Take a peasant's common conical hat, add a touch of this and a little of that, and you will have the idea, but not quite an authentic Non Bai Tho or "Poetical Leaf" from Central Vietnam. Just a few simple arrangements added to the conical form are enough to give the Vietnamese leaf-covered hat unique features found nowhere else among Asia’s various types of conical hats.

The legend of the conical hat is related to maternal love and the history of rice growing in Vietnam.

Once upon a time, the legend says, when a deluge of rain was falling there descended from the sky a giant woman wearing on her head four huge round leaves as large as the sky itself and stitched together by bamboo sticks. The leaves protected humankind, then still naked, from the rain. The giant messenger from the sky twirled round the leaves on her head to dispel clouds and rains. Those who followed her were taught by her how to grow crops. One day mankind dozed off as they listened to stories narrated by her.

When they woke up the goddess was gone. The Vietnamese built a temple in her memory and honored her as the Rain-shielding Goddess. Following her example, people went into the forests to fetch broad and round leaves (palm) which they stitched together on a bamboo frame. This was to become an indispensable headwear for the farmers on the fields, boatwomen carrying passengers across rivers, travelers under the blazing sun...

However, Vietnamese girls do not like just any conical hat they come upon. The dearest to them is inevitably the one called the "Poetical Leaf "for they become milder, more elegant and more delicate when once they put on a hat, which gives shelter to their blushing cheeks like a crowing bud protected from sun, rain or rough wind. Vietnamese women also use the conical hat to fan off the heat of summer, as a container for a bunch of vegetables, and even as a bowl to relieve the thirst when passing by a well, etc. Romantically, young couples can veil their kisses behind this traditional conical hat during their dates.

The shape as well as the size of the conical hat has evolved greatly. As a rule, the broad-rimmed hat was reserved for women while men wore hats with a higher cone and smaller rims. Then, there were hats made specifically for wealthy and powerful people, hats for children, hats to equip the army, hats for the Buddhist clergy, for the mourners..., more than 50 types in all. Undoubtedly, the two best known and best liked are the conical hat of Chuong village in Ha Tay province, north of Hanoi, and the "Bai Tho", hat of Hue, the old imperial city.

The prototype of Lang Chuong hat is a large disk-like bamboo frame covered with palm leaves and perpendicularly bent on its rim to form a band of about four inches. At the centre is placed a small bamboo frame to fit the head. The strap is usually very elaborately made of silk, adorned with yellow tassels also made of silk. This hat used to be worn by upper-crust families during visits to pagodas or festive occasions.

The present conical hat is, however, patterned on the "Bai Tho" hat originating in the old capital city of Hue and the birthplace of many eminent literary men. It is true that the place where the hat comes from has been romantically famous with its peaceful Huong (Perfume) River and its majestic Ngu Binh (Peace) mountain. Moreover, Hue has been famous for her attractively sentimental, soft-voiced and long-haired girls who often gave inspiration to poets whose creative works have been handed down to the present day. And the "Poetical Leaf" has a prominent place in all that poetical, dreamy and yet scholarly diet of the ancient city. It is so called because the artisan takes great pains to cut the characters of a verse out of a palm leaf and insert them between two layers of palm leaves before stitching them together. The characters will be easily readable when the hat is seen against sunlight. Nowadays the characters are usually replaced by a decorative figure such as a flower, a dragon or even a landscape.

The making of a conical hat is a one-hundred-percent handicraft. The leaves used to cover the hat are brought from the forest. Then they are exposed to the dew for one night to soften them. When the leaves become dry but still soft they are flattened either by hand or by ironing. Only young leaves are selected. Old or dark ones are discarded. A hat usually consists of 16 to 18 rims made from a special kind of bamboo. In order to have a well-made hat, it must be knitted together with a peculiar kind of thread called "doac" made from the leaves of a special kind of reed. Finally, the hat is trimmed and painted with a coat of attar oil to keep it clean and smooth.

The skill of the craftsman (who in this case is more likely a woman) can be judged by the regularity of the leaves arranged on the hat. The roundness of the rim and particularly the fineness of the stitches which must be so done as to reveal no knot.

Although the conical hat is no longer the cities women's everyday costume, it remains the ubiquitous headwear in the countryside. And a young girl with her conical hat, quite charming in her four-flapped long dress, is always a popular image of Vietnam and the Vietnamese people.

The beauty of women dressed in ao dai always leaves a deep impression on foreign visitors to Vietnam. Girl students dressed in white long robes take to streets on the way to schools or back home, or gracefully sail on their bikes along streets. Female secretaries in delicate pastels greet you at an office door and older ladies in deep shades of purple, green or blue cut a striking pose at a restaurant dinner. The ao dai appears to flatter every figure.

Its body-hugging top flows over wide trousers that brush the floor. Splits in the gown extend well above waist height and make it comfortable and easy to move in. Although virtually the whole body is swathed in soft flowing fabric, these splits give the odd glimpse of a bare midriff, making the outfit very sensual.

Ao dai is made individually to fit each customer's shape to create the most graceful possible look. The pants should reach the soles of the feet and flow along the floor.

Comfortability is always taken into account for fashions and beauty. Tailoring must ensure the wearer's freedom of movements. Despite it is a long robe, ao dai must be cool to wear. Synthetic or silk fabrics are preferred as they do not crush and are quick drying, making the ao dai a practical uniform for daily wear.

The color is indicative of the wearer's age and status. Young girls wear pure white, fully-lined outfits symbolizing their purity. Older but unmarried girls move into soft pastel shades. Only married women wear ao dai in strong, rich colors, usually over white or black pants. However, ao dai is rarely seen in places where manual work is practiced. The nineties saw a real resurgence of ao dai. It has become standard and common attire for girl students as well as female staff at offices and hotels. Traditionally, ao dai has become the most preferred dress on formal occasions.

Early versions of the ao dai date back to 1744 when Lord Vu Vuong of the Nguyen Dynasty decreed both men and women should wear an ensemble of trousers and a gown that buttoned down the front. However, not until 1930 did ao dai appear partly similar to its look today. Vietnamese fashion designer-cum-tailor Cat Tuong, called as Monsieur Le Mur by the French at that time, lengthened the top so it reached the floor, fitted the bodice to the curves of the body, and moved the button line from the front to the left side of the body. Men wore it less, generally only on ceremonial occasions such as weddings or funerals. But it took another 20 years before the next major design change was incorporated and the modern ao dai emerged. During the 1950s two tailors in Saigon, Tran Kim of Thiet Lap shop and Dung of a tailoring shop of the same name, started producing ao dai with raglan sleeves. This creates a diagonal seam running from the collar to the underarm and this style is still preferred today.

Today, ao dai has been a bit modified. Its length is cut shorter usually just below the knee. Variations in the neck, between boat and mandarin style, are common and even adventurous alterations such as a low scooped neckline, puffed sleeves or off the shoulder designs are appearing as ladies experiment with fashion. Color patterns are no longer rigidly controlled and accesses to new fabrics have generated some dazzling results. However, most visitors to Vietnam have highly appreciated local tailors' skills when making ao dai. It is hard to think of a more elegant, demure and charming outfit, that suits Vietnamese women of different ages, than ao dai.

Images of graceful girls in national charming long dress have been a symbol of Vietnam. However, looking back the historic development of national dress, Vietnam not only has ao dai but also ao yem – the indispensable dress of ancient girls.

In the old days, ao yem was called yem. It is an age-old dress which is maintained until today. Ao yem was used by all levels of society from working class to upper class. It also was used widely in traditional festivals therefore it was the national traditional clothes of ancient ladies.

