Old traditions die hard (part I)

It is that time of year again, the greatest friend of all children is coming to town... Sinterklaas. Why are we all so excited and who is this bloke with his long beard, all dressed to impress and why are we full of anticipation about it? Today I want to share an age-old tradition with you, that bares a lot of resemblance to Santa Claus. In fact, our Sinterklaas is his predecessor.

It all started about 1800 years ago when a little boy was born into a wealthy family, was orphaned at a young age, became a priest and later in life a bishop in  Myra. Many legends are told of him, starting from his birth. They all have a great compassion and generosity towards others in common and a great will to live a spiritual life. Although no one knows exactly when he was born or died, it is an accepted fact that he died on december 6th sometime during the 4th century in Myra where he was burried. Later on his bones were stolen from the original tomb and relocated to Bari in Italy where a huge crypt and ditto cathedral were built.

As with any Saint, there are lots and lots of stories told about Nicholas, but two of them lead up to why he is seen as a protector of children and giftgiver. The first of the most widely known legends is that of the 3 children or students murdered by an innkeeper and put in a pickling tub. When somehow Nicholas gets hold of the meat, he brings the boys back to life. Another story tells of a widower with 3 daughters for whom he can't afford a dowry. In those days, this meant that it was impossible for the women to marry and they would probably end up slaves or prostitutes. When Nicholas hears of this, he secretly throws 3 pieces of gold through the open window on seperate occasions, thus providing the dowry and saving the life and honour of the young women.

These are the most important ingredients for the main festivities: Sinterklaasavond or Pakjesavond. On the eve of december 6th Sinterklaas visits our homes with his helpers and brings us presents. Some of which have not changed over de years and still remind us of the ancient stories, for example:  chocolate coins, wrapped in gold or silver foil as a reminder of the dowries or a large, gingerbread man reminding us of the students he brought back to life or the possibility of a good marriage candidate. As was the case with the coins he provided for the girls' dowries, he is usually not seen, but simply leaves a huge sack of gifts on the doorstep.

But the tradition doesn't apply only to the evening of december 5th. There is a building up to that moment, full of anticipation. To understand this, you must know one more important story of how Nicholas once rescued his ship from a heavy storm when traveling from the holy land back to his home after making a pilgrimage. By praying he was able - or so it is told - to calm the waves and let the winds subside thus saving not only his own life, but that of the crew as well. This made him the patron of sailors and voyagers.

Every year in late november, as the Pakjesboot - the steamboat - arrives in a harbour somewhere in the Netherlands it marks the start of a festive season. Sinterklaas is everywhere: in every store, home or school. Everywhere you can hear the childrens' songs that are only sung during this season. Also, another tradition starts on this day: children putting a shoe in front of the fireplace or the doorstep (most houses lacking a fireplace nowadays, this is a practical solution). It is believed that at night, Sinterklaas roams the roofs of our homes mounted on his horse, assisted by one of his helpers. The children usually put an apple, carrot or some hay in their shoes for the horse to eat, which is then exchanged by a small gift. This custom might have something to do with the legend of the dowries, as some versions state that the coins landed in the shoes of the girls that were set in front of the fireplace to dry.

Today our season has started, he has arrived and all are filled with joy and anticipation. So far I have just talked about the history of the feast. But there is so much more to say about the inner meaning of this time of year and its relation to the upcoming christmas season. This post would become way to long if I wrote about these aspects too. Let me close by saying that to me, the most beautifull aspect, and the purpose of the giftgiving, is the fact that it is a challenge to find gifts that meet the needs - not merely the wants - of others. I believe, that when you are forced to really connect to one another, to find out each others needs, you are doing justice to yourself, the other and a higher cause. This connecting is what makes this season so festive, warm and loving.

A gift consists not in what is done or given, but in the intention of the giver or doer.

Lucius Annaeus Seneca (4 BC-65) Roman philosopher and playwright.

Done and new lessons learned

I am done with my Staphorster Stipwerk trial-piece. It doesn't resemble the real work, but I had fun working on it and have yet again learned some valuable lessons.


