A fictional novel set against the juxtaposed backgrounds of life on the lower deck of British aircraft carrier in the 1960’s and the emerging new age eco minded pot smoking hippy culture. The galvanizing catalyst is the UK defense establishment. At that time, ruthlessly creating people with no recorded identity to carry out their bidding. Deliberately targeting the vulnerable vacuum of the ‘flower power’ era. Ambitious ruthless patriotic ‘Civil Servants’ eagerly exceed the boundaries of state involvement. Using the police and the Criminal Justice System as a tool of coercion they create expendable people. Persons with no recorded identity who could be threatened and forced to carry out illegal government tasks under the shadow of their own unnoticed disappearance should they refuse. Leonard Flower Welham a young sailor drawn by the glamour and adventure of the Fleet Air Arm. Roaring powerful dangerous flying machines. Alien and foreign places and cultures. Grey unstoppable warships that policed the world’s oceans and offered a safe home. A voyage of discovery as he changed from a boy to a man. In the mid sixties he is drafted to join HMS Bulwark. The ship is undergoing a refit in Plymouth dockyard. He is confronted with its sheer magnitude and majestic presence. Climbing aboard up the steep gangway he enters a special world of smells, sensations, sights, sounds and the beginning of the trip of his life. Joel. Born in a damp Yurt in a green wet valley in Mid-Wales to a thin depressed hippy eternally searching for her own happiness. Her low self esteem restricting her to abusive relationships leading to her coerced insemination and a boy child. He was to grow to be the only thing of true value in her life. Joel spends his happy free childhood unfettered by the expectations of school and conventional society. Accepting his alternative life as nothing unusual he is taught by his own curiosity and associations with people who knew the answers to his questions and who could teach him what he needed to know. The lives of the two young men come together. Life becomes familiar and normal. Friendships develop, fun is shared and enjoyed. The eastern world is paraded before them to be dipped into and experienced whilst having the safety of a floating ‘England’ to run back to. All this time Joel cannot escape the lurking incredible officialdom. Their awful instruction and the dislike for himself and his own weak compliance.
Monday, 18 April 2022. Written by Ann Ann. Images courtesy of Trọng Tính.
Read this article in Vietnamese at Sài·gòn·eer.Much like their descendants today, schoolchildren of 1930s Vietnam also took art classes as part of their syllabus. In this rare collection of what was essentially our grandparents’ homework, we can surprisingly learn a lot about the daily life of Mekong Delta residents from nearly 100 years ago.
Art is a crucial subject in assisting the development of a young child’s sense of aesthetics, even though not every pupil is excited by drawing lessons. During these hands-on hours, students not only learn how to record what they observe on paper, but also how to appreciate art and life.
Just by flicking through these intricate art assignments by students of the École Primaire de Long Xuyên in 1930, one can feel the pulse of life imbued in every household object and scene portrayed. The scans were archived by the French National Museum of Education.
École Primaire de Long Xuyên, 1920.
Long Xuyên County (as it was then called) received its first administrative designation in the 1860s–1870s. In 1900, Long Xuyên became a province, consisting of three districts: Châu Thành, Thốt Nốt, and Chợ Mới. In 1917, Governor-General Albert Sarraut issued the General Regulation of Education in January 1917, allowing Long Xuyên as a province to establish public schools — which led to the birth of École primaire de Long Xuyên, or Long Xuyên Primary School.
In this artwork collection from 1930, students commonly opted for household items in their still life sketches, like areca nut trays, vases, and even one ghe hầu — an ornate pleasure barge used by members of the upper echelons on vacations. One student chose to draw a pair of geckos, which, as thằn lằn fans at Saigoneer, we feel should deserve more than a 7/10 grade.
It does come as a surprise when we marvel at these sketches because the level of attention to detail was remarkable. From the vases’ elegant inlaid mother of pearl to regal dragon patterns on trays, the students did a sterling job at capturing the artisanship of past craftsmen in their work. Moreover, by looking at these artworks, we can have a glimpse into the range of home items of past Vietnamese that might longer be in use today, such as the areca nut sets.
A noticeable motif present in the decorative items that were portrayed by students was the “lotus and duck” subject or liên áp in Vietnamese. The character for áp (鴨), meaning “duck,” has an element of giáp (甲), meaning “first.” This signifies an aspiration to attain high achievement in academic pursuits. Liên (蓮), meaning “lotus,” is a homophone of liên (連), meaning “continuous.” Depictions of “lotus and duck” reflect people’s desire to have good luck in their studies and future career.
Interestingly, one of the most popular subjects is the areca nut and betel leaf kit used by past generations. A set usually has a tray or lidded pot, a pitcher of lime powder, a cutter, a mixing spoon, dried thuốc xỉa leaves, and a spitting bottle.
In three works by the authors Sư, Huỳnh Văn Mới and Kỳ, we can identify some of these instruments in three different styles, all beautifully crafted to showcase their owners’ financial station. In the set drawn by Sư, the exterior of the box is lacquered and embellished with a “lotus and duck” scene. For the sets owned by Mới and Kỳ’s families, the receptacles were made of bronze.
Three sets of different trầu cau utensils show us the diversity and complexity of our ancestors’ areca nut-chewing pastime.
An areca nut box, or cơi trầu, is a multi-component container with a lid, used to store the various tools needed in the consumption of areca nut and betel leaf mixture. Ô trầu, on the other hand, is simply a hollow cylindrical container where everything is kept. According to Trọng Tính, a co-founder of history forum Đại Nam Hội Quán, these setups were usually displayed by wealthy households back then in their living room to flaunt their social status.
Commenting on this set of artworks, Tính also noted that the opulent boat drawn by Trần Tấn Tước isn’t just any mode of transportation commonly seen now. It’s a ghe hầu, a leisure vehicle reserved for river cruise and is decorated with festive flags, a prominent rudder, and other amenities. Today, not many have survived, though two are still kicking around, including the Sáu Bổ owned by Trần Văn Thành, and the Sấm owned by Lê Văn Mưu, also known as Ông Trần.
Marveling at these art assignments by students in the 1930s Mekong Delta, we get to know a delightful facet of the life of past Vietnamese. Areca nut boxes have largely disappeared from our daily routine, and now mostly exist as artifacts in museums. If you’re lucky, there might be one lurking in a corner of the family living room, waiting to be rediscovered. If not, then you’ll probably have to settle for digital images or one of these detailed sketches by students of the Long Xuyên Primary School.
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