Jade Emperor Pagoda (Ho Chi Minh City, Vietnam)

Jade Emperor Pagoda

Jade Emperor Pagoda

From the War Remnants Museum, we again boarded our van for the Jade Emperor Pagoda, one of the more colorful temples in HCMC, hidden in a small street, between high buildings. The facade of the Jade Emperor Pagoda is made with brick painted in pink and had exquisite and elaborate woodcarvings on tablets decorated with gilded Chinese characters. Its very striking and unique YinYang-shaped roofs are also works of art, with characteristic sharp peaks and sprinkled with numerous sculptures of dragons (the symbol of the divine) and completed with structures of red wood bound with elaborate, green-colored ceramic tiles.

The pagoda gate

The pagoda gate

Built from 1892 to 1909 by the Cantonese (Quang Dong) Congregation from Guanzhou, this spectacularly atmospheric pagoda (Vietnamese: Chùa Ngọc Hoàng; official name: Ngọc Hoàng Điện) is dedicated to various Taoist and Buddhist gods, especially to the supreme Taoist god Ngoc Hoang (the Jade Emperor or King of Heaven), the emperor monitoring entry through the gates of heaven by deciding who will enter and who will be refused. Originally known as Pagoda Ngoc Hoang, this pagoda was renamed in 1984 as Pagoda Phuoc Hai Tu (“Luck Sea Temple”), a new Chinese name which it still retains to this day.

A small shrine with a safe

A small shrine with a steel safe

We entered the temple via Phuoc Hai Tu, the only door to the temple, passing under a red porch into a courtyard where we were greeted by a huge banyan tree, after which we passed a small shrine with a steel safe (a reminder that, though admission is free, donations are accepted). Within the courtyard are benches for sitting.

The incinerator

The incinerator

To the left of the entrance to the Jade Emperor pagoda is the so-called incinerator, a chimney-shaped structure where believers burn offerings of paper. According to religious beliefs, smoke from the burning paper reaches the ancestors and deceased in heaven.

The pagoda courtyard

Grace, Cheska and our guide at the pagoda courtyard

Jade Emperor Pagoda (41)

Jade Emperor Pagoda (42)

To the right of the entrance is the shelter for hundreds of turtles (the temple is also called thePagoda of Turtles” or “Tortoise Pagoda”). Turtles, in Asian culture, represent longevity.  In Vietnam, they are also considered as a symbol of fortune and good luck.

Turtle pond

Turtle pond

Kyle's close encounter with a land turtle

Kyle’s close encounter with a land turtle

In decorating the pagoda, the Cantonese community was inspired by many Buddhist legends and myths. The pagoda is filled with towering and really impressive statues, made with wood and reinforced papier mâché, of phantasmal divinities and grotesque heroes which represent characters from both the Buddhist and Taoist traditions.

The Jade Emperor

The Jade Emperor

Undoubtedly, the best of the Jade Emperor Pagoda is in the main building. Beside impressive carved wooden doors with human and divine figures, to the right, is Mon Quan, the God of the Gate while opposite him is Tho Than (Tho Dia), the God of the Land.

Guardian of the door of the Jade Emperor Pagoda

Mon Quan, the God of the Gate

Jade Emperor Pagoda (47)

Against the wall are two 4 m. high, especially fierce and menacing figures of demons flanking the main sanctuary, both guardians of the gate. On the right (as you face the altar) is the statue the general who defeated the Green Dragon (depicted underfoot), while on the left is the general who defeated the White Tiger (which is also being stepped on).

The general who defeated the Green Dragon

The general who defeated the Green Dragon

Straight on is an altar on which are Phat Mau Chuan De, who gave birth to the five Buddhas of the cardinal directions; Dia Tang Vueng Bo Tat (Ksitigartha), the King of Hell; the Di Lac Buddha (Maitreya), the Buddha of the Future; Quan The Am Bo Tat; and a portrait of the Thich Ca Buddha. Behind the altar, is the Duoc Su Buddha, or Nhu Lai Buddha.

The altar of  Phat Mau Chuan De

The altar of Phat Mau Chuan De

The air inside is thick with the pungent smell of incense smoke from burning joss sticks. Presiding over the main sanctuary is the Jade Emperor Ngoc Hoang (easily recognizable by its large mustache typical of Cantonese culture), draped in luxurious robes, flanked by his guardians, the Four “Big Diamonds” (Tu Dai Kim Cuon). They are so named because they are said to be as hard as diamonds.

Four Big Diamonds (Tu Dai Kim Cuong)

Four Big Diamonds (Tu Dai Kim Cuong)

In front of the Jade Emperor, on the left, is Bac Dau, the Taoist God of the Northern Polar Star and Longevity, flanked by his two guardians; and, on the right, is Nam Tao, the Taoist God of the Southern Polar Star and Happiness, also flanked by two guardians. To the right of the Jade Emperor is 18-armed Phat Mau Chuan De.

Jade Emperor Pagoda (19)

On the wall to her right is Dai Minh Vuong Quang,reincarnated as Sakyamuni. Below are the Tien Nhan (the ‘God Persons’). To the left of the Jade Emperor sits Ong Bac De, one of his reincarnations. On the wall, to the left of Ong Bac De, is Thien Loi, the God of Lightning, who slays evil people. Below him are the military commanders of Ong Bac De and Thien Loi’s guardians. At the top of the two carved pillars that separate the three alcoves are the Goddess of the Moon and God of the Sun.

