Singapore Writers Festival 2009
Presents
UNderCovers
Find Your Passion and Dive Under Covers at this year’s Singapore Writers Festival!
Celebrating new and emerging Asian writing.
24 October – 1 November 2009
The Arts House
www.singaporewritersfestival.com
SINGAPORE, 17 September 2009 – The Singapore Writers Festival (SWF) goes under covers this year with a host of events and writers that are expected to raise a whirlwind at The Arts House from 24 October to 1 November 2009. While readers can look forward to meeting face-to-face with luminaries such as Neil Gaiman, Taichi Yamada, Qiu Xiaolong and John Ajvide Lindqvist, this year’s SWF will also see the launch of new initiatives.
For the first time this year, SWF is putting together several outreach programmes in schools and during the Festival, introducing children’s literature and children’s writers from Singapore (Adeline Foo and Shamini Flint) and The Boy in Striped Pyjamas’s John Boyne; and focusing prominently on emerging and established Singapore and Malaysia writers.
Says Mr Philip Jeyaretnam, Chairman of SWF 2009 Steering Committee: “The new initiatives are aimed at showing our young readers that literature is fun and thrilling. At the same time, we are continuing with our mission to promote new and emerging Singapore and Asian writing to an international and wider audience. With such strong emphasis on Singapore and Malaysia writers this year, we are also pleased that for the first time in our history, SWF will be holding a press conference in Kuala Lumpur on 15October to promote SWF to our fellow counterparts in Malaysia.”
The Festival also continues its strong Singapore focus with its Literary Pioneer series which will honour Professor Edwin Thumboo from National University of Singapore as the Literary Pioneer for 2009. As one of the early pioneers of Singapore poetry, Professor Thumboo has edited some of the earliest anthologies of English literature from Singapore and Malaysia and written five volumes of poetry: Rib of Earth (1956),Gods Can Die (1977), Ulysses by the Merlion (1979), A Third Map: New and Selected Poems (1993), and most recently, Still Travelling (2008). He received the Cultural Medallion in 1979 and the Meritorious Service Medal in 2006 in recognition of his contribution to the arts and culture scene of Singapore throughout his career as a lecturer, academic and writer.
Deputy CEO and Director of Literary Arts of the National Arts Council, Mr Khor Kok Wah says: “As an international literary arts festival with an Asian focus, the Singapore Writers Festival is more than just a platform for the most celebrated international and Singapore writers. The Festival also opens channels for emergent literary talent to develop and showcase their creative writings, and for the public to be inspired by the written word. We hope to continue to increase the reach of the literary arts through the various programmes and events SWF 2009 will offer, and establish the Festival as a worthy and meaningful literary festival in the Southeast Asian region.”
With its theme of UNderCovers and featuring more than 100 writers from Singapore, Asia and the West, SWF 2009 aims to explore a variety of genres that the theme evokes: from horror and thriller through children’s literature to emerging writers. Multidisciplinary events such as film screenings, a dramatised reading and book launches will continue to be a feature of the festival as well.
Says Mr Phan Ming Yen, Assistant General Manager of The Arts House: “Following our successful collaboration in 2007, The Arts House is pleased to work with the National Arts Council again on SWF this year. This is especially so for since The Arts House’s opening, literary arts has been a core focus of The Arts House and events such as SWF is very much in line with our mission.”
“As such, the theme for the festival this year has allowed SWF to present to readers a rich variety of authors whose works – ranging from horror through crime to ‘serious fiction’ - are at once accessible and fun but yet also serve as a metaphor for social and humanitarian issues. This in turn we hope will allow the Festival to reach out to a wider audience and share with them the transformative power of the text.”
Ms Ginney Lim, SPH's General Counsel and Executive Vice President of Corporate Communications and General Manager of SPH Foundation says: "SPH and the SPH Foundation are proud to be the Official Sponsors of the Singapore Writers Festival once again. As Southeast Asia’s leading media organisation, we are pleased that this year's Festival places a strong focus on the region's writers. We believe our sponsorship of the event will create greater recognition and appreciation for the literary arts. We also hope that the SPH-NAC Golden Point Award will discover and nurture a new generation of writers.”
Highlights of SWF 2009
Aimed at reaching out to a wider public and creating a greater interest in the literary arts, SWF 2009 will showcase notable writers such as Neil Gaiman whose The Sandman series, Stardust and American Gods have captured the imagination of thousands; the highly respected Taichi Yamada whose Strangers, In Search of aDistant Voice and I Have Not Dreamt of Flying in Awhile with the supernatural; Qiu Xiaolong’s award winning Inspector Chen series that combines crime wrapped in cultural history; and John Ajvide Lindqvist whose highly acclaimed debut vampire novel Let the Right One In was also adapted to a film recently screened in Singapore.
In addition to the international line-up, an outstanding group of writers from across the borders: Baha Zain, K.S. Maniam, Mohd Nor Bin Khalid (Lat), Muhammad Haji Sallehand Anwar Ridhwan who have become household names in Malaysia will partake at Sharing Borders: Singapore/Malaysia Writers Symposium on Monday, 26 October. The symposium brings together scholars and writers to address the engagement of the two countries’ literatures through plenary sessions, workshops and panel discussion.
Another programme highlight in Asian writing and more specifically Singapore writing, Dissecting the Merlion will have eight writers from different backgrounds andg enerations to expound on the topic of the Merlion. Alfian Sa’at, Desmond Kon, Leong Liew Geok, Ng Yi-Sheng, Alvin Pang, Adrian Tan, Teng Qian Xi and Ovidia Yu will beon the panel moderated and hosted by Eleanor Wong. Also to be launched at the eventis a poetry anthology inspired by the Merlion across the four national languages.
Aspiring young writers and readers from the ages of 10 to 16 can also look forward to the School Outreach Copywriting programmes and get the chance to meet some of thehighly-talented and known writers such as Kate McCaffrey, John Boyne, Wena Poon,Haresh Sharma, Stella Kon and many more.
