In the past, Hanoi’s Royal Citadel was surrounded by a wall that had five gates. Most Hanoians are familiar with an old song that recounts: “The five city gates are welcoming the coming soldiers as if a flower with five petals is blooming…”

According to historians, two gates once stood on the southern side of the old Hanoi citadel: the West-South Gate and the East-South Gate. The latter was also known as Dai Hung Gate. Cua Nam (Southern Gate) is now the name of a street, and several other names in the Old Quarter remind us of the now demolished Citadel.

The name of Dinh Ngang Street refers to the checkpoint where soldiers once monitored those entering the royal Citadel. Cam Chi Street, which means “Forbidden Zone”, refers to an area that was once out of bounds for commoners. The second-shortest street in Hanoi, Dinh Ngang measures only 54m-long.Nearby lies a Park, where a small-scale replica of the Statue of Liberty stood during French colonial times.

Known locally as the “Open-Dressed Dame”, this statue was exhibited at the Dau Xao Fairgrounds in 1887 then given to Hanoi. The statue was first placed in the park in front of the Indochina Bank, then on top of the Turtle Temple, and finally in Bach Viet Park in 1896. On August 1st, 1945, the Tran Trong Kim government had the statue removed as a “colonial remnant”. The bronze was used by artisans in Ngu Xa village to cast an impressive 16-ton Buddha statue.

Earlier, the site where the statue had stood had been home to Quang Van Hall, built in 1491. During the Le Dynasty new graduates were presented at Quang Van Hall. Under the reign of Gia Long it was renamed Quang Minh Hall. During the Nguyen Dynasty, people gathered here to hear the announcement of royal decrees.

Long ago, mandarins were required to carry parasols when they entered the imperial Citadel. To eater to their needs, merchants set up shop along Hang Long Street (now Le Duan Street) and Hang Day Street (now Nguyen Thai Hoc Street). At the corner of these streets stood the Taupin printing house, where the first banknotes showing Ho Chi Minh’s portrait were printed. The former printing house is now a wholesale store at No. 5 Nam Bo.

“Various street names remind us of Hanoi’s ancient royal Citadel.”

In 2005, the corner Nguyen Thai Hoc and Nam Bo streets was designated a “Hanoi Cultural Street” for its beauty and historic relevance. Especially noteworthy is the house at number 65 Nuyen Thai Hoc, which has been home to many important earth 20^th century artists, including painters Nguyen Phan Chanh, Nuyen Tu Nghiem and Van Giao, musicians Do Nhuan and Do Hong Quan, the actress Chieu Xuan, writers Nuyen Dinh Thi And Vu Tu Nam and the journalist Nguyen Thi Thanh Huong.

Nuyen Thai Hoc Street is close to Trang Thi Street, where royal exams were once held on the site of what is now the National Library. This street has changed its independence in 1954 the street was renamed Trang Thi.

While Hanoi is undergoing many changes, there are many reminders of the city’s long and fascinating past – if you know where to look for them.

The Vietnam Association of Fine Arts at the Center of Contemporary Arts recently added additional classes to its art camps this year based on the rising popularity of printmaking. Besides the familiar camps for woodblock, etching, lithography, and silk printing, the additional camps gave artists the chance to explore new printmaking techniques like paper litho, calligraphy, mono print, and series-graph. The printmaking camps were very popular – one third of the attendees were not even members – suggesting a new art movement is on the horizon.

The contemporary printmaking scene can’t be discussed without mentioning artist Vu Dinh Tuan. Influenced by Henry Matisse, Vu Dinh Tuan uses vivid colors and definition in his artwork as seen in pieces like “Happiness” and “Nu Na Nu Nong.” In more unique pieces like “Quy Ba,” Vu Dinh Tuan puts a contemporary spin on existing artwork. Drawing inspiration from the traditional piece “To Nu,” which depicts beautiful women posing with musical instruments, he recreated it into “Quy Ba,” which depicts the women as butter-flies, birds, and flowers. Borrowing from Austrian artist Gustav Klimt, he skips Klimt’s seriousness and reveals his own definitive and self- confident features. Vu Dinh Tuan’s work implies that now generations are changing fine arts. His work is not simply about depicting specific objects – it is more about profound and sophisticated images that evoke human emotions and social reflections.