Guardian demon of the Hall of the Ten Hells

Guardian demon of the Hall of the Ten Hells

We then went out a door, on the left-hand side of the Jade Emperor’s chamber, to another room. To the right is a semi-enclosed area presided over by Thanh Hoang, the Chief of Hell, while to the left is his life-sized effigy of red horse. Closest to Thanh Hoang are Am Quan, the God of Yin, and Duong Quan, the God of Yang. The other four figures, the Thuong Thien Phat Ac, are gods who dispense punishments for evil acts and rewards for good deeds.

Hall of the Ten Hells

Hall of the Ten Hells

Thanh Hoang faces in the direction of the Hall of the Ten Hells, usually filled with the smoke of incense sticks as well as multitude of candles, fruit offerings and lucky money. Ten interesting and magnificently carved wooden panels, lining the walls on the sides of the room, represent the 1,000 torments or storms awaiting evil people in each of the Ten Regions of Hell.  Each panel is topped with a representation of a King of Hell perusing a book that details the very evil acts perpetuated by the dead. This depiction of the horrors awaiting the ungodly is the equivalent of “Judgment Day” in Chinese mythology.

Quan Am Thi Kinh on a lotus blossom holding her “son.”

Quan Am Thi Kinh on a lotus blossom holding her “son.”

On the wall opposite Thanh Hoang is a wood panel depicting Quan Am Thi Kinh on a lotus blossom holding her “son.” To her left is her protector Long Nu while to her right is her guardian spirit Thien Tai. To the right of the panel of Quan Am Thi Kinh is a panel depicting Dia Tang Vuong Bo Tat, the King of Hell.

Kim Hoa Thanh Mau

Kim Hoa Thanh Mau

Facing the Chief of Hell, on the other side of the wall, is a fascinating little room with ceramic figures of 12 women wearing colorful clothes, overrun with many babies and sitting in two rows of six. They are presided over by Kim Hoa Thanh Mau, the Chief of All Women and the protector of all mothers and children. Each figurine exemplifies a particular human characteristic, either good or bad (as in the case of the woman drinking alcohol from a jug), and also represents a year in the 12-year Chinese astrological calendar. Childless Vietnamese couples often visit this small chapel to pray to be granted a child. Off to the right of the main chamber, stairs lead to a second floor sanctuary and balcony.

Figurines of 6 women in a row with babies

Figurines of 6 women in a row with babies

The rather interesting Jade Emperor Pagoda, a lovely and quiet place of worship, is a gentle and exotic little spot full of character. I liked looking at all these rather nasty and mean statues (they may scare very young children!) but also liked seeing the young and old local worshippers who came to pray, make offerings and burn incense. Set within a calm leafy courtyard with a rare spiritual glow, this island of tranquility in the sea of frenetic activity that is HCMC is definitely worth a look.

A pagoda worshipper

A pagoda worshiper

Jade Emperor Pagoda: 73 Mai Thi Luu Street, District 1Ho Chi Minh CityVietnam. Tel: +84 8 3820 3102.  It is open daily, 6 AM – 6 PM.

How to Get There: City buses 36 And 54 stop in the vicinity of the pagoda. Bus 36 leaves from the Ben Thanh bus station (just opposite Ben Thanh Market) and stops along Tran Quang Khai Street while bus 54 departs from the Mien Dong bus station and stops closest to the pagoda along Vo Thi Sau Street.

War Remnants Museum (Ho Chi Minh City, Vietnam)

War Remnants Museum

War Remnants Museum

We departed Ben Thanh Market in our van during a driving rain and it was still raining when we arrived at the War Remnants Museum (Bo tàng Chng tích chiến tranh), perhaps the most famous and popular museum in the city.

Museum atrium

Museum atrium

The museum, opened to the public on September 4, 1975, attracts approximately half a million visitors every year, about two-thirds of them foreigners.  Previously called the Museum of American War Crimes, the name was altered in 1995 so as not to cause offence to American visitors following the normalization of diplomatic relations with the United States and end of the US embargo the year before.

Museum lobby exhibit

Museum lobby exhibit

Comprising a series of themed rooms in several buildings (most in the former austere, concrete 3-storey United States Information Agency building), it primarily contains exhibits relating to the horrific American War (known in the U.S.A. as the Vietnam War), one of the bloodiest wars ever, also known as the second Indochina War, but also includes many exhibits relating to the first Indochina War involving the Vietnamese’  former French colonial masters.

The World People in support of Vietnam's Resistance

The World People in support of Vietnam’s Resistance

The 8 main permanent exhibits and various other special collections are – “International Support for Vietnam in its Resistance” in the ground floor; “Agent Orange Aftermath in the U.S. Aggressive War in Vietnam” and “Aggression War Crimes” at the second floor; and “Historical Truths”, “Requiem,” the “War and Peace Pavilion” and “Agent Orange in the War” at the third floor.  In another building is the “Imprisonment System” (shows the torture methods used in detention camps). Captions are in Vietnamese, English and Japanese.

Agent Orange Aftermath in the US Aggressive War in Vietnam

Agent Orange Aftermath in the US Aggressive War in Vietnam

This is also possibly one of the few museums in the world that allows you to take photos of the exhibits inside and outside.  These exhibits took us a few hours to view and I concentrated more on the captions than a lot of the actual pictures. The copies of newspaper clippings are interesting.

Agent Orange in the Vietnam War Pavilion

Agent Orange in the Vietnam War Pavilion

The “International Support for Vietnam in its Resistance Pavilion” is dedicated to the Vietnam peace movements all over the world, is devoted to a collection of posters and photographs showing international opposition (mostly communist countries such as Cuba, People’s Republic of China, the then Soviet Union, North Korea and prominent Western communist leaders) to the war as well as many old posters from the 1970’s American peace movement proclaiming “Stop the War.”  A powerful exhibit here is the bunch of medals given by U.S. Sgt. William Brown to the Vietnamese people with an apology saying ‘To the people of an united Vietnam, I was wrong, I am sorry.”

