Showing posts with label Vietnam history n legend. Show all posts
Showing posts with label Vietnam history n legend. Show all posts

Friday, March 5, 2010

Vietnam Traditional Medicine

For several thousand years, Vietnamese Traditional Medicine has evolved under the shadows of Chinese Traditional Medicine, culture, and rule. At this point in time, it is nearly impossible to separate out and delineate Traditional Vietnamese Medicine (TVM) from Traditional Chinese Medicine (TCM) because their developments were so inter-twined. This is a brief history of the development of TVM and its influences particularly by Southern China.Vietnam medicine

What is generally considered classical Vietnamese culture started in the northern third of Vietnam. This area was very much connected to China and Chinese culture even before the 4th or 5th century B.C. During that time period, southern China, from the Yangtze River to the northern part of VN, was one large ecological region. There were a number of different ethnic groups living in this fertile region who were not considered Chinese by Northern Chinese. Among these groups was the 'Yue,' the Chinese word for Viet. Northern Vietnam and Southern China came under Chinese rule by the 4th century B.C.

Medical texts and instruments found in Northern Vietnam have been shown to predate Chinese conquest, suggesting that Vietnamese people already had a developed system of medicine. In addition, among Chinese medical texts from the 4th century B.C., references were given to the "Yue Prescriptions," indicating that "Traditional Vietnamese Medicine" was already written. Traditional Vietnamese and Chinese Medicine continued to evolve closely for the next millennium. As part of the conquest, the Chinese abstracted medicinal drugs, among other valuables, as tax and tribute. In so doing, folk medicine from Northern Vietnam was incorporated into Traditional Chinese Medicine. Likewise, Traditional Chinese Medicine and culture were introduced to Vietnam during the one thousand years Chinese occupation. Their interrelationship can be observed by the influence of TCM theories on the TVM, and the empirical applications of local Vietnamese medicinal in TCM. In practice, TCM practitioners would spend more time giving their patients a sort of theoretical explanation of what's going on, whereas TVM practitioners would use a more practical approach and concentrate less on theory. In the 17th century, traditional Vietnamese, Chinese and practitioners from other ethnic groups began identifying their medicine as Eastern medicine or Dong Y (This is also referred to as Oriental Medicine) to distinguish their traditional medicine from the Western colonial medicine. In this article, Dong Y is used to refer to both Chinese and Vietnamese traditional medicine.

Traditional Dong Y (Eastern Medicine) Theories:
As described above, Traditional Chinese and Traditional Vietnamese Medicine differ in practice, yet they share the same theoretical foundation. The cornerstone of Dong Y theories is based on the observed effects of Qi (energy). Although there are as many different forms of Qi as there are different kinds of functions (Source or Essence Qi, Food Qi, Qi of the Mind or Shen, etc.), they are all related to the original Source or Essence and Food Qi. The Essence is inherited from our parents, while Food Qi is extracted from food. Furthermore, we see that Qi encompasses more than just Energy. It is also blood and "fuel" gathered and stored by the body. So, Qi is also the substance we call matter. As in Einstein's theory of energy and matter, that E=MC2, or that matter is essentially energy. Blood and Qi are like matter and energy; they are different states of the same element.

The functions of Qi can be summarized as: 1) providing movement, 2) defending the body from pathological factors, and 3) supporting/promoting growth and development. The functions of Blood can be summarized as nourishment and moistening. Blood nourishes Qi and Qi moves Blood. As in physics, the concept of Qi is also universal - our energy and that of the universe is transferable. One can deplete one's Qi by strenuous work, poor diet and lifestyle. Conversely, one can also harvest energy from the universe by maintaining optimal health and by practicing some forms of breathing exercise like Qi Gong.

Dong Y's major theories are: Yin and Yang, Five Elements, 12 Organs, and 14 regular meridians. These theories are often combined to explain a health condition. The following are brief summaries of these theories.

Yin and Yang is probably the oldest and the most significant theory in Dong Y. It describes the existence of and the importance for balance between opposite states (cold and hot, inaction and action). Yin and Yang can be divided into three divisions: 1) Cold versus Hot; 2) Interior versus Exterior; 3)Deficiency versus Excess. Yin conditions are typically manifested by symptoms of cold, interior, and deficient while Yang conditions are typically manifested by symptoms of heat, exterior, and excess. Invariably, chronic deficiencies in one organ/element typically lead to an excess or deficiency in another organ/element. It is believed that some organs naturally possess more Yin while other organs more Yang, but all organs have a Yin and a Yang counterpart. For example, the stomach's processing of food is considered a Yang function. However, this function depends on enzymes and acid secretions (Yin substances). Consequently, when one's Yin within an organ is weak, one's organ function is affected. In the case of stomach Yin deficiency, one will see a Yin type of mal-digestion, whereas Stomach Yang deficiency will lead to a Yang type of mal-digestion. Each syndrome requires a specific form of treatment. A Yang or Qi deficiency of the Stomach can be exacerbated by supplementing Yin tonics and vice versa. See Yin and Yang for additional comparisons.

In the Five Elements theory, health is viewed as balance between five major entities (Fire, Earth, Metal, Water, and Wood). Observing these elements in nature, Dong Y medical theorists keenly relate these same concepts to our health. Furthermore, the organs are also organized into the traditional Chinese court system (Emperor, Prime Minister, Treasurer, etc). Thus, organs with complementary functions, or have similar symbolic relationships are paireed. In light of all of these relationships, the heart and small intestine are considered "Fire". The stomach and pancreas are designated the "Earth". The lungs and large intestine are "Metal". The kidneys and urinary bladder are "Water". The Liver and the Gall Bladder represent "Wood". Click to view Five Element's chart. These elements together can create a constructive or destructive relationship. For example, Water is nurturing to Wood (constructive) yet it can put out fire (destructive). Furthermore, each element has a creative (nurturing), draining, destructive, and controlling relationship with another element. This simple model is expanded to encompass human physical, mental and spiritual health. Thus, a person with one weak element can lead to an excess of another element. For instance, a deficiency in water often leads deficient wood and excessive fire elements. A person of this profile is often thin physically, and with yin pattern conditions. Some Traditional Chinese Medicine schools base their entire approach on teaching the Five Elements theory.

The 12 organs and the corresponding 14 regular meridians are paired with each other based on their energetic functions that are beyond the scope of this paper. Both organs and meridians are organized into Yin and Yang partners. The functions of the Yin organs and meridians are generally associated with structures, quiescence, extracting pure substances and nourishing. The Yin meridians are in the front and on the inner side of the limbs. In contrast, Yang organs and meridians are generally associated dynamic functions, movement of Qi, and processing wastes. All organs and elements have a physical, emotional and spiritual component to health. Thus disturbances in each element can affect any level of health. Dong Y practitioners go back and forth between Yin and Yang, the Five Elements, the organs and meridian theories to explain illnesses.

In summary, the practice of Dong Y is guided by its theories, which are based on the concept of Qi. Blood and Energy makes up the Qi. This intimate relationship between Qi and Blood is essential for the daily bodily function, growth, learning and spiritual development. Thus, one's health can be summarized by the functions and harmonies of one's Qi and Blood, which can be quantified and if out of balance it can be corrected.

Diagnosis
Dong Y practitioners typically assess patient's Qi and Blood by taking a medical history, observing the patient's affects, and by feeling her pulses and examining the shape, size, and color of her tongue. By examining the pulses and tongue, a picture of disharmony between different elements within one's body can be pieced together. For example, red spots on the tip of the tongue indicate that the person has/had a fever. Someone with poor digestion will tend to have a swollen tongue with multiple tooth marks. All disorders are described in terms of disharmonies between elements or between organs. For example, a patient with digestion problems may have diagnosis of Liver stagnation overacting on his Pancreas. Important comparisons in this area can be made between Eastern and Western approaches. In the East, diagnoses and treatments are more conceptual, ie, Wood overacting on Earth instead of stress or indigestion. However, behind this simplicity lie keen observations of ailment patterns (ie, emotional stress often affects digestion). Dong Y practitioners mostly focus their therapies on they syndromes, not individual complaints. Many users of Dong Y medicine would agree that the therapies are slow acting but the effects are long lasting.

Since Dong Y's concepts encompass a broader function than biomedical models of organs, difficulties can arise when patients describe their complaints using Dong Y analogies to practitioners who are only trained in the biomedical approach. Other times, patients who are not aware of the differences between Western medicine and Dong Y, can also mistaken Dong Y diagnoses for Western pathologies. A common example is when a patient complains of a "weak kidney" insists that his kidneys be tested. When in reality this patient may have back or knee pain, urinary or sexual difficulties, coldness in the extremities, or early morning Another common complaint in the Vietnamese community is "hot liver." In Dong Y, hot liver can refer to skin eruptions, itchiness, emotional irritation, or even hepatitis-some of which have no "direct" link to the organ liver.

