Arts Grant artist blog

Saturday, August 29, 2009

Highland dancing and the music hunt...


Hello! Since my last post I have been dancing lots, and also starting to think about the final performance, which has consisted mostly of a massive search for appropriate music. Due to an early-summer camera malfunction, I haven't had a chance to take pictures for a while, but I will post some soon, and describe things in the meantime.

First, the dancing. While I have been taking Kathak class on Sundays and practicing with Vanisha during the week, I have also been going to Scottish Highland dance class twice a week at the San Jose School of Highland Dance. I danced Highland competitively throughout middle and high school and a little in college, but hadn't been to class in about a year, let alone competition. It was a little frustrating at times getting back into it, as my stamina, especially, was way below what it used to be and I'm getting corrections on things I had fixed years ago, but after many evenings of sore legs (and lots of bananas!) I feel like I'm starting to get back into the groove, which is a great feeling. In general, I am THRILLED to be dancing again, the teachers are wonderful, and I am hoping to keep doing Highland at least intermittently through the school year, to the point where I might be competition-ready in the spring or summer. 

And now, the great music hunt! Since my final dance will be fusing Highland and Kathak, I am hoping to use a piece of music that at least gives a nod to both cultures. As you can probably imagine, this search has been interesting! After perusing youtube videos of pipe bands in India and dholis jamming with bagpipers, I contacted a band called Delhi2Dublin, to see if I might be able to get a copy of their track "Dil Nachde" without lyrics, and they emailed back, which is promising. This band's name pretty much describes their music, and this track consists of an upbeat celtic fiddle tune with a dhol drum beat behind it. It's not strictly Scottish or at all what Kathak dancers actually dance to, but I think it may work for what I am trying to communicate with the dance. My other contender is a piece called "The Spark" by Scottish fiddler Alasdair Fraser and his band Skyedance, with which I would blend Kathak beats. 

Molly

late start, but finally moving

Hey everybody,

Sorry to be posting so late--i've spent the past two months almost completely off the grid in New Mexico, and took a while to get going on my project. But I am now unemployed, drowning in all the source material I've collected, and itching to paint, so have finally gotten started. Uploaded pictures of my makeshift studio, first painting (still a little wet..), and sketches for the next one.

Everyone's work looks so incredible--can't wait to see/hear/read it all in a few weeks!

peace,
Nell











Chris Winterbauer Project Update

Hey guys,

These are some shots of the first piece I've completed, titled "Your Eyes (Weird Fishes)". My apologies for the poor lighting/image quality.  Should have more up by Monday.

Chris











Animation Project Update

Hey all. Figured I should post an update on what I've been up to lately. I'm mostly filming these days, and it's one of the most stressful things I've ever done. I may actually be able to pull this off though. Wish me luck!

Photos:




























My sister got bored so she made a domo. This has nothing to do with my project. I just think it's cute.

Wednesday, August 26, 2009

Hi friends-

I just finished translating/transcribing interviews and stories, so now it is major writing time. It's taken me a bit to get into re-writing stories (I've been only into poetry and non-fiction for a while now), but here is one example of a longer rewritten ancestor story (still in drafting mode, keep in mind, so comments are welcome!). Also is a poem and a quote from an interview to show you guys the different types of writing/editing I'm working on. Cool. Everybody's project looks fantastic and I'm stoked for October...
cheers- Christa

