Building the Good City

In Focus: Bai Xiao Hua

Red Walls & White Snow - On the Lacquer Painting of Bai Xiao Hua

by Qiao Shi Guang, Founder of the Qinghua University Lacquer Studio

 

At the 10th National Juried Art Exhibition awards ceremony in October 2004, I saw a lacquer piece of the Forbidden City. The painting was a section of the Wu Men gate tower. The depth of the building was flattened and the two-dimensional, geometric divisions of horizontal and vertical lines, emphasized. Even though the painting didn’t depict the grandeur of the palace, the solemnity of the Imperial Garden was nonetheless impressive. The red walls and white snow made everything look to be in perfect harmony, which greatly enhanced the beauty of the snow scene. That piece was the winner of the Silver Prize and was painted by a young lacquer artist named Bai Xiao Hua. It was called, “Wu Men Snow”.

In 1989, Bai Xiao Hua’s lacquer piece “Yang Xin Men” received the Bronze Award at the 9^th National Art Exhibition. In 2002, his painting “The Snowing Forbidden City” was awarded the Excellence Award at the National Lacquer Exhibition. He received three major awards in five years, each award given to pieces themed on snow and the Forbidden City. It is thus that his name has been connected to snow, and the Forbidden City has become his business card.

Yet, it was even earlier, at the China/Korea Exchange – Lacquer Exhibition in 1986 that Bai Xiao Hua’s piece, “the Moonlight”, received high praises and was collected by the Museum of China. The subject of the piece was a white yulan magnolia set in the background of the Forbidden City and marked the beginning of his ten-year passion. I suspect it is the success of “The Moonlight” that inspired a successive series themed on red walls, white snow and the yulan magnolia – perfect subjects for the eggshell inlay technique. 

To combine these subjects shows the cleverness of the artist. It should not be a surprise that Bai Xiao Hua would choose the Forbidden City as a primary subject matter for his paintings, seeing that he lives in Beijing. However, we often ignore the beautiful things around us, just as many Beijing people ignore the beautiful scene of the snowy Forbidden City. It is the artist who has the sensitivity to take notice of such beauty, bringing it out to the public with a new perspective after creatively and methodically painting the reality. Bai Xiao Hua gives new life to ordinary things. Not only does he effectively represent what he sees, but he also breathes life into his work thus filling it with meaning and emotional significance. 

The cohesive language between theme and material choice is yet another attributing factor in Bai Xiao Hua’s success. Generally speaking, it is very hard to make a range of cool colors – such as blues and purples – from the dark brown of natural lacquer. Due to its brilliance and archival quality, the most reliable color (and thus most frequently used) is red. Similarly, because white cannot be produced by natural lacquer, the eggshell plays an important role in lacquer painting and its irreplaceable color and added texture gives reason to the frequent use of the eggshell inlay technique. Bai Xiao Hua has perfected the combination of the two distinguished colors has deemed it his personal signature. 

The third reason behind his success is attributed to his patience and perseverance. When exploring and applying lacquer techniques, Bai Xiao Hua’s passion and sincere love for lacquer encourages him not to give up easily. In the past, he has spent much time diligently studying the eggshell technique and has taken it to its highest stage of refinement. One time, I saw him painting a white magnolia with a reference image of chaotically entangled flowers and branches; I worried over how he might visually untangle the mass. After a few days I revisited his studio and was both surprised and impressed. With much patience, he had cleverly managed the composition, beautifully presenting each of the elements in strong order. Since then, I no longer worry about his ability to manipulate composition, colors, shapes, etc.

Bai Xiao Hua’s work has always remained realistic in style. When he sees his contemporaries’ varying work styles he often struggles to discern whether or not he should change his own. Whenever he asks me what he should do, I always give him the same answer: “If it’s the right time, then change. If not, don’t force it. Follow your passion, don’t follow others.” Though steadfast in stylistic focus, Bai Xiao Hua has never halted his exploratory studies, for example his recent interest in antiques, art critique and art theory. I believe that all these will enhance his understanding of art and eventually lift him up to even greater success!