Ao yem appeared in Vietnamese life in a very old day but until Ly dynasty it was basically in shaped. Through the stream of history, ao yem was changing incessantly and improving its design. However the revolutions of ao yem only happended at the beginning of the last century while western trouser and skirt were entering Vietnam. In 17 century, ao yem did not have any big change of model. In 19 century, ao yem has a square piece is cloth with one corner cut away to fit under the woman’s throat. This scrap of fabric is secured across the chest and stomach with thin strings. There were three common models of ao yem: ao yem co xay, ao yem co xe, ao yem co canh nhan.

Entering 20 century, ao yem was used widespread with many of rich designs and models. Ao yem which has brown color and was weaved by rude cloth was for labor. Urban women favored white, pink or red ones, while women in the countryside wore ao yem in brown or beige, colors suited to their rustic environment. On special occasions, like the Lunar New Year or festivals, rural women would also wear brightly colored ao yem.

There is one kind of ao yem which was often wore by ancient ladies was called “yem deo bua”. The name was “yem deo bua” because it has a small pocket of musk beside and it was an advantage weapon of ancient ladies…furthermore, ao yem made many original love stories.In the old day when a girl had a date with her darling, she usually put a piece of betel inside her ao yem; it was called “khau trau dai yem” and maybe there is no kind of betel more supernatural than this kind of betel.

Today, the ao yem is appreciated for its cultural and artistic values. And on festive occasions, women throughout Vietnam are embracing the ao yem and other traditional clothes with renewed enthusiasm.

Overview

Well situated in the shadows of Sai Son Mountain, Thay Pagoda lies in a tranquil and beautiful village, which is only around 40km west of Hanoi. The festival, officially held annually on the seventh day of the third lunar month and lasting for at least a week, pays homage to folk hero Tu Dao Hanh.

The festival begins with Buddha worshipping and platform running, a religious performance accompanied by traditional music in a solemn atmosphere. Numerous traditional games are played during the festival, the best-known of all the activities is the traditional water puppet show given on Long Tri pond, in front of the Thuy Dinh Temple.

After ceremonies for Buddha, you can take a hiking trip through the picturesque countryside which characterizes the region. Moreover, this is the time for you to enjoy hearing many famous legends that enrich the traditional value of this beautiful region.

The legend behind…

The festival takes place in the elaborate pagoda said to be built on the ashes of a Vietnamese folk hero and is especially famous for the performances of traditional water puppetry. It is said that Tu Dao Hanh was a Buddhist monk during the rule of the Ly Dynasty (1010-1225 A.D).

Leading a religious life and dying in this very pagoda, he had outstanding merits to the the religion popularization, illness treatment, and water puppetry creation. According to the legend, what makes him mysteriously sainted is that at the end of his life, the Buddhist monk sat in meditation for several months without food and drink and died in that posture. Thereafter, the people put his withered corpse in the building of the Genius for the purpose of worship.

Let’s enjoy the festival!

Several days prior to the festival, Buddhist followers and pilgrims here and there flock to the pagoda, further adding to the boisterous atmosphere of the festival. The Pagoda is cleaned with scented incenses, glistening lighted candles, bringing about a charming scene. (Venue)Many cultural games and art performances are held during the festival, including Tu Dao Hanh's statue bathing, incense sticks presenting, tablets escorting procession, Cheo (popular opera) performance, chess games, water puppet shows, recital of the feats of Tu Dao Hanh and so on.

In particular, you have a great chance to enjoy a water puppetry show portraying the tales of Thach Sanh and Tam Cam, cultural activities and features of rural life such as farm work, duck tending and wrestling.

The Thay Pagoda festival is actually a joint festival of four villages (Thuy Khe, Da Phuc, Khanh Tan and Sai Khe). Although this area has numerous pagodas, the festival is held mainly in Thay Pagoda, which comprises three buildings: ante-chamber, Buddha's Building and Building of the Genius.

The statue bathing ritual takes place before the opening of the festival. Buddhist monks and the people participate in the ritual. Pieces of red cloth are used to clean the statues. Those who stand around solemnly hold their hands in front of their chests, whispering Buddhist sutras. When the ritual ends, the holy water the Buddha bestows will be scattered all over the pagoda to wish for bumper crops and prosperous life. The cloths are also torn into smaller pieces to grant attendants as they are thought to have the power of warding off the evils.

The two most noteworthy events and distinctive features of the festival are the procession of the tablets and the water puppet show. The procession of Tu Dao Hanh’s worshipping tablet takes place on the 7th day of the third lunar month. The local population believes that Tu Dao Hanh first learned supernatural powers and became a genius, and later on, embraced Buddhism. Therefore, at the start of the procession, his tablets must be wrapped in a piece of yellow cloth (the colour of the robes worn by priests endowed with supernatural powers) and, on the return trip the same tablets should be wrapped in the brown frock of a Buddhist monk.

During the procession, Buddhist nuns take a walk recounting the feats of Tu Dao Hanh, first in learning supernatural magic and then in leading a religious Buddhist life. Noteworthy is that in the procession the tablet and white horse of Da Phuc must go ahead those of the Thuy Khue. Normally the procession comes to the pagoda at twilight. This timing is considered as propitious as it is the time when night takes over from day, when darkness and night come into contact with each other.

Among fascinating games in Thay Pagoda Festival, water puppetry seems to be the most outstanding. The game is the second noteworthy item, a traditional cultural activity related to wet paddy cultivation in the Red River Delta. It is performed in front of the pagoda, on a pond called Long Tri. Tu Dao Hanh is said to be the founder of this artistic performance. This item comprises two basic components: puppets and water. The puppets are products of traditional popular wood sculptures and lacquer painting.

The place for the puppet performance is a lake or a part of the river. With its fluid nature and reflections, water can mirror efficiently the numerous changes in the colour of the sky, the mountains, trees and leaves and give a mythical air to the performance. The artists must usually stay inside the water and direct the movement of the puppet through sticks and strings connected. The water puppet shows reflect productive activities - paddy cultivation, duck breeding, fishing, cloth weaving, etc. The shows also draw from folk or classical theatrical plays. Apart from the water puppetry, you'll catch firework spectaculars (mostly bangers), folk singers crooning into microphones and sporting events such as mountain-climbing and rowing.

The Thay Pagoda festival is attractive to many visitors because of the myth surrounding Monk Tu Dao Hanh and his feats, the beautiful scenery and the water puppet shows. They fill the spectators with surprise and pleasure, who also pride in the rich imagination and dexterity of the performers who create in this art. Going to Thay Pagoda Festival is really worth, pilgrims will have an opportunity to revere the relics imbued with the imprints of outstanding monks and men of the past.

Whoever coming to Vietnam and most Southeast Asian countries (such as Thailand, Laos, Cambodia) is much fond of a special condiment - Fish sauce (or nuoc mam in Vietnamese). It is a staple ingredient of numerous food like curry and sauces, and is derived from fish that is allowed to ferment.

The origin of fish sauce in Vietnam dates back to ancient times as a primary source of protein. Early fishing boats were unable to venture into the deep ocean to catch larger fish for more fish meat. Instead, they mostly stayed close to the shore and net small fish. Later on, it was found that they could produce a richer protein sauce by layering these small fish in barrels with salt.

Since then, there appeared such a delicious sauce!
Ingredients and production process: Only the fresh small fish makes good-quality fish sauce, which is found in clear color and good smell. In Vietnam, fish sauce is very popular and can be any of various mixtures based on the liquid of salted, fermented fish. First, small fish and salt are put in wooden boxes to ferment. Then, it is slowly pressed so as to yield the salty, fishy liquid.