1) How Coconuts came to Karkar
Sun glowed from behind a thin layer of fog as it approached dusk, a circle of orange that could be looked at straight on, though their mother told them never to try. The sun didn’t like to be stared at, the sun was naked and it was indecent to stare at something so round and beautiful.
So Peter and Malek, as they paddled toward the center of the channel, looked forward or down to the light reflected in the small waves which built with every hour. Their paddles and canoe, made out of the dame diwai (tree) when their grandfather was Peter’s age, held and moved the ocean well.
When they reached the deepest point they knew of, the water was smoother with current and they knew that by sundown they would have drifted halfway around Karkar. With motions betraying instinct, the older brother, Malek, slipped pieces of abus (meat) onto rusted and voluptuous hooks, which Peter hopped toward the bow of the canoe and cast.
It was the kind of day where seagulls descend in giddy non-formations toward the froth of the upsurging schools of fish. Peter hardly had time to cast a line into the melee before a silver-shriek uplifted the water and swallowed their hooks whole. Malek, his feet swimming in fish scales that made the bottom of the boat squiggle in translucence, bit the heads of the fish quickly, their tail drop, their fins fold, the brain crushed under the practiced weight of his incisors. It was that kind of day. It was that day.
When the boat was cramped with creatures, the two pulled in their last line. The fish, a large tuna, when flung into the canoe, was half a fish. Her tail had been bitten off. Her eyes already rolled to a stop. It was then Peter and Malek felt the boat jolt.
They knew from stories their grandfather told. Soon enough, Malek pointed to a shark fin the size of his head part the water a few feet from their stern. The shark’s shadow dwarfed their little canoe, and as he swam toward their boat again, a wake formed around the top of his massive forehead. The boat tipped, some fish slid over the side and into the waiting jaws of the shark.
This gave Malek an idea. He told Peter to paddle as fast as he could as he threw the fish out, far away, to distract the shark. One fish, 5 meters toward shore. Two fish, 10 meters toward shore, 3 fish, 15 meters toward shore.
The shark kept coming back and back. The froth behind him was bloodied and shimmering with scales, his teeth buai stained red, like the boys’ own. The shark came back and back until Malek threw the last fish in the water and they were still 50 meters from shore. Malek thought for a moment, for only the space between two of Peter’s oars, and said,
“Because you are younger, you haven’t experienced so much about this life, i will give you the chance to live. You cut every piece from my body and feed the shark and keep paddling.”
Peter would not. He looked into his brother’s face and kept paddling, but said nothing, and did nothing. He would not. So Malek pulled the knife from his belt, cut off his left hand, and without a wince, threw it behind him. Before passing out, he handed his knife to his brother, and then closed his eyes.
So the elder brother gave himself up and every time the shark came to the boat, Peter cut off some part of the elder brother’s body to feed the shark. He kept paddling. His brother’s foot. He kept paddling. His brother’s arm. He kept paddling. His brother’s stomach. He kept paddling. The shark kept returning until all of Malek was gone and only his head remained, rolling on the floor of the canoe, luminous with fishscales. It was then that the canoe ran aground on the beach and the shark, kept at bay by the waves of the shallow reef, could not follow.
Peter put his hands around the head of his elder brother and carried him against his chest, onto the beach. Weeping until he washed all of the blood away, Peter dug a hole and buried the head of Malek.
Every day from then on, Peter would come to the beach and lay his cheek against the ground and cry, until one time, he came to visit the grave and found something strange. A small, green shoot growing above the sand. Peter came back, at dawn when the seabirds would scratch it away, or at night when the other kids would trample it playing in the surf. He looked after the shoot for one year, then two years, on and on through his marriage and child and mother’s death and the building of a small dock from the curve of the beach.
After a very long time, the shoot became a tree, and the tree bore fruit, and after Peter saw the first fruit fall off, he took it in his hands and he removed the cover of it and found the inside part of it and saw the two eyes and mouth, and said, this, this is my brother’s head. The village people came and took the dry fruits and drank them and ate them and called them coconuts, and to this day they sustain Karkar Island. So when you look at the coconuts now, you can see the eyes and the mouth and that is the head of the elder brother, Malek, who gave his life.

2) The bats left Madang town

Migration

And every time Susan says it in Tok pisin
No gut bats. No sawe bats stap lo where?
No one knows where the bats went.
Not the elders who saw the volcano
Birth the island, Not the university
Dwellers who sent their electrodes into
The trees not even Susan not even me.
The plague? Heat wave? Tsunami?
Stomach knocks into a stone, I’m not
Superstitious, not at all, but the bats fled
like too many soldiers filing out to battle.
The bush hut settles into a strange silence;
What God means
When he talks about warnings.
You should have known! He says
You should have had faith in my creatures
As if I could see a migratory anomaly to mean
I was sinful, needed to obey the holy ghost,
Practice abstinence and repent, repent, repent.

Exodus

Lucy fled to the highlands
Roger stayed Australian put
Susan prayed, Selfi shrugged
Her shoulders, like, God loves
Me, no worries, chill out, little
White girl with the nervous face on.
But I know nothing about faith
And resign myself to apocalypse,
Which may be the same thing.

Diaspora

When the bats sink toward the Sepik, believers
May curl into our own colonies, curl the messengers
Into our untrembled elbows and rinse ourselves in the din

The safe surrounding of galip nut-sized brains,
Who still hear the earth shudder and take her seriously
I will remove parts of my cerebellum

Until I return to instinct, or belief, or both, or
Whichever comes first. Remember how to
fight or flight and learn how to flock in formation

The white girl left with the flying foxes they would say
Grow black leather wings from my triceps and armpits,
Toenails long enough to grip, a taste for overripeness and
Exoskeletons.

