Xuân Oanh was a polymath artist, a virtuoso in music, poetry and painting. He was the composer of the iconic revolutionary song Mười Chín Tháng Tám (August 19), which applauds the Vietnamese people's successful uprising to topple the French and Japanese domination on August 19, 1945.

POLYMATH: Artist, composer Đỗ Xuân Oanh. VNA/ VNS File Photos

Born Đỗ Xuân Oanh in 1923, his early years were marked by a challenging childhood, as his mother died when he was small. Despite the hardships, he emerged as a prominent student in Quảng Yên Town, Quảng Ninh Province, excelling in French. He, however, had to leave school after the fourth grade.

When he was in grade four, his father told him to live by himself since he couldn't afford to send him to school any more. Oanh then engaged in various odd jobs, including crabbing and helping classmates with their studies in exchange for sustenance. This independent pursuit contributed to his extensive repertoire of skills: mastering languages, translating, composing music, and even repairing electric appliances, motorcycles, and musical instruments.

After a while, he took a job at the Japanese Zinc Factory situated near Phà Rừng Wharf in Quảng Yên Town, a gateway to Hải Phòng. Leveraging his innate intelligence, he became an electrician at the factory.

Life was going well, yet a tragic incident altered this trajectory. A severe electrocution left him unconscious for five consecutive days, and he briefly believed he had transcended into the afterlife alongside his sister.

Upon regaining consciousness, he came to terms with the loss of job. Later, he embarked on a journey towards the vibrant port city of Hải Phòng, where he immersed himself in art, tutoring, and activism. Here he got to know Nguyễn Đình Thi and Văn Cao, who later became renowned revolutionary poets and composers.

Soon, he followed his friends to Hà Nội, where he toiled as a labourer in a shoe shop near Hoàn Kiếm Lake, finding a room nestled near what is today's Tràng Tiền Plaza.

In the evening, he transformed, becoming a pianist and vocalist, performing spiritedly in local night clubs. During this period, his friend Thi ventured to Hà Nội to seek employment. Fate intertwined their paths once more. It was Thi who inspired Oanh to embrace the revolutionary cause.

Exceptional capacities

The year 1944 marked a definitive turning point as Oanh formalised his commitment, becoming a member of the Việt Minh Front (short of the League for Vietnamese Independence). He was entrusted with the task of publicizing revolutionary ideals, fostering agitation against the French colonialists and the Japanese fascists, and orchestrating patriotic activities, mainly in the southern Hà Nội neighbourhood.

In excited anticipation of an uprising nationwide, Văn Cao composed Tiến Quân Ca (Marching Song) in 1944, Thi composed Diệt Phát Xít (Eliminating Fascism) in 1945, and Oanh, inspired by the historic milestone of the August 19 revolution, composed this timeless piece August 19 in just two hours.

When Oanh worked at the shoe shop, at the behest of the shop owner's proposition, "If you can sell shoes in English, you’ll have better pay," he started teaching himself English.

His approach was unconventional, delving into novels and tuning into the radio. Possessing an innate "musical ear", he swiftly and accurately mimicked the intonations of foreign languages.

His proficiency in French was also a foundation that facilitated his grasp of English. On the revolution's triumphant culmination, the inaugural English broadcast on Radio the Voice of Vietnam (VOV) – the proclamation of Việt Nam's newfound independence – enlisted Oanh's expertise.

INTERPRETING HISTORY: Xuân Oanh (2nd right) interprets for President Hồ Chí Minh (centre) and Prime Minister Phạm Văn Đồng (1st right) during a reception of foreign guests, circa 1967-1968.

Alongside his role as an English broadcaster at VOV, Oanh maintained his active work of publicizing post-revolution activities. By 1948, he worked for the Cứu Quốc newspaper, a forerunner to the contemporary Đại Đoàn Kết newspaper.

Amid his editorial duties, Oanh seamlessly undertook a myriad of supplementary roles typical of a newspaper environment.

He contributed as a graphic artist, crafting designs and visuals. Collaborating with artist Trần Đình Thọ, then the principal of the Việt Nam Fine Arts school, he lent his talents to illustration. His versatility extended to serving as a war correspondent, participating in the operations of the printing and publishing factory, and even assuming the role of secretary to Editor-in-Chief Xuân Thủy, who later became the Foreign Minister and led the North Việt Nam delegation to the Paris Conference for peace in Việt Nam from 1968 to 1973.

Due to his multilingual proficiency, Oanh was also entrusted to be interpreter for President Hồ Chí Minh, Prime Minister Phạm Văn Đồng, and other high-ranking leaders.

Moreover, his commitment to music took on a strategic dimension. Tasked by leadership, he orchestrated musical compositions designed to uplift the soldiers' spirits and boost camaraderie amid challenging circumstances. This multifaceted engagement underlined Oanh's dedication to the revolutionary cause.

People to people diplomacy

Oanh's venture into the international arena commenced with his involvement in the World Peace Committee of Việt Nam, now integrated into the Việt Nam Union of Friendship Organisations. He embarked on a continuous journey, uniting with international comrades to further the Vietnamese resistance effort. Their shared path spanned the mountains and forests of northern Việt Nam, primarily in the company of allies from socialist countries.

