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Indo-Pak schoolchildren multimedia exhibition

Thu, 23 Feb 2012 11:59:34 GMT

The Citizens Archive of Pakistan is a non-profit organisation dedicated to cultural and historic preservation and Routes 2 Roots is a charitable organisation bringing people and cultures together across in South Asian Countries in general, and India and Pakistan in particular.

The artists displayed post cards, photographs and digital installations. in December 2010, The Citizens Archives of Pakistan with Routes 2 Roots began an exchange of letters, post cards, collages and oral histories between students from Karachi, Lahore, Delhi and Mumbai. a 19-member delegation traveled to Delhi and Agra on Feb 8, 2012, and visited partnering schools, engaged with their counterparts and visited historical and cultural sites across the two cities. Two weeks later, a 21-member Indian delegation is visiting Lahore.

During the 17-month exchange for change, a sustained exchange of written, visual and oral histories linked school children aged 10-14 years in 10 schools across Delhi, Mumbai, Lahore and Karachi. Schools were chosen equally along three main economic strata: privileged, middle income and under privileged.

The exhibition features different series. In the ‘Letters to the Post’ series students wrote letters to each other in January- March, 2011, sharing their thoughts, values, hobbies and interests with each other. in letters, they discussed historical and cultural facts with each other.

During April-May series of ‘Postcard Stories’ which marked the second phase of the interactive project, students added a visual dimension to the exchange.

In September-October 2011, the ‘Photograph Series’ involved students in artwork and collage making based on school life, food, festivals and marriages and historical monuments.

This endeavor enabled students to familiarize each other with history, culture and lifestyle by across Lahore, Karachi, Delhi and Mumbai. The ‘Oral History’ phase ran between November-December 2011, adding an audio based dimension to the project.

Students interviewed their grandparents, collecting historical narratives about various cities across India and Pakistan.

Schools from Pakistan participating in this project are: The City School, Lahore; The City School, Karachi; Links; Ilm School and Saving Group Schools. in India, the participants are: Sanskriti; St Pauls; Balwant Rai Mehta Vidya Bhavan School; Shushuvan and Gandhi Memorialnd. The exhibition will remain on view till Feb 23.

Julia and The Art of Growing Up

Wed, 22 Feb 2012 09:55:46 GMT

When I first learned of the traditional puberty rite, called Dipo, I was participating in the SIT Study Abroad program, Ghana: Arts and Culture. I was interested in a way of life where art played a vital role in daily existence.

I remember watching the women sing, dance, and cheer while their daughters walked from the house. The initiates were adorned with pounds of beads and wore white cloth around their waists to symbolize victory. Some faces looked nervous; all were proud and serious as they walked to the shrine. They had become Krobo women.

During my semester with SIT, I chose to live in the Krobo hills to do a month-long field study of the Dipo ritual. I spent my days with Queen Mothers, teachers, and young girls, observing the elder women teaching the young girls how to prepare traditional meals, perform dances, care for their bodies and control their sexuality, among other important lessons on Krobo womanhood.

I have always believed strongly in the power of art to teach and empower youth. I was drawn to the role of art in the rites of passage. In Dipo, initiates learn that they are connected to a bigger picture of life and society. Participants learn that they have control over their future, health, and community. The ritual has built-in risk prevention by creating protective factors to counter the girls’ vulnerability to AIDS and teenage pregnancy. It teaches girls not only about the hardships and responsibilities that come with womanhood, but also about the magic and power that all women embody, as protectors, leaders, and creators.

Reflecting on how many American girls are never taught this, I was excited and intrigued by the potential of this tradition to be adapted into a powerful experience for youth in America. Returning home, I watched my younger sister as she prepared for her Bat Mitzvah. More and more I began to realize the value, significance and even necessity of ritual for coming of age.

For my senior thesis, I developed a pilot program of the Art of Growing Up and administered it at an after school center in the Spring of 2005. I now implement the program in partnership with the Arts & Spirituality Center, in Philadelphia. The Art of Growing Up seeks to create a positive and life-affirming rite of passage for urban, adolescent girls (ages 10-14) using a range of art forms inspired from around the world, such as mask making and dancing inspired by African traditions, and poetry writing, inspired by Apache traditions.