 

白雪红墙十年情

-白小华的漆画 故宫·雪系列

 

二零零四年十月，在中国美术馆举行的第十届全国美展获奖作品展上，有一张故宫题材的漆画，选取了午门城楼的一个局部，淡化了建筑的纵深三维空间，强化了横平竖直的平面几何分割，虽然没有全面展现故宫的恢宏和气魄，却也不失皇家园林特有的肃穆和庄严，加之白雪红墙相映衬，使画面在庄重肃穆之中又有几分妖娆，这就是青年漆画家白小华荣获银奖的新作《午门·瑞雪》。

一九八九年的第九届全国美展，白小华的漆画《养心门》就获了铜奖，二零零二年在厦门举行的全国漆画展上，他的漆画《故宫瑞雪》又获得了优秀作品奖。五年之内连续三次获奖，而且都是故宫·雪，于是白小华的名字便与故宫·雪连在一起，故宫·雪成了白小华的名片。

其实，早在一九八六年的中韩漆艺交流北京展上，白小华就推出一张表现玉兰花的以故宫为背景的漆画《月夜》，深受好评，被中国美术馆收藏。说明他与故宫结缘已有十年之久。我想可能是由于《月夜》的成功，才诱发了使白雪和红墙结缘的灵感吧。因为雪与玉兰都是白色，都易于用蛋壳镶嵌而来。不管怎么说，白雪和红墙结缘的主意为妙绝。如果说生活在北京的白小华选择故宫为题材不足为奇的话，那么使白雪和红墙结缘却可看出作者的聪明。一般来说，司空见惯的事物，人们往往视而不见，生活在北京的人不一定见过雪后的故宫，不一定会留意雪后的故宫，一旦被艺术家重新“包装”银装素裹，突显在眼前，便会顿感焕然一新，雪中的故宫，不仅使画面增加了可贵的、响亮的白色，也是冷峻的皇宫增加一分诗意和温情。似乎还有一些莫名的不可言传的情感涌上心头。从而深化了作品的内涵，还是漆画故宫·雪系列成功的首要原因。

其次，题材的选择与漆画的材料语言向锲合也是该画成功的重要因素。一般来说，由于漆液的红褐色以及化学成分的原因，调配蓝紫等冷色调的色彩比较困难，而与银朱调配的朱漆，不仅色彩沉稳鲜明，而且历久弥新，因此在古代的漆器中大量地运用朱色，白色本来大漆所不能为，因为有了蛋壳加盟，不仅解决了白色，又因为蛋壳压碎后的肌理备受青睐，而成为漆艺中不可或缺的辅助材料，也就变成漆艺技术的强项。漆画故宫·雪系列由于有了银朱和蛋壳这两种材料和技术的支持，才有了白雪和红墙结缘的十年之情。

漆画故宫·雪系列成功的第三个因素是作者白小华具有超人的耐心和毅力以及“挖深井”不挖出水用不止的锲而不舍的精神。他对漆画爱的真，爱的深，精力的投入也大，他勤技术，精益求精，他用蛋壳表现雪的技术众口称赞，他把蛋壳的潜力发挥到了极致，他在创作《月夜》时，我见他参考的玉兰照片，枝杈散乱花朵繁杂无序，背景还透出故宫的红墙黄瓦，真为他捏一把汗，担心会乱成一锅粥，没料到几天后再去看时，他处理得层次分明繁而不乱，他这种能够蚂蚁啃骨头的精神，处理细节的耐心和能力，使我非常吃惊和佩服，以后再看他多么杂乱繁复的画稿，也就不再为之担心了。

白小华的漆画风格，倾向写实，每当看到朋友的不同风格的作品便为之心动，也想改变自己的风格，并来征询我的意见，我总以同样的话回答：想变就变，不想变不要硬变，要画自己愿意画的画，不要跟风，也不要赶浪，写实的风格永远不会过时，架上绘画也不会消失，正如抽象画也会永远存在一样。多年来，白小华坚持绘画训练，油画、素描从未间断，近年又喜欢收藏，爱逛旧货店，还关心艺术作品的理论问题，注意综合艺术素质提高，相信他的漆画艺术会更上一层楼。

 

二零零二年三月十三日于东旭新村 大漆园 乔十光

Lacquer FAQ's: What you might not know...

Lacquer artist Jin Hui of the Fine Arts College at Shanghai University helps us understand the history, process, and nature of lacquer art. Have a question of your own? Post it!

