My Science School

Kintsugi is the Japanese art of sealing cracks in broken pieces of pottery using gold powder and lacquer. A direct translation of the word means 'golden joinery'. By emphasising the cracks, the need to mend them and renew an object, the 400-year-old technique reflects the larger Japanese philosophy of wabi-sabi that tells you to look for beauty in imperfections.

The art may date back to the late 15th century,  when Japanese shogun Ashikaga Yoshimasa returned a broken Chinese tea bowl to China to have it repaired. The bowl was given back to him held together with unattractive metal staples. At the time, staples were the main method used to fix broken, yet valuable, vessels. Tiny holes were drilled on either side of the broken pieces and then metal staples were bent and used to hold them in place.

The result was practical, but not very attractive. Yoshimasa's experience may have triggered a quest by Japanese craftsmen to find a new type of repair that could make damaged items look new — or even better.

The craft became so beautiful and so revered that collectors developed an appetite for the mended pieces. Some people were accused of purposely breaking prized items just so they could be repaired with the golden art. Some say that an item repaired by kintsugi looks more beautiful than when it was whole. When a ceramic vessel undergoes this mending transformation, its once-smooth surface becomes covered with rivers of colored zigzags and patterns. Because the repairs are done with meticulous skill (and with precious metal), the mended fractures look immaculate and artistic.

Credit : The Hugger 

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The biggest knitted objects in the world are the 62 self-fashioned Uros Islands in Peru's Lake Titicaca (the world's highest navigable lake at 12,500 feet above sea level).  The most remarkable thing about Lake Titicaca is its floating Islands and the people who live there. Each island is no more than 90 feet wide and is strong enough to hold several hundred people, buildings and boats (balsas). The Uru people collect totora reeds, which grow in the lake, and weave their dense roots together to form sturdy layers called 'khili' (about one to two metres thick). These are anchored with ropes attached to sticks driven into the bottom of the lake. The reeds at the bottom of the islands rot away fairly quickly, so new reeds are added to the top constantly, about every three months. If well maintained, an island can last for 30 years.

The houses and boats of the Uro people are built from the same reeds using a similar technique to that of the islands. They also make handcrafted items that they sell to visitors to the floating islands. About every six months they have to lift up and move their houses and buildings so that they can add another layer to the reeds of the floating island. When the Totora is pulled for construction, part of the root is eaten because it’s a rich source of iodine. It is also used for pain relief, tea and to cure a hangover. Fishing and hunting for birds is one of the main ways of getting food on the islands. The Uros also eat the guinea pigs and ducks that they keep on the islands. Waterbirds are also kept on the island but for helping them fish or for their eggs. On the islands, there is a traditional school and a Christian school that are the main sources of education on the islands. As the kids get older and start looking for university they will likely leave the lake and head to the mainland to study in Puno.

The Uro’s way of living is one to marvel at but is also extremely difficult and steadily disappearing. Many still live in the traditional way, hauling reeds into their boats, reconstructing the islands, heading off onto the lake to fish, but many of the young people are leaving and start a different life on the mainland. Daily life here depends mostly around the reeds that grow in the lake, they provide food, housing and transportation.  It is a life of hard work and long days in a harsh climate.

In recent years, tourism has become an important part of the Uro economy. People have opened their homes and welcomed visitors from all over the world. Their unique lifestyle and breathtaking Lake Titicaca make the floating islands a must when passing Puno.

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Though it had been around for years. Burra Katha gained unprecedented prominence during the early 20th Century Because this oral storytelling folk art form got an absolutely new lease of life-from its mostly religious and mythological focus till then, in the 1930s it became a powerful tool during the Indian freedom movement for spreading the message of colonial oppression. Traditionally performed by a three-people team-one lead performer and two others who beat a drum called dinki. Burra Katha was popular in rural areas of not just Andhra Pradesh (including what is now Telangana) but also of Kamataka. Some of the artists still active today have performed this art form for decades, and feel it is losing its sheen because today it does not have many takers, especially among the youth-neither as performers nor as viewers. The theatre form is striving to stay afloat by re-inventing itself in many ways-such as having a troupe of more than three members, not confining to just religious and mythological themes but taking up opportunities to spread message on contemporary issues, etc.

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A research article suggests folk theatre forms such as Tamil Nadu's thenukoothu, and theyyam and yakshagana of neighbouring States all had a common point of origin before branching out to become what they are today. This seems fairly accurate if something even as basic as the make-up and costume are anything to go by- they are elaborate. But since they branched out, the performances have their differences too. Theyyam is a form of ritualistic open theatre usually performed in front of a shrine. While the history, culture, and themes surrounding this theatre can fill pages of several books. what is incredible about theyyam is how it changes the caste equation, albeit temporarily in a theyyam performance, the artiste becomes a deity, and these performers have invariably belonged to the Scheduled Caste. But so long as the performance lasts. the performer-the deity"-is revered while everyone else, irrespective of their caste, is reduced to just a mass of collective reverence. And wordlessly if momentarily, the ritual dissolves the caste system.

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A dance-drama performance said to have originated in the coastal regions of Karnataka, Yakshagana translates to celestial (yaksha) music (gana). With episodes from epics brought to life in villages and around paddy fields, this has traditionally been a night-long performance that brings together music, song, dance, and complex costumes. Said to have been around for centuries, Yakshagana was always performed by men, including for female characters. However, women are part of the troupe these days. It is believed that yakshagana does not normally have any set script and that the rich scholarly narrative is the visible evidence of the artist's spontaneity. As with many other such folk theatre forms, this one is experimenting too. And if media reports are any indication, it seems to have the comforting patronage of even the younger generation today.

Yakshagana is slowly but steadily gaining popularity outside India. Amateur groups have successfully staged performances in the USA and Canada.  The performances are usually held during the months of November and May.

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Deeply linked to the cultural history of Tamil Nadu therickoothi combines two Tamil words thenu, meaning street and koothu meaning performance Marked by elaborate costumes that make it easy for one to spot the characters even from afar, thenukoothu is said to have its origins in the worship of the Mother Goddess and tied inexplicably to Draupadi a most powerful character from The Mahabharata" But what is remarkable about thenukoothu is the several layers it shoulders, a testimony to its long tradition, continuous evolution, and generous accommodation of the times it is set in. Which is why poignant episodes from epics and snarky remarks about indifferent governments rub shoulders effortlessly in today's performances, continuing to pin riveted audience to their floor-seat.

Music is an important part of Therukoothu art form. Dolak or Miruthangam, Jalra (Thaalam), Harmoniyam (sruthy box) are the musical instruments employed in this art form. In most of the Therukoothu groups, either Mugaveena or Flute is played. The main objective of the street theatre is to go closer to those who have been marginalized by society. It creates a new space for common people. The other objective of the street theatre is mainly to convey a particular idea through the direct but brief and effective means of dramaturgy.

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