An intense week of participation in David Alan Harvey’s famous loft workshop (write-up to follow) necessitated some quiet reflection and family time, and what better way to do it than to spend it taking in the beautiful Fall colours of Vermont. It is difficult for words and pictures to do justice to the beauty of Vermont in the Fall and one just has to experience it and intoxicate the senses. I am attaching a few pictures of Jenne’s Farm and the Sugar Shack which must be among the most photographed locations in Vermont with the rustic farmhouses and rolling meadows.

Fall is just around the corner in Japan and I look forward to spending some time in one of Kyoto’s many temples working on my book project.

Waking up in the (freezing) pre-dawn hours and heading out in the mirror-like calm waters of the Inle lake, one is rewarded with the beautiful silhouettes of the Intha fishermen as they cast their big nets and row using their unique style – with the legs. This technique of standing up holding a long paddle in one hand and their leg wrapped around the paddle lower down, leaves the Intha fishermen free to use the other hand for manipulating their conical net for fishing in the shallow waters of the lake. This unique style evolved for the reason that the lake is covered by reeds and floating plants making it difficult to see above them while sitting. Standing provides the rower with a view beyond the reeds. However, the leg rowing style is only practiced by the men. Women row in the customary style, using the oar with their hands, sitting cross legged at the stern.

Perhaps one of my most memorable experiences in Myanmar, I was able to ride along in one of these flat-bottomed boats and struggled through 50+ pre-breakfast ab crunches trying to keep my feet out of the pictures, and simultaneously not upsetting the balance of the boat.







The fishermen take great pride in their traditional tattoos which are very clearly visible on their tanned chests, backs, and arms.


One of the top five attractions in Myanmar, Inle Lake is definitely worth the visit and although there are many tourists, one can still find a quiet place to relax and watch life go by.

Some portraits from my daily walks in Yangon. Wherever I visited, I was always met with a smile and made to feel very welcome. My days in Myanmar were full of interactions with the novice nuns and novice monks. Never did I feel any negative response to my requests for photographs. My appreciation and respect for them grew with every interaction and I felt I met many people I would have liked to be friends with. In Bhutan I had started to notice some frustration by monks who must have felt like animals in a zoo with tourists coming and taking a picture without any attempt to build a relationship. For me, many times I try to first build and then photograph that relationship. Sometimes it just starts with an effort to learn the other person’s name.

I found people to be great with smiles covering any scars of any depressive regime. Younger couples held hands and dressed alike on Valentine’s Day. There was always a strong sense of modesty and dignity and no matter where I went I never felt unsafe. The only terrifying thing in the evenings were the mosquitoes but I was well prepared. George Orwell in “Burmese Days” mentions casually “At night, Master too drunk to notice mosquitoes; at day, mosquitoes too drunk to notice Master”








]]> http://arifiqball.com/blog/2011/02/28/myanmar-faces/feed/ 1 http://arifiqball.com/blog/2011/02/25/spitting-monks/ http://arifiqball.com/blog/2011/02/25/spitting-monks/#comments Fri, 25 Feb 2011 13:00:32 +0000 Arif http://arifiqball.com/blog/?p=691 NOTE: the images in this feed have been downsized or removed for copyright reasons. To see them in their unmodified state, please view the original post by clicking here.

During my trip to Myanmar, I spent a lot of time with novice monks including visiting monasteries and their living quarters and even spending few hours in the early morning walking with them as they walked door to door to collect food. I always find a wonderful sense of calm and self restraint in these novice monks and was very warmly welcomed as they often nervously/often eagerly chatted with me in English (one of six subjects they study) and I feel I made many friends on this trip.

While waiting and watching them climb the stairs to/from their living quarters, I was able to capture a moment where a young novice monk ran down the stairs and spit out the window in mid flight.  Maybe this was one of what Steve McCurry called “The Unguarded Moment” or maybe this was a child being a child.