Medals given by U.S. Sgt. William Brown to the Vietnamese people

Medals given by U.S. Sgt. William Brown to the Vietnamese people

The “Agent Orange Aftermath in the U.S. Aggressive War in Vietnam Pavilion” covers the effects of Agent Orange and other chemical defoliant sprays. Prominent displays here include pictures of hideously deformed babies and three pickling jars of preserved human fetuses allegedly deformed by exposure to Agent Orange. They also have a video screening showing its effects on the Americans using chemical weapons during the war as well as highlight how the chemicals still affect the Vietnamese, even today.

Preserved human fetuses allegedly deformed by exposure to Agent Orange

Preserved human fetuses allegedly deformed by exposure to Agent Orange

The “Aggression War Crimes Pavilion,” a room at the second floor heavily dosed with anti-American propaganda, is a distressing compendium of the horrors of war that shows the mistreatment of civilians during the war through the use of napalm and phosphorus bombs and war atrocities such as the infamous My Lai massacre.   Here, we had the rare chance to see some of the experimental weapons used in the war which were, at one time, military secrets, such as the fléchette, an artillery shell filled with thousands of tiny darts.

Fragment of the Wreckage of a B-52 Plane

Fragment of the Wreckage of a B-52 Plane

The “Historical Truths Pavilion,” devoted to the causes, origins and processes of aggressive wars, contains photographs, propaganda, news clippings, and signboards geared toward showing the wrongdoings of the U.S. government in the 1960s and 1970s.

Historical Truths

Historical Truths

The “War and Peace Pavilion” has a collection of colorful paintings submitted by schoolchildren from across Vietnam in response to a contest for pictures on the themes of war and peace and the healing of the wounds of war, is the most cheerful exhibit in the building.  Some pictures are sad, others happy, but it does give you a sense of hope for the future. This somewhat upbeat and really uplifiting display provides some respite from the grizzly museum displays on the horrors of war. Children and adults alike can also draw on the free paper and pastels given out specifically to relieve stress.

Vietnam - War and Peace

Vietnam – War and Peace

The “Agent Orange in the War Pavilion” highlights America’s decision to use chemical weapons, giving emphasis to chemical weapon called “Agent Orange.” Dioxins and dioxin-like compounds were contained in 75 million liters of toxic chemicals which  were dumped across the country including 44 million liters of the defoliant spray Agent Orange.

Requiem

Requiem

The excellent “Requiem Pavilion” houses a powerful and striking collection of assorted iconic photographs (some Pulitzer Prize-winning) and photo montages taken by 134 frontline journalists and photographers of 11 nationalities, on both sides, who were killed during the course of the conflict and compiled by legendary war photographer Tim Page.

Ckheska and Kyle at Requiem Exhibit

Ckheska and Kyle at Requiem Exhibit

This moving tribute includes works by Larry Burrows and Life Magazine’s Robert Capa who died on May 25,1954 stepping on a land mine. Pictures and short biographies of the photographers are by their featured photos.

Life Magazine cover photo taken by photographer Larry Burrows near Khe Sanh

Life Magazine cover photo taken by photographer Larry Burrows near Khe Sanh

This incredible collection of black and white photos (in some cases, very graphic that will distress viewers) from the American conflict is heart-wrenching and shows the deep suffering endured by the Vietnamese during the war.  Most photographs are captioned with “His/her last photograph” or “The last sighting of them as they set off for a VC checkpoint.” The most moving, however, was “A chaplain reading their last rites.”

June 8, 1972 photo of napalm girl taken by Huynh Cong Ut

June 8, 1972 photo of napalm girl taken by Huynh Cong Ut

A photo that caught my attention was that of a mother fleeing away from her enemies with her children. Another one that struck me was the famous Pulitzer Prize winning photo of Huynh Cong Ut of a girl fleeing from the scene, being injured by the napalm bomb.

The Outdoor Exhibit

The Outdoor Exhibit

The rain had stopped and the sun was already shining when we finished our tour of the indoor exhibits, allowing us the opportunity to observe, up close, impressive state-of-the-art period military equipment placed within a now enlarged walled yard. The military equipment includes a UH-1 “Huey” helicopter, a BLU-82 “Daisy Cutter” bomb, M48 Patton tank, a renovated Douglas A-1 Skyraider attack bomber, an F-5A fighter and an A-37 Dragonfly attack bomber.

Defused ordnance

Defused ordnance

The last two are captured former South Vietnamese Air Force (VNAF) aircraft. Stored in the corner of the yard  are a ghoulish collection of unexploded ordnance , with their charges and/or fuses removed. When they called this place the War Remnants Museum, they weren’t joking.

A-1 Skyraider

A-1 Skyraider

A-37 Fighter Bomber

A-37 Fighter Bomber

One corner of the grounds is devoted to the notorious French and South Vietnamese prisons on the infamous prison islands of Phu Quoc and Con Son near the Mekong Delta. Displays include the guillotine (that most iconic of French punishment devices) pictures, torture tools, and a grisly mock-up of the notoriously gruesome and inhumane “tiger cages” (with eerie wax models of prisoners sitting inside) used by the South Vietnamese government to house captured regular NVA prisoners-of-war, NLF (Vietcong) guerillas and political prisoners. The latter measures 2.7 m. x 1.5 m. x 3 m. and between 5 to14 prisoners were kept in each cage during the hot season, while only one or two were kept during the winter season. 

The Imprisonment System

The Imprisonment System

The famous guillotine, brought to Vietnam by the French in 1911, was used in a jail along Ly Tu Trong Street. During the Vietnam War, it was transported to all of the provinces to decapitate Vietnamese patriots. Mr Hoang Le Kha, member of the Provincial Committee of the Vietnamese Workers’ Party in Tay Ninh province, was the last man executed in 1960.

