Photojournalism

Photojournalism

Muong Girls on Long Coc Tea Hill 2024.

In early September, I set aside the busy pace of work to embark on a journey with colleagues to Long Coc, a serene region in Tan Son district, Phu Tho province, Vietnam. A friend, experienced in photography tours, had described the tea hills here as a breathtaking landscape, reminiscent of a fairyland—often compared to the “Ha Long Bay of the midlands.” Inspired by this, I led a photography group from Kuching, Malaysia, departing at 2 a.m. to capture the beauty of the region in perfect weather conditions.What a memorable experience! The day before, I had carefully planned for our group to depart at 2 a.m. sharp to catch the sunrise at Long Coc tea hill. However, due to an oversight, I mistakenly set my alarm for 1 p.m. instead of 1 a.m. Thankfully, the driver stepped in to assist, ensuring the group was ready for departure. Despite the mix-up, I arrived just in time at 3 a.m., and we set off as planned that night.多么难忘的经历！前一天，我精心计划了我们团队在凌晨 2 点准时出发，去 Long Coc 茶山看日出。然而，由于疏忽，我错误地将闹钟设置为下午 1 点而不是凌晨 1 点。谢天谢地，司机介入协助，确保团队准备就绪。尽管发生了混乱，但我还是在凌晨 3 点准时到达，我们当晚按计划出发。 The Enchanting Long Coc Tea Hills Long Coc tea hill is located in Long Coc commune, Thanh Son district, Phu Tho province, approximately 125 kilometers from Hanoi and 70 kilometers from Viet Tri city, making it a convenient travel destination. The area spans nearly 700 hectares of tea hills and is positioned along the route to several notable tourist attractions, including Hung Temple, Au Co Temple, Lac Long Quan Temple, Thanh Thuy Hot Mineral Water Resort, and Xuan Son National Park. Thanh Son and Tan Son districts are renowned for their tranquil natural beauty, enhanced by the unique cultural heritage of the Muong and Dao ethnic groups. These qualities have drawn numerous visitors, particularly photographers, eager to capture the captivating scenery. Upon arriving in Tan Son, the picturesque beauty of Long Coc’s tea hills immediately stood out. The tea plantations stretch across the landscape, appearing as perfectly shaped, upside-down bowls, gently rolling over the terrain. Small pathways weave through the hills, creating a mosaic that invites exploration. The view from the Bong peak, one of the best vantage points, offers a panoramic glimpse of the rolling tea hills, often shrouded in mist. This serene and ethereal atmosphere is especially enchanting in early autumn, where the shifting seasons add a fairy-tale quality to the scenery. A Natural Masterpiece As we wandered the narrow, misty paths between the hills, we marveled at the lush green expanse unfolding before us. The tea hills, set against a backdrop of harvested rice fields and silvery clouds, resembled an otherworldly, magical landscape. The scene was made all the more captivating by the presence of towering limestone mountains, which added to the distinctiveness of this midland region. It is said that the tea hills are most beautiful during late autumn and early winter. At that time, the air is cool but not harsh, and the golden sunlight casts a shimmering glow over the tea buds. The scenery seems to embody all…

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Photojournalism

The unique hairstyles of Flower H’Mong women are truly captivating.

