Did Ancient Muay Thai Fighters cover their gloves with broken glass?

A lot of people have asked me whether Ancient Muay Thai Fighters, in an attempt to sharpen their body weapons, did in fact dip their gloves into a glue mixture of broken glass (as most would have seen in Van Damme Movies).

Before answering the question, I would first like to present the following set of facts for your consideration:

- The old time fighters’ gloves were made of soft, raw hemp which were bound in a special way as to create knots. The way in which the fists and arms were covered-bound with hemp differ in accordance to style and region and can be generally summarized as follows:

1. Northeast style: Bound from the fist all the way to the elbows.

2. North style, Central Plains: From the fists to mid-arm length.

3. South style (Chaiya): only the fist portion is covered.

This is a reflection of the kind of weapons and tactics that comprise each style.

- Old fighting rules dictate the use of only hemp to cover fists and no other, except for the sky axe which is a small religious ornament to protect each fighter. Smart fighters learned how to tie excess portions of hemp into knots as a means of turning their gloves into sharp weapons especially when sprayed with water hardens the hemp).

- A fighter’s hemp glove is considered an important asset as it contains the blood and skin of his opponents. Upon finishing, the hemp will be stored in a clean, dry place waiting for its next usage.

- Before each fight the referee requests each fighter to gently rub their fists against their cheeks as a sign that there is not hidden weapon.

- There is no requirement that a boxer must cover his fists. If they choose, they may fight bare knuckles.

Grandmaster Ketr Sriyapai (at age 72 yrs), himself, has also asked that during his trip to the province of Nakorn Pathom to meet with Kru Too Thaiprasert (78 yrs) (the younger brother of Kru Daeng Thai Prasert – the key representative of the Muay Korat style who was also bestowed the title of “Muen Chagad Cherng Chok” by the King Rama 5), the truth regarding gloves covered with broken glass. According to Kru Too, who is also a fighter in the Suan Kularb Days, he has never witnessed such act since he was involved with boxing.

While still alive, Ajarn Ketr was very concerned that this misunderstanding would lead outsiders to view Ancient Muay Thai as being barbarious.

If we also consider the backgrounds of these two masters:

Ajarn Ketr – Muay Chaiya of the South + Muay Pra Nakorn (he was also a long time student of Ajarn Kimeng Taweesith) Kru Too – Muay Korat Style of the Northeast

We can see their experiences already covers 3 of the 4 major styles of Ancient Muay Thai. It is therefore highly unlikely that the ancient boxers dipped their gloves in broken glass.

By Lamp-S

Muay Thai Style Throw

Muay Thai-Style Throw

As earlier mentioned, Muay Thai is the Crowning glory of the martial arts. Our warrior ancestors ingeniously invented, devised and modified a complete apparatus of defence and offence, from fist, foot, knee and elbow to throw
The world recognizes judo as the foremost from throwing. This is not untrue, if we speak of a martial art which employs exclusively body throwing that is assumed as a defensive art.

The reason why throwing is not so popular among Thai boxers, in spite of the written tenets for using it do outsmart an attacker, is probably because Thai pugilism provides myriad and diverse options of winning a fight, which may be more viable, less energy-sapping and swifter. It is not that Thai expert boxers do know how to throw. They are able to should they wish.

Every throw in Thai boxing can be deadly and lethal if you use it correctly. That was why, unless driven beyond tolerance and humiliation, no one would choose to use it on a compatriot or a fellow human is being.
Muay Thai was invented by our ancestors, not as a means of self defence, but as a national defence
Another person for whom I had the highest respect was Srithorn Sriyapai, who was Master Khet’s daughter. She used to tell her farther’s feats.
When the master was his sixties, he was teaching his pupils about several kinds of kicks.

At that time, a friend of his pupil who was a professional boxer with much fighting experience at the Rajadamnoen stadium found this old boxing teacher so in sufferable that he wanted to give that old man a lesson. He arrogantly approached and asked to aim a kick the old master, just to see how well the pugilist expert could withstand and solid shanks of a younger man.
The Master kindly obliged and offered himself to be kicked at will.
The assailant kicked hard and fast, with the kind of kick that would inflict the kind of injury you can only imagine on a sexagenarian if hit right directly and with full force.

Faster than Srithorn or anyone else could see, the old man threw his attacker and haughty kicker fell supine with his head hitting the floor hard. He mustered his strength to get up and dust himself off, composed himself and walked back to his seat, trying to give the impression that he was thinking “I can get by without any pain at all.” He had learned his lesson, though, and would never dare repeat a kick on the Master.

After a short while, Srithorn noticed he has bleeding from the ear. She took him to the hospital to treat the injury. Fortunately, he was saved before the condition could deteriorate and get complicated.In truth, this man’s injury was not the result of Master Khet’s uncivil act. It was his own obnoxious and malicious act of violence that had ended in such dire consequence.
If only he hand asked to test his kick in all modesty, like a pupil to the master, like a younger to an elder, with respect for seniority, he would have gained knowledge without injury.

The principle of Thai defensive art is based on reaction towards the attacking force, like the Buddhist maxim that says “Distress inflicted upon the other will come round to the perpetrator,” the idea of which is not far from English proverb, “As you sow, so shall you reap.”