The guillotine

The guillotine

A visit to the War Remnants Museum is a quite sobering experience, especially for people like me where war seemed so far away, making me value the peace that we have now. They make no attempt to sugar-coat what they have to say here – man’s inhumanity to man. This humbling and sorrowful tribute to the thousands of men, woman, and children that suffered death and injury was successful in driving home the fact that wars are brutal and that innocent civilians are the biggest losers. Their pains deserve to be remembered.

Mock up of a tiger cage

Mock up of a tiger cage

It’s certainly not a fun place to go to but an eye opener all the same.  Much of what is on display isn’t easy to stomach, but that’s the point. Nevertheless, I would perhaps think twice about bringing children here.  The prison cells can be especially scary for the little ones.   Americans will probably say that it is extremely biased as its displays do tell the story from an anti-American perspective (not knowing that apparently 95% of the material came from the US archives) and it might be true. However, this powerful and politically charged testimony of the Vietnamese side constantly and subconsciously reminds us of the Winston Churchill’s idiom that “History is written by the victors.”

Jandy beside a CH-47 Chinook

Jandy beside a CH-47 Chinook

Disturbing, disgusting and tragic, the grisly photos of decapitated bodies and people begging for their lives, solemn, grim reminders of the cruelty of war, will open your eyes and churn your stomach.  Still, I was still very glad that I went there.  Their exhibits are compulsory viewing for all politicians worldwide. The museum gets busy in late afternoon as tours to the Cu Chi Tunnels (another good view of the Vietnam War),finish there. Avoid the crowds by going earlier in the day.

The author beside an M-48 A3 Tank

The author beside an M-48 A3 Tank

War Remnants Museum: 28 Võ Văn Tần, District 3, Hồ Chí Minh, Vietnam.  Tel: (84-4) 39302112 and (84-8) 39306325.  E-mail: warrmhcm@gmail.com.  Website: www.warremnantsmuseum.com.  Admission: 15,000 VND.  Children below 12 years old are free and discounts are offered for some categories of people. Open Tuesdays to Sundays, 7.30 AM- 12 noon & 1:30-5 PM. Last admission is 4:30 PM.

How to Get Thereif you are not within walking distance, there are different buses that go past the museum, . Bus Route No. 14: BX Eastern – 3/2 – BX West. Bus Route No. 28: Ben Thanh Market Cho Xuan Thoi Thuong Bus Route No. 06: Cholon BX – University of Agriculture and Forestry

Golden Dragon Water Puppet Theater (Ho Chi Minh City, Vietnam)

Golden Dragon Water Puppet Theater

Golden Dragon Water Puppet Theater

Upon our arrival at the Elios Hotel in the Pham Ngu Lao area, I checked out pamphlets and advertisements for various tourist activities in the city. Among the pamphlets is one for the Golden Dragon Water Puppet Theater, the pre-eminent water puppet theater in Ho Chi Minh City, which outlandishly claims that you “haven’t really been to Vietnam until you’ve seen a water puppet show.” This 50-minute long show features marionette puppets in water.

The theater seating area

The theater seating area

The exact time when water puppetry (múa ri nước), began in Vietnam is not known.  However, the oldest record mentioning water puppetry is found on an inscription on a stone stele called Sùng Thiện Diên Linh, dating from 1121, which was found in Đọi Sơn Pagoda, Duy Tiên District, Hà Nam Province, about 50 kms. from Hanoi. It eulogized the merits of King Ly Nhan Tong and describes a scene: “A golden tortoise, with three mountains on its shell, was seen on the rippling surface of the water. It showed both its carapace and four legs… the cavern’s entrance opened and fairies in the play appeared…Flocks of precious birds and herds of animals sang and danced…”

The water stage

The water stage

From the 11th to 14th centuries, after a period of rapid development, the art of water puppetry escaped the confines of the royal palaces of the Le and Nguyen dynasties and began showing up at village festivals and ceremonies in the Red River Delta, thus jump-starting the development of the country’s traditional stage arts. This art form, unique to Northern Vietnam, was first displayed in Hanoi in 1958 and, in 1973, the first state-run puppetry troop was established to serve the public audience.  In 1984, as a result of normalized relations with the West, Vietnamese water puppetry was introduced to the world stage for the first time (in France).

Waiting for the show to start

Waiting for the show to start

During the early 1990s, the country’s three foremost companies, the National Puppet Theatre (Nhà hát Múa ri Trung Ương), the municipal Thăng Long Puppet Company (Nhà hát Múa ri Thăng Long) of Hanoi and the Hồ Chí Minh City Puppet Company (Đoàn Ngh thut Múa ri Thành Ph H Chí Minh) gained increased international attention. Today, the main venues in Vietnam are the Thăng Long Water Puppet Theatre in Hanoi and the Golden Dragon Water Puppet Theater in Saigon.

Musicians and singers on the left

Musicians and singers on the left

Musicians and singers on the right

Musicians and singers on the right

After a short rest at our hotel and lunch at a nearby noodle house, Grace and I checked out a nearby travel agency where we booked ourselves for the last 7:45 PM show (other show times are 5 PM and 6:30 PM).  The regular admission per person at the ticket booth is US$7.50 and since the theater hosts three shows a day, obtaining tickets is not difficult. However, to facilitate things we paid the travel agent US$9.00 per person which included our taxi fare going there.