This extremely pungent, strong-flavored and salty liquid can range in color. For the pure fish sauce, fresh anchovy fish sauce is selected and mixed with salt by applying the unique Vietnamese traditional process. Fermentation is started once a year, during the fishing season. After about 3 months in the barrel, the liquid drips from an open spigot, to be poured back into the top of the barrel. Six months under the sunlight will make the fish sauce of much better smell.

The unique characteristic of fish sauce is salty flavor and fishy smell. An interesting characteristic of fish sauce is that it loses its fishy odor once mixed with other ingredients. It is commonly used for cooking and dipping seafood and many other Vietnamese foods as well. In Vietnam, it is generally called nước mắm (well known by these brand names: nước mắm Phu Quoc or Phu Quoc fish sauce, and nước mắm Phan Thiet or Phan Thiet fish sauce).

The long history…

In ancient days, there was a street selling paints, called the Paints Street. The Doan family, located at house No, 14 of this street, hit upon a new idea that sold fried fish pie served with soft noodles and seasoning.

Encouraged by the appreciation of customers, the family specialized in this trade and the shop was called as "Cha ca La Vong store" as a wooden statue of an old fisherman (La Vong) holding a fishing rod and a string of fish stands at the door. As the specialty grew famous with every passing day, the street was renamed by the people as Cha Ca Street (fried fish pie street).

Imagine that you are one of the guests…
While you sit down at the table, the waiter starts laying there some seasonings includes a bowl of well - stirred shrimp paste sauce mixed up with lemon. After dropping the liquor, he will decorate the bowl with a few slices of red fresh pimento, a plate of grilled ground nuts of gold yellow color, various species of mint vegetables o­nions in small white slices.

To many customers, the sight of such seasoning already greatly stimulates their appetite. A few minutes later, fried fish, yellow in color and flagrant in smell put o­n a plate of anethum vegetable, is brought in. But that is not all. A few seconds more, as soon as a cauldron of boiling fat is brought in, the waiter starts pouring it o­n each bowl of grilled fish, thus producing a white smoke and sputtering noise.
Now, this is the time for picking and choosing what you like from the dishes on the table; sticking them into your bowl. Everything in all dishes should be eaten together. Let’s taste…
In the whole of Vietnam, there are 3 suggested Cha ca La Vong restaurants:

* N014, Cha Ca street- Old Quarter in Hanoi
* N087 Nguyen Truong To street, Hanoi
* N03 Ho Xuan Huong street, Ward 6, District 3, HCMC

Among other members of the extended noodle family, bánh cuốn almost ranks first. It is a paper-thin steamed rice flour pancake, much like delicate sheets of fresh rice noodles. The pancakes are plucked off of the linen steamer base, and immediately rolled with minced pork and mushrooms, then piled on a plate, sprinkled with deep fried shallots, snipped with scissors into bite sized sections, and topped with fresh herbs such as cilantro or Vietnamese basil.

A plate of bánh cuốn is a light dish traditionally eaten as breakfast in Hanoi but now can also be found as a late night snack.

To eat, dip a section of rolled noodle goodness into the accompanying warm fish sauce broth, brightened with a squeeze of fresh lime. You can also pick the leaves off the herbs and add them to the dipping sauce, grabbing a leaf or two as you dip, or you can follow each bite with a chaser of herbs. Bánh cuốn are often eaten with different sides of pork sausages, including sheets of an orange hued, roasted cinnamon sausage called chả quế.

Where to find it?
A short walk north of Hàng Da Market and Hàng Điếu street will bring you to Bánh Cuốn Thanh Vân, just look for the bánh cuốn station—two large covered steaming pots—out front along the sidewalk. Just take a look! The practiced hands keep the bánh cuốn rolling out with experiences, alternating seamlessly between spreading the thin batter on the linen base of one steamer, then at right time, turning to the other to peel the delicately steamed pancake off the linen base with a bamboo stick. By the time the batter is spread on its newly emptied linen base, the pancake in the first steamer is ready and waiting. With only 6 tables nestled inside the small open storefront, the pace never slows. Serving 7AM-1PM and 5PM-11PM.

No. 14 Hàng Gà street, between Hàng Mã and Hàng Vải (the Hàng Vải corner is lined with bamboo ladders and poles). It is located on the west side of the street, not far from where the street name changes from Hàng Cót to Hàng Gà.

Quán Ăn Ngon, No.18 Phan Bội Châu Street, also does a very respectable version of bánh cuốn.

The cake is a rice ball made of glutinous rice mixed with cudweed (khuc)-most important ingredient and filled with green bean paste, pork, and spices.

Cudweed grows during lunar January and February, when the drizzling rain lasts all day, and it can be found along the edges of rice fields. There are two kinds: “nep” and “te”. The latter is more flexible and fragrant and is preferred for making the cake.

First, the cudweed is washed, ground and then mixed with husked glutinous rice. Green beans, that are flayed and turned into paste after being cooked, are then added to the mixture. Finally, the cakes are sprinkled with grains of glutinous steamed rice.

As time goes by it is increasingly difficult to find cudweed as fields are eaten up by development. For now, you still can find “banh khuc” in Hanoi. However, some bakers may not be using cudweed and may substitute it with cabbage or water morning glory.

Wishing to have the chance to satisfy your hunger for “banh khuc”, you can visit cake stall at 69 Nguyen Cong Tru Street, that has been churning out “banh khuc” for years. Ms. Nguyen Thi Lan, the seller, has to hire locals in rural areas in Hanoi or in neighbouring provinces to seek out the elusive cudweed. In winter, it grows in abundance so enough has to be collected to last the summer. The surplus will be dried and stored.

If you are in the old quarter of Hanoi, you might hear someone cry “Ai banh khuc nong day?” (who wants hot “banh khuc”?). You can stop them and ask if the “banh khuc” is from Ngoai Hoang village in Ha Noi, a place that is famous for having the most delicious and tasty “banh khuc”. Then, you can buy one for tasting. The cake should be served hot and dipped into a mixture of roasted and crushed sesame seeds and salt...

The best rice noodles have only two ingredients: rice or rice flour, and water. Rice vermicelli are thin, translucent noodles that are similar to cellophane noodles, with which they are often confused (rice vermicelli are made from rice; cellophane noodles are made from bean starch).

There are different varieties of vermicelli depending on their shape: bun roi (stirred vermicelli), bun mam (twisted vermicelli), bun la (vermicelli paper), and bun dem tram (shreded vermicelli).

Rice vermicelli noodles are delicious and easy to prepare. Let’s see how rice vermicelli dishes are prepared step by step!

Before cooking, simply soak rice vermicelli in warm (not hot) water for just two minutes. Then, in order to have a delicious bowl of rice, you should add different kinds of ingredients and vegetables. You can choose one of various ingredients that can be served with vermicelli such as: grilled pork meat, fried rice cakes, snails, fried eggs, lean meat pie, chicken, and crab soup, etc.

Do not be so surprised if you see that each region and locality, even each restaurant, has its own vermicelli dishes with their own recipes. There are a variety of ways to enjoy rice vermicelli, each dish having its own unique taste, for example: “Bun Cha” (vermicelli and grilled chopped meat),“Bun Rieu” (vermicelli and sour crab soup), “Bun Bo” (vermicelli and beef ), “Bun Oc” (vermicelli and snails) and so on.

