Bali Indonesia - The Art Of LIFE

A MATRIX OF HANDICRAFT VILLAGES SPANS THE ISLAND, TEMPTING SHOPPERS. THROUGHOUT INDONESIA, IMPRESSIVELY KNOWN AS THE “LAND OF MYRIAD ISLANDS”, NO PLACE CAN HOLD A CANDLE TO BALI IN TERMS OF ITS ARTS[/caption]

The Lonely Planet’s travel guidebooks about Indonesia always highlight the undeni­able presence of art in people’s daily lives in Bali. Hinduism combined with long­standing Buddhist influences have con­tributed to the unique beliefs of the Balinese, whose strong characters seem to have been shaped by their lush tropical home. Throughout Indonesia, impres­sively known as the “Land of Myriad Is­lands”, no place can hold a candle to Bali in terms of its arts.

In Bali, people express profound spiri­tual values in their daily routines. Works of folk art serve as prisms to enchant tourists and bring fame to this tropical is­land. In residential areas of Bali one finds temples set within large spaces. These large temples are ancient royal religious sites. One also sees thousands of small family­run temples, each of which is an intriguing structure bearing no resemblance to those found in the cradles of Hinduism or Buddhism.

Inspired by the Sacred Mountain of Meru, the entrance gates take the shape of the Sacred Mountain split in two, allowing pilgrims to ex­press the idea of the ascent to ultimate salva­tion. The small structures in these temples are especially interesting. These include wooden or brick towers, central temples and side wings. Most of them are roofed with palm leaves and topped with golden statues. Under the azure sky, the sight of people bringing offers to the temples or placing sacrifices on the ground leaves a strong impression on watching visitors. While the streets may be as busy as those in Jakarta, silence presides in the temples. Bas-re­liefs of Nagas guard staircases, and sacred Garuda Birds are carved onto rafters. Images of fairies and heroic guards linger in our minds.

[caption id=”attachment_1381″ align=”aligncenter” width=”680″> HUNDREDS OF SHOPS LINE THE ROAD TO BATUR VOLCANO, SHOWING OFFTHE RICH IMAGINATIONS OF LOCAL ARTISANS WHO EMPLOY MATERIALS SUCH AS STEEL, IRON, WOOD, STONE, RATTAN AND BAMBOO TO CREATE MODERN WARES WITH DISTINCTLY BALINESE STYLES

The island’s beaches and bars attract tourists, who come here to surf, dive and enjoy extreme sports. Yet the influx of visitors has not deprived Bali of its ancient cultural identity.

Along coastal walls, we may catch sight of small ceramic bas-reliefs, each of which depicts an old folk tale about how people lived in the past. Using droll patterns and bright colors, ceramic paintings, like carvings, are popular with tourists, who take them home as souvenirs. Tour companies bring visitors to craft villages specializing in wood carving, stone carving, handmade silverware and glass blowing… A matrix of handicraft villages spans the island, giving endless choices to shoppers. Which one is better, a South Pacific tribal mask or a set of mosaic marble table-wares? Although a wooden Buddha statue is tempting, those funny wooden Pinocchio dolls are also equally en­chanting.

Hundreds of shops line the road to Batur Volcano, showing off the rich imaginations of local artisans who employ materials such as steel, iron, wood, stone, rattan and bamboo to create modern wares with distinctly Balinese styles. From a giant stone Maitreya statue to little gos­samer butterflies carved out of wood, each item reveals Balinese people’s unique artistic tastes.

Bali offers a wild mix of tourist gimmicks, distinct calm, charming locals, incorruptible re­ligious beliefs, and a passion for graphic arts. Just like traditional batik fabrics that feature dozens of intertwined colors, life in Bali is char­acterized by a wide array of shades and ideolo­gies. For visitors, Bali is always memorable and always alluring. No matter where we have been, we look forward to returning to Bali.

