Global Intercultural Experience for Undergraduates in Vietnam and Laos, May 2011
Thursday, May 5, 2011
Wednesday, May 4, 2011
Xin chào Hà Nội, Xin chào Việt Nam!
This is the slideshow of GIEU members on their "first hello" to Hà Nội, the capital city of Vietnam.
You can also enjoy the song Bonjour Vietnam (Hello, Vietnam)
So GIEU members have come to Hà Nội to say Xin Chào Việt Nam!
You can also enjoy the song Bonjour Vietnam (Hello, Vietnam)
So GIEU members have come to Hà Nội to say Xin Chào Việt Nam!
First day - Exploring Hà Nội with Scavenger Hunt
I am Huy Anh from the North Vietnam group. Both Vietnamese and American students are very excited for first day of GIEU. We had a scavenger hunt around the town that challenged us to walk to various destinations in the town. Moreover, there were many interesting things that I have rediscovered Hanoi - the city which I have been living for more than 20 years. Here are the top FIVE:
5. Walking across the street is very dangerous. However, my American friends get used to it faster than I think.
4. I like the tranquility of Sword Lake - the center of Hanoi very much. There is another world inside Jade Mountain Temple (Đền Ngọc Sơn) which is peaceful and calm. I wish I could go there when I have free time.
3. It is little bit chilly today. However, the weather is good in daytime. It is raining at night.
2. I love our group members. They are Alicia, Ellen and Shannon. All of them have made my great day although I cannot fully understand the conversation between them along the course today.
1. We have been walking for nearly 5 hours. Thus, I can sleep better tonight.
Some pictures were taken by Ellen:
Shannon, Alicia and Huy Anh at O Quan Chuong - one of Ancient City Gates
Magic tree
Long Bien bridge was built by French architecte, Gustave Eiffel, who designed the Eiffel Tower.
Shannon, Alicia and Ellen are in front of Ceramic Mural
Happy family ice cream :-D
Ellen's favorite part of Ceramic Mural. It depicts children celebrating Mid-Autumn Festival. For more information about Mid-Autumn Festival.
St. Joseph's Cathedral in the Old Quarters
National Library landscape
Shannon is checking index in library
Taking a rest in Jade Mountain Temple
Hanoi Opera House
Lunch at Phở 24
History Museum
Ly Thai To King statue - the founder of Hanoi city
See you next time !
5. Walking across the street is very dangerous. However, my American friends get used to it faster than I think.
4. I like the tranquility of Sword Lake - the center of Hanoi very much. There is another world inside Jade Mountain Temple (Đền Ngọc Sơn) which is peaceful and calm. I wish I could go there when I have free time.
3. It is little bit chilly today. However, the weather is good in daytime. It is raining at night.
2. I love our group members. They are Alicia, Ellen and Shannon. All of them have made my great day although I cannot fully understand the conversation between them along the course today.
1. We have been walking for nearly 5 hours. Thus, I can sleep better tonight.
Some pictures were taken by Ellen:
Shannon, Alicia and Huy Anh at O Quan Chuong - one of Ancient City Gates
Magic tree
Long Bien bridge was built by French architecte, Gustave Eiffel, who designed the Eiffel Tower.
Shannon, Alicia and Ellen are in front of Ceramic Mural
Happy family ice cream :-D
Ellen's favorite part of Ceramic Mural. It depicts children celebrating Mid-Autumn Festival. For more information about Mid-Autumn Festival.
St. Joseph's Cathedral in the Old Quarters
National Library landscape
Shannon is checking index in library
Taking a rest in Jade Mountain Temple
Hanoi Opera House
Lunch at Phở 24
History Museum
Ly Thai To King statue - the founder of Hanoi city
See you next time !
Monday, May 2, 2011
Some thoughts to share from one HANU student on GIEU trip last year
One year ago, we started GIEU Vietnam on May 3, It would be perfect to recall what we have accomplished with this essay by Phùng Minh Yến, the Vietnamese student from Hanoi University (from the Newsletter by Center Four Southeast Asian Studies, Winter 2011.
"I joined a dynamic group of American and Vietnamese students in the UM Global Intercultural Experience for Undergraduates Vietnam 2010 trip to experience Vietnamese history and culture while getting actively involved in social work. My perspective about the war comes from family elders and history class at high school but emotions about the war came up when I had the chance to visit museums and historical sites with American and Vietnamese students. On one hand, I felt sorry for what had happened during the war but on the other hand I am so happy that the post-war friendships can flourish between Vietnamese and Americans. What I really looked for after each visit is not the war facts but how people recover to build the good relationships for a better future.
I really appreciate that the GIEU program created opportunities for both U-M and Hanoi University students to bring about mutual understanding between the two nations’ young generations.
Social work was a very meaningful and important part of the trip. We rolled up our sleeves to plant trees in kindergartens in mountainous area in A Luoi and played with kids and painted a mural of their dreams in an orphanage center in Danang City. Such activities brought my friends and me closer to local people so we could understand their lives. As young people we could contribute something both physically and spiritually to the children and local people we met. I treasure wonderful memories with GIEU 2010 and hope for this program to continue annually so that more students will be able to have great experience and memories like I did."
- Phùng Minh Yến, FIS 2008
"I joined a dynamic group of American and Vietnamese students in the UM Global Intercultural Experience for Undergraduates Vietnam 2010 trip to experience Vietnamese history and culture while getting actively involved in social work. My perspective about the war comes from family elders and history class at high school but emotions about the war came up when I had the chance to visit museums and historical sites with American and Vietnamese students. On one hand, I felt sorry for what had happened during the war but on the other hand I am so happy that the post-war friendships can flourish between Vietnamese and Americans. What I really looked for after each visit is not the war facts but how people recover to build the good relationships for a better future.
I really appreciate that the GIEU program created opportunities for both U-M and Hanoi University students to bring about mutual understanding between the two nations’ young generations.
Social work was a very meaningful and important part of the trip. We rolled up our sleeves to plant trees in kindergartens in mountainous area in A Luoi and played with kids and painted a mural of their dreams in an orphanage center in Danang City. Such activities brought my friends and me closer to local people so we could understand their lives. As young people we could contribute something both physically and spiritually to the children and local people we met. I treasure wonderful memories with GIEU 2010 and hope for this program to continue annually so that more students will be able to have great experience and memories like I did."
- Phùng Minh Yến, FIS 2008
Sunday, May 1, 2011
Greetings from Ann Arbor
Hi everyone,
My name is Alicia! I'm at home right now and in a few hours will be on my way to Vietnam. So excited to meet up with everyone for our amazing trip! A little about me, I'm from Saline, Michigan, which is a small city right outside of Ann Arbor. I just finished my junior year at the University of Michigan (Yay!). My major is American Culture and I'm minoring in Community Action and Social Change. For the past two years, I've lived in a Co-op, which is a large three-story house where the residents all help in taking care of the house. This year I had 27 housemates! I LOVE listening to music, so we will all definitely have to share some of our favorite songs. I also like reading and I'm bringing some books with me, so let me know if you would like to borrow any :) I'm really excited to travel in Vietnam and Laos, meet new people, and learn about the culture in Southeast Asia.
See you soon! (notice the Vietnam and Laos map that's been hanging on my bulletin board for months)
Greetings from Vietnamese students
Hello!
Welcome to Vietnam! ^^
How exciting to know that our journey will start very soon! And this time tomorrow some of you will have already arrived in Hanoi. On this very first entry, we would like to firstly send you the warmest welcome to Hanoi – Vietnam and secondly, we want to take this opportunity to initiate an online “get – to – know –all” activity from which GIEU participants will get some information about one another. Before moving to the detailed introduction from the Vietnamese side, we would like to briefly introduce you to Hanoi University in general and the Faculty of International Studies in particular.
Hanoi University (HANU for short), formerly Hanoi University of Foreign Studies was established in 1959 and located at Nguyen Trai road, Thanh Xuan District, Hanoi (about 10 kilometers away from the city center). The Hanoi University of Foreign Studies as in its name provided only courses on foreign languages and foreign languages teaching. However since September 15, 2006 the name of the university was changed to its current name: HANU. Significantly, from that time on, the university has opened new educational programs namely Accounting, Finance and Banking, Computer Science, Tourism, Business Administration and International Studies. The special thing of those programs is that students will study them in English. Thus, it can be said that entering Hanoi University, students who choose the specialized programs get dual benefits: both good English competency (we actually after our first year get an IELTS certificate from the university) and specialized knowledge.
Objectively speaking, HANU is not the number one university in Vietnam but students graduating from HANU are often remarked as active, flexible and possess good English skills and the rate of students who get employed after graduation is quite high in comparison with other universities in Hanoi. Also it is quite interesting to tell you that the female population at HANU outnumbers male one. About 90% of HANU students are girls and the rate is similar with regard to HANU staff :D
As you might already know, four of us are International Studies (IS) students among which 2 are from class IS 07 (Pham Trang and Huyen) while the other 2 are from class IS 08 (Hoang Trang and Huy Anh). Ah, this is just for fun, out of 54 students of class IS 07, there are only 3 boys, together with only 5 boys among 48 students of IS 08 :D. Some of you might be curious about our major. As a final year student who is almost done with the faculty, I just want to share with you my personal understanding of what IS is about. Basically, students will study about 2 main branches within IS namely Development and International relations. In Development, we study about poverty, environment, economics, etc. while in the latter, we study about international relations and Vietnam’s foreign relations. Students graduating from IS faculty work in various fields but the ideal job for us is to work for a non – governmental organization (NGO).