Like Vu Dinh Tuan, female artist Ly Tran Quynh Giang pursues her own unique artistic techniques. Intending to step out of the shadow of tradition, Ly Tran Quynh Giang approaches her art in the same manner that she approaches her life – with passion. Her beautifully carved woodblocks have brought her lots of attention but it’s her unusual use of body parts that have earned her notoriety. Life-like hands and twisted legs captivate audiences. Her imaginative artwork suggests that the traditional fine art mould has been broken.

A new generation of artists is emerging and it won’t be long before other artists like Vuong Trong Duc (Master of Fine Arts in USA), Ngo Anh Co, Nguyen Nghia Phuong, Vu Bach Lien, Nguyen Duc Hoa, and Le Dung Cuong become as well known as Vu Dinh Tuan and Ly Tran Quynh Giang. Providing a fresh perspective on printmaking, these up and coming artists are pushing exciting artistic boundaries within Vietnam.

“Vu Dinh Tuan puts his own spin on a traditional form, depicting women as butterflies, birds, and flowers.”

National Tourism Year of the Northern Central Coastal regions – Hue in 2012 themed “Heritage Tourism” is about to launch a series of activities held throughout the year to advertise destination for national tourism and to attract international tourists, to promote domestic tourism.

Internal tourism “sublimation” …

The organization of the National Tourism In Northern Central Coastal areas – Hue in 2012 is aimed at affirming the strength of Vietnam travel. Concentration of the world heritage, national monuments, unique festivals, tourism products with the theme “the sea” has been really a special valuable factor to form and develop specific tourism products and to contribute to impulse the growth of tourist sources to the Central and Vietnam.

Accordingly, the events will focus at high level on the January, February and April with the Spring Festival and Hue Festival 2012; June and July with summer tourism season and the final months of the year will end National Tourism Year in the main province following as Thua Thien Hue province and other provinces and cities: Ho Chi Minh City, Da Nang, Quang Nam, Quang Tri, Quang Binh, Ha Tinh, Nghe An, Thanh Hoa and Ha Noi … Director of the Department of Culture, Sport and Tourism of Thua Thien Hue – Phan Tien Dung said.
We can say, 2012 will really be the “sublimattion” year of domestic tourism with 31 art and cultural activities. Major festivals in celebration of National Tourism Year will be deployed thorough the country.

In particular, the National Tourism year of the Northern Central Coastal regions – Hue 2012 in association with Hue Festival 2012 shall be a cultural event in national and international scale, will introduce and advertise for people all over the world about special cultural values, whereas Thua Thien Hue is a quintesential representative of the provinces of that region as well as hosts these important events.

Through this event, the friendly cooperation with other countries as well as the position and image of the nation, and the people of Vietnam will have the chance to be expanded and elevated. Moreover, this is also an opportunity to promote significantly the association of the local tourism, as well as between Vietnam and other countries in order to promote the strengths, potentials to attract investments for tourism development.

…with the new elements

Tourism industry leaders said, a number of tourism products with national and international brand will be focused on building in 2012. Vietnam travel tour 2012 aims at connecting together ancient capital, the cultural heritage of Central region with domestic destinations and the areas attracting a large number of tourist, which will be prioritized for development.

11 program by Ministry of Culture, Sport and Tourism to direct or coordinate with other ministries, industries held in Hue: Charming Vietnam 2012, Cross-country run competition of Tien Phong newspaper; Vietnam Businessman with culture, National heritage – first time, Food Festival of Central region, Sao Mai – Singing competition 2012; Traditional instruments Festival of ethic groups, International Southeast Asia Chess Competition, the nationwide professional theater festival, a traditional martial arts competition on a national scale, U18 international tennis tournament, International Choral Festival 2^nd in Vietnam.