1 September 2009
English literature in Singapore
How many Singaporean English writers have you studied? Or even read?
While English writers from countries such as India, China, the Philippines and the West Indies have received critical acclaim, Singaporean writers generally have yet to make a significant international mark.
But some experts say that Singapore has only itself to blame in this regard.
Devika Misra has more.
The earliest evidence we have of English literature in Singapore dates to the nineteenth century.
It began, some say as early as the eighteen thirties thanks to the Straits born Chinese community in the colonial era.
Dr Kirpal Singh is a writer, English literature teacher and critic.He characterises much of the early writing as imitative.
"I think towards the end of the nineteenth century the writing becomes a little bit more robust and then in the twentieth century the first world war probably impelled a few Singaporeans to jot down their sentiments mainly in poetry, couple of short stories but then after the first world war we see a more sort of enlightened approach to writing in English, this becomes a little more dominant as the depression takes over and then we are poised for the second world war."
Much of that writing was set against the backdrop of foreign occupation-both by the British and the Japanese.
But since then Kirpal Singh says that although there has been a fairly robust body of Singaporean literature in the genres of drama, fiction and poetry it has not gained much recognition...at home or abroad.
He says it’s not due to the relatively small number of English readers, its more about a lack of recognition.
Professor Neelam Aggarwal says that Singaporean writers are coming into their own, it’s just a matter of time.
"You know we are a very young nation and compared for instance to the USA right? I mean it took American literature centuries to find a place. I would say that in a way Singaporean literature is slowly coming on its own. Increasingly in other universities in other parts of the world, many universities in other parts of the world are looking at Southeast Asian literature and they are looking at Singapore literature."
That is exactly the issue, argues Professor Singh.
While the works of some Singaporean writers such as Gopal Bharatam, Edwin Thumboo and Dr Goh Poh Seng are recognised and studied abroad they are not read enough at home, he says.
"When Singaporeans read they don't read us, they continue to read outsiders. I think the nub of the issue is that we haven't been given the pride and the recognition that we rightfully deserve within Singapore. We are our own, you know as the old cliche would have it our worst enemy."
He points out that it has been an uphill task to get local schools and colleges to teach their own literature.
"Teachers of literature in Singapore are very few in terms of those who encourage even the reading of Singapore literature. It is very clear that the Ministry of Education has taken quite a while to become very pro active or even markably pro active in terms of spreading and promoting Singaporean literature."
This is because, he says, there is what he calls a colonial hangover.
"We have our own pundits in Singapore who believe that unless you write like the native speaker, in other words unless you're an ape then you're not much of a human being. People tend to think if you develop your own voice then you're an aberration rather than the norm. Well, ironically they're right. I mean all original poets are aberrations. I think in our desire to conform and speak the way native speakers want to speak and write the way they want to write we just become imitators."
He says that until the local parlance, the local voice, the local idiom is appreciated within Singapore it will never be able to produce what is generally regarded as good, even great literature.
Professor Aggarwal agrees that local writers establishing their own voice remains an open issue.
"Critics of Singapore literature would want to look at this grappling with literary identity and that certainly is an issue, you know, to be able to establish your identity in Singapore for writers. I think over here theres a certain ambivalence in that sense. Do you look inward? Or do you look outward which means looking globally, having that global perspective."
Both Professors Kirpal Singh and Neelam Aggarwaal were participants in a recent seminar organised by SIM University.
The forum focussed on the teaching of language and literature in multi-lingual Singapore.
Straits Times, LIFE!, 21st February 2008
Five Arts Group get Funding
Reported by Adeline Chua
THE Sculpture Society of Singapore used to hold meetings in members’ homes, studios and even coffee shops.
Now with an injection of cash from the Asia Pacific Breweries (APB Foundation), the seven year old group will finally have a proper office at the Fort Canning Park, housed in two air conditioned containers.
There, the 50 members who are dedicated to raise the standard of the art form in Singapore, will hold monthly workshops for the public, start a new artist-in residence programme and have a place for regular society meetings.
The society is one of five arts groups which have been “adopted” by the foundation, a charity funded by the brewer of Tiger Beer.
Called APB Foundation Inspire Programme, the scheme grants each group $30,000 a year for a maximum of three years.
Besides the Sculpture Society, the other groups chosen are Indian arts group Asparas Arts, Malay literary arts group Angkatan Sasterawan’ 50, Chinese orchestra Ding Xiaoyan Ruan Ensemble and theatre company Cake Theatrical Productions.
At a ceremony at Traders Hotel yesterday, Mr Huang Hong Peng, APB’s regional director said that the groups were chosen because they demonstrated “strong creative potential, clear vision and a passion to grow their art”.
They also were unable to grow their art the way they wanted to due to lack of resources.
The National Arts Council (NAC), which matched the arts groups to the sponsor, also launched a new Arts Adoption Scheme yesterday. It will match make arts groups and corporate bodies which are like-minded and who share the same vision and values.
NAC chief executive Lee Suan Hiang said that arts sponsorship averaged about $40 million each year for the last five years, and he plans to grow this further.
He added that NAC is already in talks with a few corporate sponsors.
Meanwhile, arts groups already have exciting plans for their new grants.
Cake Theatrical Productions, for example, is using the money to set up a new arm called Paradise Alley, which will put on a free outdoor spectacle annually. The section will be headed by artist-performer Rizman Putra, who has just joined Coke as an associate artist.
Natalie Hennedige, 33, Cakes’s artistic director, said: “It will be experimental theatre meets outdoor parade meets installation art.:
Asparas Arts will introduce Neo Bharatham, an Indian dance technique built on classical dance principles with contemporary influences, which is not available locally.
With the money, it has hired a guest choreographer from Malaysia, Ajith Bhaskaran Dass,artistic director of Suvarna Fine Arts, who will train the Apsaras dancers here.
