in these villages is relatively abundant because of the growth of the craft. They consist of villagers and those from neighboring villages and even other provinces. The force is increasing year by year. They help to contribute to economic prosperity in the villages. In addition, the rise of skilled artisans who are also workshop or business owners is one of the new features of the traditional lacquering craft. 2.2.7. Training According to artisans in Boi Khe and Vu Lang, it was extremely important to keep occupational secrets, especially those concerning the most essential stages of the craft such as preparing paint according to weather 13 conditions and painting or rubbing techniques. However, artisans’ awareness and mindset have been much more liberal. Authorities’ intervention or support in training is also a new characteristic in the craft villages. Advice and guidance have been offered and legal frameworks created in support of training and retraining. Training courses have been organized, attracting a good number of young people in the villages as well as those from other provinces. Obviously, the training of the craft in the villages has been expanded and diversified, helping to create more jobs and improve villagers’ lives. 2.2.8. Artisans’ lives Income from the craft has improved considerably the material lives of people in Boi Khe and Vu Lang. Additionally, their spiritual lives have changed for the better, partly because of the improvement in their material lives and partly because they need to able to understand the market and related issues which influence the operation of enterprises and household businesses in the villages. Such changes can be considered to be remarkable results of the diverse transformation of the traditional craft in such villages as Boi Khe and Vu Lang. 2.3. Consequences of the transformation of the traditional lacquering craft 2.3.1. The restructuring of the value system of the traditional lacquering craft The transformation of traditional lacquering in such villages as Boi Khe and Vu Lang is, in fact, the adjustment of the age-old value system so that the craft can survive in the new circumstances. The system, which consists of both traditional and modern values, has experienced three main changes. First, some traditional values such as using wood to make products remain almost intact. This is particularly the case in Vu Lang, which specializes in worshipping objects. The typical range of lacquered worshipping objects has hardly changed. Artisans’ dedication to their making worshipping objects, particularly statues, so they are realistic and sacred is still conceived of to be important. Second, some traditional values have been supplemented or improved. The assistance or intervention of machinery in some stages of production has 14 been welcomed as artisans wish to produce their expected amounts of goods. Products now come in all shapes and sizes in order to meet the needs of modern-day customers who believe strange is beautiful. The notion and purpose of making handicrafts have changed so as to suit the current circumstances better. Handicrafts are not only made to satisfy people’s spiritual lives or their need for enjoying beauty but also to be practical in their daily lives. Some completely new values have replaced old ones which are no longer suitable. Some new materials have almost completely replaced traditional ones. Individual, stationary businesses have replaced mobile guilds and cooperatives. Training has been provided for anyone including those who are not from the families engaged in the craft. Wealthy, influential and sometimes powerful business owners have established and strengthened their social contacts and have carried out transactions through emails. Artisans no longer limit their contacts within their villages, relatives or neighbors or run around looking for work. Urban lifestyles have emerged due to the rise of services and entertainment which never existed in the villages before. 2.3.2. Some issues that need rethinking due to the transformation of the traditional lacquering craft Obviously, once the craft has transformed almost comprehensively and especially once its traditional value system does not remain the same as before, the traditional lacquering craft, traditional lacquering craft villages and traditional lacquering craft artisans must be interpreted differently. Although we still discuss the three most important criteria for defining the traditional lacquering craft, the use of the traditional material , which is locally lacquer paint, making of products using traditional techniques and inheritance of the tradition , which means the craft must have a certain age, and an additional criterion of aesthetics since lacquering belongs to the handicraft category, are such terms as traditional lacquering craft , traditional lacquering craft villages and traditional lacquering craft artisans still suitable in this time given the fact that lacquering no longer follow strictly these criteria? 15

