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Fashion to Thai for

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Fashion-to-Thai-for-30230694.html

FASHION

Central Chidlom introduces a new zone dedicated to 15 of the country’s top designers

Central Chidlom recently celebrated the launch of ThaiThai, a new gallery-style zone that salutes the talent of the country’s top designers and brings together 15 brands on one floor.

Located at the skylink to Central Embassy on the department store’s second floor, Thaithai’s opening party was hosted by the president of merchandising Tapida Norpanlob, the PR director of Central Department Stores Siriyos Devahasdin na Ayudhya, and Siam Commercial Bank’s senior vice president for advertising and promotions Supee Pongpanich.

Celebrities and stars happily donned the spring-summer collections for the catwalk. They included outfits by Asava and ASV by Asava Polpat Asavaprapha, Curated by Ek Thongprasert, Kloset, Milin, Tu’i, Tutti and Vickteerut, all members Bangkok Fashion Society (BFS), as well as Anchavika, Kem Issara, Kwankao, Lovebird, Vatanika, Kingkan and Patinya.

“The ThaiThai zone is spread over 1,600 square metres and its aim is to promote Thai designers worldwide. Many of the brands have also showcased their new collections for the first time here while others have designed special collection exclusively for us,” Tapida says,

“We are also bringing in bags by 31 Thanwa, accessories by 77th Rudimentary and fashion items by Secondskin. Shoppers can relax over snacks and tea at the Three Wishes Cafe and Tea Room,” he adds.

“We have seen that Thai brands are well-received both locally and internationally. Central Department Stores would like to support Thai designers whose ability can easily rival international labels by providing them with a special space to present their creativity and concept. We also facilitate our customers by allowing them to mix and match items from various brands and pay at one point. The design of this zone is similar to that of an art gallery. The open space allows customers to check out every brand conveniently while offering maximum visibility to every label. Each brand has chosen only its showpieces for our zone, which corresponds with Central’s mission of offering only the best,” Tapida continues.

Guests at the opening showed their enthusiasm for the collections and after the shows were keen to chat with the “muses” of each brand. Chermarn Boonyasak served as the muse for Tu’I, Warattaya Nilkuha for Anchavika, Cris Horwang for Milin, Virithipa Pakdeeprasong for Kwankao, Panita Tumwattana for Lovebird, and Chalida Vijitvongthong for Kloset. Other celebrities representing labels included Piyawadee Maleenont (Kingkan), Naphaporn Bodiratnangkura (Vatanika), Jareyadee Spencer, Orn-arpa Poonsapmanee and Boonyapha Bencharongkul (ASV by Asava), Pattree Bhakdibutr (Kem Issara), Napassanan Pasawong and Khemupsorn Sirisukha (Tutti), Anchisa Vacharaphol (Vickteerut), Jarujit and Pimlert Baiyoke (Asava) and Boontida Jaroensawat for Patinya.

Fresh and summery dresses and separates dominated the collections with colours ranging from bright hues to softer pastels. Silhouettes were comfortably loose and the cutting neat. Prints added a touch of fun with Asava playing with a New York graphic and Kloset capturing the nostalgia of flower power. Vatanika stuck to its trademark rose and flower motifs inspired by the porcelain of Jacob Petit and Milin showcased a range of sports wear including high-cut swimsuits, athletic shorts and a cheerleader jacket.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น

Here comes the sun

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Here-comes-the-sun-30230693.html

BEAUTY

It’s summer in the city and protecting the skin with a skin or lotion that shields it from UV and oxidants is a must

Exposure to ultra violet (UV) rays poses a danger to the skin and indeed, experts say, is one of the leading causes of skin cancer. It’s a silent predator that continues to endanger your skin no matter how hard you try to avoid it so regular sunscreen protection is a must.

Leading skincare brand Eucerin recently teamed up with Boots Retail Thailand to launch a new campaign titled “Fight UV for Healthy Skin” and promote protection from the sun’s harmful UV rays by using products that contain an oxidant filter”.

Dermatologist Dr Rungsima Wanitphakdeedacha notes that cream and lotions that focus on protecting skin from UVA and UVB are almost 100-per-cent effective.

“But no matter how regularly you apply these to your skin, a small amount of UVA is going to creep in, causing a chain reaction of damage that effects the cells. The collagen in the skin cells is destroyed for up to 60 days after exposure to the sun, which is why people keep on tanning even when they come back from the beach.

“For that reason, you should also select a product that has both UV and oxidant filters as they stop the chain reaction.”

Dr Rattaporn Uengpakorn, the secretary general of the Dermatological Society of Thailand, adds that many women buy expensive sun protection to ensure they are getting the best quality yet only use a tiny amount each time.

“That’s silly because applying too small an amount won’t protect your skin from the sun.

“You must apply it in adequate amounts. For example, for your face, the quantity of sun protection cream should measure at least two-thirds of your index finger. And you should apply it all over the face and the neck in the same amount. The best way is to apply it at least 20 minutes before exposure to the sun. And it is also important to select FDA-approved sun protection that matches your skin type and skin colour,” he says.

Eucerin says that its latest study on oxidant filters indicates that a product containing this ingredient protects the deeper layers of the skin from damage though it is important to use it every day. Applying it for 15 consecutive days or more lessens the oxidant from sunlight and helps restore skin back to its full glory. Dark spots fade. Collagen destruction level is lessened and melisma and wrinkles are also reduced.

Socialite Pimpisa “Pear” Chirathivat says she loves being outdoors and has always believed that a high SPF and PA+++ sunscreen afforded optimum protection.

“Then I started to see some dark spots and melasma on my face. I know from the Eucerin experts that oxidant filters enhance deep-down skin protection and that the ingredient has recently been clinically proved as being effective at protecting melasma, so I’ve switched to the Eucerin product. As we move into summer, I would like to urge everyone to pay more attention to their skin and be meticulous in applying sun protection everyday,” she says.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น

Holding your chin up high

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Holding-your-chin-up-high-30230692.html

SKINDEEP

My chin sags so much that I often have to wear a scarf to cover it up but now that the weather is getting hot, a scarf is uncomfortable. Is there any treatment to fix this problem?

My chin sags so much that I often have to wear a scarf to cover it up but now that the weather is getting hot, a scarf is uncomfortable. Is there any treatment to fix this problem?

Double chins, sometimes known as turkey neck, can be caused by two main factors – skin laxity and excess fat. You might have heard about facial exercises to reduce double chins, but while these help you tone the muscles of your face and jaw, they do little to firm the skin along the jaw line. Exercise alone is not an effective method to treat double chins.