Neila Sathyalingam, 69, Asparas’ creative director, said: “The feedback we got from all the corporate bodies we perform for is that they like something contemporary. Now we have the resources to do so.”
Or as Ms Oscar Ng, 32, a Sculpture Society member, puts it: “It’s like winning the lottery. We don’t have to hold discussions at kopitiams any more.”
Youths-at-risk under pilot biblio-therapy programme publish "Black Diary"
By Nurfadhilla/ Riz Sunawan, Channel NewsAsia Posted: 28 February 2009 2135 hrs
SINGAPORE: Family planning, how to choose a friend and being money-wise before marriage are some of the issues explored in the "Black Diary". The "Black Diary" is a collection of short stories, produced under a pilot biblio-therapy programme for youths-at-risk.
It is a novel approach which uses literary materials as a therapeutic tool to help such youths overcome their problems. The book features the works of 13 girls from Pertapis Centre for Women and Girls.
It is the result of the programme by the Malay literary group, Writers Movement of 1950s, and the Asia Pacific Breweries Foundation. The girls committed their painful experiences to paper after attending 12 workshop sessions from May to September last year. - CNA/vm
Full article: http://www.asas50.com/biblionews.jpg
Showing posts with label The Arts. Show all posts
Showing posts with label The Arts. Show all posts
Japanese Music
Traditional Japanese music is basically meditative in character. Its performance is highly ritualized, as much in the music itself, as in the composure of the musicians when performing it. Japanese chamber and solo music have a slow meditative pace. Westerners obviously discern melodies and musical structures, but ones which do not have much in common with Western music.
The performance of Japanese music has traditionally been of a spiritual character, similarly to martial arts and other art forms of arts such as the tea ceremony and calligraphy, for example. The musician works on an inner strength in mastering of his or her instrument, more than simply perfecting a technique of some sort and providing entertainment. Audiences are looking for this self-mastery in musicians. For this reason, among many, this music has become highly ritualized. Musicians must show this spiritual self-mastery in their performance and composure.
Traditional Japanese music uses concrete elements which serve to represent natural sounds and the sounds of life. Contrary to Western music, the musician's self-expression is minimized through the ritualistic and contemplative use of these concrete sounds and effects. Many Westerners feel there is not much emotion in Japanese music. This important distinction in their aesthetic of music is important for Westerners to understand, and for the appreciation of Japanese traditional music.
Although composers were signing their works during the Nara period (553-794 AD), much earlier than the Europeans, composers and writers alike did not consider they had intellectual and individual rights over their work (though this has changed since the 20th century following Western influences). There are apparently two reasons for this. First, music, as well as theatre and poetry, are based on strict forms and patterns of composition, which are strictly followed. The concept of individual rights, thus, did not apply in this context. The second reason is that for the Japanese mind, the social and collective ego has precedence over the individual ego. So, when a musician writes a new musical work, it is done in the spirit of the school of which he or she belongs, and it is considered part of the repertoire of that school first and foremost. In this sense, tradition and the tradition of the school one belongs to have precedence over one's individuality. In this line of thought it is even accepted for another musician, member of a school or not, to adapt and modify a piece from another musician according to the style of their own school. Many pieces have different versions according to a musician's or a school's style.
For Japanese, the basic principle governing the universe is not God or man, but time - a time which is a primordial flowing energy, through which everything evolves and becomes. The concept of naru, meaning becoming, is very important in Japanese traditional music and all other Japanese forms of art. It is even considered a natural law. All art evolves through its own temporal movement and flow. This includes as well the movement of the painter or the sculptor in creating their works, the musician performing a piece of music, a poet reciting a poem or an actor performing in a play.
One of the most important aesthetic principles in Japanese music follows from this concept of naru. This principle is called jo-ha-kyû, which means roughly introduction, development and conclusion. It is a temporal aesthetic principle on which music is based, from a single note to entire pieces. It regulates the flow of time in a piece of music so that all notes, words and parts flow flawlessly between each other. Jo-ha-kyû manifests the flow of nature in temporal arts.
There is another principle which is very important in Japanese arts: the ma, which is generally translated as space; but it is not a physical space but it is more a sensory space, which involves physical space as well as the space of time. In music, it is felt through the silences between musical phrases or single notes, or through the jo-ha-kyû while playing a single note or a phrase. In a flower arrangement, it is felt through the arrangement of the different flowers, branches or leafs. Or, in a Japanese tea room, one might see a beautiful kimono hung on a corner. The ma is felt not through its physical place in the room, but through what a kimono evokes in one's mind when notices it: the beauty of wearing such a beautiful kimono. The ma is sensory in relation to what is evoked in a person's mind when experiencing something.
The performance of Japanese music has traditionally been of a spiritual character, similarly to martial arts and other art forms of arts such as the tea ceremony and calligraphy, for example. The musician works on an inner strength in mastering of his or her instrument, more than simply perfecting a technique of some sort and providing entertainment. Audiences are looking for this self-mastery in musicians. For this reason, among many, this music has become highly ritualized. Musicians must show this spiritual self-mastery in their performance and composure.
Traditional Japanese music uses concrete elements which serve to represent natural sounds and the sounds of life. Contrary to Western music, the musician's self-expression is minimized through the ritualistic and contemplative use of these concrete sounds and effects. Many Westerners feel there is not much emotion in Japanese music. This important distinction in their aesthetic of music is important for Westerners to understand, and for the appreciation of Japanese traditional music.
Although composers were signing their works during the Nara period (553-794 AD), much earlier than the Europeans, composers and writers alike did not consider they had intellectual and individual rights over their work (though this has changed since the 20th century following Western influences). There are apparently two reasons for this. First, music, as well as theatre and poetry, are based on strict forms and patterns of composition, which are strictly followed. The concept of individual rights, thus, did not apply in this context. The second reason is that for the Japanese mind, the social and collective ego has precedence over the individual ego. So, when a musician writes a new musical work, it is done in the spirit of the school of which he or she belongs, and it is considered part of the repertoire of that school first and foremost. In this sense, tradition and the tradition of the school one belongs to have precedence over one's individuality. In this line of thought it is even accepted for another musician, member of a school or not, to adapt and modify a piece from another musician according to the style of their own school. Many pieces have different versions according to a musician's or a school's style.