It all started out with this:
You might remember I wrote about not liking the Lacy's Stiff Stuff. Well, I have not altered my opinion. Working with a backing that won't give way when held, doesn't appeal to me. It has happend that I had to pull the needle out of my work and try to pierce it again and again through the LSS just to come up at the spot I wanted it to come up.

lesson 1: The backing
For the BJP I need fabric that feels comfortable and is pliable. My first work I did on felt, which I liked very much for its warm touch and easy to handle qualities.

This is what has become of my endeavors

 

Even though it has not turned out a Stipwerk, I do like it. It has the contrast between the black background and bright colours that the original work has. For the jewelry I make, I work more in shades of one colour. I guess it has to do with not wanting to stand out to much. While working on this piece I realized that it can be a good quality to let some parts stand out, backed by a solid background.

lesson 2: Speak out

I can play with brighter colours without my piece becoming blatant.

The real Staphorster Stipwerk, being a very mathematical and precise design, is not easy to duplicate by freehand embroidery. I didn't draw any markings on my LSS before starting to work and didn't keep any physical example at hand, just the image in my mind that I posted above and in previously. The reason behind this being I wanted not to pin myself to an exact design but let some flow into the work. Ha! I was mistaken: freehand and preconceived design don't mix to well. At least not for me at this point.

lesson 3: Make a choice

I will have to make a choice between pre-designing a piece or really embark in freehand embroidery. For the first I will have to mark my backing so I will be able to make it more exact. For the latter I will have to really let go of any prejudice and let the muse(s) speak to me. For the BJP I have already made my choice: I want the pieces to be real journals. I don't predesign my life, so I cannot predesign my pieces either.

If I don't want do think about the outcome of my pieces beforehand, I will have to find a means of letting the inspiration come to me. A little help was in this project, as I also experienced that working on a plain background doens't offer much inspiration. 

A few ideas that popped up:

I have previously printed images on special transfer paper, that allow you to iron an image to for example a T-shirt. I could easily use that and try it on felt. The only thing is that I don't want to make large pieces, and you can only print the paper once. Some thinking needs to be done on waste-management.

I could use printed fabrics and attach either a total surface or just parts of them to felt in some manner

Lots of roads yet to be travelled, new horizons to be discovered and beads, trinkets and fabrics to be packed to continue...

  

You cannot travel on the path until you become the path itself.

Buddha (563 BC-483 BC) Founder of Buddhism.

Where am I from?

I have told you a bit about my home in my post Where am I? This post was mostly about the country I live in, but didn't adress anything personal. Today I want to tell you a little bit about where and when the seeds of my creativity were planted and how they were thriving at times and wilting at others.

Before I could even hold a spoon, my education and upbringing as a music-lover started. My mum claims she sang nursery rhymes for me even before I was born. I cannot recollect, so I have to take her word for it. If you see my efforts in the picture here, she must be right. I was about 4 years old and seem to be reading the words of the back of the album cover, but that's only to impress. In fact I could not read a word yet. I knew the songs by heart though, this (christmas)album being one of my favorites, or so I was told.

If you have read my previous posts, you might have guessed already I am a great lover of classical music, and that love has never ceased. At about the age of 6 my parents took me to a classical concert. Of course I don't know what was played but it is our family history that from that day on I wanted to be a musician. Not just any instrument was good enough, no I was very persistent about wanting to play the harp.

Not so lucky me found Rules & Regulations on her way that stated that any child wanting to learn to play an instrument had to have had 2 years of prior, general music lessons in order to learn how to read notes, sing, play the recorder and develop a feeling for rythm. So by the time I was 8 I enrolled and learned all that. Then I first learned how to play the piano to start my harp lessons at the age of 11. See? I told you I was persistent!

In total I played the piano and harp for about 7 years and then went off to college, but not to become a musician. I just wanted to enjoy making music and didn't feel the drive and ambition I would have needed to become one. Why would I want to be better? Still, creativity and art to me are not about competition, but about sharing what is dear to me and close to my heart. After a couple of years I missed my music an was lucky enough to be able to pick up piano lessons once again for another 7 years.