Reaching up to hurl your shin at full force at the neck of a person who is bending low to take the kick is simply stupidity and an underestimation of your rival. As Master khet always taught his pupils, when you see a crouching tiger, don’t thing he’s afraid of you”

The person who was lowered himself to tempt the opponent into kicking his neck has neck has several ways of escaping the aimed foot.
For example, you can bend down to let the flying foot past over your head. Or you can lower yourself even lower and when the kick flies past your head, you can catch it with a hand while stretching up to full height. The kicker will lose his balance and fall backwards. The higher and the harder the kick, the more off balance he gets. He might even be flipped over and knock his head on the floor.

Or you can use the heel of your palm to counter the kicking leg above the knee. Suppose he kicks with the right shin toward you left side, you can receive it with the heel of you right palm while adjusting the body angle (provided you use a leading left guard), but you have to keep your left hand over your ear and your left arm close to the trunk, as a double precaution, in case it slips or is flung back.

When pressed above the knee, the kicking leg will disable. You have to move your left hand from ear and pass it under your opponent’s calf, lifting his leg to your shoulder, while thrusting forward and stretching all the way. At the same time, your right hand should pass over to rest on his neck. This move amounts to automatic pressing for throwing.

By this method, if the catcher does not let go but lets himself fall with the kicker, the kicker will lie underneath with the one being kicked on top. You can press your elbow on the bottom of his breastbone or in his midriff with your knee on his pubis. This is called throw and stack.

This is the same move the Chaiya boxer, Nai Plong Chamnongthong from Caokhun Vachisatyarak’s (Kham Sriyapai) Stable, used to defeat the Korat boxer, Nai Plong Prabsabok Muen Muay Mee Chue in the service of the Department of Recruited Deputies.

This move can also be altered with a slight adjustment of the angle to constitute a deadly throw and stack that can be fatal.
It can be used to counter kicks and fend off knees and was know among Master Khet’s Pupils as the arse-kissing move.

‘Orge abducting a damsel’ was another throw in Muay Thai. This was used to counter a direct jab. You dodge the punch by getting out of reach behind the arm of the hitter and then locking your arm with the jabbing arm, twisting you hip to take the weight while completing a throw as in a judo throw. When I was little, I often saw boxers using one of these throws but this move seems to have disappeared some time ago.

Current boxing only makes use of ‘ploughing’ which is a new tactic which emerged less than 10 years ago. When he saw a boxer holding on to an opponent’s leg, Master Khet call this move, ‘Luring a Tiger into Your Home.’
“A tiger lives in the jungle, son,” he would say, “if you drew him into your home, he would eat you up alive.”

As l learned from him, when you can hold up his legs in this manner, why you would want to plough him to make matters more difficult? You are not a buffalo and pushing him around the ring like that does not seem to inflict any damage on your opponent.

What you should do is to grip him tightly around his calves and kick up your leg at full force until you fall backwards on the floor with all your weight. And that will do this trick. Just imagine what will happen to the legs in your grip.
This throw is easy to use and most suitable for countering a jumping knee or floating knee which your opponent serves you like a delectable dish on a platter. Do not be afraid to chew on it.

If he hurls his right knee at you, receive it in your left palm, or push it away by tugging under the knee while stepping with your right foot and adjusting the angle, pushing under the chin or neck, not unlike the counter move for a kick.
The soaring hanuman who aimed to break the Elephant Erawan’s neck would be doomed the flip over backwards and fall flat on the floor, passing out on the spot, as if stuck by the piercing arrow of the defending Orge Indrajit on the elephant’s back.

Thai Always teach their kids: you must be powerful but unassuming, hide your blades in the sheath, and hide your claws like a tiger, don’t flaunt your tail like scorpion.

Accordingly, Thai-style throwing is subtly disguised. The fundamentals of Muay Thai throwing can be used even on a buffalo.
The Master once asked me:
‘Have you ever toppled a buffalo, son?
When I was little, I used to hang out in the paddy fields with my pals. To impress them I boasted.
“I’ll show you how to topple a buffalo.” No one believed I would be able to do this.

I approached it from the front, seizing both of its horns and twisting them to the right with full force. Feeling the pressure, it resisted and tried hard to twist back to the left.I then pushed it to the left with its own force. It crashed flat sideways and to the left, got up frightened and sped away. My pals said: “Khet, you have a helluva lot of strength.”

In fact, it was not my own strength, it was the buffalo’s. It actually toppled itself.”
This is the fundamental idea of Muay Thai. Small can topple big and the few can defeat the many.

Copy few parts From Siamese Boxing author by Vallabhis Sodprasert

Birth of Pahuyuth and Ancient Muay Thai

Prior to the Sukhothai era, Thai civilization dated as far back as those of the Egyptians, Babylonians, and the Assyrians. They were established before the Buddhist era in a land called “Aay Loa Kingdom” one the river banks of Huang Ho and Yang Jue rivers, presently known as Schezuan, Hubei, Anhui, and Kiangsi in China. There were later defeated and had to continue migrating south to maintain their freedom.

