CRITIQUE of CREATIVITY

In Communion with Mother Nature

Constructive Criticism

Mainspring of Creativity 

Creativity: We generally attribute this action to the expressions of various arts. However, the basic force of creativity is only to conserve life. From conception of life to feed a baby and the innumerable actions onwards that follow are the parts of the creativity. Because of our mechanical way of living, we are not conscious; that's all.

Bhill youth playing bamboo flute

Bhills make their bamboo flutes by themselves. Its history indeed goes back to millennia.

2. Ancient bone flute (30,000 yBP)

 The bird bone flute was found (in 2009) by the archaeologists. It has five holes.

Interestingly Bhills too use five holes to their bamboo flutes.

Constructive Criticism

I learnt what may be called constructive criticism/critique from Anand K. Coomaraswamy. It was useful in many ways. Mainly, I left subjective reaction and moved to objective response to any event.

By the study of environment, which is the very foundation of “shelter” or architecture, I could go beyond personal and societal spheres.

My beloved Tukaram has major share in making me understand ecology: “plants vines wildlife (are) our kin”. To understand this mantra, came to help my physical labour and community participation in the fields of paddy - vegetable farming and cooking, mud house building, and cotton spinning and weaving (this under Gandhi's Basic Education) during childhood at my native village.

While learning architecture I came to understand how vary many rooms in buildings are interdependent in their planning. If a room or an element is shifted, changed or removed, the whole schema is affected. Hence it needs reworking.

Tukaram's five words also reveal how environment, ecology and energy (EEE) fields are interlinked. It helps if we meditate on simple looking work such as farming, cooking or shelter etc. to understand how the three – EEE – are interlinked and interdependent in the Nature.

This path is as much abiding and arduous that much joyous. No shortcut. No books. Only field work helps.

AK Coomaraswamy died in 1947 after Independence of India. From this time onward the change that came with British Raj accelerated in India.

The change was taking place in almost every sphere of life at large. It has affected most the majority i.e. agrarian society. Their rehabilitation should have been taken up on priority basis as soon as the British left.

The root cause perhaps is the development in Science and Technology by the turn of the last century in India. It has been taking place all over the world. The west, however, grew along with this change from the rise of Mechanical-Industrial Revolution; while in India it was imposed.

In 65 years we have not grown 'up'; we have only grown 'old', and culturally we tend to respect 'old' age - man or stone.

Indeed the change (which we tend to call 'development' is a misnomer) affected the primary needs: food-shelter-clothing and natural autonomous functions of all living beings: work-leisure-health-learning-propagation, not only in human world, but all living-beings in land-water-air across the world.

When these fundamentals are affected, then what about social, political, religious... blah, blah, blah institutions or Heaven and Hell?

Needs in Wanting Constructive Creativity

When we watch now the TV channels 24/7 throughout year that show us buttery love and marriage stories combined with crime and violence, with innovations aplenty, as if none else exists to entertain us, or rather to Think about.

In Mumbai, for example, about 200-300 movies are produced annually. But at what cost of resources, at what environment-ecology-energy cost, for what except passive entertainment, and for what social ends?

Presently millions of Indian ryot are going through crises of survival facing a billion problems of food, water, work, health, literacy, shelter etc. and scarcity of resources due to lack of equitable distribution. Who is going to answer them? Is it Government, Parliament, a trillion Rupee Bollywood-Tellywood entertainment industry, stock market, or economy?
Only ryot can answer these questions. 

For any planning, project, or progress, 'Ryot is the Means and the goal'.

Constructive Criticism raises the issues or context missed in the schema of any event, not only literary work, and comes up with relevant suggestions in larger interests.

Purpose of Art

Art takes place as self expression at any age or in times. Art has no definition. Civil Society may have put art in many divisions, trends or schools etc., but they are superficial.

One may express self in a spontaneous dance, song, scribble in soil, scratch or draw on a wall, make a clay toy, or tell a tale...