There is a need for clear distinction of traditional lacquer and modern lacquer when they are marketed. In terms of institutions, it is necessary to learn from the experience of Japan and Korea, which have the same craft. These countries have issued a number of laws on traditional handicrafts and have achieved significantly in the preservation and promotion of this cultural heritage. This is to come up with reasonable definitions of terms related to the traditional lacquering craft, which would serve as the basis for solving its problems in the current circumstances. 2.3.3. Economic, cultural and social conflicts On the surface, lacquering artisans’ incomes are markedly higher, their work is relatively stable and their material and spiritual lives are considerably better than before. However, when things are looked at at a more profound level, quite a few cultural values have been lost. According to the most passionate artisans, the biggest loss is that of lacquer paint, one of the most important elements that distinguish Vietnamese lacquer from East Asian one, which is made in three famous centers being Japan, China and Korea. Another problem is that the economic profits artisans get from the craft do not match their talent and labor. This is one of the manifestations of the economic-cultural conflict arising from the transformation of the traditional lacquering craft. The disparity between a few wealthy business owners and the majority of average income artisans is becoming increasingly visible, causing a number of negative impacts on people’s lives. 2.3.4. Environmental issues Traditional lacquering is already a polluting craft because it uses lacquer paint. It has become even more polluting since it started to mass produce, mechanize production processes and use chemicals. Water and air pollution and especially noise from the machinery do not only affect business and production but also villagers’ health. It can be said that environmental pollution is a topical question in the villages of Boi Khe and Vu Lang. However, it remains unsolved because local authorities and those directly engaged in the craft neglect it.

16 Mini-summary Due to external and internal conditions brought about by the new context, the traditional lacquering craft in Boi Khe and Vu Lang has transformed in almost all aspects. To some extent, such transformation has created a new face and vitality for the villages. However, besides those remarkably positive signs, its cultural and social consequences may cause the basic values of the craft to die out. From the perspective of cultural studies, traditional lacquering as a cultural phenomenon is no exemption from the laws of movement and transformation. The main cause of the transformation lies in the direct and indirect impact of political, economic and social factors. It is this transformation that has enabled the craft to innovate itself, thereby surviving and growing. The craft will continue to change, for better or worse, in the context of national industrialization and modernization and integration. Therefore, the bottom line is how to plan the development of the craft in the two villages so it manages to preserve and promote traditional cultural values and, at the same time, solve the conflicts between economic benefits and cultural, social and environmental ones and ensure people’s material and spiritual lives. Chapter 3 THE DEVELOPMENT OF THE TRADITIONAL LACQUERING CRAFT IN THE VILLAGES OF BOI KHE, VU LANG AND NEW SIGNIFICANCES OF THE RESEARCH 3.1. Orientation for the development of the traditional lacquering craft in the villages of Boi Khe and Vu Lang 3.1.1. Development trends of the traditional lacquering craft in Boi Khe and Vu Lang in coming time In light of the new circumstances and policies by authorities at various levels, the traditional lacquering craft in Boi Khe and Vu Lang is likely to grow faster in the immediate and distant future so it can meet the increasingly diversified daily life and religious needs of people in and outside of Vietnam. 17 The planning of the craft must take into account socio-economic development policies of the country in general and of Hanoi in particular as well as its peculiarities in particular villages. Accordingly, the expansion of the traditional lacquering craft needs to ensure stable economic growth and solve social issues such as villagers’ jobs and their living standards. In terms of public health, the craft needs to protect and improve people’s living habitats. It must bring about positive changes in the local economy, society and environment. Basically, a developmental model for the craft and craft villages must be based on three factors, economic, social (or cultural) and environmental. 