As we get older, the skin inevitably becomes weaker. A double chin is a common complaint among older men and women alike, whether or not they are overweight. In the past, surgery was the only effective option, but now there are several other minimally invasive and non-invasive treatments that target a double chin.

The newest non-surgical procedure to tighten up the chin is Ulthera, which uses high-powered ultrasound to lift the skin. It was the first non-invasive device to receive the US Food and Drug Administration’s clearance for lifting the skin under the chin and neck and to date remains one of the most effective.

The Ulthera system delivers ultrasound waves to the tissue underneath the skin’s surface at the Superficial Musculo Aponeurotic System (SMAS) layer, which is between 3 and 4.5 millimetres deep. Most skin tightening technologies today do not go that deep. Ageing faces lose tone in the surface and the SMAS layer, so it is important to stimulate the deeper layer of the skin to firm it up effectively.

The SMAS is nicknamed the “face’s foundation” so cannot be ignored in any treatments to fix the facial structure. This is what makes Ulthera more effective than other skin-tightening technologies. The device stimulates the SMAS layer with heat, causing the fibrous tissues to contract.

The ultrasound waves also boost collagen production, making the skin firmer and younger looking. The heat warms up the soft tissue in the SMAS layer, provoking a response from the body’s natural inflammatory regulator, which in turn sets off a healing response – collagen production.

Different layers of the skin absorb the energy, thus rejuvenating it from the SMAS layer up. The skin continues to become firmer and tighter over 3 to 6 months, and the result can remain for a year or longer, depending on the skin condition and lifestyle choices.

Another quality that distinguishes Ulthera from lasers is precision. The depth of the sound waves can be precisely controlled to treat only the desired area without interfering with surrounding tissue.

However, it is crucial to take a good care of your skin and your health. Most people only apply lotion and sunscreen to their face and ignore the chin and the neck, which is why the skin in that area ages faster. Healthy food can also make the skin stronger. Include food rich in omega 3 and vitamins in your diet to make sure the skin gets the nutrients it needs.

With Ulthera, you can keep your chin up and show off your shapely face. Stash your scarves away and keep them for other occasions.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น

Biggest show by Ai Weiwei to open in Berlin without him

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Biggest-show-by-Ai-Weiwei-to-open-in-Berlin-withou-30230743.html

Two men take pictures of a screen displaying the heavy metal music video Dumbass by Chinese artist Ai Weiwei, during a press preview of the exhibition Evidence at the Martin-Gropius Bau museum in Berlin April 2, 2014. On 3,000 square metres in 18 rooms an

Two men take pictures of a screen displaying the heavy metal music video Dumbass by Chinese artist Ai Weiwei, during a press preview of the exhibition Evidence at the Martin-Gropius Bau museum in Berlin April 2, 2014. On 3,000 square metres in 18 rooms an

The installation bicycles by Chinese artist Ai Weiwei is displayed as part of the exhibition Evidence at the Martin-Gropius Bau museum in Berlin, during a press preview on April 2, 2014.AFP PHOTO / JOHANNES EISELE

The installation bicycles by Chinese artist Ai Weiwei is displayed as part of the exhibition Evidence at the Martin-Gropius Bau museum in Berlin, during a press preview on April 2, 2014.AFP PHOTO / JOHANNES EISELE

A worker walks past the installation titled 'Stools' (2014) made of wooden stools by Chinese artist Ai Weiwei as part of the exhibition Evidence at the Martin-Gropius Bau museum in Berlin April 1, 2014.AFP PHOTO / JOHANNES EISELE

A worker walks past the installation titled ‘Stools’ (2014) made of wooden stools by Chinese artist Ai Weiwei as part of the exhibition Evidence at the Martin-Gropius Bau museum in Berlin April 1, 2014.AFP PHOTO / JOHANNES EISELE

The biggest-ever exhibition by China’s best known and boldest contemporary artist, Ai Weiwei, opens in Berlin Thursday with his signature brand of politically explosive works given pride of place.

The show at Berlin’s Martin Gropius Bau museum comes one week after a landmark state visit to Germany by Chinese President Xi Jinping.

Its 18 rooms of mainly new installations pack a stinging critique of official corruption, political repression and capitalist excess in the world’s most populous country.

The high-profile dissident painter, photographer, filmmaker, sculptor, architect and blogger will not be allowed to travel to the German capital for the opening of the show called “Evidence” as the Chinese authorities confiscated his passport, organisers said Wednesday.

But Ai’s provocative spirit is present throughout the 3,000-square-metre (32,300-square-foot) space the museum has dedicated to him.

At a media preview ahead of the official opening, the museum’s director Gereon Sievernich presented a haunting video of Ai at his studio expressing hope he will be able to attend the Berlin exhibition before it closes on July 7.

“I hope the audience in Berlin can enjoy it, and also can criticise it,” he said, speaking in English.

“I don’t know what will happen in the near future but I still hope that I can come to see the show and share the moment with the audience and give an explanation of the work.”

Ai is China’s most prominent political activist alongside writer and Nobel Peace Prize winner Liu Xiaobo, and a darling of the Western art world.

The show’s title “Evidence” refers to the proof – or lack of it – that the Chinese authorities used to detain Ai on charges of massive tax fraud during a roundup of activists three years ago.

One of its most talked-about installations is a replica of the jail cell in which the artist was held at an unknown location.

Called “81″ for the number of days Ai spent inside, the chilling reconstruction features a narrow single bed, two chairs, a desk, a wardrobe, walls lined with foam recalling a padded cell and white steel bars over a sole small window high on the wall.

A filthy bathroom is adjacent.

After a few minutes inside the room, the air becomes stifling.

Another space is filled with porcelain river crabs, a symbol deployed by Chinese Internet users to protest online censorship.

And three twisted metal bars replicated in marble stand for the horrific damage wrought by the 2008 Sichuan earthquake which killed more than 80,000.

Ai publicly blamed corruption and official incompetence for structural faults in state buildings such as schools for the thousands of children who perished in the disaster.

“Han Dynasty Vases with Auto Paint” contrasts China’s cultural heritage with the scramble to acquire Western goods, in this case, German luxury cars.

Ai’s trademark wit is also on display, with marble “surveillance cameras” hanging at the museum entrance.

The German government says it has often raised Ai’s case with Chinese officials behind closed doors even as it bolsters ties with Beijing, but German leaders did not speak publicly about the artist during Xi’s visit last week.