1. How long does it take to make a lacquer painting? What are the different steps to the process?

It depends on what technique you use. Some people can paint several lacquer paintings in a single day, whereas others may spend several years on just one painting. The basic process includes drafting, copying, inlaying, texturing, dyeing, painting, polishing, etc. Some techniques such as Maki and Gold closure have much more complicated procedures.

2. What is the difference between natural and synthetic lacquer?

Natural Lacquer is a kind of sap secreted by a tree unique to Asia. The craft of extracting the sap has more than 7000 years’ history in China. Natural lacquer has excellent characteristics, which are beneficial to the body; It is an important medical herb as well as cooking ingredient in Vietnam and South Korea. Synthetic lacquer is a modern chemical product, which is mainly used in large-scale construction. It is convenient to get and is inexpensive, but it’s harmful to the environment and our health.

3. Why do artists use eggshell in their paintings?

Two reasons: 1. They cannot get a pure white color out of natural lacquer, so they use the eggshell instead 2. The texture on the eggshell is very beautiful and it will enrich the paintings with vivid aesthetic features.

4. What kind of eggshell is used and why?

Usually we use duck’s egg. Because its color is mainly light green or white, they serve well in the background. Quail eggs are good too, because they are smaller and can be used in detailing, especially in small paintings.

5. Will the eggshells fall off the painting over time? How are they sealed in?

No, they won’t. There is a Chinese saying “people are inseparable, like two things glued together”. The eggshells will be sealed into the board piece by piece. It is very durable after a final layer of sealant is applied and polished, etc.

6. Why do you think lacquer art is collectable?

One of the most important characteristics of an artwork is its originality. Lacquer is a symbol of Asian civilization and is often referred to as the blood of Asian culture. Due to its long and rich historical significance, its value is on the rise. It now sells well at auction and continues to gain investment value.

7. How is Chinese lacquer painting unique compared to oil or ink painting?

Oil painting is foreign to China and only began to be collected by Chinese in the 20th century. It is an expression of time and concept, so people will always be exploring new ways to understand it; Ink painting represents the elegance of Chinese culture and lacquer painting represents its profound meaning. Their characteristics are unchanging and contribute to China’s unique character.

8. What is lacquer's natural color?

It is white when first cut from the tree, but darkens once it is oxidized. It first turns yellow, then brown, and finally into a semi-transparent amber color. The color can be changed even further when mineral pigments are added.

9. Where and when did lacquer as art originate?

Archeology tells that lacquer originated in China. The oldest lacquer object to date is a bowl from the He Mu Du site, which was built 7,000 years ago. From this object we can see that lacquer techniques have been developing since their origin. The Zhan, Qin and Han dynasty mark its peak when it was most widely used – in construction, furniture, vehicles, weaponry, etc – gradually replacing bronze as a functional medium. In the Tang dynasty, the techniques became more complicated and it developed into a decorative art. It was after the paintings of the Song dynasty and the carvings of the Ming and Qing dynasty that lacquer spread to surrounding Asian countries.

10. How is the Chinese style of lacquer different from that of Japan, Korea, or Vietnam? 

Chinese lacquer is more artful and has many different styles, such as the cloud patterns of Shanxi, carved lacquer of Beijing, Dianluo of Yangzhou, Yunjin of Fuzhou, etc. It meets the needs of contemporary concept and has become an important part of Chinese contemporary art. Japanese and Korean artists are more focused on the craft of the lacquer technique. Korean lacquer works are very sophisticated and the Japanese Shi Hui is exquisite. The Vietnamese style is simpler and less prominent. During the colonial period it was greatly influenced by French Oil Painting, which can still be clearly seen today.

11. Is it the same kind of lacquer use on furniture? 

A few high-grade, antique furniture pieces use the same kind of lacquer that is used in lacquer paintings, but most of them use chemical paint, which is entirely different.

12. Can lacquer be mixed with other types of painting mediums?

Yes. One of its best qualities is its high compatibility. It can be mixed with lots of other painting mediums and can be painted on any material.

13. How many years does it take to develop the skills as a lacquer painter?

Generally speaking, a first year is necessary for basic understanding, a second year for beginner level abilities, and a third year for acquiring skills. More mature skills may take at least 7-8 years to master, such as the Shi Hui technique.

 

1. 需要多长时间才能制作一副漆画?都有哪些不同的步骤流程?

