Story: Ngo Nam Photos: Minh Tu

Vung Tau captivates visitors not only with its blue seas, sunlit roads, and ocean breeze, but also with rich layers of history and culture. Amid the city’s lively rhythm lie places that slow one’s steps – where echoes of the past blend with the murmur of waves and the whisper of wind. Among them, the White Palace (Bach Dinh) and the Robert Taylor Museum of Worldwide Arms stand as striking landmarks, preserving the memory of a land that has witnessed countless transformations.

A Royal Legacy on the Hillside Nestled against Nui Lon (Big Mountain) and overlooking Front Beach, the White Palace gleams in elegant white, its red-tiled roof framed by frangipani and teak trees that cast shade year-round. Built between 1898 and 1902 under Governor-General Paul Doumer, the building was originally named Villa Blanche – “the White Villa.” Before April 1975, it served as a summer residence for French  governors and senior officials of the former colonial regime. In 1992, it was recognized as a National Historical and Cultural Relic and opened to the public. The White Palace’s architecture bears the hallmarks of late 19th-century European design  -  tall columns, graceful arched windows, airy corridors, and balconies that face the sea. Adorning three façades are eight Greco-Roman stone busts, lending the structure a refined, classical charm. Inside, visitors can admire a collection of antiques, including European porcelain, bronze statues, and ancient vases. Beyond its architectural beauty, the White Palace is also a silent witness to Vietnam’s past. In 1907, it housed Emperor Thanh Thai  -  a patriotic monarch who was dethroned and imprisoned for resisting French colonial rule. Thus, this serene villa tells a profound story of national pride and the yearning for freedom.

A Chronicle of War and Civilization by the Sea If the White Palace speaks of Vietnam’s triumph over its colonial past, the Robert Taylor Museum of Worldwide Arms tells a global story of warfare and human ingenuity. Located at 98 Tran Hung Dao Street, the museum was founded in 2012 by British collector Robert Taylor. Housed in a restored French-style mansion spanning 1,500 square meters, the museum offers a vivid, cinematic experience. Life-sized mannequins dressed in period uniforms and bearing authentic weapons bring history to life. The museum’s collection of more than 4,000 artifacts  -  including firearms, swords, and military attire from different nations and eras  -  is arranged thematically: from medieval European armory and Roman warriors’ armor to Japanese samurai gear and 20th-century machine guns. Each exhibit is carefully contextualized, weaving together elements of culture and history. Every sword, gun, or uniform tells a story    of power and conflict, craftsmanship and artistry, survival and legacy. Rather than portraying weapons as cold instruments of war, the museum invites reflection: Why were they made? How were they used? Why were they buried, and how did they resurface here? These questions turn a visit into more than a tour, taking guests on a journey through time, technology, and the evolution of civilizations.

Where the Past Meets the Present Amid the sunlit modernity of Vung Tau, the White Palace and the Robert Taylor Museum of Worldwide Arms stand as living testaments to history’s enduring rhythm. They remind visitors that beyond its tranquil beaches and vibrant streets, Vung Tau is also a meeting place    between past and present, between people and their stories, between land and the vast sea, and the timeless pulse of memory.[hoasen]

Story: Nam Hoa Photos: Quang Ngoc, Thien Nguyen

The islands of Con Dao Special Zone emerge like an emerald necklace, strung between the boundless blue sky and the vast turquoise sea. Under the jurisdiction of Ho Chi Minh City, Con Dao is a place to slow down and listen to the waves whisper stories. Visitors to Con Dao can listen to the ocean, savor the serene beauty of its forests and seas, and quietly watch mother turtles return at night to lay their eggs on white sands - an eternal cycle of life between sea and sky. Comprised of 16 small islands, this “string of green jewels” remains one of Vietnam’s most unspoiled archipelagos, with some islands open to visitors and others strictly protected to safeguard their rare ecosystems.

Natural splendor Morning at Con Son Pier (914 Pier) - the first sunlight dances on the waves. Our boat leaves a foamy trail across the sea as we begin our journey of discovery. From the water, we glimpse Base Point A3 on Tai Lon Islet and Base Point A4 on Bong Lan Islet before heading toward a crescent of white sand nestled between two ridges  south of Bay Canh Islet, the second largest in the chain. Its ecosystem flows seamlessly from tropical rainforests to mangrove forests and coral reefs. Walking barefoot on the fine sand, we listen to whispering waves beneath the blue sky, then trek to the lighthouse for a sweeping view of Con Dao. To the east lies Cau Islet, smaller at around 98 hectares, blessed with rare freshwater springs, rows of rustling palms, and crystal-clear waters. As the sun sets, the sky turns honey-gold. We sit on the sand and watch the light shimmer across the waves, with Bay Canh Lighthouse glowing in the distance.