Thais are known to be liberal and great warriors. They have always been an independent nation and have evidently fought to protect their right and loved ones. During those times, villagers along the Thai borders prepared themselves by engaging young men in physical activities like wrestling, boat race, and bull race.

For practice of self-defense, many generations of old masters continuously assembled and developed the fighting techniques passed on from their ancestors for thousands of years. They finally established a fighting system for Thais called “Ching Kom” and “Pan Lam”, both well-known.

Master Ketr Sriyapai (the author’s senior teacher) once said that “boxing means punching as taught by your teacher or fighting to survive”.

Thai boxing is “an art that has been developed by our ancestors as a national heritage to their children for thousands of years.” The genuine Thai boxing is best performed by Thais. Unfortunately, the Thai boxing we see today in rings is not the true Thai boxing.

By Kru Praeng (Amornkrit Pramuan)
Muay Thai Chaiya Boxing Foundation

Pahuyuth AwudThai

Foreword

.....When I was asked to write about “Ancient Thai Boxing and Muay Chaiya”, I felt it was a difficult task because the society at large has lost interest in the subject. But after thorough consideration, I have come to the decision to do so, in order to honor and show my gratitude to my teachers who have patiently taught me and to my homeland, the Kingdom of Thailand. .....Please note that the following articles (and the ones that follow) are based on what I have learned from my teachers. So there may be different teachings from different teachers, or different interpretations from the same teacher. The beauty of Muay Thai is that it is a flowing style, open to change as long as the basics are strong.

“To my dear young ones. Remember that he who has taught you even only one step, one day, one month, and one year is considered your teacher for life. Be grateful to him. Repay and treat him with respect.”

With this in mind, I would like to pay full respect to all my teachers who have taken their time to share pass their wisdom to me.

All living creatures, human in particular, have, since the age of dawn, fight for survival. Each has their own ways of fighting to protect themselves and to hunt for food.

Animals fight based purely on instincts and brawn, while human beings used their intelligence and developed their fighting skills with bare body and weapons.

If we believe in the theory that mankind evolved from apes, then they should have started fighting approximately one million years ago. With their primitive inheritance, historic man fought similarly to animals. They fought with their natural instinct using biting, kicking, snatching, scratching, punching, kneeing, throwing, breaking, etc. Their fights were purely a means of survival.

Historic Men fought for two reasons:
.....Food and territory
.....Jealousness

In the Stone Age, when men still lived in caves, brawls usually occurred because of jealousy and lust. Later on, men formed a more complex social group, starting with small communities and eventually on to nations. In the process of doing so, they also developed more civilized approaches, such as rules and regulations, to resolve their conflicts.

However, with each nation having its own set of beliefs and needs, there are inevitably more conflicts and violence. The in individual brawls thus turned into battles and wars.

Muay Chaiya Original Muay thai

Thai national martial art is, naturally, MuayThai. But how many really know the true Muay Thai beyond the thought of two big, muscular boxers furiously exchanging kicks as seen at the boxing camps or the famous stadiums such as the Lumpinee and the Rachadumneun?

The original Muay Thai uses one’s wits more than brute strength, and ends up with injury sustained by both sides. Muay Chaiya, a style of Muay Thai, has clearly illustrates this fact.

Muay Thai Chaiya, or as called by it’s full name as Pahuyuth Muay Thai Chaiya, translated to be the way of Thai fighting, hand to hand combat, Chaiya style, can hardly be seen now a days. But there is a place where Muay Chaiya is taught to interested public, so the heritage of the old and traditional Muay Thai, or Muay Boran, can be passed down. This is to keep alive a true Thai tradition, which most people have only seen in books or movies.

Master Amornkrit Pramuan, or Kru Preang to his Muay Thai students, has carried on the intention of the masters, who had come before him, to continue the legacy of preserving Muay Thai in it’s true form, which had been forgotten since the banning of fighting with rope, or hem binding as we called Muay Kad-Chuek. Many techniques, unique to Muay Thai, have been lost due to the imposing of rules adapted from western boxing.

Kru (teacher) Preang, was the close student of Kru Thong Chuer-Chaiya, who had inherited the Muay Thai Chaiya from the Grand Master Ketr Sriyapai (the last grand master of Muay Thai), who had learned from his father, Phraya Wajeesatayarak, the provincial governor of Chaiya. The Grand Master also learned from another 13 masters until he was well versed in MuayThai.

Muay Thai Chaiya, not only utilizes fists, feet, knees, and elbows as we commonly see in the main stream Muay Thai, but also uses the forgotten elements of throwing, pressing, grabbling or clinching and joint breaking (Toom-Tup-Jub-Huk), they are no less dangerous than the throwing and joint locking of other martial arts. There are other sets of techniques with names that rhyme and contain deep meanings. They are to lure, to mislead, to elude, to avoid, to deceive, and to tease (Lor-Lork-Lop-Leek-Lorklor-Lorlen), or to hug, to squeeze, to swing the opponent from side to side, and to cast or throw the opponent down (Kod-Rad-Fad-Wieng). These are the techniques for inside fighting, that we no longer see in today’s Muay Thai. Even the way to fall, to get up, to roll on the ground, and to crawl (Lom-Look-Klook-Klan), which deal with proper way of rolling on the ground and falling so the practitioners wouldn’t get hurt.