Food Property (Chips and Melon):
A strong emphasis on dietetics is seen in Dong Y. In general, it is considered that people who are omnivorous are more prone to getting excessive "heat" accumulation. Many Dong Y therapies begin with changes to a patient's diet, such as consumption of Congee or Chᯬ a porridge consisting of rice, a small amount of meat or tofu, and green onion or cilantro. People suffering from chronic illnesses usually eat this soup because it is easy to digest and very nourishing.

Vietnamese commonly refer to food property as hot or cold, which does not necessarily refer to temperature or spiciness. It refers to the effects that the food has on the body. For example, eating a plate of French fries can cause a person to feel very thirsty. Due to this effect on the body, fries are considered a hot food. Besides thirst, other symptoms of heat may include: skin eruption (acne), warmth or fever, constipation, irritability, insomnia, and a sense of "unwell". Dried, deep fried or very rich foods (high sugar/fat content foods, even ice cream) are considered hot food.

On the other hand, melon and root vegetables are considered cool foods. Symptoms of cold or cool effects on the body may include: frequent urination and loose stool. Because the of the over-prevalence of "hot" conditions, people often refer to cool as a sense of "well being." Fresh food, steamed or boiled vegetables are considered cool. Food preparation is just as important as the kind of food in determining whether it is hot or cool. For example, French fries are very hot compared to boiled potatoes. Food choices are often made based on their energetic qualities. Vietnamese regularly consumes squash in the summer for its cooling effects and more ginger in the winter for its warming effects.

The interpretation above also applies when Vietnamese people refer to medicine, particularly to the side effects of medicines. Medication with "hot" side effects like those that cause skin rash, itchiness, and thirst are considered hot, while medicines with the "cool" side effects such as loose stool would be considered cool. It is common to find that Vietnamese would take less medication than they were prescribed, drink herbs or eat certain food to "balance" a drug's side effects. Unless this matter is approached with sensitivity, many would not tell their physicians about it; they believe that they are in the best position to judge their health needs or they just do not want to appear as disobeying authorities.

A number of Vietnamese consider French medicine more tolerable than American medicine. This cultural experience has shaped the behavior of many Vietnamese who frequently reduce their prescribed medication or seek similar medication or herbal treatments from acquaintances abroad.

Chart 1: Yin and Yang

Yin Yang
Cool Hot
Structure Function
Contraction Expansion
Interior Exterior
Water Fire
Night Day
Blood Qi
Chronic Acute
Parasympathetic Sympathetic

Chart 2: Five Elements Theory

Vietnam medicine

Chart 3: Symptoms of hot and cold

Signs and Symptoms of excessive heat Thirst for cold drinks, fever, red face, red eyes, canker sores, irritibility, insomnia, constipation, yellow urine, and yellow or green discharge
Signs and Symptoms of excessive cold Cold, pain, cramps, diarrhea


<>

Fruit Vegetable Grains and Legumes Others
Watermelon, Apple, Pears, Persimmon, Canteloupe, and Citrus Cucumber, Asparagus, Squash, Cabbage, Root Vegetables, Lettuce Mung beans, Sprouts, Tofu, Barley, Millet (Rice-neutral) Yogurt, Peppermint, Dandelion, Cilantro

Source: Ethnomed.org

Monday, March 1, 2010

Battle of the Chickens (choi ga)

Cock fighting, a long-standing form of popular entertainment, is organised during traditional festivals throughout Vietnam.

Raising roosters for cockfighting requires heavy investments in time and labour. Professional trainers choose young chickens carefully, individually preparing their food and drink, bathing them, separating them from hens, and training them in fighting positions. A fighting cock must be so acquainted with its owner that it will allow only the owner to hold him. Fighting cocks, which come from three main species, are colloquially called "sacred chickens" or "combat roosters". Black roosters with a red comb and a long neck are full of stamina and will fight to the bitter end. White roosters with ivory-coloured feet and round yellow eyes are hot-tempered and perform "lightning battles". Also popular are "five-coloured cocks" coated with black, yellow, brown, red and blackish blue feathers. They fight with flexibility and often run away if they lose.

The owners prepare a 1.5m-wide ring walled by a 20cm-high bamboo screen. Spectators stand outside the screen. Only the owners of the fighting cocks are allowed to enter the area to care for their animals. A rooster loses if it leaves the ring twice and does not return.

Before a cockfight begins, owners agree on the terms among themselves. They compare the size, weight and combat achievements of their roosters. If one rooster has longer spurs, its rival is allowed to wear artificial spurs. After the discussion and agreement, the owners bring their birds into the ring. The cocks are kept in two separate halves of the ring until a signal is given to start the fight. Cocks usually attempt some trial feints to gauge their competitor's reactions before giving mortal thrashings: a double kick against the rival's body, a cut to the neck using spurs, or pecking out the rival's eyes.

The fight continues until one bird is defeated. Contestants time the rounds by burning an incense slick or draining water can with a hole in it.

Vietnamese cockfights have two forms of compensation. In one version, the loser pays an agreed-upon sum lo the winner; in the other, the loser forfeits both money and the defeated bird.

Friday, February 26, 2010

How did the Indians come to settle in Sai Gon?

Indians, who are second in number to the Chinese among Sai Gon's minorities, settled in the city a long time ago. The word "Indian" is used generically for people from the Indian subcontinent, which includes Bangladesh, India, and Pakistan. Southern Vietnamese once called them "Cha" or "Cha va," which came from an adaptation of "Java," which the Vietnamese used for Javanese whom the Dutch had recruited as soldiers to serve in Viet Nam. Later, Vietnamese used "Cha va" for people of different skin color, irrespective of whether they came from Malaysia, Indonesia, India, Turkey, Egypt, or Iran.



In 1945, when the British landed in southern Viet Nam to disarm the Japanese, they brought brown-skinned soldiers recruited from the Dayak tribe in Borneo. The Dayak were then known to be very fierce. These soldiers shaved their heads except for a small long tuft at the top. Sai Gon residents called them "Cha chop." Some brown skinned foreigners married Vietnamese. Saigonese called their children and grandchildren "Cha lai." In Vietnamese "lai" means "mixed blood." The Chetty were Indians who lent money if the borrower could guarantee land or a house as collateral. They had business licenses, paid taxes to the French, and hired lawyers to represent them. The Cha Chetty lived on Ton That Thiep and other streets near the Cha Temple, which served the Brahmin community. Every year they hold a festival with a large procession. The "Cha Bombay" was rich Indians, who sold cloth and silk on Le Loi, Ham Nghi, and Dong Khanh (now Tran Hung Dao 2) Streets, and on either side of the Ben Thanh Market. Saigonese would call well-dressed Indian ladies and gentlemen "Cha Bombay." The Vietnamese called the Indians who guarded large stores, companies, or workshops "hach" from "hadj," the title awarded to Muslims who have made a pilgrimage to Mecca. Sometimes Vietnamese called the Indians "Brother Bay" from the Turkish word "bey" or "bay" for a high-ranking officer in the Muslim Army.



Most Indians lived in their own community and practiced certain trades. The Cha -including Hindus, Brahmins, and Muslims - often sold cloth and silk on Ham Nghi, Le Loi, and Tu Do (now Dong Khoi Streets and inside the Ben Thanh Market. In the Cho Lon area, the Cha had cloth and silk shops on Tong Doc Phuuong Street (now Chau Van Liem) and in the Binh Tay Market. Here and there, the Indians also sold sweets, cakes, foreign alcoholic drinks, antiques, handicrafts, and jeweler. Some Indian shopkeepers displayed antiques, souvenirs, postcards, and old coins in the front of their shops while secretly buying and selling foreign currencies in the back. Their shops were usually located on Catinat (now Dong Khoi) and Charner (now Nguyen Hue) Streets.



During the colonial period, some Cha came from French factories in Pondichery, Chandernagor, Karikal, Yanoan, and Mahe in the French- controlled area of India. Most of these were well educated; some carried French passports, were trusted by the French, and worked in public offices, companies, factories, and the police force. The French consistently gave them higher positions than the Vietnamese. Some Cha produced jeweler and had their shops on Ton That Thiep Street in front of the Cha Temple. This area had many restaurants serving curried goat, chicken, fish, and special Indian cakes. The Turks and Pakistanis lived on Hamellin Street (now Le Thi Hong Gam). They worked as guards, repaired felt hats, and ran restaurants serving rice and curry cooked in the Muslim style. Other Indian restaurants were on Cay Mai Street, near a Muslim mosque on Cho Lon Street (now Nguyen Trai, or on Nam Ky Khoi Nghia Street near Chuong Duong Port, where the Malay community had a small mosque.



