![]() ![]() We worked with community leaders from the Mikisew Cree Nation, Athabasca Chipewyan First Nation, and probably a dozen other First Nations from British Columbia, southwestern Ontario (where Enbridge was building its Line 9 crude oil pipeline), and the Lower 48 (where TransCanada’s proposed Keystone XL pipeline would be part of a massive pipeline from Alberta to Texas). ![]() Everyone has their own ideas, and every one of them comes with some level of risk. I had some powerful people shout at me in front of other powerful people, telling me that my strategy and tactics, and specifically working in partnership with the Aboriginal legal regime, were not effective. Not all division within the movement is sown by oil giants. We call this the Native rights–based strategic and tactical framework.Īt that time, the white environmental organizations in the funding world were uninterested in human rights and were focused exclusively on the climate. IEN understood that if we channelled resources to First Nations to support a multipronged strategy of legal interventions in the courts and on-the-ground organizing rooted in ceremony, leading towards mass mobilization, we could eventually defeat Big Oil. Since those pipelines were heading to refineries south of the border, I organized the first trip of funders and heads of the major national environmental organizations in the United States, and they saw tar sands as a credible way to lubricate the ushering in of a climate change policy in the United States. We realized that we could make it a much, much worse investment. ![]() And it’s no secret that tar sands oil is a high-cost, low-margin investment to begin with. If it’s worth less, the return on investment of tar sands projects drops. Oil that can’t get to market is worth less. We figured that if we started to choke-hold these pipelines, we could keep the tar sands landlocked. The strategy we settled on was what we called a “rights and title campaign.” We would assert our rights to our territories. And our lawyers and activists protect those treaties. The reason oil companies love to slap their logos on Native projects is that they know we hold the key to their vaults. In Canada, Indigenous Peoples have a powerful legal regime, through constitutional protection of their treaty rights to hunt, fish, and trap. That’s because the colonists and extractive industries need us. The way Native men and women become addicted to the jobs provided by energy companies, just as their brothers and sisters become addicted to booze and crime, is not incidental to colonialism. The social divisions within Native communities are not an unfortunate side effect of colonialism. They divide and conquer, because they need to. From Brazil to Oklahoma, from Nebraska to Alaska, extractive mega-projects need the machinery of colonialism. The clues had been staring us in the face for years. Even remote First Nations living in the midst of the tar sands development-staring down billions in international capital, a government that had a centuries-old history of mistreatment, and an army of bulldozers and dump trucks the size of prehistoric beasts-had to have some leverage. No matter how mismatched the fight, the underdog always has some advantage she can use (and I say “she” deliberately it’s always the women who first take up the challenge). ![]()
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![]() Puppetry is a traditional stage art form that has long existed of different ethnic groups in Vietnam. You can also see Water puppet show at Vietnam Museum of Ethnology. The art of puppetry developed mainly in the Northern region of Vietnam but it spread all over the country through the years. It is not just a great source of entertainment but also a form of art that needs extreme precision and tremendous practice. Water puppetry is exactly as it sounds – puppets dancing and moving along the water, controlled by the invisible hands of the puppet masters. While Indonesia has shadow puppets, Japan has bunraku theatre with black-clad ninja puppeteers and in the US, people know Kermit the Frog, Miss Piggy and all the other members of the madcap Muppet gang, Việt Nam has an 800-year-old art form called traditional water puppetry, remarked Things Asian Press.And water puppetry is a unique traditional art form only seen in Vietnam. Puppetry has existed in many parts of the world for as long as 4000 years. Ticket fee: VND 100,000 Vietnam’s unique Water puppetry Also located in Hanoi, you can witness the best puppet shows in here as well.Īddress:16 Le Thai To, Hang Trong, Hoan Kiem, Hanoi, Vietnam Show timings: If you don’t get a ticket for Thang Long, you can go to Lotus Water Puppet Theatre. You may like Best places to visit in Hanoi capital 2. Camcorder surcharge: VND 60,000 per camcorder.Camera surcharge: VND 20,000 per camera.Children under 1.2m: VND 60,000 per person.It’s located next to Hoan Kiem Lake and within walking distance of the Old Quarter and many other Hanoi attractions.Īddress: 57B, Dinh Tien Hoang Street, Hoan Kiem District, Hanoi Show timings: This is the place to visit for this traditional art-form, the only water puppet show running 365 days a year. Let Hai Phong Tours introduce more information about this attraction. Now, come with us to explore this special art and understand more about Vietnam tradition and culture. ![]() By watching this show, you will fell like you escape from your busy life and refresh your minds with unforgettable moments. If used on a daily basis, the average lifespan of a water puppet is four months, meaning that some villages in Northern Vietnam are able to maintain their income and livelihoods on manufacturing water puppets.Water Puppet Show is a must-see show for tourists in Vietnam. ![]() ![]() ![]() The shows draw from both human and animal puppets to depict traditional Vietnamese folk tales and legends, such as the Legend of the Restored Sword of King Le (the story of Hoan Kiem Lake and the giant tortoise), a boy riding a buffalo whilst playing a flute, and fire breathing dragons dancing on the water, complete with fireworks. The music is an integral part of the show, with the instrumentalists often shouting words of encouragement to the puppets. The performances are accompanied by traditional Vietnamese folk music played on drums, cymbals, wooden bells, horns, bamboo flutes, and a single stringed guitar. In the past, skills were passed from father to son, as villagers feared that daughters would pass on the secrets of water puppetry when marrying outside of the village. Performances involve between 7 and 11 puppeteers who usually train for at least three years. At performances here, puppeteers stand waist deep in the water behind a screen, and operate the puppets on large rods to give the impression that the figures are moving across the water. Rice farmers working in the red river delta conceived this unusual art form over 1,000 years ago, likely when farmers adapted conventional puppetry onto water after a large flood.Īlthough water puppetry is now performed across Vietnam and even tours the world, the most revered performance house is Thang Long Municipal theatre, located in the heart of Hanoi. Mostly unknown outside of Northern Vietnam until the 1960s, the ancient art of water puppetry is one of the country’s more curious highlights. ![]() |
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