9 activities organized by Thua Thien Hue: Starting the National Tourism year of Northern Central Coastal region – Hue 2012; Opening National Tourism Year and Festival Hue 2012; Buddha’s birthday and colourful lantern festival; Explore the sea and lagoon – Thua Thien Hue province (with three major activities), Electric Festival Hue Nam program exploiting tourism product in the rain.

Vietnam travel tours 2012 will aim to follow 11 activities by the provinces and cities nationwide organization: Festival of Hoa Lu Ancient Capital; International fireworks competition, Quang Tri festival –  memory of April; the Ho dynasty citadel – a new World Cultural Heritage; Sen Village Festival Nghe An; Tourism Month exploring caves in Quang Binh Vietnam-2012; heroic Dong Loc song festival; Festival of Culture, 3^rd Trans-Asia Bridge Tour Seminar combined to celebrate International tourism workshop of East – West corridor; Lam Kinh Festival; Gala town of Hoi An; 247th birthday anniversary of great poet Nguyen Du.

Vietnamese cuisine is as vital to the country’s heritage as Halong Bay. That’s why I, a chef from Bretagne in France, am working to raise awareness of its rich history and flavour.

I have lived in Vietnam for 12 years and people often ask me what it was the made me stay: the women or the food? In truth, it was both. I have traveled all over the world, across the Indian Ocean and through Africa, Polynesia, And Asia, and over time I have created my own style of cooking that combines  the menus of many  lands where sunshine reigns. When I chose to settle in Hanoi is was a woman who tempted me to stay – and the same woman who introduced me to the city’s cuisine. She showed me the fragrance of the lotus seed, the pungent warmth of the banana flower, the crispness of raw papaya… she took me through the city’s streets where I discovered its soul in every bowl of pho Vietnam.

It didn’t take long for me to fall in love with Vietnamese food and soon I found a way to disseminate my new-found love: at the Sofitel Metropole hotel where I work, I begun training courses in Vietnamese cuisine and at one of our hotel’s restaurants we offer a lunch buffet that introduces Hanoi street foods such as pho (noodle soup), nom (noodles with sweet and sour salad) and nem (spring role). In food festivals overseas I always try to introduce Vietnamese cuisine to foreigners. My opportunities to do so are increasing – after being voted the Association of Asian Cook’s most outstanding cook of the month, I now receive regular invitations to food fairs around Asia. I relish these opportunities to prove that Vietnamese food is worthy of international recognition. Because many visitors here eat only the generic food served to our groups, they often leave Vietnam with the impression that its cuisine is second rate. They fall to discover the diversity of a multitude of dishes served in the North, Centre and South. If Vietnamese food is cooked according to traditional recipes, it can be truly wonderful.

Cuisine is a part of a nation’s heritage that every chef should try to preserve. However, tastes in food, like so many other things, change over time and a chef must also be ready to experiment. When I learned to cook Vietnamese food I learned first the fundamentals then begun to add my own touches My passion for Vietnamese cuisine has prompted me to write three books on the subject: Cuisine of Vietnam: Hanoi Yesterday and Today gathers together 80 Vietnamese dishes, mostly from Hanoi; Viet Home Cooking collates recipes of dishes cooker at home; and Vietnamese Cuisine of Didier Corlu consists of 100 dishes that I have created by altering traditional Vietnamese recipes. The changes I have made are slight I have replaced some Vietnamese ingredients with French ones, changed the presentation of a few dishes and introduced French cooking techniques in others-but I have retained the fundamentals of Vietnamese cuisine. I want to show that Vietnamese cuisine is not only original but also rich.

Some people ask me why I ‘interfere’ with the dishes that I so clearly love in their original form. Why do I alter that Hanoi classic, pho, by replacing the beef that gives it its essence with less traditional meats like pork, fish and duck? Why do I stuff banh cuon, a light pancake role usually filled with minced meat, with salmon roe instead? The changes I make appear to contradict my love of traditional Vietnamese food, but that is not the case. I have never tried to compare traditional Vietnamese cuisine with my own creations. I respect the traditional taste of Vietnamese dishes and by adding my own touches to their core I have attempted to enhance rather than change them. My pho, for example, includes more ginger then a traditional recipe because I believe that the spice is characteristic of the best beef-pho which is found only in the city’s narrow traditional inns.