For more information on the university and the faculty, we would love to share with you more when we meet in person. Now, we will introduce ourselves to you all one by one :D
I am Pham Trang and I am one of the two final year students mentioned above. I am going to graduate in June, after coming back from GIEU. I am living in Hanoi with my family. I am very glad to be part of GIEU 2011 as for me, this will be the last trip of my student’s life and hence I would like to make it the most unforgettable and rewarding. I am quite an easy going and simple person, I like meeting new people and learning about their hobbies and discussing with them about future plans. I love music and dancing. I listen to music every day and when I have free time I go dancing. I hope during and after GIEU, we will become good friends and learn a lot from each other. Oh I can’t wait to see you all! :X:X:X:X
Hi all, I am Huyen, a last year student living in Hanoi. About myself, I am an adventurous person. I love exploring new things and that’s why I want to travel often and try to keep my life occupied with new experiences. Sharing the feeling of a last year student with Trang, I feel so happy and lucky to join GIEU as it would make my student life more memorable. I believe after this one month, what we bring back are not only a big change in appearance with sun burnt hair and dark buffalo skin :-p, but also tons of new things learnt along the journey and many good friendships as well. Eagerly counting down to the day we meet \m/
Hi then, I am Hoang Trang, a third year student of FIS. It’s quite interesting that we four are all Hanoian. I hope that it will make us easier to show you guys amazing places or fantastic experiences when you all come to this city. About me, I love foods, together with cooking, eating and taking pictures of different food. I feel relax when making cake or trying a new recipe since I can experience the taste of creativity, even when sometimes those too-much-creativities could come to totally strange flavours and finally come to their seats as garbage (so sad :-( ). It seems that I said too much about food but I am now so excited to show you the map of Hanoi food when we meet each other. I am also sooooooo eager to meet you guys, enjoy our one-month trip and have many funs together during the trip and later. Oh my god it is so amazing!!!!!
Nice to meet you, my name is Huy Anh. I am the last and only one Vietnamese guy participated in GIEU 2011. I am interested in topic such as politics, social and environment issues. Like all other young Vietnamese, I am so passionate in traveling, getting know new people, experiencing different ways of life. I am looking to GIEU for new experience of interacting with people coming from different culture. I love to dance (but I am not a good dancer :-( ), listen to guitar solo, piano solo and some instrumental music, especially the soundtrack from my favorite movies. I also love to read book, which it brings me to another world out of my current life. My favorite authors are Conan Doyle on fiction and Jared Diamond on non-fiction book.
My favorite quote:
God grant me the serenity to accept the things I cannot change, courage and the strength to change the things I can, and wisdom to know the difference.
- Reinhold Niebuhr -
From left to right: Huy Anh, Huyen, Pham Trang and Hoang Trang
Modelling UN Summit - discussing about North Korea's Nuclear Weapons Program
Volunteering for Habitat for Humanity project in Ke Sat - Hai Duong province
Welcome to Vietnam! ^^
How exciting to know that our journey will start very soon! And this time tomorrow some of you will have already arrived in Hanoi. On this very first entry, we would like to firstly send you the warmest welcome to Hanoi – Vietnam and secondly, we want to take this opportunity to initiate an online “get – to – know –all” activity from which GIEU participants will get some information about one another. Before moving to the detailed introduction from the Vietnamese side, we would like to briefly introduce you to Hanoi University in general and the Faculty of International Studies in particular.
Hanoi University (HANU for short), formerly Hanoi University of Foreign Studies was established in 1959 and located at Nguyen Trai road, Thanh Xuan District, Hanoi (about 10 kilometers away from the city center). The Hanoi University of Foreign Studies as in its name provided only courses on foreign languages and foreign languages teaching. However since September 15, 2006 the name of the university was changed to its current name: HANU. Significantly, from that time on, the university has opened new educational programs namely Accounting, Finance and Banking, Computer Science, Tourism, Business Administration and International Studies. The special thing of those programs is that students will study them in English. Thus, it can be said that entering Hanoi University, students who choose the specialized programs get dual benefits: both good English competency (we actually after our first year get an IELTS certificate from the university) and specialized knowledge.
Objectively speaking, HANU is not the number one university in Vietnam but students graduating from HANU are often remarked as active, flexible and possess good English skills and the rate of students who get employed after graduation is quite high in comparison with other universities in Hanoi. Also it is quite interesting to tell you that the female population at HANU outnumbers male one. About 90% of HANU students are girls and the rate is similar with regard to HANU staff :D
As you might already know, four of us are International Studies (IS) students among which 2 are from class IS 07 (Pham Trang and Huyen) while the other 2 are from class IS 08 (Hoang Trang and Huy Anh). Ah, this is just for fun, out of 54 students of class IS 07, there are only 3 boys, together with only 5 boys among 48 students of IS 08 :D. Some of you might be curious about our major. As a final year student who is almost done with the faculty, I just want to share with you my personal understanding of what IS is about. Basically, students will study about 2 main branches within IS namely Development and International relations. In Development, we study about poverty, environment, economics, etc. while in the latter, we study about international relations and Vietnam’s foreign relations. Students graduating from IS faculty work in various fields but the ideal job for us is to work for a non – governmental organization (NGO).
For more information on the university and the faculty, we would love to share with you more when we meet in person. Now, we will introduce ourselves to you all one by one :D
I am Pham Trang and I am one of the two final year students mentioned above. I am going to graduate in June, after coming back from GIEU. I am living in Hanoi with my family. I am very glad to be part of GIEU 2011 as for me, this will be the last trip of my student’s life and hence I would like to make it the most unforgettable and rewarding. I am quite an easy going and simple person, I like meeting new people and learning about their hobbies and discussing with them about future plans. I love music and dancing. I listen to music every day and when I have free time I go dancing. I hope during and after GIEU, we will become good friends and learn a lot from each other. Oh I can’t wait to see you all! :X:X:X:X
Hi all, I am Huyen, a last year student living in Hanoi. About myself, I am an adventurous person. I love exploring new things and that’s why I want to travel often and try to keep my life occupied with new experiences. Sharing the feeling of a last year student with Trang, I feel so happy and lucky to join GIEU as it would make my student life more memorable. I believe after this one month, what we bring back are not only a big change in appearance with sun burnt hair and dark buffalo skin :-p, but also tons of new things learnt along the journey and many good friendships as well. Eagerly counting down to the day we meet \m/
Hi then, I am Hoang Trang, a third year student of FIS. It’s quite interesting that we four are all Hanoian. I hope that it will make us easier to show you guys amazing places or fantastic experiences when you all come to this city. About me, I love foods, together with cooking, eating and taking pictures of different food. I feel relax when making cake or trying a new recipe since I can experience the taste of creativity, even when sometimes those too-much-creativities could come to totally strange flavours and finally come to their seats as garbage (so sad :-( ). It seems that I said too much about food but I am now so excited to show you the map of Hanoi food when we meet each other. I am also sooooooo eager to meet you guys, enjoy our one-month trip and have many funs together during the trip and later. Oh my god it is so amazing!!!!!
Nice to meet you, my name is Huy Anh. I am the last and only one Vietnamese guy participated in GIEU 2011. I am interested in topic such as politics, social and environment issues. Like all other young Vietnamese, I am so passionate in traveling, getting know new people, experiencing different ways of life. I am looking to GIEU for new experience of interacting with people coming from different culture. I love to dance (but I am not a good dancer :-( ), listen to guitar solo, piano solo and some instrumental music, especially the soundtrack from my favorite movies. I also love to read book, which it brings me to another world out of my current life. My favorite authors are Conan Doyle on fiction and Jared Diamond on non-fiction book.
My favorite quote:
God grant me the serenity to accept the things I cannot change, courage and the strength to change the things I can, and wisdom to know the difference.
- Reinhold Niebuhr -
From left to right: Huy Anh, Huyen, Pham Trang and Hoang Trang
Modelling UN Summit - discussing about North Korea's Nuclear Weapons Program
Volunteering for Habitat for Humanity project in Ke Sat - Hai Duong province
The Awakening of Hanoi
The Awakening of Hanoi
By JENNIFER CONLIN
Correction Appended
TO find the Mai Gallery in Hanoi, you must first walk down the bustling avenue of Le Thanh Tong, a street filled with flower stalls, neighborhood shops, sidewalk cafes and the ubiquitous roar of hundreds of motorbikes streaming in the direction of the century-old opera house. As you turn down Phan Huy Chu, one of a maze of narrow alleys in the Old Quarter, the throngs of teenagers leaning against parked mopeds with their cellphones cupped to their ears quickly disappear. Instead, squatting on the sidewalk stirring steaming pots of soup laced with noodles, pork and cilantro, are elderly women, their faces hidden under traditional farm-field conical hats, chatting among themselves as they give you a quick, inquisitive glance.
As I made my way down this passage on a warm morning in late November, I thought about why I had come to Hanoi — to see a country I knew only from history books and vaguely remembered images from the nightly news in the 1970s. The map of Vietnam was like a screen saver on our television set, and the war in Southeast Asia dominated the discussions at the dinner table in the politically active college town of Ann Arbor, Mich.
Thirty years later, I found myself experiencing an enormous disconnect. Hanoi was not at all as I had pictured it. Instead of being a squalid third world capital struggling to recover from years of war and isolation, it was a stylish, European-influenced metropolis with manicured lakeside promenades, tree-lined boulevards, ancient pagodas and French-colonial buildings painted in a peeling palette of jade, turquoise and burgundy.