As any other kid I loved to draw and paint, though music has always been my number No 1. There is hardly any handcraft in the world that I haven't been able to try out. My mum being a very curious person in nature wanted to try out different techniques for herself and shared them with me and my 2 younger sisters. The amazing thing is that in my family we al have a "creative coming out" of sorts, after the age of 40. My mum started a career as a painter after that age, my dad's mom started making bobbin lace after my granddad retired, who himself picked up painting at that time, and I only remember my mom's mum busy with crocheting or knitting. The only one that started earlier in life I assume is my grandfather that I never knew. He is said to have been a gifted amateur piano player. It is sad that I have never had a chance to listen to him play, but he somehow  must have passed on his love ...

So in addition to making music, I learned how to knit, crochet, weave on a loom, spin, make bobbin lace, do thread embroidery, sew... Not that I know how to do all those things these days, nor that I am an expert at any of them. The richness is in the fact that I have at one time or another been able to try so vastly different skills and find out what I liked most: working with thread and fabrics. Not on a machine, but with my bare hands, feeling the touch of the cloth, seeing the work grow before my eyes, living the thoughts and emotions it brings up.

When my life was on the drawingboard, a great love for arts must have been etched into my soul. I really cannot imagine a life without music or some kind of craft. Due to hearing problems I am now no longer able to enjoy making music, but still have not lost the joy of listening. On my search for new experiences I stumbled upon beading and bead embroidery last year. My heart leaped for joy and I have felt drawn to it ever since I saw Robin Atkin's beadwork and the Bead Journal Project she started in 2007. Now I feel doubly blessed to have tried out so many different crafts, as it will enable me to really find my own voice over the coming year. For I know one thing for sure: I have never felt more alive then at the moments I was creating.

I have often thought the best way to define a man's character would be to seek out the particular mental or moral attitude in which, when it comes upon him, he felt himself most deeply and intensely active and alive. At such moments there is a voice inside which speaks and says: ''This is the real me!''.

William James (1842-1910) American philosopher and psychologist.

On dots again

One could state that I have become obsessed by dots, but while writing on my post  Dots rule I remembered art-class in High School (lucky me, because this way I wouldn't have to take a course in biology). When the modern artists were discussed also Pointillism was reviewed: a technique that uses dots instead of brushstrokes to create an image . One known contributor is Georges Seurat (1859 - 1891), of whom the  painting "Un dimanche après-midi à l'Île de la Grande Jatte" (Sunday Afternoon on the Island of La Grande Jatte) is shown below.

In fact, Pointillism was derived from Impressionism. Impressionists wanted to catch the light of the moment in the painting as accurate as they perceived it at the exact moment. To achieve this goal, often colours were blended on the canvas itself instead of on the palette, the brushstrokes were harsh and black was hardly ever used. The reasoning behind this was that even a shadow holds all colours, only it is lacking enough light for our eyes to be able to perceive it. To use black would deny this fact and would deprive the image and experience its quality.

The Pointillist way of achieving the same goal was a bit more artificial:  they tried to replicate the perception itself, by not painting in colours that match as closely as possible the colour(s) perceived. By not physically blending different pigments, but merely placing them next to each other on the canvas, the viewer would in his or her mind automatically recreate the colour intended. The eyes would do the trick, so to speak. You could view this as a kind of optical illusion. To illustrate this, view the next image  for a while and try to distinguish the individual colours you perceive (detail from "La Parade" (The Parade)):

If you look very close (click to enlarge) you will find that in the face there are touches of blue, dark red and perhaps even a hint of green. Colours you wouldn't normally expect in the pink and fleshtones that would be used to paint a face "the old-fashioned" way. The darkness of the hair in the back of the neck is not achieved by black paint, but by dots of dark blues and greens lying very close to each other. Still, when you look, you don't see an alien but a human , in normal human hues.

I was thinking about this again when I was reading my copy of "Beaded Embellishment" by Robin Atkins and Amy C. Clarke. In the book is a high quality picture of a beaded piece by Amy, that when I viewed it with the book at a reading distance in my hands, didn't make much sense. It was named: Apple.

Then it came to me to hold the book at a greater distance and Lo and Behold ... two hands carefully holding an apple came forward, presenting me with its beauty. So vividly that I wanted to take a bite out of it and savour it all to the last piece.