Bali Indonesia - The Art Of LIFE
First post at: Vietnam Culture

The Roots of Beauty

“FOR ANY PIECE OF WOOD OR ROOTS IN MY HANDS, I CAN IMAGINE WHAT I WILL DO AND TO WHAT EXTENT I SHOULD CARVE THEM TO MAINTAIN THE LANGUAGE OFTHE     SCULPTURE AND WHAT IS SUGGESTED BY THE ROOTS”  SAYS MAJOR GENERAL CUONG

VietnamCP meets Major General Tran Gia Cuong, a senior policeman with the heart and soul of an artist

By day, Major General Tran Gia Cuong serves as the Chief of the Bureau of International Cooperation in the Min­istry of Police. But after work, for the past four decades, Major General Cuong has pursued his unique passion for sculpting artworks out of tree roots.

On a drizzly Hanoi day, I went to Major General Tran Gia Cuong’s office to learn more about his artworks. He created his first sculpture in 1972 when he was enrolled in the Police Interme­diary School in Vinh Phuc. In those days, he would study in the forest, and the trees stirred his imagination. His first sculptures were little animals such as deer or buffaloes.

Having produced hundreds of sculptures of all sizes, Major General Cuong has fond memories of those early days. Born in the highlands, he spent many years in Lang Son, and this region nurtured his imagination. “In cities we can only see rising roofs at any time of the day, unlike in the forest. Wewatch the trees in the morning ligh1 and observe the constant changes unti dusk, beyond our imagination.”

At the peak of wartime, Major Gen eral Cuong spent seven years in Lanl Son. There, he joined local people tc travel to remote areas in search of in teresting pieces of wood and tree roots Nothing could deter him from carryinl these cumbersome pieces back tc camp, where carving helped to ease hi homesickness. Upon return trips tc Hanoi, he met some fine art professor including Vuong Ngoc Bao and Nguyen Quan who helped him to un­derstand more about art.

After years of practice and study of fine arts and graphics, Major General Cuong gained confidence in his cre­ations. “Por any piece of wood or roots in my hands, I can imagine what I will do and to what extent I should carve them to maintain the language of the sculpture and what is suggested by the roots;’ explains Major General Cuong.

Major General TRAN GIA CUONG
Manager of the International Cooperation Department, Ministry of Public Security.
Born in 1955, Major General Cuong graduated from the Vietnam Notional Academy of Music and the University
of Public Security. He is a member of the Vietnam Musicians Association. His first solo sculpture exhibition, Di
Mac, celebrates his 40 years of experience in the police and the art of carving tree roots.

Major General Cuong’s favorite song is “A human life, a tree forest” by composer Tran Long An: “When I think of a human life, I always think of a tree forest/When I think of a tree for­est I always think of many people.. .”. He explains that the tree’s roots have survived time and hardship, and repre­sent the tree’s soul. Each tree’s soul in­spires his unique creations.

Major General Cuong’s greatest happiness came from a solo exhibition to mark his 40 years as a sculptor. The exhibition bore a simple name: “Quaint Wood”. It drew many high-ranking po­licemen, as well as Major General Cuong’s friends, colleagues, renowned artists and sculptors, and passerby who stopped to marvel at his creations. Peo­ple of all ages came to admire his work, from students to pensioners.

One memory brings tears to Major General Cuong’s eyes. He saw a mother and child standing speechless before his work “Love": They came on two separate occasions to admire this sculpture. Speaking to the woman, Major General Cuong learned that the sculpture evoked memories of her life. His greatest joy comes from knowing that people ad­mire and understand his works.

A knock on the door suddenly in­terrupted our conversation. While I would have loved to keep talking with Major General Cuong, he had to return to the rigors of police work. I hope we will meet again, so that I may learn more about his works and his passion for sculpture.

Story Nguyen Anh & Nhat Minh
First time on VietnamCP

The Roots of Beauty
First post at: Vietnam Culture

The Tale of Betel and Areca

Adapted from the Collection of Vietnamese Folk Tales, this tale explains why Vietnamese people present betel nuts to celebrate weddings.

