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  • FromThere to Here

                           BeadCaps 

    I started out with a whole big bunch of brass beadcaps left over from deconstructed necklaces.  Some seven years ago, having  learned that a sulphuric acid concoction called Silver Black would oxidize sterling, I tried it with the beadcaps.  Voila!  It certainly did!

    I liked the effect of the rusted out, blackened brass beadcaps layered over old and beautifully colored glass pearls and began to play.  Here's one of the results  - with the oxidized sterling chain and freshwater pearl  dangles added a couple of days ago to speak to the current desire for length, which I like as a designer, because it gives me, quite literally, more room to work with.

                                          GLBluePearlsBlackLaceChainsEarrings4edited

     

    Here's the little doohicky up close and personal, so you can see the layers and something GLBluePearlsBlackLaceChainsEarrings4CUP of  the shapes.  I've taken my needlenose pliers and folded the curved ends of some of these down so they have angles, as on the top two layers on the big blue pearls and the top layer on the little ones.  Others I've simple flattened out a bit, like on the bottom of the large dark blue pearls. 

    Once the little caps have had their bath in Silver Black, I dry them with a hair dryer so that the copper in the metal mix won't oxidize first and give me a blue green coating.  Then, to keep little tiny mites of rust from dropping on milady's shoulders, I lacquer them with an acrylic spray, again using the hair dryer for the same reason.  

    Customers have described described these as "black lace," "little Victorian Christmas ornaments" and "some sort of exotic fruit covered with lace."

    Thinking over the "Victorian Christmas ornament" comment yesterday, I made two richly colored pairs last night and will work on more today.  Then I will once again tackle taking pics with my lousy camera and maybe add a couple here.

     

    That's it from the creative front at the moment,

     

    pearlbamboo  

     

    you copy my designs, you mess with your karma and US copyright laws.

      

  • Editing Continues....on the nature of the creative process

         Staring at the photograph, I realize that the earring made from the vintage chrysophaseGLGlassRingEarings3 glass oval is not yet finished.  I've a marvelous 10x12" bead sample card from Beadcats, all little glass flowers of one shape or another in a myriad of colors (the photograph doesn't do the subtle colorations justice, but for some idea of what I was looking at, click here.  The alternate form of selection involves pouring over charts like this, and you can't snip a bead from your monitor.)  Picking it up, I search for something that might work with the colors of both earrings while echoing the circle form of the rhinestone piece on the other earring.  

        Down in the bottom left corner is a pink bead, a rich, warm color, larger than most of the others.  Doing the forbidden, I pick up my flush cutters and snip the thread holding the flower to the card.  I look for a yellow Swarovski Austrian crystal to use in the middle of the flower and can find only topaz, which works for now but will be replaced before these are finished.  It works!

    GLGlassRingEarings4edited  But I'm not done.  I look for a tiny glass cupped flower to use at the top of the earring and find another pink one, this one darker and a little muddy, but rich.  On an impulse, I put an amethyst crystal in the middle of the flower.  It works!   and is especially nice when they move with the wearer's motion.  Oh, do I ever love it when it works!

      Now I take another look at the earring with the rhinestone centerpiece.  Quickly, I pick out a tiny flower, transparent green with a blue tinge and a bit of amethyst rippling through it.  It pulls the greens and aquas together.  I add a pale transparent yellow one and a pink one with little flecks of white and make a nosegay below the rhinestones.   Yellow crystal centers await next week's post.

    This addition, of course, changes all the proportions and I realize that when the gold wire arrives and I wire these to their final form, the distances between the nosegay, the round crystal and the long pink navette rhinestone drop will have to be adjusted, lengthened a little.  

    Tomorrow, if the USPS is getting it on, a small envelope with pink, yellow and dark rose Swarovski round crystal beads will arrive and I can arrange the right shapes and colors to replace the make-do crystals hanging from the earring with the glass oval. 

     

    pearlbamboo

    pictures, design, text copyright e.p. hodges

    you will really mess up your karma if you copy my designs.

     

  • A Lot of Experimenting, A Few More Pairs of Earrings....

    I'm doing something very different from what I've done before.  Trial and error, process - this post is a window on the process.