When encountering Flower H' Mong women, their colorful embroidered dresses are not the only eye-catching feature. Of particular note is the large, heavy hair bun atop their heads. 遇见孟化族妇女，她们色彩鲜艳的绣花衣裙并不是唯一引人注目的特色，尤其引人注目的是她们头顶上那又大又重的发髻。 For centuries, the H'mong people have been migrating to the high mountainous regions of Ma Thi Ho - Muong Cha - Dien Bien to establish their villages, with approximately 80 households currently residing there. Despite the impermanence of change, the cultural consciousness of the H'mong community in this area remains steadfast. A prime example of this is their traditional attire, characterized by black hemp fabric tunics with a V-neckline embellished with vibrant embroidered patterns. Additionally, distinguishing between the various branches within the H'mong community is the embroidered Sunday motif on the back of their garments. 几个世纪以来，苗族人一直迁徙到马氏湖 - 芒查 - 奠边的高山地区建立自己的村庄，目前约有 80 户人家居住在那里。 尽管变化无常，但该地区苗族社区的文化意识仍然坚定不移。一个典型的例子是他们的传统服饰，其特点是黑色麻布束腰外衣，V 形领口饰有鲜艳的刺绣图案。此外，苗族社区内各个分支之间的区别在于他们服装背面绣有星期日图案。 Additional information: The Mong ethnic group is comprised of three subgroups: Mong Hoa, Mong Trắng, and Mong Đen, primarily residing in the high mountainous regions of Bac Yen, Thuan Chau, Song Ma, Mường La, Mộc Châu, Yen Chau (Son La). They are known for preserving their ethnic identity in various aspects of life, including their traditional hairstyles. 苗族由三个支系组成：苗化、苗庄和苗甸，主要居住在北安、顺州、松马、芒罗、木州、安州（山罗）等高山地区。他们以在生活的各个方面保留本民族特征而闻名，包括他们的传统发型。 From a young age, Mong Hoa girls are taught the importance of their hair. Mothers meticulously collect and store their daughters' fallen hair strands, which are then woven into thick strands using a half chopstick. 孟化族女孩从小就被教育头发的重要性。母亲们会细心地收集和保存女儿掉落的头发，然后用半根筷子将它们编织成粗发束。 As these girls grow up, they learn to collect their own fallen hair strands while combing or washing their hair. When they reach adulthood, they weave these strands into elaborate hair buns that adorn their heads during traditional festivals and community celebrations. The hair bun of a Mong Hoa woman is not only a symbol of beauty but also carries deep cultural and spiritual significance. It reflects the mother's dedication to their children and imparts valuable lessons about diligence and skill – qualities that all Mong women embody. In contrast, Mong Đen women do not preserve fallen hair strands as Mong Hoa women do. Instead, they allow their hair to grow naturally. When they reach adulthood, they style their hair into buns adorned with colorful scarves or hairpins. Additionally, they may wrap a black linen scarf around their heads to enhance their overall look. 随着这些女孩长大，她们学会在梳头或洗头时收集自己掉落的头发。成年后，她们将这些头发编成精致的发髻，在传统节日和社区庆典期间装饰头部。 蒙化妇女的发髻不仅是美的象征，还具有深厚的文化和精神意义。它反映了母亲对孩子的奉献，并传授了关于勤奋和技能的宝贵经验——这是所有蒙族妇女都具备的品质。 相反，蒙旦族妇女不像蒙化妇女那样保留掉落的头发。相反，她们让头发自然生长。成年后，她们将头发扎成发髻，用彩色围巾或发夹装饰。此外，她们可能会在头上缠一条黑色亚麻围巾，以增强整体外观。 Some Mong Đen women tightly coil their hair into thick strands around their heads, albeit in smaller quantities compared to Mong Hoa women. Similar to Mong Đen women, young Mong Trắng girls also let their hair grow naturally. Upon reaching adulthood, they shave off a portion of their hair around the head and tie the rest into a bun at the top, typically adorned with a pointed black scarf embellished with bright red flowers. The meticulous care of Mong women's hairstyles exemplifies their cultural awareness and the values of patience and hard work. It also serves as a simple yet effective method of instilling discipline in their children. 有些黑苗族妇女会把头发紧紧地盘成一缕缕，虽然数量比蒙化族妇女少。 与蒙旦族妇女类似，蒙庄族的少女也会让头发自然生长。成年后，她们会剃掉头上的一部分头发，将其余的头发扎成发髻，通常会戴上一条尖尖的黑色围巾，上面点缀着鲜红的花朵。 蒙族妇女对发型的精心打理体现了她们的文化意识以及耐心和勤奋的价值观。这也是一种简单而有效的向孩子灌输纪律的方法。 Thank you for reading this article. I am eager to introduce foreign photographers to Vietnam…

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Photojournalism

“Ná Nhèm – A festival dedicated to the male genitalia procession in Vietnam.