Uncle Teu

Uncle Teu – the master of ceremonies

We arrived at the theater, which is just a short distance from the Reunification Palace in the Labour Cultural House, half an hour before the start of the show.  The red velvet-covered auditorium seats around 200 visitors but, though we weren’t in the first few rows (which is definitely a splash zone), we were seated at the back rows which was quite far from the stage. Luckily, the theater wasn’t fully booked that night and, minutes before the start of the show, we were allowed to transfer to the middle row.

Water Puppet Show (19)

The show, with no intermission, was performed entirely in Vietnamese.  It is about the ancient origins of Vietnam and its rural upbringings, with a splash of the mythical goddesses, dragons and talking fish that go along with the traditional stories.

Water Puppet Show (132)

The orchestra of this modern theater consisted of professional musicians and singers, sitting in their traditional au dais, are set off to the left and right sides of the stage. They play traditional musical instruments like drums, clarinets, cymbals, Chinese guitars, bamboo flutes, zithers, two-stringed violins and, the most noteworthy instrument of them all, a monochord with a single string which can create wonderful tune. The singers not only accompany the orchestra but also converse with puppets, especially with the humorous and intelligent puppet Uncle Tễu which functions as the master of ceremonies. The show is split into around 12 acts, each telling a separate story.

Water Puppet Show (141)

As in other traditional Vietnamese performing arts such as chèo (popular opera), tung (classical opera) and ci lương (renovated opera), the program started with a boisterous music composition to attract attention and create a joyful atmosphere.  The colorful puppets danced and performed numerous interesting items on the shimmering water surface of the water stage in the theater, accompanied by animated music and singing. They even performed acrobatics, spectacular acts which cannot be done by modern robots. We saw no puppeteer, no machines, instruments or controlling strings and poles. By grandson Kyle was spellbound by the performance.

Water Puppet Show (146)

A lot of the scenes were easy to understand, even for non-Vietnamese speakers like me, but there were scenes that were quite hard to follow.  Sometimes, an entire act finished and I only had only a slight idea of what happened. I can understand why some people would dislike the show. However, this traditional but highly developed Vietnamese art form, handed down for nearly 1,000 years, is full of joy, lighting and colors, myriad charms and shocking surprises and is enjoyable to watch.  Watching it, we immediately experienced the boisterous and joyful atmosphere of a real folk festival. The jubilant and sweet puppets particularly enchanted us with their hilarious games. This is the power which can only be found in a water puppet.

The puppeteers

The puppeteers

Though we can watch the water puppet show on VCDs, DVDs, television programs or on YouTube, none of these can replace the real live performance in which we sat near a sparkling water surface. The handling of the water puppets was ingenious and the puppet’s voice actors are truly skilled and multi-talented.  Both contributed to a fascinating performance. Most shows do get pretty full so, to get the best seats in the house, show up early. To be less confused, read the pamphlet which is distributed outside the theater.  It briefly explains what each scene is about.

Grace, Kyle, Cheska and Jandy

Grace, Kyle, Cheska and Jandy

Golden Dragon Water Puppet Theater: 55B Nguyen Thi Minh Khai St., Ben Thanh Ward, District 1, Ho Chi Minh City, Vietnam. Tel: +84 8 3930 2196(booking office) and (84) 0913874808.  Email: nhahatrongvang@gmail.com. Website: www.goldendragontheatre.com. Daytime performances are by special arrangement.

Visit of the MV Logos Hope (Cebu City, Cebu)

From Fort San Pedro, Grace, Jandy, Cheska and I walked over to the Malacañang sa Sugbo berth in Pier 1 where the MV Logos Hope, the world’s largest floating library, was docked.  This world-traveling vessel, operated by the non-profit German Christian charitable organization GBA Ships e.V (Gute Bücher für Alle, English: Good Books for All) and captained by Tom Dyer, arrived in Cebu City last April 28 and was to remain there until May 29.

MV Logos Hope

Here, we checked out its library, occupying one air-conditioned deck of the ship.  It carries some 500,000 educational and Christian books of different titles, covering a range of subjects including fiction, economics, science, sports, hobbies, cookery, arts, medicine, languages, general reference and philosophy, for sale “at a fraction” of the books’ retail price.  Price ranged from PhP100-200 for the cheaper books, while the more expensive ones cost around PhP400-1,000.

The newly created Logos Hope Experience, situated on a deck that was installed into the original ferry’s car area, holds up to 800 visitors at any time, with capacity to host an additional 500 in the Hope Theatre and Logos Lounge. This publicly accessible deck offers visitors an introduction to the vessel and the organization. There’s also the “Journey of Life,” a visual presentation which is based on the story of the “Prodigal Son,” and the International Cafe.

The vessel’s 400 all volunteer (they live on board for two years) crew and staff, headed by Managing Director Seelan Govender, come from 45 countries, many of them humanitarian activists and people interested in social service who took part in the journey to sell books as well as to perform charity activities. Knowledge, Hope and Help is the aim of the vessel and wherever the ship goes, the needy and the destitute get sighs of happiness and hope. The revenue from the book fair is used for building orphanages, providing computer training, for awareness and educational programs for people with HIV, offering free health checkups and for donating to charity funds.

The fourth ship in the Logos line up, after the MV Logos (its wrecked hulk now sits on a rock shelf on the Chilean coast), the MV Logos II (retired in the fall of 2008) and the MV Doulos (sold in 2009 to a company in Singapore) and twice bigger than its predecessors, it is better than other ships operated by the organization when it comes to providing comfort, convenience and a quality cruise to visitors, guests as well as the crew of the ship. The MV Logos Hope was built in 1973 as the ferry MV Gustav Vasa for car ferry service between Malmö (Sweden) and Travemünde (Germany), a route she ran for 10 years.  In April 1983, she was sold to Smyril Line, a Faroese ferry company, and renamed MV Norröna, providing a ferry service to the Faroe Islands. Each summer, she sailed from Tórshavn, the Faroese capital, to Lerwick (Shetland Islands), Bergen (Norway), Hanstholm (Denmark) and Seyðisfjörður (Iceland).