An eternal cycle Con Dao is home to Vietnam’s largest population of sea turtles  - especially the green sea turtle (Chelonia mydas), known locally as Vich. Con Dao National Park records nesting activity across multiple sites, including Bay Canh, Cau, Tre Lon, Duong Beach, and Tai Lon Islet. Since 2023, the Park has recorded 1,995 mother turtles nesting, with a total of 6,011 nests and 573,555 eggs safely relocated to protected hatcheries, from which nearly 355,000 baby turtles safely made their way to the sea. At night, under the high moon, we follow the conservation rangers in silence to watch mother turtles dig their nests, lay eggs, and gently cover them before returning to the sea. The scene feels sacred - simple yet profound. At dawn, we gather again to see hundreds of hatchlings crawl toward the waves, leaving tiny tracks in the sand before disappearing into the surf. Many are moved to tears, witnessing this quiet symbol of the ocean’s eternal rhythm of renewal and return.

Con Dao is more than a tourist destination - it is an open-air lesson in ecology. As we depart, our hearts are full of this archipelago’s pristine beauty, the harmony of sea and forest, and the eternal song of the waves.[hoasen]

Story: Nguyen Hoai Bao Photos: Thuan Vo, Toby Trung

Rising in the far north of Vietnam, the Hoang Lien Son range stretches across Lao Cai province, crowned by Mount Fansipan (3,143 m) - the “Roof of Indochina.” Mount Fansipan lies within Hoang Lien National Park, a sanctuary of montane biodiversity and a stronghold of Vietnam’s high-elevation forests.

The park spans a striking range of habitats: lush lower montane evergreen forest below 1,800 m; dense upper montane forest from 1,800–2,500 m; rhododendron stands between 2,500–2,800 m; and, above 2,800 m, windswept ridges cloaked in dwarf bamboo. Recognized as an Important Bird Area (IBA) of global significance, Hoang Lien shelters an exceptional diversity of restricted-range and globally threatened species. For birdwatchers, the allure is unmistakable. Fansipan offers Vietnam’s best opportunity to encounter Eastern Himalayan species, including over eight species of laughing thrush. Steep trails begin at O Quy Ho Pass (1,900 m) and ascend toward the summit, with camping spots at 2,200 m and 2,800 m. Along the way, large mixed flocks move noisily through the moss-draped canopy.

Recent tours have yielded unforgettable sightings: the Slender-billed Scimitar Babbler, Golden Parrotbill, and delicate Tonkin (White-browed) Fulvetta near the summit; the elusive Pale-throated Wren-Babbler stirring in dense undergrowth; and lively flocks of Spectacled Barwing, Vinous-throated Parrotbill, and Crested Finchbill enlivening the mid-altitude forests. Fansipan boasts more dazzling treasures: the jewel-like Mrs. Gould’s Sunbird, flamboyant Scarlet-faced Liocichla, boldly patterned Red-tailed Minla, and striking Darjeeling Woodpecker. On the forest floor, the calls of Rufous-throated Partridges echo through the undergrowth, and on rare occasions, the magnificent Temminck’s Tragopan appears - an unforgettable sight. Tiny sprites like the Black-throated Bushtit add more delight for birdwatchers.

Each encounter is more than a tick on a checklist. It’s a glimpse into the rugged mountains that form the heart of Vietnam. A birding tour to the misty summit On a crisp spring morning, we boarded the cable car that carries visitors almost to the summit of Mount Fansipan. The ride was breathtaking, sweeping us over valleys of terraced fields and forests swathed in clouds. At the top, the air thinned and the wind rose, but the mountains revealed their secrets: a pair of Black-faced Laughingthrushes gathering nesting material, a flurry of Stripe-throated Yuhinas swirling around us, joined by Bar-throated Minlas and a surprise Crested Finchbill. The next day, we traded altitude for intimacy, following the foothill trails in quiet anticipation. Then came a soft, insistent, almost teasing song – the call of the Pale-throated Wren-Babbler, one of Fansipan’s most elusive species. We waited, breath held, until a tiny shadow flitted into view. For many of us, that fleeting moment was worth the entire journey. Back in Sapa, we strolled through the Ham Rong Gardens, where more delights appeared: flocks of Vinous-throated Parrotbills, the crimson flash of a Mrs. Gould’s Sunbird, and the clear whistle of a Brownish-flanked Bush Warbler. The birds on Mount Fansipan aren’t abundant or easily sighted. Because of this, each encounter is a precious gift to treasure.[hoasen]

Story: Tri Tuc Photos: Man Moi

Discover the authentic heritage of Vietnamese cuisine. Scents stir memories, and flavors awaken longing. There are scents and tastes that, with just a fleeting touch, warm the heart again. The aroma of freshly harvested sticky rice carried by the breeze, the savory scent of fish sauce, fermented shrimp paste and soy paste lingering in quiet kitchens... Every Vietnamese person carries a memory of home in their heart - woven from fragrances and flavors to form an invisible heritage that has endured through generations.