At Inle, while Steve was photographing his Masterpiece Buddha figure, I met this 20 year old mother and her child and asked for permission to photograph her while she nursed her baby. There was a certain charm and strong sense of personality about her and I spent a considerable amount of time photographing and talking to her and her whole family.  I will post more pictures as I sort through them.

For additional pictures from my trip please visit my Myanmar gallery where I will be adding pictures as I work on them.

Thanks to all who commented on this picture at the Leica Forum.

It has been a while since I last posted and it was for a very good reason – A two week workshop in Myanmar with Steve McCurry.  I have been a fan of Steve’s portraits from National Geographic and from Magnum and had wanted to be able to spend time with him to learn from the Master himself.  His workshop also allowed me to visit Myanmar which had been on my high priority visit list since it remains the last country in Southeast Asia that is almost entirely untouched and is also one of the most devoutly Buddhist countries left on earth. With the release from house arrest of opposition leader Aung San Suu Kyi, more and more people are wanting to visit this magical place.  Luxury Travel Magazine recently listed Myanmar as one of the Top 11 trends in 2011, and so it was best to visit before the tourist buses arrived and all was lost.

Over the next few weeks I will sort through my many pictures and organize them in themes as well as write about the workshop itself.  Here is a quick edit of a sight that may be familiar to you.

While changing computers, I came across many galleries of Bhutan that I had not fully worked on or put up on my web site.  Processing these colorful pictures through the Black and White lens of my memories, I remembered many wonderful moments in what was one of my favorite photography trips.  I cannot recommend enough the wonderful trip that was put together by Robin Smillie of Rainbow Photo Tours.  If you ever want to visit Bhutan, then Robin is the person to work with to set up a memorable journey and plan for you.  Here are some more portraits from that trip.  I will continue to add more as I work through them.

I had been revisiting my Bhutan photographs in anticipation and preparation of my trip to Myanmar in February.  From what I can feel looking at the pictures of Myanmar on the internet, it promises to be similar but yet different.  Similar in that I see the same smiling faces and calmness that is typically seen in most Buddhist cultures but different in that the scenery is rich with history of a once wealthy Kingdom.  The thousands of temples in the valley of Bagan, and the Golden temples in Yangon create both curiosity and concern. For a long time, I have been looking forward to visiting both Myanmar and Cuba and with Myanmar opening up its doors, I grabbed the first opportunity I could get.  Yesterday the US showed more openness towards Cuba and I look forward to going there soon before the colors mix too much with things that are so familiar to me in the Western world.

A New Year and a new start and I am looking forward to doing a lot of photography this year.  Over the holidays I played around a little bit with some old pictures I had taken in Bhutan two years ago.  Although Bhutan is very colorful and a photographer’s paradise, I tried to see how some of the pictures would turn out in B&W.  In a way, Bhutan is still suspended in time so perhaps B&W does do justice to the wonderful people who live there and who shared many smiles with me.  Most of these are taken with the Leica M8 and the Nikon D3.

I met this couple in Bali during my last visit.  They were the Priest and Priestess at a local temple and I saw them walking hand in hand in the rice fields leading to the temple.  Slowly and delicately, they supported each other across the stairs and broken sidewalks and I walked with them thinking about love and companionship and what it means to them now and perhaps throughout their life.  They were happy to be able to live with each during these days cherishing their time together and it was a joy to be able to witness this.

As 2010 draws to a close, I would like to take this time to thank all of you who have been reading my blog and sending me private comments.  A special thanks to Tsuru-san who has the record to have commented on all my blogs  and my pictures .  Your comments and well wishes are always encouraging for me to write more.  I wanted to thank Wendy and Tom for writing about me and my pictures for their University papers.  Thanks also to the many people and (companies) who bought my pictures through the various agencies I am listed at.

Looking forward to 2011 and to the possibilities it brings, I am hoping to spend more time photographing people in their natural environments and also working in B&W.   I hope I can take some pictures that will remain in the hearts and memories of the viewers.

May creativity, joy and peace lead you in whichever journey you choose.  Have a very safe and happy holiday season with your loved ones.

