Vetiver

Vetiver is the root of Chrysopogon zizanioides, a perennial grass which gets its name from the south Indian language, Tamil (veti=cut, ver=root). Besides its place of origin in India, Vetiver is extensively grown in Indonesia, Haiti, Brazil, China and Reunion.

Unlike the fibrous, horizontally-spreading root systems common to most grasses, vetiver roots grow fairly deep to about 2-4 m. They produce an essential oil that is extensively used in perfume manufacture and aromatherapy. Vetiver oil has a deeply soothing quality and is valued for its earthy, yet elusive scent.

Vetiver has an amazing variety of practical uses. It is called the ‘moth root’ – sachets of the powdered root are placed in Indian muslin to repel moths and insects. During summer in the north Indian plains, blinds and awnings made of khus – another name for vetiver – are sprinkled with water, allowing for cooled, scented air to circulate through houses. A vetiver sachet in an earthen pot of drinking water imparts a deliciously “cool” flavour and aroma.

In Java (Indonesia), vetiver is woven into mats for thatching roofs. Vetiver lends itself  to a host of household items that combine utility with beauty, like­ place mats, fans, runners and baskets. In agriculture, vetiver finds excellent use as an erosion control system. Vetiver Network International, a non-governmental organisation has pioneered the Vetiver System, a soil and water conservation method, which utilizes vetiver as a natural barrier to slow down water runoff,  hedge paddy fields, treat waste water and control pollution.

In aromatherapy, the soothing oil is used to treat stress, exhaustion and disorders of the central nervous system. Traditional medicine systems use vetiver to balance female hormones during menopause. Generally speaking, vetiver is believed to have tremendous revitalizing and restorative properties. It is also a beauty aid that helps retain skin elasticity.

Pictured Above: Indonesian Vetiver Placemats from Cultural Elements

Visiting Bali

One is never quite prepared for the reality of Bali. Emerald hillsides curving spectacularly against  azure skies, satin-ribbon beaches, the sensual fragrance of frangipani and jasmine, timeless temples and a culture of slow grace… for a very small island, Bali packs a huge punch as a travel destination.

Arguably the best known island in the Indonesian archipelago, Bali on a map, looks rather like a large, exotic fish facing westwards. Its central and eastern regions are mountainous. Mount Agung, the highest point is a volcano, last active in 1963. Coral reefs rim the island. Southern Bali has white sand beaches while those on the northern side have black sand. Just eight degrees south of the equator, Bali enjoys a tropical climate with temperatures averaging 88° F(31° C). The best time to visit is in the drier months between June and September when humidity is low and fresh, cool breezes temper the daytime warmth.

In predominantly Islamic Indonesia, Bali is a Hindu enclave. Over 90 percent of the population is adherents of Balinese Hinduism, which is a fascinating amalgam of Hindu, Buddhist and native deities, besides local practices like ancestor worship and animism. Religion pervades every aspect of existence here.

Life has never been the same since the twentieth century traveler stumbled upon Bali. The island makes more money from tourism than the rest of Indonesia, with agriculture now taking second place in the local economy. It’s not hard to figure out why.

From sinfully luxurious hotels to quaint, family-run outfits, Bali has a wide range of accommodation. The western coastline boasts of world class surf spots; the eastern side is better suited for family vacations. Kura and Seminal are towns synonymous with Bali’s happening nightlife. If you’d rather poke around off the beaten track, visit smaller islands like Nusa Lembongan with quiet beaches and no vehicular traffic

The drive through mountains to the northern coast is manna for the tired, urban soul. Terraced paddy fields interspersed with coffee, vanilla, cocoa and spice plantations make a pretty picture. Exploring the misty trails around the volcanoes is a must-do (you can take a walk across the crater lake at Mount Batur).

Art and life are a seamless blend for several of the locals. Many Balinese work in their fields by day and turn into artisans at night. Religious beliefs are an intrinsic part of artistic traditions. Gold and silver jewelry, textiles, woodcraft, stone carving, painting and metalwork – Bali has it all. A visit to artisan villages like Batubalan, Mas, Celuk, Pengosekan and Sukawati will leave your pocket lighter. Most travelers also do the rounds of art galleries and shops at Ubud, the cultural center.