Born from a deep love for Vietnamese culinary culture, Man Moi created the Tastes of Our Homeland series – a journey to rediscover folk wisdom and preserve the country’s living culinary heritage. Now in its 11th season, this series has presented nearly 200 authentic Vietnamese dishes, bringing together dozens of culinary artisans, experts, and researchers from across the nation. Each season tells a story through scents and tastes, reviving dishes once thought forgotten and breathing new life into rare ingredients that have been long absent from modern tables. Rice and fish sauce – the humble soul of Vietnam Rice and fish sauce - humble yet proud symbols - bind Vietnamese culture from North to South. From the Red River Delta to the Mekong’s fertile riverside fields, the hands of Vietnamese artisans transform rice into countless forms: noodles, cakes, pho, porridge, vermicelli... Each “strand of memory” nourishes the three regions, crafted with delicate care through every step from selecting, soaking, grinding, and cooking - all in harmony with nature, balancing yin and yang, simple yet complete. And then, fish sauce - ngu lo, literally “dew of the sea” - recorded as early as the 10th century, remains the thousand-year soul of Vietnamese cuisine. In the North, there is ragworm sauce from Tu Ky, a rare treasure of the moonlit season. In the Central region, Hue’s mam ruoc is pungent yet poetic. In the South, mam ca tren and mam tom cha are fermented with the rhythm of the tides, rich with the taste of the alluvial earth.

“When tasting Hanoi’s Cha ca, chefs from Belgium were astonished by the accompanying bowl of mam tom (fermented shrimp paste) – its sharpness softened with a touch of rice wine, whisked into a light foam with green lime, and finished with a drop of ca cuong essence. Tasting that rosy, fragrant foam, they exclaimed, ‘Nothing else could ever replace this!’ – as recounted by the chef Bui Thi Suong, in the season of the series titled Mam muon mien (Fish Sauce from All Regions). Hue - Where cuisine is woven like brocade In Hue, the cuisine is likened to weaving brocade - meticulous, graceful, and refined. Clear as jade, bun giam nuoc harmoniously blends broth made from pork liver, fermented soy paste, peanuts, sesame, and the delicate goby fish of the Huong (Perfume) River. Paired with summer jellyfish, hand-pounded crab cakes, and fresh shrimp, the flavors are refined yet rich, gentle yet profound. This dish was featured in the season titled Hue – Remembering Mother of Old, where every element reflected the soul of Hue - understated, elegant, and poetic. Southern lands – where flavors tell stories Farther south, along the Tien and Hau rivers, folk songs echo softly across the waters. Over 300 types of traditional cakes still preserve the spirit of the countryside in each banana leaf wrap. Banh tet is engraved with wishes in every slice. Ben Tre offers fragrant Giong Luong coconut cakes. Introduced by migrants from Nghe An, banh nghe is tender and glutinous, kneaded from sticky and plain rice flour, once famed throughout the southern plains. In Go Cong, the legendary nham, once served to Emperor Tu Duc, remains rustic yet graceful, simple yet noble. The flavors of the Mekong is a heartfelt voyage through the Land of the Nine Dragons - sweet, generous, and full of life, both in terms of the land and its people.

From the forests to the sea Can Gio - where the forest meets the sea – resounds with stories about the harmony between humans and the mangrove forests. Here, one finds dried kim leaf salad with Lap So fish and three-striped crab hotpot with buoi leaves - dishes whose very names carry the scent of a salty breeze and the tartness of forest leaves. Beyond the mainland, the journey extends to the islands. In Ca Mau, ca nau braised with giac fruit carries the tang of sea salt. On Phu Quoc, sea urchin sweet soup - bold and intriguing - adds a distinctive touch to Vietnam’s map of flavors. A living heritage of taste Vietnamese cuisine is a living heritage - crystallized from indigenous wisdom, memory, and affection passed down through the hands of grandmothers and mothers. The Vietnamese, often reserved in their words, tell their stories through jars of fish sauce, grains of salt, and bowls of coconut cream. Their dishes do not boast; they whisper - subtle in fragrance, meticulous in flavor - yet profoundly captivating to all who taste them. Throughout every Tastes of Our Homeland season, Man Moi not only revives authentic Vietnamese flavors but also bridges tradition and modernity, preserving the cultural heartbeat of Vietnam. Each scent of seasonal rice or taste of rural cakes tells the story of this land - gently, yet deeply, touching hearts around the world.[hoasen] Tastes of Our Homeland – a culinary project honoring authentic Vietnamese delicacies initiated by Man Moi www.manmoi.vn www.facebook.com/manmoi.vietnam