There is another reason why I ‘tamper’ with traditional recipes: any attempt to introduce Vietnamese cuisine to other parts of the world must allow for the availability of ingredients overseas and the likes and dislikes of the foreign diner. If a chef can’t find a particular ingredient and is offered no alternative to it, or if a dish contains ingredients that don’t appeal to non-Vietnamese, this country’s delicious cuisine will remain locked behind a bamboo curtain. In order to give foreigners better access to Vietnamese dishes we must make them more accessible. Once the diner’s attention is caught, then it will be possible to introduce more traditional cuisine. Cuisine, like fashion, should be always on the move. Rather than remain static like an exhibit in a museum, it should morph and change as it travels around the globe.

For me, Vietnam is much more than just the tourist sites of Halong Bay and Hoi An it is a world of rich and impressive foods. Dishes from each part of the country have their own strengths, their own original flavours, but despite the merits of Central and Southern foods, my heart still belong to Hanoi. Here, a plethora of vegetables, the sparse usage of oils that are so popular in the South and a mildness compared to more spicy Central dishes, make food irresistible. I am tied to this city. I have sucked in the fragrance of young sticky rice in a banh bao (steamed dumpling) on an early autumn day. I have enjoyed the reverie of Hanoi’s quiet. I am in love.

While traveling through southern Vietnam, I was lucky to visit the town of Ben Tre during the 2010 Coconut Festival. I doubt that Ben Tre has ever been so festive. Passing over the Rach Mieu Bridge onto the island of Ben Tre, I was reminded of a popular Le Anh Xuan poem about the town on the far side of the bridge: “Ben Tre with pretty women and gentlemen, with green coconuts, silver water, country grass. Stopping by at noon, enjoying the shade, loving this coconut land. Ben tre! Ben Tre! I love your land. I love your people.”

As I passed through the town, I found myself on Dong Khoi Boulevard, which was full of colorful flags and bright flowers. Standing on the sidewalk, taking in the flutter of activity around me, I heard a sincere voice in a thick, southern accent ask, “Do you find my homeland beautiful?” A kindly man, who was a former soldier, offered to introduce me to his homeland.

His homeland – the land of coconut street – was beautifully green. Captivated, I was reminded of another verse by Le Anh Xuan, A soldier-poet who died in the war: “The coconut trees stand tall and proud. The green leaves wave gently.”

“It’s not a series of island any more,” said my guide, looking at the people gathered along Ham Luong Bridge, which connects Bao Island with Minh Island, both parts of Ben Tre. In 2009, two bridges were built – one connecting the two smaller islands to each other and the other connecting Ben Tre with the outside world. As my guide led me through the crowded streets, he explained the local history.

Ben Tre consists of three islands – An Hoa, Bao, and Minh. Fifty years ago, the islands became the home of the 1960’s Uprising Movement in which around 10,000 people from the Mo Cay district initiated a politically-motivated, armed struggle against a similar number of Vietnamese and American soldiers. The movement is believed to be one of the original attacks that initiated the Vietnam War. During the island’s hardest year, in the land of “a mountain of meat, river of blood, and unlimited sacrifice,” the Long-haired Army (an all-female group of soldiers) was formed. They became one of the most legendary armed forces of the 20^th century. Under the direction of the heroic Nguyen Thi Dinh, the Army “marched in fire and attacked like a flood.” Their courage represented the people of Ben tre.

Ben Tre suffered a great deal during the war. Development came slowly to his area. Up until last year, the main access to the island was by boat. Now, standing on the longest bridge in Vietnam and looking towards ham Luong Island, I was so impressed by my guide’s homeland. He and his comrades had fought for every inch of this land.

