‘A progressive Vietnamese culture imbued with national identity’
Decision 90/CP was followed in 1998 by Resolution 5 (VIII) of the Party Central Committee, which sought to address growing concerns about the erosion of traditional values an age of modernisation and industrialisation. In particular the Resolution sought to address the exponential growth of the Internet, the pervasive influence of western popular culture at the expense of Viet Nam’s ancient heritage, the penetration of ‘poisonous culture’ (
văn hóa độc hại) such as pornographic magazines and videos, and the spread of ‘social evils’ (
tệ nạn xã hội) such as prostitution and drug abuse among some segments of the population.
Crucially, this enactment harks back to the outline for the preservation and development of Vietnamese culture (đề cường về văn hóa) drafted in 1943 by Communist Party General Secretary Trường Chinh, by urging all Vietnamese citizens to work together ‘to build and develop a progressive Vietnamese culture imbued with national identity’ (xây dựng và phát triển nền văn hóa Việt Nam tiên tiến, đậm đà bản sắc dân tộc). This slogan may often be seen today emblazoned across propaganda hoardings throughout the country.
Decision 90/CP provides guidelines for strengthening cultural activity and establishing the basis for a gracious and civilised way of life, stressing the importance of a return to traditional values and strict adherence to the Communist Party Line on Literature and Arts (
Đường lối văn nghệ của Đảng), yet at the same time encouraging artists and arts organisations to experiment with new forms of creative expression and new styles of cultural management.
On the creative front, individual Vietnamese artists quickly took up the challenge of Decision 90/CP by exploring the new avenues now open to them. Perhaps the most important catalyst in this process since 1998 has been the steady growth in opportunities for Vietnamese artists to participate in creative cultural exchange with their counterparts overseas, encouraging experimentation in multi-disciplinary art forms and inspiring the setting up of a number of independent alternative art spaces in both Hà Nội and Hồ Chí Minh City.
Whilst originally conceived and nurtured in the non-government sector by centres such as
Salon Natasha,
Studio Đào Anh Khánh and
Đức’s House on Stilts, contemporary art subsequently began to acquire implicit recognition by the state, partly thanks to the adventurous programming policies of organisations such as Hà Nội’s
Việt Nam Opera-Ballet Theatre (a state-run company belonging to the Ministry of Culture and Information which now incorporates a contemporary dance section) and the
Contemporary Art Centre (an initiative of the Việt Nam Fine Art Association which from 2000-2003 - under the direction of contemporary artist Trần Lương - regularly hosted mixed media work by both local and overseas artists). Today contemporary art forms have become an increasingly important feature of the Vietnamese cultural landscape, and while restrictions and censorship remain in place it is noteworthy that even performance art - once regarded as dangerously spontaneous - is now covered routinely by the state media.
In contrast, by 1999 it had become apparent that the drive to ‘socialise’ the management of state-run cultural organisations was foundering. Plunged into a new and harsh operating environment, few Vietnamese cultural managers had the training or experience to exploit the opportunities of the growing market economy.
