In Long Mỹ, a village in Vietnam's Mekong Delta region, Phan Thị Nga and her childhood friend, Chiêm Thị Bé, are working on a batch of colourful patchwork cushions destined for customers from as far as Europe. 

As they work, Nga recounts a time in Long Mỹ when travelling on xuồng, local-style wooden boats, was a daily occurrence. "We used to bathe and even cook using the river water, now no one would dare do that," she exclaimed with a laugh, referring to the pollution that has swept the waters. 

Located in Hậu Giang province, water still flows into Long Mỹ from the grand Mekong itself, forming countless tributaries and streams, flanked by rows of Flame of the Forest trees.

But the picturesque setting hides decades of poverty from casual eyes. As the land becomes less suited for farming owing to unsustainable farming practices and pollution, the flowing streams leave villagers, who cannot afford their own transport, stranded from schools and other services that might lift them out of poverty.

For women like Nga and Bé, crafting quilts for Mekong Quilts, a social enterprise that creates sustainable work for underprivileged women, was a boon to their fortunes — until orders dried up. 

The COVID-19 pandemic’s halt on international travel meant the end of demand for the women’s intricate quilts, which were highly popular with travellers.

But sustained by a small stream of online orders and a pivot towards making new products like face masks, Mekong Quilts, which still operates one shop in Ho Chi Minh City, has held onto its mission to uplift the community. 

And as travel gradually resumes, Mekong Quilts is now also running cycling tours to the Mekong Delta, where visitors can get to know the communities behind the crafts. 

The Women of Mekong Quilts

Nga belongs to the first batch of women trained by a British fabric designer when Mekong Quilts first started in 2001. “[Partly] because I love the job, and because of my previous experience as a seamstress,” Nga says, recounting how she came to join Mekong Quilts.

“Many [of the ladies] saw me making quilts and asked to join and learn the craft!”

Extremely passionate about quilting, she explains the labour-intensive process: "We soak the fabric [in soap water] for one day before drying for another day. After that, we iron all the pieces of cloth to make sure the patterns are well-aligned.” 

Larger details are then completed using sewing machines, with smaller details and patchwork finished painstakingly by hand.

"Once [the quilts are] finished, we wash them one more time!" says Nga, who is now the leader of Mekong Quilts sewing team in Long Mỹ village’s Thuận An ward. She hopes that demand recovers as the pandemic dies down.

Adds Bé: “Quilting work gives us stable work. It also gives us voice in the household. Without it, many of us [women] would need to go to Saigon to work.” She notes that it would also be “very difficult for kids to stay in school”, as they may need work to support their families.

The Fabric of Life

For poorer families in the region, traversing 'monkey bridges’, or cầu khỉ, as the locals call them, is an everyday ordeal. Life without a motorbike may mean being trapped in a never-ending cycle of poverty. 

In 1994, when Bernard Kervyn founded NGO Mekong Plus — the parent organisation of Mekong Quilts — funding the cost of building better roads and bridges was top on the list of priorities.

"Accessibility means children can go to school and stay in school," says Bernard, who worked in the human rights sector before starting Mekong Plus. 

Mekong Plus offered to fund up to one-third of the cost of construction, but early efforts were stymied by a lack of support from local authorities. “We finally arrived in Long Mỹ, and established a long term working relationship with Ánh Dương centre, an independent NGO that shared similar ideals,” shares Bernard. Since the 1990s, Mekong Plus has helped construct at least 10 to 20 bridges and about 20km of rural roads annually. 

Then came Mekong Quilts, which was started as a social enterprise to create employment for local women. “Providing the mothers with work means the children can stay in school,” Bernard notes.  

So far, over 150 women from the Mekong Delta have been engaged as artisans, who are paid for each item they create — a product range that before COVID-19 included festive papier-mâché hangables to water hyacinth fibre tote bags. Mekong Quilts was such a success that the social enterprise was able to open five shops in Ho Chi Minh City, Hanoi, Hôi An, Siem Reap and Phnom Penh. 

An Ecosystem for Empowerment

Before the pandemic, Mekong Quilts was able to fund a scholarship programme with its proceeds. Due to the Mekong Delta’s remote and difficult terrain, distance and the affordability of basic transport can be hurdles to a child's education. “The average cost of keeping a child [from the Mekong Delta] in high school is almost VND12,000,000 (US$530) a year,” Bernard notes.

The scholarship programme has helped the families of youth like Nguyễn Văn Huynh, who is now working remotely for a European company; his sister Nguyễn Thị Huỳnh Như has managed to continue her schooling. 