3.1.2. Some developmental points of view In many respects, the rural Vietnamese economy has always been growing in parallel with the existence of traditional crafts and craft villages. Amid socio-economic development brought about by accelerated industrialization and modernization, the traditional lacquering craft has made various changes in order to adapt itself to the market economy. In this new context, the craft plays an important role in building a new rural economy in such villages as Vu Lang and Boi Khe. Preserving and developing the traditional lacquering craft and any other crafts is part of general national and local developmental strategies. In recent years, at macro levels, authorities at various levels have issued mechanisms and policies in support of traditional handicrafts including lacquering in the two villages. Most recently, the Prime Minister issued Decision 491/QD-TTG on national criteria for new rural areas and Hanoi People’s Committee Decision approving the planning of crafts and craft villages in Hanoi to the year 2020 and orienting their development to the year 2030. Apparently, the industrialization and modernization of agriculture and the rural economy in craft villages such as Boi Khe and Vu Lang do not only aim to achieve economic objectives but also cultural and social ones. The preservation and development of traditional handicrafts including lacquering play an important and positive role. In a market economy, the ability of the traditional lacquering craft to meet requirements of the market decides the survival and development of the craft itself and craft villages, and the craft is 18 and will be the bridge between agriculture and industry, the country and the city, tradition and modernity. Based on those observations, in our opinion, some of the developmental objectives for the craft in the two villages in the immediate future are to modernize traditional technology and traditionalize modern technology. The State needs to enhance it support for craft villages so they can improve their adaptability. Infrastructure must be developed. The development of the craft must take into account tourism and environmental protection. 3.1.3. The development of the traditional lacquering craft in the villages of Boi Khe and Vu Lang: issues that need to be solved We believe that it is necessary for the villages to consult with researchers and cooperate with related industries and authorities at various levels so they can achieve their development goals. Their dynamism is also much needed. The State and people need to share work, which is a widely accepted view. Issues that need to be solved in the time to come include: Building a system of policies, laws and preservation programs benefiting traditional handicrafts including lacquering The State’s policies and laws are considered to be the legal foundation for authorities at various levels, industries and the entire society to implement the preservation and development of traditional handicrafts. However, to date, policies specifically made for this purpose remain insufficient or do not help to unleash the potential of the craft. Translating regulations or policies into reality in production in craft villages is another issue of concern. To this end, there must be detailed guidance documents which clearly determine roles, responsibilities and rights of related agencies and organizations. Above all, there must be unanimity and coordination in the dissemination and realization of such policies and laws. Expanding market shares The ability of the lacquering craft to adapt to the constantly changing market decides its survival and development. Therefore, first and foremost, it is necessary to prepare and realize a trade promotion strategy which helps to find markets for handicrafts including traditional lacquer. Second, importance must be attached to building craft village brands. Third, it is 19 necessary to innovate products and diversify their range in order to meet market needs. To this end, businesses in the two villages need to make great efforts and be dynamic. In addition, there must be assistance from Hanoi People’s Committee, the city’s industrial and commercial sector, the districts of Phu Xuyen and Thanh Oai and people’s committees of Chuyen My and Dan Hoa communes. Material markets Given the current material supplies, it is necessary to carry out the following tasks: (1) It is necessary to immediately plan material zones catering to handicrafts including lacquering. Urgent planning is needed for areas suitable for growing wax trees such as Phu Tho or Yen Bai. There must be policies protecting people who grow the trees. There must be incentives for organizations or scientists who conduct research into new materials that can replace traditional ones so their research results could be applied in craft villages. (2) It is necessary to intensify contact or cooperation with domestic as well as overseas suppliers of the main ingredients of the lacquering craft. (3) Businesses in craft villages need to update themselves constantly on input materials. Techniques and technologies It is recommended that the city needs to take the following measures in the time to come, (1) Encouraging the application of modern techniques and technologies to the production in craft villages, especially in certain stages where they can minimize human labor while maximizing productivity; (2) Intensifying cooperation between traditional craft villages and research bodies responsible for innovating technologies for craft villages. Craft villages need to be proactive in applying technological achievements to their production while taking into account the use of traditional techniques in the essential industrial stages so as to ensure the traditional factor of lacquered products; (3) Increasing the use of IT in the production and marketing of products. In the immediate run, it is necessary to apply management software, supervise product quality, design