If you’re lucky, you could catch a religious festival in progress involving community dances and worship. If not, there are staged performances for visitors.  Typically, a Balinese dance performance is a heady combination of theater and entertainment based on mythology; often, there’s a fun, interactive element with performers dressed as exotic creatures bounding into the audience.

There are around 20, 000 temples in Bali of which Besakih or the “Mother Temple”, on the way up to Mount Agung, is the largest and most revered. A trip to the seventeenth century Taman Ayun temple can be combined with a tour of the Monkey Forest, home to around 300 Balinese macaques.

Kanji

Think you have a knack for foreign languages? Try picking up Japanese – all 2,000 characters of it!

In place of an alphabet, Japanese has an extensive set of pictograms called kanji. The Koujiten, an ancient dictionary, compiled between 1644-1912 during the Ching dynasty, lists a mind-boggling 47,000 kanji! Aspiring learners need not baulk – Japan’s Ministry of Education prescribes a mere 1,945 kanji for learning basic Japanese, enough to peruse a newspaper or book.

Japanese belongs to the Ural-Altaic group of languages that include Korean, Mongolian, Turkish and Manchu. An indigenous Japanese language existed around the 3rd century AD, but it was only much later that Japanese adopted a script from China, in the form of kanji. Unlike Chinese, the Japanese language is polysyllabic; consequently, two further sets of symbols developed in Japan, hiragana and katakana to adapt the original Chinese to local language characteristics.

A kanji is a symbol representing the root meaning of nouns, verbs and adjectives. Hiragana, added to kanji, act as modifiers (for example, adding hiragana to the kanji for “eat” changes the verb to “to eat”, “ate” or “is eating”.) Hiragana are also used as particles or link words, showing the relationship between words in a sentence. Katakana is for writing foreign language words such as names of places and people. They were invented in Japan by 9th century Buddhist students as shorthand for taking down lecture notes, a simpler alternative to the elaborate Chinese kanji.  Katakana is also employed for commonly used foreign words, though their pronunciation may change (for example, “television” in Japanese is “terebi”). Both hiragana and katakana are simpler than kanji, with 46 characters each. You can identify hiragana symbols by their rounded shape, while katakana is angular.

Apart from linguists, the elegant, aesthetically pleasing kanji is popular with tattoo aficionados and calligraphy enthusiasts!

The Peacock in Indian Legends

India’s national bird, the peacock, is woven into the country’s cultural fabric, a symbol of beauty, love and fertility.

Legend has it that the peacock, originally a plain, brown bird, spread his tail to hide the god Indra from the demon king Ravana. To show his gratitude, Indra bestowed him with brilliant plumage. In folklore, the “eyes” of the peacock’s tail are said to be the tears of the sun-god’s daughter, who married the peacock for his beauty but found him to be a vain, shallow husband.

In Hinduism, the peacock is the divine vehicle of Skanda, younger son of Shiva and Parvati. A single peacock feather is the distinctive headgear of Lord Krishna, the divine lover.

After the long, hot Indian summer, dark rain clouds, coinciding with the cries of the peacock, gladden the heart of millions. The peacock’s monsoon mating ritual, of spreading out its fan-shaped tail inspired the Sanskrit poet Kalidasa who immortalized its beauty in his classic love poem, Meghaduta,

In literature, miniature painting, dance and music, the peacock symbolizes erotic love as well as the pain of separation. At times, the bird represents the absent lover for whom the nayika or heroine pines.  The Kamasutra recommends that a man wishing to attract a potential lover should wrap a peacock bone in gold and tie it to his right arm!

The bird’s graceful form is celebrated in innumerable forms by Indian craftsmen. Eighteenth century Nawabs had pleasure boats designed in the shape of a peacock! South Indian brass lamps typically have a peacock carving in the centre. Peacock motifs are found in traditional textiles all over India, from the striking embroidery of Saurashtra and Kathiawar in western India to the zari or gold thread embroidered Kanjeevaram silks of Tamil Nadu and colorful Kantha folk art of West Bengal.