Several countries around the world such as Japan, Greece, and even Vietnam continue to uphold the tradition of "ceremonial procession" during special occasions with various symbolic meanings. Time: Takes place on the 15th day of the first lunar month every year.Location: Mỏ village communal house (Trấn Yên commune, Bắc Sơn district, Lạng Sơn province). Historical background of the festival. The procession of the male genitalia symbol is one of the unique rituals to pray for luck and peace during the spring festival of Ná Nhèm (Trấn Yên commune, Bắc Sơn district, Lạng Sơn province). Significance: According to the local people, "Ná Nhèm" is a Tày word meaning "to make one's face dirty" or "to disgrace oneself." The festival is a ritual, a ceremony of offering to Thành Hoàng associated with the legend of protecting the village from enemies and cultural activities, games, and performances of the Tày people in Trấn Yên commune, Bắc Sơn district." The training session skillfully recreated scenes of ancient soldiers practicing combat, battling enemies, and engaging in sword fights. From early morning, a large number of individuals were present inside the village temple of Mo, where ritual offerings known as "Tàng thinh" and "Mặt nguyệt" were placed. "Tàng thinh" is a large carved wooden statue symbolizing masculine vital energy, while "Mặt nguyệt" represents the feminine reproductive aspect of women. When "Tàng thinh" and "Mặt nguyệt" come together, they harmonize to create peace, warmth, and abundant growth. Participants of the festival must smear dirt on their faces as they believe that doing so will confuse the evil spirits and prevent any ghosts from recognizing and haunting the villagers, causing disaster and illness for them and their families. Mr. Ngư, a member of the Tày ethnic group, arrived at 6 am to perform the ritual of smearing dirt on his face. Mr. Ngư shared that this is his sixth year participating in the festival, and he is pleased to see a large number of international tourists coming to witness the event. Around 10 o'clock, two ritual objects called "Tàng Thinh" and "Mặt Nguyệt" were carried out of the communal house, in the presence of thousands of local residents and tourists who had gathered outside eagerly awaiting. Leading the procession are two senior generals and their deputies, followed by the soldiers. Flanking them are offerings including: a bamboo tree, ceremonial umbrellas, moon-shaped lanterns, water, and various plants. The lieutenant general leads the way, holding a broom, simultaneously sweeping and performing sweeping motions to clear the path. The commander and lieutenant general must coordinate their movements and steps to ensure a smooth and rhythmic progression. Several strong and healthy young men in the village were selected to escort "Tàng thinh" and "Mặt nguyệt" to the Xa Vùn temple located approximately 500 meters from the village temple of Mỏ. After approximately 45 minutes, the procession brought the ceremonial offerings to the front of the Xa Vun temple for the ritual. In contrast to previous years, the organizers of this year's festival…

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Featured Photos Photojournalism

Hà Giang is a place where flowers blossom from the rocky mountains.

