Hanoi's peaceful temples combine Buddhism with Taoism and Confucianism. Mostly unostentatious (especially next to Cambodian and Lao ones), they take the form of a richly decorated sanctum set in an intimate courtyard; some, however, are pagoda-like and Chinese-inspired. (The most striking of the latter is the iconic 12th-century One Pillar Pagoda, shown here, which was rebuilt after being blown up by the ill-humored departing French in 1954). Superstitions and native beliefs abound (on which more in the next post).
Yet the temples stand right alongside aggressively bright Communist posters and wall newspapers in which any passerby can read, as in the Soviet Union, about the achievements of the glorious party. The national museum features propagandist Communist paintings that tout the achievements of native industry, celebrate Viet Cong victories and attack the war-mongering West.
A typical scene: a mother clutches her young son protectively; the title says "They Are Testing Nuclear Weapons Again." Much of this crude symbolism is conveyed through the traditional medium of lacquerware, which makes for a incongruously beautiful effect. And, incidentally, many of the officials Misha interviewed remembered their education in the USSR fondly and warmed up to him immediately when he switched from English to Russian.
Yet, the third element is the rampant capitalism of the place--the sight of successful businessmen drinking overpriced coffee in French cafes in the new part of town, the amount of mass-produced, junky stuff being sold on the streets, from traditional pyjamas to fake Gucci sunglasses to Lego sets (hardly any handicrafts seemed to be on offer), the well-dressed, Western-issue yuppies knocking back their beers at night. And this was just in Hanoi, the more traditional and much lower-earning cousin of Ho Chi Minh City down south.
Yet, the third element is the rampant capitalism of the place--the sight of successful businessmen drinking overpriced coffee in French cafes in the new part of town, the amount of mass-produced, junky stuff being sold on the streets, from traditional pyjamas to fake Gucci sunglasses to Lego sets (hardly any handicrafts seemed to be on offer), the well-dressed, Western-issue yuppies knocking back their beers at night. And this was just in Hanoi, the more traditional and much lower-earning cousin of Ho Chi Minh City down south.
The whole made for a fascinating mix. To me, as a former proud citizen of the Soviet motherland, the red paraphernalia and its role in society were the most fascinating. The common trope among observers is that "although the North had won in Vietnam, capitalism ended up triumphing in the end." Or, as a very commercially-oriented tour guide said to me, "Communist temples are everywhere but they are just a facade with no interior." And while dissidents suffer a fate akin to those in China, the ban on Facebook that exists in Vietnam can be overcome with a few clicks, as per an instruction sheet online.
These identities have so far managed to coexist under the authoritarian system--yet for how long?
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