On the streets, elderly men sipping tea at food stalls and grandmothers balancing poles on their shoulders laden with heavy baskets of fruits and vegetables were outnumbered by representatives of a younger and more boisterous generation. Nearly sixty percent of the population in Vietnam was born after the war ended in 1975, and Hanoi feels like a city of teenagers. They were everywhere — doubled up on motorbikes, their hair streaming behind them like jet spray as they raced off to school or work. At night they gathered in the parks and the city's dance clubs before zooming off again to start a new day.
Two days into my stay in Hanoi, I had made the obligatory visits to Ho Chi Minh's mausoleum (where the body of the still-revered leader lies in state) and the Temple of Literature (once a university, built in 1070) but had also found my time increasingly taken up by visits to the city's art galleries. That's because back in London, where I now live, friends who had been to Hanoi had all come back raving about the art. One showed me her collection of traditional paintings — each a different village scene, Impressionistic in style, painted on wood and then treated and polished with sap from a lacquer tree. They were stunningly luminous, laced with gold and silver gilt as well as crushed eggshell. The effect was like looking at a detailed painting under a thin, still puddle of water.
“Just wait,” my friend said. “You will fall in love with the art there.”
And I had. But while I was fascinated by 20th-century Vietnamese art — a mixture of Eastern techniques (woodcutting, engraving, silk and lacquer painting) with European influences from the early 1900s (Impressionism, Cubism) — I was most taken with the contemporary works by younger artists, many of whom are integrating the traditional into the modern and expressing themselves in new ways that reflect an awareness of what is happening in the Western art world.
THAT'S one reason I was now headed toward the Mai gallery, hoping to meet Tran Phuong Mai, the owner, herself. As I wandered from art gallery to art gallery, her name kept coming up in conversation, as other dealers would describe her — sometimes with a slight roll of the eyes or a faint note of exasperation in their voices — as being among the most prominent figures in their midst, the one who was most adeptly taking advantage of the increased attention contemporary Vietnamese art was attracting in the West. (Well, that was certainly in contrast to one gallery owner I met, who when I happened to mention that Charles Saatchi, the noted British collector, was beginning to feature young Vietnamese on his Web site, said, “Charles Saatchi? Oh, I got an e-mail from him several months ago asking me if he could link my gallery Web site. But I had never heard of him. Is he famous?”)
Young, stylish, attractive and with a close relationship with many of the city's young artists, Mai was beginning to sound like a character I knew well from my days of living in Manhattan in the early 1980s, when New York's downtown art scene was exploding. Could this be the Mary Boone of Hanoi?
Opposite a wall of boldly drawn graffiti in the tiny alleyway was her sleek, modern art gallery. On display inside the stark white space were the colorful urban landscape paintings of Nguyen Bao Ha, an Abstract Expressionist, whose work has been described as depicting the “cancerous” pace at which Vietnam is being developed. There was no one inside, however, except Mai's mother. Her daughter, she explained in her halting English, was at her new art gallery, her second — a sign that business was booming.
When I finally tracked down Mai at the other gallery, a three-story space on less-remote Hang Bong Street, it was clear to me she was a young force — she's 36 — in Hanoi's art world. With a stylish crop of jet black hair and trendily dressed in a hooded red zipper jacket and black skinny jeans, she looked every bit the part of an artist's friend. But she also had the demeanor of an experienced businesswoman. She instructed her assistant to get us a pot of tea, and she invited me to sit while she told me her story.
“We were the first private art gallery to open after doi moi,” she said referring to the Communist government's decision in 1986 to allow foreign trade and private ownership. A poet's daughter who grew up around artists — many of whom painted her portrait as a child — Mai opened her original gallery in 1993 with the help of her parents. “Previously, every gallery was state owned, and Vietnamese contemporary art was anonymous to the rest of the world,” she said, adding that the Hanoi University of Fine Arts (previously the École Superieure Beaux-Arts de l'Indochine) had provided Vietnam with an unending supply of talent since it was founded by the French in 1925.
“Now many of our artists are exhibiting outside of the country,” she said, adding that her paintings, like those in most Hanoi galleries, range in price from $300 for a small canvas by a relatively unknown artist to less than $6,000 for a large canvas by one of the “Gang of Five”— the first contemporary group to gain international recognition outside Vietnam, in the late '90s.
“My clients come from all over the world,” she said as she escorted me to see “master” paintings — works from modern artists like Bui Xuan Phai, whose work is frequently compared to Van Gogh's and Klee's, and who died in poverty in 1988. Now his paintings are sold by Mai for $10,000 and go at auction for twice that.
After warning me about Hanoi's many “art shops” — kitschy stores aimed at tourists that sell cheaply produced decorative art — she sent me down the street to meet Vu Dan Tan, one of the first experimental artists in Hanoi, whose atelier, Salon Natasha, is open to the public and served as one of the first meeting places for contemporary artists in Vietnam. I found Tan, a white-bearded man, sitting in his paint-splattered studio surrounded by his work, paper creatures and masks constructed from recycled packaging — a style developed during the war years when materials were short and now was a statement on the Western-style consumerism that has enveloped the country. He told me his work had been exhibited in Australia, Germany and Japan. “It is a very different time for artists,” he said, sitting down gingerly at a wooden desk covered with paint brushes.
An international art expert agreed. “There are many vibrant young contemporary artists in Hanoi, and people are definitely buying their work — hoping it will one day appreciate,” Mok Kim Chuan, a specialist in the Southeast Asian Paintings Department at Sotheby's in Singapore, told me by telephone. “We are not auctioning many of the younger artists yet because their work is still readily available in the galleries, but we are very aware of them.” He said that the post-Impressionist works by the Vietnamese artist Le Pho, who died in 2001, were now auctioning for around $300,000. “Contemporary art is very hot right now,” he said.
Suzanne Lecht, an American art consultant who escorted Bill Clinton around the galleries of Hanoi in 2000 and who has lived in Hanoi and run the Art Vietnam gallery since 1994, is trying to help Vietnamese artists gain more recognition in the United States. Her newest gallery, the Fielding Lecht Gallery, is in Austin, Tex., and she is planning an artist-in-residency program in Hanoi for international artists. “I want it to be a meeting place for artists from all over the world,” she said in a recent interview. “It will also expose Vietnamese artists to many more ideas,” she added.
Just down the road from Mai's second gallery is the Apricot Gallery, which features minimalist artists like Le Thiet Cuong, whose family fled Hanoi for the countryside from 1964 to 1973 to escape American bombings, and Le Thanh Son, whose colorful canvases of village life impressed Mr. Clinton enough that he bought one to take home.
All galleries must get permission for exhibits; the government frowns on raw sexuality, and overtly political paintings, like depictions of “Uncle Ho,” are prohibited. Curious to see the experimental side of Vietnam's art scene — which was beginning to feel like a cross between Montmartre in the 1920s and Williamsburg in the 1990s — I visited L'Espace Centre Culturel Français de Hanoi and the Goethe Institute. Both, being foreign owned, get less government scrutiny (though they must still get a permit) and regularly hold public events that give exposure to installations and performance art presentations by conceptual artists.
At L'Espace an exhibit called “Surfaces” was on display, which showed small bits of dirt from historic places in Vietnam like My Lai, the site of a massacre of civilians by American troops in 1968. The Ryllega Gallery, next door to the opera, also provides space for experimental art installations, aided by a grant from a British cultural organization.
Art, it seemed, was everywhere in this city — from the Hanoi Museum of Fine Arts, with three floors and more than 2,000 objects on display, including artifacts from the Stone and Bronze Ages, an array of Buddhist images (one from 1057) and early lacquer paintings, to the many Hanoi restaurants that incorporate contemporary Vietnamese art into their décor.
In the public spaces of the century-old Metropole hotel, I noticed well-heeled American couples checking out the contemporary art on display in the lobby before heading out to the thatched roof terrace bar overlooking the hotel pool. The bar, with its large comfy wicker chairs, is an inviting spot to enjoy a well-made cosmo and warm, crispy spring rolls.
And, later, at dinner at the fashionable Restaurant Bobby Chinn, I watched a parade of young women in miniskirts traipse by my table and then followed them into a back room, where they were nestled on silk cushions in velvet banquettes, a water pipe in one hand, a drink in the other. On the walls behind them were abstract paintings from Mr. Chinn's personal art collection, which he regularly rotates through his restaurant.
When it comes to darting in and out of galleries, restaurants and the many craft and silk shops in Hanoi's densely populated Old Quarter, walking is the best way to get around. Though the roar and density of the traffic is overpowering, it's easy to navigate the city with just a hotel map in hand.
Even a simple stroll around Hoan Kiem Lake, looking out onto the tranquil Ngoc Son Temple, which floats like a jewel in the middle of a lake, provides a glimpse into local culture. I watched an outdoor traditional flag dance exercise class (while enjoying a ginger ice cream from Fanny's, a near-legendary ice cream shop by the lake) followed by a noisy aerobics class of middle-aged women boogieing down to techno music. The language barrier makes it hard to strike up a casual conversation with strangers, but those who do speak English (mostly the under-30 set) are eager to practice with Westerners.