The region of Ha Giang is renowned for its rugged beauty and unique landscapes that captivate the hearts of photography enthusiasts. Each visit to this northernmost part of Vietnam fills me with a sense of renewed wonder and excitement, as if experiencing it for the very first time. Ha Giang, with its harsh summer heat and chilly winters occasionally blanketed in snow, offers a pristine environment and a landscape that is unforgettable. This land is aptly named the "land of blooming rocks," showcasing raw and untouched beauty that leaves a lasting impression. Nature has gifted this region with vibrant seasons of blossoming flowers amidst rocky plateaus. Furthermore, Ha Giang is home to the simple and traditional life of ethnic minority communities nestled in cozy villages. During my recent visit at the beginning of the New Year, I had the pleasure of witnessing the spring beauty of Sùng Là valley, Dong Van rocky plateau, Ma Pi Leng pass, and Nho Que River. Departing from Hanoi at 5 AM and traveling over 400 kilometers for more than 10 hours, I arrived in Pho Cao, a district in Dong Van, Ha Giang, in the late misty evening. The tranquil villages nestled under the hills exuded a serene ambiance as local women returned home carrying bundles of firewood after a day's work. Exploring Ha Giang further, I ventured to Sùng Là valley the next morning, situated 20 kilometers from Dong Van district along Highway 4C. Strolling through the winding dirt paths of Lao Xa village, I captured the essence of Mong ethnic architecture with their dark brown, yin and yang tiled-roofed homes set against the backdrop of ancient peach blossoms, cherry trees, and plum blossoms heralding the arrival of spring. In the afternoon, I wandered through the Sùng Là valley, where the playful rays of the setting sun danced upon the rocky mountains, intermingling with blossoming cherry, plum, pear, and mustard flowers, revitalizing the entire valley. The young H'Mong children in Sủng Là, Hà Giang Province. The beauty of peach blossoms in Ha Giang blooms abundantly during the traditional Lunar New Year period, along with the golden hues of late-season mustard flowers, and the pure white elegance of early-season plum and pear blossoms. Children play joyfully under ancient peach trees, amidst rocky outcrops, and carry vibrant yellow mustard flowers under the spring sun. Dong Van's UNESCO-recognized global geopark, known as the "heaven's gate" of the rocky plateau, bewitches photography enthusiasts like myself with its towering rocky peaks such as Sa Phin. Located 15 kilometers from Dong Van towards Yen Minh, I was fortunate to witness a breathtaking sunrise at Sa Phin, allowing my soul to soar amidst the craggy peaks harmonizing with drifting clouds in the early morning highlands. Leaving Sa Phin, I embarked on the legendary journey to conquer the mythical Ma Pi Leng Pass. Spanning about 20 kilometers, it is renowned as one of the four great mountain passes in northern Vietnam, alongside Khau Pha, O Quy Ho, and Pha Din Pass.…

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Photojournalism

Experience the magic of old Vietnam in breathtaking color photos preserved by Albert Kahn.

