Showing posts with label Art Form. Show all posts
Showing posts with label Art Form. Show all posts

Tuesday, September 01, 2009

Japanese Paddy Art

When I first received the mail, I thought it was another hoax doing the rounds, but seems that this is true. Villagers in Inakadate, Japan are creating art in their paddy fields. Hence this is art that is also edible. Art that disappears when the crop is ready to harvest and art that is renewed with each harvest.

Love the concept. More on Japan Times

Stunning crop art has sprung up across rice fields in Japan . But this is no alien creation – the designs have been cleverly planned and planted.
Farmers creating the huge displays use no ink or dye. Instead, different colours of rice plants have been precisely and strategically arranged and grown in the paddy fields.

As summer progresses and the plants shoot up, the detailed artwork begins to emerge.



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A Sengoku warrior on horseback has been created from hundreds of thousands of rice plants, the colours created by using different varieties, in Inakadate in Japan

The largest and finest work is grown in the Aomori village of Inakadate , 600 miles north of Toyko, where the tradition began in 1993.

The village has now earned a reputation for its agricultural artistry and this year the enormous pictures of Napoleon and a Sengoku-period warrior, both on horseback, are visible in a pair of fields adjacent to the town hall.

More than 150,000 vistors come to Inakadate, where just 8,700 people live, every summer to se the extraordinary images.

Each year hundreds of volunteers and villagers plant four different varieties of rice in late May across huge swathes of paddy fields.

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Napoleon on horseback can be seen from the skies, created by precision planting and months of planning among villagers and farmers in Inkadate.

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Fictional warrior Naoe Kanetsugu and his wife Osen appear in fields near the town of Yonezawa , Japan .

And in recent years, othe villages have joined in with the plant designs.

Another famous rice paddy art venue is near the town of Yonezawa in the Yamagata prefecture.

This year's design shows the fictional 16th-century samurai warrior Naoe Kanetsugu and his wife, Osen, whose lives feature in the television series Tenchijin.

Various artworks have popped up in other rice-farming areas of Japan this year, including designs of deer dancers.

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Smaller works of crop art can be seen in other rice-farming areas of Japan , such as this image of Doraemon and deer dancers.

The farmers create the murals by planting little purple and yellow-leafe kodaimai rice along with their local green-leafed tsugaru roman variety, to create the coloured patterns between planting and harvesting in September.

The murals in Inakadate cover 15,000 square metres of paddy fields. From ground level, the designs are invisible, and viewers have to climb the mock castle tower of the village office to get a glimpse of the work.

Rice-paddy art began there in 1993 as a local revitalization project, an idea that grew out of meetings held by the village committee.

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Closer to the image, the careful placing of thousands of rice plants can be seen in the paddy fields.
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The different varieties of rice plants grow alongside one another to create the masterpieces.

In the first nine years, the village office workers and local farmers grew a simple design of Mount Iwaki every year.

But their ideas grew more complicated and attracted greater attention. In 2005 agreements between landowners allowed the creation of enormous works of rice paddy art.

A year later, organisers used computers to plot the precise planting of the four differently coloured rice varieties that bring the images to life.

Thursday, June 29, 2006

Dastangoi - The Lost Art of Story Telling


Photo credit: Mumbai Mirror
Mahmood Farooqui (right) and Danish Husain performed the Dastangoi at the NCPA last Friday, 23rd June.

I initially read about "Dastangoi" in Time Out Mumbai, my source of knowledge for events in Mumbai. Then Dan Hussain posted an invite on the Caferati message board.

I exchanged a couple of mails with Dan in which he told me I didn't need to understand the language to enjoy the performance. I was a bit sceptical, but thought why not attend ? The performance at NCPA was free, so could leave at the interval if I could not make sense of it. Plus inlaws were in town and they love theatre and understand a fair amount of Urdu.

So the six of us bundled ourselves into the car at 4:15 to reach NCPA by 6:30.