In winter, she was often chartered to cover other operators’ overhaul schedules. When Smyril Line delivered a new Norröna in 2003, the old vessel became MV Norröna I and was put up for sale. In March 2004, after much deliberation, inspection and prayer, GBA purchased the vessel.

Completely refitted over a period of 5 years, it was launched into active service in February 2009 and has visited more than 150 countries in Northern Europe, the Caribbean, West Africa, the Mediterranean, the Arabian Peninsula, and most recently south Asia, docking in a port for approximately 2 weeks.  A total of 44 million book lovers have checked out its store. It last visited the Philippines in 2013.

MV Logos Hope: open from Tuesdays to Saturdays, 10 AM to 9:30PM, and Sundays, 1 to 9:30 PM.  Admission:  PhP20 per person. Children under 13 years old and senior citizens may enter for free.

Cathedral of St. Gregory the Great (Legaspi City, Albay)

Also called the Albay Cathedral, the first church was buried in 1754 and destroyed during the February 1, 1814 eruption of Mayon Volcano. The present cathedral, located near Penaranda Park, was built in 1834 mainly through the generosity of Pedro Romero.  During World War II, the church was damaged by American bombers and its reconstruction continued until 1951.

The Cathedral of St. Gregory the Great

The Cathedral of St. Gregory the Great

That same year, when the Episcopal Seat of the Diocese of Legaspi was established, the church was elevated to become a cathedral. Its nominal patron is Our Lady Mother of Salvation while its secondary patron is Pope St. Gregory the Great. In 2001, during the golden jubilee of the church, a gate with monolithic pillars and arch was constructed.

The simple Romanesque-style facade

The simple Romanesque-style facade

The church’s simple Romanesque-style façade has a semicircular arched main entrance with a projecting portico, both flanked by niches with statues of St. Raphael and St. Peter, and superpositioned coupled columns on pedestals supporting a triangular pediment. At the ends are single superpositioned columns with a pinnacle on top. The pediment and second level are separated by an entablature.

The centrally located square bell tower

The centrally located square bell tower

The second level has a centrally located rose window flanked by rectangular windows.  Above the pediment is a centrally located square bell tower.  The side entrances have semicircular arched entrances flanked by superpositioned fluted columns.  Above the entrances are statued niches.

Side entrances with a statued niche above it

A side entrance. A niche with the statue of St. Lorenzo Ruiz is above it

Cathedral of St. Gregory the Great: Mons. F. Reyes St., Old Albay District, Legazpi City, 4500, Albay. Tel (052) 820 4603.

City Mayor’s Office: City Hall, National Highway, Legaspi City, 4500, Albay. Tel.: (052) 820-1400.

City Tourism Office: Legaspi City, 4500, Albay. Tel: (052) 480-2698 and (052) 820-1843. Website: www.legaspi.gov.ph.

How to Get There: Legaspi City is located 556 kms. southeast of Manila.

Church of Our Lady of Mt. Carmel (Malilipot, Albay)

Church of Our Lady of Mt. Carmel

Church of Our Lady of Mt. Carmel

The town’s church was first built in 1789 by Fr. Simeon Vasquez. The present church was started in 1851 and completed in 1877.The church grounds have a good view of Mayon Volcano.

The Baroque-style, 2-level facade

The Baroque-style, 2-level facade

AUTHOR’S NOTES:

Its 2-level Baroque façade has a semicircular, recessed arched main entrance, in varying widths, flanked, on each side, by 3 pilasters (the center one taller and wider than the other two), all mounted on pedestals. These, in turn, are flanked by semicircular arched windows.

A trio of columns

A trio of columns

The main entrance

The main entrance with recessed arches in varying widths

The second level has a semicircular arched niche with a statue of Our Lady of Mt. Carmel (below which is stamped the year “1877”) flanked, on both sides, by a pilaster and a semicircular arched window.  All throughout the façade are decorative scrollwork while the statued niche has a fleur de lis keystone.  The triangular pediment has a centrally located oculus.

Niche with statue of Our Lady of Mt. Carmel

Niche with statue of Our Lady of Mt. Carmel

Detail of decorative scrollwork

Detail of decorative scrollwork

The whole façade is flanked by two 4-storey, hexagonal bell towers topped by domes. The two levels are separated by an entablature with a frieze of decorative, alternating diamond and floral patterns which continues around the bell towers.

The modern church interior

The modern church interior

The bell tower with Mt. Mayon on its left

The bell tower with Mt. Mayon on its left

Our Lady of Mt. Carmel Church: Poblacion, 4510 Malilipot, Albay.  Tel: (052) 325 8965 and 558-2379.

Mayor’s Office: Municipal Hall, Poblacion, 4510 Malilipot, Albay. Tel.: (052) 820-7950

Church of St. Joachim and St. Anne (Malinao, Albay)

The Church of St. Joachim and St. Anne was built by Franciscan Fr. Francisco de Sta. Ana in 1619, destroyed by lahar triggered by a typhoon during the 1766 Mayon Volcano eruption and later rebuilt.

Church of St. Joachim and St. Anne

Church of St. Joachim and St. Anne

Author’s notes:

This church’s simple Romanesque façade has semicircular arch main entrance (above which is a rose window) flanked by rectangular windows and superpositioned coupled columns on pedestals that extend to the second level.  At the ends of the facade are single superpositioned columns topped by pinnacles. On the church’s right is the four-storey bell tower.