websites for the villages and open online markets. Human resources 20 It is extremely necessary to uphold workers’ rights and honor artisans in the coming time. As craft villages exist in the market economy, in addition to their skills and recipes for success, artisans cum bosses need to have knowledge of business and markets so they can manage production, market products and create business partnerships. To this end, in our opinion, it is necessary to (1) Introduce policies on social welfare for workers in the craft and review the preferential treatment of skilled artisans; (2) Intensify training in various forms; (3) Provide refresher courses on markets, production organization, corporate management and modern techniques and technologies for business owners in the villages so that they are fully capable of sustaining and expanding the craft. Infrastructure In order to improve infrastructure and meet development needs of the lacquering craft in Vu Lang and Boi Khe, we believe it is necessary to do a survey of the existing infrastructure and plan its development with focuses on roads, electricity, communications, water supply and sewage, healthcare and education. Organization of production and business It is necessary to continue the existing models of production and business organization in the villages and combine them in order to create aggregate resources and help to speed up the development of the craft in the market economy. We recommend (1) Encouraging the development of private or limited liability companies engaged in producing or trading in traditional lacquer; (2) Introducing incentives for household businesses in various stages of production; (3) Encouraging connection between various forms of economic ownership in the villages and those in other regions or provinces doing the same craft so as to increase production and business efficiency and minimize the risk of small businesses being manipulated by private merchants. Developing craft villages from the perspective of tourism For tourism in Boi Khe and Vu Lang to be economically, socially and environmentally profitable, it is necessary to (1) Promote the craft villages and their traditional lacquer on various channels of information; (2) Intensify 21 cooperation with tourism or travel agencies in organizing tours to the villages; (3) Assist the villages with building tourist infrastructure such as roads and tourist services; (4) Pay attention to the restoration and preservation of historical and cultural sites and revive folk culture in the villages; (5) Develop cultural tourism in the villages; (6) Open souvenir shops; and (7) Design environmental regulations for the villages based on the Law on Environmental Protection and Law on Tourism. Environmental issues Although dealing with environmental issues needs to take into account the specific natural, economic and social conditions of a region, it all boils down to minimizing pollution and improving the quality of life of those living in that region. The immediate tasks include (1) Urgently disseminating and realizing legal documents on environmental pollution in the craft villages; (2) Intensifying the monitor of the environment in the villages and continuing research into, or examination of, the harmful effects of chemicals used in production in the villages; (3) Assisting the villages with the application of advanced science and technology to the improvement of the environment; (4) Continuing research into clean production for specific crafts; (5) Issuing policies on land resources with the aim of providing sufficient land for building houses and workshops through spatial and environmental planning and reasonable use of land; (6) Local authorities coordinating with departments of resources and the environment and relevant agencies to implement on a regular basis programs or activities aimed at raising local people’s awareness of the environment and their capacity of handling pollution caused by the craft. State regulation For the lacquering craft to continue growing, there are three things that need to be done when it comes to State regulation, (1) Intensifying the dissemination of policies and guidelines laid down by the Party, State and Hanoi concerning the role and significance of the development of traditional crafts including lacquering and craft villages; (2) Regularly reviewing related policy documents so they can be timely adjusted or supplemented and implemented in the city; and (3) Carrying out more seriously and radically 22 the administrative reform including the one-door mechanism and processing paperwork promptly and effectively for the benefit of enterprises and household businesses in the villages. 