The next two hours were completely spellbinding. My knowledge of Hindi is recently acquired and I can barely manage the colloquial stuff, so I was wondering if I would be able to understand any of the proceedings. Inspite of Dan's assurances, my doubts persisted until Mahmood began to weave his tapestries.

Dastangoi is very difficult to describe. It needs to be experienced. But let me try to give you an idea of what to expect. It's a cross between a theatre performance and poetry reading. The words are wonderfully descriptive and conjure visions in your head. The perfomers are seated but use expressions, gestures, tone of voice and a myriad other techniques to transport you into a realm of fantasy consisting partly of "tilisms" (alternate worlds), aiyyaars, sorcerers and magicians.

Farooqui on his blog explains :

Dastangos were those who told 'dastans' (stories). Recounting tales of Amir Hamza, the Prophet Mohammed's uncle, they told narratives of his battles with infidels, sorcerers and other pretenders to divinity.

In the dastani worldview, good and bad are evenly matched, infinitely. When an evil sorcerer dies, a new one rises to replace him. When someone on the righteous side is killed, another one is quickly found to replace him. Hamza is the lead character, he is the Lord of the age.

Dastangoyee is about four things: Razm -- warfare, Bazm -- assembly of singing, dancing and seducing, Tilism -- magical effect or artefact created by the sorcerer, and Aiyyari -- chicanery, trickery, disguise. The aiyyars, the tricksters, are employed by both sides.

If you would like to read more about the subject, do read
Mahmood's interview with Mumbai Mirror
Mahmood's interview with DNA
Mahmood's interview with Tehelka

If you would like to watch a performance, you are in luck. If you already caught the NCPA perfomance, then consider this the next couple of episodes.

Dastangoi: A Presentation of the Lost Form of Storytelling
(A Part of Katha Collage II)


Photo credit: Dan Hussain

The Sea of Eloquence - An Evening of Dastan-e-Amir Hamza
July 1 & 2, 2006 at 9:00 pm, Prithvi Theatre, Juhu, Mumbai

Tickets available at Prithvi on the day of performance itself.

The oral narration of Dastan-e-Amir Hamza was a popular past time in most parts of Central, Western and South Asia and North Africa since medieval times. Originally composed in Persian, the Dastan-e-Amir Hamza describes the battles of Amir Hamza, the Prophet Muhammad's Uncle, against infidels, sorcerers and other pretenders to divinity.

As anecdotes of Mir Baqar Ali, the last known Dastango of Delhi, testify, their performances required an exceptional command over rhetoric, delivery, mimicry, ventriloquism and spontaneous composition.

The performances have come about as a result of a collaboration between S.R. Faruqi, the foremost living authority on these Dastans and the only person to possess a full set of all the 46 volumes,
Invitation Credit : Mahmood Farooqui, New Delhi

Mahmood Farooqui is a self-trained actor and performer whose most recent foray into acting consisted of a role in Mahesh Dattani's English film, Mango Soufflé.


Photo credit: DNA

Danish Husain has done theatre with the best names in the country - Habib Tanvir, M.S. Sathyu, Barry John, Rajinder Nath, Sabina Mehta Jaitley, Aziz Quraishi, et al in a wide variety of roles.

Get to know the performers better at
Mahmood Farooqui's Blog
Dan's poems and his Discontents
Dan's Proseonama

Wednesday, December 08, 2004

Padma Vibhushan Pandit Shiv Kumar Shankar in Concert

After Teejan Bai's performance I was treated to my second most subliminal experience in life. (The first being, a one-on-one meeting with Mother Theresa) An absolutely fantastic performance by Padma Vibushan, Pandit Shiv Kumar Shankar on the Santoor


He was invited, as a finale to the 3 day Taramati Festival at Taramati Baradari to perform a unique presentation "Peace & Joy" He was joined by his son, Rahul Sharma on the Santoor, Taufiq Qureshi on Western Drums, Ustaad Shafaat Ahmed on the Tabla and Selva Ganesh on Kanjeera (kind of damru)

They were just back from Meghalaya and on their way to Nairobi for another concert.