Civil society is fond of divisions, grades, castes or classes and hierarchies. Hence it deviates from the essentials. So let us ignore all that nonsense.

Art as self expression comes from experience of reality and emotions. The reality could be Nature, Natural phenomena, other beings - persons, plants, animals... and experience of emotions out of these relationships.

Art transfers energy created from emotions in a creative work, which arrests Entropy. It could otherwise cause mental or physical malady. Art is not a prerogative of the professional or a class.

Community Participation: Paddy farming in Konkan | Image by Pooja Rani

Farming is not recognised by the elite society, though it uses the canvas of land, works in harmony with the Five Elements, fulfills the mainspring of creative art.

Incidentally, Indian tradition recognized 64 arts, which have been life supportive, for society as well as a person and family. My favourite claim is that Farming is the highest art form, which of course, the high culture of civilized society does not support. This is obvious because of its vested interests in the centralized power rested in higher castes/classes.

Purpose of Science

'Life', too, like ‘Art’, is not defined, not even by sciences, though there are dictionary meanings. We, however, understand what Life is (by death of a being that ends 'it' in an inert matter?).

‘God’ concept possibly came from extreme natural phenomena (in the remote aborigine past) to express their power in graphics and rituals.

Scientists, now, may call it a 'God particle' - whatever they claim to have discovered. It is not Truth. The Mystery of Nature continues to deepen!

Science works with analysis, whereas, Art is synthesis, in the civil society. This division did not exist once upon a time when fire, lever, flute, bow and arrow, pottery etc. were discovered.  Art, science or technology, whatever we may call, then, was for the well-being of the people.

There was a time when art, science and technology were not separated, just as now the line between science and technology is diluted because of vested interests in economy.

Critique of Creativity

Creativity for Everyone

 The true purpose of art, science, technology, other disciplines, and also the institutions is the welfare of, not only people, but also of the ‘Other’ (humans) and all the living-beings and their habitat.

Constructive Critique should be levelled at not only art and its various divisions, but also other disciplines, public and private institutions, at a street level. They should be subjected to the Justice by Peoples' Audit, not by courts of law: Justice is above the laws of the State.

Creativity is a buzzword now. It is applied to, from arts to sciences, warheads, engineering, ET-IT, commerce, politics... Almost everything in one go, which comes under the purview of market and consumerism, whosoever their godfathers are, sitting in their plush boardrooms!

However, the quality of creative object is hardly discerned; whether it is constructive or destructive, keeping in mind the 'Other' humans and all other living-beings and their habitat, their dependence on the natural environment, ecology and energy. Keeping in mind the present fast changing scenario, we cannot remain in our protective shells! Remember Tibet!!

It is crucial to look up at Constructive/Destructive Creativity, not in the compartments made by the so called experts, but in the Holistic way of Mother Nature, where no departments exist.

NOTES:
1. Please see the paragraph - Indian Architectural Terms, Essays in early Indian architecture (Book Review)
2. Image 2, Ancient bone flute (30,000 yBP). Image source: New York Times, Flutes Offer Clues to Stone-Age Music.

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©Remigius de Souza, all rights reserved.

A STORY OF BIRTHDAY BASH

A Story of Birthday Bash (Meta-fiction)

By Remigius de Souza

THERE IS AN INCREASING TREND of celebrating birthdays of children at junior schools and at homes, particularly in cities. This, of course, is presently prevalent among the elite class and English-medium convents/missionary and other schools. It is almost an unavoidable ritual.

It was perhaps started at missionary schools imported from abroad or perhaps from Hollywood-Bollywood-Tellywood. It is now customary. Even it is followed for the grownups.

My parents and we the children, coming from peasant families, were spared from this custom. We never celebrated anyone’s birthday then, or none in our native village. None suffered Identity Crisis. Now it is initiated at age one year. I fail to understand its logic.

Identity Crisis

Perhaps it helps to build-up one’s image, individuality, personality, identity or ego? It may be one of the instruments to prepare a child for the forthcoming judgements and comparison in her/his every walk of life.