漆画的创作根据技法决定时间，可以一天数幅也可数年一幅，一般技法的漆画步骤为起稿、拷贝、镶嵌、肌理、染色、罩漆、打磨、抛光这几个基本步骤，有些特殊的技法如莳绘、戗金步骤有所不同、有特殊的步骤。

 

2. 天然漆和合成漆（化学漆）之间的区别是什么?

天然漆是亚洲特有的树种漆树所分泌的一种树汁，在中国至少有7000年的工艺历史，中国人使用这种材料发展出独特的漆艺术，并且传播到日本、韩国、越南、缅甸等地，形成了亚洲的漆文化。漆作为一种物质，具有多种优良特性，同时对人体有益，在《本草纲目》一书中是重要的药材，也是一种食材，目前越南、韩国还有漆树鸡这一道特色菜；化学漆是近代化工产品，适合大规模施工，便捷、低成本，但是对环境、身体有害，也无法展示漆艺的魅力。

 

3. 艺术家为什么在他们的绘画用蛋壳呢?

原因有两个：一是历史上漆无法单独调配出纯白色，所以使用蛋壳获得白色；其二是蛋壳具有自然的裂纹，符合中国人的艺术审美特性，具有自然天成的效果，现肌理效果也增加艺术感染力。

 

4. 采用什么样的蛋壳,为什么?

一般是鸭蛋壳，因为鸭蛋壳颜色比较清澈，青、白两种色彩比较容易融入画面，也可以使用鹌鹑蛋壳，因为比较细小，可以处理一些细节、拼贴一些细微的图形。

 

5. 这些漆画上的蛋壳在过很长时间会脱落吗?他们是如何被固定在漆画上面的?

不会，它们是一小片一小片使用大漆粘上木板的，漆非常具有粘性，中国人有如胶似漆的成语，还要罩漆、打磨等工艺步骤，程序严格，所以非常坚固。

 

6. 你为什么认为漆艺是值得收藏的?

艺术最重要的一个特点是文化土壤的原生性，漆艺是典型的亚洲文明代表，号称亚洲文明的血液，中国是漆艺的发源地，数千年延续不断，是中国文明的代表性艺术之一，也是目前的中国艺术热点，中国古代漆器的拍卖不断创出佳绩，当代漆艺也已经进入收藏视野，具有很大的投资潜力；

 

7. 中国的漆画与其他传统绘画如油画或水墨画相比有什么独特之处? 

油画是外来画种，在上个世纪90年代开始进入中国收藏视野，注重当代性与观念体现，目前中国油画的本土化进程还在探索之中；水墨体现了中国文化中的飘逸的一面，而漆艺体现了中国文脉的深沉的一面，可谓一张一弛，共同组成了中国文化的整体性。

 

8. 漆的自然颜色是什么?

漆刚从漆树采割出来是白色，然后接触氧气逐步变深，成为黄色、棕色，最后变成半透明的琥珀色，加入矿物质颜料进行研磨可以获得各种颜色。

 

9. 漆艺是在什么地方以及什么时候开始产生的呢? 

漆艺产生于中国，根据考古，河姆渡遗址中出土一朱漆木碗，距今7000多年，也就是说至少有7000年的历史了，《韩非子》一书记载在神话传说的禹舜时期，漆艺就已经成为一种高贵的工艺了。此后中国的漆工艺不断发展，战国、秦汉时期是漆的黄金时期，漆使用在生活的各个方面，建筑、家具、车辆、兵器等等，取代看传统的青铜器的地位；隋唐以后形成了很多的装饰技法，如唐代的厚螺钿镶嵌、宋代的素髹、明清的雕漆和百宝嵌，千文万华、不可胜识，并流传至亚洲其他国家。

 

10. 中国的漆艺作品的风格和日本,韩国,和越南的漆艺作品有什么不同吗?

中国漆艺风格全面，在漆器方面注重工艺传统，如山西的云雕、北京的雕漆、扬州的点螺、福州的晕金等，漆画方面注重艺术的当代性和观念性，成为中国当代艺术的重要组成部分。日本、韩国的漆艺重工艺性，韩国的螺钿技法繁复、日本的莳绘技法精湛，越南的漆艺技法相对单纯，没有突出的特点，但在殖民统治时期，漆画受到了法国油画的影响，目前仍有很深的痕迹。

 

11. 这是和家具上的漆一样的吗?