Amid the fast-paced life of Hanoi’s Old Quarter, a small street called Hang Mam opens the door to a warm, unique dimension: The East Tonkin. Rooted in heritage, yet redefined for the modern palate, The East Tonkin bridges the past and present of Hanoi’s culinary scene. Every meal is a culinary journey, a celebration of the simplicity and rustic charm of the Northern Vietnam region. The East Tonkin is built upon a philosophy of balance. Honoring Northern Vietnamese flavors, the restaurant becomes a maestro, composing mesmerizing harmonies where subtlety meets richness and flavors blend seamlessly: salty, sweet, sour, and spicy. This harmony stems from seasonal local ingredients that preserve their freshness and elevate the distinct character of the North. A light, delicate broth accompanies a scrumptious main dish; a plate of simple stir-fried vegetables pairs with meticulously prepared seafood; and a locally brewed craft beer completes the meal. All these elements intertwine into a symphony of flavors under the hands of passionate chefs, the same talented team behind The East, a Michelin-recommended gastronomic delight for three consecutive years in Hanoi. The sense of harmony extends beyond flavors into the structure of the meal itself. Staying true to the spirit of Northern Vietnam, guests will discover an age-old story told at every Hanoian dining table: savory dishes, fragrant steamed rice, and heartwarming soup — simple in appearance, yet profoundly nourishing to both body and soul. The East Tonkin not only showcases the beauty of Northern Vietnamese cuisine but also lets diners experience the culture of Hanoi, full of subtle elegance and harmony that leaves diners satisfied after each bite. It's a kind of spiritual luxury, rather than material, something that can only be found when you taste the authenticity of Vietnamese culture. For those who wish to understand Hanoi through the lens of cuisine, The East Tonkin is the ideal destination - a place where balance infuses every detail, and each meal becomes a journey of cultural appreciation, leaving an impression not only on the palate but in the memory of every diner.[hoasen] The East Tonkin Address: 11 - 13 Hang Mam, Ly Thai To, Hoan Kiem, Hanoi, Vietnam Hotline: +84 862 118 878 Email: sales@theeast.vn Website: https://theeast.vn/

Story: Truong Anh Ngoc Photos: Ngo Tran Hai An

On my first visit to Copenhagen years ago, summer was giving way to autumn. The sky was clear blue, the sunlight golden, and the air carried the season’s first hint of chill. The cool breeze only added to my excitement - I was finally in Scandinavia, a region I had long dreamed of seeing. From the moment I arrived, impressions came quickly. At the airport, Denmark’s famous green beer logo welcomed travelers, and like many visitors, I stopped to take a photo beside a billboard proclaiming, “Denmark, the happiest country in the world.” Stepping out of Copenhagen Central Station - elegant yet understated compared to other European capitals - I was immediately struck by the sight of bicycles lined up in endless rows.

Copenhagen’s serenity is its greatest charm. The city embodies the Danish philosophy of hygge - a sense of warmth, comfort, and joy in life’s simple moments. People move at an easy pace, savoring every season and every quiet detail: each minute, each space, each change as summer drifts into autumn, and autumn into the damp chill of winter. The city’s beauty lies in its scale - nothing feels too large or imposing. Everything seems balanced, just enough, much like Denmark itself. After spending time here, talking with locals, and feeling the rhythm of life, I realized: greatness isn’t measured by size, but by ideas, inspiration, and how a place makes you feel. I spent several nights in a quiet neighborhood on the edge of the city, just a short and pleasant bus ride from the center, the bus clean and new. I explored narrow, charming streets and admired the colorful façades of the houses lining Nyhavn Canal, built in 1673 under King Christian V. Once a bustling commercial port, Nyhavn is now one of Copenhagen’s liveliest areas for dining and leisure. Bicycles in every color leaned against walls and windows, a fitting image of a green city where more than half of the residents cycle to work each day. At the heart of the city, Tivoli Gardens - an amusement park established in 1843 - remains one of Copenhagen’s most cherished landmarks, its tranquil gardens and lakes enchanting visitors for generations. When Walt Disney visited in 1951, he was said to be so captivated by its magic that it inspired him to create Disneyland four years later.

But perhaps the most iconic emblem of this “small yet great” city is The Little Mermaid statue on Langelinie Pier, near the headquarters of Maersk, the world’s largest shipping company. Now over a century old, the statue was inspired by the fairytale of the same name by Hans Christian Andersen (1805–1875), Denmark’s beloved storyteller. His tale tells of a mermaid who sacrifices her world, her voice, and her life for an unreturned love - rising each dawn and dusk to the water’s surface, longing for a glimpse of her prince before fading into sea foam. In the capital of one of the world’s happiest - and smallest - countries, even the monuments are modest. Bo, the manager at the hostel where I stayed, told me: “In Denmark, people believe that true worth, whether of a person or a monument, lies not in its size or form, but in what it represents.” He smiled and added, “Ego, like size of a statue, doesn’t make greatness - meaning does.” That may be why the Danes live simply and consciously. They find happiness in harmony with nature, travel often, stay active, and spend time with family and friends. Their homes are bright and uncluttered, filled with natural light. Their meals are simple, made from fresh, organic ingredients that nourish both body and soul. Copenhagen itself feels like one great park - green, clean, and serene. Even Assistens Cemetery, where Hans Christian Andersen rests, resembles a garden. On his modest gravestone are inscribed four lines from his poem Oldingen (The Old Man): The soul that God created for him Cannot be bought, cannot be lost. Our life on Earth is but the seed of eternity; Our body dies, but the soul endures. Before his death from liver cancer, Andersen told a composer who wished to write music for his funeral: “Most of those walking behind my coffin will be children - so make the music match their small steps.”