Perhaps it gives an opportunity for the elders for celebration in otherwise fragmented / mass society; a sense of identity. Children are fully involved in learning — reading books and writing copybooks: talk-talk, read-talk, write-talk, copy-talk, and perhaps once in while think-talk.

They are hardly exposed to learn any other life-supporting skills for self-sustenance until they are adults, or even middle aged. That’s in the elite class.

Particularly in the recent times, the birthday bash must have come handy to bribe the generation of the unwanted, those born after the world-wide family planning campaign. It perhaps also helps to cover up the guilt of adding to the world population. Is it a consolation?

It comes as an easy package to assure the children, who have lost social contact in the stress and strain of urban life. Besides they are also spared from all other possible manual work and skills as a promise of better life by their ambitious parents.

The children, as they grow up, would capitalise on their talk-talk skills acquired at the successive classrooms. More the talk-talk skills acquired at successive stages — school/college/university — better is the income? No wonder the planning, expertise and equity at social levels are in shambles, not only in India but all over the world.

We have heard, the wealthy sometimes celebrated their birthday at sixty by ‘Tula” —  weighing gold or silver or eatables such as ‘Laddus’ equal of their body weight and distribute it among the well-wishers and their subjects.

Proverbially, the age sixty also marks a beginning of second childhood, or the beginning of fading ‘Buddhi’ – intellect/intelligence, or the drooping learning curve.

For centuries we have been celebrating Krishnashtami, Buddha Jayanti, Mahavir Jayanti, Isu Jayanti (Christmas) and others, Jayanti means victory day. They are the great souls. Their “Think-Act-Talk” is synchronised.

Then recently came state-sponsored birthdays: Gandhi Jayanti, Children’s Day, Teachers’ Day, and Ambedkar Jayanti etc. usually in the form of public holidays.

The role of the Government and/or Market

In our Nation, the Agency started campaigns, such as 'HUM DO, HAMARE DO' – We two, ours two. Thanks to the Managers of people's welfare could not reach the masses – royt – in our magnificent cultural diversity, as usual. The slogan failed, like our Public Distribution System (PDS) of Essential Commodities.

Omnipotent Omnipresent Market now supplies Event Managers for every occasion from birth to the final destination (undertaker!). Of course if you are ready to splurge!

Recently I saw Bollywood’s Big B's Birthday Bash on the KBC episode on a TV channel! Very sexy! Amazing feat! A trendsetter!

Who am I?

For me the birthday is very important date. Over the years I have been filling-up hundreds of form, which are mandatory, issued by several establishments.

Sometimes I have to prove even ‘who I am’ by showing an identity card with my photograph issued by another establishment. That’s in real life.
“Who am I?” has been the eternal question before man; but that’s for the philosophers to bother.

A child feels elated – a king for the day. We continue to blow up the candles ten, twenty sixty… times to be forgotten. It is a make-believe world.

Remigius de Souza
04-11-2002 (updated: 01-11-2012)
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©Remigius de Souza, all rights reserved.

Catch ’em young

Creative Imagination of the Market

by Remigius de Souza

Cars and Guns: Catch them young

Cars and Guns – toys at Rs 10/- to Rs 2000/- from roadside stalls to malls!
Cars and Guns – games at cyber cafes / at home PCs at nominal cost!
Create needs wants; Create supplies: These are Market strategies. Take it or leave it.

CREATIVE IMAGINATION of the Indian ad-world now indeed is flourishing with the advent of TV, and more TV channels on the air. But what is food for one may be poison for the other. Now the children are progressively subjected to abuse by making them ad-models, and subjecting them as viewers to induce consumerism, which, of course, is far from right education, if not to pester their pampering parents.

Sophisticated Child labour

After subjecting women to abuse, for example, “Made for each other” (comparing women companions to cigarettes/stubs/butts), now they have targeted the children. A new class of sophisticated child labour is emerging. Recently this trend has gone far beyond, the not-so-famous ad “Mummy, sach kya hota hai?” (Mummy, what is truth?), though it was banned (on protest!).

