L'ombelico di Svesda



You Saw Nothing In Hiroshima

Hiroshima Mon Amour
Why deny the obvious necessity of remembering?

Hiroshima Mon Amour, directed by Alain Resnais and written by Marguerite Duras, 1959



Albuquerque, New Mexico, 1969
Guerrero Province, Mexico, 1963
Western Skies Motel, Colorado, 1978
America, 1956
Utah, 1960
Reflection - 42nd Street, NY, 1952
New York, 1962
Billboard Painter, NY, 1952
Reflection, 3rd Avenue, 1952
New York, 1972
Bridge Reflection, Venice, 1955
Doge's Palace, Venice, 1955
Mandala Mudra Prayer Beads, India, 1974
Autumn Maple Leaves, Kyoto, Japan, 1981
Kumano Waterfall, Japan, 1983
Japan, 1983

In every artist there is poetry. In every human being there is the poetic element. We know, we feel, we believe. As knowers we are like the scientist relating through logical determination. As feelers, we are like poets relating the unrelated through intuition. As believers, we are only accepting our human limitations. The artist must express the summation of his feeling, knowing, believing through the unit of his life and work. One cannot photograph art. One can only live in the unity of his vision, as well as in the breadth of his humanity, vitality and understanding.
There is no formula – only man with his conscience speaking, writing and singing in the new hieroglyphic language of light and time.
via E r n s t H a a s | philosophy

The old pond A frog jumps in The sound of water. Matsuo Bashō

Like Louis Armstrong, Dizzy Gillespie, and their groups, Dave Brubeck and his first great quartet were among the first jazz musicians after World War II to travel diplomatically in the service of peace throughout the world. Armstrong released Ambassador Satch in 1955, and Brubeck released The Real Ambassadors, with Armstrong, Carmen McRae, and others, seven years later—helping, maybe, to thaw the Cold War.
From “Tokyo Traffic” to “Koto Song,” the album captures the range of lifestyles and rhythms of modern Japan, both urban and rural. The pastoral seems to appear more, with Paul Desmond’s sweet alto taking on flutelike inflections and coaxing some of Brubeck’s most delicate lyricism, though he does not neglect the piano’s more percussive possibilities. In the latter, Brubeck is kicked along by the masterful Joe Morello on percussion, the shining star of this date. Using virtually all components of the drum set—particularly the tom-tom, floor tom-tom, Chinese and Turkish cymbals, woodblock, and temple blocks—Morello evokes the spectrum of Japanese musical traditions alluded to by Brubeck in his compositions. Check Joe out on “Tokyo Traffic,” especially.
via Dave Brubeck Quartet | Jazz Impressions of Japan.

No one travels Along this way but I, This autumn evening (Matsuo Bashō)

Garden Staircase, Kyoto, Japan
Lanterns at the Heian Shrine
The Sacred Bridge, Daiya River, Nikko, Japan

via Japanese Photolog.

Eikoh Hosoe

Eikoh Hosoe-Man and Woman # 62,1960
Eikoh Hosoe
Eikoh Hosoe
Eikoh Hosoe
Eikoh Hosoe-Man and Woman # 8,1960
Eikoh Hosoe-Embrace #62, 1960

Eikoh Hosoe (細江 英公 Hosoe Eikō, born 18 March 1933 in Yonezawa, Yamagata),Japanese photographer and filmmaker who emerged in the experimental arts movement of post-World War II Japan,known for his psychologically charged images, often exploring subjects such as death, erotic obsession, and irrationality