Once upon a time, there was a pair of twin brothers namely  Tan and Lang who were as alike as two peas in a pod. One day, the boys’ father passed away suddenly. The brothers went to live with a Taoist hermit named Luu.

The Taoist hermit had a daughter the same age as Tan and Lang. This girl was cu­rious as to which brother was the eldest. One day, when Tan and Lang were hungry, the girl gave them a bowl of rice and just one set of chopsticks. She looked through a crack in the door to see the elder brother al­lowing his younger brother to eat first. This way, she knew Tan was the eldest. She and Tan fell in love and got married, then moved to a new house together with Lang.

After getting married, Tan did not spend as much time with Lang, which made his brother sad. One day the brothers worked in the mountains until nightfall. ang returned home in the dark. Tan’s wife mistook Lang for her husband and embraced him. Tan entered the room and saw his wife hugging his brother. He grew very angry.

Lang left the house in disgrace. He reached a river and cried so bitterly that ev~ntually he was turned into limestone.

Worried about his brother, Tan went looking for him. Seeing that Lang !fad been turned to stone, Tan could not stop crying. Eventually, he was turned into an areca tree, which grew beside the stone.

When the worried wife went looking for her husband, she found that Tan and Lang had been transformed into an areca tree and a stone. Filled with despair, she cried so hard that she turned into a betel vine that draped itself over the areca tree.

The wife’s parents and other villagers found two strange plants growing near a ‘fstone and realized what had happened. They built a small temple nearby to com­memorate the trio who had died so young.

One year a terrible drought struck the region. Nonetheless, the areca tree and the betel vine by the stone remained lush and green. Riding by, King Hung Vuong asked about the trees and the temple. After the villagers told the king the tale of Lang, Tan and his wife, the king was so moved that he ate the fruit of the areca tree. It tasted very bitter, but when he ate it together with a betel leaf, the taste became sweet. Suddenly, an of­ ficial shouted: “Oh God! This is blood!” for the chewed betel quid fell onto the stone and turned as red as blood. King Hung Vuong tried a piece of the areca bud, a betel leaf and some limestone. He felt warm and elated. “How amazing!” cried the king. “Only true love can create this feeling!”

From then on, the king ordered his people to plant betel and areca. Betel and areca are essential at Vietnamese wed­dings, since they represent eternal love. The habit of chewing betel nuts has deep roots in Vietnamese culture.

Dao Quoc Huy

The Tale of Betel and Areca
First post at: Vietnam Culture

Rural Life On Stage - Vietnam Water Puppetry

Discover the art of water puppetry, which arose in the paddy fields of Vietnam‘s northern Red River Delta

Long ago, farmers in Viet­nam’s northern delta staged puppet plays on ponds and flooded fields to reflect and celebrate their daily lives. During festivals and hol­idays, villagers would gather to watch water puppet plays that revealed their pa­triotism and sincerity. This form of pup­petry is distinctive and unique, both in terms of the materials used and the sto­rylines. To create the iconic puppets, ar­tisans select light fig wood. The puppet comprises two parts: the carved body and the pedestal.

Hidden behind a screen, the pup­peteers stand waist-deep in water and guide the wooden puppets via long bamboo poles that lie concealed be­neath the water’s surface. The pup­peteers employ rods and wires to move the puppets. The puppets take the forms of animals, mythical beasts and peasants working in the fields, catching fish, or celebrating.

Nowadays water puppet perform­ances are increasingly elaborate. Ac­companied by traditional orchestras or taped music, the shows feature special effects like smoke and fancy lighting. Yet the star of the show remains the water, which can be smooth and calm or stirred into a frenzy by coiling golden dragons. Water puppetry is closely associated with music. Accom­panied by old tunes played on tradi­tional musical instruments, water pup­peteers portray scenes that are dreamy and gentle or wildly exciting.

The puppeteers must stand in cold, muddy water for hours. It takes great skill to manipulate the rods and wires in such a way as to create lifelike move­ments. Thanks to the puppeteers’ ded­ication, a wooden figurine is transformed into Teu the clown, whose round body and smiling face transports audiences to a rich imaginary world.