So, an exponent of the old and traditional Muay Thai, such as Muay Thai Chaiya, does not limit oneself to only one-dimensional fighting of stand up strike. If the fight takes one down to the ground, one still has to be able to fight effectively. Since the old traditional Muay Thai was created for the engagement in battlefields, being able to engage with several opponents at the same time has made Muay Thai Chaiya so formidable.

Classes are conducted in the old traditional and systematic way. Students will learn from basic. They will learn how to defend themselves by blocking or shielding, brushing away, covering, and opening (Pong-Pud-Pid-Perd), until one is proficient and confident enough to protect oneself from being attacked. Then one will gradually learn other extended Muay Thai techniques, or Look-mai. This is different from the main stream Muay Thai, where the boxer will train to take offensive posture of solely kicking, punching and to destroy one’s opponent, and in return, by depending on the physical toughness of oneself, to receive kicks and punches from the opponent. As the teachers, or “Kru’ of Muay Thai Chaiya have strongly affirmed that an exponent of an art of self defend has to be able to actually defend oneself from harm. One should not achieve winning status because of one’s durability.

Corrections and changes were made through the wisdom of past Muay Thai teachers, Muay Thai is devastating with numerous trick techniques, extended techniques, and principal techniques. These said techniques can branch out, virtually, without limit. The learning of this devastating art of fighting, develops oneself to be a person with patient, strong determination, and yet, serene. All in all, to learn the way of fighting, will develop an exponent to be a good member of the society, who is always consciously alert, well behave, just as one who has been taught by a teacher.

Kru Preang has also drawn a curriculum for weaponry that co-exists with Muay Thai Chaiya. It is commonly known as Krabi-Krabong, or “sword and staff” which actually means the use of short and long weapons. They consist of two-hand swords, knife, long pole or staff, short staff, or elbow staff (mai-sork), as well as, all other old traditional Thai weapons, that one can not easily find a place to learn. This is a true combination of all the traditional Thai martial arts.

Muay Thai Chaiya and Thai Weaponry Conservation Foundation

Kru Preang (Amornkrit Pramuan)Muay Thai Chaiya and Thai Weaponry FoundationOffers Classes on the Chaiya Style of Muay Boran (the old traditional Muay Thai), Muay Kad-Chuek (the hemp bound fist fighting), Thai sword fight, and all other traditional weapons.

Calling ephemeral arts teachers, artists, writers and researchers

Calling ephemeral arts teachers, writers and researchers from any part of the world!

I am interested in hearing from teachers, artists, writers and researchers who are interested in the ephemeral arts. Our definition of ephemeral arts is," Arts which are temporary or short-lived, based on a specific occasion or event and transitory in nature".

A Festival of Ephemeral Arts, which is held at various locations in the United Kingdom is our main public event. It has been running for over five years and now recognised as an innovative and successful community based festival. It has been run in over 50 schools, always in conjunction with the local authority and community groups in the areas where it has been held. It first projected a South Asian cultural focus but over the years, artists have been recruited from all cultural backgrounds to create and market work to combined and mainstream audiences.

Teachers and Artists are required to work on the festival as we plan our work for the next three years. A number of proposals are under development. Your area of specialisation is important but an ability to examine the linkages between ephemeral artforms is more critical! Teachers and artists should be able to produce original concepts, develop them for public presentation and be able to engage audiences. Currently, teachers, artists and practitioners are required for adding new dimensions to the programme.

Writers and researchers are required to work on publications and to contribute to this blog as approved members.

Further information on this vast range of projects in this unique area of work is also available from the festival website. It is also being updated.

New dimensions

The Ephemeral Arts Festival and its programme is being extensively revised. A number of announcements follow this posting.

Please contact, initially by email only, to introduce yourself and your work and to suggest what you do and how you may be able to influence the course of development of this highly original area of work through festivals, workshops, seminars and a proposed annual conference. You can suggest how you work as a teacher, artist, writer or researcher. An application form will be sent and interviews arranged within 4-6 weeks for immediate opportunities in the UK. All enquiries and applications will be acknowledged.

Contact: Kalwant Ajimal, Founder, A Festival of Ephemeral Arts
email: kalwant.ajimal@btinternet.com

Exploring Ephemeral Arts - the best blog on the subject?

A few questions about the progress made so far..

This site has been exploring a number of areas connected with ephemeral arts. It would be useful to examine what has been achieved so far and to outline the scope for future development of the blog as a resource for students, teachers, librarians and parents.

Further work is to be presented to address the specific areas of interest that have been identified and inspired by the blog so far. A number of students, artists and teachers have responded by email or made verbal comments. These comments will be taken on board. The blog is intended for students at GCSE and 'A' Level standard, that is, for those who may be working on projects as a part of their secondary school education. More advanced students and also their teachers may also find that elements covered here will inspire them to look further at some of the themes outlined here.

The blog is also intended for the lay reader who may just want to look at artistic expression in a different way. The blog will also be of interest to younger children who can see, interpret and enjoy the pictures provided here.