    It's taken a while to get back in the swing of things - lot of not perfectly wrapped wire cut and wrapped again and again, a lot of redoing  till I am satisfied with balance, of form, color, a  lot of improvising, and a lot of fun.  I think I had grown lazy designing for Chicago art fairs. 

    That happened several years ago when I returned to sell at Eastern Market on GLMexicanAquaBlueSilverEarrings3 Capital Hill in DC for a weekend and artists who had watched me develop asked what had happened to me.  Next trip I took everything that didn't sell in Chicago and sold out.   Certainly, the internet will offer me a wider world to sing to.

    These are all still in draft -

    The pair of earrings above right?  A vintage Mexican wire-wrapped filagree earring, from which hang Swarovski crystals and sterling chain (awaiting ornament, haven't decided exactly what will go in the chain, certainly a minimal  something...) and a Czech hand made bead worked with sterling silver leaf ("silver foiled") in the  glass, hence the glow.  On the other side is a vintage silver foiled bead, green and blue, with lots of Bali silver, another little Czech foiled bead and more Bali silver, and a contemporary Czech briolette.     

    GLVictorianHandpaintedPorcelainEarrings3 On the left, a handpainted victorian porcelain brooch, suspended from a blue hand made vintage glass bead (I don't like the beadcaps) and vintage brass chain.  The dangles from the brooch are blue and white opal glass, as is the one above the brooch.  There is a tiny Victorian rhinestone drop that currently has its back to the camera hanging from the blue bead at the top.  Light blue and white opal crystals are missing as well.  

    On the other side the feature is the Victorian lavilere hanging at the bottom of the chain.  The top bead is a Swavorski filagree rhinestone ball with vintage brass bead caps.  Suspended from that are tiny white opal crystals, light blue crystals and a vintage blue and white opal glass drop.

    The drop, the little rectangle, I acquired recently off ebay on a whim because I liked the colors, before I found the brooch, also on ebay.  It was impossible from the pic of the brooch to tell it was painted on white opal glass.  I love it when that sort of match happens, I truly do.

    On this one, the passage of light through the vintage glass oval doesn't really show,GLGlassRingEarings3 and it's beautiful.  This side is still waiting for some sort of  crystal cluster to fall just below the drop (the chain is fastened below it too far down, the cluster will be where the little crystal is now).   And the hanging crystals aren't right yet - my stash failed me on this one, will have to dig for others.

    On the left is a vintage rhinestone earring of wonderfully soft colors.  The vintage crystal bead and drop work well on this one.  The crystal bead I've had for years, the long narrow oval navette drop I found on ebay long before I knew I had a pair going here.  I liked the color and the form and find that if I buy without a project in mind and only buy colors and forms that make me want to sing, it almost all eventually goes together.  Whew.   

    At 65, I continue to push myself to grow, drumming, loving, making beauty.  My hair is longer.  I could do worse....

     

    May this autumn bring each of you exactly what you need.

     

    pearlbamboo

    pictures/text copyright e.p. hodges

  • Pearlbamboo Was a Designer, Once Upon a Time

    After a five-year hiatus, I walked back into my jammed up studio, filled with ebay stuff, all beautiful, almost all, anyway, and excavated my worktable.  Boxes of freshwater pearls in gold and black cherry, turquoise, purple, iridescent peacock blue, a box of glass leaves, of glass flowers, little towers of beads made over a fire with silver foil inclusions, a microwave dinner freezer box full of glass beads I matted with acid and love, endless forgotten little bags and boxes full of treasures - I had forgotten I had the materials to make beauty.  

    I used to sell to places like the Duncan Phillips Collection Museum shop and that of the National Museum of Women in the Arts in DC, the shops for the Field Museum and the Art Institute of Chicago after I moved here, though I was never well enough during those times to develop a proper line and sustain my work for long enough periods of time to really develop a clientele.   But I also sold at Eastern  Market on Capital Hill when I lived in DC and found wonderful customers there - heads of Museums, the chairman of the National Endowment for the Arts, adventurous women who loved innovations in form and my use of color, a young girl who had won her hometown spelling bee and wanted a necklace I had crafted as her gift from her parents for winning and making it to the finals.. 