The church facade

The church facade

The bell tower

The 4-storey bell tower

Its triangular pediment above the second level features a remarkable relief sculpture of St. Anne holding baby Mary, riding a cow and chasing off pirates.  St. Anne is credited with saving Malinao from a pirate attack.

Bas relief at the triangular pediment

Bas relief at the triangular pediment

The church's modern interior

The church’s modern interior

Mayor’s Office: Municipal Hall, Poblacion, 4512 Malinao, Albay. Tel.: (052) 488-4550

How to Get There: Malinao is located 545 kms. from Manila, 5 kms. from Tabaco City and 32 kms. northeast of Legaspi City.

Church of St. Lawrence the Martyr (Tiwi, Albay)

Church of St. Lawrence the Martyr

Church of St. Lawrence the Martyr

Tiwi’s present church, built in 1829, replaced the town’s original church which was built in 1776,  by Franciscan Fr. Pedro de Brosas at the mouth of a site called Tuytoy (“bridge”) Swamps.  The church was burned by Moro pirates and later abandoned due to its vulnerability to typhoon-induced tidal waves.

The centrally located, square bell tower and triangular pediment

The centrally located, square bell tower and triangular pediment

AUTHOR’S NOTES:

The church’s dark, simple but charming façade is dominated by a centrally located, square bell tower, and it’s gently protruding, semicircular arched main entrance, flanked by coupled columns, is topped by a triangular pediment with a centrally located oculus.

Superpositioned coupled columns with pinnacles

Superpositioned coupled columns with pinnacles

Flanking the main entrance are two statued niches and another set of coupled columns capped by pointed pinnacles.  The first level is separated from the triangular pediment by an entablature.

The modern church interior

The modern church interior

Church of St. Lawrence the Martyr: San Lorenzo St., Sitio Basag, Brgy. Tigbi, 4513 Tiwi, Albay.  Tel: (052) 488 5107. Feast of St. Lawrence the Martyr: August 10.

Mayor’s Office: Municipal Hall, Poblacion, 4513 Tiwi, Albay.  Tel.: (052) 435-4866.

Philippine Ceramics Arts and Crafts Center (Tiwi, Albay)

After lunch and some special halo-halo at DJC Halo-Halo & Snack Inn, we again boarded our van for the short, 7-km. drive to the quiet, little coastal village of Putsan, touted as the birthplace of pottery in the Philippines.  The barangay is said to be rich in red clay and feldspar which are the basic materials in pottery making.

Philippine Ceramic Craft Arts (PhilCeramics)

Philippine Ceramics Arts and Crafts Center (PhilCeramics)

Here, we were to visit Philippine Ceramics Arts and Crafts Center (PhilCeramics), a state-of-the-art terra-cotta production center in the Bicol region which has been identified as a tourist destination by the Department of Tourism. The building, situated on a 1,500 square meter lot donated by the Barangay Council of Putsan to DTI-Albay, has a total floor area of 1,000 sq. m..

Clay being hand molded

Clay being hand molded

PhilCeramics introduced the modern technology of pottery making in Tiwi which is now the leading terracotta ceramic industry in Bicol Region. This project of Department of Trade and Industry, allocated P15.7 million under the General Appropriations Act of 1994, started operating in January 2001.

A pair of steady and trained hands working on the potter's wheel

A pair of steady and trained hands working on the potter’s wheel

The village then formed a cooperative, the Putsan Ceramics Manufacturers Association (PCMA), whose role was to process clay, through the PhilCeramics facility, and to sell them to the entrepreneurs.  PCMA now has 57 members from Brgys. Baybay, Bolo and Putsan. Three were able to put up their own display centers of their products. It now provides a sustainable livelihood through pottery making.

Various patterns being smoothly and uniformly carved out

Various patterns being smoothly and uniformly carved out

Many potters, though, not yet ready to adapt to the modern processes, still choose to abide by the traditional method of pottery.  Traditional potters dry clay and molded pots under the sun along the sides of road or in front of their houses, and use the conventional way of baking, burning piles of hay and chaff on their yards, with the molded items underneath.

Painting designs in warm and vibrant colors

Painting designs in warm and vibrant colors

Of the 80% of households in Putsan that were into pottery, 20%used the PhilCeramics service facility while 60% stuck to the traditional methods of production. However, the two groups have different markets and there never was a competition between the traditional and modern potters. The traditional potters produce pots and big jars while the modern potters invest on decorative items.  The peak season of the industry is from December to March.

Aromatherapy burners

Aromatherapy burners

Specifically, PhilCeramics is mandated to undertake research and development activities and serve as a training center that will hone the skills of the local producers, giving rise to new breed of TC entrepreneurs. Today, it has developed 25 new entrepreneurs in Putsan who are active users of the service facility.

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Stars and crescent moons carved into the jars

As a production center, it provides access to common state-of-the-art service facilities for clay processing, kiln firing, casting, use of spray booth, and electric throwing machines, thus enabling local producers to manufacture export quality products.. It is also a display center providing a space to interested local producers who wish to maintain an exhibit of their products. Through the transfer of appropriate technology, it also seeks to improve the quality of products.

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As a product development center, it conducts continuing product development activities in coordination with the PDDCP and other agencies. A training center, it provides a series of basic and advance skills training to potential and existing TC workers, producers and entrepreneurs. For trade development, it conducts trade seminars and forums, trade fair participation and market matching activities that enhance the marketability of the terracotta wares.

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Upon arrival, we observed the pottery making process within the factory.  The process begins with heaps of red clay being dug out.  The clay then undergoes a long, meticulous process to make them fine and ready for shaping.  Then, these chunks of red clay are ground, milled, sifted and pressed into finer lumps with a bit of water and white clay blended in the mixture. Three mixtures are used in making a pot – red clay (himulot na pula), black clay (himulot na itom) and feldspar (baras). Water is added to complete the formula. An average of 20 to 40 kilos of clay is produced daily.