So the questions we started to address are still valid-

• what are the ephemeral arts?
• How can we interpret these forms of expression?
• What are the different ways of thinking about time-based culture?

People provide artistic expression to celebrate an event. They dress and present themselves for the occasion through artistic expression. They decorate the buildings or houses where the cultural events take place. They celebrate important events in the open air. Many of the ephemeral arts are connected to important dates in the cultural, religious, political and historical calendars of communities in different parts of the world.

Predicting future activities on this site...

I have also created some routes or pathways for investigating ephemeral arts in the future:

• Entries related to "Exploring avenues for inspiration" will examine the work of artists whose work is dedicated to time-based cultural and artistic expression, or whose output is also ephemeral. A start has been made by looking at the work of Andy Goldsworthy. There is scope for looking at the work of other artists, some of whom may not be famous or even be known.
• Further work is to be presented to address the theme," Exploring Avenues for Cultural Communication" where a range of entries will be produced to reflect the diversity of this area.
• A third theme has been added. It explores ephemeral arts by linking them to geography and to various countries where these arts are most visible.
• More themes will be added later.

Exploring sources of inspiration 2- Ephemeral arts as cultural communication

How does hair inspire ephemeral outcomes?

Helen Coleman(1) writes," Hairstyling and hairdressing have great cultural significance in Africa. Coiffures have been regarded as diagnostic of ethnic origin, gender, phase of life cycle, as well as simply fashion; and have been related to power, age, religion, and politics. The transitory yet highly visible nature of hair ensures its suitability as a medium for personal and social expression. It is not just the domain of women; elaborate hair styling for men can be an equally important indicator of their place in society". Hairstyling for weddings must present interesting opportunities for self-expression.

The transitory nature of hair can also be explored also in relation to beards, especially where men dress for specific occasions.

In general to what extent does the use of ephemeral arts as cultural communication vary from the original definition used for this site where the transitory arts are created for a specific event or occasion? This aspect will be explored further.

Helen Coleman's comments are drawn from 'Artword', a University of East Anglia website. www.artworld.uea.ac.uk

'Sycamore Leaves Stitched together' by Andy Goldsworthy

This is an example of work that is transient, with a defined 'life'. It was created in Yorkshire Sculpture Park on 23 October 1987. The picture is on display at the Springer & Winckler Gallery. Source http://www.artnet.com A search using any of the regular search engines is recommended.

I have selected this picture from many that are available because it shows how the artist has used brightly coloured leaves, stitched them together to form a hanging object and added it to the landscape. Many, if all, of Goldsworthy's works depict his additions to the natural environment. The blog will explore how various communities use such work to add to their environment. I see this as a form of celebration of nature.

Exploring Sources of Inspiration 1- Andy Goldsworthy

The Sculptures of Andy Goldsworthy

Andy Goldsworthy is an environmental sculptor in which his use of the natural surroundings create an art form. He explores and experiments with various natural materiel such as leaves, grasses, stones, wood, sand, clay, ice, and snow. The seasons and weather determine the materials and the subject matter of his projects. With no preconceived ideas about what he will create, Goldsworthy relies on what nature will give him. Goldsworthy "feels" the energy from nature and transcends that energy into an art form. His transient sculptures contradict the permanence of art in its historical pretense.

Because of this mortality of nature, Goldsworthy uses the photograph as a form of documentation to capture the essence of his work. "Each work grows, stays, decays- integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expressed in the image. Process and decay are implicit."-Andy Goldsworthy.

Source: www.arthistory.sbc.edu the site of Sweet Briar College. The site shows many examples of 'process and decay' the transient nature of work which this blog also covers.

Further Examples of Ephemeral Arts

Further Examples of Ephemeral Arts

The most notable examples in this site are drawn from the Indian Subcontinent. These are mehndi, rangoli, masks, fancy festival dress, face painting and floral decorations.

Mehndi consists of decorations of hands, feet and face by using henna paste. Mehndi is used to celebrate weddings, cultural events and now, increasingly as a fashion statement. Examples of mehndi are shown in the Mehndi Gallery. Please see the website using the links given on the left.

Rangoli shown here is another example of ephemeral arts. Rangoli is the creation of images using grains, lentils, rice, leaves and seeds to celebrate various cultural events such as Diwali and the New Year. Rangolis are also created using coloured powders, petals, soils and coloured rice. The patterns are typically colourful and often geometric in design.

Masks. There is a long tradition of mask making in the Indian Sub-continent. Used ceremonially and in street performance, masks are generally made from paper pulp or tree fibre. In performances, men will often play female roles by wearing masks. Examples of masks are provided in the exhibition.

Flower decorations. A large number of ephemeral arts, such as masks and garlands use flowers due to their short-lived beauty. Certain types, such as marigold and rose, are used more commonly used since their colour or scent religious significance.

Alpana is a floor art that uses utilises a combination of coloured pastes and flower petals.

Dussehra (spelt differently by various communities) is an annual religious Festival that commemorates the victory of good over evil, the demon Ravan. Community members build work together to build the towering effigy of Ravan and act out a ceremonial battle between good and evil. The ritual climaxes with the triumphant burning of the demon against a night sky.