Many Indians, especially the wealthy silk and cloth merchants, left after 1945 and especially after the French pulled out of Viet Nam in late 1954. Some returned to their homeland. Those who had come from the five French land concessions in India followed the French to France or settled in French colonies in Africa and Oceania. Others stayed behind, married Vietnamese, and mixed with the Vietnamese community, completely integrating after two or three generations. However, a small group of Indians still keep their original citizenship.

What are the important landmarks in the history of Sai Gon?



1558-1772: Viet Nam under the Le Dynasty was divided into two, with the Trinh Lords controlling the North. The Nguyen gradually expanded their territory southward and reached the Mekong River Delta in the second half of the 17th century.
1698: General Nguyen Huu Canh, a special envoy from the Nguyen Lords, toured the newly settled South and created the prefecture of Gia Dinh on the current site of Sai Gon.
1790: Lord Nguyen Anh (who later became King Gia Long) built a citadel in Gia Dinh, using a style that had been favored by Sebastien le Prestre de Vauban, the famous French military architect. Nguyen Anh used Gia Dinh as his base to fight the lay San peasant movement.
1859: The French captured Sai Gon after meeting with fierce resistance from Vietnamese patriots. Vietnamese partisans continued their struggle against the French for many years after Sai Gon fell.
1861: A French military engineer planned a city for 500,000 people.
1862: The Nguyen Government ceded three eastern provinces of the South - including Sai Gon - to France as part of the Treaty of Sai Gon.
1867: The French named the city "Ville de Saigon."
1874: France established sovereignty over the whole of the South (Cochinchina). 1870s & 1880s: Construction of major building in Sai Gon:
1863: The Customs House (now the Ho Chi Minh Museum)
1877 -1883: Notre Dame Cathedral.
1890: The Palace of the Governor of Cochinchina.
1897: The Hotel de Ville (now the Ho Chi Minh City People's Committee Building).
1900: Sai Gon's population reached 200,000.
1925: French architect Hebrard developed a common plan for Sai Gon and Cho Lon.
1930: Sai Gon and Cho Lon merged, resulting in a combined population of 400,000.
1945: Viet Minh forces gained control of Sai Gon during the August Revolution and set up a revolutionary administration. British and French forces re-entered Sai Gon only days after President Ho Chi Minh read Viet Nam's Declaration of Independence.
1945-1954 - The Resistance War against France: Patriotic Viet Minh forces fought against the French colonialists, who were backed by the Americans. The war ended with the Geneva Accords in the summer of 1954.
1955-1975 - The American War: The Geneva Accords divided Viet Nam into North and South, with elections to be held in 1956. The United States supported the South, which refused to allow elections. In 1968, patriotic forces launched the Te't Offensive, penetrating the U.S. Embassy in Sai Gon. On 30 April 1975, the last American forces left Sai Gon.
1976: Viet Nam's National Assembly gave Sai Gon its current formal name, Ho Chi Minh City.

Wednesday, February 10, 2010

Se Dang Ethnic Group

Proper name: Xo Teng (Hdang, Xdang, Hdra), Mnam, Ca Dong, Ha Lang (Xlang), Tay Tri (Tay Tre), Chau.
Other names: Hdang, Kmrang, Con lan, Brila.
Population: 96,766 people
Local groups: Xo Teng, To Dra, Mnam, Ca Dong, Ha Lang, Tay Tri, Chau.
Language: Sedang language belongs to the Mon-Khmer language family (Austroasitatic language family). Their language is very similar to Hre, Bahnar and Gie-Trieng languages. There are some different vocabularies among groups. The Sedang use the Latin alphabet for their writing system.
History: The Sedang are long time inhabitants around the area of Truong Son – Tay Nguyen central highlands regions in Quang Nam, Quang Ngai provinces.
Economic activities: A faction of the Sedang practice wet-rice cultivation. Their cultivation technique is not all that well-developed. They work the fields by herding water buffaloes into it, so that the buffalo’s hooves work the soil. They use hoes, which are made from wood (steel ones are used now). The majority of Sedang work on terraced fields, using the same techniques and tools as other ethnicgroups in the region. They use the axe and machete to cut down trees, and then burn them. To plant seedlings, a hole in the ground is made using a pointed digging stick with an iron tip. To weed, the Sedang use little hoesmade from tree branches. At harvest, the Sedang pluck the ears of rice off with their hands. In addition to rice, the Sedang also plant millet, corn, cassava, pumpkin, tobacco, melon, pineapple, banana, sugar cane, etc. traditional domestic animals are water buffaloes, goats, pigs, dogs, and chickens. Fruit picking, hunting and fishing are also play an important role in their economy. Among the Sedang, weaving appears in many regions. Hammerings is highly developed within the To Dra group. They know how to transform one into iron for hammering. In some places, the Sedang are gold-washers. Bamboo is also developed to produce household furniture. Although barrier trade was commonly practiced, nowadays, the Sedang use money for most of their transactions.
Diet: The Sedang eat rice and sticky rice with chili salt and food hunted or gathered in the forest. Only when worshipping do the Sedang eat meat and poultry. Popular foods included soup cooked with vegetables or bamboo shoot mixed with fish and meat, snails, and grilled foods. The Sedang drink fresh water (many boiled water nowadays), and wine. There is a special winemade from millet which is much better then from rice or cassava.
In some places, the Sedang have the custom of eating betel nut. Men and women both smoke tobacco into powder and chew it instead of smoking it.
Clothing: Men wear loin cloths. Women wear skirts and blouses. When it is cold, they wrap themselves in blankets. In the ancient past, many of the Sedang wore clothesmade from bark. Today, Sedang men wear clothes in a style similar to the Viet, and women wear shirts and skirts made from ready made materials. Sedang traditional textiles are either white or lack, with only a little black, white or red decoration.
Lifestyle: The Sedang live in Kon Tum province, Tra My and Phuoc Son district of Quang Nam province, and Son Tay district of Quang Ngai province. The largest population of Sedang is around the Ngoc Linh Mountain. They live in stilt houses. In the past, the Sedang households used to live together in a longhouse, but now there is a greater tendency to split into small family units. The location of houses differs amonggroups; in some groups , private houses are clustered around a communal house. Building techniques rely on the use of columns, and fiber lashings hold the various architectural elements together. There are two rows of columns in each house.
Transportation: The Sedang use carrying baskets those vary in form and technique. Some are thickly woven, others are of thin weave. Some baskets have lids, others do not; some are decorated. Men have their own three-compartment baskets (some in the form of a snail, others resembling bat wings) which they carry on the shoulder to transport just about everything.
Social organization: Each village is self-ruled, with the eldest man as its leader. The village’s territory is communal, and every individual has the right to own land. Even though there has long been a distinction between rich and poor, there has not been a practice for the former exploiting the later. In the past, there was servitude, but servants were not badly treated. A sense of community is highly regarded.
Marriage: This custom is a bit different in each region. However, it is a popular Sedang custom that after the wedding, the couple rotates the residence every couple of years so that they can live with both set of parents. The couple will live permanently in one place only after both sets of parents are deceased. In the wedding, the groom and bride chicken thighs, wine, and food which symbolize the connection between the two. Marriage is not commercialized.
Funerals: Everyone in the village comes to offer their condolences, and to help with the funeral. The coffin is made from unpolished wood. People are normally buried in the village cemetery. Sedang funeral customs aren’t completely analogous to those of other ethnicgroups in the region: the ceremony to abandon the tomb, characteristic of the Bahnar and Giarai, does not exist everywhere. The custom of chia cua (conservation of property like the clothing, personal objects, farming tools and household utensils, etc.) for the deceased is widespread.
Beliefs: The Sedang believe in supernatural powers. Gods and ghosts are called Kiak (Kia), or “Ong”, “ba”, some places call them Yang. Important gods are Lighting God, the Sun God, Mountain God, Rice God, and Water God. The water God is in the image of a serpent, or a big eel, or a pig with a white nose. The Sedang Rice God is in the image of an ugly, old but kind woman, who later becomes frog. There are many rituals offered to supernatural powers to pray for good harvest, for peace, and to send away bad lack.
Festivals: The most important festivals are the rituals to the Water God on the yearly occasion of repairing water pipes. There are other rituals held at the beginning of each crop season, while seeding, in the middle of the crop season, when harvesting, when there is someone sick, when building a new house, when children are grown up, etc. There are many communal religious festivals such as the offering sacrifices to the Water God and the buffalo sacrifice held by a family or a village. Traditional holidays happen at different times in different villages and families, but they usually occur in January and lasts for 3 to 4 days.
Calendar: There are 10 months in the Sedang calendar connected to the agricultural cycle. There is a rest after the harvest to wait for a new crop. Each month has 30 days. Each day is divided into specific moments and called different names. There are good days and bad days. For examples, the last day of a month is good for planting corn; if the Sedang chop down bamboo at this time, it is said that they can use it for a long time and it won’t spoilt.
Artistic activities: The Sedang have many kinds of musical instruments (two-stringed Chinese violin, flute, pipe, drum, gong, horn, etc.). Some are for daily use; some are for festival use only. Instruments and melodies are different amonggroups . Popular types of music are: call and response or alternating verse of young couples, songs of grown-ups, lullabies. The Sedang perform dances in some festivals; there are specific dances foe men, women, and both together. Sedang folktales are rich and distinctive.

