The real puppets in Vietnam

Water puppets (mua roi nuoc) are to Vietnam as street performers are to New York: watching them is a very Vietnamese thing to do, just not for local Vietnamese. Most of the audience Saturday night were visitors, and the creators intended the dozen or so skits to teach viewers about Vietnamese life and culture. Some scenes, such as men fishing or animals hatching, could be universally understood. But, ironically, I suspect some of the most interesting ‘lessons’ were beyond foreigners without the context to understand them. Only people familiar with cung would recognize that the puppets carrying plates of fruit in a procession were honoring their ancestors. And though I only vaguely remember reading the legend of the turtle that helped Vietnamese defeat their enemies, I doubt many outsiders recalled the fable when they saw the puppet of the golden turtle. But the figure is as much a part of the country’s folklore as Paul Bunyan is of America’s.

The stage consisted of a long, shallow pool of murky water (the better to hide puppet masters, I’m guessing) in front of an iconic building of red shingles and curved roofs. On either side sat three performers who handled all the sound: wearing traditional ao dai, they voiced the characters of the puppets (human and otherwise), sang when appropriate, and accompanied the entire act with musical instruments.

In some skits, the brightly colored wooden and metal puppets obeyed the constraints of the water – humans rowed, ducks swam, dragons danced and squirted water. In others, the characters miraculously walked on water, acting out the skits as if on land. But the whole time I wondered how the puppeteers maneuvered their dolls. Could they hold their breath underwater just long enough for a skit? Were they lying to the side of the pool, reaching in unseen? Was it all done by machines? The last question was answered when seven or eight puppet masters appeared onstage at the end of the show. Seeing the people drenched from the neck down probably answered the first question, but I’m not much closer to figuring out their secret.

Everyone under the sun

"La Fenêtre Soleil" (French for sun window. Or window sun? Sunny window?) is the name of the cafe/bar, but on Thursday nights it turns into a club for the Salsa, Bachata, Merengue, and the like. Maybe the owners didn't know what kind of dances would become popular when they first named the place. That, and Vietnamese generally know more French than Spanish.

At first I thought it would be strange to hear Spanish music in Saigon, but it wasn't. The city is the most cosmopolitan you'd find in Vietnam, and I suppose the bourgeois need someplace to hang out. I was told to wear a dress, but the attire at La Fenêtre Soleil ran the gamut from gym clothes to business suits, miniskirts to Salsa dresses. Though nothing compared to the pieces of cloth girls wear to American night clubs, the dress here was racier than that of your average local; I think I saw my first thong in the city, bras optional.

The clothes fit the dance, which was innately sensual. It began with a practice session for newcomers, but experts took over for the rest of the night. I was more than a little impressed with how well the dancers handled themselves – confidently relaxed, cheerfully proficient. I could hardly keep track of the dozen or more couples who graced the tiny floor at any given moment, as they switched partners with each new song. Everyone danced with everyone else. I wondered if it was because people didn't need to know each other to dance together (one stranger did ask me to dance). But it turned out that the same crowd goes to that club every week, so they all knew each other. Free love, baby.

Even more impressive was the diversity of the crowd. We were in District 1, so I wasn't surprised to see foreigners, but these weren't just any foreigners. In addition to the Vietnamese and a few tourists, there was a healthy handful of foreigners who'd made their home in Vietnam, and no one seemed to notice skin color. I especially liked the Mick Jagger look-alike, the half-Vietnamese who appeared more Anglo, and the Russian who spoke better Vietnamese than me. But in a way I was lucky that just about everyone – Vietnamese, Indian, French – defaulted to English.

Comfort zone

I didn’t realize I had a fixed idea of Saigon’s landscape until I discovered that it was wrong. Upon stepping into Phu Nhuan District, I thought, where are all the skyscrapers? The Gucci ads? The three-piece suits? I felt simultaneously disappointed that the city was not more modern and foolish that I’d made the assumption to begin with. Where did I get that untrue notion? I must not have made much effort to look at recent photos of the city. From all the stories of Vietnam’s stunning economic growth and desire to Westernize, I turned Saigon into Tokyo and Beijing, which I thought were valid comparisons.

What a relief it was, then, to spend some time in District 1 last night. I had to stop by the bank in that district, which I discovered is the most Westernized (read: touristy) of the city's 19 districts. So that’s where all the skyscrapers were – mostly in the form of hotels, of course. L'Occitane, Rolex, and Louis Vuitton abound, as do KFC, hamburgers, and pizza. I’m not sure what kind of person would travel all the way to Vietnam and dine on the Colonel’s cuisine, but the chain seems to be popular with locals.

Although I’m tempted to find out how KFC in Vietnam stacks up against the original, my cousin and I opted for a seafood restaurant after the bank. To my dismay, lobster turned out to be just as unaffordable here as it is in America – nearly $100. Maybe next time. Instead we shared a humble but tasty substitute, prawns, and a seafood hot pot. I knew the food was supposed to be fresh – we saw guests making their selections from tanks at the entrance – but when the server placed the ingredients in the pot, I noticed the shrimp still squirming on their skewers. The server hastily covered the pot.

Once outside, we walked to the famous Ben Thanh Market, only to come up against a gate that was closing and lights that were shutting down. No matter. A block away, hundreds had gathered for an outdoor skit and concert, perhaps lured, as we were, by the fluorescent lights and booming stereo. Predictably a comedy, the skit reminded me of an improv performance, though I knew it was scripted. Using banners and backdrops made of paper vulnerable to the light wind, the actors played with a not-so-subtle message to wear helmets and avoid littering. Then came the musical acts, mainly young singers like the self-proclaimed “boy band, Melody” and a foursome that has probably watched its fair share of the Pussycat Dolls. These girls, at least, were more democratic in dividing up the singing, and invited a handful of elementary-school-age boys onstage with the condition that they must dance. Why didn’t they invite any girls from the audience? I asked my cousin. Little girls are probably too shy, she said.