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Pearls from artists* # 334

Masks at the National Museum of Ethnography and Folklore in La Paz

Masks at the National Museum of Ethnography and Folklore in La Paz

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

This celebration, renewal and collision with the past and with the indians’ own identity, breaks down everyday order and routine to establish the magic dimension, the exception and the anomaly.  An explosion of vitality, abundance and liberty demolishes everyday slavery and misery.  But the festive chaos which transports one to the anomalous and to the sacred, simultaneously causes the return to profane normality.  Just when the disorder and confusion reach the state of paroxysm, when everything is agitated and intermixed indiscrimanently, the celebration is over.  The bands all play at the same time in deafening competition, the dancers can no longer hold themselves up, and all distinctions between groups, musicians, dancers and sexes are erased.  It is the kacharpaya, the limit of disorder and cataclysm, which signals the return to routine.      

To Cover in Order to Uncover, by Fernando Montes in Masks of the Bolivian Andes, Photographs:  Peter McFarren, Sixto Choque, Editorial Quipos and BancoMercantil

Comments are welcome!

Q: Were there any other artists in your family?

“The Ancestors,” soft pastel on sandpaper, 58″ x 38,” 2013

A:  Unfortunately, I have not been able to reconstruct my family tree further back than two generations.  So as far as I can tell, I am the first artist of any sort, whether musician, actor, dancer, writer, etc. in my  family.  

Both sets of grandparents emigrated to the United States from Europe.  On my mother’s side my Polish grandparents died by the time my mother was 16, years before I was born.  

My paternal grandparents both lived into their 90s.  My father’s mother spoke Czech, but since I did not, it was difficult to communicate.  I never heard any stories about the family she left behind.  My grandfather spoke English, but I don’t remember him ever talking about his childhood or telling stories about his former life.  My most vivid memories of my grandfather are seeing him in the living room watching Westerns on an old-fashioned television.

Sometimes I am envious of artists who had parents, siblings, or extended family who were artists.  How I would have loved to grow up with a family member who was an artist and a role model! 

Comments are welcome!  

Q: At the end of last Saturday’s (September 28th) post you mentioned something called, “Esala Perahera.” What is that?

Waiting for the Perahera to start, Kandy, Sri Lanka

Waiting for the Perahera to start, Kandy, Sri Lanka

Mending an elephant's headdress, Kandy, Sri Lanka

Mending an elephant’s headdress, Kandy, Sri Lanka

Preparations - planning what to do in case an elephant charges

Preparations – planning what to do in case an elephant charges

Flame throwers watching a man balancing on one stilt

Flame throwers watching a man balancing on one stilt

First elephant in the procession

First elephant in the procession

Drummers, Kandy, Sri Lanka

Drummers, Kandy, Sri Lanka

Three elephants, Kandy, Sri Lanka

Three elephants, Kandy, Sri Lanka

A single "tusker," Kandy, Sri Lanka

A single “tusker,” Kandy, Sri Lanka

Esala Perahera, Kandy, Sri Lanka

Esala Perahera, Kandy, Sri Lanka

After the festival

After the festival

A:  My trip to Sri Lanka was timed so that I could observe it first hand.  Here is a description from the “Insight Guide to Sri Lanka:”

The lunar month of Esala is a month for festivals and peraheras all around the island.  Easily the finest and the most famous is the Esala Perahera held at Kandy over the ten days leading up to the Esala Poya (full moon) day (late July or early August).  The festival dates back to ancient Anuradhapura, when the Tooth Relic (of the Buddha) was taken through the city in procession, and the pattern continues to this day, with the relic carried at the head of an enormous procession which winds its way round and round the city by night.  The perahera becomes gradually longer and more lavish over the 10 days of the festival, until by the final night it has swollen to include a cast of hundreds of elephants and thousands of dancers, drummers, fire-eaters, acrobats, and many others – an extraordinary sight without parallel anywhere else in Sri Lanka, if not the whole of Asia.

I would go further and add that the Esala Perahera is one of the world’s great festivals.  Who could ever imagine such a spectacle?  It may be a cliché to say it, but travel is ultimately the best education. 

Comments are welcome!