Hiroshi Watanabe

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Geisha,a Life

In the country of Japan, an island nation in East Asia, there are special districts, known as karyukai, that are dedicated to the enjoyment of aesthetic pleasure. These are the communities where the professionally trained female artists known as geisha live and work.
Karyukai means “the flower and willow world.” Each geisha is like a flower, beautiful in her own way, and like a willow tree, gracious, flexible, and strong.
No woman in the three hundred-year history of the karyukai has ever come forward in public to tell her story. We have been constrained by unwritten rules not to do so, by the robes of tradition, and by the sanctity of our exclusive calling.
But I feel it is time to speak out. I want you to know what it is really like to live the life of a geisha, a life filled with extraordinary professional demands and richly glorious rewards. Many say I was the best geisha of my generation; I was certainly the most successful. And yet, it was a life that I found too constricting to continue. And one that I ultimately had to leave.
It is a story that I have long wanted to tell.
My name is Mineko.
This is not the name my father gave me when I was born. It is my professional name. I got it when I was five years old. It was given to me by the head of the family of women who raised me in the geisha tradition. The surname of the family is Iwasaki. I was legally adopted as the heir to the name and successor to ownership of the business and its holdings when I was ten years old.
I started my career very early. Events that happened when I was only three years old convinced me that it was what I was meant to do.
I moved into the Iwasaki geisha house when I was five and began my artistic training when I was six. I adored the dance. It became my passion and object of greatest devotion. I was determined to become the best and I did.
The dance is what kept me going when the other requirements of the profession felt too heavy to bear. Literally. I weigh 90 pounds. A full kimono with hair ornaments can easily weigh 40 pounds. It was a lot to carry. I would have been happy just to dance, but the exigencies of the system forced me to debut as an adolescent geisha, a maiko, when I was fifteen.
The Iwasaki geisha house was located in the Gion Kobu district of Kyoto, the most famous and traditional karyukai of them all. This is the community in which I spent the entirety of my professional career.
In Gion Kobu we don’t refer to ourselves as geisha (meaning “artist”) but use the more specific term geiko, “woman of art.” One type of geiko, famed throughout the world as the symbol of Kyoto, is the young dancer known as a maiko, or “woman of dance.” Accordingly, I will use the terms geiko and maiko throughout the rest of this book.
When I was twenty I “turned my collar,” the rite of passage that signals the transformation from maiko to adult geiko. As I matured in the profession, I became increasingly disillusioned with the intransigence of the archaic system and tried to initiate reforms that would increase the educational opportunities, financial independence, and professional rights of the women who worked there. I was so discouraged by my inability to effect change that I finally decided to abdicate my position and retire, which, to the horror of the establishment, I did at the height of my success, when I was twenty-nine years old. I closed down the Iwasaki geisha house, then under my control, packed up the priceless kimono and jeweled ornaments contained within, and left Gion Kobu. I married and am now raising a family.
I lived in the karyukai during the 1960s and 1970s, a time when Japan was undergoing the radical transformation from a post-feudal to a modern society. But I existed in a world apart, a special realm whose mission and identity depended on preserving the time-honored traditions of the past. And I was a fully committed to doing so.
Maiko and geiko start off their careers living and training in an establishment called an okiya (lodging house), usually translated as geisha house. They follow an extremely rigorous regimen of constant classes and rehearsal, similar in intensity to that of a prima ballerina, concert pianist, or opera singer in the West. The proprietress of the okiya supports the geiko fully in her efforts to become a professional and then helps manage her career once she makes her debut. The young geiko lives in the okiya for a contracted period of time, usually five to seven years, during which time she repays the okiya for its investment. She then becomes independent and moves out on her own, though she continues to maintain an agency relationship with her sponsoring okiya.
The exception to this is a geiko who has been designated as an atotori, an heir to the house, its successor. She carries the last name of the okiya, either through birth or adoption, and lives in the okiya throughout her career.
Maiko and geiko perform at very exclusive banquet facilities known as ochaya, often translated literally as “teahouses.” Here we entertain regularly at private parties for select groups of invited patrons. We also appear publicly in a series of annual performance events. The most famous of these is the Miyako Odori (“cherry dances”). The dance programs are quite spectacular and draw enthusiastic audiences from all over the world. The Miyako Odori takes place for the month of April in our own theater, the Kaburenjo.
There is much mystery and misunderstanding about what it means to be a geisha or, in my case, a geiko. I hope my story will help explain what it is really like and also serve as a record of this unique component of Japan’s cultural history.
Please, journey with me now into the extraordinary world of Gion Kobu.
Taken from Geisha,a Life(cap.1)
By Mineko Iwasaki

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