For Japanese, the basic principle governing the universe is not God or man, but time - a time which is a primordial flowing energy, through which everything evolves and becomes. The concept of naru, meaning becoming, is very important in Japanese traditional music and all other Japanese forms of art. It is even considered a natural law. All art evolves through its own temporal movement and flow. This includes as well the movement of the painter or the sculptor in creating their works, the musician performing a piece of music, a poet reciting a poem or an actor performing in a play.
One of the most important aesthetic principles in Japanese music follows from this concept of naru. This principle is called jo-ha-kyû, which means roughly introduction, development and conclusion. It is a temporal aesthetic principle on which music is based, from a single note to entire pieces. It regulates the flow of time in a piece of music so that all notes, words and parts flow flawlessly between each other. Jo-ha-kyû manifests the flow of nature in temporal arts.
There is another principle which is very important in Japanese arts: the ma, which is generally translated as space; but it is not a physical space but it is more a sensory space, which involves physical space as well as the space of time. In music, it is felt through the silences between musical phrases or single notes, or through the jo-ha-kyû while playing a single note or a phrase. In a flower arrangement, it is felt through the arrangement of the different flowers, branches or leafs. Or, in a Japanese tea room, one might see a beautiful kimono hung on a corner. The ma is felt not through its physical place in the room, but through what a kimono evokes in one's mind when notices it: the beauty of wearing such a beautiful kimono. The ma is sensory in relation to what is evoked in a person's mind when experiencing something.
Japanese Painting
The art of Japanese painting is full of mesmerizing Asian charm when you look at it from a purely decorative view. But it is also a subject that can be a bit confusing for novices when you want to learn more about it. Different painting schools and styles, a variety of different media, the deep roots in Zen Buddhism and the use of specific terms from the Japanese language make this art form not always easily accessible for Westerners.
To understand Japanese painting, one should know that it has always been torn between three mainstreams movements - Chinese, Japanese and Western. The images on this page are link-sensitive and take you to other articles or web sites in which you might be interested.
History of Japanese Painting
As nearly all forms of art, early painting had been under the influence of the Chinese culture. By and by, new and specifically Japanese styles were developed and painting schools were established. Each school practiced their own style. But the Chinese influence remained strong until the beginning of the Edo period (1603-1867). There is a general term to describe painting in Japanese style - yamato-e.
After the opening of Japan to the West under the Meiji period (1868-1912), the early years were marked by an exaggerated embracing of Western art. The newly founded universities established departments for Western art, called Western academic artists into the country as teachers and sent out students to study art in Europe - mainly in France and Italy.
Hand in hand with a rising nationalism, the pendulum soon went back into the other direction. The public opinion began to recognize the richness of the old tradition and even condemned Western art.
The twentieth century was marked by cooperation. Art colleges offer departments for both Japanese and Western painting styles.
Painting Schools and Styles
Suibokuga is the term for painting in black ink. It was adopted from China and strongly influenced by Zen Buddhism. During the 15th century ink painting gained a more Japanese style of its own.
Kano Masanobu (1453-1490) and his son Kano Motonobu (1476-1559) established the Kano painting school. It began as a protest against the Chinese ink painting technique in black. The Kano school used bright colors and introduced daring compositions with large flat areas that later should dominate the ukiyo-e designs. The Kano school split into several branches over the time, but remained dominant during the Edo period. Many ukiyo-e artists were trained as Kano painters.
Tosa-ha was a painting school specialized on small miniature formats in book illustrations. The founder was Tosa Yukihiro in the 14th century. The Tosa school became something like the official art school of the imperial court in Kyoto. The imperial court was a secluded world of its own, politically powerless, but well equipped with funds by the governing shoguns to dedicate themselves to fine arts.
The nanga painting style was strong at the beginning of the 19th century during the bunka and bunsai era. The advocates of this style painted idealized landscapes and natural subjects like birds and flowers for a cultural elite. The style was rather Chinese.
The Shijo School was a split in the 18th century from the official Kano school. The shijo style is characterized by subjects taken from people's everyday life. It is a kind of realism with sometimes satirical elements.
One can trace shodou's history to China, where the master Wang Xizhi is credited with the creation of the art. Shodou was first introduced into Japan in the 8th century. The early Heian contemporaries Kuukai, Emperor Saga, and courtier Tachibana no Hayanari are respectfully known as the Sanpitsu (Three Great Brushes), and their calligraphy is considered a true representation of Chinese calligraphy's timeless beauty.
In the 10th and 11th centuries these three were succeeded by the Sanseki (Three Traces): Ono no Toufuu, Fujiwara no Sukemasa, and Fujiwara no Yukinari. These three masters developed what would become the first uniquely Japanese calligraphy style, wayou (also joudaiyou). Fujiwara no Yukinari's style led to the creation of the Sesonji school, and Ono no Toufuu served as an archetype for the Shouren'in school which later became the Oie style of calligraphy. The Oie style was used for official documents in the Edo period and was the prevailing style taught in the terakoya schools of that time.
Just as calligraphy has evolved over time, its broad latitude for creativity and the increasing number of women masters today characterizes the resurgent interest in calligraphy.
To understand Japanese painting, one should know that it has always been torn between three mainstreams movements - Chinese, Japanese and Western. The images on this page are link-sensitive and take you to other articles or web sites in which you might be interested.
History of Japanese Painting
As nearly all forms of art, early painting had been under the influence of the Chinese culture. By and by, new and specifically Japanese styles were developed and painting schools were established. Each school practiced their own style. But the Chinese influence remained strong until the beginning of the Edo period (1603-1867). There is a general term to describe painting in Japanese style - yamato-e.
