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Sa Pa, or Sapa, is a frontier township and capital of Sa Pa District in Lào Cai Province in northwest Vietnam. It is one of the main market towns in the area, where several ethnic minority groups such as Hmong, Dao (Yao), Giáy, Pho Lu, and Tay live.
HISTORY
Sa Pa is a frontier township and capital of Sa Pa District in Lào Cai Province in northwest Vietnam. It was first inhabited by people we know nothing about. They left in the entire valley hundreds of petroglyphs, mostly composed of lines, which experts think date from the 15th century and represent local cadastres. Then came the highland minorities of the Hmong and Yao. The township is one of the main market ones in the area, where several ethnic minority groups such as Hmong, Dao (Yao), Giáy, Pho Lu, and Tay live. groups, as well as by smaller numbers of Tày and Giay. These are the four main minority groups still present in Sa Pa district today. The Kinh (lowland Vietnamese) never originally colonised this highest of Việt Nam’s valleys, which lies in the shadow of Phan-Xi-Pǎng (Fansipan, 3143 m), the highest peak in the country
It was only when the French debarked in highland Tonkin in the late 1880s that Sa Pa, name of the Hmong hamlet, with "S" is pronounced almost as hard as "Ch" in French, "Sh" in English, "S" in standard Vietnamese, so Chapa as the French called it, began to appear on the national map. Near to the now Sa Pa townlet is "Sa Pả commune", which shows the origin in Hmong language of the location name.[a]
In the following decade, the future site of Sa Pa township started to see military parties as well as missionaries from the Société des Missions Etrangères de Paris (MEP) visit. The French military marched from the Red River Delta into the northern mountainous regions as part of Tonkin's ‘pacification’. In 1894-96 the border between China and Tonkin was formally agreed upon and the Sa Pa area, just to the south of this frontier, was placed under French authority. From 1891 the entire Lào Cai region, including Sa Pa, came under direct colonial military administration so as to curtail banditry and political resistance on the sensitive northern frontier.
The first permanent French civilian resident arrived in Sa Pa in 1909. With its attractive continental climate, health authorities believed the site had potential. By 1912 a military sanatorium for ailing officers had been erected along with a fully fledged military garrison. Then, from the 1920s onwards, several wealthy professionals with enough financial capital also had a number of private villas built in the vicinity.
At the end of the Second World War a long period of hostilities began in Tonkin that was to last until 1954. In the process, nearly all of the 200 or so colonial buildings in or around Sa Pa were destroyed, either by Việt Minh sympathisers in the late 1940s, or, in the early 1950s by French air raids. The vast majority of the Viet population fled for their lives, and the former township entered a prolonged sleep.
In the early 1960s, thanks to the New Economic Zones migration scheme set up by the new Socialist regime, new inhabitants from the lowlands started to migrate to the region.
The short 1979 occupation of the northern border region by Chinese troops had little impact on Sa Pa town, but did force the Kinh (lowland Vietnamese) population out for a month.
In 1993 the last obstacle to Sa Pa's full rebirth as a prominent holiday destination was lifted as the decision was made to open the door fully to international tourism. Sa Pa was back on the tourist trail again, this time for a newly emerging local elite tourist crowd, as well as international tourists.
Sapa is now in full economic boom, mainly from the thousands of tourists who come every year to walk the hundreds of miles of trekking trails between and around the villages of Dao villages of Ta Van and Ta Phin.
In 2006, the Chairman of The People's Committee of Sapa Province was elected to The Communist Party Central Committee as the youngest ever member (born in 1973).
GEOGRAPHY
Sa Pa District is located in Lào Cai Province, north-west Vietnam, and 380 km north-west of Hanoi, close to the border with China. The Hoàng Liên Son range of mountains dominates the district, which is at the eastern extremity of the Himalayas. This range includes Vietnam's highest mountain, Fan Si Pan, at a height of 3143 m above sea level. The town of Sa Pa lies at an altitude of about 1500 meters above sea level. The climate is moderate and rainy in summer (May-August), and foggy and cold with occasional snowfalls in winter.
Sa Pa is a quiet mountain town and home to a great diversity of ethnic minority peoples. The total population of 36,000 consists mostly of minority groups. Besides the Kinh (Viet) people (15%) there are mainly 5 ethnic groups in Sapa: Hmong 52%, Dao 25%, Tay 5%, Giay 2% and a small number of Xa Pho. Approximately 7,000 live in Sapa, the other 36,000 being scattered in small communes throughout the district.