At the risk of sounding like my 16yr old sister, Rahul is "Soooooooooooo Cute................" (She reserves this compliment for Australian Cricketers, tho) He too, plays the Santoor. Although, while Panditji is focussing on concerts, Rahul is focussing on Music Albums. He is all set to release his next album "Jannat" - the first musical album to document the culture & traditions of strife torn Jammu & Kashmir. After this he plans to work on "Maya - the illusion." He has also recently scored music for Tanuja Chandra's English Film "Hope & a Little Sugar"

The seating was open air in an amphitheatre style, with the historic Taramati Baradari as the backdrop on which a play of lights continued throughout the evening. This centuries old monument is where Taramati used to dance for the Golconda king. Legend has it that, the acoustics were such that he could hear her sing from here, when he was seated at the top of the fort. And on Fridays, after Namaaz, she would sing and dance her way to the Fort.

It was in this magical setting, that Pandit Shiv Kumar and his troupe kept the audience enthralled. He started playing around 10PM and by this time only the real music lovers were left, the page 3 varieties had departed after getting their photos clicked by the reporters. For an hour and a half, we were mesmerised & hypnotised by the music. Some parts were solos, some were percussion combinations, a jugalbandi and an amusing range of instruments simulated by Taufiq Qureshi. So much variety in continuity. Words cannot describe the music. It needs to be heard and experienced by each person individually. To listen to such music, in such surroundings, is as close to paradise as it gets on earth. For an hour and a half, I was in Jannat.

Tuesday, December 07, 2004

Teejan Bai in Concert

Finally got to watch the Legendary Teejan Bai from Chattisgarh in action. Having heard so much about her, I was wondering if the actual performance could live upto my expectations. But it didn’t.... It surpassed them ! ! ! The Hindi that she used in her Pandwani style of story telling, was so simple that, even I could follow it. Plus she put so much enthu and action into the whole performance, that it was reminiscent of the Usha Uthup kind of energy.

She came to Hyderabad, as part of the Taramati Festival being held at Taramati Baradari by APSTDC. The setting was amazing. But more about that in my next piece.

Teejan Bai sang and acted a scene out of the Mahabharata which included the game of dice being lost by Yudishtir, Draupadi being summoned and dragged in court, a dialog between Rukmini & Krishna before Krishna comes to Draupadis rescue. Pandvani is one of the few styles, where the lead is sung by a woman. Teejan Bai is the best known name in this genre today.

If you get a chance, definitely attend a session by Teejan Bai. It’s a power packed experience.

She was followed by a Pandit Chhannulal Mishra of Benaras who sang a semi classical form of Hindustani Vocals. Unlike many performers, he didn’t have a stiff attitude about his music and had the audience in splits with some lyrical jokes and play on words. Although, I hadnt heard of him before (I dont claim to be an authority on Indian clasical music) I would love to attend an evening, where he is the solo performer. He connects with the audience at every step, which makes it a special performance to follow.

Saturday, September 25, 2004

Love Hua - Once More

Went to watch this play that was performed today in Hyderabad as part of the McDowell 4 city Theatre Fest. It left me with just one question. How do plays like this get corporate sponsorship while really good scripts with good actors dont get any ?

The script of this play was sad to start with. The actors tried to make something of it, but theres just so much an actor can do.

If u want to know the story it consisted of a film script writer -Rajesh Khattar who's wife had died and Rati Agnihotri who had recently divorced her husband and how they fall in love, out of love, and in love again.

Directed by Vandana Sajnani who also played Rajesh's sister and performed an item number somewhere down the line. Naved Aslam provided the only real comic relief as Rati's helpful childhood friend.

Organisers told us we had to pick up our tickets by 6:30 as 6:45 they would close the doors and performance would start on the dot of 7. It started at 8.30 and everything kind of went downhill from there.

Not worth mentioning any more about this play, just decided to skip part 3 of the series which will be here in 15 days.
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