THE STAR OFTHE SHOW REMAINS THE WATER, WHICH CAN BE SMOOTH AND CALM OR STIRRED INTO A FRENZY BY WRITHING GOLDEN DRAGONS

Today, this ancient art form is still practiced in many provinces through­out Vietnam, particularly in the north­ern midlands. Of the 14 water puppetry troupes still in existence, the best known is the Dao Thuc water puppetry troupe from Dong Anh, Hanoi. This troupe has been operating for nearly 300 consecutive years.

More than 20 artists in the Dao Thuc troupe remain devoted to this traditional art form, delighting modern audiences with famous tales like “Ba Khi Clown (Uncle Tễu)”, “Up in the hammock, down in the water” and “Buffalo sneaking through a pipe” and “Mr. Phung slays a tiger”. To bring this art to a wider audience, the Dao Thuc troupe has also created some new plays, such as “Giving  garlands at festivals”, “Carrying the portrait of Uncle Ho” or “Hanoi during 12 days and nights”. The Dao Thuc water puppetry troupe has performed all over the world and earned many national medals. Their shows celebrate Vietnam‘s traditional arts and values.

Water puppetry gives foreign visitors to Vietnam insight into the nation’s agrarian roots. This ancient art is a kaleidoscope into Vietnam’s traditional rural values.

by Tring Pho
Write for VietnamCP

Rural Life On Stage - Vietnam Water Puppetry
First post at: Vietnam Culture

THE ROAR OF HISTORY

A cannon discovered in Thi Nai Port, Quy Nhon raises intriguing questions about an 1801 naval battle

When a creek in Thi Nai port in Quy Nhon was recently dredged, a sunken battleship was discovered[/caption]

Long ago, people compared a cannon’s roar with the thunderbol of an enraged god. Historically, cannons were worshipped like deities. Among a number of iron can­nons excavated in Thi Nai Port (Quy Nhon, Ninh Binh) was a large bronze cannon bearing carved Latin inscriptions on its ring that helped clarify its age and ownership. Discovered in an area of Thi Nai marsh where a historic naval battle was staged in 1801 between Nguyen Anh’s troops and the Tay Son navy, the cannon is on display in the courtyard of the Binh Dinh Museum in Quy Nhon City.

Although the cannon is quite rusty, its decorative patterns and inscription are still visible. A two-meter-long battleship can­non, it shot cannonballs of 10cm in diam­eter. In battle, it took seven soldiers to operate this type of cannon. The cannon’s body features carved belt edges and deco­rative swathes. Floral decorations surround a demon head with a crown to represent the Fire God. The most notable pattern is a round floral swathe featuring two drag­ons playing with a globe. Rather than the standard globular shape, the cannon’s gripe is in the shape of a bulb placed amidst four leaves. The focus here is a carved Latin inscription that reads: KILIANUS WEGE­WART ME FECIT CAMP. ..

This cannon is virtually identical to one housed in the Hue Museum of Royal Antiques labeled BTH-TBKL53. Their similarities in size, decorative patterns and cast inscriptions suggest they were manufactured in the same workshop, even from the same mold. The inscription on the cannon in Hue is clearer and in full: KILIANUS WEGEWART ME FECIT CAMP 15A(0).

Kilianus Wegeaert was a renowned German-born Dutch bronzesmith in the Kampen region of the Netherlands. The inscription may read: “Kilianus Wegeaert cast in Kampen in the 15th year": The 15th year of the workshop’s operation was 1640. The number 1355 carved behind the

inscription refers to the cast cannon weighing 1,355 pounds, or 677.5kg. Based on their similar size, decorative patterns and inscriptions, it seems clear that both the cannons in Hue and Quy Nhon were cast in the workshop of Kilian us Wegeaert around 1640, with a weight of around 600­-700kg. The mystery is why one cannon was found in Thi Nai Port.

