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DNO - Some artists tell stories without words. They tap on a clay jar or create rhythms using plastic chairs and wooden paddles which are familiar materials in everyday Vietnamese life but rarely seen on a performance stage.
In 2026, Da Nang hosts several special art projects. These are GOm Show - Sound from Ceramics, a production by the Dan Do Art Troupe that will be staged at the Trung Vuong Theatre for the first time on July 8 and 9, and The Heritage Show, which debuted in February at the An Hai Ward Cultural Center, taking audiences on a journey through the heritage landscapes of central Vietnam.
These performances are structured as a multi-sensory journey, where music, performing art, and the sounds of the earth combine to create a complete stage, telling the story of Vietnamese memories, culture, and people.
At the GOm Show, each clay jar and earthen pot possesses its own distinct tone, shaped by the thickness, firing temperature and density of the material itself.
The result is a soundscape that is both rustic and evocative something no industrial instrument can replicate.
The show’s eight chapters unfold without narration, allowing the ceramics to “speak” for themselves.
Audiences are guided through diverse cultural spaces, from the rhythms of labor and community festivals to moments of contemplation and a return to one's roots through the language of tapping, striking, rubbing and the natural resonance of fired clay.
Accompanying the ceramic sounds are musical elements inspired by communities across Vietnam, including the H'mong, Tay, Nung, Lo Lo, Ede and Ha Nhi ethnic groups.
Beyond the musical performances, audiences can also explore a themed visual art space featuring installations made from bamboo, wood and ceramics, as well as a series of paintings on Do paper. They all offer broader perspectives on daily life, craftsmanship and community development associated with Vietnam's ceramic heritage.
The Heritage Show takes a different approach but conveys a similar message through props, sounds and cultural resonances rooted in Vietnamese identity.
The show's director, artist Nguyen Bong Mai, has over 20 years of experience in performing arts and entertainment production.
A consistent theme in her projects is the ambition to transform Vietnamese cultural materials into contemporary theatrical experiences where tradition is retold in a new language.
For The Heritage Show, Nguyen Bong Mai continues to pursue that vision by using the most ordinary objects from plastic chairs and Quang noodle carts to basket boats and wooden paddles in order to create the sounds that tell stories of the land and its people and trace the journey of life through the iconic heritage spaces of central Vietnam: Hue, Champa and Hoi An.
In particular, the plastic chair, an everyday item closely associated with Vietnamese culture, in the hands of the artists is no longer just a seat.
It becomes a rhythmic instrument, a choreographic prop and a source of sound.
The clattering of chairs, the scraping across the floor and the stacking of plastic seats, sounds familiar to anyone from Quang Nam, are reimagined within a unique artistic setting.
One of the show’s most engaging features is its ability to narrow the distance between artists and audiences by inviting spectators to participate directly in the performance.
Each person becomes an essential piece of the story, joining the performers to create vivid moments and offering a fresh and profound perspective on Vietnam's cultural heritage.
The decision by both GOm Show and The Heritage Show to dispense with dialogue can be seen as an aesthetic statement.
By removing spoken language, the artists are compelled to turn to forms of expression capable of transcending cultural and linguistic barriers: rhythm, movement and sound. These are also among the most primal and universal forms of artistic expression.
Contemporary performing arts are clearly experiencing a return to natural, raw, handcrafted and unconventional materials.
After decades of stages dominated by technology, digital effects, LED screens and studio-engineered sound, many artists and audiences are rediscovering authentic sounds deeply connected to everyday life and local identity.
Rather than simply recreating tradition in a conventional sense, each production adopts its own approach to transforming cultural heritage into a vibrant new artistic language, employing instruments, melodies and imagery that resonate with contemporary audiences while preserving the original spirit of indigenous cultures.