Growing up is hard for everyone. I want to make it a little easier for the girls that I teach by giving them support, love, inspiration, and tools to figure out who they are and show it with pride. I also teach to learn. Working with young women to make art and create change inspires my own art to no end. To me art and ritual are both about finding and creating meaning. Recognizing my own connection to all women and making room for ritual and celebration in daily life has helped me in my own continuous coming-of- age. Beginning with my time in Ghana, multicultural art and traditions have inspired me to teach for social justice, and to build community, so that my students might do the same.

Zomi National Day celebrated with cultural extravaganza

Tue, 21 Feb 2012 09:47:18 GMT

Imphal: The 64th Zomi National Day was celebrated at Bhagyachandra Open Air Theatre (Boat) with colourful cultural events of traditional dances performed by various cultural troupes from different parts of the State.

The function was organised by Zomi Students' Federation, General Head Quarters. Speaking on the occasion, Chief Minister O Ibobi, who attended the celebration as Chief Guest, exhorted that we are one and we should work towards promotion of cultural heritage handed over the generations by our forefathers.

This way we would let peace be prevailed and love flourished in Manipur. He also lauded the efforts of Zomi people towards keeping their culture and heritage intact from the onslaught of western culture and other influences from outside.

Manipuri people both in the hills and the plains should live together peacefully and forget all the past differences, he added. President of Manipur Pradesh Congress Committee (MPCC) Gaikhangam presided over the celebration which was also attended by Minister of Power/ Horticulture and Science and Technology Phungzathang Tonsing, MLAs, ADC Chairmen and members as Guests of Honour.

Earlier, delivering the key note address, LB Sona, Chairman, Zomi Council informed that the 2012 edition of the State level Zomi National Day celebration is also being celebrated in different towns and cities of the world like Singapore, Kualalumpur, Tokyo, Wangshiton DC, London, Vancouver (Canada), Chiangmai, Kalemyui, Mandalay, Tedim, Yangoon, Delhi, Shillong, Chennai, Bangalore, etc.

He said that Zomis, like many other communities want peace and development and added that the community aspires to develop in accordance to their genius and intellect.

Zomis of this State too dream of a "glowing Manipur", but this dream could be realized only when all the 38 recognized tribes living in the State learn to understand and appreciate each other's unique culture, custom, tradition, past history and aspiration, LB Sona said.

He also reminded the gathering that Zomi Youths' Association submitted a memorandum to Chief Minister O Ibobi pressing the State Government to declare February 20 as a State holiday officially.

Noted folk singer, Guru Rewben Mashangva, members of Zomi Artistes' Association and many other singers from Mizoram presented songs during the celebration which also witnessed presentation of Hmar cultural dance, Kabui cultural dance, Mizo cultural dance, Thadou cultural dance, Tangkhul cultural dance and Zomi cultural dance.

Swimsuit parades kick off surf culture festival

Mon, 20 Feb 2012 11:34:43 GMT

Weekend fashion parades held at the Gold Coast to help launch the inaugural Bleach Surfing the Fringe cultural festival celebrated the history of skimpy swimsuits along with bold new designs from big name brands.

Alongside the new season bikini range from Billabong, a range of retro designs spanning 60 years in beach fashion were trotted out deckside at Coolangatta’s Komune resort as part of the Sway on Sunset catwalk event. Cue sunseekers from the '70s, leggy visions channelling a Physical Olivia Newton-John, red one-pieces screaming Baywatch and frilly, flirty, gingham swimmers cut from a Post War pin-up calendar.

Drawn from Karen Neilson's Pearly Shells boutique, The Vintage Collection was included in the modern fashion event to take runway watchers on a three-part journey charting the bikini’s evolution, curator Heidi Bartholomew said.

By showing the collection of authentic vintage swimwear alongside new looks from local favourites such as Tallow, Alope and bikini lover, Ms Bartholomew hoped observers would see the swimsuits for their sartorial significance as much as their skin-exposing strengths. "Sway on Sunset pays homage to the bikini and aims to bring style, sophistication and playfulness back to the beach," Ms Bartholomew said.