Let’s try the very delicious taste of Bun Cha and Bun Oc! Bun Cha (Vermicelli and grilled chopped meat) includes rice vermicelli, grilled pork and spicy, raw vegetables and well mixed fish sauce. For a dish of Bun Cha, you take a dish of rice vermicelli, a dish full of vegetables and a bowl of fish sauce combined with vinegar, sugar, hot chilly, garlic and pepper. The sauce will then contain all the essential tastes, sour, hot, salty and sweet. Grilles of well cooked pork would be opened and the contents dropped into the bowl of fish sauce. There are two kinds of Cha (grilled pork) used, depending upon the cut of the meat. If the pork is cut into small pieces, it is called Cha Mieng (piece of grilled pork). If it is minced prior to being shaped into small cubes, it is named Cha Bam (minced grilled pork). Bun Oc (Rice vermicelli with fresh water snail) has fresh water snails as main ingredient. These snails will have been kept in clean fresh water for about ten hours before being boiled for the dish, to allow sufficient time for the snails to release any organic matter they may have in their shells. The boiled snails after being taken out of their shells would be cleaned. The soup for the dish is made from the water in which snails have been boiled in. To the soup is added tomatoes and several kinds of flavour and vinegar.

Rice vermicelli are a part of different Vietnamese cuisines. Walking along some streets and stopping at one rice vermicelli vendor in Hanoi or Sai Gon, you will have chances for tasting various dishes of rice vermicelli with unforgettable flavor!

The dish has a special taste because the chicken is blended with the aroma and sweetness of pineapple.

Ingredients: (serves 4)

* Chicken thigh: 4
* Fresh ginger: 2 roots
* Celery and leek: 100g
* Fresh pineapple: 1
* Honey: 2 teaspoons
* Seasoning: 2 teaspoons Pepper

Preparation:

* Clean the chicken thighs, de-bone and marinate them with seasoning, pepper and honey for 15 minutes.
* Clean the celery and leek and cut them into 8cm pieces. Slice ginger and pineapple. Put all the prepared ingredients on a large plate and steam until the chicken’s thigh is soft.
* Served hot with rice, fried vegetables and soup.

Chicken is a mainstay in the diet of the Vietnamese. Compared to other meats, it is relatively inexpensive and can be prepared in countless ways. Chef Cao Ngoc Duc who has specialized in preparing chicken dishes for 15 years says chicken is not only delicious but high in protein.

Proof to the meat’s versatility, Cao Ngoc Duc graciously described various methods to cook chicken.

For example, boiled chicken is the most popular dish, having a yellow skin and sweet taste. It is customarily served with salt mixed with lemon.

Roasted chicken is prepared using five spices plus lemongrass and chilli so the dish is delicious and crispy. Soya-sauce is a condiment that accompanies this dish. Chicken simmered in medicinal herbs is good for health. Also, there are other dishes, such as the sweet and sour fried chicken, chicken fried with cashews, or vermicelli, lemongrass and red pepper, and ginger. Chicken can be grilled with honey and cooked with coconut sauce, fried with fish sauce or mixed with vegetables. Chicken hot pots include chicken hot-pot with medicinal herbs, or with mushrooms and with common sage-brush. Chicken is also an indispensable ingredient to make noodle soup, rice gruel, etc.

Chicken fried with cashew

Ingredients: (Serves 4)

- Chicken: 350g - Cashew: 100g
- 1 carrot, 1 chayote, 5 perfume mushrooms, 1 small root of ginger, spring onion, 1 tablespoon each of oyster sauce, soya sauce, cooking oil, wine, 20g each of wheat flour and arrowroot powder, 10g of garlic, 100g of Da Lat green and red chilli, salt, pepper and 1 chicken egg.

Preparation:

- Slice the chicken into bite size cubes, mix with pepper, seasoning, a dash of egg yolk and spray with arrowroot powder and slightly fry in boiling cooking oil.

- Cut carrot and chayote into canarium-shaped pieces, spring onion into pieces, ginger into slices and mushrooms in halves.

- Fry the crushed garlic then add all the other ingredients. Add the oyster sauce, seasoning and soya-sauce to suit your taste. Lastly, add a dash of arrow-root powder and cooking oil. Place the dish on a large plate or in a pineapple.

When speaking about the cuisine in Hue, people usually mention both the traditional and court culinary art.

The feast of ancient Hue court is divided into different categories, such as the worshipping feast for great ceremonies, the feast for mandarins or envoys and the feast for new doctoral laureates. The number of dishes in each type of feast is also different. For instance, a great feast includes about 161 dishes while a precious feast has 50 dishes, a hefty breakfast feast with 12 dishes and a vegetarian feast for worshipping at the pagoda with 25 dishes.

The ingredients for making court dishes are the same as that for making daily dishes. However, the technique of cooking as well as the artistic dish arrangements are very selective and require the cook’s creativeness. All the dishes are refined to offer the best ingredients for good health and always reach the pinnacle in fragrance and taste, not to mention the meticulous presentation.

Visiting Hue today, tourists can enjoy various dishes of the Hue royal style in hotels or restaurants, such as Tinh Gia Vien Restaurant owned by artisan Ton Nu Thi Ha, a descendant of the Nguyen Dynasty. Here, night parties of the ancient court are reproduced, leaving a long-lasting impression on tourists.

Makes 8 satisfying (American-sized) bowls

For the broth:

2 medium yellow onions (about 1 pound total)
4-inch piece ginger (about 4 ounces)
5-6 pounds beef soup bones (marrow and knuckle bones)
5 star anise (40 star points total)
6 whole cloves
3-inch cinnamon stick
1 pound piece of beef chuck, rump, brisket or cross rib roast, cut into 2-by-4-inch pieces (weight after trimming)
1 1/2 tablespoons salt
4 tablespoons fish sauce
1 ounce (1-inch chunk) yellow rock sugar (duong phen; see Note)

For the bowls:

1 1/2-2 pounds small (1/8-inch wide) dried or fresh banh pho noodles ("rice sticks'' or Thai chantaboon)
1/2 pound raw eye of round, sirloin, London broil or tri-tip steak, thinly sliced across the grain (1/16 inch thick; freeze for 15 minutes to make it easier to slice)
1 medium yellow onion, sliced paper-thin, left to soak for 30 minutes in a bowl of cold water
3 or 4 scallions, green part only, cut into thin rings
1/3 cup chopped cilantro (ngo)
Ground black pepper

Optional garnishes arranged on a plate and placed at the table:

Sprigs of spearmint (hung lui) and Asian/Thai basil (hung que)
Leaves of thorny cilantro (ngo gai)
Bean sprouts (about 1/2 pound)
Red hot chiles (such as Thai bird or dragon), thinly sliced
Lime wedges

Prepare the broth:

Char onion and ginger. Use an open flame on grill or gas stove. Place onions and ginger on cooking grate and let skin burn. (If using stove, turn on exhaust fan and open a window.) After about 15 minutes, they will soften and become sweetly fragrant. Use tongs to occasionally rotate them and to grab and discard any flyaway onion skin. You do not have to blacken entire surface, just enough to slightly cook onion and ginger.

Let cool. Under warm water, remove charred onion skin; trim and discard blackened parts of root or stem ends. If ginger skin is puckered and blistered, smash ginger with flat side of knife to loosen flesh from skin. Otherwise, use sharp paring knife to remove skin, running ginger under warm water to wash off blackened bits. Set aside.

Parboil bones. Place bones in stockpot (minimum 12-quart capacity) and cover with cold water. Over high heat, bring to boil. Boil vigorously 2 to 3 minutes to allow impurities to be released. Dump bones and water into sink and rinse bones with warm water. Quickly scrub stockpot to remove any residue. Return bones to pot.

Simmer broth. Add 6 quarts water to pot, bring to boil over high heat, then lower flame to gently simmer. Use ladle to skim any scum that rises to surface. Add remaining broth ingredients and cook 1 1/2 hours. Boneless meat should be slightly chewy but not tough. When it is cooked to your liking, remove it and place in bowl of cold water for 10 minutes; this prevents the meat from drying up and turning dark as it cools. Drain the meat; cool, then refrigerate. Allow broth to continue cooking; in total, the broth should simmer 3 hours.