However Culture Minister Monika Gruetters delivered a stinging indictment of Beijing’s treatment of its dissidents as she opened the exhibition, calling it Germany’s “cultural event of the year”.

She said Ai could be China’s “national cultural institution, the cultural pride of his nation”.

“Instead he is detained, interrogated, defamed,” she said.

“Germany learned a lesson from its two dictatorships: art and science are free.”

She called on the Chinese government to allow Ai to travel abroad.

“We all pledge this unwavering free spirit our deep solidarity,” she said.

Sievernich noted that Martin Gropius Bau, a sprawling late 19th century building, was itself a politically charged venue, having stood over the course of its history next door to the Nazis’ Gestapo headquarters and later, in the shadow of the Berlin Wall.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น

Syria artist sets Guinness record with Damascus mural

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Syria-artist-sets-Guinness-record-with-Damascus-mu-30230615.html

SYRIAN ART

Syrian Moaffak Makhoul and a team of six artists pose with their Guinness World Records award for the largest mural made from recycled material, on March 31, 2014 in Damascuss al-Mazzeh neighborhood. The mural measures 720 m (7,749.98 ft). AFP PHOTO/LOUAI

Syrian Moaffak Makhoul and a team of six artists pose with their Guinness World Records award for the largest mural made from recycled material, on March 31, 2014 in Damascuss al-Mazzeh neighborhood. The mural measures 720 m (7,749.98 ft). AFP PHOTO/LOUAI

Syrians walk past a decorated wall that won the Guinness World Records award for the largest mural made from recycled material, on March 31, 2014 in Damascuss al-Mazzeh neighborhood. The mural measures 720 m (7,749.98 ft). AFP PHOTO/LOUAI BESHARA

Syrians walk past a decorated wall that won the Guinness World Records award for the largest mural made from recycled material, on March 31, 2014 in Damascuss al-Mazzeh neighborhood. The mural measures 720 m (7,749.98 ft). AFP PHOTO/LOUAI BESHARA

A Syrian artist has set a Guinness record for the world’s largest mural made of recycled materials, aiming to inspire hope and creativity in his war-ravaged country.

Guinness World Records announced on its Facebook page that Moaffak Makhoul and his team completed the mural in Damascus in January, two months shy of the third anniversary of the grim conflict in Syria.

“The largest mural from recycled material measures 720 square metres (7,749.98 square feet),” it said on its Facebook page.

Guinness said it was “created from manufactured waste by Moaffak Makhoul and a team of six Syrian artists in Al Mazzeh, Damascus.”

Mazzeh is an upscale neighbourhood and the wall Makhoul worked on runs along a key motorway through the centre of the capital.

The team used a multi-coloured hodge-podge of scrap from cars, bicycles wheels, cooking utensils, pipes and soft drink cans, mirrors and ceramics to create the mural.

“We began the work in October because I felt the need, in this climate of ours, to give something to my country, to make the Syrian people be known for their love of beauty, life and nature,” he told AFP.

Housewives gave the artists a helping hand, supplying them with bits and pieces of domestic waste, said Rajaa Wabi who also worked on the mural.

“Many people came from war zones to give us their house keys or other personal objects,” she said.

The result is a vibrant mural that has brought people out onto the street.

“All sorts of people have come to see it. The mural has reunited” Syrians, she said.

Souheil Amayri, a professor who helped, said the aim was to help revive hope in Syria, where the war has killed around 146,000 people and forced millions to flee.

“The mural gives us hope again. Damascus is wounded and sad… and creating something beautiful from rubbish means that we can rebuild despite the destruction,” he said.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น

Hope for the future

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Hope-for-the-future-30230554.html

SOOPSIP

Our politicians might learn a few things from the contestants on “The Voice Kids”, and we’re not talking about singing (though it never hurts if a politician can belt out a tune).

What they can learn is to have a buoyant spirit – and the ability to show respect to others.

Parnsawan “Bungkee” Yanvaro, winner of the second season of Thailand’s “The Voice Kids”, visited our newsroom yesterday, accompanied by five of the finalists – Vanessa “Saa” Hemmingsen, Piyatida “Maprang” Lekklang (who was a runnerup), Atiwat “Aof” Changnoi, Yulradee “Nadia” Khumkanokkan (another runnerup) and Nutrada “Donut” Chiansee. Everyone was in a cheerful mood and they all seemed like good buddies despite the fierce competition they’d been through.

Asked whether they’d expected anyone in particular to win, they all replied the same: Whoever it was, they didn’t mind, because they respected each other’s talent, “so it didn’t matter who won”, as one of them put it.

Bungkee plans to spend her Bt1 million in loot treating her friends to gifts. “But I’ll also save some of the money,” said the 13yearold. “I hadn’t thought about before because I didn’t expect to win!”

The youngsters also demonstrated the respect they have for their coaches. Asked which of the coaches was strictest, everyone said all the coaches are friendly. Pretty admirable stuff, not to mention the unwavering smiles (even while singing us a song) and energy to spare despite a packed schedule. Yesterday alone they toured five different media outlets, starting early in the day at Channel 3.

Worry over missing stuntman mars “Grandmaster” triumph

Director Wong Karwai got fairly emotional at the Asian Film Awards in Macau last Thursday when his movie “The Grandmaster” was named the best of the lot and scooped six other trophies as well, including best director and yet another bestactress nod for Zhang Ziyi. Wong explained to Agence FrancePresse later, though, that hadn’t been weepy because he was overwhelmed by the triumph, but because he was thinking about Ju Kun, a stuntman on the movie.

Ju Kun, 35, was one of the passengers on Malaysian Airlines’ vanished Flight 370. He was reportedly heading to Beijing to visit his family.

So Wong, in his acceptance speech, asked the Malaysian government to be more forthcoming in sharing the results of the search for the missing jetliner. “One of our martialarts directors unfortunately is one of the victims of MH370, so here I hope the Malaysian government can try their best to address this issue by taking a more transparent attitude … and to let us know the truth,” Wong said onstage.

Zhang, his leading lady, echoed Wong’s sentiments and said she too was feeling quite sombre despite the slew of awards. “Today I’m very emotional about our crew member and friend. We’ll have to say goodbye to him forever,” she said.

Inspired by the life of Yip Man, mentor to the great kungfu movie star Bruce Lee, the stylised martialarts epic “The Grandmaster” took more than six years to complete, with the result that the cast and crew became like a family.