Arif

The Balinese tradition of salt farming dates back almost a thousand years, but is only recently gaining appreciation by not only fascinated tourists, but also by salt connoisseurs.  Both tourists and consumers are willing to pay for this inefficient and archaic method of harvesting salt to enjoy both the “naturally produced” salt, as well as the unique taste that is only possible due to Bali’s geographical location. The Eastern shore of Bali borders the Lombok Straight which brings cold water from the north and mixes with the warm Bali tropical water creating a salt that is mild and sweet in flavor. Early morning visitors to the black sand beaches of Kusamba in Eastern Bali will find salt farmers making their way to and from the ocean with wooden or leather buckets balanced on bamboo poles carried across their shoulders.  

Slowly and with a defined rhythm, they splash seawater across the raked and pre-smoothened sand along their path.

Over the next several hours, the warm sun bakes the sand into flakes from which the salt is to be harvested. The thin flakes are gathered carefully and washed with fresh water in a series of wooden drums arranged like a miniature canal system to make pure saltwater brine. The brine is poured over split timber planks that are spread across several wooden frames for further evaporation under the sun, a process which can often take a few days. The salt grains are drained into bamboo-leaf cones before being packed into little plastic bags for sale.

Although the process is fascinating to visitors, the work is tedious, tiring, and painstakingly time consuming with a very small yield. Typically, two days of work usually produces about four-five bags of salt, each amounting to approximately 5kg. Since the drying is dependent on the sun, this process can only be done during the dry months.

The extremely demanding physical nature of the job and the low returns is gradually reducing the number of salt farmers.  During my previous visit to Bali, I had visited a few older farmers and on this trip, I was very pleasantly surprised to find Wayan Roma who at 30 years of age was definitely an outlier in this profession.  I asked Wayan why he wanted to do this work when he could get a job elsewhere and he replied “I used to work at a Hotel in Legian Beach but was getting frustrated by being bossed around and so I decided to start my own business.”  He said that the work was hard but he could do it at his own pace and that he could control his own destiny.

Wayan is supported in his job by his wife and his parents and they live together in a modest hut on the beach.  When talking to his family, one could not help but admire the family bonds and the family strength that allowed them to persevere under these difficult situations and that too with a big smile.  They invited my wife and I into their home and offered us tea.  I found them to be confident, proud, and without envy of the lifestyle that much of the rest of the world embraces. They were naturally curious as to what I found interesting in them and I told them that people all over the world are similar in that they work hard to support their family and to follow their dreams.  Once again, I was reminded that people who seem to have nothing have the biggest hearts.

A Balinese tradition, the Negara Bull Races (Mekepung) are held in Perancak, a little way away from Negara in Bali. The origin of the race is not known, but it is assumed to be a celebration of the end of the rice harvest.

Hundreds of bull and rider teams compete in this event which occurs on Sundays between July and October.  To get there, I had to wake up at 2:00 AM and leave Ubud by 3:00 AM to reach Negara by 6:00 AM.  We were not the first to reach there, but were among the few foreigners that were seen in what is still not a tourist attraction – a show put on by the locals just for the locals.  I have always respected Balinese traditions which are always meant not for tourists but for the Balinese themselves.

Two pairs of bulls are hitched to make-shift chariots and ridden by jockeys around a one-track course. The bulls are chosen carefully, on the basis of strength and color and they are not used for ploughing fields.  The Bulls are bathed and decorated with colourful garlands and headdresses. Many have their horns painted and also wear large wooden bells.

At first, these bulls are paraded before the spectators, and then the race begins, with two pairs racing at one time. The winner is not necessarily the first past the post. The judgment is based on speed and style, points are awarded for the most elegant runner and winning is considered very important.  Although gambling is illegal in Bali, I am sure there was some wagering going on at the sides.

The dexterity and the riding skills of the jockeys was impressive.  What was however painful to watch were the whips lashing out at the bulls many of which are spiked with nails to get the extra push.  It was not uncommon to see bloodied sides of bulls which the locals assured would heal quickly.

