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Twenty-two days in Vietnam; a slow North to South journey through this beautiful and surprising country.
Beijing, China: Images from the Forbidden City and Summer Palace.
Krabi Provence, Thailand. February 2019.
The sea glows a gentle emerald luster beneath the ancient and almost forgotten drama of pitted and slowly eroding limestone cliffs. There’s the soft rattle of palm leaves along spreading beaches, the rhythmic heaving of the sea, and they’re joined by the constant growl of passing long-tail boat motors and the occasional screams of monkeys from the trees. And not far away, beyond dusty towns and sleepy villages, the hazily stooping figures of mountain ranges spread across the horizon, home to soaring monasteries and gilded temples.
The New Years Post: 2018 Highlights
2018 was, indeed, and exciting year, with many new experiences, places...and a wealth of imagery. Below is collection of my photo highlights from the past year.
Odessa, Ukraine
Langeron Beach, Odessa, Ukraine.
Mukachevo, Ukraine
Mukachevo, Ukraine
Mukachevo, Ukraine
Prague, Czech Republic
Reykjavic, Iceland
Reykjavic, Iceland
Tianjin, China: Drum Tower neighborhood
The Great Wall at Badaling, China
The Great Wall at Badaling, China
Dabei Monastery, Tianjin, China
Italian Town, Tianjin, China
Hai River, Tianjin, China
The Shuishang park, Tianjin, China.
A rainy-day view of The Bund, Shanghai, China.
The streets of Shanghai.
Shanghai, China.
Home sweet home in Tianjin.
A new city, and a new daily commute on the subway. A fresh set of station names to remember and line changes to follow. But what does not change are the passing faces as they are everywhere, strangers rushing by--joys, worries, boredom, and moments of surprise--a thousand scurrying narratives unwinding around you in a desperate fugue of life.
Sure, you may pass that daily routine with your head down, oblivious. But I never can...
It was the day before Thanksgiving and the city was wrapped in the drifting ashen cloak of another Eastern Winter. People moved rigidly with deliberate geisha steps over the frozen ground and from the half-melted streets the passing yellow mini-buses hurled cascades of grey-brown slush high up onto the sidewalks where small clusters of humanity huddled just out of reach of the spray from passing traffic. Their clothes were pristine and formal, their faces proud and stoic, and they dared not risk the disgrace a stray drop of soiled snow might cause to their attire. Then the correct bus would appear, with the number five-oh-four or three-fifty-seven or so on printed on a yellowed sheet of A-four paper taped in a page protector to the windshield, and the waiting crowds would move in a rush to board, shoving unemotionally to pack the small interior of the vehicle.
I was hesitant, not used to the apparatus of the moment, and I had to settle for a standing position near the door.
The bus departed, careening among ancient Ladas and sparkling Land Cruisers along the frozen street. Suddenly a indignant hand jabbed my shoulder and, turning, I was handed a wrinkled bank note, a ten-hryvna bill. I took the money and stared questioningly at the small wrinkled woman from whom it had come. Why had she given me money? I shook my head and moved to hand the bills back to her, but she sighed and motioned to the front of the bus, uttering an annoyed phrase in Russian that I could not understand. Still confused I pushed the money back at her and she took it exasperatedly and pushed past me to hand it to another person, standing nearer to the front of the bus than I. Then I watched as the bill was passed, hand to hand, to the driver, and then change was passed back to the waiting traveler. This was, apparently, how the fare was paid and I followed suit.
But now it has been three years six months and five days since that winter bus ride on my first day in Kiev, Ukraine, and such simple social rituals have lost their mystery. What has passed in between has been a rush of scenarios, confounding in their novelty.
There was the time that I spent the New Years holidays in a tiny village in the countryside and it didn't matter that I did not speak more than a few words in Ukrainian and they only spoke a few words of English. There was enough homemade vodka to erase the language barrier, as well as most memories of the long night between 2014 and 2015.
There was my first visit to a Russian banya. I sat in the intense heat with an assortment of sweaty and naked locals. I ate pickled tomatoes and chunks of pork fat and drank copious amounts of room-temperature beer. I was beaten with scorching sprigs of oak leaves to renew my flesh. I became delirious from the heat and babbled in incoherent Russian to the delight of my companions, and then I plunged into the awaiting pool of icy water to complete the ritual. And I arose a new man.