"[By focusing on] the bikini’s incarnations from vintage glamour to coastal modern fashion, [we are] restoring and resurrecting the bikini’s status as a true style icon."Sway on Sunset was one of 55 scheduled surf culture happenings taking place across various Southern Gold Coast destinations until Sunday, February 26, as part of the Bleach Surfing the Fringe festival.

The Museum for African American History and Culture

Fri, 17 Feb 2012 09:30:45 GMT

A rendering view of the new National Museum of African American History and Culture, which is scheduled to open in 2015. The museum’s design is the result of an intense collaboration among Phil Freelon and two other black architects: David Adjaye and Max Bond.

Nationalising culture: A broader perspective

Thu, 16 Feb 2012 09:37:41 GMT

Historically, February is a month of kite-flying in the cultural capital of Pakistan. Basant supporters mark the event as a hallmark of Punjabi culture. By playing up the Punjabi culture aspect, their motivation has been to circumvent the religious connotation attached to it by those who see it, among many things, as a ‘yalgar’ of Hindu values meant to corrupt Muslims.

Another thing February is known for is Valentine’s Day. That too has supporters who see it as a manifestation of love and festivity. For the rest, it’s a part of the ‘devil’s plan’ to lead as many souls to hell as he can.

It gets problematic, however, when those at the helm of affairs and their cronies in the media, start taking sides in the name of national culture and identity.

What is culture, but a set of behaviours and beliefs characteristic of a group. Culture evolves with time and cannot be confined to territorial borders much to the disgust of those heading councils of one ideology or the other.

What Indian culture was for centuries, was not defined by Hindu scriptures alone. It was influenced by thousands of intruders from lands as diverse as Central Asia, Arabian Peninsula, Western Europe and the Far East.

Even today, Delhi’s way of life is poles apart from the south. Similarly, Pakistani culture is anything but a monolith. It is a hodgepodge of several different sets. What goes on in the cultural capital is not analogous to the city by the sea. The mountain folks are at another wavelength with their Pakhtunwali code. Rural Pakistanis can’t be associated to their urban counterparts.

When the likes of the one religious organisation issues warnings against celebrating Valentine’s Day; when another issues decrees against kite flyers or when some Punjab lawmaker suggests banning ‘Hindu’ cartoons, one should rest assured that these are empty slogans, reflecting only the dominant individual’s perception of ‘culture’ – a culture revolving around their self-interest to perpetuate their hegemony and prevent dissenters from seeking legitimacy.

How else can one then describe the so-called movement to defend blasphemy laws?

Cut in cultural elegance

Wed, 15 Feb 2012 09:28:25 GMT

DRESSED in a black Mandarin collared, lace trimmed blouse paired with blue jeans, fashion designer Wang-Chen Tsai-Hsia looked poised for this interview at the penthouse in Ritz Residences. She had just arrived in Kuala Lumpur after a five-hour flight from Taiwan. Smiling, the elegant 61-year-old apologised for being late.

Chen comes from Changhua and together with her husband of 37 years, Wang Yuanhong, founded fashion house Shiatzy Chen. Her husband was a fabric merchant. Chen was in town for the opening of her flagship boutique in Starhill Gallery. Shiatzy Chen is a celebrated brand not only in Taiwan but also in Europe and Asia. But, according to Chen, success didn’t come easy.

“My family was poor and they had no money to give me proper education. If one was living in such a situation, it would be good to develop a skill,” she says. “At the beginning, I wasn’t sure if I had an interest in designing. But I had always preferred working on my own in a quiet environment — I like to analyse and study — so I thought making clothes would be a good choice. I became a small-town dressmaker,” says Chen, through a Mandarin interpreter.

BORN IN TAIWAN
The couple launched the fashion label in Taipei in 1978, producing women’s apparel which combined traditional Chinese elements with Western craftsmanship. The result: Contemporary designs with a timeless look. By 1991, they had expanded, with a design studio in Paris.

“We hired a French stylist to guide us on dress-making techniques, which helped us to enter the international market. The studio still serves as a training centre for our staff,” says Chen. The fashion house opened a boutique on Paris’ rue Saint Honore, one of the main streets for luxury goods, in 2001, selling apparel for men and women. It has been growing steadily ever since. After a tedious application process, the fashion house became a member of the Paris Fashion Federation in 2010. It has just completed its seventh season in the Paris Fashion Week. To have got this far over the last three decades, Chen says it’s all about being persistent and staying focused.