国内有些高档仿古家具也用大漆，学习使用部分漆艺的方法，但是大部分家具则是化学漆，完全不同。

 

12. 这些漆可以和其他类型的绘画媒介混在一起使用吗?

可以，漆的最大特点是包容性，可以髹涂在任何材料上、也可以融合各种材料。

 

13. 通常需要多少年可以熟练掌握一项漆艺制作的技术呢？

一般来说一年可以熟悉基础技法，两年可以学习高级技法，三年可以成为完成某些简单创作，但是有些工艺如复杂如莳绘等没有三五年是无法掌握的。

 

The Artisan Returns!

Our blog's been on hiatus but we're back! And we are ready to share with your more news from the world of contemporary craft art.

We found this recent article from the New York Times very encouraging:

"A Return to the Artisan in the Art World"

We resonate particularly with Italian artist Marco Querin's point of view: “These are ancient gestures through which you reconnect with the roots of humanity.”

What do you think? Do the traditions and techniques of craft art reconnect us with our roots?

Insight: Sue Anne Tay

Street photographer and blogger Sue Anne Tay pounds the pavements of Shanghai, threading her way through old alleys to capture some of this city's disappearing scenes. With her new project, "The Roving Exhibit," Sue Anne takes her artwork back on the streets to share them with the residents of some of Shanghai's older neighborhoods. Join us this Friday at twocities as Sue Anne shares about her experiences as a photographer and narrator of Shanghai's street stories.

How did you get into street photography?

Photography was and remains the easiest way to get acquainted with the city. The turning point for me was when I discovered the social dynamics and architectural beauty of longtangs, which truly defines the metropolitan area. Communicating this living history through a medium like street photography felt like the most natural thing in the world.

 

What do you look for when you are taking pictures?

It depends. Sometimes, situations prevail where you can easily thread a narrative in your head. You try to capture the context, the details and interaction between the subject(s) and the environment. Other times, I look for a unique composition and angle for the best aesthetic appeal.

 

What advice do you have for other photographers?

Three things. One is to put yourself out there and pound the pavements for a good tale to spin. From the everyday to the extraordinary, the city is just teeming with stories.

Second is to practice. As you spend more time with your camera, you become aware of your limitations and work to overcome them. You also start viewing the world through an imaginary viewfinder and the possibilities can be a great motivator. 

Third is to learn from and share with others. I get inspired by the technique and works of other great photographers as well as writers. I try to share and comment on the works of my peers covering Shanghai in their own unique way and it can be both humbling and fruitful.

 

How do you contribute to building the "good city" in what you do?

If by "good city" you mean having a foot in both its history and the future, Shanghai doesn't quite yet have that balance. I like to think that what I do, along with many others who document Shanghai through photography, is to reflect society and the city in the most uncensored and honest way possible. It is the quotidian moments that reveal the most, and I hope people don't forget them.

 

If you could describe Shanghai in one word, what would it be and why?

Visceral. Think about how the locals have had to cope with the rapid pace of urbanization while thousands of migrants flood into the city carrying their hopes and dreams to make a better life. The whole city is like an urban jungle where everyone has to survive on instinct and intuition.

"twocities Conversations: Sue Anne Tay and the Roving Exhibit". Friday, June 17. Starts at 7:30 pm, in English.

Insight: Jeremy Moyer

Canadian erhu virtuoso Jeremy Moyer teams up with American pianist Steve Sweeting again for another creative session of "twocities in tune" this Friday. Skilled at several instruments, Jeremy shares his joy and passion with a smile and music - lots of music.

When did you first start playing music?

I started taking music lessons (violin) lessons when I was 7 or 8 but I suppose I was singing with people in church long before that.

 

How did you get into playing erhu?

I loved listening to the people playing temple music in Taiwan (usually played on Kezi xuan "coconut shell fiddle") when I was first there in 1990 on an exchange. I took erhu lessons so I would have some technical background in order to learn songs by ear from folk musicians.

 

What do you love about what you do?

I love interacting with musicians from many different cultures and trying different instruments and styles. Music has always been the main way I connect with people and learn about other places and cultures. Playing music is joyful and rarely boring.

 

What inspires you in your music?

In general, I'm inspired by and endeavour to create music which is simply soulful rather than technical or complicated. I've always been inspired by traditional folk music - and I like hearing people play just because they enjoy it rather than because they're doing a performance.