Then there was the night, Saint Patrick's Day to be exact, when I found myself among a haggard band of fellow American expats, all well "socially lubricated", swaying in a dim basement karaoke club singing John Denver's "Country Roads" with feverish passion and damp eyes while the local patrons listened and clapped their hands in unison with our singing.
And there were the thousands of hours of teaching English to eager students, wrangling verb tenses with heavy Slavic accents, at home among dusty Soviet-era chalk boards and creaking, wooden floors.
I learned to abolish my past conceptions of personal space and stand, pressed together in lines and crowds, and never...never, to make eye contact or attempt small talk with strangers. To smile is to be noticed and to be noticed is to expose oneself. So don't do it.
I learned to walk with my gaze straight ahead and my face blank, like the sea off faces around me. This was a culture born in slavery and only recently freed, and it had an instinct to remain inconspicuous and an impulse to simply survive to the end of another day. And then another.
But then I earned that beneath this defensive, prison-yard exterior, the people were warm and loyal friends; helpful and generous. They just didn't give their friendship lightly, or quickly. But likewise, it is not withdrawn or questioned lightly, or quickly once it is won.
And then there were many other moments that now flash through the haze of memory. Some warm with friendship or insight, some perplexing and forever veiled by the barrier of culture, and some downright uncomfortable. But taken all together, now, sitting here at Kiev's Boryspil Airport three years six months and five days since my first arrival in this city, waiting on a flight that will take me away from Ukraine and towards the next chapter in my life... I cannot help but be flooded by a wave of nostalgia for this place, these people, and all the myriad experiences that have passed during the time that I have called Kiev, Ukraine home.
2017: Year in Review
In three hours, 2017 will be relegated unto the annals of history. A year ago I was watching the sun set over the spires of a medieval castle, and this morning I watched the sun rise over the Black Sea, sitting on sands once sought by Greek merchants of ancient times. And a lot has happened in between; moments of clarity and memory and travels and changes and new experiences.
Included below are a few highlights of this year which is about to end.
The Castle of Kamenets Podolski, Ukraine.
Night on the seaside in Alanya, Turkey.
The Opera House of Lviv, Ukraine.
A summer night in Tbilisi, Georgia.
The Georgian coastal city of Batumi, a land steeped in history, myth, and legend.
The mountain haven of Borjomi, Georgia.
The muted charm of Lviv, Ukraine’s Lychakiv Cemetery.
A young couple enjoy the evening at the National Exposition Centre of Ukraine.
At the summit of Mt. Makovytsia in the Ukrainian Carpathians.
Awaiting the new year on the beach in the Ancient Black Sea port city of Odessa, Ukraine.
On one side of Lviv's Rynok Square, at the top of a dim staircase, is a simple, unmarked door. Upon knocking you are greeted by a disheveled and gruff elderly man. His hair and beard are long, white, and unkempt. He wears a bathrobe and slippers.
“What are you looking for?”, he asks in Ukrainian.
His voice is rough, annoyed, challenging. Behind him you see the apartment of an old man who lives alone. Books and papers are strewn about, and among the general mess a white rabbit sits in a cage on one table. For a moment you want to appologize and leave. Surely this must be the wrong door.
But you persist, asking politely:“Please sir, may we come in?”
“There is nothing to stop you,” he replies curtly and escorts you behind a tapestry that hangs on the wall. You find yourself then inside a darkly lavish interior, surrounded by strange symbols of the Massonic Order and portraits of past luminaries, darkened by ages of candle soot. A man sits, playing a mysterious bluesy dirge on an ancient piano. You imagine the air filled with drifting clouds of fragrant cigar smoke and muttered philosophical conversations. Truly, you have entered the territory of a dread secret society.
And then the fun begins.
You are greeted volleys of dry and sarcastic humor and practical jokes by the young men who wait the tables. After one glance at the menu you feel a rise of shock in your belly. The prices are enormous...no matter how much of an Epicurean masterpiece awaits, it can't cost this much!
But it does. You have just taken a table at “The Most Expensive Galacian Restaurant.”
You order your food. Roast pork and mashed potatoes. As you wait you sip a glass of nice Spanish wine and let your eyes wander over the décor of the room. Groups of old bearded men stare back at you from yellowed photographs.
Finally your food comes and it is excellent. Truly excellent. You savor it as you watch the amber hues of evening shrinking over Lviv's Town Hall.