Face painting is perhaps the most widespread ephemeral art, being particularly popular with children around the world. However, in the Indian Sub-Continent it has a much greater spiritual significance. Various communities use face painting to express important messages relating to cultural events.

Further examples are to be added showing the ephemeral arts from countries in Africa, North and South America, Europe, the Far East, Australia and all island communities in the world.

Do you have pictures that could be published here? Please contact me by using the email address given on the left. This site follows copyright regulations before readers' pictures can be published.

Belgian Floral Carpet

The Grand Palace in Brussels hosts a Floral Carpet

Christopher Stocks reports in The Independent on Sunday ( 6 August 2006) about the Belgian city of Brussels' annual floral carpet. This year from 12 to 15 August the city's famous Grand Palace, which is a UNESECO World Heritage site, plays host to a floral carpet which will be 77m by 24m and will include something like 300,000 begonia blooms, each of which will have been hand-stuffed into place by a team of 100 expertly trained gardeners. The carpet takes just four hours to complete. The carpet has always always been intended to be seen from a distance.

The creator of the Grand Palace carpet, according to Stocks, was a begonia-loving landscape architect Etienne Stautemans. He started making small floral carpets out of begonias in the 1950s. Sadly, he died in 1998, but since then the Brussels carpets have been designed by fellow landscape architect Mark Schauttet. Each design takes the best part of a year from planning to execution, with a different theme each time: in 1981, for example, the carpet illustrated the Belgian coat of arms in honour of the state's 150th anniversary and in 1994, it was dedicated to to the British regiments that liberated Brussels from the Germans, with their regimental badges recreated entirely in begonias.

This year's theme is compared by the organisers to the stained glass of cathedral rose-windows, "a giant kaleidoscope" and "the alchemy of the Middle Ages". To Christopher Stocks, " the patterns look like Islamic tiles or Indian fretwork screens coloured in with fluorescent felttip pens, but whatever the inspiration, it's certainly an eye-catching design.

In addition to the usual complexities of design, logistics and execution, Schauttet and his team 'begoniasts' have come up with a way of mechanising the nine sections of the overall design so that each, individually, rotates on its axis, thus- presumably the comparison with a kaleidoscope, according to Stocks.

18 Floor-based art creates an illusion

A pattern created on the floor by joining stars

on a common background provides an illusion.

Take your time getting used to it!

It is the right way up.

17 Image from Mystic India- Another Rangoli

This picture is taken from the Mystic India site mentioned earlier. Note the detail of rangoli patterns being out together by the women. They have to work on the floor for long hours possibly to complete the work in one day. Also try to assess the size of the rangoli by comparing the pattern with the people or the building in the background. Make sure that you visit the original Mystic India site to which this picture belongs. Please see post no 15.

16 The Victory of Good over Evil

The effigy of Ravan, as made by a community group
in Slough, England. Do you know the story of Ravan?

15. Mystic India- an exciting photo gallery!

This is the title of a film, which I have not seen but it is highly rated.
The film itself could be interest to teachers, students and researchers

One of the best and largest rangoli or floor paintings that I have seen can be found at
http://www.mysticindia.com

The photo gallery is well worth a visit!

14 Materials and sources for School Coursework

Students Use the Ephemeral Arts for Coursework

The festival and its various resources have been successfully used by students for preparing high quality coursework.

Students working on GCSE coursework can use various aspects of the festival for independent research and study. Various thematic treatments can also be offered.

Some students may want to download materials from the website. Please see www.ephemeralarts.com Others may be interested in developing thematic links of their own but still connect with the website resources and this blog.

Students and teachers are welcome to contact the writer for further information and links. Please contact by email kalwant.ajimal@btinternet.com

13 Resources for Teachers and Librarians

Resources now available for sale or loan

The Festival of Ephemeral Arts has been presented by using a combination of the following resources:

1. Practical workshops and supported learning experiences, working with senior artists, community arts practitioners and demonstrators with specific cultural backgrounds - one of our artists is a 78 year old Asian woman.
2. Information: Use of the website at www.ephemeralarts.com
3. A campaign: Use of a dedicated Touring Exhibition consisting of 18 boards
4. Publication: A Teacher's Resource Pack
5. Critical debate and information by using this web log.
6. Dedicated provision for schools, libraries and museums. Three major projects are to be announced soon.

The Teacher's Resource Pack, the Touring Exhibition and selected photographs are now available for sale and loan. Please email Kalwant Ajimal for details using the email address provided in the column on the left of this page.

12. Promoting Cross-Cultural Exchanges

Creating a 'Westernised' Rangoli- inviting new readers

The creation of the Butterfly rangoli ( please see post 2) was based on the use of South Asian techniques and materials.

The 'rangoli' on the right was created by Sue Gande by using stones, twigs, coloured saw dust, sand, coloured woodchips and short grass cuttings to create her own abstract design. The top half of the picture shows the detail of the righthand side of the main work, where a 'v' shaped pattern is completed by two 'eyes'.

This is a large piece of work but shows common use of the floor as a base for the work, with careful use of a pattern which is then filled in with different materials than the Indian rangoli, on which this is based.