He also once said, “Enjoy life. There is plenty of time to live before you die.” Indeed, there is plenty of time to live before we die, but one must know how to enjoy it. I saw young people savoring the last days of summer, sitting along the canal’s edge with beers in hand, feet dangling over the water, their laughter rippling through the cool evening air. I saw street performers along Stroget - the pedestrian street linking City Hall Square with Kongens Nytorv, singing as passersby paused to join in. Across the harbor, Papiroen (Paper Island) pulsed with music, food, and light, a lively gathering place of culture and cuisine. I fell in love with the colorful houses, artistic atmosphere, and free-spirited vibe of Christiania, the “hippie town” founded in 1971 that remains one of Copenhagen’s most-visited sites. And I found my own way of living like the Danes do: sipping a glass of Carlsberg beer on the sidewalk, wrapped in a blanket as the evening turned cold. Even now, after returning several times, I still remember that first day - the golden light, the quiet chill, the warmth of discovery. Copenhagen may not be vast or grand like many other European capitals, but it is where one truly feels free to live, to breathe, to experience life’s simple, perfect joys. Come to Copenhagen to fall in love and be loved.[hoasen]

Long Ho

Bac Ha, known as the “White Plateau” for the clouds that shroud its peaks year-round, is a melting pot of cultures, home to 18 ethnic groups, including the H'mong, Dao, Tay, Nung, Phu La, and La Chi. Every Sunday, the Bac Ha Market, held in the town center, is more than a place of trade; it is a gathering ground for friendship and cultural exchange among the region’s highland peoples. Over generations, visiting the market has become a cherished tradition, deeply woven into the identity of Bac Ha’s communities. According to local lore, Bac Ha Market began hundreds of years ago as a place where people from different ethnic groups could convene, exchange goods, and find life partners. It has evolved into an enduring thread of cultural connection.

Every Sunday, from the first pale light of dawn when roosters crow and mist still veils the paths, people from villages such as Ta Chai, Na Hoi, Ta Chu Van, Can Cau, and Lung Phinh – and even from communes tens of kilometers away - make their way to the town center. They cross mountains and hills; some walk, others ride motorbikes with children carried in baskets. Some lead packhorses heavy with goods, while others arrive by bus. Groups of H’mong, Dao, and Phu La girls, dressed in dazzling brocade, chatter and laugh as they go, their voices carrying through the mist and adding bright notes of joy to the lively journey down to the market. Bac Ha Market unfolds into a vibrant, bustling scene, alive both indoors and out. Beneath the covered pavilions, stalls overflow with brocade, souvenirs from many ethnic groups, and fragrant food stands offering highland specialties. Outside, the courtyard hums with the trade of agricultural produce and medicinal herbs. Locals lay out tarps or arrange their goods directly on the ground -  fresh mustard greens, earthy shiitake mushrooms, and prized herbs like pseudo-ginseng for the heart, multiflorous knotweed for hair, dong quai to enrich the blood, and lingzhi mushroom to restore vitality. These are gifts of the mountains, long used in traditional remedies. From food and produce to handmade garments, every item tells a story, weaving together a cultural tapestry as vivid as it is rare.

The market is more than a place of trade. It's an opportunity to meet friends and enjoy local dishes. Women of all ages can showcase their colorful flared skirts and multicolored headscarves, each piece intricately woven and skillfully embroidered. Children, their cheeks flushed by the dry cold, wear bright, cheerful clothes. The entire market feels like a festival, lively with movement and chatter, alive with the charm and color of the highlands. The food court draws the largest crowds of locals and visitors. Since the market only convenes on Sundays, it is a chance for old friends to reunite, share stories, and enjoy rustic dishes in the morning chill. From 4 or 5 a.m., steam rises from rows of pots and pans, filling the air with warmth and the scent of cooking. Here, local men gather around small, low tables, savoring specialties in a lively, friendly atmosphere. An indispensable dish in the Northwest Highlands, especially at market gatherings, is thang co - a stew made from horse or beef offal simmered with black cardamom, lemongrass, ginger, and mountain spices until its rich aroma fills the air. Other beloved dishes include black chicken, steamed cornmeal, five-color sticky rice, and sour pho with a tangy dipping sauce. From carefully choosing the ingredients to balancing the spices, each dish tells a story about the culture of the plateau. Distilled from local yellow corn and forest-leaf yeast, a small cup of Ban Pho corn liquor holds the fiery, fragrant essence of the mountains. One simple toast, and the line between stranger and friend dissolves, the warmth of highland hospitality flowing freely from cup to heart.

As the sun rises, the mist slowly lifts, and golden light floods the market, illuminating the vibrant stalls and the vivid hues of brocade. The atmosphere grows livelier as tourists from near and far arrive. Fragrant steam from the food stalls mingles with the cool mountain air, enveloping the market in the festive spirit of the White Plateau. Visitors can reach Bac Ha by coach from Hanoi or Lao Cai. The region is especially enchanting in winter and spring, when plum and pear blossoms blanket the mountains in white. Bac Ha Market is more than a place of trade - it is a cultural journey, a chance to lose oneself in the colors of brocade, the flavors of highland cuisine, and the warmth of mountain hospitality. Step into Bac Ha Market just once, and the hues of brocade, the taste of thang co, and the sincerity of its people will linger long after, capturing the rustic spirit of the White Plateau.[hoasen]

Story: Prof. Dr. Trinh Sinh Photos: Amachau

The Muong are one of Vietnam’s four most populous ethnic groups. French scholars were the first to conduct systematic studies of the Muong, including Pierre Grossin, who observed that the Muong lived in concentrated mountain communities and titled his 1926 monograph The Muong Province of Hoa Binh. This was one of the earliest works to formally identify the Muong as a distinct ethnic group. Soon after, ethnologist Jeanne Cuisinier spent 15 months in Muong regions, and after nearly two decades of research, produced a landmark study: The Muong – Human Geography and Sociology.