EASTERN INFLUENCES, NATURALLY
“When East meets West... you get neo-Chinese chic,” says Chen proudly, elaborating on the label’s brand spirit and concept. She has infused into the brand Western approaches and traditional Chinese culture. The name Shiatzy, which means “the new look of China”, hints of her approach. The clothes have simple, clean Western lines while maintaining distinctive Chinese features such as Mandarin collars, knotted buttons and other Chinese cultural elements. Chen applies the five major embroidery techniques — plain stitch, seed stitch, frame line, ribbon and cross-stitch — to meet her high standard of fine detailing.

Her range includes women’s and men’s apparel and accessories. For every collection, Chen tries to incorporate different elements of Chinese culture into her designs. For example, the 2011/12 Autumn/Winter collection was inspired by the Chinese “treasure kit”, a small purse that can be traced back to the Warring States Period. From the exquisite embroidery and ornate embellishments on the purses, the historical background and geographic varieties across China are revealed.

FASHION PUPPETRY
“Our Spring/Summer 2011 collection, themed Shadow Play, was inspired by the traditional Chinese art of shadow puppetry and Western Art Deco. Chinese shadow puppetry instils elements of light and shadow through theatrical emotions and opulent imagination, while artistic expression from the Art Deco period conveys a sense of freedom and liberation,” explains Chen. In terms of fabric, the brand often uses silk, satin and jacquard, decorated with various elements or prints. “The key colours are often vibrant but controlled, adapting to the season, while the cut complements the wearer’s silhouette,” says Chen.

CHANEL OF ASIA
In Asia, Chen is often referred to as the Chanel Of Asia. Asked about this, she says with a smile: “I was given the nickname by La Monde, the biggest newspaper in Paris about two seasons ago during the Paris Fashion Week. The similarities are mainly our strong brand name and the quality of our collections.
“Another similarity is that Coco Chanel represents the Western culture, while Shiatzy Chen is known for its Asian culture. With this expansion to the Southeast Asian market, we hope to make more people understand the image of the Chinese culture.”

Status symbol
SHIATZY Chen’s 2012 Spring/Summer collection is called Snuff Bottle. By the end of the 17th Century, snuff bottles became fashionable. It was an object of beauty and a way to represent status. The highest recognition went to those who had the rarest and finest snuff bottle. The exquisite and ornate snuff bottles combined traditional, skilful Chinese craftsmanship, using burnishing, sculpting, painting and calligraphy.

Lok Virsa documents Pakistani, Norwegian folk culture

Tue, 14 Feb 2012 13:13:37 GMT

ISLAMABAD: Lok Virsa in collaboration with Norwegian Directorate of Cultural Heritage (Riksantikvaren) has published a comprehensive book on "Children Folk Games of Pakistan and Norway" for documenting the folk culture of the two countries.

National Institute of Folk and Traditional Heritage, Lok Virsa published the book under the Joint Institutional Cooperation (JIC) Programme between the Pakistan and Norway.

The 100-page book contains 24 folk games along with description, number of players, preparations, steps and rules required for each game. It also comprises sketches and photographic representations so as to facilitate the readers to understand easily how to play these traditional games.

The introductory part gives the readers an idea that it is primarily a book written for children. However, it can also create interest in grownups, as all people cherish memories of childhood.

The games introduced in the book will let children know that they belong to the broad fraternity of the children of the world. A bare reading of the book provides that games played by Norwegian and Pakistani children are the same.

Executive Director, Lok Virsa, Khalid Javaid, who is also a renowned folklorist and craft expert, said "the book is for all ages because we have to remember that people of the world were once happy children and as we grow old we have a duty to return the same spirit of enjoyment and harmony among our children.

The book took me back to the days of my childhood, and I found myself playing these games with friends and within my family. Some of them are lost in the wide world of opportunities and fame but they may find some bond in the games that we played together. It may remind them of the grandeur of olden times when we found happiness and quiet around everywhere we looked".

The book is a welcome addition to all that Lok Virsa and Norwegian partners have done to develop better trust and understanding between our two friendly countries, he added.