Over 100 years ago, there are color photos of Vietnam in the "planet repository" of Albert Kahn. In 1909, Albert Kahn, a millionaire banker - also a famous French philanthropist, began a ambitious project: to build a repository of color photos of all the different cultures around the world using the most advanced color photography technique at the time invented by the Lumière brothers in 1907. 一百多年前，阿尔伯特·卡恩的“星球宝库”里就收藏着越南的彩色照片。1909年，百万富翁银行家、法国著名慈善家阿尔伯特·卡恩开始了一项雄心勃勃的项目：利用卢米埃尔兄弟1907年发明的当时最先进的彩色摄影技术，建立一个收藏世界各地不同文化的彩色照片的宝库。 This process used the autochrome color photo technique, making it easy to capture photos with accurate colors. As an idealist and internationalist, Albert Kahn believed he could use his vast wealth to create a "planet repository" to promote peace and understanding between cultures. Until now, 72,000 color photos in Albert Kahn's project, taken over a century ago, remain the most important collection of the world's first color photography era. However, many photos in this collection have never been published, like the old photos of Vietnam and Hanoi, taken around 1910-1920. To create this "planet repository," Albert Kahn hired brave and adventurous photographers to travel to over 50 countries around the world - often to hotspots full of unrest at the time, where ancient cultures were on the brink of unprecedented changes due to wars and the globalizing trends of the early 20th century. They also captured many images in distant lands that the world had yet to discover, such as Vietnam, Japan, Brazil, Mongolia, Benin… By early 1929, Albert Kahn was still one of the wealthiest people in Europe. However, by the end of that year, with the onset of the global economic crisis marked by the Wall Street market crash, his fortune began to dwindle and Albert Kahn had to stop his "planet repository" project in 1931. Albert Kahn passed away in 1940. His legacy is now preserved at the Albert Kahn Museum, which is also the house where he lived for many years in Boulogne, Billancourt in the western outskirts of Paris. This place is a beautiful garden that attracts many visitors from all over. Today, Ngoc Vuong will present some images of Hanoi and Vietnam from among the 1382 autochrome color photos by Albert Kahn from the years 1914-1916, featured on the Belle Indochine page in France. An old calligrapher in Hanoi selling characters in 1915. Một ông đồ bán chữ ở Hà Nội (1915) In 1915, Quan Thống, the ambassador of North Vietnam, was accompanied by his wife and four children. Quan Thống sứ Bắc kỳ bên người vợ và 4 đứa con (1915) 这一过程采用了自动彩色照片技术，因此很容易拍摄出色彩准确的照片。作为一名理想主义者和国际主义者，阿尔伯特·卡恩相信他可以利用自己的巨额财富创建一个“星球库”，以促进和平与文化之间的理解。 至今，阿尔伯特·卡恩项目中拍摄于一个多世纪前的 72,000 张彩色照片仍然是世界上第一个彩色摄影时代最重要的收藏。然而，这个收藏中的许多照片从未发表过，比如 1910-1920 年左右拍摄的越南和河内的老照片。 为了创建这个“星球库”，阿尔伯特·卡恩聘请了勇敢而富有冒险精神的摄影师前往全球 50 多个国家——通常是当时充满动荡的热点地区，那里的古老文化正因战争和 20 世纪初的全球化趋势而面临前所未有的变化。他们还拍摄了许多世界尚未发现的遥远土地的图像，例如越南、日本、巴西、蒙古、贝宁…… 到 1929 年初，阿尔伯特·卡恩仍然是欧洲最富有的人之一。然而，到那年年底，随着以华尔街市场崩盘为标志的全球经济危机的爆发，他的财富开始减少，阿尔伯特·卡恩不得不在 1931 年停止他的“星球储存库”项目。 阿尔伯特·卡恩于 1940 年去世。他的遗产现在保存在阿尔伯特·卡恩博物馆，这也是他多年来居住的位于巴黎西郊比扬古布洛涅的房子。这个地方是一个美丽的花园，吸引了来自世界各地的众多游客。 今天，Ngoc Vuong 将展示阿尔伯特·卡恩在 1914 年至 1916 年间拍摄的 1382 张河内和越南的照片，这些照片曾刊登在法国《美丽印度支那》杂志的版面上。 Cooking rice (1915) Nấu cơm (1915) "A variety of professions near Hanoi" Các hương chức gần Hà Nội There are phoenix-winged bulls in Hanoi. Têm trầu cánh phượng (Hà Nội) Năm 1909, ông Albert Kahn, một chủ nhà băng triệu phú - cũng là một nhà hoạt động từ thiện nổi tiếng người Pháp, bắt đầu tiến…