The Nung Ethnic Group

Proper name: Nong
Population: 705,709 people
Local groups: Nung Giang, Nung Xuong, Nung An, Nung Inh, Nung Loi, Nung Chao, Nung Phan Sling, Nung Quy Rin, Nung Din…
Language: The Nung language belongs to the Tay-Thai language group (Tai-Kadai language family), and is in the same group with the Tay, Thai, and Choang of China.
History: The majority of the Nung immigrated to Vietnam two or three centuries ago from Quang Tay, China.

Production activities

The Nung are very good at cultivating fields. However, because they live on places where wet fields can not be exploited, they have to work on terraced fields instead. Beside corn and rice, the Nung also plant some other root vegetables, calabashes, and green vegetables.

The Nung know how to make many handicraft products from weaving, metal working, poonah-paper making, and tile making. Though many of those handicrafts are family traditions, they are still secondary professions, and done during spare time when there is a break from farming. Moreover, handicraft products serve mainly family needs. Today, some of them are diminishing (weaving), and some are preserved and highly developed (metal working). In Phuc Xen village (Quang Hoa, Cao Bang), many families practice blacksmithing, and there is at least one person in each family knows how to hammer well.

Nung makets are highly developed. They go to fairs to trade, sell, and buy goods. Young people, especially the Nung Phan Slinh group, like to go to fairs and sing love duets.
Diet: In many regions, the Nung eat mainly corn. Corn is ground into flour to make thick soup. Foods are fried, stir-fried, or well-cooked, but seldom boiled. Many people don’t eat water buffalo, beef, or dog meat.
Clothing: The Nung’s traditional clothes are fairly simple, and are often made from rough, handmade, self-dyed fabrics, and have almost no embroidery or decorations. Men wear shirts with standing collars, which have cloth buttons. Women wear long shirts with 5 panels, buttoned up under the right arm.
Housing: the Nung live in the northeast of the country, and mix in together with the Tay. They stay mostly in stilt houses. Some live in earthen houses built with paper or brick walls. In the past, on the border, there were houses built like a fort with blockhouses and loopholes to prevent and defend robbers.
Transportation: Traditional ways of transportation are carrying goods in the arms, on the shoulders, and using shoulder poles. In some places today, the Nung use carriages with ties or runners, which are pulled by animals as a mean of transportation.
Social organization: Before August Revolution, Nung society had developed as much as the Tay’s. Fields and terraces had become private possessions, and thus could be transferred or sold. Two social classes were formed: landlords and tenants.
Marriage: Young Nung men and women are free to date and to love. While dating, they often give gifts to each other. A young man may give his girl a shoulder pole, a basket for storing cotton (hap li), a basket for storing thread (com lot). In return, a girl may give her young man a shirt and an embroidered bag. It is the parents, however, who decide if a couple can marry each other. They need to see if the two families are of the same social rank, and if the fates of the two children match together. The bride’s family often demands gifts or meat, rice, wine, and some money. The more the gifts are, the higher the girl’s value is said to be. Marriage has to go through many steps, and the most important one is the ceremony to bring the bride to the groom’s family. After the wedding, the wife still stays with her own family until she is about to give birth, then she will move to her husband’s house.
Funerals: There are many rituals with the main goal: to bring the dead person’s spirit to the next world.
New house: Building a new house is one of the Nung’s most important tasks. Therefore, when it happens, the Nung pay close attention in choosing the land, the direction, the day to move in. they do all of these steps carefully in hopes that in the new house, they will have a prosperous life.
Beliefs: The Nung mainly worship their ancestors. The altar is put in the house, and is nicely decorated. In the center of the altar is a monument (phung slan) written in Chinese that records the origin of a family. In addition, the Nung also worship theland God, the Buddhist Goddess of Mercy, Midwife, door’s ghost (phi hang chan), etc. They hold worshipping rituals when there is natural disaster, or disease plague. In contrast to the Tay, the Nung celebrate the birthday, not the anniversary of an individual’s death.
Festivals: The Nung celebrate lunar New Year like the Vietnamese and the Tay.
Calendar: The Nung use the lunar calendar.
Education: The Nung use a script based on Chinese characters, and read in Nung and Tay-Nung language, which is based on the Latin script.
Artistic activities: Sli is love duet for young men and women to sing in groups. Often, two boys sing with two girls. They sing sli together on holidays and festival occasions, at a fair, or even on trains, cars.
Entertainment: For festivals and holidays, there are games such as throwing shuttlecock, badminton, spinning top, and tug of war, etc.

Sunday, February 7, 2010

Tale of Vietnamese Dragon

In Asian myths, no creature is as impressive as the dragon. For Vietnamese peasants, the dragon was a vivid symbol of the fourfold deity-clouds, rain, thunder and lighting. Represented by an S shape, dragons are depicted on artifacts dating back to the Dong Son-Au Lac culture, which existed in northern Vietnam in the first millennium B.C. Later came the cult of Tu Phap, or the Four Miracles. Long ago stargazers identified the Dragon constellation made up of seven stars arranged like an S. The brightest star is the Mind (Tam), also known as the Divine (Than) star. The word Than may also be read as Thin (Dragon), which denotes the third month of the lunar calendar and represents the Yang vital energy.

Vietnamese dragon tale

Vietnamese dragon tale


Vietnamese dragon tale

Dragons were also associated with kingship. Every Vietnamese person knows the legend of Lac Long Quan and Au Co. Lac Long Quan (King Dragon of the Lac Bird Clan) is known as the forefather of theVietnamese people. He is said to have been the son of a dragon, while his wife, Au Co, was the child of a fairy. Their eldest son, King Hung, taught the people to tattoo their chests, bellies and thighs with dragon images to protect themselves from aquatic monsters.

During the Ly Dynasty (11th to early 13th centuries), the dragon became a common decorative motif in plastic arts. In the royal edict on the transfer of the capital to Thang Long in 1010, it was written: "The Capital is chosen due to the lay of the land, which affects a coiling dragon and a sitting tiger".

Legend has it that on the sunny day when the royal barge landed at Dai La, the king saw a golden dragon rise into the sky. Taking this as a good omen, he named the new capital Thang Long, or City of the Soaring Dragon. The modern city of Hanoi stands on this same site.

The Ly king had a cluster of shops and inns built up to the walls of an ancient temple once dedicated to the dragon deity. One night, the dragon deity revealed himself in the form of a violent northerly wind, which knocked down all of the houses but left the temple intact. Following this event, the king cheerfully proclaimed: "This is the Dragon God, who takes his charge over earthly affairs".


Vietnamese dragon tale

Ly dynasty dragon's head

The Ly dragon was derived from India's mythical Naga, which Southeast Asian peoples influenced by Indian mythology had transformed into a sea god. The Ly depiction ofthe dragon is both sophisticated and unique. The dragon 's elaborate head is raised, flame-co loured crest thrust out, a jewel held in its jaws. Its mane, ears and beard flutter gracefully behind, while its lithe, undulating body soars above the waves.The dragon was usually depicted inside a stone, a piece of wood, a bodhi leaf, or a lotus petal. Dragon images appear on the pedestals of statues of Amitabha Avalokitecvara (Kwan Kin), on cylindrical stone pillars in the hall dedicated to heaven in Thang Long Citadel, and on a five meter-high hexagonal stone pillar in Giam Pagoda in Bac Ninh province. The latter is considered by art historians to be a colossal linga. Lingas symbolize the male Yang element, while dragons symbolize the Yin element.


Vietnamese dragon tale

That dragons, or long, associated with royalty, are revealed by the names given to the king's personal effects and person, such as long con (royal tunics), long chau (royal boat), long thi (royal person), and long dien (royal countenance).