 

How do you contribute to building the "good city" in what you do?

I like to say "please" and "thank you" and, being from Canada, I smile a lot at complete strangers. Maybe by playing music we can give people opportunities to attend events that are positive and joyful. By being relaxed improvisers, we can break down the barrier of audience/performer and give more people a chance to participate in music-making.

 

If you could describe Shanghai in one word, what would it be and why?

"Changing" - it's hard to make a descriptive sentence about Shanghai because it probably won't be true anymore in a year.

 

Join Jeremy and Steve for "twocities in tune" this Friday as they collaborate with guest dancers and lead the audience through music-making, dancing and general merriment. 7:30 pm.

Tea Talk

Tea culture is an integral part of Chinese culture: from the design and function of teapots to the tea ceremony itself, the whole art of tea carries nuances of hospitality and friendship and the very essence of the ‘Tao’. Teapots are not just centerpieces for décor; they are emblems of our humanity and represent our need for connection with the world around us and with one another.

From deconstructing a teapot’s parts to reconfiguring their forms, the young artists in this group show push the boundaries of traditional teapot design. Luan Jiaqi personifies her teapots with human body parts. American artist Dryden Wells redefines the teapot in terms of gestures rather than physicality. Zhao Lantao captures the inspiring beauty of the lotus, another symbol of Chinese culture, in his work.

The opening reception on May 21 will include a traditional tea ceremony, juxtaposing the history of tea with the modern interpretations in the exhibit.

“Tea Talk” will run until June 22. 

茶文化是中国文化中不可或缺的一环，从茶壶的设计制作到茶道表演，茶艺承载着中国人的友好热情，更传承着老庄之道的精髓。茶壶不仅仅是桌上的摆件，更象征着我们的人文精神，代表着我们渴望与他人、与世界相连。

从解构到重组，年轻的艺术家们突破了传统茶壶的设计界限和创作定式。栾佳齐赋予茶壶拟人化的形象，将人体的一部分揉入其中。美国艺术家Dryden Wells打破茶壶的固有形状，用一种动态的方式来呈现他印象中的茶壶。赵兰涛则捕捉到莲花的美态，以夏末的花苞及秋末的莲实为茶壶的主要创作元素。

5月21日的开幕酒会上将有茶艺表演，传统的茶道和现代的诠释将在同一场展览中呈现。

“壶说”展期将到6月22日。

Dryden Wells. A Gesture To.

Shao Changzong. Begin.

Wang Ying. Sacrifice - 1.

Bi Liwei. Image.

 

Reading roundup: Week ending May 21

Interesting happenings in China and beyond...

The Guardian: Man Arrested Over Forbidden City Break-In - First theft at the Forbidden City in 20 years. Loss of face for the museum and push for increased security measures.

The Art Newspaper: American Folk Art Museum Sells Building to MoMA - Cash-strapped Folk Art Museum sells building to neighbor MoMA. What will be the new identity for the Folk Art Museum?

The Art Newspaper: Art Basel Buys Hong Kong Art Fair -Taking it to the next level? Will majority ownership of ArtHK by MCH Group up the ante on this Asia art fair?

Glass Artists Without Borders: Benefit auction - Glass art auction with 100% proceeds donated to 'Doctors Without Borders'.

....and Shanghai Museum of Glass officially opened on May 18! 

Insight: Burnett Thompson

Raised by parents who were both pianists, Burnett Thompson's passion for music was ignited at an early age. Burnett is back in Shanghai this week for the premiere of "The Sonnet Song Cycle" in Chinese, collaborating with top-notch musicians and prepared for the unexpected.

 

 

How did you get into playing piano?

 My mother and father both play the piano. My mother is very disciplined, reads music quite well, and as my first teacher, was quite diligent in finding me the best teacher. My father played jazz arrangements by ear, could not read music, and is very relaxed about music. So I guess I am a combination of the two. My mother was pretty "Chinese mom" about my practicing, since I hated to practice and wanted to quit every day.

How did ‘The Sonnet Song Cycle’ project come about?

