The keeper of gong culture in the heart of the Central Highlands

Although in the twilight of his life and no longer in good health, he quietly fulfils his mission of safeguarding this unique intangible cultural heritage, kindling the younger generation’s passion amid the increasingly hectic pace of modern life.

Instilling pride in the younger generation

For years, local people have been familiar with the image of a thin, grey-haired man on an old motorbike, carrying sets of gongs from village to village and to schools to teach children how to play. That man is A Lip, who, despite his age, remains unwavering in his devotion to folk music.

Born into a family steeped in Ba Na cultural traditions, A Lip was carried on his father’s back to village festivals from a young age, whether celebrating the new rice crop, offering thanks for water sources, or attending funeral rites. By the age of 11, he was already proficient in playing traditional gong melodies.

“In the past, my family had many gongs. When my father passed away, he wished to be buried with them, so those precious sets now lie in his grave. Later, I collected ten valuable sets, but some I gave away, and others were lost. Now I have only three left, which I keep for festivals, cultural exchanges and teaching the village children,” recalled A Lip.

For many years, his modest home has become a familiar “gong classroom” for village children. Every afternoon after school, they gather at A Lip’s house to practise rhythms and learn gong pieces according to Ba Na musical traditions. With no textbooks or blackboard, his classroom is simply a small veranda, where the joyful sound of gongs echoes across the hills.

Dinh Phat, a member of the village’s children’s gong team, shared: “Every afternoon after school, we come to Mr A Lip’s house to learn to play. It’s a lot of fun; we learn so much. Recently, some of us even performed with adults, meeting lots of people, which was very exciting. I hope one day I can play the gongs as well as the artisans.”

Yet, with the rapid spread of Western music and electronic sounds reaching even remote Central Highlands villages, the sounds of the gongs are heard less often. Concerned that these traditions may fade, A Lip confided: “In the past, every festival would resound with gongs. Everyone wanted to play, to do the xoang dance. It was an honour. Now, with no one teaching, the young may forget, so I must try to keep it alive.”

A lifetime devoted to gongs

Beyond teaching the village children, A Lip has also worked with schools in Dak Doa and A Dok communes to introduce gong music to pupils. To date, he has helped around 200 children learn to play.

Nguyen Van Hung, Principal of Groi Village Primary School No.1, said: “For many years, our school has had a children’s gong team of 20 pupils, all taught by artisan A Lip. The team has often achieved high results in cultural festivals. A Lip is truly dedicated, teaching entirely on a voluntary basis.”

Thanks to his efforts, Groi Village now has two gong ensembles. The adult team consists of 21 members aged between 23 and 70, while the children’s team has 20 members aged 6 to 12. Together, they ensure the preservation and continuation of Ba Na gong culture in modern life.

In addition to teaching, A Lip is also a collector and guardian of rare gongs. For him, the gongs are not merely instruments, but “cultural treasures” that carry the memories, rituals and spiritual essence of the Ba Na people. Each time he strikes the gongs, it awakens village memories and stirs pride in the hearts of the young.

“I don’t keep gongs as ornaments, but to pass them on to our children. As long as the gongs remain, the soul of the village endures. With gongs, the Ba Na people endure,” he emphasised.

In recognition of his tireless contributions, the President awarded him the title of Meritorious Artisan in Folk Performing Arts - a fitting honour for a man who has dedicated his life to national culture.

Gia Lai Province has introduced many policies to support artisans, organise gong music classes, and maintain gong ensembles at the grassroots level. However, challenges remain, from limited funding to uneven local support. Greater community involvement is therefore vital to preserving ethnic minority culture. At the same time, honouring artisans should go beyond certificates of merit to include tangible material and spiritual support, so they can continue teaching with peace of mind.

Amid the windswept forests, the sound of artisan A Lip’s gongs still reverberates, as if reminding the younger generation to cherish and uphold their traditional values. He is not merely teaching an instrument, but nurturing in the young a love for their cultural identity - a flame that will continue burning brightly in the vast Central Highlands.

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