Strain broth through fine strainer. If desired, remove any bits of gelatinous tendon from bones to add to your pho bowl. Store tendon with cooked beef. Discard solids.

Use ladle to skim as much fat from top of broth as you like. (Cool it and refrigerate it overnight to make this task easier; reheat befofe continuing.) Taste and adjust flavor with additional salt, fish sauce and yellow rock sugar. The broth should taste slightly too strong because the noodles and other ingredients are not salted. (If you've gone too far, add water to dilute.) Makes about 4 quarts.

Assemble bowls: The key is to be organized and have everything ready to go. Thinly slice cooked meat. For best results, make sure it's cold.

Heat broth and ready noodles. To ensure good timing, reheat broth over medium flame as you're assembling bowls. If you're using dried noodles, cover with hot tap water and soak 15-20 minutes, until softened and opaque white. Drain in colander. For fresh rice noodles, just untangle and briefly rinse in a colander with cold water.

Blanch noodles. Fill 3- or 4-quart saucepan with water and bring to boil. For each bowl, use long-handle strainer to blanch a portion of noodles. As soon as noodles have collapsed and lost their stiffness (10-20 seconds), pull strainer from water, letting water drain back into saucepan. Empty noodles into bowls. Noodles should occupy 1/4 to 1/3 of bowl; the latter is for noodle lovers, while the former is for those who prize broth.
If desired, after blanching noodles, blanch bean sprouts for 30 seconds in same saucepan. They should slightly wilt but retain some crunch. Drain and add to the garnish plate.

Add other ingredients. Place slices of cooked meat, raw meat and tendon (if using) atop noodles. (If your cooked meat is not at room temperature, blanch slices for few seconds in hot water from above.) Garnish with onion, scallion and chopped cilantro. Finish with black pepper.

Ladle in broth and serve. Bring broth to rolling boil. Check seasoning. Ladle broth into each bowl, distributing hot liquid evenly so as to cook raw beef and warm other ingredients. Serve with garnish plate.

Note: Yellow rock sugar (a.k.a. lump sugar) is sold in one-pound boxes at Chinese and Southeast Asian markets. Break up large chunks with hammer.

Variations: If you want to replicate the splendorous options available at pho shops, head to the butcher counter at a Vietnamese or Chinese market. There you'll find white cords of gan (beef tendon) and thin pieces of nam (outside flank, not flank steak). While tendon requires no preparation prior to cooking, nam should be rolled and tied with string for easy handling. Simmer it and the beef tendon in the cooking broth for two hours, or until chewy-tender.

Airy book tripe (sach) is already cooked when you buy it. Before using, wash and gently squeeze it dry. Slice it thinly to make fringe-like pieces to be added to the bowl during assembly. For beef meatballs (bo vien), purchase them in Asian markets in the refrigerator case; they are already precooked. Slice each one in half and drop into broth to heat through. When you're ready to serve, ladle them out with the broth to top each bowl.

This nutritious and delicious meal combines the sweetness of cuttlefish with pungent taste of ginger. It is very suitable to serve the dish on cold days.

Ingredients: (serves 4)

- Fresh cuttlefish: 1kg
- Celery and leek: 300g
- Red pepper: 2
- Lemon: 1
- Seasoning: 2 teaspoons

Preparation:

- Clean the cuttlefish and score its surface with a knife.
- Boiling water in a pot and add a dash of seasoning and crushed ginger. Add and scald the cuttlefish.
- Cut the celery and leek into 8cm pieces and slice ginger. Put the prepared ingredients and cuttlefish onto a plate and steam for ten minutes.
- Decorate the dish with coriander.
- Served hot with seasoning mixed with pepper, lemon juice and red pepper or mustard.

The festival begins with a palanquin procession performed by three villages of Co Tich, Vi Cuong and Trieu Phu. The procession carries bamboo elephants and wooden horses symbolizing the submission of animals to the Kings Hung and the wedding of the Mountain Genie and Princess Ngoc Hoa. Banh chung (square sticky rice cake) and banh giay (round sticky rice cake) are indispensable offerings in the procession in order to honor the merit of the Kings Hung who taught people to plant rice and to remind people of Lang Lieu who invented these cakes.

The worship service is held on the 10th day of the 3rd lunar month and commences with a flower ceremony with the participation of state representatives. Held in Thuong Temple, where the Kings Hung used to worship deities with full rituals, the ceremony is conducted with the traditional rituals representing the whole nation. During that time, the nha to Do Ngai guild performs singing and dancing to welcome visitors.

The children of the Kings Hung throughout the country converge on the temple to offer incense. The procession includes the state representatives, one hundred young men and women in traditional costumes symbolizing “children of the Dragon and Fairy” and pilgrims.
The procession marches are followed by a Xoan singing performance (a kind of folk song of Vinh - Phu region) in Thuong Temple, ca tru (a kind of classical opera) in Ha Temple, and other activities including bamboo swings, nem con (throwing a sacred ball through the ring), cham thau (beating bronze drum), dam duong (pounding rice).

Hung Temple Festival not only attracts visitors from all over the country because of its special traditional cultural activities, but it is also a sacred trip back in time to the origins of the Vietnamese nation. People usually show their love and pride of their homeland and ancestral land. This religious belief deeply imbedded in the minds of every Vietnamese citizen, regardless of where they originate.

Every year, on the 15th day of the 8th month in lunar calendar, the children throughout the country in Vietnam are given permission by their parents to march in a procession and carry their lanterns, to eat the Mid-Autumn Festival cakes and to perform the dragon (unicorn) dance, oh, how great and uproarious they are!
This Festival is called "Mid-Autumn Festival" - or also called Children's Festival. Do you know why we have this special festival?

Actually, this tradition of celebrating the Mid-autumn Festival began since the Duong Minh Hoang era in China, at the beginning of the 8th century (713-755).

According to ancient manuscripts, on the eve of the 15th day in the 8th month, while the Emperor Duong and his mandarins gazed at the moon, the Emperor wished that if only he could visit the Palace on the Moon. A magician named Dieu Phap Thien (also known as La Cong Vien) offered to take the Emperor to the moon by performing a number of magic tricks.

Upon arriving at the Moon Palace, the Emperor Minh Hoang was welcomed by a Fairy God who prepared a banquet and entertained the Emperor Duong. There were hundreds of beautiful fairies wearing the thin silk gaudy clothes, each of them held a long white silk piece in hand, threw it into the air, danced, and sang in the court, this dance and song is called the Nghe Thuong Vu Y (Nghe Thuong Cloth Dance).

The Emperor enjoyed this dance very much. Since the Emperor had an aptitude for music, he showed a keen interest and admiration for the dance, while at the same time trying to memorize the fairy song and dance by heart. The Emperor wanted to bring this song and dance back to the Imperial Palace for entertainment.

At the end of that year, a Governor ruling over the Tay Luong Country brought with him a group of female dancers who performed the Ba-la-mon dance.

The Emperor discovered that this Ba-la-mon dancing style shared a lot of similarities to Nghe Thuong Vu Y dance and song. He combined the two songs and dances styles into one, and called it the Nghe Thuong Dance and Cloth Style.

Later, the mandarins adopted the Nghe Thuong Dance and Cloth style from their Emperor, took this song and dance style and gradually introduced it to everyone in their far ruling countries. The tradition of gazing at the moon, and watching the dance and song later became a traditional event on eve of the Mid-Autumn celebration.

The Mid-Autumn Festival spread throughout the neighboring countries and vassal kingdoms of China. The Vietnamese Annals did not reveal from what precise time the Mid-Autumn Festival tradition was introduced in the country. They only know that, for centuries, their ancestors have followed this tradition.