Mekong Quilts was also able to modestly contribute to Mekong Plus which runs programmes to improve access to healthcare, education and microfinance opportunities for underprivileged communities in the Mekong Delta. For example, the micro-credit schemes help locals to start small-scale pig, eel, duck egg and even straw mushroom farming projects.

‘Brother’ Phạm Thanh Trần, one of Ánh Dương's farming experts, describes how locals with little land can farm straw mushrooms for a quick turnover. A single stash of straw can produce up to US$30 worth of mushrooms a month, using less than a sqm worth of space.

A Ride to the Finish Line

As the pandemic worsened, Mekong Quilts’ quick-thinking team, not willing to simply wait for work to dry up, were able to launch a line of hand-sewn triple-layer fabric masks with eye-catching designs, several of which feature traditional batik and Hmong indigo fabric acquired sustainably from tribeswomen. 

The masks helped keep the artisans employed as quilt orders dropped 60 per cent by June 2020. "We began focusing on baby quilts, cushions and also, fashion," Hồ Tiêu Đan, a long-time volunteer, added.

Although less than half of Mekong Quilts’ pre-pandemic headcount of artisans remain working regularly, the social enterprise has managed to stay afloat. 

“We make about 1,000 masks every month [now],” shares Út. “Many of us have returned to working in big factories or in the fields but at least there’s still work to do.”

Meanwhile, Mekong Quilts’ bamboo bicycles are finding a growing audience. 

Designed by Bernard with Alain Kit, a French bicycle designer, the bicycle takes advantage of the abundance of bamboo in Vietnam. “Except for the wheels, tyres and joints reinforced by hemp fibre and epoxy, the bicycles are fully bamboo!” Bernard says with pride.

At its peak, Mekong Quilts’ bamboo bicycle workshop kept nearly 20 craftsmen and women employed. Currently, only four remain, as  the pandemic has driven down demand.

In the last few months however, cycling tours — when allowed by the authorities — on these bikes have helped to support Mekong Plus. Cyclists can visit Long Mỹ over a two-day trip where they see a side of Vietnam that is often overlooked amid the rapid transformation of the country. 

First organised in 2014 for donors of Mekong Plus, the trips have become popular since Mekong Quilts opened them to the public, generating some US$2,780 in the first six months after tours were allowed to resume. “[Beyond travelling costs], participants contribute freely to Mekong Quilts at the end of the tours, largely going back into our scholarship programme,” Bernard says.

Tours aside, Mekong Quilts hopes that more people are inspired by the beauty and the stories behind its crafts to make a purchase, while looking forward to Vietnam opening the door  to international tourism, allowing more artisans to be employed. As volunteer Đan puts it:  “It’s a gift that gives twice.

Meet Shantanu 

When COVID-19 put a halt to the stream of travellers who visit the far eastern Himalayas hoping to spot a red panda in the wild, one would imagine a blissful reprieve for the shy creatures. 

“Actually, during the pandemic, poaching actually increased,” corrects photographer and conservationist Shantanu Prasad. “We can’t stop it all. We call the authorities. But they have weapons. We don’t.” 

Each day, Shantanu and his team of rangers at Habre’s Nest patrol the Singalila Ridge, which straddles Nepal and India. Covering anything from 10 to 20km on foot each day, they watch out for poachers and record any sightings of red pandas, to contribute to research on these elusive animals.

But Habre’s Nest is more than just a beacon of community conservation — it is also a source of livelihoods, ensuring that some of the tourism dollars in this region benefit the local community. The rangers are also employed as hosts and guides to travellers, so that they can explore the region while minimising harm to the environment. 

With travel back on the radar, Habre’s Nest hopes to see visitors again and channel funds back towards protecting the environment.

High Above The Clouds 

Though daily sightings are currently reported by the Habre’s Nest team, this writer did not spot one during my three-day visit in 2019 (visitors are advised to stay a week to allow for higher chances of a sighting). 

But while my expectations were high, surprisingly, I was not crushed by not seeing one. Instead, I went home enlightened by what I learnt about the tireless rangers, and thrilled by the stunning surroundings of the Singalila Ridge, which is more than just second fiddle to its famous russet-furred resident. 

Stretching from central Nepal to northwest Yunnan in China, the Eastern Himalayas thread through Sikkim (India), Bhutan, the Tibetan plateau and northern Myanmar along the way.  Ardent trekkers come to Singalila Ridge to complete the 50km trek from the town of Maneybhanjang to Phalut, the second-highest peak in West Bengal, India (3,595m). Others make for Sandakphu, the highest peak at 3,636m. 