The Chief of Lok Virsa also praised for the contribution of the Royal Norwegian Government, in particular its mission in Pakistan for their support in documenting and preserving the rich culture and traditions of Pakistan through JIC programme.

He also mentioned his own administrative ministry - National Heritage and Integration Division - for their patronage and enabling facilitation which resulted in materializing of such an important idea.

He was of the view that this effort would serve a long way in creating awareness among the youth community in understanding the cultural heritage of not only Pakistan and but also Norway where a large number of Pakistani community is residing and contributing to the development of Norway.

Understanding UAE's culture and traditions

Mon, 13 Feb 2012 09:41:05 GMT

The talk of the UAE being a melting pot of various cultures might not be a myth. But the latest revelations that 72 per cent of the UAE's expatriates are not aware of local customs and traditions is a startling eye-opener. Living in a foreign country and not developing an understanding of the host country's culture is not a good thing, especially in this age of globalisation. It reflects an attitude of indifference on the part of foreigners.

People travel to faraway places on tour to learn about various cultures. This helps broaden one's outlook. In the UAE there are a number of institutions that offer a taste of traditional Arab lifestyle and culture. People from all parts of the world travel to the UAE — more than 10 million per annum — to try and understand the heritage, culture and tradition of the country.

So there is absolutely no excuse for any foreigner — who is living, earning and benefiting from this wonderful land — not to know the local customs and traditions, especially when the hosts are so hospitable. Dubai Museum and the majority of the 17 museums in Sharjah offer a good reflection of the traditional Arab lifestyle, culture and heritage of the UAE. Besides, the Mohammad Bin Rashid Establishment for Cultural Understanding offers free orientation to visitors and residents who want to get acquainted.

Learning and understanding other cultures should become part of an individual's DNA — especially if he or she wants to live in a globalised and cosmopolitan environment where the role of social media is growing every day. Expatriates should look into what they are missing by not knowing local traditions. The only way to reduce the worldwide gap in cultures and civilisation is to try to develop a better understanding about others' cultures. That way the world will be a better global village — free from conflicts and peaceful.

Iranian cultural festival concludes amid festivity

Sat, 11 Feb 2012 10:03:05 GMT

Islamabad—Many people enjoyed moments of spiritual ecstasy by listening to the soulful recitation of Quranic verses and Asma-e-Husna presented by the Iranian Qaaris at the concluding ceremony of the Iranian Cultural Festival here at Pakistan National Council for Arts (PNCA).

The week-long (February 2-10) festival was jointly organised by the Cultural Consulate of the embassy of the Islamic Republic of Iran in collaboration with PNCA to mark the 33rd anniversary of the 1979 Islamic Revolution of Iran.

The cultural festival, whereas, highlighted Iran’s development in the field of art and culture, social, economic, and scientific technology. The festival was also an occasion that helped strengthen solidarity and the cultural ties between two brotherly states, Pakistan and Iran, said Taqi Sadeghi, cultural counsel Iran embassy, speaking at the ceremony.

The closing ceremony of the festival was invigorated by the Sufi music programme, recitation of Asma-e-Husna and screening of feature films. Throughout the week, the festival attracted many Pakistanis, especially students, who took special interest in the calligraphic artworks, and paintings of Persian lifestyle diligently made by Iranian artists, Razai and Amir Huseyn Aghamiri.

The festival integrated photographic display of development of Iran, calligraphic exhibition, Persian books and publications, original handwork on wood, metal, and cloth, elegant craftwork on ceramic pots, rugs work, recitation of Quran, and screening of feature films. One of the prominent features of the cultural week was collection of rare Quranic manuscripts dating back to 10th Hijri. The calligraphy of the remarkable Quranic manuscripts, preserved in glass display case, was illuminated in gold, colours and medallions. The rare manuscripts and bilingual publications on display were the collection of Iran-Pakistan Institute of Persian Studies, which owns more than 68,000 books on Islamic culture and Persian language, told Muhammad Abbass, official of the Institute.

Meanwhile, the Iranian traditional music groups thrilled the youth Friday at the Abapara Community Centre with their rendition of religious and Sufi poetry, Kalam-e-Iqbal, and Hamd-o-Naat. It was their especial performance for the students at the concluding of the Iranian Cultural Week.