Vietnamese dragon tale

Tran dynasty dragon

During the Tran Dynasty (early 13th to end of 14th centuries), the dragon retained the sophisticated style of the Ly dragon, yet changed to reflect the greater authority of the dynasty which defeated invading Mongol forces three times. The image became more detailed, with a large head, forked horn, four fierce a claws (stone carving in Boi Khe Pagoda), and a massive, rounded body, covered in carp scales (Pho Minh Pagoda).

The dragon took on a whole new appearance under the Le Dynasty (early 15th to end of 18th centuries). With a raised head, forked horn, wide forehead, prominent nose, large, forceful eyes, five claws, and two splayed feet, a dragon crept up the balustrade of Kinh Thien Hall's central staircase. This fierce and imposing dragon was clearly a symbol of royal authority. Examples of Le eradragons may be found carved in stone in Co Loa Temple, carved on wooden doors in Keo Pagoda, and carved in the royal stone bed in Dinh Temple.


Vietnamese dragon tale

Le dynasty dragon

The Nguyen Dynasty (early 19th to mid 20th centuries) had dragons much like those of the Le. The top ridges of palace roofs were decorated with undulating dragons covered in sparkling porcelain tiles.

Initially, dragons in Vietnam were associated with water and Yin energy. Dragons were popular among the common people, who believed that rain was created by nine dragons, which took water from the sea to pour down on the rice paddies. The dragon dance, a great favorite among people of all walks of life, was used to invoke rain.

Many place names in Vietnam bear the word long (dragon), as in Ha Long Bay (Where the Dragon Descended) or the Cuu Long River (Nine Dragons).

Dragons occupied the top position in traditional geomancy, especially for sovereigns. It was said that Le Hoan was able to found the Anterior Le Dynasty (980-1009 A.D.) because his grandfather's tomb was situated on a "vein in the dragon's jaw". The Royal Chronicle of the Restored Le Dynasty contains a story about Prince Lang Lieu, who saw a black dragon perched on his father's tomb. "Golden dragons for emperors, black dragons for kings," states this ancient text.


Vietnamese dragon tale

Like Chinese monarchs, Vietnamese sovereigns chose the dragon as the symbol of their power. But unlike the Chinese dragons, which were shown descending from heaven and spitting fire, the Vietnamese dragons were shown ascending from water. Though imposing and fierce, the Vietnamese dragons were never threatening.

Vietnamese Traditional Stilt Houses

F our thousand years ago, Vietnamese people were building stilt houses similar to those in use today. Suited to flood-prone plains and to steep mountain slopes, these houses remain popular among many of Vietnam's 54 different ethnic groups.

Vietnamese houses

Thai house

On the lower level of a Thai house, the family entertains guests, cooks and weaves.

As well as being somewhere to eat, entertain and sleep, a stilt house is where a family worships its ancestors and works at tasks like weaving and embroidery. The most important room is the kitchen, which is usually set in the center of the house and serves as a meeting place where the family gathers at the end of the day.

Stilt houses are made from wood, bamboo, cane, or rattan. A traditional stilt house typically has an area for drying rice, set one or two steps below the main level. The area under the house is either unused or used as a pen for livestock.

Tay and Nung people in northwestern Vietnam (including Lang Son and Cao Bang) typically build their stilt houses up against a slope. Ideally, the front of the house should overlook fields; close views of mountains, rivers and forests are avoided. The Tay and Nung believe that a mountain peak is like an arrow, which, if pointed at a house, might injure its residents. Trees, meanwhile, are associated with fierce beasts, and thought to bring bad luck to livestock. Nearby streams are thought to cause money to flow away from a house.


Xa pho ethnic minority's stilt house

Xa pho ethnic minority's stilt house

Tay and Nung houses are usually narrow in front and supported by seven or nine rows of columns running along the sides. Villages typically consist of houses set parallel to each other along a hillside.

Since Viet people traditionally lived on flat, spacious plains, their stilt houses are wider. A typical Viet stilt house has two staircases on the left and right sides. The walls are made from thin boards. The roof rests on one or two pillars and two beams. The right side of the house is used for worship, entertaining guests and the men's quarters, while the left side is reserved for women

.


Muong ethnic minority's stilt house

Muong ethnic minority's stilt house

Muong people build stilt houses that include characteristics of Viet, Tay and Nung houses, while Thai people have a very distinctive house style. All houses in a Thai village face high mountains and forests, since this view is thought to increase vitality. It is considered unlucky to build a house facing a gap between two mountain peaks.

Like other groups, the Thai position their houses facing north to south. They divide the living space into two: a higher level, restricted to family members, is used for worship, relaxation, and sleep; the lower level is where the family entertains guests, cooks and weaves. There are two doors and two covered porches. The left-hand door is called chan and the right-hand door is called quan. Family members may use both doors, but visiting women must use the chan door, while visiting men must use the quan door.

A new son-in-law sleeps in the right porch, which is called the tang quan. The left porch, or tang chan, is used for drying rice and clothes. Thai houses have beautiful windows, measuring 60cm by 100cm, set close to the floor in the front wall. The roofs are highly distinctive in that they are comprised of four panels. Two flat panels are linked by curved gables over the porches.


rong house

Central Highlands rong house

Bana, Xedang, and Giarai people living in Vietnam's Tay Nguyen (Central Highlands) build huge stilt houses known as rong. The roof of a rong is incredibly steep and tall, like the blade of a hole. In front of a rong stands a balcony. These stilt houses serve as communal halls.

The Ede, a matriarchal group in Dak Lak province, live in stilt longhouses. The homeowners' bedroom faces east, while the guest room faces west. The roof is highly unusual in that it is trapezoid-shaped, with the longer end at the bottom.

This roof is supported by columns and extends from one to one-and-a-half meters in the front and back.

The interior is equally strange, as the roof is so tan and narrow. Most of the house is taken up with the living room, supported by four columns: the master column, guest column, drum column and gong column. Guest seating entails benches made from old trees, 27 to 30 meters in length, which are intricately carved.

Whatever their style and size, Vietnam's traditional stilt houses complement their natural settings. Simple and unimposing, these houses reflect the unique cultures of Vietnam's diverseethnic groups.

Paper Fan

In Vietnamese tradition, the paper fan was an indispensable item in times of yore, one of eight prized objects in every household - the others being a gourd bowl, a quill pen, a Ty Ba (four-string guitar), an orchid, a chess-set, a sword and a feather-duster.
Nowadays, the traditional paper fan is still a popular and familiar item in Vietnamese dailylife.

The famous paper fan-making village in Vietnam is Thach That in the northern province of Ha Tay.


Unfolding the sun


Fans are of course common throughout the East. But what makes Vietnam's decorative fans of the hand-held variety different from those made in China or Japan is the angle: in the latter countries, fans typically open to more than 180 degrees, whereas Vietnam's are less than 180. If you look intoVietnamese fans, you can imagine it like a sun shining.

Part of what makes these fans art pieces are the paintings and drawings on the surface, which typically include the traditional Han Nom characters, the country's original script, for Heaven, Land and People, which, combined, are said to symbolise prosperity.

The most important parts of each fan were its two main slats, which form its frame. The material for these slats must be the strongest and most elastic bamboo possible.

The surface of a fan is made of Do paper, derived from bamboo, and silk. Once finished, the surface is then painted, usually using a mixture of dark red, black, yellow, brown and violet - all colours seen in ancient fans.


Nowadays, paper fan is used not only in dailylife but also in traditional art performances because in the past, paper fan is an indispensable decorative item in royal life. Paper fans represent a living tradition for an ancient and beautiful art form.

Saturday, February 6, 2010

Xoan Singing

Xoan singing is a folk cultural product of Phú Thọ province. The last point of time that Xoan accompany still sang in communal houses of the villages in spring was in 1945. Fortunately, we still had an opportunity to meet singers and instrumentalist who used to sing in the Xoan accompany in the old days when we conducted to investigate, study on Xoan singing in the late August.



It can be said that Xoan singing is still engraved in the memory of folk artists who up to now can perform it in the communal house whenever having the festival. Previously, the Xoan singing belonged to four villages, An Thái, Thét, Phù Đức and Kim Đái of Hạc Trì district, Phú Thọ province. After the innovation, An Thái village belongs to Phượng Lâu, Việt Trì city, and Thét, Phú Đức and Kim Đái villages belong to Kim Đức, Phù Ninh district, Phú Thọ province. According to folk artists, of those four villages, the singing style of Xoan accompany of An Thái village is similar to that of Thét village and Phù Đức village similar to Kim Đái. However, it is the difference of order of repertoire, words and the number of dancer, etc, that also creates the own style of each village.