Wong and Zhang are among many people who have criticised the Malaysian government over the limited and sometimes contradictory information given out about the search.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , , | แสดงความคิดเห็น

Sirivannavari’s Superwoman

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Sirivannavaris-Superwoman-30230382.html

THAI FASHION

The electric blue 'X-Ray Collage' print appears on pantsuits and dresses. Nation/Charnnarong Porndilokrad

The electric blue ‘X-Ray Collage’ print appears on pantsuits and dresses. Nation/Charnnarong Porndilokrad

For her latest collection, the Princess was inspired by her favourite works of art including works by da Vinci, Damien Hirst and Frida Kahlo. Nation/Charnnarong Porndilokrad

For her latest collection, the Princess was inspired by her favourite works of art including works by da Vinci, Damien Hirst and Frida Kahlo. Nation/Charnnarong Porndilokrad

A green pattern appears on the other designers, including dress, jackets and blouses. Nation/Charnnarong Porndilokrad

A green pattern appears on the other designers, including dress, jackets and blouses. Nation/Charnnarong Porndilokrad

The show's finale featured model Cindy Burbridge Bishop in a shining pink-satin evening gown. Nation/Charnnarong Porndilokrad

The show’s finale featured model Cindy Burbridge Bishop in a shining pink-satin evening gown. Nation/Charnnarong Porndilokrad

High-fashion sportwear consists of tight leather slacks and a metelic trunk top decorated with feathers. Nation/Charnnarong Porndilokrad

High-fashion sportwear consists of tight leather slacks and a metelic trunk top decorated with feathers. Nation/Charnnarong Porndilokrad

The fashion-designing royal wows the crowd with futuristic ‘sportswear couture’

Her Royal Highness Princess Sirivannavari Nariratana demonstrates her passion for sport, art and fashion in a line of clothes she’s designed for this spring and summer, which some 700 admirers previewed on Thursday at Siam Paragon, home of the boutique Sirivannavari.

The princess who represented Thailand in the equestrian events at the recent SEA Games in Nay Pyi Taw, ranking 10th in dressage, has come up with stunning futuristic sportswear. The collection, about 40 pieces, “reflects my own recent personal experiences, most notably my horse-riding accident and other illnesses”, she explained.

“I combined these experiences with inspiration from my favourite works of art. As many of you know, art has always been among my inspirations, and this time I have incorporated elements from works by Leonardo da Vinci, Damien Hirst and Frida Kahlo through the ‘X-Ray Collage’ print.”

Her Royal Highness studied fashion and textiles at Chulalongkorn University, and in 2008 Paris couturier Pierre Balman invited her to present her designs at his Paris Fashion Week show.

The fashion show maintained a futuristic thrill through four segments, during which sport jackets, pantsuits, peplum dresses and evening gowns were the mainstays.

A sleeveless top printed with an image of a galaxy was worn with metallic bell-bottoms, while a sport jacket with puffed sleeves and silver patchwork details looked great over black leggings. The X-Ray Collage appeared on a peplum tuxedo jacket in electric blue, ideal for pairing with leggings in a matching colour.

The weaving techniques gave a Spandex bustier dress a touch of refinement, while luxurious details like feathers were used on an evening dress bearing the X-Ray Collage in monochrome.

“The concept is ‘Remarkable Sports Couture’,” said the Princess, who also played with the championship-winning national badminton team at the SEA Games.

Like Superwomen leaping from the silver screen, a model dressed in shiny black tight leather slacks and a metallic trunk top decorated with feathers looked smart and elegant, aided by black leather gloves and high heels.

“The clothes feel active and sporty and give the wearer great freedom of movement, but with subtly concealed cutting and pattern-making details that are reminiscent of the meticulous refinement of haute couture,” said the Princess.

“The concept revolves around ‘futuristic’ shapes, so the collection as a whole feels entirely fresh and modern. In addition, the clothes are designed to flatter the figure, enabling the wearer to feel fit, confident and comfortable.”

Celebrated Thai fashion house Fly Now provided the atelier for her current collection, adding neat tailoring throughout. Classic black, metallic hues, turquoise and shocking pink and lime dominate the line.

The futuristic look is ideal for her handbags and handcrafted accessories, and for the leather gladiator boots and high-heel platforms produced by the brand Tango. The prints, metallic leather and handbag straps that brought to mind the human skeleton lifted the collection to a pinnacle, even as key items like pochettes and a luxe backpack continued to catch the eye.

The footwear ranged from skeleton gladiator boots and flats in soft leather to high heels in her signature prints, with acrylic and nail details at the heels.

The collection also carries the idea of a modern woman whose life experiences help her mature by polishing her outlook and personality. She blossoms into a confident being who is strong both emotionally and physically and never loses the slightest sense of style and elegance.

The show’s elegant finale featured supermodel Cindy Burbridge Bishop in a shining pink-satin evening gown cut right up to the thigh, revealing metallic high heels. It was a sexy and elegant look.

“I was delighted to get back to work on this collection,” Princess Sirivannavari said. “I had a great time every day I was working on it because this is what I truly love. I was very serious with this collection and devoted myself to it.

“We have much smaller, yet stronger team now, so I did many things by myself from the beginning – sketching, cutting fabrics, draping and fitting. I’ve put a lot of own identity into this collection and I hope everyone likes it!”

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น

Grains of culture

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Grains-of-culture-30230380.html

ASIA ALIVE: ASEAN’S RICE CULTURE

Rice product from Thailand

Rice product from Thailand

Crafts from Indonesia

Crafts from Indonesia

Textile from Laos

Textile from Laos

Asians eats rice and share same culture of rice.  AFP Photo

Asians eats rice and share same culture of rice. AFP Photo

A symposium looks at the challenges and opportunities of the craft business in Asean

Asean’s rice culture came under the spotlight at the 2nd International Innovative Crafts Symposium 2014 held at the Bangkok International Trade and Exhibition Centre (Bitect) last Thursday.

Hosted by the Support Arts and Crafts International Centre of Thailand (SacictA), this year’s theme focused on “ASEAN’s Craft Business Challenges and Opportunities in Rice Culture”

The symposium, which allows free exchange of information about rice cultures and crafts in the Asean countries, aims to encourage craft business operators to create networks of cooperation and trade partnerships to prepare for the forthcoming Asean Economic Community (AEC).

“Rice has been a staple food for Asians since the ancient times. The essential role of rice in the way of life laid the foundations of the ‘rice cultures’, which incorporate inventions of tools and craftwork that relate to daily living, beliefs and traditions, paddy cultivation and rice consumption,” Sacict’s director Pimpapan Chansilp noted.

