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Phu Loi airfield was originally established by the Japanese in the 1940s and was located approximately 20 km north of Saigon in Bình Dương Province.During the First Indochina War the base was used by the French as a prisoner of war camp for captured Viet Minh.
Her real name is Trần Thị Cẩm Ly and was born on 30 March 1970, in Saigon.Her hometown is in Qui Nhơn, Bình Định.She is the third child (her fan named her as Chi Tu according to Southern order in the family) of family with six siblings, her father is composer Tran Quan Hien, her two younger sisters are Hà Phương and Minh Tuyết who are also singers (apparently they're locating ...
Bản Giốc – Detian Falls or Bản Giốc Falls is a collective name for two waterfalls on the Quây Sơn River (Vietnamese: Sông Quây Sơn, chữ Nôm: 滝𢮿山; Chinese: 归春河, Pinyin: Guīchūn hé) that straddle the international border between China and Vietnam; more specifically located between the Karst hills of Daxin County, Guangxi and Trùng Khánh District, Cao Bằng ...
Dạ cổ hoài lang (Vietnamese: [zâːˀ ko᷉ hwâːj laːŋ], "Night Drum Beats Cause Longing for Absent Husband") is a Vietnamese song, composed circa 1918 by songwriter Cao Văn Lầu, colloquially known as "Sáu Lầu," from Bạc Liêu.
Trịnh Công Sơn was born in Buôn Ma Thuột, Đắk Lắk Province, French Indochina, but as a child he lived in the village of Minh Huong in Hương Trà in Thừa Thiên–Huế Province. [3] He grew up in Huế , where he attended the Lycée Français and the Providence school.
con: father: a male teacher; a monk: Only the non-kinship sense is universal. The "father" sense is only dialectal in the north. mẹ: con: mother: mẹ is the Northern form, má the Southern. Many other terms are used, depending on the dialect: u, bầm, mạ, má. Archaic: nạ. anh: em: older brother
There are eight tones in the Làng Lỡ. Tones 1 to 6 are found on sonorant-final syllables (a.k.a. 'live' syllables): syllables ending in a vowel, semi-vowel or nasal. Tones 7 and 8 are found on obstruent-final syllables (a.k.a. 'stopped' syllables), ending in -p -t -c -k. [3] This is a system comparable to that of Vietnamese.
She is accompanied by a man who plays the đàn đáy, a long-necked, 3-string lute used almost exclusively for the ca trù genre. [ 11 ] Last is the spectator (often a scholar or connoisseur of the art) who strikes a trống chầu (praise drum) in praise (or disapproval) of the singer's performance, usually with every passage of the song.