Ghost Town

Trees black coral spires
Against midnight.
Outside crickets
Howl lonely,
Insects flutter
In glee. Fruit
Left rotting
The island smells
Sweet and dead
Already.

3)PNG time

PNG (Papua New Guinea) time is phrase to describe a conditioned behavior pattern that has just erupted because of the laziness of the person to understand the Western system that was in place. In traditional times before the first white man came, Papua New Guinea used to live a lazier life, a nobody cares life, like everything that I have is right in front of me and I take life as simply as I can. Move the way I like, sleep whenever I like, and eat whatever I like. When the first white man came, they introduced health solutions, this education system, and eventually this government system with us, hoping that it would be better for us to adopt these styles. I don't know. Maybe, but I don't know.
-Jared

yo. just realized that I didnt have the photo attached. here tis :]


I know it's taken me ages to post - but its been a pretty hectic summa. I'm in Kuwait right now but I'll be back in good ol'California on the 14th of Sept. 
So, I'm including a couple of pictures of the portraits I did/have almost finished @ Stanford. One is of my roommate/good friend Sheilan and her mother. The other is also of a friend of mine, David Geeter (i've also included the photo that I used). 
My project is basically a series of 6 portraits of faces around Stanford. They're all 36x36 (just so you guys have an idea) I'm pretty much done with the three others that I started in Kuwait. I'll add those soon enough, now that I finally have this blog up and running...
Anyway, everyone's work looks incredible so far :] Hope you all are enjoying what remains of our summer.
-over'n'out

Sunday, August 23, 2009

Bhutan

Hey friends!
After three days in Kolkata, I've arrived in Bhutan and am greatly enjoying the mountain air and dried yak cheese.
In Kolkata I visited a district where they make statues to immerse in the Hooghly river during pujas (ceremonies) in autumn and got some okay shots there, though the light was not too good. It was hard to find craftspeople in such a big city, and there was definitely more marketing of handicrafts than there was making. Our driver didn't understand what pottery was so we didn't really make it to the potter's area. Bummer.
I am planning on having better luck here in Bhutan. :-)
Tomorrow we will see some weavers at a textile museum, and some thangka painters and royal blacksmiths. Crossing my fingers for a non-rainy day... I really need this lighting thing to work out!!
Mkay, that's all for now. I'll try to upload shots if I can. Eventually. Later.

Monday, August 10, 2009

watercolor portraits underway
















This is the beginning of my first watercolor portrait. (Things have been crazy this summer) As you can see, I just have the face, but I've spent so much time mentally mapping the composition that I think it should all go pretty smoothly from here.

I was very surprised by my materials in starting the project. I used much of my grant money to buy brand new high quality watercolor paints, and I couldn't believe how differently they behaved from the student quality box-set I had bought in high school. It took some getting used to, but I think I'm getting the hang of it.

Sunday, August 9, 2009

Progress on animated short

Hey y'all --

So I'm doing an animated short. Sounds complicated yes, but it's merely taking pictures and nudging pieces of construction paper around. It's tedious, annoying, and sometimes makes me want to strangle something cute and furry. But the end result makes it pretty worthwhile.

Here's some pics of what I've been doing. Feel free to e-mail me with feedback/what other pictures you'd like to see.

STORYBOARDS
I had to storyboard the entire animated short on index cards so I would know what shots to use, which props I need to make, etc. etc. I thought it was going to be a short and easy process. I ended up drawing and coloring 200+ index cards. Oy vey. Below are also some scans of the storyboards.

















MAKING THE CHARACTERS, SETS

I bought 20+ of construction paper and basically relived my kindergarten years making little cutout characters.





The classroom set for the animated short. I had waaay too much fun with it.




The chairs!



The toybox.



And of course, a necessity for every early elementary school classroom: the gold star chart.



The bookshelf/books.

FILMING


My film "set." I took over the living room in my house. Parents not too happy.


Some raw screens:












So that's what's been happening so far. There are more pictures on my facebook. Friend me if you'd like to see more.

Cheers!