    Chicago has never offered such a marvelous venue, but now there is www.etsy.com, ebay - where a few pioneers have managed to sell work for more than 9.99 - and the possibility down the road of a website.  So, I've begun to experiment with asymetrical earrings, something I had begun to do years ago.  Customers seem to have caught on to the idea now and so I will persue it, since I am totally taken by the design possibilities. 

    The pics below are not good - I'm going to use my Lil-built light tent to take better ones tomorrow, if it works as I'm assured it will.  And, in any case, these have been redone and expanded and reshaped a bit since these pics were made.   But rather than wait, here's a designer's equivalent of a poet's rough draft -

                                        

    GoldButterflyPearlEarrintgs2 This one's made with oxidized sterling silver wire and chain (I like it almost black), gold and garnet colored freshwater pearls, oxidized brass filagree beads and a four-point bead cap, a gold hand made glass bead with cream swirls, faceted garnets and a gold mother of pearl butterfly.                                      

     

     

     

     

     

     

     

     

     

     Paradiddle, flam and ratamacue! and the beat goes on.

     

    Love to you all,

    pearlbamboo

     

    copyright, design, photos and text  e.p.hodges

  • Tabla Bols - Zakir Hussain and Allah Rakha

    Hello my friends,

    Drumming, living, vegging, ebaying, etc. etc. etc (echoed in the tone of voice used by Yul Brenner as the King of Siam), but the writing hole has been pretty dry, except for a draft poem I started a few minutes ago after being up all night reformatting my hard drive and reinstalling all the software.  I was smart enough to see this one coming and had set up an account with www.mozy.com, to download and backup/store everything (boy, do I love mozy) and am reloading all the data I would have otherwise lost as I write.   

    I keep coming back to the tabla and bols, it fascinates me, the speaker of 7 languages, and the second youtube clip, of the father and son duo, Allah Rakha and Zakir Hussain before the Allah Rakha's death in 2000, I find thrilling.

    As is often the case, poking around on the wobbly eventually coughed up something rather helpful in understanding more of what one is listening to.  To wit-

     "The tablas consist of two separate drums, the "Bayan" (bigger for bass) and "Dayan" (small, higher pitches). The bayan is usually played with the left hand and the dayan with the right. The bayan is responsible for low booming sounds and deeper slap sounds and 'modulation' where the pitch is continuously varied. The dayan gives a wide range of taps, slaps, tones and other percussive effects. There are two basic classes of techniques: dry and ringing. Dry strokes do not have a particular pitch associated with them, while ringing ones have a definite pitch or tone. Dry tones are typically made by having the hand or fingers strike and "stick" to the drum head to damp out vibration. Ringing tones typically strike and pull back quickly to allow the drum head to vibrate freely." //web.mit.edu/cjoye/www/music/tabla/

    This vid is the marvelous Ravi Shankar explaining tabla bol with Allah Rakha demonstrating - truly a film for all time.  (If I had been Nora Jones's mother, pre-Nora, I don't think I would have said no to Ravi myself......)

    No two ways about it, Zakir Hussain is transported while he's playing this rag with his father.

     

    love you,

    pearlbamboo

     

     

     

  • News

     

    Zhang Zhang wrote back, a lovely email, with a request to stay in touch.  It left me in tears, really, understanding how much I had loved her when she was a little girl and how much I missed hearing from her over the years.

    The other news? -  Dave, of the twenty guitars, and I have decided to live together.  For the time being this will be without benefit of matrimony, although that's not been ruled out. Some things have to be dealt with first, not the least of which is that my apartment is stuffed with vintage clothing, many, many many academic books from a previous incarnation, and the  stashes of beads and other jewelry making supplies that fill endless numbers of those little Sears cabinets with the little drawers, painted white and dubbed "bead condos."  But reorganizing is doable, even if it takes a lot of rethinking and redoing, and I can't think of a better reason to tackle what would otherwise be an less than pleasant task.   Just gotta make room for that man and his guitars.... 

     

    pearlbamboo

     

  • OMG I Found Zhang Zhang!!!