Starting from the beginning of August in lunar calendar, the markets are filling of nuances of Mid-Autumn Festival. Lanterns, moon cakes, white coconut cakes are sold everywhere in the splendidly lighted shops. The streets are full of people buying and those who wander at leisure all crowding and pushing one another in these festival-like days.

Besides the assorted paper lanterns, cakes, candies, there are toy animals made of rice dough, the dragon (unicorn) heads and faces of the Earth God made of paper are displayed everywhere in the markets. In the rich families, the mid-autumn banquet is made in order to show up their nubile girls' cooking abilities.

On the precisely 15th day of August, in the great cities, such as Hanoi, Hue, Saigon, there are the lion, dragon (unicorn) dances. This is a truly animated sight.

At the time when Vietnam was still under the French domination, the protectorate government did not want people gathering in crowds for fear of a revolt. The French government did not allow adults to organize the dragon and lion dances during the Mid-Autumn Festival, only children were allowed to participate. Since then, the Mid-Autumn Festival became the Children's Festival.

However, the adults meet their friends in small groups, sing songs, and recite poetry.

In many Western countries where the Vietnamese refugee children are living, there is a special festival day for children called Halloween. On this day, the children dress themselves up as sorcerers, supermen, monsters; they swarm in many bands, and scare people while asking for candies. What a fun sight!

However, Halloween seems very similar to the Vu-Lan day in Vietnam. According to ancient’s superstition, on the Vu Lan day, the spirits are released from Hell to the Land of the Living in order to have a good time. So, every family prepares to feast offering to the spirits. The offerings are then distributed to children and the poor people.

Living far away from our country, does any of you, children, at any time wish to come back one day to our freedom country, so that you can carry the lanterns while making a procession, eating cake and receiving gifts of celebration during the Mid-Autumn Festival together with the children who are still in our country?

We hope that this day will come very soon.

This festival take place on 5th day of the fifth lunar month in every house of the Kinh (Viet).

This is the middle year festival for the prevention of disease and ward off evil spirits (the day of changing weather from spring to summer, this is the time easy to get pathogen).

On the day of "killing inner insects”, every one has to get up early, eat fermented sticky and fruits. The worshipping is held at noon, hour of Ngo.

Approximately 70 kilometers southwest of Ha Noi, Huong Son boasts quite a few pagodas built in the Posterior Le Dynasty. Until the beginning of the 20th century, there have over 100 pagodas. Visitors can go to Huong Son via the Ha Dong - Van Dinh route.
Vietnamese or foreigners alike wish to come to Huong Son in springtime. Heading there tourists come to a magnificent land, a famous beauty spot in Vietnam.

Going boating in Yen Stream, visitors get a stunning view of the landscape in springtime. Here lies Ngu Nhac Mountain, there stand Hoi Bridge, Dun and Voi Phuc (Prostrating Elephant) mountains. Then come Thuyen Rong (Dragon Boat) and Con Phuong (Phoenix) mountains, not to mention various other mountains named after their shape like Ong Su (Buddhist Monk), Ba Vai (Buddhist nun), Mam Xoi (Tray of Sticky Rice), Trong (Drum), or Chieng (Gong).

At Trinh Temple visitors stop to burn incense and present to the Mountain Deity before going on their journey to Ba Cave. In front of the cave spreads a land with magnificent beauty. Leaving Ba Cave, tourists go to Tro Wharf, the starting point for the trekking up the mountain. Thien Tru Pagoda is the first destination. Known as the Kitchen of Heaven, it boasts Thien Thuy - a tower-like natural rock, and Vien Cong Tower an exquisite terracotta architectural structure dated back to the 17th century. On the right of the pagoda stands Tien Son Grotto, housing five statues carved out of stone and many stalactites and stalagmites which can be used as musical instruments.

To reach Huong Tich Grotto one go past a winding path paved with slabs of stone nature has smoothed. Alongside the path visitors has a chance to feast their eyes on stunning landscapes. In the 18th century, upon coming here Lord Trinh Sam had the words “The most beautiful grotto under the Southern sky” chiselled above the mouth of the grotto. Pushing into its belly, visitors get a spectacular view. Many stalactites and stalagmites are named after their shape: Rice Pile, Money Pile, Gold Tree, Silver Tree to name but a few. Inside there are statues of King’s Father, Queen, Avalokitesvara, and so on. Noteworthy is the Cuu Long structure with nine dragons flanking from above.

There are many interesting pagodas, caves and grottoes in Huong Son. Among them include Long Van, Tuyet Son, Hinh Bong, and so forth. The Ong Bay (Sung Sam) Cave, 2km from Long Van Pagoda, still retains traces of ancient people some tens of thousands of years ago.
Unlike any other places, Huong Pagoda harmonizes the characters of a Buddhist architectural complex with the impressive natural beauty. Coming here, tourists have chances to live in a boisterous atmosphere of a spring festival amidst beautiful landscape. They seem to be free from all tiredness and sorrow and come to pay respect to the compassionate Buddha.

The Trung Nguyen Festival is celebrated on the 15th day of the seventh lunar month.

Trung Nguyen Festival, also called "xa toi vong nhan" (forgive the loss souls), originates from Buddhism's Vu Lan Festival which is aimed at saving and freeing souls from sufferings. It is believed that criminals in hell are released on lunar July 15th so that people usually prepare plain gruel, popcorns, votive papers, etc. to offer them. They also place offerings in temples, communal houses’ yards, banyan tree’s foot for forsake spirits. After worshipping, the offerings are given to children and poor people and votive papers are burned to send to the world of the death. Trung Nguyen Festival is taken place in every family and pagoda

The lunar year festival, or Tet Nguyen Dan, is the largest festival to take place every year in Vietnam. It starts on the first day of the lunar year and lasts for entire week.

Tet is, according to Vietnamese traditional customs, a family-oriented celebration. The most sacred moment is at midnight on Tet Eve, when it is time to bid farewell to the past year and to welcome the New Year. It is also the occasion for people in every house hold to light incense in remembrance of their late relatives, pluck the plant buds, invite the first New Year’s visitor, and toast to each other.

The lunar year festival is the occasion for family members to meet each other. Tet is also the time when every house hold cooks traditional dishes, such a rice cake, a cake made from of sticky rice filled with bean paste and pork meat. The Lunar New Year festival is the most sacred celebration in Vietnam during which people wish each other health and happiness

Sequence of the Tet Celebration

Do it right. Here's a step-by-step sequence of the Tet Celebration

Preparation.During the week before Tet, some families visit the graves of parents and grandparents. Fresh earth is placed on top, weeds removed from around it and incense is burnt to invoke the souls of the dead from the other world to return to visit the family home.

The Kitchen God (Ong Tao or Mandarin Tao) is also called the Hearth God, the Stove God or the Household God. This god who was privy to the family's most private business and intimate secrets for the ending year, returns to Heaven to make his report to the Jade Emperor. This report includes the year's activities of the household in which he has lived. On the 23rd day of the 12th month, a farewell and thank you dinner is given to the Kitchen God by the household. The Kitchen God will need a week for his mission to Heaven.

Folklore has made the spirit of the hearth into a picturesque character, a buffoon who is the butt of crude jokes. Although he is a messenger of the Jade Emperor in Heaven, he is depicted as so poor as to be unable to afford much clothing. He wears an important mandarin hat but goes about with bare legs because he has scorched his pants in the hearth fire. Another version tells that he was in such a rush to get back to Heaven that he forgot his pants and ascended in only his underwear. Efforts must be made to put him in a proper mood to secure a favorable report to the Jade Emperor of the family's activities. Offerings are made to him. These gifts certainly aim at influencing the outcome of the report. But no one considers such gifts to be crass bribery. Such pleasantries merely sweeten the god's way, as perhaps cookies placed by the fireplace will please Santa Claus, who might be tired from delivering so many gifts on Christmas night.