This is exactly what the Impressionists in general and maybe the Pointillists more particularly aimed at: you, the viewer, wanting to be a part of the experience. Looking at a painting had to feel like you were there, at the waterside on a sunday afternoon:  feeling the breeze, the warmth of the sun on your cheeks, hearing children shout and laugh, dogs bark,  and maybe holding an apple and admiring it before eating.

I feel so delighted by the idea that painting and beading to me once again fall into place, though I have never held a brush in my hands for art-purposes since kindergarten. Painting is not my cup of tea, as much as I admire those who do have the gift. It does pose me however with the challenge to blend my beads for the BJP-pieces to come, in a way I feel like I honestly am journalling, beading the experience instead of the mere thought.

I also gained a new appreciation of how intricate our eyes work and work together with our minds in combining (the frequency and intensity of) light and prior expierence, to make sense of a whole that is truely composed of parts. This even to the extend that qualities that are in fact not there are added, like motion:

So I want to leave you with this thought:

"A work of art is above all an adventure of the mind."

Eugene Ionesco (1909-1994) Romanian-born French playwright.

Visualization reversed or do you dare?

I won't have to make it any clearer that there are hundreds of ways to visualize a thought, feeling, mood or anything else. There are at least as much roads to visualization as there are people setting their minds and hands to it. In my post Visualization fantastique I gave a couple of examples all based on one piece of music. Now I want to try to trigger your minds in doing exactly the opposite.

A very well known piece of music is "Pictures at an exhibition" by Modest Mussorgsky (1839 - 1881). It was orignally composed for piano around 1874 in honour of the artist and architect Victor Hartman (1834 - 1873), a close friend of Mussorgsky, who had died at the age of only 39. In commemoration of Hartman about 400 pictures were exhibited in the Academy of fine Arts in St. Petersburg. Mussorgsky, still shaken by the sudden death of his good friend and an admirer of his art, then needed only about 6 weeks to compose his virtual tour through the museum.

The original piece consists of 15 movements:

• Promenade
• Gnomus The gnome
• Interlude (Promenade theme)
• Il vecchio castello The old castle
• Tuileries (Dispute d'enfants après jeux) Dispute between children at play
• Bydło Cattle
• Interlude (Promenade theme)
• Ballet Ballet of the Unhatched Chicks
• Samuel Goldenberg und Schmuÿle also known as 2 Jews, one rich the other poor
• Promenade
• Limoges, le marché (La grande nouvelle) The market at Limoges (The great News)
• Catacombæ (Sepulcrum romanum) and "Cum mortuis in lingua mortua" The Catacombs and With the Dead in a Dead Language
• Baba-Yaga The Hut on Fowl's Legs
• The great gates of Kiev The Bogatyr Gates

It is easy to see that Mussorgsky wanted to take his listener by the hand and walk with him through the halls of the Academy. He wanted to recreate in the minds of those who heard his music the pictures he had seen and loved so much. Maybe (but this is a wild guess on my side and not even an educated one at that) he even wanted to make us part of his loss and grief. Unfortunately, most of Hartmans paintings didn't survive today so we do not know what Mussorgsky saw and have little more than his music to testify for their existence.

Apart from the music being very inspirational in itself it has inspired others as well. For example, Maurice Ravel made an orchestration that has now become more known that the original version. But also Emerson, Lake and Palmer have made their own version, as did Isao Tomita. They all added a personal note to their own stroll through the museum and all evoke a different sensation. ELP even went so far as to add a few pieces of their own, thereby making their tour a very personal one.

Now my question to you is: when you listen to the music, what images come to your mind? Are they vivid? Colourful? Real or abstract? Does your imigination cling onto the title of the movement or are you able to let go and just drift away? Does it make a difference whether you listen to the original or to the orchestration?

In order not to give away to much, the pictures in this post are not of the music you can listen to below, nor will I tell you what movement is played except that all videos are of the same movement. Of course it is easy to cheat, as most video's will tel you what movement is played... But face the real challenge and just listen, eyes closed. Do you dare?

The original:


The orchestrated version:



The Emerson, Lake and Palmer version:


The version by Isao Tomita:


An unknown (to me at least) surprising version:


I would love to hear what you come up with and will later share my own visions. If you have any versions I didn't mention, please let me know!