Pictured above: Hand Painted Decorative Peacock by Cultural Elements

Bali’s Barong

Long before Hinduism reached Bali’s shores, the island had its own, animism-based mythology. Many of the fantastic beings who populated this mythology were adapted into Hinduism. Among these is the Barong, the mythic lion who remains a hugely popular figure in Balinese culture.

A Barong is a protective, spirit king. Balinese mythology has five Barongs for each region of the island, each represented by a different animal.  Barong Ket the lion from Gianyar is a shaggy haired, lumbering village guardian who is at once fearsome and lovable. His primary task is to fight off chaos and evil epitomized in the figure of Rangda, the semi-divine demon queen and restore the balance between good and evil.

This battle is enacted through ritual drama. The performance is highly interactive, with Barong Ket lumbering through the audience, calling out to people to join in the encounter with Rangda. Barong Ket also teases and jokes with villagers in the course of his epic battle.

Virtually every village has its own Barong costume. Two actors take on the lion king’s persona – one shakes the Barong’s head and clacks his teeth while the other is in charge of wagging the golden tail. In these rituals, Rangda is given equal billing as Balinese villagers believe that acknowledging the power of dark forces helps keep them in check. The underlying realism of the ritual lies in the fact that neither side ever wins outright – the aim here is to find balance between good and evil. Actors often take their show on the road, visiting neighboring villages for seasonal performances. It’s also an opportunity to meet new women! Videogame developers have featured these mythic creatures in games like Digimon, Gameboy Color’s Azure Dreams and Persona 3.

Pictured Above: Barong Masks Wall Decor from Cultural Elements

The Thing to Wear In Japan

The word kimono literally means ‘thing to wear’. It cannot get more beautifully simpler than this! This stunning garment that brings to the mind elegant ladies gently sitting down to a ritual of tea was probably introduced into Japan from China as an undergarment. It has changed every now and then to conform to the lifestyle of the people of each age. Kimonos have altered over the years to keep pace with the changes in Japanese society. This one garment synonymous with Japanese culture is comfort, ease and grace rolled into one.

Traditionally kimonos were worn by both men as well as women with variations in the design of the garment. It had two distinct upper and lower pieces in the very beginning. It was during 794 to 1185 (during the Heian period) that the kimono morphed into a single long flowing garment from its prior avatar of two pieces. After this it became elaborately layered. Layer upon layer of kimonos were worn as a fashion statement. The royals and the glitterati of that age were wearing up to sixteen kimonos one under the other! The color of each kimono was tastefully exhibited at the sleeve edges and the collars.

As the warrior class rose to power from 1185 to 1133 (the Kamakura period) the intricate layered kimonos of the earlier age gave way to functionality. Kimonos with small sleeves are a development of this time. Bright colors were used in kimonos from 1192. A sort of class distinction was apparent now in the styles and the color of the kimonos. For instance, Samurai warriors could be recognized by the color of their kimonos and their allegiance to a particular leader was easily broadcast.

In the Edo period which followed (from the year 1600) the obi or the belt caught the designers fancy. It became more elaborate with sophisticated dyes and weaves.  Kimonos were becoming an artist’s canvas during this time with embroidery and dyes used to create gorgeous pieces of art. These were treasured as family heirlooms. As Japanese attire is traditionally not accessorized much, the garment has to express taste and elegance on its own while making a fashion statement.  The women’s kimono became very decorative.

With the introduction of electric weaving and the knowledge of chemical dyes from the West during the Meiji period (beginning in 1868) the kimono, as expected, changed. The fact that women now started to work outside the house also resulted in change in design. The free-flowing garment of yore was now tucked and that became the new style. The kimono became much simpler when silk production was restricted and the economy went into military buildup mode during the Showa era of 1912.

The legend of Madame White Snake comes alive in Boston!