The paper carps, horses and clothing (hats, robes and boots) will be burned by the family and thus transformed into a spiritual essence usable by Ong Tao in the world beyond. Like Santa Claus, the Kitchen God is loved and respected. Both have the capacity to bring fortune and happiness into the home depending on the previous year's behavior. Although beliefs about the Kitchen God have changed over the years, he remains an important figure in the rich texture of Vietnamese New Year. The Kitchen God travels on the back of a brightly colored and powerful paper horse or sometimes a grand bird with great wings, such as a crane. Or he might ride on a carp with golden scales. Paper images of these vehicles are purchased at Tet or a living specimen of fish is bought and later set free. The day of his departure is marked by the calls of fishmongers from the countryside carrying baskets of fish hanging from their shoulder poles and calling "Fish for sale, fine mounts for the Household Gods to make their ride!" Live fish held in tanks of water and plastic bags are released into ponds, lakes, rivers and streams to impress the god with the kindness of the household. In Hanoi, the Sword Lake is a favorite spot for releasing Ong Tao's fish-vehicle. In some cases, three fish are released to account for the possibility that one must please all three Hearth Gods.

Most frequently we hear of only the Kitchen God, but many legends support the trinity of Kitchen Gods. Ong Tao represents the blending of all three.

In the old days, and still in some countryside homes, cooking occurs over clay tripods. Three stones were all that was needed to hold up the pot over the fire. Few people spend time thinking about the nature of the Kitchen Gods or the specific meaning of the items that are associated with them. The three Hearth Gods are represented at Tet by three hats and shops sell sets of three miniature paper hats: two men's hats and one woman's. These are burned as offerings to Ong Tao. The God will also need a new pair of boots to wear as he travels to Heaven. Two favorite gifts for the triad of household deities are gold and wine.

In the central part of Vietnam, cooking tripods or blocks that make up the family hearth, even if they are still usable, are ritually discarded when the God leaves. One week later, new blocks will greet his return or the arrival of his replacement assigned by the Jade Emperor.

After the Kitchen God has left, preparations for the New Year festivities begin in earnest. The week before New Year's Eve is a period of Tat Nien. Tat Nien (literally meaning the end or 'to extinguish the year') is the celebration of the last session of a period, such as the last class of school, the last bus home, the last day in the office, even the last bath, all with parties and great ceremony. There is a festive holiday atmosphere before New Year's Eve with dragon dances.

Some families set up a Tet tree in the week before New Year's Eve. The Tet tree called cay neu, is a bamboo pole stripped of most of its leaves except for a bunch at the very top. The Tet tree has Taoist origins and holds talismanic objects that clang in the breeze to attract good spirits and repel evil ones. On the very top, they frequently place a paper symbol of yin and yang, the two principal forces of the universe. Sometimes a colorful paper carp flag will fly from the top. The carp (or sometimes a horse) is the vehicle on which the Hearth God travels to make his report. This tree is more common in the countryside now than in the city. It is ceremonially removed after the seventh day of Tet.

Sweeping and scrubbing is done in advance as tradition discourages cleaning during the holiday itself. During this time, shops and restaurants close while the cleaning spree proceeds in earnest. On hands and knees, the floors will be scrubbed; bronze will be polished to a brand new finish. Closets will be ransacked for old clothes to be tossed out. Shoppers swarm the streets at temporary Tet stalls that have sprung up, lit with tiny gaily-flashing lights. Everything needed for the celebration from food to decorations is at hand and in abundance at these Tet markets.

Two items required for the proper enjoyment of Tet are flowering branches and the kumquat bush. For the sale of these and other flowers and plants, a lively flower market is held in the center of the ancient quarter of Hanoi on Hang Luoc Street. A massive flower market was organized on Nguyen Hue Street in Ho Chi Minh City and attracts crowds who walk up and down the street admiring the flowers, meeting old friends and making new ones. However, this was moved out of the center in 1996. Throughout the country on bicycles of roving vendors, flowers create great splashes of color. In the south, the bright golden yellow branches of the mai apricot are seen everywhere. In the north, the soft rose-colored dao peach flowers decorate homes and offices. A truck driver will adorn his truck with a dao branch to cheer him on a long-distance run.

Miniature kumquat bushes about two or three feet tall are carefully selected and prominently displayed. To carefully choose a kumquat bush, the buyer must pay attention to the symmetrical shape, to the leaves and to the color and shape of the fruit. The bushes have been precisely pruned to display ripe deep orange fruits with smooth clear thin skin shining like little suns or gold coins on the first day. Other fruits must still be green to ripen later. This represents the wish that wealth will come to you now and in the future. The leaves must be thick and dark green with some light green sprouts. The fruits represent the grandparents, the flowers represent parents, the buds represent children and the light green leaves represent grandchildren. The tree thus symbolizes many generations. Guests will caress the light green leaves about to sprout and compliment the discerning host who chose so carefully. The Sino-Viet pronunciation of the word for orange sounds like the word for wealth and the tangerines signify good luck.

Crowds of shoppers at the markets become thicker and more frantic each night, holding up traffic as they jostle each other to reach the counters with the best buys. Prices are a bit higher, but then thriftiness is not considered a virtue at Tet. Everyone is wishing each other Chuc Mung Nam Moi!

One must purchase the sugared fruits, banh chung and the colorful decorations before the afternoon of Tet.

While shoppers roam the streets, banh chung patties wrapped in leaves are steaming in giant vats. The outside has taken on a lovely light green tinge after being boiled inside a wrapper of leaves. Banh chung in the north is a square patty measuring seven inches and two inches thick, filled with shreds of fatty pork surrounded by a dense mixture of sticky rice and mashed ground green beans. In the south, a similar dish is cylindrical. It is given as a gift at this time of year and has a similar long life and social significance as the western Christmas fruitcake. These are frequently called sticky rice cakes, but are unlike sweet cakes in the western sense. There is however, a sweet version made without meat but with sugar added called banh ngot (sweet rice patty).

Suddenly, as if by command of some magic wand, the spree of activity, the light, the noise, all vanishes. By early evening, markets and shops are abandoned. Shops, stalls and restaurants are locked leaving a notice hung on the door announcing the date of reopening. Special dishes must be completed that are expected to serve the family and its guests for the first three days of the new year. People desert the outer world and disappear on the requisite trip to their home villages and inside their homes for intimate family celebrations.

* * *

Giao Thua. As midnight approaches, all eyes maintain a close look on clocks and watches. The Giao Thua ritual occurs at that most sacred moment in time. At midnight on the last day of the year, every Vietnamese family whispers similar fervent prayers. Bells ring and drums beat in temples. The old year gives over its mandate to the New Year. The words Giao Thua (Giao means to give and Thua means to receive) mean a passing on or a receiving and handing down of life, and the recognition of that gift by the present generation. It marks the magical transition time from one year to another. Those who practice Buddhism will pray in the pagoda.

In the Gia Tien (family ancestor) ritual or calling of the ancestors, invitations are extended to the deceased relatives to visit for a few days in the world of the living family. They are lured home and kept happy until they leave. The head of the household lights incense and folds hands at heart level in the position of prayer. The prayer may proceed as follows: "In the year of&. And the date of&. Make these offerings and invite all of our ancestors to join in eating Tet with us."

The past generations are invited to share the family's joys and concerns to enjoy a meal with the living, to catch up on the family news and to lavish riches and honors on their descendants.