“These articles may share a particular utility but vary in design depending on each community. They not only reflect the culture of each locality, but are also esteemed crafts that can be developed and applied to enhance economic growth,” she added.

Dr Anucha Teerakanon, director of the Thai Khadi Research Institute, gave the keynote speech on the topic “Rice: From the Root of Cultures to Innovative Crafts”.

Prof Viboon Leesuwan, Fellow of the Royal Institute’s Academy of Arts, also gave a talk entitled “Rice Culture: Opportunities and Challenges in Craft Business”, elaborating upon the relationship between Asian lifestyles and cultural wisdoms and providing an overview of relevant craft industries in the Asean region.

Also participating in this international conference were craft experts from six Asean countries – Cambodia, Indonesia, Laos, Malaysia, Myanmar, and Thailand – along with representatives from China, Japan, India, South Korea and the British Council in Singapore. All actively sharing their views in order to promote mutual understanding and the progress of craft industries in Southeast Asia.

Topics of discussion included the trends of rice culture-related products, marketing opportunities, product development and potential approaches to establishing networks of relevant agencies and countries. These focused on two product categories – pottery and wickerwork and dining textiles and utensils.

The audience was made up of several individuals involved in the craft industry including manufacturers, importers, exporters, designers, craftspeople, members of relevant organisations and associations, as well as students and the general public.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น

A fine final

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/A-fine-final-30230377.html

STAGE REVIEW

Crescent Moon Theatre's 'Shadow-Body' was inspired by artist Pinnaree Sanpitak's work. Photo courtesy of Suthas Rungsirisilp

Crescent Moon Theatre’s ‘Shadow-Body’ was inspired by artist Pinnaree Sanpitak’s work. Photo courtesy of Suthas Rungsirisilp

Pradit Prasartthong's Anatta Theatre staged 'Mangkon Salat Kled', set during the bitterness between Thais and Chinese immigrants seven decades ago. Photo courtesy of Suthas Rungsirisilp

Pradit Prasartthong’s Anatta Theatre staged ‘Mangkon Salat Kled’, set during the bitterness between Thais and Chinese immigrants seven decades ago. Photo courtesy of Suthas Rungsirisilp

Breast-shaped jelly wraps up celebration of Thai contemporary arts

The Office of Contemporary Art and Culture’s celebration dubbed “Silpathorn: A Decade of Success in Thai Contemporary Art” came to a close last Sunday at the Chang Theatre in Thon Buri.

Even taking account of the remote location, the fact that it was followed by very few media and that audience numbers averaged 100 on each of the 10 days clearly show that this is not the best way to spend our tax money on the promotion of contemporary arts.

On Saturday evening, the first recipient of Silpathorn award in performing art, Pradit Prasartthong and his Anatta Theatre, staged, what he referred to as the first part of, “Mangkon Salat Kled” (literally, “a dragon shakes off its scales”), which premiered at Bangkok Theatre Festival 2013. In his introduction, Pradit explained that “Mangkon” is part of an ongoing project in which he’s retelling the life stories of important Thai people not yet widely known to the public in the theatrical genre known as lakhon rong.

Last year, it was Poonsuk Banomyong and now it’s Puey Ungpakorn, an internationally revered economist and former president of Thammasat University who went into exile after the 1976 student uprising.

Before the play, there was a screening of Silpathorn filmmaker Thunska Pansittivorakul’s short film “The Terrorists”, which asks whether we remember what didn’t really happen or forget what really happened. The film’s intense tone balanced well with the play’s comic and happy one. Set during the bitterness between the Thais and the Chinese in Thailand seven decades ago, the play showed how we can live with our differences. The audience was easily able to make the connection between the two and ask themselves if we can do the same in the heat of our current political differences.

The following afternoon in an air-conditioned studio about 30 participants attended a forum titled “Creating Cross-Cultural Works”, in which Silpathorn artists Manop Meejamrat and Sineenadh Keitprapai shared their experiences of working cross-culturally with foreign artists, either in productions or workshops. Both voiced positive opinions on the impact on their artistic development, agreeing that the experiences have unconsciously penetrated the way they work.

“I used to carefully think about the ratio of Thai and foreign elements when I created a work – not anymore.” Manop noted.

When a participant asked whether a Thai contemporary work is only limited to the artist’s reinterpretation of a traditional work, both Manop and Sineenadh explained that the scope is much wider. When another asked what our government plans to do in terms of cultural exchange in the wake of the upcoming AEC, neither had an answer.

Part of the answer was possibly given at the outdoors theatre after a four-hour interval where Myanmar performance artist Moe Satt, a guest of the festival, staged “Face and Fingers”. This began with a short film in which the audience saw various faces and foods from our neighbouring country. Later on, when Satt sat down centre-stage, we watched, with both delight and intrigue, how different combinations of hand gestures and facial expressions can create different meanings.

However, like the other two guest artists from Asean countries seen earlier here, the artists and their works had too negligible a relationship with the rest of the programme as well as too little interaction with our Silpathorn artists, meaning their presence was like OCAC’s fulfilment of the government’s AEC mission.

Back indoors, Sineenadh led her Crescent Moon Theatre in “Shadow-Body”, inspired by Silpathorn visual artist Pinnaree Sanpitak’s works. Notwithstanding the overwrought lighting design, sentimental music score and the fact that some of the performers were not good movers, parts of the performance touched and moved the audience.

Feeding the entire audience breast-shaped coconut jelly, Pinnaree was also in the audience and spoke during the post-show Q&A. I wish, though, she had been involved more in the creation of this performance and the two woman artists would have created a totally new collaborative work together.

As in many one-off events organised by government agencies, the Silpathorn celebration had both promise and problems and these should be seriously followed up instead of simply let go.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น

Preoccupied Channel 3 is keeping a lady waiting

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Preoccupied-Channel-3-is-keeping-a-lady-waiting-30230374.html

SOOPSIP

After two contracts and six years at Channel 3, actress Chermarn ‘Ploy’ Boonyasak is in need of another document to sign.

Her latest deal with the station has expired and she’s looking forward to inking another one, confident she’ll be sticking around. The only problem, she told reporters last week, was that the big boys at Channel 3 are preoccupied at the moment.

“I’m waiting for the phuyai,” she said, referring to a senior executive (any senior executive, please!). “But I understand that they’re all busy right now with the digital TV that’s coming up.” Yeah, we’ve heard something about that at The Nation.