Other work created by our artists will show the use of grasses, sticks, stones, twigs and other materials found in a forest to create work that is similar to the work of the famous artist Andy Goldsworthy.

Further examples of floor based work can also be found in the website. Please see www.ephemeralarts.com Many communities use natural materials to create patterns on the floor. These designs are then used for a specific purpose and after the festival or celebration they are destroyed.

This is also a good time to add a few comments on how the other areas of ephemeral arts are equally exciting. The questions that I want to raise are:

1. How will further additions to to this site benefit the range of people for whom it is intended?
2. How can we help to develop networks and promote further information sharing?
3. How can we promote the work of other artists who are not known to us?
4. What specific input do teachers want from us to help them connect these ideas with the National Curriculum?

More about all these questions in the next few posts!

11 Creative Diversity

Creative Diversity

A new website called Creative DIVERSITY, is soon to be launched as
www.creative-diversity.com

It is expected to become a major online resource, a service and a forum for people who are interested in the analysis, interpretation and application of artistic and cultural expression relating to diversity, leading to innovation and celebration for London 2102 and for the country as a whole. Creative Diversity expects to draw its material from a wide range of sources and to encourage active participation by teachers, students, librarians and parents.

A new blog, known as Creative Diversity Recruitment can now be accessed by using this link:
http://creativediversityrecruitment.wordpress.com The blog aims to help with the recruitment of

• creative staff for arts and cultural organisations
• trustees and professional advisers to join the boards of arts organisations
• teachers and librarians seeking educational links with arts and cultural providers
• students wishing to join study groups and projects offered by many arts organisations
• any of the above who wish to propose projects and programmes to organisations working in the field of cultural diversity.

For further information and details please email Kalwant Ajimal using the address provided in the left column of this blog, listed under 'About me'.

10 Another Look at Diversity

Cultural Diversity and Ephemeral Arts

The study of ephemeral arts provides very interesting pathways for the understanding of diversity. These arts are unique for several reasons. The study and celebration of time based culture links the student to communities, how their traditions relating to common events - birthdays, childhood, coming of age, weddings, childbearing, becoming old, buying a house and even the act of dying reflects different beliefs and values.

The celebration of major events in the religious and economic calendar further inspires community artists and lay members of the community to use various forms of expression in order to communicate their messages. They may also mix different artforms - music, dance and drama to create cultural entertainment for their audiences. The celebrations may be further enhanced with the making of special crafts and decorations that are connected with the events. In other cases masks and special cultural gifts such as jewellery and body decorations are also made and handed out to selected people in the audience to complete the interpretation and enjoyment of the event.

The main outcome of this process of study is that communities have more in common than they are different. If this was always true, the study of ephemeral arts would be quite narrow and basic! What makes the examination of ephemeral arts interesting is how some programmes, events and community functions can become 'distinctive' either because of the visual images created by the artists or how special meanings may be attached to the events.

Where cultures grow and develop in response to other cultures and the environment, there is a need to promote diversity.

9. You do not have to wait for Christmas!

This is picture is taken from a Waitrose supermarkets advertisement promoting the sale fruit and vegetables around Christmas time!

I think it presents ideas for making a very clever use of common 'materials' and is also an excellent source of inspiration for students to create their own pictures. A possible project for classroom activity is, a) show the picture to students, b) ask them to collect whatever fruits they think they can use to create their own picture, c) depending on their age, supervise the cutting of fruit into slices, d) use a clean white board to assemble the items to create this face or another variation selected by the children and when the work has been photographed and recorded, encourage the children to eat the pieces provided it is safe for them to do so. Concerns for safety could include the need for care relating to hygiene but also ensuring that children do not suffer from any allergies connected to fruits and nuts.
The topics related to the project can vary from ephemeral art to healthy eating connected to properties of fruit and vegetable. If you can think of other options please write in using the email given on the left or leave a comment.

8 One of my favourite pictures!

This is a photograph of a mousepad that I bought in a computer shop a few years ago!
I believe that it is an aboriginal art, created by putting together beads, slices of fruit, patterns and possibly ribbons made of fabric. But I could be wrong!

What do you think?
If you have seen this before or have a better description of the picture and its background, I would be very interested to hear from you. If you do not want to leave a comment but prefer to send me a private reply via email please do so. Please send your comment to kalwant.ajimal@btinternet.com

7. Investing in creative diversity

Ephemeral Arts as an expression of 'creative diversity'

The cultural environment is segmented into three categories to celebrate diversity as a driver for the Ephemeral Arts:

• The collective and civic forms of culture includes heritage, museums, cinema, concerts, performing and visual arts. These activities have implications for collective cultural celebration affecting regeneration and social policy. Ephemeral arts may be used to programme major festivals and attract community initiatives
• The individual cultural activities are defined as artists-led work, practical workshops and use of television, video and multimedia to extend the audiences for ephemeral arts
• Educational activities provide creative expression for the ephemeral arts. these activities are used selectively for learning, teaching, and research. School based Festivals also offer scope for integration into the national curriculum.
• The scope and significance of Ephemeral Arts for audience development. How are the ephemeral arts defined and presented for linking them to annual fairs, events in the cultural calendar and school programmes.
• How the arts differ depending on definitions and their operations
• How audiences can participate.
• How to create new audiences for more challenging work.