Thi Nai Port served~s a strategic port for the Tay Son Clan. Here a merciless naval battle between troops of Nguyen Anh and the Tay Son broke out in 1801. Before Nguyen Anh’s forces won the bat­tle, many battleships of both sides were set on fire and sunk. When the creek was recently dredged, a sunken battleship was discovered. Was the cannon made by Kil­ianus Wegeaert sunk on a Nguyen Anh or Tay Son ship?

Digging deeper into Holland’s (through the Dutch East India Company) relations with Vietnam in the 17th cen­tury, we learn that the Dutch only traded weapons with the Trinh Lords in Tonkin. There is no evidence that they traded with Cochinchine. According to accounts of the Dutch East India Company, between 1637 and 1642 there were constant trade and diplomatic exchanges between the Trinh Lords and the Dutch East India Company relating to artillery casting and trading. This was a time of high enmity in Trinh – Nguyen relations. The Nguyen Lords in Cochinchine forged ties with Portugal (Joan de Cruz) for artillery man­ufacturing while the Trinh Lords traded with the Netherlands. It is highly likely that these Dutch cannons were cast as gifts to the Trinh Lords. In January, 1642, the Dutch Governor in Taiwan Paulus Tradenius offered the Trinh Lords several weapons, possibly including the two can­nons mentioned above. The appearance of Asian decorative motifs “Two dragons attending the moon” demonstrates that both cannons were aimed as gifts for Asian despots.

[caption id=”attachment_1364″ align=”aligncenter” width=”550″> When a creek in Thi Nai port in Quy Nhon was recently dredged, a sunken battleship was discovered

It’s possible that the two cannons be­longed to the Cochinchine navy. We know that between 1630 and 1670 many Dutch vessels sunk in the waters of Cochinchine, either as a result of storms or encounters with Cochinchine war­ ships. Nguyen troops in Cochinchine may have obtained many Dutch cannons from shipwrecks. In fact, a group of Dutch ambassadors came to the Nguyen Lords in Cochinchine claiming compen­sation and the return of cannons from wrecked trading ships sunk by the Nguyen navy near the Hoang Sa Islands. But while the Nguyen Lords may have possessed some Dutch cannons, they would not have been obtained as gifts.

Therefore, the theory that the can­nons were aboard Tay Son battleships seems more convincing. Between 1786 and 1789, Tay Son troops did defeat Tonkin rivals many times and claim pos­session of virtually all of Tonkin’s man­power and ammunition. Cannons cast by foreigners were associated with the social status of their owners. We can infer that the battleship carrying the cannon made by Wegeaert belonged to a high-profile Tay Son general.

According to accounts in the Binh Dinh Museum, an even larger cannon was salvaged along with Wegeaert’s can­non bearing an inscription that read: “Ha Loc Ship": Hopefully in the future we will solve the mysteries tied to this cannon and the Ha Loc Ship.

THE ROAR OF HISTORY
First post at: Vietnam Culture

VIETNAM"s Wild West

The cuisine of western Vietnam is characterized by wild and rustic tastes that mirror the generosity of the locals.[/caption]

Visiting the lush area around Can Tho in Vietnam’s Mekong Delta, people look forward to local delicacies such as freshwater crab hotpot, deep fried giant gourami, lobsters steamed in beer and braised snakehead fish. Wherever they go, visitors will discover rustic delicacies.

The sauces in this region are both cheap and delicious. This area is known for a wide variety of sauces, including sand-bubbler crab sauce, snakehead fish sauce, leaf-fish  sauce and linh fish sauce. All are made using fermented seafood, salt and some spices such as garlic, chili, sugar and pepper. Long ago, the settlers who came to this wild region needed to preserve their food by drying or salting it. Over the centuries, sauce-making techniques grew increasingly sophisticated.  There is little more tempting than the sight of a glistening amber snakehead fish served with vegetables, vermicelli, chili and green peppers. Once eaten by the poor, sauces are now popular in every family . In the tidal seasons, swarms of linh fish from Cambodia’s Tonle Sap flood the Cuu Long Rivers.  Sauce-makers welcome a new season of producing linh fish sauce, which is a key ingredient for sauce hotpots served with herbs and water lily stalks.

