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The cultural space of the gongs in the central highlands of Vietnam covers several provinces and seventeen Austro-Asian and Austronesian ethno-linguistic communities. Closely linked to daily life and the cycle of the seasons, their belief systems form a mystical world where the gongs produce a privileged language between men, divinities and the supernatural world. Behind every gong hides a god or goddess who is all the more powerful when the gong is older. Every family possesses at least one gong, which indicates the family’s wealth, authority and prestige, and also ensures its protection. While a range of brass instruments is used in the various ceremonies, the gong alone is present in all the rituals of community life and is the main ceremonial instrument.
It is said that the gong culture dated back to the Dong Son Civilization in ancient Southeast Asian, where it was also named as the bronze drum culture. The manner in which the gongs of Vietnam are played varies according to the village. Each instrumentalist carries a different gong measuring between 25 and 80 cm in diameter. From three to twelve gongs are played by the village ensembles, which are made up of men or women. Different arrangements and rhythms are adapted to the context of the ceremony, for example, the ritual sacrifice of the bullocks, the blessing of the rice or mourning rites. The gongs of this region are bought in neighboring countries, and then tuned to the desired tone for their own use.
越南中部高地的铜锣文化覆盖了多个省份和近17个属于亚洲-太平洋和太平洋中南部诸岛族群的少数民族。这些人依靠传统农业生活，发展了自己的工艺传统、装饰风格和房屋类型。他们最为普遍的信仰来源于对祖先的祭拜、萨满教和万物有灵的信仰，这些信仰组成了一个神秘的世界，同日常生活和季节周期紧密相关。他们相信，每一面铜锣里都隐藏着一个与古代铜锣一样强大的男神或女神。每个家庭必须至少拥有一面铜锣以表明他们的财富、权力和声望，并得到它的保护。在很多的仪式上，他们还使用一套铜管乐器，而铜锣毫不例外地出现在所有社会生活仪式上，并且是主要的仪式器具。
有人称铜锣文化起源于古代东南亚的东宋文明，在东南亚也被称为铜鼓文化。越南的铜锣文化以其演奏方式为特征，每个演奏者携带一个直径在25到80厘米不等的鼓。男女村民们依据村别，以3到12面鼓分组。不同的排列和节奏配合不同的仪式，例如祭献小牛牺牲的仪式，为稻米祈福的仪式，悼念仪式和收获庆典。这一地区的铜锣并非在当地制造，而是从邻国传入，并调试成自己所期望使用的音调。
It is said that the gong culture dated back to the Dong Son Civilization in ancient Southeast Asian, where it was also named as the bronze drum culture. The manner in which the gongs of Vietnam are played varies according to the village. Each instrumentalist carries a different gong measuring between 25 and 80 cm in diameter. From three to twelve gongs are played by the village ensembles, which are made up of men or women. Different arrangements and rhythms are adapted to the context of the ceremony, for example, the ritual sacrifice of the bullocks, the blessing of the rice or mourning rites. The gongs of this region are bought in neighboring countries, and then tuned to the desired tone for their own use.
越南中部高地的铜锣文化覆盖了多个省份和近17个属于亚洲-太平洋和太平洋中南部诸岛族群的少数民族。这些人依靠传统农业生活，发展了自己的工艺传统、装饰风格和房屋类型。他们最为普遍的信仰来源于对祖先的祭拜、萨满教和万物有灵的信仰，这些信仰组成了一个神秘的世界，同日常生活和季节周期紧密相关。他们相信，每一面铜锣里都隐藏着一个与古代铜锣一样强大的男神或女神。每个家庭必须至少拥有一面铜锣以表明他们的财富、权力和声望，并得到它的保护。在很多的仪式上，他们还使用一套铜管乐器，而铜锣毫不例外地出现在所有社会生活仪式上，并且是主要的仪式器具。
有人称铜锣文化起源于古代东南亚的东宋文明，在东南亚也被称为铜鼓文化。越南的铜锣文化以其演奏方式为特征，每个演奏者携带一个直径在25到80厘米不等的鼓。男女村民们依据村别，以3到12面鼓分组。不同的排列和节奏配合不同的仪式，例如祭献小牛牺牲的仪式，为稻米祈福的仪式，悼念仪式和收获庆典。这一地区的铜锣并非在当地制造，而是从邻国传入，并调试成自己所期望使用的音调。