One day, having already enjoyed a typical breakfast of pho (beef noodle soup), I allowed myself Hanoi's other cuisine, French, and sat down at a table on the second floor of the Paris Deli, a comfortable bistro with black-and-white photos of Paris on the walls. From my window seat by the balcony overlooking the trendy Nha Tho Street, with a view of St. Joseph Cathedral in the distance, I took in the street scene below as I sipped a glass of Beaujolais nouveau, which had just arrived that week, right on time.
When my confit de canard appeared, my young waiter started a conversation in English that lasted nearly 15 minutes. It turned out he had a friend in New York. “If I visit, will gangsters and thugs get me, like in the movies?” he asked. “I see you later,” he said after I paid the bill, though we had not exchanged numbers, making me wonder if the city was much smaller than it seemed.
MY last morning in Hanoi, I again met with Mai, who had said she wanted me to meet Nguyen Manh Duc, a man in his late 60s who is considered the father of experimental art in Vietnam. When a friend and I arrived at her gallery, a taxi was waiting for us, and we quickly headed out toward the suburbs, the European elegance of Hanoi gradually replaced by urban sprawl. Thirty minutes later, after several cellphone calls between Duc and the taxi driver, the taxi deposited us on a corner where we were met by a thin man on a bicycle. He motioned us to follow him down a road and around several corners. There, in the middle of a neighborhood filled with housing projects, we came upon the exotic Thai Stilt House, Duc's home and atelier.
Walking through large wooden gates decorated with decoupages of photographs, notes and fliers, we were directed up a flight of wooden stairs, and we added our shoes to a pile before walking into a dimly lighted room. It was filled with hundreds of Buddha statues and ceremonial ornaments. Sitting around a low wooden table on stools about a foot from the ground were five young Vietnamese art students (all men, ages 23 to 27) drinking tea and smoking Vinataba cigarettes — no doubt the Vietnamese equivalent of the French Gauloise. Duc had invited them to meet us.
Most spoke little English, but they seemed excited to meet Americans, particularly Americans interested in Vietnamese art. All spoke reverently of Duc, whose Stilt House has been a salon for the avant garde art movement since the 1990s — the setting of controversial art events, installations and performance art. Sometimes in broken English, but mostly through the translation of another young student, they explained that at their art school they were mainly taught traditional European and Eastern techniques. Modern artists were not taught and were barely even discussed. “We come to Duc to create contemporary art and to talk about ideas with him,” said one of them, who like the others, had never left the country, though each of them had a Yahoo e-mail address.
Duc, described by one gallery owner as a “Gandhi-like” figure in Hanoi, sat listening as the young men discussed their nascent careers and then, only when pressed, added his thoughts. “There is still a big separation between mainstream art and experimental art in Vietnam,” he said through an interpreter, not wishing to elaborate further on the subject. “I will just say that when they are here we try to close that gap.”
We spent nearly an hour in conversation, until squatting on the tiny stools began to feel painful and the combined smell of smoke and strong tea became overpowering. The students and I walked out into the street, and the conversation lingered, as they peppered me with questions about my life at home, and what I thought of Vietnam. Finally, it was time to go. They thanked me again for coming, hopped on their bicycles and headed off.
Three hours later, on the computer back at my hotel, e-mail had arrived from one of my new friends, containing an attachment. “Here is my painting,” he wrote. “Hope you like.”
I did.
(Link: http://travel.nytimes.com/2007/02/18/travel/18hanoi.html?scp=9&sq=Hanoi%20in%20the%20morning&st=cse)
By JENNIFER CONLIN
Correction Appended
TO find the Mai Gallery in Hanoi, you must first walk down the bustling avenue of Le Thanh Tong, a street filled with flower stalls, neighborhood shops, sidewalk cafes and the ubiquitous roar of hundreds of motorbikes streaming in the direction of the century-old opera house. As you turn down Phan Huy Chu, one of a maze of narrow alleys in the Old Quarter, the throngs of teenagers leaning against parked mopeds with their cellphones cupped to their ears quickly disappear. Instead, squatting on the sidewalk stirring steaming pots of soup laced with noodles, pork and cilantro, are elderly women, their faces hidden under traditional farm-field conical hats, chatting among themselves as they give you a quick, inquisitive glance.
As I made my way down this passage on a warm morning in late November, I thought about why I had come to Hanoi — to see a country I knew only from history books and vaguely remembered images from the nightly news in the 1970s. The map of Vietnam was like a screen saver on our television set, and the war in Southeast Asia dominated the discussions at the dinner table in the politically active college town of Ann Arbor, Mich.
Thirty years later, I found myself experiencing an enormous disconnect. Hanoi was not at all as I had pictured it. Instead of being a squalid third world capital struggling to recover from years of war and isolation, it was a stylish, European-influenced metropolis with manicured lakeside promenades, tree-lined boulevards, ancient pagodas and French-colonial buildings painted in a peeling palette of jade, turquoise and burgundy.
On the streets, elderly men sipping tea at food stalls and grandmothers balancing poles on their shoulders laden with heavy baskets of fruits and vegetables were outnumbered by representatives of a younger and more boisterous generation. Nearly sixty percent of the population in Vietnam was born after the war ended in 1975, and Hanoi feels like a city of teenagers. They were everywhere — doubled up on motorbikes, their hair streaming behind them like jet spray as they raced off to school or work. At night they gathered in the parks and the city's dance clubs before zooming off again to start a new day.
Two days into my stay in Hanoi, I had made the obligatory visits to Ho Chi Minh's mausoleum (where the body of the still-revered leader lies in state) and the Temple of Literature (once a university, built in 1070) but had also found my time increasingly taken up by visits to the city's art galleries. That's because back in London, where I now live, friends who had been to Hanoi had all come back raving about the art. One showed me her collection of traditional paintings — each a different village scene, Impressionistic in style, painted on wood and then treated and polished with sap from a lacquer tree. They were stunningly luminous, laced with gold and silver gilt as well as crushed eggshell. The effect was like looking at a detailed painting under a thin, still puddle of water.
“Just wait,” my friend said. “You will fall in love with the art there.”
And I had. But while I was fascinated by 20th-century Vietnamese art — a mixture of Eastern techniques (woodcutting, engraving, silk and lacquer painting) with European influences from the early 1900s (Impressionism, Cubism) — I was most taken with the contemporary works by younger artists, many of whom are integrating the traditional into the modern and expressing themselves in new ways that reflect an awareness of what is happening in the Western art world.
THAT'S one reason I was now headed toward the Mai gallery, hoping to meet Tran Phuong Mai, the owner, herself. As I wandered from art gallery to art gallery, her name kept coming up in conversation, as other dealers would describe her — sometimes with a slight roll of the eyes or a faint note of exasperation in their voices — as being among the most prominent figures in their midst, the one who was most adeptly taking advantage of the increased attention contemporary Vietnamese art was attracting in the West. (Well, that was certainly in contrast to one gallery owner I met, who when I happened to mention that Charles Saatchi, the noted British collector, was beginning to feature young Vietnamese on his Web site, said, “Charles Saatchi? Oh, I got an e-mail from him several months ago asking me if he could link my gallery Web site. But I had never heard of him. Is he famous?”)
Young, stylish, attractive and with a close relationship with many of the city's young artists, Mai was beginning to sound like a character I knew well from my days of living in Manhattan in the early 1980s, when New York's downtown art scene was exploding. Could this be the Mary Boone of Hanoi?
Opposite a wall of boldly drawn graffiti in the tiny alleyway was her sleek, modern art gallery. On display inside the stark white space were the colorful urban landscape paintings of Nguyen Bao Ha, an Abstract Expressionist, whose work has been described as depicting the “cancerous” pace at which Vietnam is being developed. There was no one inside, however, except Mai's mother. Her daughter, she explained in her halting English, was at her new art gallery, her second — a sign that business was booming.
When I finally tracked down Mai at the other gallery, a three-story space on less-remote Hang Bong Street, it was clear to me she was a young force — she's 36 — in Hanoi's art world. With a stylish crop of jet black hair and trendily dressed in a hooded red zipper jacket and black skinny jeans, she looked every bit the part of an artist's friend. But she also had the demeanor of an experienced businesswoman. She instructed her assistant to get us a pot of tea, and she invited me to sit while she told me her story.
“We were the first private art gallery to open after doi moi,” she said referring to the Communist government's decision in 1986 to allow foreign trade and private ownership. A poet's daughter who grew up around artists — many of whom painted her portrait as a child — Mai opened her original gallery in 1993 with the help of her parents. “Previously, every gallery was state owned, and Vietnamese contemporary art was anonymous to the rest of the world,” she said, adding that the Hanoi University of Fine Arts (previously the École Superieure Beaux-Arts de l'Indochine) had provided Vietnam with an unending supply of talent since it was founded by the French in 1925.
“Now many of our artists are exhibiting outside of the country,” she said, adding that her paintings, like those in most Hanoi galleries, range in price from $300 for a small canvas by a relatively unknown artist to less than $6,000 for a large canvas by one of the “Gang of Five”— the first contemporary group to gain international recognition outside Vietnam, in the late '90s.
“My clients come from all over the world,” she said as she escorted me to see “master” paintings — works from modern artists like Bui Xuan Phai, whose work is frequently compared to Van Gogh's and Klee's, and who died in poverty in 1988. Now his paintings are sold by Mai for $10,000 and go at auction for twice that.