Endowed with linguistic proficiency, a comprehensive grasp of cross-cultural dynamics, and an innate artistic flair, Oanh adeptly forged connections with international friends. His prowess enabled him to captivate and persuade friends from across the globe to align with the just cause of the Vietnamese people to struggle for national independence and freedom.

Amid his duties during the Paris Conference, Oanh's primary task upon assignment to the United States involved collaborating closely with representatives from the Federation of American Families. This assembly encompassed individuals whose loved ones had been detained or gone missing in the war in Việt Nam.

He also engaged with advocates against the Việt Nam War from within the United States. The majority of these organisation members shared a radical perspective, staunchly supporting the Vietnamese people's struggle while actively opposing the hawkish policies of the US government.

PROTEST SONG: Xuân Oanh and friends performed a song he had composed during a 1975 conference, against the use of atomic bombs in Japan.

These groups comprised an eclectic array of individuals from diverse echelons of American society – prominent writers, journalists, scientists, and former politicians, many of whom held esteemed positions, including members of Congress, governors, mayors, and even individuals with royal lineage.

To effectively collaborate and bolster the pro-Việt Nam movement, Oanh harnessed his expertise in literature, culture, and art. His repertoire extended to composing music, crafting poetry, and orchestrating cultural and artistic events.

Oanh's profound understanding of the social, cultural, artistic, political and psychological milieu of the American counterculture at the time – including the Hippie movement – endowed him with a nuanced approach to connect with American friends.

This resonated through his advocacy, persuading not only through reasoned dialogue but also through shared cultural expressions. The bonds formed during this period transcended borders, cultivating close friendships with Americans and individuals from various nations.

Their support for Việt Nam, both in terms of time, resources, and financial assistance, remained steadfast. Names such as Cora and Peter Weiss, Judy Albert and Lady Borton, along with numerous other figures from the US, the UK, France, Sweden, and beyond, continue to carry a profound connection to Việt Nam, sharing in the nation's triumphs and tribulations.

Military service

Oanh's impactful international endeavours swiftly garnered recognition from higher authorities, leading to his deployment to the military sector on two distinct occasions. The first occurred when he was assigned to the Joint Armistice Committee after the Geneva Agreement on Việt Nam in 1954. This dual-year assignment spanned from 1955 to 1956. His second foray into military service took place in 1972-1973, where he was tasked with interrogating American pilots who had been downed and captured after their bombardments of North Việt Nam.

PORTRAIT: Minister of Foreign Affairs Xuân Thuỷ presents a painting created by Xuân Oanh to the General Secretary of the French Communist Party, Waldeck Rochet.

The initial period, from 1955 to 1956, marked an opportunity for Oanh to traverse nearly every corner of Việt Nam as part of the International Armistice Committee delegation. This experience proved invaluable, enriching his knowledge and skill set in international affairs, positioning him favourably for future diplomatic engagements.

In 1961, Oanh was once again requisitioned by his superiors, this time to participate in the Geneva Conference on Laos. His commitment persisted as he continued contributing to Việt Nam Committee for World Peace. It was during this period, coinciding with the onset of US air war of destruction against North Việt Nam, that Oanh's role as an international mass mobilisation officer gained prominence.

He orchestrated numerous journeys for international friends, especially those from the US, to the most intense war zones in the Central region. These visits provided an unvarnished view of the true ramifications of the American war on Việt Nam.

From 1968 to 1972, Oanh's work in the Paris Conference on Việt Nam became a highlight of his international portfolio. He represented Việt Nam's World Peace Committee and the Việt Nam Committee for Solidarity with the American People at the conference. This period marked the zenith of his international contributions.

While based in Paris, he travelled widely, from Latin America to Africa, Asia, and across Europe. His presence was a fixture at international gatherings promoting peace, opposing war, and standing in solidarity with the Vietnamese independence and reunification cause. His role encompassed speaking engagements, advocacy campaigns, networking, and event organisation.

Upon his return from Paris, Oanh swiftly was assigned back to the military service. He was reappointed as a Lieutenant Colonel, serving as Deputy Head of Division 875 within the General Political Department of the Việt Nam People's Army.

In this capacity, he directly oversaw interactions with American prisoners of war. Leveraging his extensive knowledge of the US and his prior experience with American POW families in Paris, he adeptly bridged communication and understanding with captured American servicemen. This role persisted until the repatriation of the last American POW to the US in 1973.

Subsequently, he resumed his role in international affairs, engaging in various capacities, including work with the Union of Organisations for the Việt Nam Women's Friendship and the Foreign Affairs Commission of the Party Central Committee. This multifaceted engagement persisted until his retirement in early 1991, capping nearly 18 years of continuous service.

Oanh was awarded the Independence Order, Third Class, by the State in 1998, and the State Prize for Arts and Letters for his outstanding contributions in 2007.

Đỗ Xuân Oanh, a polymath artist from a generation of talented artists who took part in the Vietnamese revolution, passed away on March 27, 2010. VNS