 It was born as part of a series of silent movies that I assembled music for in collaboration with the National Gallery of Art, the Library of Congress, the Shakespeare Theatre, Freer Gallery, Goethe Institute, in Washington, DC. Eventually we were doing silent movies based on the Shakespeare plays, which led to including the Sonnets as part of the program. I have always been intrigued by the dark and conflicted content of the Sonnets, and was at first accompanying readings of the poems. Naturally, it occurred to me to do a song cycle. The idea of translating to Chinese came to me at the same time that I thought the best place in the world to perform the cycle in Mandarin would be twocities gallery. I would like to give better reasons, but honestly these ideas just popped into my head. Next stop will be Granada, Spain, with a new Spanish translation.

What do you love about what you do?

I love to perform. I love to teach. I love meeting new people. I love introducing people to the amazing, complex qualities of music and learning. This means that I am always around extraordinary people, and several of them will be performing with me at twocities. On stage, you never know what is going to happen. Prepare, plan, prepare - but in an improvisational environment; it will all be new. Thus everybody onstage and in the audience will be transformed in ways that we simply cannot plan. This is a principal reason why I and many others delve into the performing arts.

How do you contribute to building the “good city” in what you do? 

 I have always made it a habit to surround myself with people more talented than I am. The engine of the city enables us all to develop partnerships that make the sum vastly superior to the parts. While waiting to achieve our own goals, it is very invigorating to help others achieve their goals.  In fact, this is now my favorite activity, especially when it comes to emerging performers. Enormously gifted artists also have enormous needs to make sure that their voices are properly conveyed to the world. I thrive on helping talented people move on to the next level.

If you could describe Shanghai in one word, what would it be? Why? 

Urgency. Things happen fast in China, and in Shanghai, the Chinese concept of urgency infects everybody in the international community. I always feel like I am going to get things done in Shanghai. Quickly.

 

"The Sonnet Song Cycle" will be performed this Friday at twocities. Doors close promptly at 7:30 pm; no RSVP required.

Insight: Hanneke Cassel

From composing songs to teaching at fiddle camps, fun-loving fiddler Hanneke Cassel  loves what she does. On her seventh trip to Shanghai, she returns to twocities for another performance of her unique blend of folk and pop music.

How did you get into playing fiddle music?

I started with classical violin when I was 8.  A couple years later we saw an ad on television for an old-time fiddle contest, I learned 6 tunes, went to it, competed, and came in 2nd to last!  At the contest, I met a woman who became my fiddle teacher when my classical teacher moved away.  She got me into Scottish music and a few years later I had the opportunity to travel to Scotland for a music course. After that I was completely hooked on the fiddle. :)

Who are some of your main music influences?

My main influences are fiddlers Alasdair Fraser (Scotland) and Buddy and Natalie MacMaster (Cape Breton).  And then... U2.

What do you love about what you do?

I really love to perform.... to share and interact with the audience.  I feel fortunate that I can spend time composing music and practicing, and that this is part of my job.  AND I love meeting new people/ traveling to new places.  

How do you contribute to building the “good city” in what you do?

I have grown up in the 'fiddle camp' scene... a place (many places!) that encourages and inspires community and artistic interaction.  I love passing on this idea to others... students, audiences, fellow musicians.  Humans love to create and enjoy art/music.  It is good for our souls, and ultimately for our community and surroundings.... and our city.

If you could describe Shanghai in one word, what would it be? Why?

Chaotically beautiful.  (Are two words ok?)  The colors, sounds, people in this TOWN are very in-your-face.  At times this is overwhelming, but mostly I find it inspiring and energizing.  I think there is a great creative spirit in Shanghai and I love coming here every year.

 

Hanneke performs with mandolin player Tom Pang and pianist Steve Sweeting on Friday. Doors close promptly at 7:30 pm. No reservations required.

Reading roundup: Week ending April 2

Art, healing, community and love. This week's read-worthy links.

ARTINFO: After Fukushima: How Art Can Again Help Japan Find Its Way - "The most important role of the artist in society is not about building infrastructure, but about promoting ideals that open up new perspectives." Japanese Curator Shinya Watanabe writes about art's healing potential in Japan.

LA Times: Arts Bloom Anew in Leimert Park - Art walk reviving this historical enclave of black culture and arts.

NY Times: Eccentricity Gives Way to Uniformity in Museums - Are museums losing their personalities in the process of modernization?

Art Daily: Last John Keats Love Letter in Private Hands for Sale - The last of John Keats' love letters to Fanny in private hands up for sale. Love lives on in memory and auctions.