"I pray to the Heavenly King, the Jade Emperor, to his assistants and to the Earth God and the guardian spirit and to any other spirits present. On behalf of the &family, we offer you incense, gold and silver, fruit and flowers, alcohol and fixings for the betel quid. We are all here to make these offerings so that the next year will be free of disasters and harmful occurrences and that the family will prosper. Please bless us all, young and old, with happiness, prosperity and long life. (Here he might mention some events of the past year such as the birth of a child, someone's new employment or the successful entrance of a child into a good school). Please forgive us any transgressions we may have unknowingly committed against you or others."

Bowing motions, called Le, are performed at least three times and the ceremony ends when all have prostrated themselves (or in more modern families, folded hands and prayed) before the altar. After the "money for the dead" and other paper gifts are burnt in the courtyard, the family watches the ashes dance away on warm currents of air, a sign that the dead have received their gifts. The spiritual presence of the ancestors will be palpable during the days of Tet.

In recent times, a new tradition has evolved to celebrate the important evening of the new year. Those who are not at home praying at this momentous time may be socializing with friends. In the cities, there will be community fireworks displays that will draw the young from their homes into the square or park. Although firecrackers are now illegal in Vietnam, some kind of loud noises will be made. It can be the banging of cans, the use of electronic popping firecrackers or human voices whooping it up. People will break off branches and twigs that contain newly sprouted leaves to bring a sense of freshness and vitality into their home. This follows a Buddhist tradition of bringing fresh new leaves and "fortune bearing buds" into the home from the pagoda.

* * *

First Morning or Head Day is reserved for the nuclear family, that is, the husband's household. Immediate family members get together and celebrate with the husband's parents. A younger brother, if the parents are not alive, will visit his older sibling. Faraway sons and daughters journey to be with their parents on this day. Children anticipate a ritual called Mung Tuoi, or the well wishing on the achievement of one more year to one's life. With both arms folded in front of their chest in respect, they thank their grandparents for their birth and upbringing.

Reciprocally, the grandparents will impart words of advice or wisdom to their grandchildren, encouraging them to study seriously, to live in harmony with others. The promises made by the children are similar to New Year's resolutions made during the western New Year. Adults will make silent promises to themselves to improve their lives, habits and relationships in the coming year. The children accept small gifts, usually crisp bills. Ideally, part of the gifts will be saved for future "investment," and part spent for Tet amusements. The words on the little red envelope in which the bill may be tucked read: Respectful wishes for the New Year. When there was a king ruling Vietnam, the mandarins of the royal court formally wished the King and Queen, "Happiness as vast as the southern sea; longevity as lasting as the southern mountains." Each trade and professional guild in Vietnam has a founder or guardian spirit and on this or one of the next several days, the craft workers will make offerings to their guild ancestor.

The family displays the offerings of food on the altar table for the first meal for the ancestors since they have returned to the world of the living. The head of the family, dressed in fresh clothes, steps respectfully in front of the family altar and presents the offerings of food, liquor, cigarettes, betel fixings, flowers and paper gold and silver. He lights three sticks of incense, kneels, joins hands in front of his chest, bows his head and prays. The names of the deceased of the family up to the fifth generation are whispered as they are invited to participate in the feast prepared for them.

After the ceremony, the entire family sits down to enjoy the meal typically consisting of steamed chicken, bamboo shoot soup, banh chung and fresh fruits. They reminisce with their ancestors.

The Vietnamese do not say "celebrate" when speaking of Tet; the words "to eat" are used as in the expression, "Will you eat Tet with your family?" or "Where will you eat Tet this year?" It does not refer to the filling of one's stomach, although in the old days, when hunger was a constant problem, Tet time was a time of plenty during which one could eat one's full. "To eat" here means more to be nourished by, or to partake in the mutual communion with others, a spiritual eating or being nourished.

There is a Vietnamese saying related to ancestor worship: "Trees have roots; water has a source; when drinking from the spring, one must remember the source." Thanks are offered to those ancestors who labored long ago to dig irrigation channels and remove mountains for this generation to have an easier life. The present is only one link in the cycle of coming back to the past as one looks to the future.

The second day of Tet is for visiting the wife's family and close friends. Some shops have opened and a few lottery stands are busy selling chances to people who feel lucky. Everyone is out on the street parading around in their new clothes.

On the third day of Tet, the circle of connections becomes larger and is extended to the broader community outside the family by visits to teachers, bosses or a helpful physician. The Vietnamese visit teachers and physicians although long out of school and long cured of their illness. This may be the time to have one's fortune told to see what the coming year will bring. These days in Vietnam, there are fortunetellers using computer software. People are also especially interested in the significance of their first dream of the new year.

The evening of the third day marks the departure of the ancestors by burning votive objects such as gold and silver, for them to take with them on their journey back to Heaven.

Now the connections to the world beyond the family can take place. The non-family member who will be the first visitor is carefully chosen. The "first footer" is an auspicious guest who is considered to be good luck for the family. The first non-family visitor to the house brings in the year's luck. This figure's karma will charm the household for the entire year and determine the luck of the family. It is customary to invite a respected person to visit at that time, so that this turn of luck is not left to fate. This person, whose aura is believed capable of promoting the fortune of the household in the following year, is usually someone healthy, successful and prosperous. Some Vietnamese lock their doors to all chance visitors until after the visit of the chosen "first footer."

On the fourth day, banks and shops reopen. Transactions, although slower, will be conducted more cheerfully than usual. Offices open and work resumes. Careful attention is paid to the resumption of activities. The first outing is the first time in the New Year that a family leaves their home. A propitious time is chosen in advance for this outing and one sometimes asks the advice of fortunetellers.

Formerly, scholars initiated their new brushes and paper with a small ceremony with the wearing of new clothes. This also requires an auspicious hour. The theme of the proverb or poem is considered carefully and newly purchased high-grade paper was used. Today's students are less formal in their initiation rites, but most enjoy a new pen and a fresh notebook for the New Year. Everyone determines to do what he or she can to help fate along to make the next year most successful.

In the countryside, there are rituals to enliven the land out of its winter's rest. The Rites of Dong Tho activate the soil to bring it alive from its sacred rest. When there was a king in Vietnam, he symbolically initiated the harrowing of the first furrow of the planting season in a royal rite.

A hundred years ago, on Hang Buom Street, a ceremony was performed right after Tet called the Beating of the Spring Ox. This ceremony initiated the breaking open of the agricultural land and chased away the winter cold. A ceramic image of the ox was beaten with sticks until it broke into pieces. Everyone scramble to grab and take home a piece of the sacred ox.

On the fifteenth day of Tet (called Ram Thang Gieng), the first full moon, there are ceremonies in Buddhist temples. This is considered the most auspicious day of the Buddhist year. "Paying homage to Buddha all year long is not as effective as praying on the 15th day of the first lunar month." The devout flock into pagodas, their eyes stinging with the blue haze of incense. After prayers, shared blessed offerings from the temple keeper are stuffed into bags carried with them for that purpose. Over the years, this Buddhist sacred day has transformed into a holiday of other cults.

It is also called Tet Trang Nguyen or the feast of the first laureate. There is a legend associated with its beginnings: the emperor once staged a banquet on the full moon to which the most prominent scholars of the kingdom were invited. They drank exquisite liquor and each man composed a formal poem on a theme chosen by the emperor. On that day, many families celebrate Tet all over again by eating banh chung.

This is also called the Little New Year or full moon New Year and celebrated by farmers following an indigenous practice of welcoming Spring at the first full moon. Later, it became infused with Buddhist meanings.

The Vietnamese traditionally celebrated Tet from the fifteenth day of the twelfth month to the fifteenth day of the first month.