After warning me about Hanoi's many “art shops” — kitschy stores aimed at tourists that sell cheaply produced decorative art — she sent me down the street to meet Vu Dan Tan, one of the first experimental artists in Hanoi, whose atelier, Salon Natasha, is open to the public and served as one of the first meeting places for contemporary artists in Vietnam. I found Tan, a white-bearded man, sitting in his paint-splattered studio surrounded by his work, paper creatures and masks constructed from recycled packaging — a style developed during the war years when materials were short and now was a statement on the Western-style consumerism that has enveloped the country. He told me his work had been exhibited in Australia, Germany and Japan. “It is a very different time for artists,” he said, sitting down gingerly at a wooden desk covered with paint brushes.
An international art expert agreed. “There are many vibrant young contemporary artists in Hanoi, and people are definitely buying their work — hoping it will one day appreciate,” Mok Kim Chuan, a specialist in the Southeast Asian Paintings Department at Sotheby's in Singapore, told me by telephone. “We are not auctioning many of the younger artists yet because their work is still readily available in the galleries, but we are very aware of them.” He said that the post-Impressionist works by the Vietnamese artist Le Pho, who died in 2001, were now auctioning for around $300,000. “Contemporary art is very hot right now,” he said.
Suzanne Lecht, an American art consultant who escorted Bill Clinton around the galleries of Hanoi in 2000 and who has lived in Hanoi and run the Art Vietnam gallery since 1994, is trying to help Vietnamese artists gain more recognition in the United States. Her newest gallery, the Fielding Lecht Gallery, is in Austin, Tex., and she is planning an artist-in-residency program in Hanoi for international artists. “I want it to be a meeting place for artists from all over the world,” she said in a recent interview. “It will also expose Vietnamese artists to many more ideas,” she added.
Just down the road from Mai's second gallery is the Apricot Gallery, which features minimalist artists like Le Thiet Cuong, whose family fled Hanoi for the countryside from 1964 to 1973 to escape American bombings, and Le Thanh Son, whose colorful canvases of village life impressed Mr. Clinton enough that he bought one to take home.
All galleries must get permission for exhibits; the government frowns on raw sexuality, and overtly political paintings, like depictions of “Uncle Ho,” are prohibited. Curious to see the experimental side of Vietnam's art scene — which was beginning to feel like a cross between Montmartre in the 1920s and Williamsburg in the 1990s — I visited L'Espace Centre Culturel Français de Hanoi and the Goethe Institute. Both, being foreign owned, get less government scrutiny (though they must still get a permit) and regularly hold public events that give exposure to installations and performance art presentations by conceptual artists.
At L'Espace an exhibit called “Surfaces” was on display, which showed small bits of dirt from historic places in Vietnam like My Lai, the site of a massacre of civilians by American troops in 1968. The Ryllega Gallery, next door to the opera, also provides space for experimental art installations, aided by a grant from a British cultural organization.
Art, it seemed, was everywhere in this city — from the Hanoi Museum of Fine Arts, with three floors and more than 2,000 objects on display, including artifacts from the Stone and Bronze Ages, an array of Buddhist images (one from 1057) and early lacquer paintings, to the many Hanoi restaurants that incorporate contemporary Vietnamese art into their décor.
In the public spaces of the century-old Metropole hotel, I noticed well-heeled American couples checking out the contemporary art on display in the lobby before heading out to the thatched roof terrace bar overlooking the hotel pool. The bar, with its large comfy wicker chairs, is an inviting spot to enjoy a well-made cosmo and warm, crispy spring rolls.
And, later, at dinner at the fashionable Restaurant Bobby Chinn, I watched a parade of young women in miniskirts traipse by my table and then followed them into a back room, where they were nestled on silk cushions in velvet banquettes, a water pipe in one hand, a drink in the other. On the walls behind them were abstract paintings from Mr. Chinn's personal art collection, which he regularly rotates through his restaurant.
When it comes to darting in and out of galleries, restaurants and the many craft and silk shops in Hanoi's densely populated Old Quarter, walking is the best way to get around. Though the roar and density of the traffic is overpowering, it's easy to navigate the city with just a hotel map in hand.
Even a simple stroll around Hoan Kiem Lake, looking out onto the tranquil Ngoc Son Temple, which floats like a jewel in the middle of a lake, provides a glimpse into local culture. I watched an outdoor traditional flag dance exercise class (while enjoying a ginger ice cream from Fanny's, a near-legendary ice cream shop by the lake) followed by a noisy aerobics class of middle-aged women boogieing down to techno music. The language barrier makes it hard to strike up a casual conversation with strangers, but those who do speak English (mostly the under-30 set) are eager to practice with Westerners.
One day, having already enjoyed a typical breakfast of pho (beef noodle soup), I allowed myself Hanoi's other cuisine, French, and sat down at a table on the second floor of the Paris Deli, a comfortable bistro with black-and-white photos of Paris on the walls. From my window seat by the balcony overlooking the trendy Nha Tho Street, with a view of St. Joseph Cathedral in the distance, I took in the street scene below as I sipped a glass of Beaujolais nouveau, which had just arrived that week, right on time.
When my confit de canard appeared, my young waiter started a conversation in English that lasted nearly 15 minutes. It turned out he had a friend in New York. “If I visit, will gangsters and thugs get me, like in the movies?” he asked. “I see you later,” he said after I paid the bill, though we had not exchanged numbers, making me wonder if the city was much smaller than it seemed.
MY last morning in Hanoi, I again met with Mai, who had said she wanted me to meet Nguyen Manh Duc, a man in his late 60s who is considered the father of experimental art in Vietnam. When a friend and I arrived at her gallery, a taxi was waiting for us, and we quickly headed out toward the suburbs, the European elegance of Hanoi gradually replaced by urban sprawl. Thirty minutes later, after several cellphone calls between Duc and the taxi driver, the taxi deposited us on a corner where we were met by a thin man on a bicycle. He motioned us to follow him down a road and around several corners. There, in the middle of a neighborhood filled with housing projects, we came upon the exotic Thai Stilt House, Duc's home and atelier.
Walking through large wooden gates decorated with decoupages of photographs, notes and fliers, we were directed up a flight of wooden stairs, and we added our shoes to a pile before walking into a dimly lighted room. It was filled with hundreds of Buddha statues and ceremonial ornaments. Sitting around a low wooden table on stools about a foot from the ground were five young Vietnamese art students (all men, ages 23 to 27) drinking tea and smoking Vinataba cigarettes — no doubt the Vietnamese equivalent of the French Gauloise. Duc had invited them to meet us.
Most spoke little English, but they seemed excited to meet Americans, particularly Americans interested in Vietnamese art. All spoke reverently of Duc, whose Stilt House has been a salon for the avant garde art movement since the 1990s — the setting of controversial art events, installations and performance art. Sometimes in broken English, but mostly through the translation of another young student, they explained that at their art school they were mainly taught traditional European and Eastern techniques. Modern artists were not taught and were barely even discussed. “We come to Duc to create contemporary art and to talk about ideas with him,” said one of them, who like the others, had never left the country, though each of them had a Yahoo e-mail address.
Duc, described by one gallery owner as a “Gandhi-like” figure in Hanoi, sat listening as the young men discussed their nascent careers and then, only when pressed, added his thoughts. “There is still a big separation between mainstream art and experimental art in Vietnam,” he said through an interpreter, not wishing to elaborate further on the subject. “I will just say that when they are here we try to close that gap.”
We spent nearly an hour in conversation, until squatting on the tiny stools began to feel painful and the combined smell of smoke and strong tea became overpowering. The students and I walked out into the street, and the conversation lingered, as they peppered me with questions about my life at home, and what I thought of Vietnam. Finally, it was time to go. They thanked me again for coming, hopped on their bicycles and headed off.
Three hours later, on the computer back at my hotel, e-mail had arrived from one of my new friends, containing an attachment. “Here is my painting,” he wrote. “Hope you like.”
I did.
(Link: http://travel.nytimes.com/2007/02/18/travel/18hanoi.html?scp=9&sq=Hanoi%20in%20the%20morning&st=cse)
Vietnamese cuisine with "Asian Journey; Looking Up an Old Love On the Streets of Vietnam"
Asian Journey; Looking Up an Old Love On the Streets of Vietnam
By R. W. APPLE Jr.
HANOI, Vietnam— SHE used to walk past my little villa in Saigon, not far from the American embassy, her conical straw hat on the back of her head, white pajamas flapping as she loped down the street, soup makings dangling from the wooden yoke across her frail shoulders. She came early every morning, repeating the monosyllable with an inimitable inflection.
''Pho,'' she called, her voice gentle and plaintive. ''Pho.''
That was 35 years ago, and I took it for granted that the delectable, aromatic noodle soup she sold, crowned with a lush tangle of green herbs, had originated many generations ago in the fertile Mekong Delta. Wrong on both counts, as I discovered when I finally returned not long ago to this ancient land that struggled so fiercely for freedom. Pho was developed by cooks in Hanoi, not in the south, and not until after the French arrived late in the 19th century, importing their love of beef to a pork-eating culture.
The name might have given me a clue. ''Pho'' is pronounced almost exactly like ''feu,'' the French word for fire, as in pot-au-feu. Did Vietnamese cooks learn its secrets while toiling in the kitchens of colonial masters? Some think so; others think it evolved from Chinese models, like the Vietnamese language and the people themselves.
Today it is a national passion, beloved across the country in hamlets as in cities. It is almost as widely available in the United States, where few big cities lack a pho shop, and some, like Washington, have dozens.