It may only be a matter of time before the races become less bloody and the animal activists challenge this long standing local tradition. For those who want to experience pure Bali, one may be able to see these in the interim but a word of caution for the fainthearted.

Meet 15 year old Nova, who kindly agreed to let me photograph her in a traditional Balinese dance (pendet) costume. The pendet is one of the sacred dances traditionally performed in the jeroan (inner temple). The pendet is a dance of welcome for the gods, and is danced by a group of girls or women, each wearing ordinary traditional dress (as opposed to a special dance costume) and carrying an offering in her right hand. Pendet is widely taught to girls in Bali today and contains many essential elements of Balinese dance.

Balinese Masks require a very high level of expertise. Not only must the maker be an expert in the art of wood carving, but also he must know the movements that each dancer uses so that the character can be shown by the mask.  On my recent trip to Bali, I had the good fortune to meet a living legend in Balinese Mask making – Ida Bagus Anom.  Anom is revered locally and very well known internationally for his handcraft and the strong images of his masks. His traditional masks are in high demand by Topeng dancers and pantomimes all over Bali. As with many artisans here, Anom learned his craft from his father, who in turn learned it from his father.

Anom was born in 1953 in Mas, Bali (recognized as the mask-carving centre of Bali) and continues to live in the same compound where his father, grandfather, great-grandfather, and their ancestors have lived for over 700 years. Anom inherited his artistic talents form his father, the noted maker Ida Bagus Ketut Gelodog, who taught him carving, dancing and puppetry.

Anom, who is fluent in English, regularly teaches about the art of mask making and the stories behind the masks. Visitors regularly frequent his home where he has a woodcarving workshop and also a showroom. Anom was very gracious during my short visit and allowed me to witness the process of chopping the raw block of wood, the carving and painting techniques, and finally explained about the dance process and how masks have been essential elements of Balinese rituals for centuries.

According to Anom, two types of masks are made, but only one type is used for performances. The painted mask is specifically for performing. It is made of pule wood, a flexible light material which is suited to the rigorous preparation process. After the painstaking shaping of the wood, this mask is coated with 40 coats of paint. A harder wood would dry and crack, and another wood would be too heavy for dancing. One mask typically takes a few weeks to complete.

The other type of mask, the unpainted one, is for decoration only. It is made from waru wood, which is a variety of hibiscus. The clear polished finish is especially attractive, as the smooth contours and fine grain of the wood are visible.

A masked dance for a temple ceremony will finish with the Sidha Karya Mask, which symbolizes success. This final, spiritual character throws a Chinese coin and rice in the air as the farewell prayer.

Anom once appeared in a National Geographic TV show that showcased Bali, and he also told us that during the fall of 2001, he received an invitation from a Japanese television program to travel to Japan in a cultural exchange with one of Japan’s greatest mask makers and dancers. The major question of the Japanese at the time was, “How could Anom create Japanese style masks so close to the original style without having visited Japan or receiving training under the great masters of Japan?” This 2001 visit began transforming Anom’s work and one can now see the Japanese influence in his most contemporary works.

As in all areas of life in Bali, dances with masks are a form of offering to the gods. These centuries old Balinese masked dance performances are a unique way to gain a glimpse into the history and culture of Bali, as well as being entertained by the sharp sense of humor of the modern satirist. Thanks to the demand created by both dance, and tourists, the masks created by Anom are always popular, and now younger generations of wood carvers are also beginning to appear giving hope that the art of of Master Craftsmen like Anom will survive even though it will take more modern forms dictated by the consumer taste.

I am eternally grateful to Ida Bagus Anom for his generosity with his time to share with me about the wonderful art and world of Balinese Mask Carving,

Ships that pass in the night and speak each other in passing;
Only a signal shown and a distant voice in the darkness;
So on the ocean of life we pass and speak one another,
Only a look and a voice; then darkness again and a silence.