The Muong and the Viet (Kinh) share common origins, both descending from indigenous peoples of the Hoa Binh culture more than ten thousand years ago. They later diverged under the influence of history and geography. The Muong remained in limestone valleys and foothill plains, while the Viet moved downstream to the river deltas and coastal areas. According to legend, they share the same ancestor - Hung King - whom the Muong call King Dit Dang After the Hai Ba Trung uprising failed (40–43 AD), Ma Yuan ordered the collection and destruction of bronze drums to obtain materials for casting bronze horses to take back to the North; many Dong Son drums were lost. Yet the Han dynasty’s policy of destruction did not reach the Muong highlands. The Muong continued to use bronze drums in their life-cycle rituals, viewing them as inseparable from the national soul, as historical records note: “If the drum is lost, the destiny of the Man people is also lost.” The bronze drum remained a symbol of wealth and power among the Quan Lang (local chiefs): “one drum could be exchanged for thousands of buffalo and cattle.”

The sound of bronze drums continued to echo through distant forests and nearby villages. Their form and motifs evolved into the Heger type II drum - now known as the Muong drum - an enduring treasure linked to the Muong people from the era of Northern domination through the independent Ly, Tran, and Le dynasties. The Muong drum’s form preserves elements of the Dong Son drum yet bears its own distinct beauty. The rim flares outward beyond the body, and the handles, unlike those on Dong Son drums, are set at the center of the body rather than at the junction with the back. The drumhead is often adorned with four to six figurative motifs, sometimes featuring stacked toads - symbols of fertility and abundance. The decoration consists of concentric or parallel geometric bands that completely cover the surface, evoking the colorful woven patterns that adorn the skirts and blouses of Muong women.

The French researcher Dr. Jeanne Cuisinier, a Sorbonne graduate and scholar of Asian beliefs and magical rites, formed a lasting connection with the Muong people in the 1930s, witnessing firsthand the bronze drum’s vital and enduring role in their rituals and faith. The Muong often buried bronze drums in tombs, bringing them out only when a Tho lang (regional leader or “land lord”) or one of his close relatives passed away. The drums were also played on festive occasions, including festivals, weddings, or to announce important news. When a Tho lang passed away, the family would summon a shaman (thay mo) to make the formal announcement. Standing at the entrance, he would call out three times: “My Land Lord has passed away.” Only then could mourning rituals – and the drumming begin. The bronze drum held a central place in the funeral rites of the Tho lang. Muong legend tells how King Dit Dang, who ruled from the capital, once accompanied his younger sisters, Lady Ngan and Lady Nga, to wash their hair in a stream. As they combed their hair, they saw a bronze drum floating on the stream, drifting toward a sandbank. The king ordered his soldiers to retrieve the drum and summoned artisans from across the land to use charcoal as fuel and make molds to cast 1,960 bronze drums, gifting one to each land lord under his rule. This legend reflects the enduring bond between the Viet of the lowlands and the Muong of the highlands.

Archaeological evidence also confirms that in the Muong Dong Thech tomb complex in Kim Boi commune, Phu Tho province (a recognized National Relic), Muong bronze drums were buried as grave goods. The Chinese characters engraved on the slate “tombstones” surrounding the graves identify the site as belonging to local chief Dinh Cong Ky, who held the royal titles of Uy Loc Hau (Marquis) and Uy Quan Cong (Duke) - high-ranking positions in the Dai Viet court. He was born in 1582 and died in 1650, during the Le Trung Hung (Restored Le) period. The Le kings likely presented him with bronze drums bearing both Viet and Muong motifs, cast by lowland Viet artisans and brought to the highlands. Muong people view bronze drums as their most sacred treasures. In the Lam Kinh region (Thanh Hoa), the Muong once welcomed visiting Le kings with a grand ancestral temple ceremony, offering four buffalo, sounding bronze drums, and greeting the royal procession with cheering soldiers. Today, in some regions, the Muong still play bronze drums during festivals, and traditional Viet craft villages continue to cast drums for Muong communities. These enduring customs and beliefs preserve the cultural heritage of the Muong and serve as distinctive highlights for the development of local tourism.[hoasen]