“In the war, the coconut trees protected the guerillas, surrounded the enemy and were like a magic torch to light our way,” said my guide. Today, coconut trees are Ben Tre’s main agricultural products. The town has more than 70 enterprises that process products from coconut trees, including dried copra, coconut milk powder, coconut cream, coconut jelly, coconut sweets, coconut ladles, activated charcoal, and handicrafts.

Vietnam’s Ministry of Industry and Economics, Ben Tre and a Danish-funded project are working to create new markets for the products of Ben Tre. Partly thanks to this initiative, Ben Tre’s products are now exported to 103 countries worldwide.

As we walked and shared stories, I realized that Ben Tre is no longer a secluded island – it has been opened to the world. As the locals celebrated their heritage at the Coconut Festival, I could see hoe history had shaped the local’s characters. They are brave and determined, yet cheerful and friendly.

Later in the evening, I was moved to tears, touched by the thousands of candles that were put in the river to honor the region’s revolutionary martyrs. As 50 torches were lit, symbolizing the 50 days of the 1960’s Uprising Movement, I felt the bond that these people share. Heroic Mother Mrs. Ta Thi Hiep struck a wooden bell, its sound then echoed by the sounds of thousands of wooden bells to honor the Long-haired Army.

My gentle guide, the old soldier, is now the chairman of the Ben Tre People’s Committee. He stood before me, a simple and sincere guerilla, like a “coconut tree rooted in the soil.” As we shook hands and said goodbye, I thanked him for my tour and for sharing his story.

Later, when the chairman of the Ben Tre people’s Committee shook the hand of the festival’s organizer, Le Quy Duong, I overheard the chairman, say: “What a wonderful Festival!”

I couldn’t agree more! Thinking back on my time in Ben Tre, I recall another song by Ha Huy Ha: “Back here- come to forget all of life’s troubles. To love- love you very much, the coconut trees. The heaven, the earth and the people, Ben Tre.”

The ware rose, its tip splintering into crystal drops. All seven colors of the rainbow were reflected in the droplets, which hung in midair before returning to the sea’s green depths. The sun was setting over Ha Long Bay as my partner and I paddled our kayak against a strong current.

In some places, Ha Long’s waters lie still. In others, especially those exposed to the open ocean, the water is choppy. In places the waves rush against rocks, the water hissing as it hits, discharging plumes of white foam. There were times and places where the swell was so  great that even an experienced sailor would have been cowed, let alone amateur kayakers like ourselves, come from the city to try a new water sport.

The swift current inside Ba Ham Cave evoked strong feelings as we struggled to push our fragile craft through three chambers where darkness has ruled for thousands of years. The water raced around rocks covered with razor-sharp barnacles, the current threatening to shatter our kayak against the rocks.

Ha Long Bay draws travelers who enjoy a challenge. Declared a World Heritage Site by UNESCO, Ha Long’s wild scenery encourages visitors to test their strength and endurance. Alone in the wilderness, the only sounds were those of the waves and the sea birds. I felt lost as we paddled between small islands, dozens of routes opening up to us as we searched out spots of interest- fishing villages like Cua Van,  Hang Luon and Hang Hanh, Ba Men Temple and Ba Ham Lake…

After hours spent fighting the waves our arms were weary. We carried only a water bottle and a camera in a waterproof bag. We were both wet from head to foot, salty spray having washed over us. In open water, we could maneuver the kayak with ease, but found steering much harder in tight channels or dark caves. Challenges included strong currents, jagged rocks, and sharp stalactites.

Steering a two-person kayak requires teamwork. Both passengers must row in unison. After hours of hard labor, it felt wonderful to let our craft drift and listen to the sounds of distant waves and seabirds.

With thousands of uninhabited islands, Ha Long Bay contains countless surprises. Even today, locals still discover new caves high in the cliffs, or come upon newly-formed sandbars. Exploring Ha Long Bay, I forgot all about urban life, my mind as clear as the drops of sea spray, sparkling with all the colors of the rainbow, “I felt lost as we paddled between small islands, dozens of routes opening up…”

Hue Festival 2012, an International scale Festival, is 7^th celebration in Thua Thien Hue, a highlight of Vietnam Tourism Year 2012.