    Two years or so ago I wrote (here) of my "Chinese family," a father, mother and daughter I met while posted at the US Embassy in Bangkok in 1982 and who truly came to feel like family.  Getting the family out of Bangkok to Canada, where they could flourish was the last think I did before I crashed and burned. I managed to keep in touch for a while after I returned to the US, even visiting them in Toronto a couple of times, but the old breakdown made it harder and harder and I last talked to Lin Ying, the mother, about two years ago. 

    ZhangZhangFroggie I grew to love the little girl, Zhang Zhang (pronounced Chung Chung), small, thin, with long black hair and glasses,smart, immensely gifted and suffering, wonderfully engaging.  Her mother sent me some pictures after we spoke the last time- of Zhang Zhang, her mother and her brother, the cellist, and I think I posted them in a more recent entry, but here she is in her red dress again. 

     I've not heard from Zhang Zhang since she was 15 or so and she is now in her ZhangZhangRedDress5wide thirties.  I google for her now and again, and her mother told me she was living and working in Monaco.  

    Two days ago, I googled again and there she was, her own website, one of the best designed I've ever seen.  It's full of her spirit, her gifts, for she writes as well as plays the violin, and photographs that tell me she grew up to be a truly exquisite woman. I will write her tomorrow or the next day - what shall I write? - how do I tell of the worlds gone by between then and now....    

    Meanwhile,

    here is her website. I don't have the quick time software to be able to hear her mp3's or see her videos. I suspect they are marvelous. Peruse this and you will encounter an extraordinary young woman.

     

    peace,

    pearlbamboo

     

     

  • Sometimes The Dancer's Feet Are The Drums - Percussive Footwork and Indian Classical Dance

     

                              shivaNataraja

                                                             

    Shiva Nataraja
               

    Lord Shiva engaged in a cosmic dance, one of several ways he is represented in Hindu iconography.  Devotees believe that the energy from this dance sustains the cosmos, and when Shiva is finished with this dance, this universe will end and a new one will begin.  In another lifetime I could tell you about Hindu iconography (Shiva's creative energy can also be represented as a lingum or phallus, worshiped by being bathed in clarified butter, but that really will have to wait.).

    Tonight I am chasing the sounds of the drums and the dance.  Having written in "Women Drummers" about the vocalized syllables that make up the bol for the table (see below)  I went seeking videos of Indian classical dance where the dancer's feet are themselves a percussion instrument, not just keeping a beat with the bands of bells on the ankles, but answering the bol (bol = "to speak" - dha dhin dhin dha, e.g. ) of the tabla player or singer.  The dances I've linked to all  have passages where the performer dances the bol directly, or, in the case of the first Bharat Natyam piece, about Lord Shiva, synchronize their footwork with the tabla.

    This elaborates on this concept -

    "In kathak, each syllable is designed not merely to represent the sounds of feet and bells but also to be in harmony with the strokes of the accompanying percussion instruments. During a performance pieces of abstract dance may be recited before their execution, and the dancer may employ variation in intonation in order to sketch out in sound the approximate contours of the movements s/he will use. This parhant, or recitation, is also a medium of communication with the percussionist(s) who must match, stroke for syllable, what the dancer recites. Furthermore, the parhant enables the audience to visualize and appreciate the rhythmic patterns before they are revealed in dance movements". (http://www.pathcom.com/~ericp/kathak.html)

    Indian classical dance is narrative.  All gestures have a specific meaning and are linked to tell a story. 

    -Bharata_natyam_9 This one (Click here to watch) is in the style of Bharat Natyam and celebrates Siva Nataraja, he who creates and sustains the world with dance.  Although the sound quality is lousy, it begins with a demonstration of the meanings of the individual gestures and proceeds to a well-composed dance with lots of tabla - footwork response passages.

    This one is in the North Indian style of Khatak and subtitles the narrative gestures.  Click here and hope that youtube is up and running.  (FYI, the lyrics open with the word "akeyli" = alone  and "chele akeyli" - "go alone")   

    More Kathak - danced on a rooftop in Benares/Varanasi.  (an aside -Pragmatic about multiuse of space, people in the subcontinent use rooftops as rooms, sleeping there at night when it is hot and spending time there during the day when it is cold to take advantage of all available sun.  In the rainy season there is a little sheltered room where one can stay out of the rain...  I grew to love rooftops, one of the west's largest areas of wasted space.....end of aside).  The footwork is very good in this one  Click here to join the dancers and musicians on a rooftop in India's most sacred city.
     