Story: Anh Tu Photos: Yeah 1, Dao Canh, Quang Ngoc

The Dong Van Karst Plateau Global Geopark in Tuyen Quang Province - home to tourism villages such as Lao Xa, Lung Cam, Nam Dam, and Lo Lo Chai - now generates an annual revenue of USD32 million, far surpassing many other conservation or heritage sites. Vang Thi Thong, a Tay woman from Ban Lien in Lao Cai, rose to sudden fame after appearing on the reality show Gia dinh Ha Ha (Ha Ha Family). Her family’s model of combining farming with tourism services sparked wide curiosity. Six years after learning how to run a tourism business, her Ban Lien Pine homestay was fully booked from July to September, even on weekdays. Rural tourism has transformed Mrs. Thong’s life and, in part, the once little-known village of Ban Lien. Although rural tourism in Vietnam is still in its early stages, experts such as Dieter Buncher, co-founder of Vietnam Detox, note that “finding farm-style accommodation that also meets international standards of comfort” remains a challenge. Yet this segment shows strong potential among both domestic and foreign travelers at a time when the search for emotional balance and authentic rural living has become a global trend in tourism. Tourism can change lives Nature and indigenous culture form the foundation of rural tourism; however, not everyone in local communities is interested in tourism work. Without people like Mrs. Thong, visitors would never come to Ban Lien. Since many rural and highland residents have no concept of tourism, it is hard for them to even consider changing their traditional way of life. Before hosting visitors, Mrs. Thong’s days were spent tending her rice fields and livestock. Life was hard, and although her schooling was limited, she always hoped to escape poverty so her children could study. In 2019, the Centre for Rural Economic Development (CRED) encouraged residents of Ban Lien to explore tourism businesses and offered free training. Out of 400 households, only a handful joined the program, discouraged by poverty and the pull of familiar routines. Mrs. Thong thought differently. She was willing to relocate her livestock shed and borrow money to renovate her home during the COVID-19 pandemic. At night, while other villagers rested, she and her husband worked under electric lights, determined to improve their house even if no guests ever came.

After the pandemic, the first visitors arrived. Soon after, the Gia dinh Ha Ha crew introduced joyful scenes from Ban Lien to millions of viewers. Mrs. Thong’s homestay stayed fully booked, and the waiting list for the cultural tours she leads continued to grow. Six years into her tourism venture, her family is experiencing its busiest - yet happiest - days. In Ha Giang (now Tuyen Quang Province), rural tourism has helped many young men establish more stable livelihoods by becoming “easy riders” - local motorbike guides loved by foreign travelers. Nguyen Van Tuan, Director of Jasmine Ha Giang, which manages over 300 motorbike guides, noted that since 2019, rising tourism demand and difficult mountain roads have led more visitors to rely on experienced local drivers. Yet most locals from ethnic minority communities face the same challenge: limited knowledge of the tourism industry. Many have spent their entire lives farming. Some are not fluent in Vietnamese, let alone English. Mr. Tuan recruits local riders and trains them in communication, customer service, and hygiene. He believes riders must not only appear professional but also be able to share their personal stories - something many tourists seek amid fears that urbanization is stripping destinations of their authenticity. A Mong rider typically needs about two years to become proficient; today, 80% can communicate at a basic level. Incomes have risen significantly: VND5–8 million per month for regular riders and over VND10 million for team leaders, excluding tips. Some have even saved enough to build homes. “Tourism has truly illuminated the lives of many highland people who once didn’t know where to turn,” says Mr. Tuan. A double-edged sword The development of rural tourism creates opportunities for locals in regions with tourism potential, but also poses challenges to cultural preservation. Following her initial success, Mrs. Thong began helping other residents to develop homestays. She soon realized the perils of “every household in the village running a homestay or offering tours”. Without traditional farmers living their daily lives, what would visitors come to see?

From a heritage governance perspective, Hoang Xuan Don - Head of the Dong Van Karst Plateau Geopark Management Board - explains that, in UNESCO’s view, geoparks aim to support sustainable development for local communities, especially in remote ethnic areas where valuable indigenous knowledge is disappearing. Community-based tourism tied to rural life is an effective tool for generating income while preserving cultural values. It allows traditional knowledge and customs to remain “alive” within their original cultural landscape. Yet rural tourism also carries risks: uncontrolled mass tourism can bring external cultural influences, distort traditions, and harm the environment. To safeguard cultural identity, Mr. Don proposes five criteria: the number of tourists must not exceed the village population; households directly involved must not exceed 25%; customary rules and intangible cultural practices must be strictly observed; traditional livelihoods must remain unchanged; and visitors must comply with all cultural regulations. After 15 years, the Geopark - though not the only contributing factor - has helped generate comprehensive changes. Research on international geoparks reveals strong economic benefits: while non-tourism and non-designated areas create little economic value, geoparks can generate around USD32 million annually, far exceeding other types of protected or heritage areas, while helping to preserve culture and the environment. This success is reflected in villages like Lao Xa, Lung Cam, Nam Dam, and Lo Lo Chai, where local economies have grown, indigenous culture is being preserved, specialty agriculture and handicrafts are thriving, cooperatives and OCOP products are expanding, and rural infrastructure and tourism services continue to improve. Still, Mr. Don emphasizes that rural tourism is not a guaranteed “escape from poverty”, but a sustainable development pathway that helps communities identify and define their cultural identity. “Pressure for rapid development can lead to negative impacts, but lessons from the Karst Plateau show that moving step by step, steadily and sustainably, produces long-term success,” says Mr. Don.[hoasen]

Story: Tran Hong Lieu Photos: Mai Anh Tu First in height is Ba Vi Mountain, Third is Tam Dao, and second is Doc Ton Those who live around Hanoi, especially in the northern areas, know this folk verse well. It’s especially familiar to those to the north because the Ba Vi and Tam Dao ranges lie northwest of Hanoi, while the Doc Ton range lies to the north. Locals know that Ba Vi rises only 1,296 meters, compared to Tam Dao’s 1,591meters, while Doc Ton stands just 462 meters above sea level. Yet Ba Vi is still revered as the highest, since Tan Vien Peak - one of the three main summits – is home to the shrine of Tan Vien Son Thanh, foremost of the Four Immortals. According to legend, Tan Vien Son Thanh repelled the “water invaders” and brought peace to the land.