Hue Festival has continued reproduction of many unique royal festivals, colorful festivals and community cultural richness, diversity.

Hue Festival 2012 is a special cultural activity which is initiated within the framework of the East Asia – Latin America cultural exchange program. Hue Festival 2012 brings together the typical art programs in Vietnam, especially Hue royal art and specific characteristics of the cultural heritage of Vietnamese areas; the unique art program with rich cultural value of over 20 art troupes and artists of dozens of countries from 5 continents.

The main festival program:

● Art programs for Opening Ceremony take place on 07/4/2012 20:00 and close on Sunday 15-4-2012

● “Te Nam Giao” ceremony takes place on 08/04/2012.

● Ao Dai Festival takes place at 20:00 on 09/04/2012.

● Royal Palace by night takes place in the evenings of 10 and 13 of April, 2012

● The spectale of “A peaceful world” (night festival with coloured lanterns) took place at 20:00 on 12/04/2012.
● The “Oriental Night” takes place in the evenings of  08,10,11,12,13,14 of April, 2012.

● The Road- Festival programs take place during the Festival.

● Arts Programs for Closing Ceremony take place at 20:00 on 15/04/2012.

● Social programs within the framework of Festival (ex: The Drums and percussions concert themed “Resounding the spirit of Vietnam” will be performed in 3 nights in 3 tours of Hue Festival 2012)

It was raining when i got up to explore My Son, the religious centre of Champa, an Indianised Kingdom which existed in central Vietnam from the 2^nd to 15^th centuries. Nevertheless, two friends and i decided to brave the weather and take the minibus from Danang to My Son, about 60 kilometres away in Duy Tan village.

We flew past hectares of paddy fields, in verdant splendor then passed through villages which made and sold ceremonial brass gongs and brass vessels, all of which were displayed in stalls by the roadside.

The state of the road was bad, not surprisingly, given the heavy flooding in Vietnam’s central provinces late last year. Unwisely, we had chosen to sit at the back of the bus, where every bump sent us lurching towards the roof. Even after the driver had stopped to put more air in the bus’ tires, we spent much of the journey in mid-air, and by the time we reached the entrance to My Son (pronounced ‘Mee Sern’) we were both bruised and shaken.

To reach the temple complex, which costs about 4 USD to enter, we crossed a rickety, slippery bamboo foot-bridge, then clambered into a jeep driven by the park wardens and drove for ten minutes through a green valley, overlooked by Hon Quap ‘Cat’s Tooth’ Mountain.

My Son, the religious and intellectual centre of Vietnam’s Cham culture, was first established as a holy site under King Bhandravarman in the fourth century. The site was used until the thirteenth century-far longer than any of the other Indian-influenced sites in the region, like Angkor Wat in Cambodia, Bagan in Myanmar, or Ayuthaya in Thailand. My Son may also have served as a burial place for some of the Cham’s leaders. Sadly, the onetime capital of the Cham Kingdom, Tra Kieu, which stood about 20 kilometres away from My Son, has been completely destroyed. Today, all that remains of Tra Kieu is the city’s outline, visible from a nearby hill.

The territory ruled by the Cham kings stretched from Ngang pass in Quang Binh province to the southern province of Quang Ngai. The Cham economy was based mainly on agriculture and fishing, but they were also traders, conducting business as far afield as India, the Middle East, China, Japan, and Java. Cham Pottery has been found throughout the region, and the Cham are also thought to have exported spices. Cham santal, a fragrant wood, was highly prized by traders throughout Central and Southeast Asia.

Thanks to their commercial contact with India and the immigration of Indian priests and intellectuals, the Cham adopted Hinduism and used Sanskrit as their sacred language. Wandering through the ruins, we saw plenty of evidence of the Hindu symbolism inherent in Cham culture. The kings associated them-selves with Hindu divinities, the predominant one being Shiva, who was regarded as the great protector of Cham culture. Scattered throughout My Son are statues of Shiva and his vehicle, the bull Nandi, and most temples contain sacred lingams, images of the male phallus which are another representation of Shiva.