Cristopher Bautista

Friday, August 7, 2009

song 4 draft

Spoken from Medea's point of view. The gods made her fall madly in love with Jason of the Argonauts, so that she would use her sorcery to help him succeed in his quests. He made a vow to the gods that he would love her always. In return, she became a cold-blooded killer who murdered her own brother and any other person who stood in Jason's way. Years after Jason married her, he decided to leave her for a young Greek princess, Glauce. Medea tried to reason with him that she had forsaken everything to be with him. His response was that she should be thankful he had given her (a foreigner) fame, financial security, and two sons. Maybe he should have realized that she has a penchant for murder when things don't go her way? Medea pretended to acquiesce, but then, in retaliation, she killed Glauce and both their children before flying to her escape in the dragon-pulled chariot of her grandfather Helios, the sun god. Here is my take.

Notes: 1) I chose the language of fire because this is the way in which Medea quenched her anger. She had her sons deliver a tiara and dress to Glauce, which upon being worn, exploded into flames that melted her. 2) The Golden Fleece is the famous object that Jason sought to retrieve. With Medea's aid, he succeeded.

No
I am not to be erased
I am not to be replaced
You have driven me farther than I can take
Everything you are become
Is the golden fleece I've spun
My hateful love, i'm coming undone

Your phantom touch
It burns my body
Quench me
quench me

(chorus)
So I'll play the docile part
Pull the wool over your wooden heart
I left it all for you
Now you leave me no other choice
Don't you know who i am
Too late, too late, already damned
No one spurns the daughter of the sun

For every part of me that bleeds
You'll repay the cost in seed
You should know that the end will be your misdeeds
All my love, all gone to waste
Oh my love is poison-laced
Sweet chariot, take me far away

Your swallowed words 
Flames twisting from your tongue
Quench me
quench me

chorus

No screams or impassioned pleas
are a match for your cold reason
But I am the mistress of deceiving

chorus

Wednesday, August 5, 2009

song 3


I really liked the art book Sister Wendy's Grand Tour. My AP Euro classmates liked to make fun of the nun, and while I don't know how legit her interpretations are, she humanized these paintings in a way that I could understand. One of these was the Primavera by Sandro Botticelli, which depicts a surreal, divine scene, untouched by humanity. I was fascinated then, with this scene, free from the burdens and stresses of our contemporary life; like perfection frozen on canvas.

The painting from left to right: Mercury, the winged messenger god; the three Graces; Venus, goddess of fertility, love; Flora; and Chloris with Zephyr.

Below is my draft:

Grace


there's a silver wind

where three daughters play

in a circle, skin and linen

all this shameless beauty


feet on cool grass

palms turned, lifted

in a timeless dance


if you tried you could not find

this secret place

if you tried you could not find

this purity, this Grace


there's a golden world

how i'd like to run

in this primavera forest

never fearing anyone


open field beyond

i'd turn my back

on all it lacks


if you tried you could not find

this secret place

if you tried you could not find

this purity, this Grace


then one startled look

everything could change

there a stranger stands

wings on his feet

the whole world in his hands


i don't know what happens next
i don't know what happens next

Monday, August 3, 2009

draft of song 2

Inspired by the Greek myth of Pygmalion and Galatea. It's the story of a great/crazy sculptor who decided to build a statue in the likeness of Aphrodite, goddess of love and beauty. He then proceeded to fall in love with his own creation, the "milky-white" woman Galatea. He had no eyes for any other woman, and finally, moved/flattered by his devotion, Aphrodite brought her to life, whereupon the couple was married and lived happily ever after, I assume.

I decided to explore the relationship between muse and art and came up with this song. It sometimes parallels the Galatea myth and at other times is its inverse (life transposed to art instead of art coming to life?). In other words, the speaker wants to capture the exuberance of the muse by some artistic medium. All the pianos in Wilbur are occupied currently, so I'll have to record a rough video some other time maybe. p.s. I hid a personal reference in the lyrics.

Muse

i'd like to write you a song
you look so bright, bathed in dawn

just like the music, linger on

i'll sing it again


i'd like to paint you to life

and reacquaint ourselves tonight

you always knew you were my muse

every time


i am a page tucked in your storybook
(i am the storybook you'll read when you are old)
i see the stage on which our future looks
(i see our future looks like blue skies when I'm holding you
)

you have a life that words cannot express quite right

and when you sing to me, my heart is a kite (oh-oh-oh-oh-oh)

even if i can't hold you here in the city of light

i know we'll be all right


i'd like to write you a song

you look so bright, bathed in dawn

come stay with me, we'll linger on

it won't be long