The legend of Madame White Snake is one of the most popular tales of China, with countless versions in folklore, literature, and drama. Madame White Snake, a classical transformation myth, is the story of a powerful white snake demon who transforms into a beautiful woman to experience love. As a legend connected to Hangzhou’s West Lake, it may have arisen as early as the seventh century. The thirteenth century saw the first literary versions, no doubt borrowed from professional storytellers in the streets of Hangzhou. It first appeared on stage in the fourteenth century, and the story is today one of the most often performed in Chinese opera.

On February 26, 28, and March 2, the world premiere of Madame White Snake, a new opera co-commissioned by Opera Boston and the Beijing Music Festival, will bring the legend to live on the Cutler Majestic Theatre in Boston, MA.  In October 2010, Madame White Snake will migrate to China for its international premiere at the Beijing Music Festival. Madame White Snake is set in Hangzhou, a sister city to Boston. Mayor Thomas M. Menino and The Mayor’s Office of Arts, Tourism and Special Events are working closely with Opera Boston to highlight this sister city connection as planning moves forward for the world premiere.

Cerise Lim Jacobs, Madame White Snake’s Chinese-American librettist, is the creative force behind this pioneering adaptation of the 1,000 year old Chinese legend. She was born in colonial Singapore into a traditional Chinese family. Madame White Snake is her first opera libretto.
Zhou Long, Madame White Snake’s China-born composer, is an internationally acclaimed Chinese-born composer.  This marks his first opera.
Ying Huang, Madame White Snake’s Chinese soprano, has generated an extraordinary level of critical acclaim.

For more information, visit http://www.operaboston.org

Happiness is a Good Rice Pot

With a history spanning 10,000 years, rice is an important cultural tradition for half the world’s population. The belief that the human body and soul are made of rice unites much of Asia and creates a deep spiritual connection to accompany the gastronomic history of rice. Rice deities usually referred to as the ‘Rice Mother,’ populate Asia giving rise to agricultural festivals and a rich mythology.

The Thai of Southeast Asia are believed to be the first to cultivate rice and it is the only crop farmers consider important enough to bless. Local rituals seek to ensure adequate rain, crop protection, and a good harvest. During the growing stage rice is ‘pregnant’ and bitter fruits are offered to the rice paddies to assuage cravings. Granaries are sacred temples where the spirits of rice dwell and straw dolls representing the Rice Mother are stored there along with the harvest. One must be careful not to startle the spirits lest they flee, taking the rice crop with them.

On New Year’s Day, elders shower Thai villagers with rice as a blessing. Boys enter into manhood by participating in the Lao Ghost Festival, which involves making ghost masks out of rice cooking implements

For the Balinese, rice is so important; its growing season defines their calendar year. Just before harvest, the elder women of Bali make Grandmother Rice figures out of rice stalks to watch over and protect rice in the granary. Rice is also left at the edges of the fields to ward off evil spirits and animals.

The rice terraces of the Philippines have been declared a UNESCO World Heritage Site because of their cultural significance. There are twelve rice festivals throughout the year, of which the most well known is the Pahiyas harvest festival.

In Vietnam, the Rice Mother stores her harvest in the shadows of the moon. In Cambodia farmers offer prayers and leave food for ancestral spirits believed to influence the rice crop.

Throughout Asia, no meal is complete without rice and rice can’t be made without a good rice pot. Honored guests are usually served from a well seasoned heirloom rice pot. Created out of locally available materials by expert artisans, traditional rice pots may be ceramic or baskets woven of bamboo used in conjunction with metal pots. Rice pot construction is functional and specific to the rice cooking method; steamed, boiled or grilled.

A round earthenware rice pot is used for steaming. The round shape generates even heat and movement of steam as the rice cooks. The lid fits inside the rice pot, a practical design feature to circulate water. A small hole at the top of the lid releases steam. Baskets set over boiling water yield sticky rice as the steam condenses in the grains.

Historically, rice pots were decorated with religious or agricultural motifs. Birds such as cranes were often featured due to their role in rice origin myths. Some rice pots were adorned with a motif of banana leaves, which were used to serve rice. No matter the shape or decoration, the rice pots of Asia bring the prosperity of the land to the table and the soul.