After the opening of Japan to the West under the Meiji period (1868-1912), the early years were marked by an exaggerated embracing of Western art. The newly founded universities established departments for Western art, called Western academic artists into the country as teachers and sent out students to study art in Europe - mainly in France and Italy.
Hand in hand with a rising nationalism, the pendulum soon went back into the other direction. The public opinion began to recognize the richness of the old tradition and even condemned Western art.
The twentieth century was marked by cooperation. Art colleges offer departments for both Japanese and Western painting styles.
Painting Schools and Styles
Suibokuga is the term for painting in black ink. It was adopted from China and strongly influenced by Zen Buddhism. During the 15th century ink painting gained a more Japanese style of its own.
Kano Masanobu (1453-1490) and his son Kano Motonobu (1476-1559) established the Kano painting school. It began as a protest against the Chinese ink painting technique in black. The Kano school used bright colors and introduced daring compositions with large flat areas that later should dominate the ukiyo-e designs. The Kano school split into several branches over the time, but remained dominant during the Edo period. Many ukiyo-e artists were trained as Kano painters.
Tosa-ha was a painting school specialized on small miniature formats in book illustrations. The founder was Tosa Yukihiro in the 14th century. The Tosa school became something like the official art school of the imperial court in Kyoto. The imperial court was a secluded world of its own, politically powerless, but well equipped with funds by the governing shoguns to dedicate themselves to fine arts.
The nanga painting style was strong at the beginning of the 19th century during the bunka and bunsai era. The advocates of this style painted idealized landscapes and natural subjects like birds and flowers for a cultural elite. The style was rather Chinese.
The Shijo School was a split in the 18th century from the official Kano school. The shijo style is characterized by subjects taken from people's everyday life. It is a kind of realism with sometimes satirical elements.
One can trace shodou's history to China, where the master Wang Xizhi is credited with the creation of the art. Shodou was first introduced into Japan in the 8th century. The early Heian contemporaries Kuukai, Emperor Saga, and courtier Tachibana no Hayanari are respectfully known as the Sanpitsu (Three Great Brushes), and their calligraphy is considered a true representation of Chinese calligraphy's timeless beauty.
In the 10th and 11th centuries these three were succeeded by the Sanseki (Three Traces): Ono no Toufuu, Fujiwara no Sukemasa, and Fujiwara no Yukinari. These three masters developed what would become the first uniquely Japanese calligraphy style, wayou (also joudaiyou). Fujiwara no Yukinari's style led to the creation of the Sesonji school, and Ono no Toufuu served as an archetype for the Shouren'in school which later became the Oie style of calligraphy. The Oie style was used for official documents in the Edo period and was the prevailing style taught in the terakoya schools of that time.
Just as calligraphy has evolved over time, its broad latitude for creativity and the increasing number of women masters today characterizes the resurgent interest in calligraphy.
Geisha
Geisha, like all Japanese nouns, has no distinct singular or plural variants. The word consists of two kanji, 芸 (gei) meaning "art" and 者 (sha) meaning "person" or "doer". The most literal translation of geisha into English would be "artist" or "performing artist". Another name for geisha used in Japan is geiko, which is usually used to refer to geisha from Western Japan, including Kyoto. Apprentice geisha are called maiko (舞子 or 舞妓, literally "dance child") or hangyoku (半玉), "half-jewel" (meaning that they are paid half the wage as opposed to a full geisha), or by the more generic term o-shaku (御酌), literally "one who pours (alcohol)". Maikos' white make-up and elaborate kimono and hairstyle is the popular image held of geisha. A woman entering the geisha community does not have to start out as a maiko, having the opportunity to begin her career as a full geisha. Either way, however, usually a year's training is involved before debuting either as a maiko or as a geisha. A woman above 21 is considered too old to be a maiko and becomes a full geisha upon her initiation into the geisha community. However, those who do go through the maiko stage can enjoy more prestige later in their professional lives.
Tokyo geisha are more likely to start at 18 years old for hangyoku, so on average, Tokyo hangyoku are slightly older than their Kyoto counterparts.
Stages of training
Traditionally, Geisha began their training at a very young age. Although some girls were bonded to geisha houses (okiya) as children, this was not a common practice in reputable districts. Daughters of geisha were often brought up as geisha themselves, usually as the successor (atotori, meaning "heiress") or daughter-role (musume-bun) to the okiya.
A maiko will start her formal training on the job as a minarai. Before she can do this she must find an onee-san ("older sister": an older geisha acting as her mentor). It is the onee-san's responsibility to bring her to the ozashiki, to sit and observe as the onee-san is at work. This is a way in which she will gain insights of the job, and seek out potential clients. Although minarai attend ozashiki (banquets in which guests are attended by geisha), they do not participate at an advanced level. Their kimono, more elaborate than a maiko's, are intended to do the talking for them. Minarai can be hired for parties but are usually uninvited (yet welcomed) guests at parties that their onee-san attends. They only charge a third of the usual fee. Minarai generally work with a particular tea house (minarai-jaya) learning from the okaa-san (literally "mother," the proprietress of the house). From her, they would learn techniques such as conversation and gaming, which would not be taught to them in school. This stage lasts only about a month or so. After a short period of time the final of training begins, and the students are called maiko. Maiko (literally "dance girl") are apprentice geisha, and this stage can last for years. Maiko learns from their senior geisha mentor and follows them around to all their engagements. The onee-san and imouto-san (senior/junior, literally "older sister/younger sister") relationship is important. Since the onee-san teaches her maiko everything about working in the hanamachi, her teaching is vital. There are 5 different hairstyles that the maiko wear, that mark the different stages of her apprenticeship. She will teach her proper ways of serving tea, playing shamisen, dancing, casual conversation and more. The onee-san will even help pick the maiko's new professional name with kanji or symbols related to her name.