Most of the ethnic minority people work their land on sloping terraces since the vast majority of the land is mountainous. Their staple foods are rice and corn. Rice, by its very nature of being a labour-intensive crop, makes the daily fight for survival paramount. The unique climate in Sapa has a major influence on the ethnic minorities who live in the area. With sub-tropical summers, temperate winters and 160 days of mist annually, the influence on agricultural yields and health related issues is significant.
The geographical location of the area makes it a truly unique place for many interesting plants and animals, allowing it to support many inhabitants. Many very rare or even endemic species have been recorded in the region.
The scenery of the Sa Pa region in large part reflects the relationship between the minority people and nature. This is seen especially in the paddy fields carpeting the rolling lower slopes of the Hoàng Liên Mountains. The impressive physical landscape which underlies this has resulted from the work of the elements over thousands of years, wearing away the underlying rock. On a clear day, the imposing peak of Fan Si Pan comes into view. The last major peak in the Himalayan chain, Fan Si Pan offers a real challenge to even the keenest walker, the opportunity of staggering views, and a rare glimpse of some of the last remaining primary rain forest in Vietnam.
Geology, climate and human activity have combined to produce a range of very distinct habitats around Sa Pa. Especially important is Sa Pa's geographic position, at the convergence of the world's 14 “biomes” (distinct biographic areas), producing an assemblage of plant and animal species unique in the world.
In 2014, Sapa ranked #9 in the top 10 rice terrace destinations of the world by SpotCoolStuff
ECOLOGICAL LIFE
The Hoàng Liên Mountains are home to a rich variety of plants, birds, mammals, amphibians, reptiles and insects, many only found in northwestern Vietnam. For this reason, the Hoàng Liên Nature Reserve was made a National Park in 2006, and covers much of the mountain range to the immediate south of Sa Pa.
Forest type and quality change with increasing altitude. At 2000 meters the natural, undisturbed forest begins to be seen. Above 2500 meters dwarf conifers and rhododendrons predominate in the harsh “elfin forest”, so called because a lack of topsoil and nutrients means that fully mature trees grow to measure only a few meters in height. Higher still, only the hardiest of plant species are found. At over 3000 meters, Fan Si Pan's summit can only support dwarf bamboo.
TOPOGRAPHY
The Hoang Lien Mountains lie at the southeastern extent of the Himalayan chain. The national park is located on the northeast flank of these mountains and includes Vietnam's highest peak, Fansipan, at 3,143 m. The lowest point is 380 m but most of the national park lies above 1,000 m. The flanks of the mountains are very steep and many areas are almost inaccessible on foot. Between Fansipan Mountain and Sa Pa town, lies the Muong Hoa valley, which has been terraced for wet rice agriculture. This valley becomes wider towards the east of the national park.
CLIMATE
The climate of Hoàng Liên National Park is unique to Vietnam. It is highly seasonal, with a subtropical climate in the summer and a temperate climate during the winter. Under the Köppen climate classification, Sa Pa has a subtropical highland climate (Cwb). Mean annual temperature for Sa Pa town is 15.4 °C, with a maximum of 29.4 °C and a minimum of 1.0 °C. The warmest months are July and August, and the coldest months are December and January. Snow falls in some years on the highest peaks. It has snown in the town itself in 1983, 2000, 16 March 2011, 15 December 2013, and 19 February 2014.
In common with the rest of northern Vietnam, Hoàng Liên National Park experiences a marked wet season from May to September, with the heaviest rainfall occurring in July and August. Mean annual rainfall is 2,763 millimetres, with a high of 4,023 millimetres and a low of 2,064 millimetres. Humidity ranges from 75 to 91 percent with a yearly mean of 86 percent.
Climate varies considerably within the national park. The prevalent wind direction for most of the year is west to east, leading to cloud formation on the upper slopes of the Fansipan massif. These high-altitude areas are covered by cloud most days of the year and have very high humidity. Cloud also penetrates into the valleys but these areas are usually less humid than the mountain slopes. In the extreme east of the national park, around Ban Ho village, mean temperatures are considerably higher due to the lower altitude of these areas.
Extreme temperatures have ranged from −6.1 °C to 33 °C.
GEOLOGY
The geology of Hoàng Liên National Park includes metamorphosed sediments and a granitic intrusion. The metamorphosed sediments strike from northwest to southeast along the Muong Hoa valley. On the northeastern side of the valley is a craggy ridge of marble and metamorphosed carbonate rocks that exhibit a karst style of weathering. These formations are currently being quarried for road building. The valley floor is characterised by schist and, to a lesser extent, gneiss. The granitic intrusion extends from the Muong Hoa River to the summit ridge of Fansipan and beyond. Due to the high humidity and rainfall in the area, chemical weathering is prevalent. This is reflected in the clay nature of the soil.