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Photojournalism

Tim Page – A close confidant of Vietnamese photography

Hailing from a humble background in England and Australia, at the age of 17, Tim Page had to leave home and travel to the Middle East, India, and Nepal to make a living. Carrying a Nikon 3x4 camera on his shoulder, he arrived in Laos to work for the American news agency UPI, capturing the events of the coup in Laos in 1965 before moving on to Vietnam to work as a war correspondent. He was a renowned freelance photojournalist known for his work in Vietnam and Indochina, selling many photos to leading news agencies and publications such as UPI, AP, Time and Life magazines from the United States, and the French magazine Paris Match. He passed away on August 24, 2022 in Bellingen, Australia, at the age of 78. In 2015, Tim Page made a return to Vietnam. Photo credit: Chu Chi Thanh. Tim Page suffered injuries while aboard the American pleasure yacht Point Welcome when he was mistakenly fired upon by a U.S. aircraft off the coast of South Vietnam in December 1966. Vietnam has become a sacred land for Tim Page, a photographer who was wounded four times by bombs and narrowly escaped death during the 5 years of war. He captured thousands of fiery images and authored nearly a dozen famous books on war and peace in Vietnam, the most notable being "Requiem" which he co-authored with Horst Faas. Together, they established the Indochina Media Memorial Foundation to provide photography classes for young people in Vietnam, Laos, and Cambodia. Following the war, Tim Page frequently visits Vietnam for work and is considered a respected figure by the Vietnam News Agency, the Vietnam Photography Artists Association, and the Vietnam War Remnants Museum. Although Tim Page has an extensive photography career, one noteworthy project is the collaboration with Horst Faas to compile images of fallen colleagues in a book of remembrance. During the introduction of the book and exhibition "Requiem" at the Van Ho Exhibition House in Hanoi in 2000, Tim Page stated: "We are anti-war photographers. The images in this book and exhibition about the Vietnam War and Indochina were captured by journalists on both sides of the conflict. They were friends and colleagues of Horst Faas and I, who fell on the battlefield…" In 1965, a US medical helicopter emerged from the pink smoke to evacuate the wounded soldiers of the 173rd Airborne Brigade, who were ambushed in the Viet Cong stronghold known as the Iron Triangle in Combat Zone C. The 173rd Airborne Brigade conducted a helicopter evacuation from Combat Zone D in Vietnam in 1966. During that day, Tim Page was dressed in a military-style khaki suit, with a scarf around his neck resembling those worn by farmers in Southern Vietnam. It seemed that he favored this scarf, as he brought it along on his trips to Vietnam year after year. I recognized him immediately by his tall stature, bright and expressive eyes, and the retro sunglasses perched on top of his head, securing…

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Photojournalism

Honoring Ancestral Roots: The Timeless Ritual of Le Cap Sac Among the Dao People.

Perhaps there are no words that can fully capture the beauty of the 12-lantern ritual ceremony of the Red Dao people in Lao Cai. If we were to use one word to describe this most significant ritual, we should see it through the lens of "heart", a heart that originates from the "spiritual heart" in rituals and also stems from the "wholeheartedness" in the desire to demonstrate the maturity of Red Dao men in fulfilling their responsibilities to themselves, their community, and their nation. The event commenced with a ceremony welcoming the guest of honor to preside over the official ceremony. The teachers conduct purification ceremonies for the students prior to performing sacred rituals. The dancing of turtles and bell dancing are elaborate performances carried out throughout the day and night during important ceremonial events. "Within the cultural landscape of Vietnam, the Dao people stand out as a community with incredibly unique cultural characteristics. They maintain a distinct national cultural identity, embodying a pure cultural essence untouched by outside influences or mixing with any other elements. The traditional hierarchy within the Dao community spans various levels, from the lowest rank of 3 lights to the highest rank of 12 lights, with each level holding significance in cultural meanings and reflecting a particular level of attainment. The ceremony of receiving the 12-light rank is the most significant and revered event, representing the pinnacle of spiritual and cultural importance within the Dao red ethnic group's belief system." In Dao culture, the ritual master holds a significant role in the spiritual and cultural life of the community, being highly respected. Revered as the embodiment of divine spirit, the ritual master plays a crucial part in important ceremonies such as weddings, funerals, and initiation rites of the Dao people. The ceremonial ritual of the 12 torches initiation among the Red Dao people signifies a significant milestone in the maturity of each man within the community. Those who undergo this initiation are considered adults and are entrusted with important responsibilities within the village. According to Dao beliefs, men, even the elderly, who have not undergone the 12 torches initiation are not considered adults as they have not been officially recognized, initiated into the faith, given a spiritual name… The Dao people hold the 12 torches initiation ceremony in high regard, viewing it as a crucial rite of passage that must be completed during their lifetime, especially for men. They believe that only those who have undergone the initiation possess the necessary wisdom and virtue to discern right from wrong, and are acknowledged as descendants of the Ban Vuong. Each year, the Dao people carefully select an auspicious date for the ceremony, as well as determining the appropriate number of participants. During the 12 torches initiation, there are 12 primary masters and assistant masters who oversee the ceremony, while the participants are referred to as disciples. Participation in the 12 torches initiation is not taken lightly, and those selected must be well-versed in the rituals, procedures,…

