A fine balance: the Vietnamese circus is swinging back into the limelight with acts that can appeal to diverse audiences, young and old, at home and abroad

After lying low for decades, the nation’s circus industry is getting its act together.

been transformed by the process of global integration and have made their mark on the world stage – the nation’s fine arts, folk music and water puppetry, to name a few.

There are some, however, that have languished in obscurity during this period, and the nation’s circus sector is one of them.

However, there are clear signs that it is getting its act together and stands poised to make a comeback. And interestingly, the resurgence is being sparked by international, rather than local interest.

A French association has suggested that it “buy” this cultural product in a transaction that will bring a Vietnamese countryside-inspired circus program to a three-year performance in France and other European locations.

Vietnamese artists will stage 11 performances at the famous Quai Branly Museum in Paris, which was founded by former French President Jacques Chirac. The museum hosts programs focused on indigenous art and culture from around the world.

Initially, the Vietnamese circus troupe will perform in France and Morocco during the European summer, followed by a special return visit to France for the Christmas season. In 2010-11, performances will be held in all of France’s national theaters and will expand to other countries in Europe.

More than a circus

With less than six months to go before Lang toi (My Village) flies to France, the director of Vietnam Circus Federation (VCF), Vu Ngoan Hop, is calm as he looks back at the efforts and initiatives his organization and artists have undertaken to make this program feasible.

Initially performed in 2005 during the first-ever Vietnam Circus Week in Hanoi, the combination of dance and installation art by over 80 performers earned considerable applause for the high artistic and skillful values displayed.

Different from other traditional shows like Son tinh Thuy tinh (The legend about Vietnamese gods of mountains and waters), the new project includes innovations by both local and overseas artists in cooperation with France’s Art Ensemble.

Lang toi combines elements of circus, traditional games and ordinary farming activities set to a seamless medley of music played on folk instruments as it paints a broad canvas of rural lifestyles in northern, central and southern regions of the country.

“The audience can see the lively landscape of Vietnam’s countryside and the simple, but fascinating lives that its inhabitants lead.

“They can expect to see traditional folk games such as stilt-walking, on bamboo sections, of course, and games of hackeysack (A non-competition sport in which a small ’sack,’ or ‘hack’ full of rice or sand is kept from falling to the ground by using anything except for the arms). No opportunity for using all set elements in the story-telling will be lost. For example, a farmer’s pipe will become a toy for jugglers and acrobats.

“Staying true to countryside customs, the show uses bamboo as a constant throughout. All props are made of bamboo and scenes are set to include it as a centerpiece,” Hop says.

In Lang toi, the audience can also enjoy a typical traditional wedding in the Mekong Delta with the groom and his bride in ao dai (Vietnamese traditional long tunic) passing the bamboo “monkey bridges” that are common in the southern region. Crossing these are acrobatic acts that locals perform constantly as part of their daily life.

“And don’t be surprised, our circus performers take the program to new heights with folk music performances like ca tru (Vietnamese ceremonial songs),” says Hop with evident delight.

“Unfortunately with 80 actors and 20 support staff it is impossible for us to make a tour abroad with the existing program,” the eminent artist adds.

The signed deal with the French partner limits the participation to 14 actors, four musicians and two technicians.

Hop feels that “Lang toi attracts foreign audiences since it is a spectacular circus performance cum play that showcases unique Vietnamese features.”

A different perspective

As it steps on to the international stage, the Vietnamese circus changes perceptibly, most so in the exclusion of items traditionally most popular among local audiences. It is also rarely offered to foreigners who live in or travel to Vietnam.

The reason, says Hop, is that “in Vietnam, the circus has been known solely as entertainment for children for such a long time. With the (new) innovations, we are trying to appeal to more adults.”

As of now, the country has about a dozen professional troupes like the Hanoi Circus, Ho Chi Minh City Circus and Long An Circus, apart from other private-owned ones. The VCF acts as an umbrella for these troupes with more than 100 artists, a training school for prospective circus performers and the largest performing center within the country.

Most other circus organizations neither have a stable office nor a place to practice. Their working destinations are usually the provinces in which entertainment spots and performances are very small.

Ho Van Thanh, head of the HCMC Circus Troupe, says: “In order to attract Vietnamese audiences, we should be creative and able to apply international know-how and deploy an effective marketing strategy.

“Going abroad not only helps promote Vietnam’s culture to the world but also creates favorable conditions for the artists to grab the state-of-the-art knowledge and practice that well serve the homeland’s audiences,” says Thanh, who leads some 60 performers.

“But in order to further develop the circus sector in the long term, authorities should have a strategy to support young talents like in the sports sector. Most youngsters nowadays prefer the corona of other entertainment industries like singing and acting, rather than performing in a circus, which is more dangerous, requires patience and hard training, while the earnings are meager,” Thanh adds.

Reported by Luu Hong