Ploy declared firmly that she doesn’t want to work at any other channel because she’s happy right where she is. On the other hand, she wouldn’t mind reducing her workload to just one TV series a year.

“I’ve been doing three series a year and it’s very exhausting! I went to have my health checked and the results weren’t that good, so I want to take better care of myself and also have time to look after my grandma.”

Back in the swim

No wonder Ploy is cheery: She’s been getting some great feedback about her work. Her TV series “Samee Teeta”, currently running in primetime, has garnered good ratings, but it’s “Khid Thueng Wittaya” (“The Teacher’s Diary”), the movie she stars in that’s now showing in theatres, that’s generating the big buzz.

“I dream of becoming a Bt100-million actress, but maybe that’s too far-fetched,” she said.

Ploy has been tracking the flick’s box-office take and was thrilled to see Bt35 million worth of tickets sold in the first five days. “For a romance film, that’s not bad!” she beamed.

Regardless of how well it does, “The Teacher’s Diary” will always remind her of an important event in her life – she had to learn how to swim. The script had a swimming scene and Ploy was terrified due to an accident that occurred when she was still a kid. She’d nearly drowned while fishing with her dad and never dared go near the water again.

“But I had the support of the movie crew and figured maybe I could learn to swim after all,” she said. “I took lessons for about a week and, after that, I could swim!”

If you’ve already seen the movie, you know that Ploy shows no trace of her former phobia at all. So can we sign her up for the Olympic swim team? Ploy doesn’t rate herself quite that high, but she started from zero and can now swim – well, at least not drown. “And that’s the most wonderful gift GTH gave me,” she says of the film studio.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , , | แสดงความคิดเห็น

Where culture looms large

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Where-culture-looms-large-30230373.html

ASIA ALIVE: CHINESE TEXTILE

Textile products collected from villages in Yunnan, Sichuan, Guizhou, Guangxi and around Shanghai.  Photo/China Daily

Textile products collected from villages in Yunnan, Sichuan, Guizhou, Guangxi and around Shanghai. Photo/China Daily

Textile products collected from villages in Yunnan, Sichuan, Guizhou, Guangxi and around Shanghai.  Photo/China Daily

Textile products collected from villages in Yunnan, Sichuan, Guizhou, Guangxi and around Shanghai. Photo/China Daily

Textile products collected from villages in Yunnan, Sichuan, Guizhou, Guangxi and around Shanghai.  Photo/China Daily

Textile products collected from villages in Yunnan, Sichuan, Guizhou, Guangxi and around Shanghai. Photo/China Daily

Textile products collected from villages in Yunnan, Sichuan, Guizhou, Guangxi and around Shanghai.  Photo/China Daily

Textile products collected from villages in Yunnan, Sichuan, Guizhou, Guangxi and around Shanghai. Photo/China Daily

Textile products collected from villages in Yunnan, Sichuan, Guizhou, Guangxi and around Shanghai.  Photo/China Daily

Textile products collected from villages in Yunnan, Sichuan, Guizhou, Guangxi and around Shanghai. Photo/China Daily

A Shanghai textile designer shares her immense collection of traditionally made cloth

Houndstooth, checkerboard, colour blocks, diamonds – when Shanghai-based textile designer Hu Minna first saw these patterns during a visit to a remote village in Guizhou province in 2006, she was in awe. She was even more impressed when she was told all these patterns have been emerging from local looms for centuries.

Hu decided to bring the patterns to the public. Hence the Shanghai exhibition “Chinese Cloths: Woven, Dyed, Embroidered”, which shows hundreds of items collected by Hu since 2006. She aims to expose the cloth of China’s traditional crafts, their relationship with nature and their meaning in today’s fast-paced society. It is also a record of hundreds of patterns invented, inherited and inspired throughout the centuries by people around the nation.

All the objects on view are from villages in Yunnan, Sichuan, Guizhou, Guangxi and around Shanghai. Despite the vast geographical span, the locations sometime offer similar motifs in patterns that reflect migration and cultural mergers over the centuries. However, on second look, visitors can tell the delicate differences between patterns from two neighbouring villages.

“All the cloth on display was actually essential to the local people’s living,” Hu says. “They don’t make these for sale – they make them for wrapping their babies, preparing for girls’ dowries or simply for wearing. And for this reason, every piece is like a clan badge that shows the family’s wisdom and capability.”

A garment from Guizhou is one of the highlights of the exhibition. It adapts batik-painting skills with motifs of nature and the family’s history, with vivid portraits of ancestors, snakes and birds. “For some cloth-makers and their families, a garment is a visual record of an epic that tells how the household is developed,” Hu says.

Some tools, including looms and knives for drafting patterns and waxes for batik, are also displayed, giving visitors insight into the complicated processes.

Unlike the modern fashion industry, traditional cloth-making is time-consuming, but the products last much longer. The patterns and the skills are usually the secrets of a family, handed down from mother to daughter. Traditional cloth-making is demanding and requires a lifetime of training. It might involve dozens of steps and take several months to finish a handkerchief-sized piece.

The folk patterns and traditional cloth-making crafts are precious in terms of their contributions to the database of the textile industry, since they are still inspiring textile designers.

However, because mass-produced clothing is increasingly replacing traditional cloth, some of the patterns and crafts are on the edge of dying out. “I think maybe one of the best ways to preserve the traditional patterns and crafts is to find their positions – or functions they potentially realise – in today’s world,” Hu says.

“For example, making them into smaller-sized products, such as a shoulder bag, purse and name-card holder.”

Woven wonders

The exhibition is in Shanghai at 3F Found Muji, iapm, 999 Huaihai Zhonglu (Middle Road). It continues through April 20.

For details, call (021) 6475 6855.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น

Traditional painting makes a comeback

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Traditional-painting-makes-a-comeback-30230372.html

ASIA ALIVE: MYANMAR ART

Photo/Myanmar Eleven

Photo/Myanmar Eleven

Photo/Myanmar Eleven

Photo/Myanmar Eleven

Photo/Myanmar Eleven

Photo/Myanmar Eleven

The Myanmar Artists Organisation Central puts on a show in Yangon

With the revival of interest in modern art in Myanmar, traditional painting – an age-old national obsession characterised by the generous use of lines, curves and circles – seems to have lost its glory. But a group of leading artists is coming to its rescue with “Myanmar Traditional Art,” a recent exhibition of traditional paintings held for the first time by the Myanmar Artists Organisation Central (MAOC).