But for less rugged travellers, the route is also renowned as a vantage point to take in four of the world’s five highest peaks: Everest (8,848m), Kangchenjunga (8,586m), Lhotse (8,516m) and Makalu (8,485m).

An Indo-Nepali project, Habre’s Nest’s focus is on the wildlife that call the Eastern Himalayas home — protecting them and encouraging local communities to take up the mantle of conservation. 

“Tourists aren’t always aware or sensitive about the forested areas they trek through and the wildlife that abounds within,” shares Shantanu, Habre’s Nest’s director

From trails being too crowded, to hikers making too much noise and leaving trash behind in the forest, “unregulated tourism”, as Shantanu puts it, is one of the biggest challenges faced by Habre’s Nest. 

A Getaway for Travellers, a Refuge for Red Pandas 

Habre’s Nest, which derives its name from the Nepali word for red panda, was formed by Shantanu after he learnt about the species’ endangered status. 

Globally, less than 10,000 remain in the wild, living in the trees in mountainous regions. In the area earmarked for conservation by Habre’s Nest, there are just 32. An estimated 86 per cent of red panda cubs die within a year of being born; human activity is the main threat to the species. 

In Singalila, the red panda’s main threats are feral dogs which may carry rabies and other diseases, and the clearing of forested land for wood and agriculture. 

After identifying feral dogs as a key threat to red pandas, Habre’s Nest began holding vaccination drives for dogs with the help of animal welfare organisations, targeting dogs that belong to households as well as strays from nearby towns that follow trekkers around. 

As they got to know the local community better, they realised there was a lack of medical facilities in the area. So they set up free medical camps, fostering greater trust. 

This was followed by outreach sessions to create awareness of the need to protect the environment. Villagers were invited to attend training to monitor wildlife and record sightings in a 100sqkm area. Those working in the tourism sector were offered training to become more sensitive to wildlife. 

When it ventured into wildlife tourism, Habre’s Nest made sure to hire only locally, ensuring that benefits from tourism stay local. “While the red panda is our flagship animal, our intention is to protect the Eastern Himalayas,” says Shantanu, who was a photographer before he became a conservationist. 

Preserving the unique environment and wildlife of the area would in turn benefit locals in the long run as sustainable tourism also sustains livelihood opportunities.

Spotting Elusive Wildlife, Chasing Long-Term Goals 

Catching sight of wildlife is a game of chance; after all, truly wild creatures do not show up on demand to delight travellers. 

Habre’s Nest recommends staying at least seven nights for higher chances of a sighting. This includes factoring in the altitude’s unpredictable weather and a day of travel to Kaiakata, which is on the Nepal side of the ridge. 

Guests do not take part in tracking red pandas; a walk to see the red pandas is only arranged when rangers spot one on patrols. Each visit lasts no more than 15 minutes.

In the meantime, guests can also spend their time at the bird hide on the premises. I was able to effortlessly pass a few hours here — clicking a few photographs every now and then of the avian company, so I could learn their names later from the in-house naturalist.  

For hikers, short trek options to Kalipokhri, known for its lake with dark waters, and to Tumling, a renowned viewpoint of both Kanchenjunga and Everest, are options. 

The Habre’s Nest team includes ex-poachers who now work as rangers, and double up as guides for guests, as well as manage the kitchen and homestays. Mohan Thami, a ranger at Habre’s Nest, shares, “Before, the means for livelihood were threadbare so people would set traps and poach. Today there’s awareness and a change in behaviour.”

“As trackers, we do our bit to sensitise villagers. After all, it’s because of the red panda and the training that Kaiakata has gotten visibility and sees tourists from all over the globe.”

Mohan Thami Ranger, Habre's Nest

Currently there are 11 full-time and nine part-time staff. Habre’s Nest’s lodge comprises four rooms, which can house a total of eight to 10 guests. Twenty per cent of the profits are directed towards its conservation efforts, such as local outreach on forest protection. 

Shantanu notes that a comprehensive census for red pandas is currently underway, with photograph-based evidence being shared with the International Union for Conservation of Nature (IUCN). 

“Our goal is to assign this area the status of a red panda reserve – which would aid with conservation while continuing to track and document red pandas while hosting tourists who might be inspired to do something to protect the red pandas,” he shares. 

“We want to continue working with government authorities towards improved regulation within and around the national park to minimise and eventually eliminate the harm being caused by unregulated tourism.”