Buddhist symbolism is also evident at My Son, because by the tenth century Mahayana Buddhism had taken over as the main Cham religion. While many of the images of deities and the intricate stone carvings on the temple walls have decayed, here and there, remnants hint at the compound’s former splendor. The Cham built their temples of clay bricks, then engraved the bricks with intricate patterns of animals, gods and goddesses, and flowers. At one time, the tops of some of the towers were covered in a thin layer of gold.

Today, it requires some imagination to picture My Son as it must have been, alive with chanting priests, fluttering banners, flashing jewels, and incense. Yet the site’s present decay has its own charm, as stone figures half obscured by weeds lend the place an aura of magic and mystery. Walking between the temples we came across numerous statues, scattered as they had fallen, reminding us of buildings that had once stood there.

Of the 65 original temples, only 20 have survived after repeated wars. The worst destruction took place during the American War, when Vietnam’s liberation soldiers took shelter in the ruins. Temple Group A, once considered the most important of all monuments at My Son, was almost entirely destroyed by America bombers.

In 1915 French archeologists established the Cham Museum in Danang, which now houses the finest collection of Cham sculpture in the world, including many artifacts from My Son. Guidebooks advise touring the museum first, but I preferred to see the site before the remnants as it gave me a better idea of where they came from.

In December 1999, My Son was inscribed as a World Heritage Site by UNESCO. With technical and financial help from UNESCO, Vietnamese experts will develop a plan to study and preserve these magnificent ruins, and to ensure that tourism is developed in a sustainable way. In this way, future generations will have the chance to explore the fascinating complexities of Vietnam’s Cham civilization.

It’s the end of summer, the onset of autumn and, for the first time since April-May festivals are common in the countryside. Besides colorful rituals to align humans with their deities, these events will feature a variety of treats for the eyes and ears: the grunts of battling buffaloes and competing oarsmen, the cries of the crowds cheering on their favorite animal or boat crew, the squeals of children at mid-autumn Tet, the hypnotic music of hau bong performances, lavish rites honoring, in the North, the hero Tran Hung Dao, in the South, the Whale Deity…

The Vietnamese work for festival, le hoi, like the event itself, has two parts – the rituals (le) and the entertainment (hoi). Devotees throng the temples at this fortuitous time to make their offerings and request what they will of their deities. Village elders, costumed in fancy silk robes, carry out rites on behalf of all the village residents. Meanwhile, during and after the activity around the altars, games, shows and contests, sponsored by the host dinh or temple, entertain the crowds of local residents and curious visitors.

The entertainment aspect dominates two of the upcoming festivals the buffalo fights at Do Son (9 September) and Tet Trung Thu (14 September). At Do Son, 14 hamlets enter their buffaloes in the contest. After preliminary bouts the finals take place in the town stadium. When the winner is declared its owner takes the buffalo on a victory tour throughout the town. Yet this bull, like the losers, ends up in the slaughterhouse, its meat distributed to the villagers.

The Mid-Autumn Festival falls on the full moon of September 14^th. Like its counterpart in China, the distribution of moon cakes is a prime feature of this event. In other respects, though, the day is celebrated quite differently here. In Vietnam this is Children’s Tet, a day devoted to pleasing the youngsters. In Hanoi the Ho Tay Water Park, the Youth Theater on Ngo Thi Nham Street and the Children’s Palace on Ly Thai To Street all stage special children’s music and variety shows. Children also don masks in the daytime and take part in a lantern procession at night. Similar shows take place in Ho Chi Minh City and other urban centers.

Elsewhere in the coming two months festivals follow the traditional pattern: elaborate rituals, courtyard fairs and a variety of shows and games. Male alders in tall miters, long silk jackets and fancy shoes with upturned toes carry out slow and solemn rites honoring the local protector deity, followed by ranks of women in bright silk clothes. When they are done, villagers scramble to pray and to leave offerings at the altars.