In 1998, together with the establishment of the club of Xoan singing in Kim Đức communes and An Thái village, Phượng Lâu commune brought about new vitality for Xoan singing. The generation of elderly folk artists in the old days always tried their best to hand down offspring compositions in the old style of singing in the activity of Club. On the last August 18th, People’s Committee of Kim Đức commune opened a festival of Xoan singing competition to rise up the passion and pride of villagers to the special art of the locality. When we coming, villagers of each Xoan village were actively practicing and perfecting compositions to be able to found Xoan accompany of each village according to the policy of the Department of Culture and Information of Phú Phọ province. The concern of authority and enthusiastic contribution of the villagers are good news of art of Xoan singing in today’s life.

Lullaby Songs

Lullaby songs are a sort of folk music often heard in Vietnam, especially in the countryside. They are used not only to lull small children to go to sleep but also to express human feelings such as homesickness, wife missing her husband...

Rarely do the songs express direct feelings towards the child the singer may hold in her arms.

o au o. The lights in Sai Gon are green and red,
The lamps in My Tho are bright and dim,
May you go home to read your books,
I shall wait nine months, I shall wait ten autumns,....

Vietnamese lullabies often consist of two or four six-to-eight meter lines. They are usually based upon a characteristic frame of melody, and use slow, free rhythms. They also contain many inseted words such as "au a", "o", "hoi"...

au o. The wooden bridge is bound with nails,
The bamboo bridge is rough and difficult to cross...

As the function of a lullaby song is to make the child slowly fall into sleep, the song is quiet, the tones stretched and melodious. Perhaps that is the reason why there is little dialogue between the mother and the child.

In the autumn wind Mum will lull you to sleep
I sit up during all the five watches of the night...

Friday, February 5, 2010

Ca Tru

Ca tru music sounds strange to the uninitiated. Clicks and clacks accompany the centuries old ballads. It is not the kind of music that inspires toe tapping or humming.

Originally, ca tru was also called hat a dao or hat noi (literally song of the women singers). Attractive young singers entertained men in a relaxed environment, sometimes serving drinks and snacks. Men might have visited a hat a dao inn with friends to celebrate a successful business deal or the birth of a son.

Ca tru flourished in the 15th century in northern Vietnam when it was popular with the royal palace and a favorite hobby of aristocrats and scholars. Later it was performed in communal houses, inns and private homes. These performances were mostly for men. When men entered a ca tru inn they purchased bamboo tally cards. In Chinese, tru means card. Ca means song in Vietnamese, hence the name ca tru: tally card songs. The tallies were given to the singers in appreciation for the performance. After the performance each singer received payment in proportion to the number of cards received.

Ca tru requires at least three performers. The singer is always a woman and plays the phach, an instrument made of wood or bamboo that is beaten with two wooden sticks. A musician accompanies the singer on the dan day, a long-necked lute with three silk strings and 10 frets. There is also a drummer or trong chau.

The drummer shows his approval of the singer or the songs depending on how he hits the drum. If he likes a song he might hit the side of the drum several times. If he is disappointed with the singer, he hits the drum twice. The guitar player must follow the rhythm of the phach. His instrument, the dan day, is only used in ca tru and is now made almost exclusively for sale to tourists who find the shape intriguing.

Traditional Vietnamese Dances

Here are some traditional Vietnamese dances:

Traditional Vietnamese Fan Dance

Ethnic Dance Vietnam

Vietnamese Traditional Lantern Dance

Traditional Vietnamese Cylindrical Drump Dance

Vietnam Bamboo dance

Mua Lan - Dragon Dance In Viet Nam


Cock Fighting Game

Cock fighting is a traditional Vietnamese game during Tet holiday (Vietnamese lunar New Year). It attracts many people from the young to the old, man and woman. There are some regions where people feed and train cock for fighting in some official festivals. Fighting cocks from Cao Lanh (Dong Thap province) in the Mekong River Delta are the most famous throughout the country.

Bonjour Vietnam

This is a Vietnam's beauty slideshow (visualgui) with a soft, sweet and sensuous vocals of the young Vietnamese-Belgian Pham Quynh Anh performing "Bonjour Vietnam" a wonderful French ballad written by Marc Lavoine.

The draft version in English of "Bonjour Vietnam," which has been circulated on the Internet, is given below:

Bonjour Vietnam (Translated English Lyrics)

Tell me all about this name, that is difficult to say.
It was given me the day I was born.

Want to know about the stories of the empire of old.
My eyes say more of me than what you dare to say.

All I know of you is all the sights of war.
A film by Coppola, the helicopter's roar.

One day I'll touch your soil.
One day I'll finally know your soul.
One day I'll come to you.
To say hello... Vietnam.

Tell me all about my colour, my hair and my little feet
that have carried me every mile of the way.

Want to see your house, your streets. Show me all I do not know.
Wooden sampans, floadting markets, light of gold.

All I know of you is all the sights of war.
A film by Coppola, the helicopter's roar.

One day I'll touch your soil.
One day I'll finally know your soul.
One day I'll come to you.
To say hello... Vietnam.

And Buddha's made of stone watch over me.
My dreams that lead me through the fields of rice.
In prayer, in the light... I see my kin.
I touch my tree, my roots, my begins...

One day I'll touch your soil.
One day I'll finally know your soul.
One day I'll come to you.
To say hello... Vietnam.

One day I'll touch your soil.
One day I'll finally know your soul.
One day I'll come to you.
To say hello... Vietnam.
To say hello... Vietnam.
To say "xin chào"... Vietnam.

Bonjour Vietnam (French Lyrics)

Marc Lavoine
performed by Pham Quynh Anh

Raconte moi ce nom étrange et difficile à prononcer
Que je porte depuis que je suis née.
Raconte moi le vieil empire et le trait de mes yeux bridés,
Qui disent mieux que moi ce que tu n’oses dire.
Je ne sais de toi que des images de la guerre,
Un film de Coppola, [et] des hélicoptères en colère ...

Un jour, j’irai là bas, un jour dire bonjour à ton âme.
Un jour, j’irai là bas [pour] te dire bonjour, Vietnam.

Raconte moi ma couleur, mes cheveux et mes petits pieds,
Qui me portent depuis que je suis née.
Raconte moi ta maison, ta rue, racontes moi cet inconnu,
Les marchés flottants et les sampans de bois.
Je ne connais de mon pays que des photos de la guerre,
Un film de Coppola, [et] des hélicoptères en colère ...

Un jour, j’irai là bas, un jour dire bonjour à mon âme.
Un jour, j’firai là bas [pour] te dire bonjour, Vietnam.

Les temples et les Boudhas de pierre pour mes pères,
Les femmes courbées dans les rizières pour mes mères,
Dans la prière, dans la lumière, revoir mes frères,
Toucher mon âme, mes racines, ma terre...

Un jour, j’irai là bas, un jour dire bonjour à mon âme.
Un jour, j’irai là bas [pour] te dire bonjour, Vietnam (2 fois).

Vietnamese Water Puppet

Watch the exotic Vietnamese water puppet show and find out how interesting it is.


We do not know whether water puppets appear in other countries or whether they remain only in Viet Nam, but we do know that they continue to spread and gain intimacy with their audiences. If you want to see puppets in their true environment, you must watch them in the cradle whether they began – in the open air of a village in Viet Nam northern Red River Delta.

The village had organized the performance to celebrate spring. The puppeteers were not professionals but, instead, farmers from a village puppetry guild. They had practiced with puppets they’d carved. Their characters were men, women and children, the old and the young... The performers used stories from Vietnamese traditional theater and tales of national heroes who have resisted invaders. Their characters cultivated rice, caught fish, and tended ducks. Everyone laughed when a fox puppet nabbed a duck and when uncle Teu (a puppet serving as master of ceremonies) made a joke.

Vietnamese water puppets probably began as a ceremony to pray for water to nourish the rice crop. For that reason, the mythical dragon (a positive image in Vietnamese culture) is a particularly strong character. The Red River Delta is hot, humid and filled with rivers. Every village has a pond or lake that can serve as a water-puppet theater. The weather must be warm since the performers stand in waist-deep water for hours. A theatrical set, which is often a village temple, separates the audience from the performers who works from behind a bamboo curtain. They manipulate their puppets at the far end of the bamboo pole about two meters long and must keep the pole under the water. The heavy wooden puppets held so far from the puppeteers require that performers be very strong.

During French colonialism, urban Vietnamese did not know about water puppets because only farmers perform such puppetry and only for their own neighbors. As the result, water-puppet scenes take place in rural settings with rice paddies, fishponds, bamboo thickets, banyan trees, wells and of course the village temple. The scenes include cultivating with water buffalo, buffalo fights, irrigating, harvesting and winnowing rice; boat races; kids swimming and racing and performing water acrobatics; cavorting fish and frogs; dancing turtles and phoenixes; and dragons spewing smoke.