In Hanoi, pho is a cult. It is served in alleyways and on street corners all over town, usually on low plastic tables, surrounded by even lower plastic stools, only about 12 inches high, that always make me feel like a circus elephant trying to balance on a ball. These are set on the sidewalk, in the gutter and even in the roadway; the Vietnamese give special meaning to the phrase ''street food.''
Here the soothing broth is paler than in the United States or in Ho Chi Minh City (Saigon's official name, HCMC for short). The rice noodles are more delicately translucent, and fewer embellishments are added than in the more indulgent south. The result is light and thrillingly restorative. On a good day, I think I could eat three bowls and leave under my own power.
My wife, Betsey, and I stopped in at Mai Anh, one of a string of open-air pho shops on Le Van Huu Street, which runs along the southern edge of Hanoi's bustling French Quarter. Stock made by simmering oxtails and marrow bones for 24 hours, along with onions, star anise, ginger and cinnamon bark, was bubbling away in a cauldron perched on a charcoal stove. Bowls of various meats -- cooked chicken, giblets, paper-thin raw sirloin, pig hearts -- awaited our inspection. We chose beef.
If you choose chicken, you will be eating pho ga; if you choose beef, you will be eating pho bo. I don't imagine for a minute that you'll choose pig hearts.
The pho-meister dunks a sieve full of flat, precooked noodles into a pot of boiling water (so they do not cool the soup), drains them and slides them into a bowl. Thinly sliced onions and chopped coriander leaves go in next, along with shavings of ginger. Then the blood-red beef, and last a few ladles of hot stock, which cooks the meat in a few seconds while giving off a fragrant, enveloping cloud of steam.
On the table are spring onions, red chili sauce and vinegar with garlic slices to enrich your meal-in-a-bowl, plus several lime wedges. A southerner would feel deprived without some bean sprouts, and without a plate heaped high with herbs -- rau que, or Asian basil; earthy ngo gai, or sawleaf herb; and once in a great while rau ram, or Vietnamese coriander. But the northerners are ascetics compared with their southern cousins. Still influenced by the puritanical Confucianism of their Chinese neighbors, they prefer their flavors pure, unadorned and crystal-clear.
As you will find when you dig in -- chopsticks in one hand, plastic spoon in the other -- no sacrifice of heartiness or complexity is entailed. Mix and slurp, sniff and gulp to your heart's content, for less than $1.
For some reason the snarl of the motorbikes as they stream past, all but nipping at your ankles, is no distraction. Maybe because it's so much fun to watch your fellow eaters, especially if some are novices. We saw an eager if inept German woman get through her soup by coiling her noodles around her chopsticks with her free hand.
THE Vietnamese wax poetic about pho, assigning it a central and unifying place in their culture. Duong Thu Huong, a novelist, rhapsodized about walking the streets, inhaling the soup's subtle perfume as it rises from the stockpots. Huu Ngoc, a social historian, sees it as a symbol of the national fight for self-determination: even in the darkest times, when the wars against the French and Americans were going badly, the Vietnamese were always free to express themselves by making and eating pho, their own culinary creation.
''It was complete, nutritious, infinitely delicious and yet so easy to digest,'' he recalled a few years ago, ''that we could eat it morning and night, day after day.'' And so the northerners do, looking down upon the southerners, who eat their pho mainly at breakfast and occasionally at lunch.
For the Vietnamese, even those who left the country long ago, pho tends to stir memories, the way a madeleine did for Proust. I, too, was ambushed by the past. A bowl of bun bo Hue, the imperial capital's spicier version of pho, made with round noodles, beef, pork, lemon grass and whole chilies, carried me back to the turbulent days of the Buddhist uprising of 1966, when John D. Negroponte, now the United States representative at the United Nations, was in charge of the American consulate in Hue, on the very street where I was eating.
Our friend Mai Pham, who was born in Saigon, runs a hugely successful Vietnamese restaurant, Lemon Grass, in Sacramento. She also writes cookbooks, most recently ''Pleasures of the Vietnamese Table'' (HarperCollins, 2001), and she has developed a refrigerated pho stock base, marketed to restaurants and institutions by StockPot, a subsidiary of the Campbell Soup Company.
Why, I asked her recently, does pho fascinate you so much?
''It's so beefy!'' she exclaimed with a smile and without hesitation. ''For me, it's the ultimate comfort food. You smell the soup's perfume, and it's so beefy!''
Her husband, Greg Drescher, director of education at the Napa Valley campus of the Culinary Institute of America, chimed in. Perhaps for the Vietnamese, for most of whom beef remains a great luxury, he said, but not for Americans, for whom it is one of life's commonplaces.
What attracts me is the hypnotic mixture of flavors in the broth, especially those imparted by spices like star anise and ginger. Preliminary charring of the onions and ginger adds a smoky undertone. In the south, the mingling of sweet, sour and salty tastes is further augmented by a few dashes of nuoc mam, the fermented fish sauce that plays the same role in Vietnam that soy plays in much of Asia. The clearest and most pungent comes from Phu Quoc island, off the south coast.
No one has ever accused me of being a minimalist; when I'm lucky enough to land within range of an In-N-Out burger joint, for example, I order my double double with the works. So it's no surprise that I load up my pho with a couple of squeezes of lime juice, a scattering of bean sprouts (if they're sufficiently crunchy), a disk or two of hot green chili and a variety of herb leaves, pulled carefully from their stems.
That's the Saigon style: a bowl of soup and a salad, all in one.
SAIGON, or HCMC, to be proper about it, has a range of soup shops, from tiny ones in the Hanoi style to a few pho factories like Pho 2000, near the Ben Thanh market, which Bill Clinton put on the map by eating there. Occasionally, a gifted, energetic cook will make pho at home -- a major task, given the time needed to make the broth -- and one of the best bowls we ate was served to us at home by Nguyen Huu Hoang Trang, a veteran of restaurant kitchens.
So fine was her touch that every one of the key ingredients, from cinnamon to anise to ginger to onions, was individually discernible in the perfumed steam that rose from the soup, and in the flavor, too.
You could miss my favorite breakfast place in downtown Saigon if you got there at the wrong time of day, which is anytime after about 11 in the morning. There is no sign, and most of the furnishings disappear after the close of business.
Run by a tiny, wizened man whom people call Chu Sau, which means Sixth Uncle, it consists of a few battered Formica tables in a gloomy alley covered with a corrugated tin roof, plus several of those diabolically low tables and chairs, murder for my aging knees, on the sidewalk. The address is 39 Mac Thi Buoi, two long blocks from the Caravelle Hotel, toward the river.
Chu Sau's limpid pho comes with a bowl of notably crisp mung bean sprouts, hoisin sauce (best avoided, I think, because it muddies the soup's flavor) and an unusually bright orange chili sauce, as well as Asian basil and fuzzy-leafed mint. What set it apart, for me, was the mellowness of the amber-hued broth, in which the taste of cinnamon was pronounced. It glittered in the mouth, the way homemade bouillon does and beef stock made from a cube doesn't.
The noodles were perfectly al dente, if you will permit a solecism, and I enjoyed them so much that I didn't even give myself a demerit when I splashed chili sauce all over my white polo shirt.
Pho Dau, located in a courtyard off Nam Ky Khoi Nghia Boulevard, which leads to the airport, is an entirely different kettle of soup. During the war, it was a hangout for South Vietnamese generals; now it is a haunt of the new, privileged capitalists, whose Mercedes S.U.V.'s and $6,000 Honda motorbikes are parked out front. Bits of beef cartilage and tendon enrich its broth, as do quantities of coriander.
With our pho, we drank glasses of fabulously smooth ca phe sua da, which is Vietnamese filter coffee, served iced with condensed milk. As we watched the well-dressed customers eating pho for breakfast, we talked about how odd soup seems to us Americans as a daily curtain-raiser. But it isn't that strange, really: the Japanese eat miso; the Chinese eat congee, a soupy porridge; the French (particularly Parisians) eat onion soup after a night on the town; and the Hungarians eat sauerkraut-and-sausage soup to ease a hangover.
Pho Hoa, an open-front restaurant on Pasteur Street, is less grubby and more cosmopolitan than most noodle shops, with comfortable tables and chairs. I learned some more lessons there, even though it came late on our soup schedule. Lesson 1: the richness that characterizes well-made pho broth comes not from fat, which must be skimmed from the broth, but from marrow. Lesson 2: you can order not only rare beef (tai) in your pho, but also well-done beef (chin) and fatty beef (gau).
My teachers were the affable gent at the next table, Lam-Hoang Nguyen, a visiting Vietnamese restaurateur from Thunder Bay, Ontario, on Lake Superior, and his wife, Kim-Ha Lai.
''When we come back,'' he confided after a while, ''we always go right into the street. The street is where you find the quality in Saigon -- not in hotels.''
THAT'S good advice, not only in HCMC, and not only when you want a bowl of pho. Vietnam is full of quick, fresh, readily available nibbles, and many people eat four or five mini-meals every day.
In the main Saigon market, Ben Thanh, where you can buy a suitcase, look live snakes in the eye, shop for spices and snack the day away, we discovered bun thit nuong -- an irresistible combination of vermicelli threads tossed in scallion oil, topped with lettuce, strips of barbecued pork, cucumber and carrot slices and peanuts, and dressed with nuoc cham, a luscious sauce made from nuoc mam diluted with water, sugar, lime juice and chilies. Sweet and tart, bland and spicy, soft and crunchy, ample but light, it made a luscious hot-weather lunch early one afternoon.