Pictured above Thai Rice Pot ($75) from CulturalElements.com

The Mughal Empire in India

Introduction

Babur, descendent of the famous Mongol warriors Timur and Ghengis Khan, swept across the Khyber Pass in 1526 and established the Mughal Empire in India. For the next 200 years, the Mughals ruled most of the Indian subcontinent.

The Mughals were known to use brutal tactics to subjugate their empire, but their approach in India was different. They followed a policy of integration with Indian culture, displaying religious tolerance and patronizing Hindu culture. Akbar, Babur’s grandson, was famous for this. He outlawed animal slaughter on Hindu and Jain holy days and rolled back unfair taxes on non-Muslims. He married a local princess, allied with the local Maharajas and attempted to fuse Turko-Persian culture with ancient Indian styles, creating a unique style of architecture. Akbar’s successors added to the Mughal heritage.

The erosion of religious tolerance coupled with increased brutality during the rule of Akbar’s grandson Aurangzeb, resulted in the downfall of the Mughal Empire.  Aurangzeb tried to establish Muslim dominance by destroying prominent Hindu temples and imposing unreasonable taxes on non-Muslims.

After the 1857 uprising in India, the British imprisoned and exiled the then Mughal Emperor, Bahadur Shah Zafar, bringing the Mughal rule in India to an end.

Art and Craft

Unlike other invaders who were skilled at fighting wars and little else, the Mughal rulers had a taste for the finer things in life; they appreciated beautifully designed artifacts and enjoyed cultural activities.

The Mughal period is often referred to as the golden period in the history of Indian art, craft, architecture and culture. The Mughal rulers brought with them a rich heritage, which they had acquired from Persia. They introduced many new forms of art such as carpet weaving, inlay work, brocades, enameling and glass engraving. The renowned Peacock Throne of the Mughals is perhaps one of the best examples of gem inlay work and metal craft.

Art forms such as the famous Mughal miniature paintings, enameled jewelry and Pietra dura – exquisite stone inlay work which can be seen at the Taj Mahal – flourished under the Mughal Empire. Their miniature paintings influenced many schools of art such as Rajasthan paintings and the Kangra Pahari schools of miniatures. The Persian style, which blends scripts into the design, gained prominence and was used in several murals. The style became popular and seeped into Hindu temples too, especially in Kaithal, Kalayat and Rohtak.

Architecture

Mughal architecture was a combination of Indian, Islamic and Persian styles of art. The Mughals built majestic mosques, forts, gates, palaces, public buildings, gardens and water tanks. The use of running water in the palaces they built was a unique feature of Mughal architecture.

Delhi, Agra, Fatehpur Sikri and Lahore were the chosen venues for most of the important Mughal buildings. Among the notable Mughal structures are the Taj Mahal in Agra, the Red Fort in Delhi, Humayun’s tomb at Delhi, the tomb of Khan-i- Khanan in south Nizamuddin, the mausoleum of Akbar at Sikandara outside Agra, Jahangir’s tomb at Shahdara across the Ravi from Lahore, the tomb of Aurangzeb’s wife at Aurangabad and Nawab Safdar Jang’s tomb at Delhi.

Akbar was the first Mughal ruler to undertake construction on a large scale and the first great Mughal monument was the tomb he built for his father, Humayun. However, the most notable of Akbar’s constructions was the fort-palace at Fatehpur Sikri, Agra. Red sandstone was inlaid with white marble; the surfaces were ornately carved outside and painted inside. The fort had many low arches and bulbous domes that characterized the Mughal style during Akbar’s reign.

With the firm establishment of the Mughal dynasty, architectural development reached its zenith. Towards the end of Jahangir’s rule, the practice of constructing marble buildings and decorating their walls with floral designs of semiprecious stones became common.

The crowning glory of Mughal architecture and one of the most beautiful buildings in the world is the Taj Mahal in Agra, a tomb that Shah Jahan built for his wife Mumtaz, who died during childbirth. The Red Fort in Delhi is another of his great achievements.

The influence of the Mughal style of architecture can be seen in the construction of the famous Golden Temple in Amritsar. Complete with arches and domes it incorporates many features of Mughal architecture.