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Photojournalism

H’MONG WOMEN – AND THE LINEN CLOTH…2024

"👩🏻‍🎨H’MONG WOMEN - AND THE LINEN CLOTH… ✍️For a long time, the Mông people on the rocky plateau have been known for their unique and exquisite cultural heritage. Among them are some famous traditional crafts such as embroidery, weaving, indigo dyeing; silver carving, plow casting or making musical instruments… Drawing patterns on linen cloth with beeswax is also one of the long-standing traditional crafts of the people here. Despite being a traditional craft for generations, there are very few artisans who can draw beeswax patterns and they are all elderly people over 60 years old; the art of drawing is greatly limited due to old age and poor eyesight. It is known that a completed linen cloth with beeswax patterns must go through 2 stages: Drawing patterns and dyeing with indigo. Members must learn all traditional patterns before starting to make products. When drawing patterns, the beeswax is heated and then used with a copper pen to draw suitable patterns on the cloth; then it is dyed with indigo. The art of drawing beeswax patterns on the clothing of the Mông people will continue to be preserved, like the very breath of life, pride, and love of the people of this ethnic group for a rich traditional culture that needs to be preserved and cherished." “👩🏻‍🎨苗族妇女——和亚麻布…… ✍️长期以来，岩石高原上的苗族人民以其独特而精致的文化遗产而闻名。其中包括一些著名的传统工艺，例如刺绣，编织，靛蓝染色；银雕，犁铸或制作乐器……用蜂蜡在亚麻布上绘制图案也是这里人民历史悠久的传统工艺之一。 尽管是世代相传的传统工艺，但能够绘制蜂蜡图案的工匠却很少，而且他们都是60岁以上的老人；由于年老和视力不佳，绘画艺术受到很大限制。 众所周知，完成带有蜂蜡图案的亚麻布必须经过两个阶段：绘制图案和用靛蓝染色。成员必须学习所有传统图案，然后才能开始制作产品。绘制图案时，将蜂蜡加热，然后用铜笔绘制合适的图案在布上涂抹蜂蜡，然后用靛蓝染色。 蒙族服饰上绘制蜂蜡图案的艺术将继续得到保留，就像这个民族人民对丰富传统文化的生命气息、自豪感和热爱一样，需要保留和珍惜。”

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Photojournalism

The Ha Nhi’s Tet.

The Ha Nhi ethnic group in Muong Te, Lai Chau celebrates Tet earlier than the national Lunar New Year. Their festivities are lively and vibrant. Everyone eagerly welcomes the new year, hoping for good fortune. Families celebrate Tet by slaughtering pigs, wrapping sticky rice cakes, and making floating cakes, following unique customs and traditions rich in national cultural identity. Each year, village elders and chiefs set the Tet date based on factors like weather, climate, harvests, and economic conditions. The Ha Nhi people typically celebrate their traditional Tet, known as Co Nhi Cha, in November of the solar calendar, a time when farm work is complete, crops are abundant, and livestock is thriving. Tet is not only a time for ancestor worship and festivities but also a chance for young men and women to meet and marry. During this period, they prepare their finest clothes to celebrate and enjoy the festive food. The custom of examining a pig's liver is used to predict the success of the upcoming crop and the health of family members. During Tet, Ha Nhi women make Glutinous rice cake. The Ha Nhi village is nestled in the cloud-covered mountains of Muong Te district. During Tet, Ha Nhi women make Glutinous rice cake. Wear new, colorful clothes during Tet. During Tet, Ha Nhi women make Glutinous rice cake. Cre: NADS

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