On display at the MAOC gallery in Yangon’s Bogyoke Market were 60 masterpieces created by 40 well-known artists. These paintings encapsulated a diverse range of themes: from the richness of folk culture and Buddhism to the mundane sameness of the daily grind. There was a puppet-playing girl, a hackney carriage and a group of men carrying Padaythabin trees as part of a Kathina procession entertained by a traditional ensemble. Attracting lots of attention was a painting of three longyi-clad ladies plucking gourds in the garden with a scattering of bamboo-woven baskets laden with tomatoes, pumpkins and pineapples.

These masterpieces averaged between US$100 (Bt3,300) and $ 1,500. Most buyers were local art collectors with a sprinkling of foreigners.

“Artists don’t create art for money but for art’s sake. We have plans to stage this exhibition annually in a bid to safeguard the country’s artistic heritage,” said Phyu Win, who has been painting for the last five decades. “We want to promote traditional art through this exhibition so that it attracts the attention of not just the locals, but foreigners as well. Without foreign support, it’s hard for traditional art to survive in the long run.”

Myanmar boasts a long and storied history of traditional art, which is divided into 10 branches, known as the “10 pan (Myanmar for “flower”) of traditional art.” These are Pan-be (ironwork), Pan-bu (sculpture), Pan-tain (gold and silver art), Pan-tin (bronze casting), Pan-taut (masonry with a floral motif), Pan-tamault (stone carving), Pan-poot (woodwork), Pan-chi (painting) and Pan-yun (lacquerwork).

Four main motifs permeate Myanmar’s traditional art: Kanote (lotus flowers popular in Buddhist architecture and palaces), Nayee (women, princesses and mythical characters), Kapee (monkey, monkey head, ogress head, duck and lion) Keinnaye and Keinnaya (half-bird, half-human lovers and celestial musicians) and Kazar (elephants).

The 10 disciplines of traditional art were originally cultivated by the Pyu, the ancestors of the Myanmar people highly regarded by the ancient Chinese as a gentle and civilised people with a rich culture.

The Pyu founded many city-states, including Hanlin, Tagaung, Beikthano and Sri Ksetra.

“We’ve unearthed antiques like images and coins made during the Pyu era. The reign of King Anawrahta marked the golden age of Myanmar’s traditional art, thanks to his economic and social reforms. The glory of traditional art is still well reflected in the plethora of stupas, pagodas and temples in Bagan,” said artist Sar Nwe.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น

Crayon Pop and their uncles

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Crayon-Pop-and-their-uncles-30230371.html

KOREAN CONTEMPORARY ART

Artist Jung Yeondoo. Photo courtesy of Plateau

Artist Jung Yeondoo. Photo courtesy of Plateau

A scene from a video in which middleaged male fans cheer for the girl group Crayon Pop. Photo courtesy of Plateau

A scene from a video in which middleaged male fans cheer for the girl group Crayon Pop. Photo courtesy of Plateau

Screenshots from 'Virgil's Path' by Jung Yeondoo. Photo courtesy of Plateau

Screenshots from ‘Virgil’s Path’ by Jung Yeondoo. Photo courtesy of Plateau

A teen girl group’s middle-aged male fans make artist Jung Yeondoo wonder

There have been flashy, glamorous collaborative projects between K-pop stars and artists, but few have dealt with the fans. Now, artist Jung Yeon-doo examines the craze for South Korean pop idols in “Crayon Pop Special”, his latest work.

The fans in whom Jung took interest, however, weren’t teenage girls but men in their late 30s and 40s.

Cheers in low male voices echo across the exhibition hall. The bass sounds come from Jung’s 30-minute video showing about 50 older male fans of the girl group Crayon Pop. In the clip, the male admirers wear cheerleader costumes designed with motifs inspired by the young ladies’ stage clothes and sing along at the top of their voices.

“I started the video project because I thought of the middle-aged male-fan craze as an interesting social phenomenon in Korean society,” Jung said at a press preview of his exhibition at Plateau at the Samsung Museum of Art. The show runs until June 8.

The artist highlights the peculiarities of these male fans.

“Korean men in their 30s and 40s are a very interesting demographic,” he said. “They have undergone a bitterly competitive life, so they understand how difficult it is to achieve success. They cheer for the B-list band ardently because they feel they are in the same boat, so they are gratified if the band’s popularity rises, boosted by their enthusiastic support.”

Jung was enamoured with the men after watching their passionate cheering and insatiable dedication to the girl group. They hail from diverse localities, including Ulsan and Jeonju, southern cities far from Seoul. “One guy even took a day off work to participate in our video shoot,” he said.

Jung calls the men “Popjeossi”, mixing the “pop” of Crayon Pop with ajeossi, which means “uncle” or “older man”. In documenting the Popjeossi, he attempts to reveal the older male generation’s psychological hollowness.

While “Crayon Pop Special” deals with show business and fans, Jung’s other latest work, “Virgil’s Path”, seeks to engage with “the essence of human beings”.

In “Virgil’s Path” he reinterprets sculptor Auguste Rodin’s work “The Gates of Hell”, a giant sculpture that stands in the lobby of Plateau. A special optical device, the Oculus Rift, enables viewers to watch the world of “The Gates of Hell” recreated by the artist, who had models strike the same poses as the figures depicted in the original sculpture.

Jung also displays snapshots of families in the Evergreen Tower apartment complex in Seoul and pictures of sales clerks at luxury boutiques in the affluent district of Ginza, Tokyo.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น

Kids really do ask for too much these days – ask Uncle Tan

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Kids-really-do-ask-for-too-much-these-days–ask-Un-30230342.html

SOOPSIP

Tan

Tan

Ichitan Group chairman Tan Passakornnatee made news earlier this week – inadvertently for a change. A bunch of kids hit up the wealthy businessman for some spare cash.

The youngsters were members of a band at Satriwitthaya 2 School called Max Percussion Theatre. God knows where they got the idea, but they organised a rally outside Tan’s premises in the Thonglor area, demanding financial support. Well, they weren’t “demanding” it. They were asking nicely – to “borrow” Bt3.1 million to pay for their participation in a drum-line competition in the Netherlands, which is taking place right now.

Tan had evidently become their last resort, being a millionaire with a reputation for helping people in need. The Office of Basic Education Commission couldn’t come up with the dough in time for the competition, the kids said, so they figured they’d “borrow” the money from Tan and get the commission to pay him back later.

Tan wasn’t initially disposed to sharing this time, but no one was calling him a miser. Instead there was much sympathy in the online public forums for Tan, who seemed like he was being robbed in broad daylight. The musicians were judged harshly and dubbed “the begging band”.