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The processed clay is then distributed to the parahurma (the local term for potter) of Putsan for them to mold right inside their homes, making modern pottery a communal enterprise in the village.  Jars and pots are then hand-molded in delicate shapes, by men, on top of an electric-driven throwing machine.  A pair of steady and trained hands works on the potter’s wheel, molding clay into the shape of pots or jars.

Pots being dried under the sun

Pots being dried under the sun

Then creativity kicks in, with various patterns (butterflies, flowers, moon, stars, etc.) smoothly and uniformly carved out.  The molded and carved out jars and pots are then placed into petroleum gas-powered ovens and baked. Women paint the designs in warm and vibrant colors.  A tight watch is made over the oven as too much heat can also break the pots and jars.

Display center of finished products

Display center of finished products

Product prices vary depending on size and design but most do not exceed PhP500. The products made are mainly for local consumption since bringing them to Manila would be expensive due to the high cost of freight services from Albay. However, the local government is also extending financial help to the pottery industry with the long-term goal of penetrating the export market.

Ceramic key chains

Ceramic key chains

Products include elegant vases (PhP50-250), ash trays (PkP50-100), pencil holders (PhP35-60), miniature jars cut and holed to become candle holders (PhP50-65)and aromatherapy burners (PhP65-300), key-chains (PhP10), ref magnets (PhP35), candle holders, decorative wind-chimes featuring butterflies and flowers (PhP75) and lamp shades (PhP65-150).  Coffee mugs and tea cups are made-to-order.

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The ceramics from Tiwi, because of its improved quality and design, is now gradually being introduced to the world of fashion and interior design. Some ceramic-made accessories are now being fashioned into accents for bags, curtains and blinds. Ceramic accents that looked like cookies are used for wall frame products.

Horoscope key chains

Horoscope key chains

While we were in the facility, we met up and chatted with Japanese Ms. Yukiko Takiguchi, Ms. Chiaki Koyama and 27 year old Mr. Yuji Ueno.  Yukiko, who arrived in Albay early this year, was studying pottery making in the facility.  During her training, she learned the Bicolano dialect.  When we arrived, she was assisting Chiaki at molding a pot at the potter’s wheel, with Yuji, a volunteer by the Japan International Cooperation Agency (JICA), looking on.

Yukiko and Chiaki at the potters wheel

Yukiko and Chiaki at the potters wheel

Yuji, now working with Albay Public Safety and Emergency Management Office (APSEMO), also teaches students the concept of town watching, a popular activity on disaster education in Japan. Ueno is also bringing to Bicol the Iza! Kaeru Caravan, a famous Japanese fun-filled learning workshop and game on DRRM developed by PlusArts, a Japanese non-profit group, and the Japan Foundation.

PhilCeramics Arts and Crafts Center: Brgy. Putsan, Tiwi, 4513, Albay.

How to Get There: Tiwi is located 12 kms. from Tabaco City, 39 lms. from Legazpi City, and 538 kms. from Manila.  Brgy. Putsan is 2 kms. from the main road.

Sinimbahan Ruins (Tiwi, Albay)

Along the road opposite the town’s market, our media group made a stopover at the Sinimbahan Ruins, the roofless remains of Tiwi town’s original church which was built, in 1776,  by Franciscan Fr. Pedro de Brosas at the mouth of a site called Tuytoy (“bridge”) Swamps   The church was burned by Moro pirates in 1846 and later abandoned due to its vulnerability to typhoon-induced tidal waves.

Sinimbahan Ruins

Sinimbahan Ruins

AUTHOR’S NOTES:

All that remains of this single-nave church are the crumbling volcanic stone walls, and the buttresses that support it, and the equally sorry-looking bell tower on the church’s left. The walls are heavily overgrown with foliage and enveloped by roots of banyan (locally called balete) trees which cling to the cracks and crevices of the walls, making the ruins look charming but, actually slowly destroying it.

A child lounging by a church window

A child lounging by a church window

Three remaining church buttresses

Three remaining church buttresses

The interior walls once had a glass-encased, embedded niche which contained human bones but the glass and the bones have long disappeared. The niche seems to have been used as a grilling oven.  Other walls, probably that of the adjoining convent, now form part of a pottery factory.

Remains of the bell tower

Remains of the bell tower

An attempt has been made to reuse it as a chapel, evidenced by the presence of a lava boulder altar and an image of the Blessed Virgin hanging on the wall but, probably when there are no services being held (or probably abandoned altogether), the interior is used for other purposes.

The lava rock altar

The lava rock altar

During our visit, a tricycle and an owner-type jeep were parked inside and a badminton net and a basketball backboard were also installed for recreation.  There were no church pews or other furniture save for two loungers beside the shade-giving walls.

A balete tree slowly making the walls crumble

A balete tree slowly making the walls crumble

The niche that once contained human bones

The niche that once contained human bones

The ruins is listed as a “tourist attraction” in the town but, from the looks of it, neglect, indifference and the corrosive effects of rain and wind will finish what tidal waves failed to totally destroy.  I truly hope that plans for its restoration, similar to that done to the Bancurro Ruins in Naujan (Oriental Mindoro), are in the works.

Part of the church walls used by the pottery factory

Part of the church walls used by the pottery factory

A jeep and tricycle parked inside

A jeep and tricycle parked inside

Sinimbahan Ruins: Brgy. Baybay, 4513 Tiwi, Albay

Mayor’s Office: Municipal Hall, Poblacion, 4513 Tiwi, Albay.  Tel.: (052) 435-4866.