Act 1: The audience goes quiet

On an ordinary day, Phare The Cambodian Circus’ big tent is filled with the excited cries of guests as they watch Phare’s artists perform gravity-defying feats, the rising music of the live band, the colourful lights that catch the graceful moves of the dancers. All in celebration of Cambodia’s rich artistic history, presented through a contemporary lens.

But 2020 is no ordinary year, and Phare’s big tent has stood silent for much of the past nine months. plunging its staff and artists’ livelihoods into deep disarray. 

No thanks to COVID-19, international travel had ground to a halt. The town of Siem Reap, usually bursting with over 2.5 million tourists a year flocking to the famed Angkor temples, is eerily empty, with boarded-up shop fronts and empty hotels.

“The atmosphere is devastating, a lot of people lost their livelihoods. Drivers, guides, hotels. No jobs. We don’t see the end in sight.”

Dara Hout CEO, Phare Circus

Phare circus, previously featured on Our Better World, is no ordinary circus. It is a social enterprise under Phare Ponleu Selpak, based in Battambang that has made art one of its pillars of improving life for the underprivileged. 

The circus’s acclaimed performances, which tell stories of Cambodian social issues and history through theatre, music, dance and modern circus arts, have drawn over 100,000 spectators over the years, helping to sustain Phare Ponleu Selpak’s non-profit work.  With performances halted, its reserves are stretched and its capacity to keep offering free education and training to Cambodian children and youth is under threat. 

Kitty Choup, a Phare artist, had performed nearly daily, specialising in contortions, jumps and other aerial performances. This ended abruptly in March 2020, when the Cambodian government ordered public performances to close, to prevent the spread of the coronavirus. 

Although she is still paid a basic salary, the income from performing stopped. To make ends meet, Kitty sells clothes online and makes fruit and vegetable juices at home to sell in a makeshift stand on her street. She continues to rehearse and train at home with her husband (also a Phare artist), in order to stay in shape and ready for Phare re-opening.

Act 2: The curtains rise again

In August 2020, Phare was permitted to reopen for performances in a limited capacity on weekends. This was welcome news, but the situation remained perilous amid a near shutdown of international travel into Cambodia, as most of Phare’s usual audience were foreign tourists or travellers from Phnom Penh.

Undeterred, Phare decided to tweak their model. Previously, its steady revenue from tourism allowed it to offer free 100 tickets daily for Cambodians during its low season from April to October. Amid COVID-19, it is unable to offer free tickets, but it lowered ticket prices, and called for supporters — no matter where they were — to donate US$10 to sponsor a Cambodian family to watch a performance. 

“Cambodia as a nation has lost the culture of going to live theatre and patronage, we are trying to revive the culture of going to live performances,” says Dara. 

Complemented by street art displays and street food stalls, the revived programme was a hit. Though the audience size was a fraction of what it was before COVID-19 (about 70 to 100 nightly compared to 400), it still meant the artists were being paid for performances again. 

More importantly, it was also a morale boost to see the big tent lit up once more. “We are a beacon of hope for our community. They see that we are open, not closed, during this time. And people will try and persevere,” says Dara.

Act 3: The show must go on 

The path to recovery is not without speed bumps. In November, amid a rise in COVID-19 cases, the government ordered Phare to halt performances once more. It was only allowed to resume performances on Jan 15, 2021 and the outlook remains uncertain. 

Without performances to drive revenue, Dara says Phare will have to rely on its reserves built up over the years, and go into “sleep mode” in a few months and staff will only be paid a basic income. “We persevere, we try. We don’t want to lose our staff. We want to help everyone to survive, even on a pay cut,” says Dara. 

Donations are welcome while Phare develops new revenue streams and brings in potential investors to help the non-profit cope in future, and hopes for travel to open up in 2021. 

“We know Cambodia will be very reliant on tourists for a while,” says Dara. “I hope everyone who travels will take responsible travel seriously, and realise their money can impact the local community. There are grassroots, impactful organisations like Phare, and when you travel, you should do research and support these kinds of activities as tourists.” 

And even amid the severe challenges, he hopes the stories of resilience in Cambodia travel far and wide. “People continue to have hope in their lives. When people plan their holidays to Siem Reap, I hope they support activities that bring hope to people.”  Says Kitty, “I really love Phare, it is not just a business, it is a family. They have helped to keep us going, so that we can support ourselves and our family at this time. 

“I just keep working, keep rehearsing, and keep thinking about the future performances. I know I will be performing again.” 

Some members of Phare Ponleu Selpak are alumni of the Singapore International Foundation’s annual Arts for Good Fellowship, which fosters a community of practice that harnesses the power of arts and culture to create positive social change.