Even in the First World countries, where the TV was started, there are strict laws against targeting and using the children through advertisements. However this may not be true of First World India [FWI], in the waves of globalisation, market economy, freedom of expression etcetera. There is no sensor board here to nab the TV ads. Our governments and ministries are busy handling internal – external –natural – man-made calamities. But where are the cultural police gone? Who is supposed to intervene on behalf of the children: the parents, families, teachers, or NGOs?

It is known, at their tender age the children are under the burden of formal schooling and no play. They have hardly seen the ‘real’ world. At this stage if they are pushed into the dragnet of ‘virtual’ world in the ‘real’ time, the results may not be far from predictable; that they may be reduced to be robots at the hands of the vested interests that control the powers. The educated busy parents in the First World India may not be ignorant about this, though they may find some relief from the children being engaged in viewing TV etc.

Or, aren’t the people happy enough by the cinema-sports-world superstars farting in the ad-world? Or, who is ultimately paying in reality, at what price, cost, value and benefit, and for whom? Anyone could see the Geobbels’ policy is followed by the capitalist long-term agenda to catch them young.

Once the pluralistic Indian society is now pushed to polarizations, communities to be communal, and families to be nuclear. In such a situation, holistic thinking and action may prove detrimental to self-interests, or so one may think. Hence the matters of control, conflicts, corrections, cure...or care are taken over by – or given up to – various institutions, and the family, community, the collective takes the back seat. Of course the institutions work in their respective compartments. In the vigilant society it should be the other way: the family – community – the collective should take the reins / steering wheel in its hands, and the institutions (GOs / NGOs) to be used as bullocks / wheels, while navigating through any situation.

Remigius de Souza
(18-10-2006)
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© Remigius de Souza. all rights reserved.

Shankar Kanade's Architecture: Lohithashwa's House

Shankar Kanade's Architecture: Lohithashwa's House

Unique Event – Interior in Action

By Remigius de Souza

Architecture is finally completed by the user: Primarily it is for the user.

SN and NN Kanade at Jalavayuvihar township

Shankar and Navanath Kanade, Architects, have their firm under the name and style, "Shilp Sindoor". They are placed in Bangalore. Shankar has been instrumental in starting/ formulating 'courses of architecture' at many colleges. Shankar and Navnath have been teaching architecture for decades.

Shankar Kanade, over the years developed unique/ original construction system, locally known as "Chapadi", using local granite; and his project execution management achieved economy that benefit the home owners.

Lohithashwa

Lohithaswa is a noted Kannada film actor and playwright and a retired English professor. He has acted in more than five hundred Kannada stage plays, and television serials. He is popularly known for his dominating voice in the Kannada film industry.

Lohithashwa had invited some artists to join the art workshop to be held at his house - residence. They were on visit to Bangalore, on the occasion of an arts and crafts exhibition at national level held at Bangalore.

I was fortunate to pick up the unique event of 'art workshop' that shows many dimensions of splendour in this house.

Artist at work - Exterior open space

We speak, here, through photos, a popular medium, and word of mouth. We speak not how the architecture of house looks, but how it works. We don't speak of design aesthetics, but ethics in adapting it to a non-charted use, not prescribed in the architects' 'Brief' (of the proposed house).

Artists take a break

At Indian residences, in urban and rural areas, there are several occasions – birth, marriage, Pooja, festivities, death... harvesting of crops – when relatives, friends, community visit. This is a common feature.

The artists gathered here have come from different parts of India. Perhaps some are meeting each other for the first time, including the host.

Place occupied by an artist

The house has major use of local granite, a living material like clay and wood, favorite of sculptors.
At every step it is overwhelmingly evident that architect and client ware in tune and at same wavelength in the process of designing.
We witness this abode is made in excellent communion of architects, workers and user-the-family.