No wonder Mr. Drescher always makes a point of heading for the market to eat bun thit as soon as he steps off the plane from California.
One evening at Anh Thi, one of several Saigon crepe shops in narrow Dinh Cong Trang Street, we watched orange tongues of flame dart from underneath charcoal braziers to lick at the dusk. The crepes are called banh xeo, the word ''xeo'' an onomatopoeic rendering of the sound of batter hitting the pan.
The cooks sit on low benches in front of batteries of braziers topped with 12-inch pans; they control the speed of cooking by shifting pans from one fire to another. The crepes are yet another example of the Vietnamese genius for combining inexpensive ingredients to produce lively but never overpowering tastes and intriguing textures. In this case the secrets are a light, bright crepe batter made with rice powder, coconut milk, local curry powder and turmeric; a filling of shrimp, bean sprouts and unsmoked bacon; and, as is so often the case here, a wrap and a dip.
You tear off a piece of crepe, wrap it in a mustard-green leaf with an aroma so sharp that it made me sneeze, add a chili and some mint, and dip the whole package in peppery, faintly sweet, faintly fishy nuoc cham. The special crepe, with an extra-large portion of shrimp, cost all of $1.35.
''Delicious, nutritious and cheap,'' Betsey said. ''I think that's a pretty tough combination to beat.''
At Lac Thien in Hue, whose proprietors are deaf-mutes, we sampled the local version of crepes, known as banh khoai, or ''happy pancakes,'' served at steel-topped tables. These are smaller, about six inches in diameter, sweeter and eggier. They are served not with mustard greens but with coriander and mint, and not with nuoc cham but with a fermented soybean sauce.
Cha Ca La Vong in Hanoi, owned by the same family for generations, serves stunning freshwater fish, cubed and braised with turmeric. Dill, spring onions, peanuts and chilies are at hand to enliven flavor.
Splendid stuff. But except for pho, no street food we ate could touch the phenomenal fare at Bun Cha Hang Manh in Hanoi's Old Quarter, a four-story warren of tiny rooms and cracked floors. Crouching women cook everything on tiny propane stoves in the open-air entrance hall. ''Everything'' consists of two items, both of which are the best of their kind available, in Hanoi or anywhere else, for that matter.
One of them is bun cha, Vietnam's apotheosis of the pig. It consists of charcoal-grilled strips of belly pork and pork patties the size of a silver dollar. These arrive at a table laden with a plate of rice noodles, a plate of red and green lettuce and herbs of every description, a little bowl of finely chopped young garlic and a bigger bowl of nuoc cham, with slices of tenderizing papaya bobbing gaily in it. For hotheads, there are incendiary bird chilies.
Hang Manh's second dish is spring rolls (nem ran in the north and cha gio in the south) -- great fat ones, as thick as your thumb, packed with crab, ground pork, wood-ear mushrooms, onions and bean threads. I noticed right away that the frying oil was changed every few minutes, and of course the rolls emerged from it crackling, light and greaseless.
''These rolls make the rest of what we've had here taste like so many Rice Krispies,'' Betsey announced.
We went twice, at 11:30 a.m. both times, to avoid the throngs that pack this humble restaurant, while ignoring others serving similar specialties. We ate until we could eat no more. I wonder: can there be any better $3 lunch for two, anywhere in the world?
Photos: CULT OF PHO -- In a Hanoi restaurant, the rice noodle soup pho has few embellishments. (Photo by Hoang Dinh Nam for The New York Times)(pg. F1); HUMBLE, BUT NOT SIMPLE -- Clockwise from above, a cook adds an egg yolk to a bowl of pho bo (rice noodle soup with beef) at a pho restaurant at No. 2D Ly Quoc Su Street in Hanoi; eating pho bo at Pho Hoa on Pasteur Street in Ho Chi Minh City; grilling pork for bun cha at Bun Cha Hang Manh in Hanoi's Old Quarter; a tray of bun cha with all the accouterments; a woman frying spring rolls, Hang Manh's other dish. (Photographs by Hoang Dinh Nam for The New York Times; left, Agence France-Presse)(pg. F5)
Sources: http://www.nytimes.com/2003/08/13/dining/asian-journey-looking-up-an-old-love-on-the-streets-of-vietnam.html
''Pho,'' she called, her voice gentle and plaintive. ''Pho.''
That was 35 years ago, and I took it for granted that the delectable, aromatic noodle soup she sold, crowned with a lush tangle of green herbs, had originated many generations ago in the fertile Mekong Delta. Wrong on both counts, as I discovered when I finally returned not long ago to this ancient land that struggled so fiercely for freedom. Pho was developed by cooks in Hanoi, not in the south, and not until after the French arrived late in the 19th century, importing their love of beef to a pork-eating culture.
The name might have given me a clue. ''Pho'' is pronounced almost exactly like ''feu,'' the French word for fire, as in pot-au-feu. Did Vietnamese cooks learn its secrets while toiling in the kitchens of colonial masters? Some think so; others think it evolved from Chinese models, like the Vietnamese language and the people themselves.
Today it is a national passion, beloved across the country in hamlets as in cities. It is almost as widely available in the United States, where few big cities lack a pho shop, and some, like Washington, have dozens.
In Hanoi, pho is a cult. It is served in alleyways and on street corners all over town, usually on low plastic tables, surrounded by even lower plastic stools, only about 12 inches high, that always make me feel like a circus elephant trying to balance on a ball. These are set on the sidewalk, in the gutter and even in the roadway; the Vietnamese give special meaning to the phrase ''street food.''
Here the soothing broth is paler than in the United States or in Ho Chi Minh City (Saigon's official name, HCMC for short). The rice noodles are more delicately translucent, and fewer embellishments are added than in the more indulgent south. The result is light and thrillingly restorative. On a good day, I think I could eat three bowls and leave under my own power.
My wife, Betsey, and I stopped in at Mai Anh, one of a string of open-air pho shops on Le Van Huu Street, which runs along the southern edge of Hanoi's bustling French Quarter. Stock made by simmering oxtails and marrow bones for 24 hours, along with onions, star anise, ginger and cinnamon bark, was bubbling away in a cauldron perched on a charcoal stove. Bowls of various meats -- cooked chicken, giblets, paper-thin raw sirloin, pig hearts -- awaited our inspection. We chose beef.
If you choose chicken, you will be eating pho ga; if you choose beef, you will be eating pho bo. I don't imagine for a minute that you'll choose pig hearts.
The pho-meister dunks a sieve full of flat, precooked noodles into a pot of boiling water (so they do not cool the soup), drains them and slides them into a bowl. Thinly sliced onions and chopped coriander leaves go in next, along with shavings of ginger. Then the blood-red beef, and last a few ladles of hot stock, which cooks the meat in a few seconds while giving off a fragrant, enveloping cloud of steam.
On the table are spring onions, red chili sauce and vinegar with garlic slices to enrich your meal-in-a-bowl, plus several lime wedges. A southerner would feel deprived without some bean sprouts, and without a plate heaped high with herbs -- rau que, or Asian basil; earthy ngo gai, or sawleaf herb; and once in a great while rau ram, or Vietnamese coriander. But the northerners are ascetics compared with their southern cousins. Still influenced by the puritanical Confucianism of their Chinese neighbors, they prefer their flavors pure, unadorned and crystal-clear.
As you will find when you dig in -- chopsticks in one hand, plastic spoon in the other -- no sacrifice of heartiness or complexity is entailed. Mix and slurp, sniff and gulp to your heart's content, for less than $1.
For some reason the snarl of the motorbikes as they stream past, all but nipping at your ankles, is no distraction. Maybe because it's so much fun to watch your fellow eaters, especially if some are novices. We saw an eager if inept German woman get through her soup by coiling her noodles around her chopsticks with her free hand.
THE Vietnamese wax poetic about pho, assigning it a central and unifying place in their culture. Duong Thu Huong, a novelist, rhapsodized about walking the streets, inhaling the soup's subtle perfume as it rises from the stockpots. Huu Ngoc, a social historian, sees it as a symbol of the national fight for self-determination: even in the darkest times, when the wars against the French and Americans were going badly, the Vietnamese were always free to express themselves by making and eating pho, their own culinary creation.
''It was complete, nutritious, infinitely delicious and yet so easy to digest,'' he recalled a few years ago, ''that we could eat it morning and night, day after day.'' And so the northerners do, looking down upon the southerners, who eat their pho mainly at breakfast and occasionally at lunch.
For the Vietnamese, even those who left the country long ago, pho tends to stir memories, the way a madeleine did for Proust. I, too, was ambushed by the past. A bowl of bun bo Hue, the imperial capital's spicier version of pho, made with round noodles, beef, pork, lemon grass and whole chilies, carried me back to the turbulent days of the Buddhist uprising of 1966, when John D. Negroponte, now the United States representative at the United Nations, was in charge of the American consulate in Hue, on the very street where I was eating.
Our friend Mai Pham, who was born in Saigon, runs a hugely successful Vietnamese restaurant, Lemon Grass, in Sacramento. She also writes cookbooks, most recently ''Pleasures of the Vietnamese Table'' (HarperCollins, 2001), and she has developed a refrigerated pho stock base, marketed to restaurants and institutions by StockPot, a subsidiary of the Campbell Soup Company.
Why, I asked her recently, does pho fascinate you so much?
''It's so beefy!'' she exclaimed with a smile and without hesitation. ''For me, it's the ultimate comfort food. You smell the soup's perfume, and it's so beefy!''