The casts of puppet characters also includes farmers and village workers such sawyers, blacksmiths, and carpenters. All settings are within the village. The only connection to the outside is a procession for a villager who returns from successfully completing the competitive mandarin exams.

Farmers in the Red River Delta traditionally make their living from wet-rice cultivation. They must work hard in the rice paddies and continually fight against floods. Since farmers prize their intimacy with earth and water, theirwater puppets praise the labor, perseverance, and optimism of farming life in both the family and the village. Double meaning and satire illuminate the struggle between good and evil, with evil resulting in its own lesions.

Water puppets incorporate Vietnamese animism as well as Buddhism, Taoism and especially Confucianism. Spectators sitting amidst rice paddies as they watch thewater puppets soon sense how Vietnamese farmers live together with spirits in an atmosphere of pantheism.

Vietnamese Spiritual Life

Spiritual life is a belief or practice irrationally maintained by ignorance or by faith in magic or chance. It is totally unscientific; however, there is a lot superstitious culture on over the world. Differentspiritual life will be found in different countries. Asia which is a cradle of the world’s culture has a lot of mystery, legend of super natural power. Vietnam is one of Asian countries; so there are many superstitious people and culture in my country Vietnam.

In Asian societies, particularly Vietnamese society, people have a habit of being superstitious and this has been part of their daily life. On such occasions as marriages, funerals and open new house, people will try to choose a propitious date.

Geomacy in building a new house

On the Vietnamese New Year, people believe that the first person who visits their home during Tet holiday has a bearing on their welfare for the whole year. In contrast, the person who sweeps the floor on the first three days of this festive occasion might sweep away the wealth. As for other things, such as setting out for an examination, embarking on a business venture or planning an escape from Communist Vietnam, people will try to avoid "crossing the path of a woman", in much the same way as Western people would try to avoid "crossing the path of a black cat" when undertaking something important.

The Vietnamese attach great importance to two traditional family obligations: to care for their parents in their old age and to worship them after death. In eachVietnamese family has at least one altar on which there are the pictures of their ancestors. Family members worship their ancestor because they think parents after death will go to live in another world and this altar is the place where the ancestors’ soul live in. As a result, every day,Vietnamese people not only lay the table for meal but they also lay the food on the altar for the belief that those ancestors will have a meal with them.

Spiritual life, sometimes, plays more than a passing role in Vietnamese society. By the time a boy is old enough to marry, for example, he may not be able to wed the girl he loves because she was born in the wrong year. On the 12-year lunar calendar commonly used throughout Asia, many of the years are considered incompatible. Such years are thought to bring misfortune if they are improperly matched with other years. Thus, a young man born in "the Year of the Tiger," cannot marry his beloved from "the Year of the Horse" unless he wants to risk a break in family ties with his parents and elder relatives. To the conservative relatives, the Tiger and Horse are incompatible and sure to bring bad luck to such a marriage. Besides, the hoot of an owl is regarded as a bad omen announcing death or illness. According to ancient tradition, the bird must be chased away and those who heard his cry should be extremely cautious about their personal safety.

What is the best way to keep a child healthy? An old Vietnamese grandfather believes the charm of a certain necklace wards off evil spirits and he may give it to his grandson to protect the boy. An employee fails to show up for work on the third day of the lunar month because he believes that particular date brings him bad luck. A student tries to borrow money to buy lottery tickets because he dreamed of a special event or number one night before. These are some examples of spiritual life which may baffle the foreign visitor to this country. Yet, in Vietnam, it is part of tradition and customs passed down from one generation to the next. Ignorance, of course, plays some roles in the traditional acceptance ofspiritual life. Not having sufficient knowledge, faith or trust in scientific methods, a Vietnamese often relies on his prejudices, emotions and the word of his forefathers to guide his daily life.

A large number of fortune-tellers, astrologers and palm-readers owe their living to Vietnamese spiritual life and often made a small fortune from their clients. That the reason why, in Vietnam, even the poor save money for occasional visits to well-known soothsayers.Spiritual life has been known to determine the conduct of the war in this ravaged country. A friendly or enemy commander may refuse to attack or may alter his strategy if the stars are not in his favor.

One story has it that, an American commander always consulted a Vietnamese astrologer before planning the deployment of his troops. When questioned by his incredulous superiors, he explained that, according to his theory, he could depend on the enemy to base his attacks on the positions of the stars. Therefore, he consulted a stargazer himself for intelligence on the enemy's movements.

Another story passed down through history is about of the two famous Vietnamese generals, Le Loi and Nguyen Trai. Several years ago, the pair was leading a war against Chinese invaders. Nguyen Trai decided to turnspiritual life to his advantage and used grease to write the phrases "Le Loi vi Quan; Nguyen Trai vi Than," (Le Loi for King; Nguyen Trai for Minister of State) on the large leaves of forest trees. Ants later consumed the grease absorbed in the leaf tissue and left the prophecy clearly engraved. People living nearby noticed the perforated leaves and interpreted them as a "divine message." Inspired by this, they wholeheartedly supported the war which eventually led to the defeat of the Chinese and the enthronement of Emperor Le Loi.

There are some social reformers in my country who believe that, spiritual life is a problem and should be eradicated as Vietnam is now becoming a truly progressive as well as modern nation. Personally, how dull life would be if all our soothsayers, fortune tellers, palm-readers and astrologers were pensioned off and retired! I promptly took this bad proposition to my favorite soothsayer who solemnly assured me that this is not in the stars.

Vietnamese Social Relationships

The desire to achieve harmony between the self and the non-self remains an essential preoccupation of the Vietnamese in interpersonal relations outside the family group. The basic principles underlying family relationships is extended to the relationships between members of wider social groups.

The concept of society as an extension of the family is evident in the transposition into social usage of a language originally intended for domeslic life.Vietnamese uses more than a score of kinship terms as personal pronouns. The choice of the appropriate word depends on the relative age, social status, gender, degree of acquaintance, respect, and affection between speakers and hearers who are not related to each other by blood or marriage.

In Vietnamese society, the predominant sentiment in the relation between members of a social group is respect. This is particularly evident in the attitude towards older people. Respect and consideration for old age no doubt derive from the obligation of filial piety that requires young people to respect and love their parents and parent-like members of the family. Vietnamese also recognize that a long life is a sign of kindness and regard on the part of the deity for virtuous people, and that the elders are the carriers of tradition and the embodiment of knowledge and wisdom. Old people enjoy highrespect in Vietnamese society , irrespective of wealth, education, or social positinn. This respecl is expressed in both attitude and hehavior, particularly in the use of speicla terms of address and stylistic devices. Unlike Western societies that put a premium on youth,Vietnamese society is proud of its old members. Age is an asset, not a liability.

Teachers, even though they are young, enjoy great respect and prestige in Vietnamese society. In Vietnam the student-teacher relationship retains much of the quality of a son's respect for his father's wisdom and of father's concern for his son's welfare. The respect that students show to the teachers is also evident in linguistic behavior. The terms of address that students use in speaking to their teachers are the same as those they use in speaking to their parents.

Respect is expressed in the form of courtesy and in the effort to spare others from the humiliation of losing face. Face is extremely important for theVietnamese . The individual who loses face will have to endure public ridicule and derision in the midst of his community. Furthermore, the family shares any social disgrace incurred by the individual.

Linguistic devices are one of the many ways that allow the Vietnamese speaker to save face and at the same time allow others to save face. Depreciatory terms are applied to oneself and complimentary terms are used for others. Ihe practice of "beating about the bush" to avoid answering a request in the negative, and the tendency of theVietnamese student to say yes to questions asked by his teacher stem from this preoccupation with saving face.

"You and I" in Vietnamese

In America, people put emphasis on friendliness in interpersonal relationships while in Vietnamese society the emphasis is more on respect. We may say without fear of error that respect is the cornerstone of interpersonal relationship in Vietnamese society, whether in the family or in social circles, whether on the employment scene or between friends and lovers. This is reflected in the language used by Vietnamese in their daily life.

In making an utterance, Vietnamese simultaneously expresses ideas and concepts and an attitude of respect (or disrespect) towards the hearer. This expression is natural because it is inherent in the nature of the words used, and generally neither the speaker nor the hearer are conscious of it. But, if the speaker unintentionally (or purposedly) uses a word reflecting an attitude of disrespect, the hearer will instantly realize it and react to it accordingly.

American people use only word, the word yes, to express agreement and this word is neutral as to respect or disrspect. Of course, an answer with the mere word yes lacks the courtesy conveyed by a longer answer such as "Yes, I am"; "Yes, he did"; or "Yes, Mr. Brown". On the contrary, theVietnamese speaker must choose between Da., Va^ng, Pha?i to express agreement. No well-bred Vietnamese would use ¯ as an answer in talking to his parents, older people, his teacher, his superior, or monks and priests. In Vietnamese , other people invite us to xo+i ("eat rice" or "take a meal"), but in replying, we must say that we have already or not yet æn (eat) and not xo+i. How complicated it is!