And then you request your bill with trepidation. “Rakhunok, bud laska,” you say in your poorly pronounced Ukrainian. Upon receiving it, you see that the damage is over four-thousand Hryvnia. But then, after some playful jabs from the waiter, you find that one zero falls off the total if you show your “Just Lviv'en It” tourist discount card, which, fortunately, you acquired a few hours before. You are, after all, in the house of a secret society, and non-members must pay dearly. But you are part of the inner circle, so all is well.
Nova Poshta Kyiv Half Marathon 2017
When it All Started to Feel Like Home
(or, “Samogan and Fish Soup in a Ukrainian Village”)
A heavy iron pot sits, bubbling over a small wood-burning stove, filling the still air with the heavy scent of spices and meat, the billowing smoke serving to keep the persistent squadrons of mosquitoes at bay.
Vova gingerly sips at a small sample of broth that he has just scooped from amid the increasingly violent bubbles which fling little sprays of the concoction into the air above the pot's rim. His eyes focus on some imaginary point far in the distance as he swirls the hot liquid in his mouth, and then his features contract into a thoughtful grimace as he dumps a few palm-fulls of pepper, salt, and minced herbs into the pot. Turning to the small company sitting not far away at a low-roofed picnic table, his expression spreads into a broad grin as he gives us all a thumbs-up.
It's not long now.
“DJ!” His voice booms from above his broad, tanned belly and beside me Oleksander turns his attention to a World-War-Two-era phonograph which sits on a low stool at the end of the table. It has fallen silent. Thoughtfully flipping through a small collection of records, Oleksander nods approvingly as he finds an appropriate selection. Smiling, he points a wiry finger at the title, printed in Cyrillic on the yellowing and cracking paper at the disk's centre. In addition to the details of the music, each also bears the proud brand of “CCCP” printed in large letters beneath an image of a radio broadcast tower, once black, but now faded to a dusty brown.
Oleksander gives the handle of the phonograph a series of rapid spins, winding the mechanism, and music begins, crackling from within the ancient device. The tones of the song rise into the summer air, stretching an impassioned melody, full of pain and trial and hope, above a lightly skipping baseline and occasional swirling accordion motifs. “Life is hard, and has always been so, and will always be so,” it says, “but today...” Glasses clink and the first round of Samogan, a strong and sharply biting homemade vodka, fills the shot glasses, sitting with crystalline sparkle amidst the dusty earth-tones and organic roughness of their surroundings. And then they are lifted, pausing halfway between the table and the ring of waiting faces. After two years here, I am no stranger to this rite, but I still glance around the table to confirm that the time is right to drain my glass—you don't want to go for it too soon. My eyes meet those of an ancient Babushka, her features creased and hardened by years of village life. Her warm eyes glint with a smile and she gives me a decisive bottoms-up gesture and I empty my glass, and the phonograph continues to spread its aching hope, and this passion seems to rise into the heat and sweat and dust of the afternoon from another era, distant and half-forgotten.
And later, somewhere in the leaden darkness of a summer night, I am asleep on a sofa in a centuries-old farmhouse, being serenaded by a cloud of mosquitoes and the soft sounds of the countryside.
And it all feels like home.
The Castles of Kamianets-Podilskyi and Khotyn
Kamianets-Podilskyi, a small city located in Western Ukraine, traces its origins back to the ancient Kievan Rus, which held sway over portions of Eastern Europe from the ninth century until being sacked by Mongol invadors in 1240. Later, under the control of the Kingdom of Poland, Kamianets-Podilskyi played an important strategic role in defending the Polish world from Tatar and Ottoman threats. With a commanding view over the surrounding valleys, the Kamianets-Podilskyi Castle provides a striking reminder of the military significance this now-sleepy city once held.
Not far away, in the town of Khotyn, you can find another breathtaking example of the history of this region. Located on the Dniester River, the Khotyn Castle dates from the tenth century, and was given its current form during the fourteenth century. Protecting north-south trade routes, the castle served as part of the regions defensive network during the constant upheavals of the middle ages.
Photographs © David Sercel
Excerpts from a family portrait session at the beautiful city park in Bucha, Ukraine.
Photographs © David Sercel
Independence Day, Ukraine!
Photographs © David Sercel
The whimsical back alleys and street art of Kyiv, Ukraine. 30 July, 2016.