Her husband, Greg Drescher, director of education at the Napa Valley campus of the Culinary Institute of America, chimed in. Perhaps for the Vietnamese, for most of whom beef remains a great luxury, he said, but not for Americans, for whom it is one of life's commonplaces.
What attracts me is the hypnotic mixture of flavors in the broth, especially those imparted by spices like star anise and ginger. Preliminary charring of the onions and ginger adds a smoky undertone. In the south, the mingling of sweet, sour and salty tastes is further augmented by a few dashes of nuoc mam, the fermented fish sauce that plays the same role in Vietnam that soy plays in much of Asia. The clearest and most pungent comes from Phu Quoc island, off the south coast.
No one has ever accused me of being a minimalist; when I'm lucky enough to land within range of an In-N-Out burger joint, for example, I order my double double with the works. So it's no surprise that I load up my pho with a couple of squeezes of lime juice, a scattering of bean sprouts (if they're sufficiently crunchy), a disk or two of hot green chili and a variety of herb leaves, pulled carefully from their stems.
That's the Saigon style: a bowl of soup and a salad, all in one.
SAIGON, or HCMC, to be proper about it, has a range of soup shops, from tiny ones in the Hanoi style to a few pho factories like Pho 2000, near the Ben Thanh market, which Bill Clinton put on the map by eating there. Occasionally, a gifted, energetic cook will make pho at home -- a major task, given the time needed to make the broth -- and one of the best bowls we ate was served to us at home by Nguyen Huu Hoang Trang, a veteran of restaurant kitchens.
So fine was her touch that every one of the key ingredients, from cinnamon to anise to ginger to onions, was individually discernible in the perfumed steam that rose from the soup, and in the flavor, too.
You could miss my favorite breakfast place in downtown Saigon if you got there at the wrong time of day, which is anytime after about 11 in the morning. There is no sign, and most of the furnishings disappear after the close of business.
Run by a tiny, wizened man whom people call Chu Sau, which means Sixth Uncle, it consists of a few battered Formica tables in a gloomy alley covered with a corrugated tin roof, plus several of those diabolically low tables and chairs, murder for my aging knees, on the sidewalk. The address is 39 Mac Thi Buoi, two long blocks from the Caravelle Hotel, toward the river.
Chu Sau's limpid pho comes with a bowl of notably crisp mung bean sprouts, hoisin sauce (best avoided, I think, because it muddies the soup's flavor) and an unusually bright orange chili sauce, as well as Asian basil and fuzzy-leafed mint. What set it apart, for me, was the mellowness of the amber-hued broth, in which the taste of cinnamon was pronounced. It glittered in the mouth, the way homemade bouillon does and beef stock made from a cube doesn't.
The noodles were perfectly al dente, if you will permit a solecism, and I enjoyed them so much that I didn't even give myself a demerit when I splashed chili sauce all over my white polo shirt.
Pho Dau, located in a courtyard off Nam Ky Khoi Nghia Boulevard, which leads to the airport, is an entirely different kettle of soup. During the war, it was a hangout for South Vietnamese generals; now it is a haunt of the new, privileged capitalists, whose Mercedes S.U.V.'s and $6,000 Honda motorbikes are parked out front. Bits of beef cartilage and tendon enrich its broth, as do quantities of coriander.
With our pho, we drank glasses of fabulously smooth ca phe sua da, which is Vietnamese filter coffee, served iced with condensed milk. As we watched the well-dressed customers eating pho for breakfast, we talked about how odd soup seems to us Americans as a daily curtain-raiser. But it isn't that strange, really: the Japanese eat miso; the Chinese eat congee, a soupy porridge; the French (particularly Parisians) eat onion soup after a night on the town; and the Hungarians eat sauerkraut-and-sausage soup to ease a hangover.
Pho Hoa, an open-front restaurant on Pasteur Street, is less grubby and more cosmopolitan than most noodle shops, with comfortable tables and chairs. I learned some more lessons there, even though it came late on our soup schedule. Lesson 1: the richness that characterizes well-made pho broth comes not from fat, which must be skimmed from the broth, but from marrow. Lesson 2: you can order not only rare beef (tai) in your pho, but also well-done beef (chin) and fatty beef (gau).
My teachers were the affable gent at the next table, Lam-Hoang Nguyen, a visiting Vietnamese restaurateur from Thunder Bay, Ontario, on Lake Superior, and his wife, Kim-Ha Lai.
''When we come back,'' he confided after a while, ''we always go right into the street. The street is where you find the quality in Saigon -- not in hotels.''
THAT'S good advice, not only in HCMC, and not only when you want a bowl of pho. Vietnam is full of quick, fresh, readily available nibbles, and many people eat four or five mini-meals every day.
In the main Saigon market, Ben Thanh, where you can buy a suitcase, look live snakes in the eye, shop for spices and snack the day away, we discovered bun thit nuong -- an irresistible combination of vermicelli threads tossed in scallion oil, topped with lettuce, strips of barbecued pork, cucumber and carrot slices and peanuts, and dressed with nuoc cham, a luscious sauce made from nuoc mam diluted with water, sugar, lime juice and chilies. Sweet and tart, bland and spicy, soft and crunchy, ample but light, it made a luscious hot-weather lunch early one afternoon.
No wonder Mr. Drescher always makes a point of heading for the market to eat bun thit as soon as he steps off the plane from California.
One evening at Anh Thi, one of several Saigon crepe shops in narrow Dinh Cong Trang Street, we watched orange tongues of flame dart from underneath charcoal braziers to lick at the dusk. The crepes are called banh xeo, the word ''xeo'' an onomatopoeic rendering of the sound of batter hitting the pan.
The cooks sit on low benches in front of batteries of braziers topped with 12-inch pans; they control the speed of cooking by shifting pans from one fire to another. The crepes are yet another example of the Vietnamese genius for combining inexpensive ingredients to produce lively but never overpowering tastes and intriguing textures. In this case the secrets are a light, bright crepe batter made with rice powder, coconut milk, local curry powder and turmeric; a filling of shrimp, bean sprouts and unsmoked bacon; and, as is so often the case here, a wrap and a dip.
You tear off a piece of crepe, wrap it in a mustard-green leaf with an aroma so sharp that it made me sneeze, add a chili and some mint, and dip the whole package in peppery, faintly sweet, faintly fishy nuoc cham. The special crepe, with an extra-large portion of shrimp, cost all of $1.35.
''Delicious, nutritious and cheap,'' Betsey said. ''I think that's a pretty tough combination to beat.''
At Lac Thien in Hue, whose proprietors are deaf-mutes, we sampled the local version of crepes, known as banh khoai, or ''happy pancakes,'' served at steel-topped tables. These are smaller, about six inches in diameter, sweeter and eggier. They are served not with mustard greens but with coriander and mint, and not with nuoc cham but with a fermented soybean sauce.
Cha Ca La Vong in Hanoi, owned by the same family for generations, serves stunning freshwater fish, cubed and braised with turmeric. Dill, spring onions, peanuts and chilies are at hand to enliven flavor.
Splendid stuff. But except for pho, no street food we ate could touch the phenomenal fare at Bun Cha Hang Manh in Hanoi's Old Quarter, a four-story warren of tiny rooms and cracked floors. Crouching women cook everything on tiny propane stoves in the open-air entrance hall. ''Everything'' consists of two items, both of which are the best of their kind available, in Hanoi or anywhere else, for that matter.
One of them is bun cha, Vietnam's apotheosis of the pig. It consists of charcoal-grilled strips of belly pork and pork patties the size of a silver dollar. These arrive at a table laden with a plate of rice noodles, a plate of red and green lettuce and herbs of every description, a little bowl of finely chopped young garlic and a bigger bowl of nuoc cham, with slices of tenderizing papaya bobbing gaily in it. For hotheads, there are incendiary bird chilies.
Hang Manh's second dish is spring rolls (nem ran in the north and cha gio in the south) -- great fat ones, as thick as your thumb, packed with crab, ground pork, wood-ear mushrooms, onions and bean threads. I noticed right away that the frying oil was changed every few minutes, and of course the rolls emerged from it crackling, light and greaseless.
''These rolls make the rest of what we've had here taste like so many Rice Krispies,'' Betsey announced.
We went twice, at 11:30 a.m. both times, to avoid the throngs that pack this humble restaurant, while ignoring others serving similar specialties. We ate until we could eat no more. I wonder: can there be any better $3 lunch for two, anywhere in the world?
Photos: CULT OF PHO -- In a Hanoi restaurant, the rice noodle soup pho has few embellishments. (Photo by Hoang Dinh Nam for The New York Times)(pg. F1); HUMBLE, BUT NOT SIMPLE -- Clockwise from above, a cook adds an egg yolk to a bowl of pho bo (rice noodle soup with beef) at a pho restaurant at No. 2D Ly Quoc Su Street in Hanoi; eating pho bo at Pho Hoa on Pasteur Street in Ho Chi Minh City; grilling pork for bun cha at Bun Cha Hang Manh in Hanoi's Old Quarter; a tray of bun cha with all the accouterments; a woman frying spring rolls, Hang Manh's other dish. (Photographs by Hoang Dinh Nam for The New York Times; left, Agence France-Presse)(pg. F5)
Sources: http://www.nytimes.com/2003/08/13/dining/asian-journey-looking-up-an-old-love-on-the-streets-of-vietnam.html
Subscribe to:
Posts (Atom)