The difference between the linguistic behavior of American and Vietnamese people can be seen in the use of personal names. In writing a letter to a person who is not known, to ask for information or to apply for a job, example, Arnericans will usually use the term Dear followed by the person name (the last name, it should be noted); this shows courtesy and friendliness.Vietnamese people, by contrast, use only terms expressing respect such as kính, kínb tbÜa . . and never address the person by name, for this would convey an impolite, disrespectful attitude. Conseguently, "Dear Mr. Brown" is not "O^ng Brown than men" but simply "Thua o^ng" or "Kinh o^ng" ("respected gentleman").

In American society where almost nobody knows anybody else, even people living in the same apartment complex, mentioning the name of the interlocutor shows that one is interested in and friendly toward him/her, the evidence of which is to be found in the remembering of his/her name. Consequentiy to show that they are courteous and friendly, American people usually mention the name of the interlocutor in their greetings. (i.e. "good morning, Mr. Brown" or "good-bye, Miss Green" when speaking to people who are not close friends, and "good morning, Bill" or "goodbbye, Susie" when speaking to friends. InVietnamese society , almost everybody knows the name of everybody else living in the same community. The neighbors (called "la'ng gie^`ng") are often considered as friends or relatives. In greeting, speakers avoid mentioning the name of the interlocutors, especially those who are senior in age orstatus

. They are called by name only when they are close friends or junior in age or status. It is easy to imagine the cultural misunderstandings that might arise from first encounters betweenVietnamese and Americans.

In Vietnamese, special respect is conveyed by using function-words for respect when addressing persons such as parents, old people, teachers. monks and priests, and superiors. The verbal response begins with a function-word such as "da.", "thu+a", "da. tbu+a", "ki'nh tbu+a". Therefore the word "da.", often translated as yes, is actually a function-word showingrespect and does not necessarily indicate agreement.

Personal pronouns are a word class in Vietnamese which best reflects this preoccupation with expressing respect or disrespect for other people in language. American people have one word for you to address parents, brothers and sisters, wife and children, friends and foes, and even animals. Likewise, they have only the word I (or its inflected form me) to refer to themselves when speaking. How converlient it is! But at the same time those words lack the ability to express feelings ofrespect or disrespect of tee Vietnames personal pronouns. People who are senior in age or status are usually referred towith such term of respect as cu., o^ng, ba'c, chu', anh, tha^`y, cha, ba`, co^. People younger than the speaker, or who have a lower status , are usually addressed or referred to with the terms anh, chi., chu', em, cha'u, con. To show anger and disdain, the terms ma`y, mi... might be used, and fawning is shown by the use of nga`i or cu. Io+'n.

By observing the use of the terms of respect in Vietnamese, people can guess, to a certain extent, the personality and good manners of the speaker as well as the relationship between speaker and hearer. The use of these words which function as personal pronouns is a very delicate matter that depends on the speaker correctly assessing the relative age, status, and degree of intimacy between speaker and hearer. A man and a woman, at their first acquaintance, will call each other o^ng and to^i (or co^ and to^i). But as the degree of intimacy reaches the level of love, the term o^ng is replaced by anh and the term tp^i will become em. When love is lost, they will revert to the initial ông and tôi. In some cases where anger, hatred, and lack of self-control prevail, o^ng may become ma`y and to^i may become tao. The terms anh/em and ma`y/tao are separated by a Great Wall of feelings and emotions.

Terms of address such as bác, cbú, and anh are perhaps the most difficult to use in Vietnamese because they can express opposing feelings and sentiments. According to the context, they may express respect or disdain, familiarity or contempt. Perhaps they are much more difficult to use than the French words tu/toi which also can express either intimacy or contempt. When we address a stranger tu/toi, the only feeling conveyed is obviously contempt. But a Vietnamese addressing a stranger as bác may mean respect (considering him on the same footing as our father's elder brother), familiarity and affection (regarding him as his uncle), or outright contempt (looking down on him as having a low social status).

The expression of respect (or contempt) is inherent in the structure of Vietnamese. In using Vietnamese, we cannot overlook this essential feature of Vietnamese culture which is the expression of respect in language.

Vietnamese Non-verbal Communication

As in most cultures, non-verbal communication plays an important role in Vietnamese society, sometimes to accompany and reinforce linguistic symbols, sometimes as a substitute for words.

In a previous article, it was pointed out that respect is the cornerstone of interpersonal relationships in Vietnamese society. Respect is conveyed by the use of special terms of address and certain stylistic devices. But respect is also expressed by nonverbal behavior. A Vietnamese student who sits quietly and listens attentively to the teacher wants to express respect to his teacher. This behavior has often been misinterpreted by the American teacher as passivity and non-responsiveness. It is also out of respect that the Vietnamese student avoids eye contact with the teacher when speaking or being spoken to. By American standards, a person acting in this way would appear suspicious, unreliable, or mischievous. In Vietnamese culture, however, looking into somebody's eyes, especially when this person is of a higher status (in age or in social or family hierarchy) or of a different gender, usually means a challenge or an expression of deep passion. The proper respectful behavior is to avoideye contact in talking who is not an equal or the same sex.

The smile, which is sometimes enigmatic to the American observer, is another nonverbal symbol conveying the feeling of respect inVietnamese culture . It is used as an expression of apology for a minor offense, for example for being tardy to class, or as an expression of embarrassment when committing an innocent blunder. For the Vietnamese, the smile is a proper response in most situations in which verbal expression is not needed or not appropriate. It is used as a substitute for "I'm sorry", "Thank you" or "Hi!" It is used instead of a ready yes to avoid appearing over-enthusiastic. A smile is also a proper response to scolding or harsh words that one does not harbor any ill feelings toward the interlocutor or that one sincerely acknowledges the mistake or fault committed.

It should be noted that for certain feelings, Vietnamese culture prefers non-verbal communication while American culture is more inclined to use verbal expression. For casual and informal circumstances, feelings of thankfulness or apology are not expressed by verbal expression such as "thank you" or "I'm sorry" but by non verbal, silence or a smile. Parents and teachers never say thanks to their students for a small service, such as closing the window or passing the books around. A smile will do in this case. The person who gives a compliment never expects a "thank you" in return. InVietnamese culture, a verbal expression of thanks in this case amounts to a lack of modesty from the person who receives the compliment.

A smile or a blush in the face is the proper response to a compliment. If a verbal response is necessary, one would deny the compliment, saying that one does not deserve it. Because of difference in the mediums used to express the feelings of appreciation or apology in the two cultures, misunderstandings have occurred.

The Meaning of Some Patterns of Vietnamese Non-verbal Communication

Nonverbal Patterns Meaning in Vietnamese Culture
Nodding Greeting; affirmative reply; agreement.
Shaking one's head Negative reply; disagreement.
Bowing Greeting; great respect.
Touching child's head Not appreciated, but not offensive.
Avoiding eye contact. Showing respect to people senior in age or status or of the opposite sex.
Winking. Not decent, especially when directed at people of the opposite sex.
Frowning Showing frustration. anger. or worry.
Pouting. Disdain.
Smiling. Agreement; embarrassment; disbelief; mild disagreement; appreciation; apology.
Shaking hands. Friendly greeting between men (but not the elderly); not customary between women or between a man and a woman; acceptable between a Vietnamese woman and non-Vietnamese man.
Palm of right hand out, fingers moving up and down several times. "Come here." Not used to people senior in age or status.
Middle finger crossing over forefinger or forefinger crossing over middle finger with the other fingers closed over the palm. Obscene gesture.
Middle finger pointing, other fingers closed. No meaning.
Thumb down, other fingers closed. No meaning.
Thumb upright, other fingers closed. No meaning.
Forefinger and top of thumb meet to form circle, other fingers upright. "Zero." Poor quality.
Palm of right hand facing oneself, forefinger crooked and moving back and forth. Offensive to adults; threatening to children.
Holding hands with or putting an arm over the shoulder of a person of the same sex. Friendly gesture, no sexual connotation
Holding hands with or putting an arm over the shoulder of a person of the opposite sex. Not usually done in public.
Crossing arms. Sign of respect.
Placing one or both hands in the pockets or on the hips while talking. Arrogance, lack of respect.
Patting a person's back, especially those senior in age or status. Disrespect.
Pointing to other people while talking. Disrespect, threatening.
Whistling at performers. Displeasure.
Putting one's feet on a table or sitting on a desk while talking. Rude.