Amid the rapid transformations in modern life, traditional culture in Dak Lak continues to be preserved and sustained in its own distinctive way.

Sustaining the source from the roots

In the lives of Central Highlands ethnic communities, artisans play a special role, both preserving and transmitting culture heritage.

In front of a small stilt house, artisan H’Huyen Bhok, an M’nong woman from Lien Son Lak commune and a fourth-generation pottery maker, diligently pounds clay as well as shapes pottery entirely by hand each day, guided by skill along with a refined sensitivity to earth and fire. She shared, “Pottery is not difficult to learn, yet it requires dedication and perseverance. I hope younger generation understands that each product is not merely an object, but a story of our people. As long as they still love and learn it, the craft will endure”.

Artisan guiding students in Cu Pong commune in performing Kram gongs.

Alongside pottery, gong culture continues to be steadfastly preserved. In Krong Buk commune, artisan Y Moi Mlo is regarded as the “guardian of the gong spirit” of the village. Surrounded by a treasured gong set, a century-old buffalo-skin drum, and a kpan bench stretching over 10 metres, he patiently leads children into the rich soundscape of gong culture.

To ensure these values extend beyond the family sphere, in recent years the cultural sector, together with local authorities, has restored traditional rituals and festivals, namely water source worship ceremonies, new rice celebrations, along with brotherhood bonding rites. The combined efforts between artisans and institutional direction have helped return culture to its rightful place in community life, creating an environment in which core values are nurtured alongside sustained over time.

Adapting for wider reach

While earlier generations serve as “keepers of the flame”, today’s youth expanding its presence in ways better suited to modern life. Through village-based gong training classes, numerous youth gong clubs and teams have been formed as well as now operate regularly.

In Cu Pong commune, a youth gong team led by Y Thu Mlo maintains regular practice. Combining gong performance with xoang dance, the group now has 25 members aged between 16 and 40. By day they work, in the evenings they gather around the stilt house fire to rehearse together.

In addition to performing regularly at cultural events together with festivals, team members actively record their rehearsals as well as performances and share them on social media, attracting wider attention. As a result, many visitor groups have come to explore alongside experience the local cultural space.

Gong performance activities; therefore, extends beyond preservation, gradually linking with tourism development, generating additional income and motivation for communities to continue safeguarding, while promoting traditional values.

This transformation is also reflected in traditional crafts such as brocade weaving, bamboo along with rattan weaving, and pottery. With improved designs, handicraft products are becoming more versatile as well as better suited to modern preferences: brocade is turned into bags and garments; woven alongside ceramic items are used in interior decoration and as souvenirs; combined with jar wine is now part of experiential tourism.

In practice, integrating culture with livelihoods enhances sustainability. Artisans can earn a living from their craft, and young people see opportunities, becoming more actively involved in preserving as well as promoting it. This continuity enables Central Highlands culture in Dak Lak to retain its identity while adapting to the demands of the times.

Translated by KHUONG THAO