When a girl is around 20-22, the maiko is promoted to a full-fledged geisha in a ceremony called erikae. This could happen after two to five years of her life as a maiko or hangyoku, depending on at what age she debuted. She now charges full price for her time. Geisha remain as such until they retire.
Tokyo geisha are more likely to start at 18 years old for hangyoku, so on average, Tokyo hangyoku are slightly older than their Kyoto counterparts.
Stages of training
Traditionally, Geisha began their training at a very young age. Although some girls were bonded to geisha houses (okiya) as children, this was not a common practice in reputable districts. Daughters of geisha were often brought up as geisha themselves, usually as the successor (atotori, meaning "heiress") or daughter-role (musume-bun) to the okiya.
A maiko will start her formal training on the job as a minarai. Before she can do this she must find an onee-san ("older sister": an older geisha acting as her mentor). It is the onee-san's responsibility to bring her to the ozashiki, to sit and observe as the onee-san is at work. This is a way in which she will gain insights of the job, and seek out potential clients. Although minarai attend ozashiki (banquets in which guests are attended by geisha), they do not participate at an advanced level. Their kimono, more elaborate than a maiko's, are intended to do the talking for them. Minarai can be hired for parties but are usually uninvited (yet welcomed) guests at parties that their onee-san attends. They only charge a third of the usual fee. Minarai generally work with a particular tea house (minarai-jaya) learning from the okaa-san (literally "mother," the proprietress of the house). From her, they would learn techniques such as conversation and gaming, which would not be taught to them in school. This stage lasts only about a month or so. After a short period of time the final of training begins, and the students are called maiko. Maiko (literally "dance girl") are apprentice geisha, and this stage can last for years. Maiko learns from their senior geisha mentor and follows them around to all their engagements. The onee-san and imouto-san (senior/junior, literally "older sister/younger sister") relationship is important. Since the onee-san teaches her maiko everything about working in the hanamachi, her teaching is vital. There are 5 different hairstyles that the maiko wear, that mark the different stages of her apprenticeship. She will teach her proper ways of serving tea, playing shamisen, dancing, casual conversation and more. The onee-san will even help pick the maiko's new professional name with kanji or symbols related to her name.
When a girl is around 20-22, the maiko is promoted to a full-fledged geisha in a ceremony called erikae. This could happen after two to five years of her life as a maiko or hangyoku, depending on at what age she debuted. She now charges full price for her time. Geisha remain as such until they retire.
A Brief History of Japanese Music and Dance
Folk music originated with the earliest people who came to the Japanese islands, the Jomun. Music included work songs, lullabies and communal music and dance which is associated with the worship of spirit deities (kami), group dances accompanied by response singing and pantomime dances such as a bird dance which portrays (tries to show) flying birds, and a whale dance which tells of the discovery of a whale carcass on the beach and the subsequent (following, resulting) division of whale meat among the tribe.
During the Yayoi Period (c. 300 BC - 300 AD), the later settlers of the islands also had ritual dances. Archeologists have found clay images of dancers and musical instruments. The first historical record of Japan's history is the Kojiki, one of Japan's oldest books. It was put together in 712 AD but tells about much earlier events. It tells of a dance performed by Ame-no-Uzume-no-Mikoto, deity or goddess of divine movement, marriage and meditation.
Some of these dance styles may be seen today in the oldest styles of Shinto ritual dance accompanied by drums, flutes and chanting, and the masked shamanistic performance associated with Shinto festivals, and the performances of shrine priestesses. Seventeen dance rituals were also performed in Shinto ceremonies and continue for up to eight hours or longer. Today it is common for people to drink sake (rice wine) during the performances. To keep the Shinto gods happy, only virgin girls and males can dance, not married women. Performers often wear carved masks. In the Kofun (Tomb) Period (c. 300 - 700), these Shinto dances were supported by the rulers who united Japan. Shinto was the official religion early in that time, and the rulers encouraged the dance rituals to bring rain to the crops, good weather, etc.
Chinese and Korean influenced the later Kofun (Tomb) Period. New instruments from China and Korea were used at the imperial court in Japan. These dances were imitations of the imperial dances of Tang dynasty China and Silla dynasty Korea of the seventh century. It was greatly admired in Japan. This Confucian-style music and dance "Gagaku" was imported by the early Japanese emperors.
At the same time Buddhism was spreading. To encourage the spread of Buddhism, a new popular form of music and masked-drama was developing. It included a play with music that told the story of the Buddha and Buddhist miracles. The actors were masked and the play was preceded by a mime-dance procession (like a parade). This religious dance-drama "Gigaku" remained popular in Japan until the middle ages.
Samurai theatre - noh and kyogen - developed with the rise of the samurai or warrior class (794 - 1333). There developed new types of popular entertainment: a blend of narrative (storytelling), juggling and acrobatics, harvest ritual music and dance. The musical dance-drama "noh" and its humorous skits between noh acts known as "kyogen" were brought into theaters. Accompaniment is provided by a three- to four-member ensemble of drums and flute and a six- to eight-member chorus whose primary function is to explain and comment on the action. Popular theatre of the Edo period - Kabuki & Bunraku Puppet Theater of the Edo Period (1600-1867) was more lively and popular with common people. Music and dance continued in these theater arts.
During the Yayoi Period (c. 300 BC - 300 AD), the later settlers of the islands also had ritual dances. Archeologists have found clay images of dancers and musical instruments. The first historical record of Japan's history is the Kojiki, one of Japan's oldest books. It was put together in 712 AD but tells about much earlier events. It tells of a dance performed by Ame-no-Uzume-no-Mikoto, deity or goddess of divine movement, marriage and meditation.