Where am I?

A short time ago I received the question to blog about where I live.... Well, to me it's quite simple: I live in a very small village in The Netherlands. A small country on the north coast of the Norhtsea. No, it's not Danmark. No, our capital is not Brussels. No, we don't speak German (as a matter of fact most of us do, a little, but not as our native language.) 

So now that a few misunderstandings are out of the way, where do I live?

Ok, this might be too general an indication. But at least you have in incling as to where you would fly into if you came over for a cuppa. Just to give you some statistics, The Netherlands are:

• 41,526 km²  in total
• of which 18% consists of water
• and most of which is under sealevel.
• there are 16,528,699 of us
• our capital is Amsterdam
• our government is seated in The Hague
• and we speak Dutch (which to most foreigners sounds the same as German, but defenitely is not)

If we didn't protect ourselves from al that water, about 40% of our country would disappear, as would the village I live in. The Netherlands would look like the picture on the left.

 But now you still don't know where I live! As I said it is a little village called Kanis, if you want to "fly in" search Kanis, Utrecht with Google Earth and you will almost end up in my backyard. As you will notice it's a very small village, surrounded by lots and lots of farmland. If you have taken a close look at my profile, you will have noticed it says "Kamerik" and not "Kanis". I can tell you why: to the postal service the small place I live in doesn't exist. As far as they are concerned I live in the nearest village, which is called Kamerik, and lies about 1,5 km's south to our village. To make it even more confusing: the community we live in is called Woerden. There is also a little town called Woerden, about 7 km's south.  So how small is a small village and how little is a little town?

• In my village Kanis live about 600 people, that is including the farms surrounding us
• In the community of Woerden there are 48,395 people in total, of which 33,927 actually live in the city

To give you a comparison:

• Amsterdam is our largest city that harbours 1,36 million people including those living in the suburbs
• New York is the largest city in the United States and has over 8,36 million inhabitants

So now you know where I am. I hope you enjoyed your short visit in my small country. It's nice out here, so you're welcome to visit an find out more about those clogwearing, tulipminded people under the winds of the Nothsea. As long as you never forget:

"Home is where the heart is."

Visualization Fantastique

In my previous post, I wrote about how powerfull visualization is and presented you with a couple of examples for visualizing data. Lately I have found some wonderful videos on YouTube. Among them were a couple of a lovely (piano) piece by the French composer Claude Debussy (1862 – 1918), called Claire de lune or Moonshine.  Debussy was one of the Impressionists and alongside with Maurice Ravel one of the most know composers of his time. The original sheet music looks like this: (Follow the link if you want to download the entire piece. It is free for non-commercial use.)

You have to be able to read the notes to let it speak to you. So it won't be appealing to a lot of people, unless they have had some education in reading musical notation. Of course anyone can listen to the music and let it come to them that way, but today I want to talk visual. That's what this blog is all about now I am officially on the road to the Bead Journal Project 2010.

When I saw the first video I found it astoundingly simple, and at the same time it shows the intricacy of the musical lines so beautifully. It all comes together, even if musical notation isn't your thing: you can litterally see what is going to happen next. The experience of listening and being able to see what you hear is an intriguing one. So please take the time, watch this video, listen to the music and let your imagination do the rest.



This visualization was made by MAM, the Music Animation Machine. Someone has spend years and years of time and effort to be able to convert music to animation. The same way we bead single beads onto cloth, he entered pieces of code after code to start encoding music.

Much earlier Walt Disney had similar ideas when he started his Silly Symphonies in the late 1920's. In 1940 the first full feature film was made with this idea and I think everyone will now know Fantasia and Fantasia 2000. The video below is of the same piece by Debussy, now orchestrated which makes the listening all together different, and with a less abstract visualization. Sadly enough it didn't make it into the full-lenght film, so I am very pleased for technical improvement and the blessings of YouTube.



So when Oliver Wendell Holmes (1809-189, American author and poet) says:

Take a music bath once or twice a week for a few seasons, and you will find that it is to the soul what the water-bath is to the body.

I would like to add:

Open your eyes for anything that you may find of beauty every day, and you will find that it is balm for your mind.