Western Vietnam abounds with seafood and other wild creatures, such as snakes, turtles and crocodiles. Most of these animals are now raised in farms and sold for exotic meat. Unique delicacies include rainbow water snakes, benign, sluggish reptiles that live near canals and are featured in many western dishes. Field mice, which live in the fields and eat rice, are also common. Snakes are often cooked with coconut juice while the field mice are marinated in herbs and sauteed. While many visitors balk at the idea of eating field mice, once they try this dish, they usually agree that it tastes remarkably similar to chicken. Even more exotic are duong worms, a species of fat worms that reside in coconut trunks and Palmyra palms. These worms are a delicacy in southern Vietnam. Duong worms are hard to come by since they can only be obtained when people cut down old coconut trees or Palmyra palms. A dish of duong worms fried in butter is a memorable treat for visitors to this area.

[caption id=”attachment_1357″ align=”aligncenter” width=”500″> Western Vietnam is known for its wide variety of sophisticated sauces

In this fertile area, many foods are sourced from forests. In the Can Gio and Rung Sac mangrove forests near Ho Chi Minh City, tour guides always introduce visitors to sour lien kim salad made with three-striped crabs. Restaurants in Can Tho and Dong Thap often serve nimtree salad mixed with dried snakehead fish. Nimtrees are in the mahogany family. Nimtree shoots are washed and mixed with dried snakehead fish, sauce, tamarind, sugar, chili and garlic to create a bitter salad. This is an acquired taste, since it is very bitter.

Each season, this fertile region yields new ingredients that will captivate visitors’ taste buds

It’s a great pleasure to sit in a. restaurant by the Frontal or Rear River overlooking the water while enjoying local delicacies like honey tea and sweet coconut candies, or crab and prawn hotpot served with dozens of herbs. Trees and herbs plucked from gardens and fields such as baby banana trunks, common knotgrasses, sour leaves, algae, sesbania­sesban flowers, water lilies and pumpkin flowers are all thrown into the hotpot. Each season, this green region yields new ingredients that will captivate visitors’ taste buds.

By Thai A
First on VietnamCP

VIETNAM"s Wild West
First post at: Vietnam Culture

Hanoi then and now

In the early 1980s, John Ramsden lives in Hanoi and took may photographs of the city. His pictures were displayer in Hanoi last October. Heritage met Mr.Ramsden to discuss his fascinating photos.

When and why did you first come to Hanoi? How long were you there?


I was sent to Hanoi in 1980 as deputy head of the British Embassy. I spent around two and a half years in Vietnam. The Embassy was much smaller back then, reflecting the practical difficulties of the time. For instance, it was almost impossible in practice to import a private car, even for diplomats.

Please share some memories from this time that stand out for you.

I will never forget visiting the festival at Dong Ky. I found a huge crowd walking in procession round the rice fields, carrying giant firecrackers, each about two meters in length and beautifully decorated. There were also silk parasols and lacquered chairs from the temple, all carried aloft. The firecrackers were brought into a large courtyard in front of the communal house, where the village elders sat in black tunics and turbans. The crowd surged round, oblivious of the danger, the drums rolled and the firecrackers were let off in a series of huge bangs and clouds of smoke. It was beautiful and exciting. It was also evidence that, despite the war and all the upheavals of the previous decades, ancient cultural traditions were very much alive.

Another unforgettable experience was meeting the painter Bui Xuan Phai. At that time, not so long after the end of the war, contact with foreigners was not encouraged. It was very rare to be able to meet a Vietnamese family in their home. Mr. Phai had a family house in the old quarter but under the policies of the time each family was only allowed one room. Mr. Phai’s was on the ground floor, looking onto a tiny courtyard. He had built a studio on a platform above the sleeping area. It is astonishing that so many masterpieces were produced in that tiny space, where Mr. Phai and his wife bought up four children – one of whom, Bui Thanh Phuong, is himself a painter.