Some of these dance styles may be seen today in the oldest styles of Shinto ritual dance accompanied by drums, flutes and chanting, and the masked shamanistic performance associated with Shinto festivals, and the performances of shrine priestesses. Seventeen dance rituals were also performed in Shinto ceremonies and continue for up to eight hours or longer. Today it is common for people to drink sake (rice wine) during the performances. To keep the Shinto gods happy, only virgin girls and males can dance, not married women. Performers often wear carved masks. In the Kofun (Tomb) Period (c. 300 - 700), these Shinto dances were supported by the rulers who united Japan. Shinto was the official religion early in that time, and the rulers encouraged the dance rituals to bring rain to the crops, good weather, etc.
Chinese and Korean influenced the later Kofun (Tomb) Period. New instruments from China and Korea were used at the imperial court in Japan. These dances were imitations of the imperial dances of Tang dynasty China and Silla dynasty Korea of the seventh century. It was greatly admired in Japan. This Confucian-style music and dance "Gagaku" was imported by the early Japanese emperors.
At the same time Buddhism was spreading. To encourage the spread of Buddhism, a new popular form of music and masked-drama was developing. It included a play with music that told the story of the Buddha and Buddhist miracles. The actors were masked and the play was preceded by a mime-dance procession (like a parade). This religious dance-drama "Gigaku" remained popular in Japan until the middle ages.
Samurai theatre - noh and kyogen - developed with the rise of the samurai or warrior class (794 - 1333). There developed new types of popular entertainment: a blend of narrative (storytelling), juggling and acrobatics, harvest ritual music and dance. The musical dance-drama "noh" and its humorous skits between noh acts known as "kyogen" were brought into theaters. Accompaniment is provided by a three- to four-member ensemble of drums and flute and a six- to eight-member chorus whose primary function is to explain and comment on the action. Popular theatre of the Edo period - Kabuki & Bunraku Puppet Theater of the Edo Period (1600-1867) was more lively and popular with common people. Music and dance continued in these theater arts.
Gagaku (Japanese Imperial Court Music)
The term Gagaku is used by the musicians of the Japanese Imperial Household, to refer to the vast repertoire of compositions and various forms based on the music that was introduced from China and Korea during the 6th and 7th centuries. The ancient native Japanese forms, like the sacred Mi-kagura and the Azuma Asobi and Yamato Mai, are also part of the tradition and responsibility of the imperial court musicians but are considered separate from the main body of the Gagaku repertoire. The music of Gagaku, like the dance, is broadly divided into two major stylistic forms, the music associated with the Right Side and that of the Left Side. The music of the Left is generally known as Togaku, or T'ang music. It is fundamentally considered to be of T'ang origin with whatever Central Asian, South East Asian and Indian elements were already incorporated into the T'ang style and along with many later Japanese compositions composed in that style.
The music of the Right is generally known as Komagaku, taking its name from one of the three ancient states of the present Korea. Although in Heian times in Japan, Komagaku, like Togaku could be performed as chamber music, as a performance for a full ensemble of winds and strings, and also as dance accompaniment, today Komagaku survives only as dance accompaniment. Chamber music performances in various combinations such as they have been described in the Heian period, do not survive either. Today Gagaku is performed in two ways. Togaku can be performed as kangen, concert music for winds, strings and percussion, or as bugaku, or dance music for which the stringed instruments are omitted. Komagaku survives only as bugaku accompaniment.
The music of Gagaku is much slower than most musics heard anywhere, even in Asia. Although the tempo has speeded up considerably in the past 80 years, something noted when listening back to old recordings, nevertheless the impression one has is of a very, very slow and drawn out pace. This music was developed to be heard in the ancient courts of Asia and as such was intended to reflect a sense of elegance, leisure and power. The structure of the music is based on a contrast between long, fixed rhythmic patterns, marked off by the percussion instruments, against the long melodic patterns that start and end in synchrony with the percussion pattern, but particularly in the longer compositions, create interesting contrastive patterns by drifting away from the underlying percussion pattern for varying periods of time. It is difficult us for most of us today to perceive the intricate formal patterns of this music because we are unaccustomed to such long slow patterns in music, but they do reflect something of the grace and elegance of those earlier times.
The music of the Right is generally known as Komagaku, taking its name from one of the three ancient states of the present Korea. Although in Heian times in Japan, Komagaku, like Togaku could be performed as chamber music, as a performance for a full ensemble of winds and strings, and also as dance accompaniment, today Komagaku survives only as dance accompaniment. Chamber music performances in various combinations such as they have been described in the Heian period, do not survive either. Today Gagaku is performed in two ways. Togaku can be performed as kangen, concert music for winds, strings and percussion, or as bugaku, or dance music for which the stringed instruments are omitted. Komagaku survives only as bugaku accompaniment.
The music of Gagaku is much slower than most musics heard anywhere, even in Asia. Although the tempo has speeded up considerably in the past 80 years, something noted when listening back to old recordings, nevertheless the impression one has is of a very, very slow and drawn out pace. This music was developed to be heard in the ancient courts of Asia and as such was intended to reflect a sense of elegance, leisure and power. The structure of the music is based on a contrast between long, fixed rhythmic patterns, marked off by the percussion instruments, against the long melodic patterns that start and end in synchrony with the percussion pattern, but particularly in the longer compositions, create interesting contrastive patterns by drifting away from the underlying percussion pattern for varying periods of time. It is difficult us for most of us today to perceive the intricate formal patterns of this music because we are unaccustomed to such long slow patterns in music, but they do reflect something of the grace and elegance of those earlier times.
Yamato-e: Classical Japanese Style Painting
Classical Japanese painting has always been mesmerizing in effect and charming in character. The word “e” means picture or painting in Japanese language. Yamato-e is a kind of Japanese painting that got its inspiration from Zen Buddhism. The later Heian period was the heyday of development of this kind of painting.
The influence of literature is clearly visible in these kinds of paintings. As you will find almost all Yamato-e paintings have a written text along with the main pictures. These pictures often show the beauty of nature or depict beautiful palaces or delineate four seasons of nature.