ECONOMIC AND SOCIAL DEVELOPMENT
Before the 1990s, the town's economy was mainly based on small size agriculture.
Tourist arrival between 1995 and 2003 grew from a total of 4,860 to 138,622. On average, 79% of the visitors are Vietnamese and 21% are foreigners.
The people of the Sa Pa area have been very poor even by Vietnam's rural standards. Efforts to improve the situation for the local people include both governmental and non-governmental initiatives. The government of Vietnam and foreign governments have contributed to local development programs. International non-governmental organizations such as Oxfam have also been involved in Sa Pa. Locally, the Hmong-run social enterprise, Sapa O'Chau, organizes volunteer placements, such as English teaching, and visiting through trekking and homestays at local villages for short or long-term periods. Vocational training by the Hoa Sua School also aims to increases skills and earnings potential for local residents.
HYDROLOGY
Hoàng Liên National Park is drained by the Muong Hoa and Ta Trung Ho rivers, which feed the Nam Po River and, finally, the Song Hong (Red) river. The forest has an essential role in water catchment protection, particularly the forest at high altitudes, which is frequently covered in cloud. Water condenses on the vegetation and falls as ‘occult’ precipitation. Occult precipitation makes a major contribution to stream-flow during the dry season when rainfall is low.
VEGETATION
The forest of Hoàng Liên National Park can be classified as belonging to 3 types: sub-montane dry evergreen forest, tropical montane deciduous forest and sub-alpine forest. The sub-montane dry evergreen forest, which occurs at lower altitudes, has been the most heavily disturbed by the activities of man.
In addition to the forest habitats, the national park contains large areas of agricultural land, scrub land and Savannah. Agriculture is concentrated at altitudes below 1,500m, in the bottom of valleys. Scrub land and Savannah areas are found where forest has been cleared: around the edge of cultivated areas and on ridge tops, which have been subjected to burning. A final vegetation type represented at Hoàng Liên National Park is dwarf bamboo. This habitat is confined to the highest ridges of the Fansipan massif, at altitudes above 2,800 m.
WIKIPEDIA
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
Silhouette Advent Calendar. Details on my blog findingtimetocreate.blogspot.com/2013/12/silhouette-adven...
All the design-team advent calendars for 2013 can be seen on the Silhouette Blog blog.silhouetteamerica.com/2013/12/advent-calendar-inspir...
Well, the hockey season is in full swing, at least in the AHL and the Rockford IceHogs. Since the NHL is not doing anything so far, the IceHogs have had the pleasure of skating players who were in Chicago last season. This was from their first home game of the season. The San Antonio Rampage were in town and lost to the Hogs 2-1 that evening.
creative coding workshop visual. the goal was to create a counter from 0 to 100.
I tried to make some nice looking counter with colors of the vooruit branding that is automatically written upon a virtual canvas. I use flash / actionscript to visualize what I had in mind. I created a separate tool to capture handwritten numbers, I use those captured paths as input for the motion to "write" (draw) the actual numbers. The numbers bleed into the background that slowly zooms in which causes a dramatic/intense effect. Not all numbers are that recognizable, however during the animation you mostly notice which number is written.
The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.
Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]
Overall Race Summary
Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.
Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races
Course: This is an undulating course with some good flat stretches on the Curragh.
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some Useful Links
GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313
Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html
Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare
Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306
Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/
Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/
A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)
Can I use the photograph with the watermark?
Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.
How can I get a full resolution, no watermark, copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Some people offer payment for our photographs. We do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would pay for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
Created with fd's Flickr Toys
1. 24, 2. property number 14, 3. 8, 4. 9, 5. 13, 6. 18, 7. 66, 8. 25, 9. property number 98
School project, 2014
Infographic posters
My university is celebrating its' 10th anniversary, and as one of our school project we were asked to make infographic posters for the VISART10 exhibition. The data on the posters are real numbers from our university life. The graphics are layed over the photos I took for the exhibiton visual plans.
And There Are Some Who Dream of the Significance of Numbers
This is from my new series of Fictional Relics. I used found metal pieces and old photos and odd pieces of found text such as the title to create these pieces.
This piece is built on a 8 inch metal round gear. I added numbers of various and letters types , rusty cogs, and other pieces to create the work. I love the photograph of the odd little child who loks to be dreaming of numbers! It has the feel of something that may have been salvaged from an old ship wreck. I have been creating assemblages for years and continue to enjoy the medium as my art evolves.
After took a shot of Eirfan here on my last visit with Eirfan...so this time shot with all of my kids
Illustration taken from "Numbers, what they look like and what they do" by Mary Reed and Edith Osswald. Pictures by Violet LaMont. Little Golden Book 1978.