Afterwards I went there often – I used to bring supplies of paint from my trips abroad and Mr. Phai would talk about his paintings. Some of my photos are of motifs that Mr. Phai loved to paint. He captured perfectly the rather sad poetry of the city at that time. No wonder the streets of the old quarter are sometimes called “ Phai streets”.

You took a lot of photo. What did you focus on? What struck you as especially interesting at that time?

I focused on every day life-street scenes, pavement sellers, markets, villages, farming and handicrafts. People were very ingenious, for example in the many different uses they found for their bicycles. The more I saw of the difficulties of everyday life-such as long lines of buckets in the queue for the peoples’ resilience and dignity .

I was also very interested in Vietnam’s cultural heritage- religion, festivals, temples and communal houses. The country had been through a protracted war and a period of profound political change. Yet tradition was clearly very much alive. Indeed, the outward look and feel of Vietnam had probably not changed much in decades. For all the difficulties and the poverty, there was a wistful beauty and a “spirit of place” in the streets and villages that I have never felt so intensely anywhere else.

Is there anything special you wished you’d photographed but didn’t?

Yes, lots of things. For instance, I love the West Lake, which was a haven of peace and quiet. People used to do their martial arts exercise by the lakeside, moving slowly and gracefully, silhouetted against the early morning mist that rose from the water. For some reason I never got a photo of this. The villages around Hanoi produced herbs,vegetables and flowers for the market as well as handicrafts, such as hand made paper from the village of Buoi. I wish I had more photo of these traditional skills-like the wonderful potteries and basket weavers.

How did the October exhibition of your Hanoi photos come about?

Through the enthusiasm and kindness of many Vietnamese friends. For thirty years my negatives lay in a cupboard. After I retired, I had the chance to show them to Vietpro, a group of young Vietnamese professionals working in London. They told me that there were very few photos of the period-a roll of film would have cost a month’s salary and as far as I know there was no camera shop in Vietnam. They had often heard of the difficult times their parent and grandparents had lived through but had no visual record of the “subsidized period”.

The exhibition was a real dialogue between my photographs and the people of Hanoi. It was organized by KREU and Vietpro, and curated by Kien Pham, a young Vietnamese architect from KREU. The distinguished historian Duong Trung Quoc wrote the captions for the exhibited photographs. The photos ware mine but the selection and the commentary ware theirs.

By chance, it was the 40^th anniversary of the establishment of diplomatic relates between the UK and Vietnam. I was honored that our exhibition was part of the program: we also had generous help from The Ministry of Culture, Sports and Tourism, Vietnam Arilines and the Thien Minh group.

You returned to Hanoi last year. How many years had passed since your previous visit? What changes amazed you the most? Please describe what struck you as different. What had stayed the same?

The transformation in the 26 years since the start of the open market policies in astonishing. Where there ware once villages producing vegetables and flowers for the market, there are now skyscrapers, hotels, office blocks and flyovers. Cars and motor scooters have replaced bicycles. The peaceful old streets are alive with movement and bustle. Back then, the girls all wore long black trousers, white blouses and conical hats. Now they wear the latest fashions from around the world. How they manage to drive their motor scooters while wearing stiletto heels and miniskirts is one of the many mysteries of today’s Hanoi.

But look closely and you soon see that the hold Hanoi is still there. Go a block away from the main boulevards and you enter charming old residential quarters. Go to the markets and temples and you enter another world. People still prefer to eat at the pavement stalls- but today the choice is infinitely greater. I soon found the old Hanoi charm working its magic again.

The biggest change, however, was being able to mix freely with so many Vietnamese friends, to visit their homes or share a meal at a cafe. Back then Hanoi felt cut from the outside world. Today’s city is a great mix of the world but deeply rooted in a thousand years of history. (http://www.hanoispiritofplace.com/)

Thank you

Binh An

Hanoi then and now
First post at: Vietnam Culture