Among all kinds of Japanese paintings Yamato-e is the oldest. The term was derived from the ancient name given for Nara area. By the 6th century the earliest Japanese emperors established Yamato in the court. The history dates back to 9th century when it first recorded the use of Yamato-e paintings; usually the people of those period used scrolled paintings called ‘byoubu’.
This style of Japanese painting is markedly different from Chinese style painting called kara-e. Although Yamato-e was opposed to Chinese kara-e the painting style these two arch-rivals followed was the same. The composition is striking, the use of flat planes of rich color, frequent use of codified pictorial devices like fukinuki yatai.
Yamato-e had a great and lasting influence on the Rimpa and ukiyo-e styles of painting. It continued to influence in the Meiji period and in the 20th century too it wielded great influence on nihonga type of painting.
Some of the great artists of Yamato-e were Shubun, Josetsu etc. This class of painting was solely meant for the aristocrat people of Japan. Today also you have to pay a huge amount of money to possess one piece of artwork.
The influence of literature is clearly visible in these kinds of paintings. As you will find almost all Yamato-e paintings have a written text along with the main pictures. These pictures often show the beauty of nature or depict beautiful palaces or delineate four seasons of nature.
Among all kinds of Japanese paintings Yamato-e is the oldest. The term was derived from the ancient name given for Nara area. By the 6th century the earliest Japanese emperors established Yamato in the court. The history dates back to 9th century when it first recorded the use of Yamato-e paintings; usually the people of those period used scrolled paintings called ‘byoubu’.
This style of Japanese painting is markedly different from Chinese style painting called kara-e. Although Yamato-e was opposed to Chinese kara-e the painting style these two arch-rivals followed was the same. The composition is striking, the use of flat planes of rich color, frequent use of codified pictorial devices like fukinuki yatai.
Yamato-e had a great and lasting influence on the Rimpa and ukiyo-e styles of painting. It continued to influence in the Meiji period and in the 20th century too it wielded great influence on nihonga type of painting.
Some of the great artists of Yamato-e were Shubun, Josetsu etc. This class of painting was solely meant for the aristocrat people of Japan. Today also you have to pay a huge amount of money to possess one piece of artwork.
Japanese Ceramics
Of all Japanese arts, one of the oldest, most indigenous, and most widely recognized worldwide is ceramics. It is difficult to proclaim any particular religious influence on ceramic styles, but the Zen taste for directness, simplicity, earthiness, and irregular shapes is nonetheless prominent in the work of many modern Japanese potters. Nonetheless, Japanese pottery did not develop in a vacuum. Perhaps the greatest influence on Japanese pottery during Japan's feudal periods came from Korea. The Korean influence on Japanese pottery is profound. For example, Japan's famous Hagi ware originated when Korean potters were brought back to Japan during the "pottery wars" of 1592 AD and 1597 -1598 AD.
For nearly 12,000 years, Japan has been producing ceramics. The earliest pottery, developed in the mountains around Nagano, was heavy and unglazed, reflecting the types of clay available in the mountains. Beginning with rice cultivation in around 300 BC, coarse mountain pottery gave way to the development of smoother, finer types of ceramics made from the delta silts where rice was grown. Although much of Japan's ceramic technology came from China, Japan developed a multitude of techniques and styles of its own.
For nearly 12,000 years, Japan has been producing ceramics. The earliest pottery, developed in the mountains around Nagano, was heavy and unglazed, reflecting the types of clay available in the mountains. Beginning with rice cultivation in around 300 BC, coarse mountain pottery gave way to the development of smoother, finer types of ceramics made from the delta silts where rice was grown. Although much of Japan's ceramic technology came from China, Japan developed a multitude of techniques and styles of its own.
Japanese Traditional Dance, "Bon Odori"
There are many traditional dances in Japan, but the one of the most famous and common dance is the Bon dance, called "Bon Odori" in Japanese. People dance the Bon Dance during the Bon Festival, held every summer in districts and neighborhoods in every city in Japan.
Bon week is held in August every year, and Obon, as it is often known, continues on for about a week. Bon means welcoming ancestors' souls and holding memorial services for them. During Bon, sometimes all relatives of a family gather and hold a memorial service for their ancestors, and reflect and reminisce. This practice comes from Chinese Buddhist tradition, a synergetic blend of Buddhist beliefs and ancestor worship.
The Bon Festival is held during Bon week, and people gather at nearby open spaces or parks, and dance to traditional Japanese music. The music should be happy to welcome their ancestors' souls, and people have a duty to create a happy, mysterious, and welcoming mood. Moreover, the Bon Dance should be held in the night because many Japanese people believe that their ancestors' souls come back during the night.
While technology in Japan has developed over the last hundred years, Japanese people have not forgotten their traditions, and many take part in the Bon Festival and Bon Dance every summer. Japanese people will probably continue to venerate this tradition.
The So-ran Bushi, however, is a new sort of Japanese traditional dance that was fused together with a modern rock beat.
Bon week is held in August every year, and Obon, as it is often known, continues on for about a week. Bon means welcoming ancestors' souls and holding memorial services for them. During Bon, sometimes all relatives of a family gather and hold a memorial service for their ancestors, and reflect and reminisce. This practice comes from Chinese Buddhist tradition, a synergetic blend of Buddhist beliefs and ancestor worship.
The Bon Festival is held during Bon week, and people gather at nearby open spaces or parks, and dance to traditional Japanese music. The music should be happy to welcome their ancestors' souls, and people have a duty to create a happy, mysterious, and welcoming mood. Moreover, the Bon Dance should be held in the night because many Japanese people believe that their ancestors' souls come back during the night.
While technology in Japan has developed over the last hundred years, Japanese people have not forgotten their traditions, and many take part in the Bon Festival and Bon Dance every summer. Japanese people will probably continue to venerate this tradition.
The So-ran Bushi, however, is a new sort of Japanese traditional dance that was fused together with a modern rock beat.
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