3.2. On the originality of the research The dissertation The ongoing transformation of the lacquering craft in Boi Khe (Phu Xuyen district) and Vu Lang (Thanh Oai) in Hanoi , which studies the traditional lacquering craft in the two villages using the interdisciplinary approach of cultural studies, has produced the following results: (1) Providing additional information on the history of the lacquering craft in the world; (2) Making a relatively comprehensive summary of the contribution of lacquered products to the lives of people in the Northern delta; (3) Providing additional information on some lacquer villages in the Northern delta, particularly in Boi Khe and Vu Lang, and identifying the distribution of the lacquer craft in the region; (4) Selecting and applying related theories on the transformation of the lacquering craft as a cultural phenomenon in the context of national industrialization and modernization; (5) Proving the inevitability of the transformation of the traditional lacquering craft in the two villages through presenting specific manifestations of such transformation and its consequences; (6) Based on the view of expanding the traditional lacquering craft in Boi Khe and Vu Lang and actual situations in the villages, making recommendations for efficient production in economical, social and environmental terms in the coming time. Mini-summary Thanks to the assistance of the Party, State and Hanoi People’s Committee and dynamism of lacquer artisans in the villages of Boi Khe and Vu Lang, the craft has had a lot of opportunities for development. We believe that what the villages have done has proved to be effective in the short run. However, to ensure sustainable development of the craft in the long run, it is necessary for the villages themselves, authorities at various levels and relevant industries to carry out concerted implementation of policies based on the actual situation of the craft in the villages. 23 Using the interdisciplinary approach of cultural studies, the dissertation The ongoing transformation of the lacquering craft in Boi Khe (Phu Xuyen district) and Vu Lang (Thanh Oai district) in Hanoi while discussing some basic questions proves to be original compare to previous research. CONCLUSION 1. The lacquering craft existed the earliest and prospered the most in the Northern delta, where there were numerous guilds and craft villages. Boi Khe in Phu Xuyen district and Vu Lang in Thanh Oai district in Hanoi have emerged as two lacquer centers known for their valuable products. As a result, lacquering has been hailed as a “beautifying craft”. 2. Since the country entered the period of renovation, due to the impacts of institutions and policies laid down by the Party and State as well as immense transformation in the national economy and society, the traditional lacquering craft in Boi Khe and Vu Lang has experienced a variety of changes at different levels depending on the economic and social conditions of particular periods and villages. Nevertheless, some of the elements of the craft have hardly changed or have changed at a very slow rate, as has been discussed in the dissertation. 3. The transformation of the traditional lacquering craft can be considered to be inevitable so it can continue to survive in the villages instead of dying out as in the case of some other villages which failed to adapt themselves to the new economic and social circumstances. Results of such transformation are very remarkable and play an important role in local economic, cultural and social development. 4. The transformation of the traditional lacquering craft in the villages of Boi Khe and Vu Lang has given rise to a few cultural and social issues. Like any other cultural phenomena, the transformation is both positive and negative. The down side of the transformation lies in conflicts between economic profitability and cultural and environmental protection, which presents urgent issues to the development of the craft in the two villages in the modern society. 24 5. The dissertation provides the reseacher’s perspectives, among others, on the transformation of traditional lacquering in particular and traditional handicrafts in Vietnam in general. From this research, we believe that lacquer artisans and workers have managed to preserve the traditional values of the craft and, at the same time, have accepted new values in an effort to adapt themselves to the requirements of the modern society is an important condition for the craft to expand in the future. Having said that, for further success of the craft in such villages as Boi Khe and Vu Lang, only the effort of the villages themselves, though encouraging, is not sufficient. Much needs to be done by other industries and relevant authorities. 6. The research has proved to be original compared to previous research into the traditional lacquering craft in the villages of Boi Khe and Vu Lang. Using the interdisciplinary approach of cultural studies, the dissertation has produced new findings as have been presented earlier. 7. Traditional Vietnamese lacquering is a very large and diverse theme that can be explored from different perspectives. In addition to our dissertation and some other research into the craft and its transformation in such villages as Cat Dang and Binh Vong, there is definitely still room for further study on this theme. Several potential areas for future research can be identified including research on the transformation of traditional lacquering craft in other villages in the Northern delta such as Son Dong, Ha Thai or Ha Cau using interdisciplinary approaches and study on the transformation law of traditional lacquering craft in the Northern delta under the impact of market economy and national industrialization and modernization.