Meanwhile, in the temple courtyard or on the grounds nearby, villagers set up stalls selling incense, flowers, toys, calendars, handicrafts, potted plants, snacks, noodles, drinks of various kinds, and the colored rice flour figurines on sticks (to he), a specialty of Xuan La village in Ha Tay  province that are a staple at northern festivals. In another part of the courtyard may be found little cockpits where village men pair off their fighting roosters. On the paths squat pairs of men bent over chessboards. And somewhere someone has tied a gourd to a string suspended between two posts. After being blind folded, people try to walk forward and swat the gourd with a club. They pay VND5,000 (about US$0.28) to try win a prize if they succeed. But hardly anyone ever does.

Annual festivals in the North in September include those at Thi Cau in Tu Son, Bac Ninh (8^th to 15^th), Truc Chinh in Nam Truc, Nam Dinh (9^th to 14^th), Mui Chua in Tanh Tri, Ha Noi (12^th to 14^th), Kiep Bac and Con Son in Chi Linh, Hai Duong (both 14^th to 19^th), Den Tran outside Nam Dinh and Tran Thuong in Ly Nhan, Ha Nam (both 19^th), Dong Bang in Quynh Phu, Thai Binh (19^th to 27^th) and Thai Binh in Dong Anh, Hanoi (25^th). In October the main events are those at the venerable Ly Dynasty temples of Co Le Pagoda in Nam Dinh and Keo Pagoda in Thai Binh, both running from the 10^th to 13^th.

Nearly all of these include processions of costumed villagers carrying carved and ornate sedan chairs representing the local deity. The entertainment aspects vary according to local programs. Quan ho singers from Bac Ninh may appear at any venue. Boat races are common at Kiep Bac, Tran Thuong, Dong Bang and Co Le, wrestling matches at Mui Chua, tug of wars at Den Tran and the ancient card game, played in booths set up in the courtyard at Co Le Pagoda, called to tom diem.

In the South, fishermen in coastal areas honor the Whale Deity for the aid he has given them at sea. Temples at Can Thach in Can Gio, Ho Chi Minh City, and on Hoang Hoa Tham Street in Vung Tau are active on the deity’s traditional death date, the 16^th of the eighth moon (this year 15^th September). People carry out elaborate rites in the Whale Deity’s honor and then indulge in typical festival entertainments like tug of wars, chess, and walking on stilts. In October the Cham people celebrate their New Year with the Ka Te festival at the beautiful 13^th century hilltop temple of Poklong Garai in Ninh Thuan.

Northern festivals in September generally commemorate historical persons like Le Loi’s adviser Nguyen Trai (Con Son), the famous ancient bonzes Khong Lo (Chua Keo) nad Tu Dao Hanh (Truc Chinh) and, most especially, the hero of three triumphs over the Mongols Tran Hung Dao. Besides the temple to him at kiep Bac, Den Tran, Tran Thuong, Dong Bang and Thai Binh all stage events in his honor. Some years the temple at Kiep Bac features a re-enactment of the great naval battle on the Bach Dang, where Tran Hung Dao’s forces annihilated the Mongol invaders. In other years boat races are held and a water-puppet troupe from Hai Duong performs.

Rituals and offerings are certainly abundant at Kiep Bac, but at the other four temples dedicated to this hero hau bong performances (“service to the spirits”) are the highlight. The spirit of Tran Hung Dao is believed to help against all kinds of invisible evils. Mediums, both male (ong dong) and female (ba dong), dance before his altar and transmit the prayers and requests of the faithful. A lute and a drum provide the musical accompaniment, while a soloist sings the devotional hymns appropriate to each of the gods impersonated in the dance. Rhythms and styles change song by song. The entire set may last three hours, witnessed by a throng of rapt devotees. In the popular mind “hau bong” is one of the most enjoyable aspects of Vietnam’s festivals, merging prayer and performance.