Artists feel at home

It is said, ‘People get the government they deserve’.Here we may say, ‘People get architect they deserve’!

Navanath, Lohithashwa and artist Patil inconversation

The artists here ware immersed in work, rest and interaction. That shows how everyone was feeling at home - in the 'place', not a 'space'.
We often see photos and thumbnail drawings of architecture in glossy magazines bereft of people, rather 'the user the god in sanctuary'. What do we perceive when we see such presentations of architecture in print media or e-media?

Home is place to work, rest, interact and grow

These photographs are clicked on ordinary camera, in natural light or room lights-on.
While clicking the pictures, there is least thought given to rules of aesthetics or ruling taste. These photographs are Celebration of People, Place, and the Occasion.

Place-making in house is dynamic

We don't place any customary mini-maps to guide the reader in the interior.
Kanade brothers could have furnished me with drawings, and other typical professional information to go with this text and photographs. I don't do it deliberately.
With printing technology earlier, then photography, movie, now Internet, we are moving away from Reality to Virtual Reality at every step in our elitist life.

Connecting Persons - Connecting Places

With miniature reproductions of maps and pictures (i.e. Hi-tech photographs) of exterior - interiors, we usually celebrate Architecture - 'the Holy cow, Mother of All Arts'.
Indeed how many, even professionals, can decipher 'anatomy of architecture' and comprehend 'scale and dimensions' of Reality in the illustrations? Of course, it depends on perception level of each one.

For example, 'Barcelona Pavilion' (by Mies) lived for decades, clean and neat, in black and white photographs. When rebuilt as a memorial, in a crowded urban area, how does it look now in real?

Kitchen is Sacred Place in Indian Abode

Kitchen is sacred place in Indian abode. Cooking or rather Preparing vegan food is highest art form, only next to Organic / Natural Farming. Both nourish Body, Mind and Soul (in my opinion). Other forms in these two primal fields are marketable commodity & consumerism.

Culinary Art is Highest Form of Art next to Farming

We, the urbanite Indians, try to adopt imported industrialization; we have not grown up with it as the Western are. Also we perhaps carry mimetic memories (received from our Great... great grand Mother) buried in our deep subconscious. And like molecules of water in ocean they keep coming up: Not everyone may wake up to the inner voice. There lies the answer to many anomalies in the developing India.

Artist's Participation in Cooking

I have heard, architecture, now in the West, is put in the new category named 'Creative Industry'. Why are they apologetic? Why can't they, or don't want to, turn the tide of Climate Chang or of whatever other ills, despite their so-called Progress and Development?

Internal Courtyard is Traditional Feature in Architecture

 I suspect the term, 'Architecture as Creative Industry' has its origin in the 'Hybrid and GM Seeds' in the realms of a basic need 'Food' in Agriculture.
Now the new category of architecture evolved from the primary need, 'Shelter', is to subjugate autonomy the 'User' as 'Producer' at the mercy of 'mass producer and supplier' i.e. Industry and Market.

Artist at work

International Style (of architecture) is misnomer coined by the puppets of powers in Industrial society. 

Courtyard as a work place

Art is not for Art's sake. Any art, artefact or event is an expression of culture.
Culture is a gift of Land and Water – Mother Nature – enriched by biodiversity of the place, from the Poles to Equator. Culture, therefore, is local, never international. Only 'trade' is international.

Culture is in the People

Culture is in the people, not in any artefacts or events. Heritage Conservation, therefore, should be the Conservation of People and Natural Biodiversity.

QUOTES

1. When I had (first) visited Lohithashwa’s house, my spontaneous response was “I am reminded of India’s rock cut architecture”.

2. “At the art workshop other arts also flourished. Several artistes – potters, painters, and sculptors – were passionately working: I feel this may be a best, and the most appropriate tribute to Kanade ever received for his work.” (SHANKAR KANADE, ARCHITECT)

NOTE: 1. The opinions, comments, expressed in this post are mine. They don’t reflect views of Shankar and Navnath Kanade.
2. Shankar Kanade's profile: SHANKAR KANADE, ARCHITECT 

Remigius de Souza | Date: 21-01-2012
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©Remigius de Souza, all rights reserved.