Photographs © David Sercel
Relics of Stalin’s “Object One”
On this, "Victory Day"--the 71st anniversary of the surrender of Nazi forces to the USSR--in lieu of the more obvious fixtures of this holiday, I thought it fitting to revisit one of those war-time sites in Kyiv oft neglected by tourists, tracing their ways along their TripAdvisor itineraries (although to be completely fair, the site does have at least a minor mention on this spot).
As rumblings of the "Great Patriotic War" were beginning to tip the calm of the Soviet world, Joseph Stalin ordered the start of a series of forward-looking undertakings along the Dnipro River in Kyiv, Ukraine. Kyiv is a river town--historically a very important river town--and this made its strategic capabilities of paramount concern (clearly...as it was doomed to fall to the advancing Nazi forces in September of 1941). Kyiv, at the time was linked West-to-East by numerous bridges, as it is today, but in wartime these could, and likely would be damaged or destroyed. Thus began a series of top-secret construction projects entitled simply "Object One". Construction began in October of 1938 under the guidance of a young Nikita Khrushchev, who was then governor of Ukraine. Workers were carefully selected, and even as the needs of a growing war began to demand more and more able bodied men, these workers were not permitted to quit in order to fight, and were kept under tight orders of secrecy.
The basic premise of "Object One" was to create a series of tunnels which could rapidly and covertly move troops and supplies across the river as part of the massive line of Soviet defenses built to check the German advance.
One relic of these endeavors lies nestled in the trees in Natalka Park on the banks of the Dnipro River in Kyiv's northern Obolon neighborhood. Known by a variety of names--"The Concrete Submarine", "Stalin's Underground", or by the original secretive Soviet tag "Number 12 of Object 1"--the structure today serves only as a climbing wall, a canvas for local graffiti artists, and a secluded spot for area youth to hang out and find trouble to get into. However, the structure is in fact one of the caissons built during the tunneling process. A caisson of this sort served to create a water-free working chamber, which was maintained in the saturated ground of the river bank by raising the air pressure within to a high enough point so that water was not able to seep into the interior.
Work on “Object One” continued into 1941, when, as the German army was advancing towards Kyiv, the tunneling work passed through an area of quicksand, and in the softened ground the pressurized air exploded to the surface, creating a whirlpool in the Dnipro river and filling the tunnel with water. Eventually the tunnel was reclaimed, the chief engineer was canned and a new one brought in from Moscow, and work began again. However, when the Nazi army arrived on the outskirts of Kyiv, work was put on hold, the tunnels were flooded deliberately, and the equipment was buried. Then, in mid September of 1941, the Nazi flag was raised over Kyiv, thus officially ending "Object One".
After the war, there was a brief period during which plans were proposed to rekindle the "Object One" project, but eventually it was scrapped and the submerged tunnels were gutted for fixtures and equipment which were later be used in construction projects in the Kyiv Metro.
Photographs © David Sercel
A sea of vivid colors and intricate designs floods Sofiyska Square, in Kyiv, Ukraine. With Orthodox Easter just a week away, it is time for the city’s annual festival celebrating the Ukrainian folk-art of “Pysanka”--hand-painted eggs.
Though today associated with the Easter holidays, the tradition of Pysanka dates back to Ukraine’s pre-Christian past, with examples of intericately decorated eggs fashioned from ceramic, bone, clay and stone having been unearthed at archeological sites dating from as early as 4000 BC, and appear to have served as ritual talismans within the sun-worshiping religions of Ukraine’s ancient history.
Many ancient legends also revolve around the Pysanky. The most dramatic of which comes from the Hutsuls--the mountain people of the Carpatians. According to their folk-lore, a terrible serpent is kept chained to a cliff, somewhere deep in the mountains. As long as the tradition of creating Pysanky is maintained, it will remain chained, but if this custom lapses, the chains will be loosened and the monster will be free to roam the earth, spreading horror and destruction!
Whatever their role--good luck charm, earth saving ritual, or simply beautiful trinkets--today the Pysanky serve to add an extra splash of color to the already vibrant hues of the Ukrainian Spring.
Photographs © David Sercel
Nova Poshta Kyiv Half Marthon, 2016
Runners of all ages compete in Kyiv’s annual half marathon. Beginning in the historic Podil neighborhood, over two-thousand runners made their way along the twenty-one kilometre course, towards the goal of making it back to Podil’s Kontraktova Square under the coveted two-hour time mark.
Photographs © David Sercel