6. Ephemeral Arts for Timebased Cultural Celebrations

Examples of Ephemeral Arts
Here is a wide range of ephemeral arts produced by many cultures. There are some fascinating pictures on the website. Please see www.ephemeralarts.com

WELL
DRESSING MEHNDI MASKS DOLLS ALPANA MURALS

WALL PAINTINGS RAKHI ARM BANDS MOSAICS

MIRROR ARTS

FACE PAINTING FLOOR ARTS FANCY Festival Dress

MASKS

CLAY ARTS HOUSE DECORATIONS

PICTURES Using Rangoli Patterns

FLOWER ARTS FESTIVAL COSTUMES POTTERY

HAND MADE GIFTS and CRAFTS for special celebrations

TREE DECORATIONS RANGOLI GARBA POTS

HANGING BASKETS

5. How the Festival is Created in Schools

How the Festival is created in Schools and in the community?

Artists and community workers employed by Asian Arts Access create the Festival in your school and the community. This is done by:

• Providing the background to ephemeral work and by offering an appreciation of cultural diversity and the environment
• Encouraging culturally diverse children and teachers to work at school with people from different backgrounds
• Encouraging community participation in the Festival and its schools programme
• Encouraging partnerships with local communities, arts organisations, schools and libraries
• Providing experienced artists and practitioners to work with children, teachers and parents
• Creating access to research materials on the Festival website
• Showing films, drawings and pictures of successfully developed arts
• Encouraging children, teachers and parents to use library books, electronic media, websites and dedicated materials provided by Asian Arts Access

Practical sessions for children at school and at home

• Participation in a wide range of ephemeral work, all created from natural materials and inspired by the cultural backgrounds of the artists, teachers and children
• Working with expert community artists and guides to create ephemeral arts using a variety of traditional and modern techniques
• Working with parents and community visitors to create various forms of outputs – mask making and painting, kite making, designing floor-based pasterns, origination of murals and development, face painting for traditional dancers, making of gifts.
• Viewing dedicated films, TV programmes, films showing ephemeral arts in their story
• Using the exhibition developed by Asian Arts Access to carry out course work
• Taking pictures of artists at work to develop own project proposals and ideas
• Exercises to connect the A Festival of Ephemeral Arts to folklore, modern day celebrations and experimentation.

Who would benefit?

• School classes from different disciplines – art, sociology, geography, history and liberal studies
• School children working on their own for important school projects, self study and group work
• Teachers by seeing how expert artists create materials and use them to complete new works
• Parents, teachers and communities who would benefit by interacting through the Festival. It brings the “school into the community” and “ the community into the school”.

Resources and presentation

• Over one or two days, students, teachers and parents participate in and view a wide range of ephemeral artforms.
• Community artists guide students and other participants in creating these arts by using a variety of techniques and materials.
• A dedicated Festival creates opportunities to celebrate folklore, discuss cultural events and understand issues relating to identity.

4. How The Festival is Created in Libraries

Working in Libraries

Artists and local community workers are supported by Asian Arts Access to create the Festival and access to its resources in school and public libraries. This is done by:

• Providing the background to ephemeral work and by offering an appreciation of cultural diversity and the environment
• Encouraging culturally diverse children and teachers to work at school with people from different backgrounds and to use the local Library Services
• Encouraging creative use of various Festival resources
• Encouraging partnerships with local communities, arts organisations and schools
• Providing experienced artists and practitioners to work with children, teachers and parents
• Creating further understanding of research materials on the Festival website
• Showing films, drawings and pictures of successfully developed arts in libraries
• Encouraging older children, teachers and parents to use library books, electronic media, websites and dedicated materials provided by Asian Arts Access and other suppliers.

Practical sessions for children at school and home

• Participation in a wide range of ephemeral arts work, all created from natural materials and inspired by the cultural backgrounds of the artists, teachers and children.
• Working with expert community artists and guides to create ephemeral arts using a variety of traditional and modern techniques. Their work will be featured on the website and this blog.
• Working with parents and community visitors to create various forms of outputs – mask making and painting, kite making, designing floor-based pasterns, origination of murals and development, face painting for traditional dancers, making of gifts.
• Viewing dedicated films, TV programmes, films showing ephemeral arts in their story.
• Using the exhibition developed by Asian Arts Access to carry out course work
• Taking pictures of artists at work to develop own project proposals and ideas
• Completing exercises to connect the Ephemeral to folklore, modern day celebrations and experimentation.

Who would benefit?

• School classes – mainly GCSE and A Levels - from different disciplines which require research skills ie art, sociology, geography, history and liberal studies.
• School children working on their own for important school projects, self study and group work.
• Teachers by seeing how expert artists create projects.
• Parents, teachers and communities who would benefit by interacting through the Festival. It brings the “Library into the community” and “ the community into the Library”.

Resources and presentation

• Over one or two days, students, teachers and parents participate in and view a wide range of ephemeral artform
• Community artists guide students and other participants in creating these arts by using a variety of techniques and materials
• A dedicated Festival creates opportunities to celebrate folklore, cultural events and issues relating to identity.