Entertainment Explosion 2

24x7 Entertainment Explosion - 2

by Remigius de Souza 

MOSTPEOPLE* would say, ‘music is their hobby’, which may not mean they play musical instrument or sing. Invariably they hear music on some or other electronic gadget. Forty years ago, there took place a ‘great’ event, but it was not reported in the media, didn’t pull a crowd.

A young music lover Mr. Khadpekar, a student of architecture, invited Pundit Kumar Gandharva to perform solo concert at Ahmadabad. Punditji’s immediate reaction was, ‘No Ahmadabad. The crowd there appreciates music by thunderous clapping during the recital.’ However, after the explanation he readily agreed.

A small group, perhaps less than fifty, some of them from Baroda (now Vadodara), came to attend the concert. The event took place on an open platform at the premises of the Ahmedabad School of Architecture.

Punditji requested to shut the mike and the (loud) speakers. Seeing the uneasiness among his listeners he assured it was perfectly alright for him, and that they would enjoy it better. They were worried because they knew that one of his lungs was removed, and it would be strenuous for him without the ‘sound’ system.

Now it was direct contact between the singer and the listeners, mouth to ears. It was a unique experience, mostly available to private “baithak” – gatherings.

During his recuperating years he was forbidden even to sing. During that period he moved across Malava, Madhya Pradesh, listening and collecting folk songs. He was touched by the simple folks and their traditional music of Malava. He had turned the disadvantage into an opportunity. And a new Indian classical music emerged.

Punditji was generous, open and accessible, a teacher in true sense who could learn even from the humble folks. Indian classical music too was touched by the inimitable maestro. I personally was touched by him and the event that left a deep lasting impression on me.

FEW DECADES LATER, I was at a party hosted by a friend while in Bangalore. Typically there was music on an electronic gadget. At some point I said it is not music but only its replica that dissipates energy. Shankar Kanade protested. I said, ‘This is only a reproduction, which has lost its original quality, howsoever advance a gadget or technology may be.’

Though I did not remember the above event, I perhaps was prompted to say this by my subconscious. Such reproduction or representation is a virtual reality. It is just as a word ‘tree’ or a picture of a tree is not a reality. It may perhaps help someone to recall, depending on one’s perception of the ‘real’ sound, the ‘real’ event, the ‘real’ environment where it takes place; otherwise it is an object without soul – a mere technology.

In his later years Punditji had taken to teaching ‘Bhajan’ when he was acutely aware that his pupils were not getting to the meaning of the words they sang and thus singing remain as technology – a skill.

Punditji is no more. The cassette tapes of his music attached with copyright as well as the cassette players that played his music have gone to dumping yards. However Punditji’s monumental tribute to Malava’s folk songs continues to reverberate in the ears; it’s universal beyond global.

In the name of music we patronise ‘leisure industry’ (the term is an oxymoron) at a price. For that matter work – any work – comes at a price. If there are no singers, why not listen to the air, water, plants, birds… children, if there is little ‘nature’ still left in our environment? Why not dance to its tunes?

Leisure, opposite to work, is absolutely free, anywhere, to anyone irrespective of one’s status.

The millions of folks – the tribal and peasants – enjoy leisure actively, not by passive activity of watching Virtual Reality on electronic gadgets, all over India. They practice it not only during festivities but also during their daily chores.

On account of leisure the Industrial Civilisation is bankrupt and pauper.

Leisure conserves /restores energy: Leisure arrests entropy.

See previous post:
24x7 Entertainment Explosions

CRICKETFRENZY IN INDIA-- A page from dairy 2003

Note: The word, 'mostpeople', was used by poet E E Comings in Introduction to his collection of poems.
Remigius de Souza | 25-05-2007
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© Remigius de Souza, 2007