    You will find more terrific footwork here in this fascinating meld of the Khatak and Bharat Natyam traditions.
     
    More about the individual dance traditions - I've not got a clip of Odissi, Manipuri, e.g. - will have to wait for another time.  
     
    One last piece of candy http://www.youtube.com/watch?v=wk53z5U7dqI&mode=related&search= a young Khatak dancer working on her footwork,  Since she is dancing alone on the resonant wooden studio floor, one hears this exceptionally well.
     
     
    I'm dealing with some health problems that leave me with little energy to spare at the moment, so I am particularly appreciative of those of you who manage to stop by and comment, even though I don't make it around to see you.  It's all I can manage to post occasionally.  I think of you all, and miss you, and, most of all, hope you are well and reasonably happy.. 
     
     
     
    pearlbamboo
     
     

  • Women Drummers - there are some, ya know....

     

    But not a lot.  A look at the drumlines of competition winning marching bands show a handful - if you love marching bands and want to check this out, go here - http://www.vicfirth.com/features_marching.html.  

    The No 1 band, the Blue Devils, has one woman on their drum line.  You have to dig in the competition videos all the way down to the end of the first competition group to Esperanza to find more women on the drum line, althought there are many disporting themselves about the field partially clothed in insipid choreography while waving flags and fabric through the air.  Oh where is a title 9 for equal support for girls playing something besides stringed instruments, piano, flute and the occasional clarinet?  I seem to remember being a feminist and fighting for making things better than this....

    I don't have time today to make this a pretty post - so here are lots of wonderful links in their most inelegant form.

    The Persian drummer, Payman Nasehpor, put together this guide to women drummers in honor of International Women's Day -listing not only well-known in the western drummers like Sheila E and Evelyn Glennie, but including a number of women, both western and playing in world music traditions, less well nor not at all known outside a limited circle of admirers. http://nasehpour.tripod.com/peyman/id40.html - this is a truly fabulous list of links, fabulous.

    I've been in love with the tabla for years.

    I studied singing and bharat nathaym dance when I was a grad student doing research in Pakistan. As the dancer's feet echo the "bol" or syllables of the drummers, I learned a bit both about tal, or rhythmic patterns, and "bol" (the Hindi word for "speak" - e.g., this is the "bol" for teen tal -

    dhaa dhin dhin dhaa,/ dhaa dhin dhin dhaa/, dhaa tin tin taa/ taa dhin dhin dhaa -

    where the drum sound to be played is first spoken aloud.

    In 1969 or 1970, I heard Ravi Shankar play at the community theater in Berkeley. Allah Rakha, his tabla player, was ill - his son,  Zakhir Hussain, now arguably the best tabla player in the world, who was 12 or13 at the time, filled in.  OMG!

    My older son had studied tabla a bit - some senior students in western street clothes were sitting on the stage with the musicians - Indian performance is more relaxed than ours, or was then.  He hiked his 9 year old self up there and sat just behind the sarangi/drone player for the entire concert.

    Oh, those were the days....

    In India and Pakistan women have traditionally been discouraged from learning tabla - unladylike, they said (how that echoes!).

    Now, the daughter of a famous tabla master, Rimpa Shiv, shown here as a child prodigy http://www.youtube.com/watch?v=1JDMQxTZjnE, has broken that barrier like Anuradha Pal before her.

    Here's another clip of Miss Shiv, sitting with her father/teacher, with him doing bol for her to follow. Wow, I love this. http://vodeo.aol.fr/2-62-285-Rimpa-S....html?visu=285.  The look on her father's face when she finishes exactly right is absolutely beautiful.

    And here's the first internationally known woman master of the tabla , Anuradha Pal. ttp://www.anuradhapal.com/

    The video here shows Pal playing in teen tal (16 beats, 4 groups of four, see above) http://www.anuradhapal.com/mp3_video.htm

    There is a terrific forum for South Asian classical music - with a section devoted to tabla. You can find it here - http://forums.chandrakantha.com/view...63f5526d 3b32

    In the sticky on the top of that forum there are three pages of links to various performances on the tabla.

    ENJOY.

     

    pearlbamboo