Henry Wadsworth Longfellow

When I think of places I have travelled to, certain faces always stand out in my memory. Not only do I remember the faces, but also I remember their stories and what attracted me to them in the first place. Mixed between my other blog entries, I would like to share these stories. There is no order to these stories just like their is no order in life. On my journey on this Ocean of life, I am happy just to have made their acquaintance.

The first in this series is that of Traditional Sicilian painter Franco Bertolino taken in his studio in Palermo (Sicily) Italy.

When one visits Sicily, one often finds lavishly decorated two-wheeled wooden carts in museums and tourist shops.  The carts, first brought to the island by the Ancient Greeks, are covered in brightly painted episodes from Sicilian folklore or history but can also feature intricate geometrical designs. The most popular colors used in painting the carts are yellow and red, those of Palermo’s flag, while bright greens and blues are often used to highlight details.  At a time when most of the island’s residents were illiterate, the carts were able to illustrate not only historical events but also provide information on the owners and their trade.

Franco is the fifth generation of Sicilian Cart painters and perhaps the last great master to carry on this great tradition of story telling. In his workshop, Franco decorates by hand carts, wheels, motor scooters dolls and puppets in his own ornate style. Over his career, he has painted more than 500 of these carts, many of which have also been officially used in state and government ceremonies.

It was Franco who found me while I was photographing one of the abandoned cart’ wheels in one of the alleys near his workshop.  He was curious to come and see what I found interesting and quietly unlocked many doors of garages containing his works of art.  Language was not a barrier to his passion as he took the time to tell about his family and their long history in this craft.  One could detect a hint of sadness as he spoke about no one in the future being able to carry on this tradition and I too felt that sadness to see another one of the living treasures in Sicily may be unable to pass on his trade to the next generation.  I had read about Antonio Vultaggio, the last person to make fishnets by hand in Sicily, and perhaps all Italy, who died at the age of 78 in 2007 without anyone to follow in his steps.  As Franco gave me a DVD of a puppet show which had used many of his family’s creations, he talked about workshops for children that he might do one day and I really hope that will attract many more future artists to this colorful world.

The Lonely Planet guidebook for Chile and Easter Island mentions “If there’s one thing you absolutely have to check out while you’re on Easter Island, it’s a traditional dance show” and I agree.  The two troupes “Kari Kari” and “Matatoa” both perform many times during the week and provide a wonderful way to round out a day of taking in the sights of Easter Island. Not only is this entertainment for the visitors, but also it is a vessel to educate both visitors as well as young Rapa Nui children about the history and the culture of Easter Island through dances, costumes and body paintings of the Rapa Nui as they pass down from one generation to the next.

Although both the troupes are from Rapa Nui, the sights and sounds are different. Kari Kari over powers the senses with elaborate costumes and the number of musicians and dancers. The show we watched involved a lot of audience participation and was quite enjoyable but my wife and I both felt it to be a little overly commercial and instead preferred Matatoa (we ended up seeing Matatoa twice on different nights and both times the show was excellent).  For me the guitar riffs combined with the beautiful singing and polynesian style dancing was not only a great balance, but also I loved the warm interaction of the dancers and the musicians with the audience and enjoyed photographing the show very much.

Our biggest regret about our trip to Rapa Nui has been about not buying the Matatoa CD and DVD after the show (we wanted to keep our luggage at a minimum level as we had just started our round the world trip). Upon returning to Japan we tried very hard but have been unable to find the CD and DVD although we were able to find a few of their songs on youtube. Our favorites include “Tagi Tagi“, “Here ma ‘ohi“, “Hiva“, “Henua“, “A he ra koe“, and one I don’t know the title to. I am sure there are more but these were the only ones we could find  Watching these videos will provide you with a sense of Rapa Nui culture and give a glimpse of what people long for in this remote island in the middle of the Pacific Ocean.

Lonely Planet was right one more time when they said “you’ll have a lump in your throat the day you leave“.  We look forward to going back!