In the end, Tan did pick up the tab for the band’s trip and said they needn’t pay him back, but he would appreciate it if people stopped asking him for money from now on. He’s not the government, he said. He’s not that kind of populist. Meanwhile the social media came up with all sorts of sarcastic excuses for tapping him for a loan. “If we want to go to a concert in South Korea and have no money, we’ll go to Khun Tan!” @mindictator tweeted.

Then the self-appointed sleuths at Pantip.com probed the yarn and discovered that the organiser of the Dutch competition, the CGN IPN championships, hadn’t even invited the Thai band to participate, at least not at first. The Pantip crew found only one category in which the band could compete, “Marching World Class”, but the kids wouldn’t actually have to compete since they were the sole entrants! “So what prize they would they be bringing home if they won?” someone wondered.

The detectives learned that, of the 54 band members supposedly going to Holland, only 16 are current students. Another 34 are alumni. Plus, they’d asked the commission for Bt13 million to cover two contests, the one in Holland and another in the US state of Ohio. Plus, their stated budget is far beyond what they need. The commission hadn’t said “not yet” – it said “too much”. Plus, the band had announced on their website last September that they were going to Belgium in April. One last plus: Contrary to its claim, the Max Percussion Theatre is not Thailand’s secondary-school marching-band champion. They have won no Thai competition at all this year, so they don’t even qualify for government sponsorship!

We would love to hear from the school or the band that these revelations are untrue, but that seems unlikely to happen. Instead, we appear to have found a whole orchestra-full of future politicians.

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , , | แสดงความคิดเห็น

Breaking bad in Vietnam

ศาสตร์เกษตรดินปุ๋ย-ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Breaking-bad-in-Vietnam-30230333.html

Rap singer Suboi

Rap singer Suboi

Rapper Kimmese listening to her track at a recording studio in Hanoi.

Rapper Kimmese listening to her track at a recording studio in Hanoi.

Female rap stars tell it like it is as they opt for swag and sisterhood

In a land of simpering karaoke stars, Vietnam’s first female rappers are foul-mouthed queens of the lyrical underground – battling government censorship and rampant piracy to spit flow and make dough.

Hip-hop is a new import to the communist country of some 90 million, where society is still dominated by conservative values. Young women producing profanity-laced rap about partying and getting high raises eyebrows.

But having shot to fame at 14 as Vietnam’s first mainstream rap act, Kimmese SpaceSpeakers – who discovered the genre through a single Bone Thugs-n-Harmony song on a karaoke VCD – is nonchalant about her notoriety.

“I do what I want,” said the singer, 23, who has given up on Vietnamese record labels and is releasing her second studio album independently.

“None of them can produce me now… they don’t understand my music,” she says..

Kimmese took a four-year career break at 17, a hiatus she says was spent mostly drunk and partying, and then re-emerged as a powerful R&B vocalist straddling Vietnam’s musical underground and mainstream.

She cuts an unusual figure in her native Hanoi, Vietnam’s conservative communist capital: strikingly beautiful, she is covered in tattoos with waist-length green hair.

It is an image that chimes with her broader message, she said.

“In Vietnam, if men have tattoos, it’s cool. But if a woman has tattoos they call you a bad girl. It’s fine to be a bad girl! Man – good girls are boring,” she says.

She’s “not interested” in politics and so doesn’t rap about it, but her profanity-strewn lyrics are groundbreaking in the authoritarian country where standard mainstream pop fare is about patriotism, love and being a good girl.

Traditional social attitudes still dominate in Vietnam and women fall under considerable pressure to marry, have children and then cook for their husbands.

Kimmese gives short shrift to those expectations.

“I wanna be equal! And I want to tell them (Vietnamese women) that if I can do it, then you all can do it,” says the singer, who makes little money from her songs due to rampant piracy but has lucrative advertising deals with Pepsi and KFC.

“Women! You can do it, get out of the shadow of men and do whatever you want to do… Nobody has the right to judge you,” Kimmese says, in her near-flawless American-accented English, learned from rap songs.

She has recently come out, and thrown her support behind the campaign to legalise gay marriage in Vietnam.

Seeing Kimmese perform was what inspired Ho Chi Minh City-based Suboi to start rapping.

She joined a school friend’s rock band which performed Linkin Park covers, learning her profanity-laced English along the way.

Her style and lyrics have evolved: she started out wearing baggy clothes and scored her first hit re-writing a popular children’s song in English.

Now, she dresses more elegantly. “I don’t want to be stereotyped like ‘you’re a rapper you’ve gotta look like this’ but if you wanna battle me I can freestyle,” she says.

As one of the few female rappers in a male-dominated industry she is always trying to prove herself – but she also has little time for the ego-driven competitiveness of the underground scene.

“Other rappers, they’re more underground, they think they’re like superstars… But I’m sorry, I can talk about the truth without swearing. I can go another way.

“I want to show that women can be strong, like it’s not just guys can do rap,” she says.

After a bad experience with a possessive, violent boyfriend, she also wants to send a message to young Vietnamese women – in a country where domestic violence is widespread and remains taboo – that they do not have to accept it.

Suboi’s lyrics are often coded.

“We cannot say something super straight. You have to read between the lines,” she says.

“You can’t talk about drugs, you can’t talk about sex… people don’t want to hear it, actually, because government don’t want to hear it,” she says, adding that she has no desire to take on the system for now.

“I have a lot of rage in me about the country (but) if I say something about government I might be in a bad way.”

Both Kimmese and Suboi have a massive social media presence with hundreds of thousands of followers on Facebook. They regularly perform overseas but say it is hard to get concerts in Vietnam.

Most major concerts in Vietnam feature state-sanctioned stars singing bland, patriotic ballads – not rap divas talking swag and sisterhood.

“I can smile, but rap is rap,” Suboi says.

For Ho Hoai Anh, a music producer and song writer who has worked with both Kimmese and Suboi – who are friends and have featured each other in their songs – the two female artists represent a new wave of Vietnamese musical talent.

“In Vietnamese culture, even in the arts, women try and appear very understated, very feminine and gentle,” he says, adding the pair defied this norm.

“They have strong personalities. They express a desire common to many Vietnamese women: to have a more fulfilling professional life, to be less passive in general, not to be junior to men.”

“Their music speaks to the aspirations and the realities of modern life for Vietnamese women.”

เมษายน 6, 2014 แสดงความเห็นโดย | Arts&Culture, The Nation | , , , , , | แสดงความคิดเห็น