Doktorand i konstnärlig forskarutbildning i musik

Nguyễn Thanh Thủy är född i Hanoi och studerade vid Hanoi National Academy of Music. Hon tog examen 1998, följt av en Master of Arts vid the Institute of Vietnamese Folklore 2002. Sedan 2000 undervisar hon i dan tranh vid Hanoi National Conservatory of Music. 2012 blev hon anställd som konstnärlig doktorand vid Musikhögskolan i Malmö.

Hon har mottagit många utmärkelser, bland annat förstapris vid the Contest of Traditional Instrument Performance on Television and Radio år 1992 i Vietnam. Likaså har hon år 1998 vunnit First Prize and the Best Traditional Music Performer Prize i den nationella tävlingen Zither Talents i Vietnam.

Nguyễn Thanh Thủy turnerar regelbundet i Asien, Europa samt USA och har arbetat tillsammans med Niels Lan Doky, Jakob Riis, Lotte Anker, Wu Wei, Richard Karpen, Malin Bång, Christer Lindwall, Henrik Frisk och Stefan Östersjö.

Hon har spelat in ett antal CD som solist med orkester: Nhung danh cam dan toc tre (Young musician Talents) 1998, Giai dieu bon mua (Four Seasons’ Melodies) 1998, Loi ru que huong ( of the Native Land) 2001.

Hon har även spelat in följande soloskivor: Doc tau dan tranh Nguyen Thanh Thuy Vol.1 (Solo dan tranh Nguyen Thanh Thuy Vol.1) 2005, Tranh Improvisation (with Jakob Riis, laptop) 2010, May Xua – 2012 samt Suoi Tranh Nguyen Thanh Thuy Vol.2 – 2013.

Hemsida

Pågeånde avhandlingsarbete:

The choreography of gender in traditional Vietnamese music

Presentation:
Many people today would be surprised if a boy wanted to learn the dan tranh in Viet Nam. But all of my masters were men. Only fifty years ago only men could play an instrument, or become an actor. The shift has been gradual, but now women in Vietnam are involved in any kind of profession. As many people comment “this is a good development”, but I wonder if everything in this change is all good, and I think that the way in which traditional music has shifted towards different forms of public performance and towards female rather than male performers is a relevant example of a problematic tendency towards objectification of women. And many other questions remain about the function of musical gesture in the context of traditional music to me. So my project "The choreography of gender in traditional Vietnamese music" has a dual starting point: the social change in traditional music from private and male activity to public and female performance, and my encounter with experimental, contemporary and Western forms of music. Main questions concern (i) whether and how my performance in traditional contexts support and transmit conventional gender norms, and (ii) if experimental musical practice can be seen as a tool for changing dominating conceptions of gender.