In Nguyen Tuan’s short story Tren dinh non Tan (On Tan Peak), the Tan Vien deity embodies a beauty that is both approachable and grand, majestic yet mysterious. He generously rewards the carpenters of Trang Thon village for devoting their skill to restoring the Upper Temple (Den Thuong), but swiftly and harshly punishes anyone who gossips, breaks their word, or reveals the secrets of life on the celestial peak. Gazing at the Upper Temple, wrapped in silken bands of mist and shaded by a lush green canopy curved like a giant parasol atop Tan Peak, one can almost feel the anguish of Master Artisan Pho San - the foreman chosen by Tan Vien to restore the temple. It was forbidden to speak of the scene, as breathtaking as a celestial realm, both real and unreal. If one word escaped the foreman’s lips, the enchanted bamboo leaf the god had placed in his throat would turn into a razor blade. The lowest of the three ranges, yet ranked second among them, is Doc Ton (also called Soc Mountain) - a chain of eight or nine peaks in Soc Son district, on the outskirts of Hanoi. “Soc” is an old Sino-Vietnamese word meaning “north,” likely given because the range lies directly north of Thang Long (ancient Hanoi). Like Tan Peak in the Ba Vi range, Doc Ton is believed to be the seat of Thanh Giong, another of the Four Immortals. According to legend, Thanh Giong did not walk or speak until age three, then rose and requested to fight foreign invaders. This tale reflects the deep patriotism, desire for autonomy, and unyielding spirit of the Vietnamese people.

While it lacks the majesty of Ba Vi or Tam Dao, Doc Ton draws visitors with its approachable, gentle beauty. Blessed by nature, the mountain is encircled by Dong Do Lake, a well-known natural lake in Soc Son that creates a harmonious scene of mountains and water. In the 1960s, Dong Quang Lake was added at the mountain’s foot. With a 6.3-kilometer-long shoreline, this man-made reservoir spans over 100 hectares and adds to Doc Ton’s appeal. In this ancient ranking system, Tam Dao stands last among these three famed mountains. Rising 1,591 meters above sea level and spanning Vinh Phuc, Thai Nguyen, and the former Tuyen Quang provinces, this rocky range must accept its third-place rank. Its name, meaning “Three Peaks,” refers to Thach Ban, Thien Thi, and Mang Chi. On clear days, the three summits stand serene against the clouds and sky. On cool, misty days, a sudden veil of cloud can make even your companions vanish from sight. Many fond nicknames have been given to Tam Dao, including “the town in the clouds,” “misty Tam Dao,” and “the second Dalat”. Tam Dao is known for its clouds, mist, free-range chickens, and chayote.

Like Ba Vi and Doc Ton, Tam Dao holds deep spiritual meaning for the Viet people. It is the sacred realm of Quoc Mau Tay Thien (West Heaven National Mother) Lang Thi Tieu. According to legend, she was born from the sacred essence of the mountains and rivers, embodying the very spirit of Tam Dao’s forests. Visits to Ba Vi, Doc Ton, and Tam Dao are not just chances to admire majestic landscapes where heaven and earth meet. These journeys are invitations to honor the Mother Goddess, approach the Father and Mother, return to one’s roots, and express gratitude.[hoasen]

Vietnam Airlines today announced that it has received a mandatory technical directive from aircraft manufacturer Airbus, in coordination with the Civil Aviation Authority of Vietnam (CAAV), requiring a software update for its Airbus A320 and A321 aircraft. The update must be completed across the fleet by 06:59 Vietnam time on November 30, 2025 (23:59 UTC on November 29, 2025) to ensure continued operational safety. Upon receiving the directive, Vietnam Airlines immediately conducted inspections and initiated the update process at its maintenance facilities in Noi Bai, Da Nang, and Tan Son Nhat. The airline is fully equipped with the necessary tools, documentation, and software supplied by Airbus. Update operations commenced overnight and continued into the early hours of November 29, with an expected completion time of approximately one hour per aircraft. Vietnam Airlines confirms that the entire fleet will complete the update ahead of the deadline, in full compliance with the safety requirements established by Airbus and the CAAV. Flight operations on November 29 and subsequent days will continue as scheduled and remain unaffected. With safety as its top priority, Vietnam Airlines remains committed to promptly implementing all technical directives, ensuring stable operations and the highest level of safety for passengers and flights.[hoasen]