A Reflective Moment

A Reflective Moment

“A Reflective Moment” coloured pencils on Arches Aquarelle hot-pressed paper, 356 gsm.

When I started to draw “A Reflective Moment” on October 15th, I was full of trepidation. My previous drawing on Velin BFK Rives had fallen through so my confidence was at an all-time low.  For this new drawing I was trying a paper for the first time called Arches Aquarelle (a hot-pressed watercolour paper).   I’m never good at trying new things so it is not surprising that I was out of my comfort zone.   Alarm bells were ringing and I had to stop myself from ripping up the drawing in a fit of pique – “It’ll never work out!” Fortunately a calm inner voice held steady and stopped me from wreaking havoc.

Surreptitiously as I worked, a small something started to make its presence felt; enjoyment.  ‘Perhaps this paper was going to be okay after all.  Perhaps I hadn’t forgotten how to draw.’  I started with the face and hair and before long they were looking acceptable.   Once I could see the direction the drawing was taking, I relaxed.  The tide of doubt went out, to be replaced by an incoming tide of optimism.

The drawing in its early stage.

I called the drawing “A Reflective Moment” with Katsutomo-san’s introspective demeanour in mind. There are reflections throughout the drawing too; in the hair, obi and kimono as well as in the vertical panes of glass behind her.  In fact the reflection of part of my hat and arm are in the glass panes; you’d never know it was me but I know I’m there. (I had a blue shirt on.)

In the end, this time at least, I have triumphed over my doubts.  I have found a paper which suits me.  It is like acquiring a new friend.  I remember why I draw; for the sheer love of it.  When I misplaced that love recently, drawing seemed pointless, therefore I didn’t want to partake in it.  But I guided myself out of that empty place and here I am, back in a haven where creativity is possible.

Out of reflective moments come clarity of vision.

Lost and Found

Lost and Found

“Spirit of the Street” a drawing which didn’t work out the way I wanted it to.

Notes from my art journal:

1st October 2015:  “Today I am lost in limbo.  I have all this new material [from a recent trip to Japan] but in my current state it seems old and ‘done’.  I’m tired and grumpy and spent hours this morning looking at my photos trying to think of an angle for a blog post but I gave up and did some gardening instead.”

6th October 2015:  “I’ve found my way back into drawing today.  It is with an urban-scape of Pontocho lights which I photographed around 3 a.m. on 29th June 2014.  At 260 x 260 mm it is quite small; perfect for getting back into drawing.  Yesterday I found a large composition to do but I realised I’m not in the right mental state to go straight into something big.  I need to warm up small first.”

12th October 2015:  “Alone in Kyoto” is done.  It was no fun to do and yet it has worked beautifully – just like drawings on Rives paper tend to do.  I have been feeling absolutely dreadful as if my energy level has plunged.  But this drawing is reassuring and gives me a sense of optimism.  All is not lost.  The beautiful result of my miserable labours has revitalised me.”

13th October 2015:  “Just now I changed the name of my new drawing to “Spirit of the Street”.  I had an interesting dream:  I was on a beach, on the sand, with a group of “believing” women.   They were very serene.  The sea was above us – suspended in the sky.  From below we could see fish and other marine creatures in the waves.  How could this be?  Why didn’t gravity pull the sea down and engulf us?  The answer was because of the pure belief of the women that all was as it should be.  The sea was hanging up there while we, underneath it, were dry.  But I couldn’t believe it.  I wanted to, but my thoughts could not believe the sea should be up there.  So doubt crept in.  And my doubt infected the women.  One of them said the ground felt “soft” and we started to run.  But the sea came down and we were engulfed in dark water and we all drowned.”

14th October 2015:  “Still in pretty bad shape mentally.  I can’t come to any decision about what to draw.  I need to reach into my head and RECLAIM the reason I draw.”

15th October 2015:  “That drawing really wasn’t good.  I chucked it out just now. Oblivion.  I’ve been pretty much IN an art nervous breakdown these last few days and this morning I was questioning my sanity.  I couldn’t move.  I was mentally gridlocked. Whatever I thought to draw, I’d change my mind – racked by indecision.  Finally I chose a fabulous pose of Katsutomo which I will draw on Arches Aquarelle.  This will be a whole new experience.”

23rd October 2015:   “The Katsutomo drawing on the Aquarelle is going along so well.  I have managed to get rid of my anxiety and I feel quite normal again.  I’m completely enjoying art once more.  Found!”

Current state of the drawing I am working on. Still much work to do at this stage…as I begin to build up colours on the kimono.

Postscript: Well, wouldn’t you know it?  Now when I look at that drawing, I quite like it. I’m back in balance again, so I don’t mind about its loss.  Plus, its demise led me to the wonderful new paper, Arches Aquarelle 300 gsm, hot press.

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Gion Hatanaka

Gion Hatanaka

At Gion Hatanaka – from left to right; Toshiemi-san, Tanekazu-san, me,  and Ryouka-san.

Before I travelled to Kyoto last month, I perused the internet to see if there were any new activities on offer.  I found “Kyoto Dining with Maiko“.  That looked just the thing for me to try.  I booked myself a place at once.

The venue for the dinner and performance was Gion Hatanaka Ryokan in Higashiyama; a dignified and aesthetically lovely establishment.  I turned up 20 minutes before the starting time however I was the last to arrive.  There were approximately 30 guests seated.  I was shown to my seat at a table for four.  My table-mates were from Canada and America.  We quickly launched into conversation; why we were in Japan, what we had done so far, where we were going next.

On the dot of 18:00 the performance began.  We were introduced to Ryouka-san from Gion Higashi.  She glided in and danced for us.

Ryouka-san was accompanied on the shamisen by a senior Geiko called Tanekazu-san from Miyagawa-cho.  Tanekazu-san must have been in her 80’s or perhaps even older.  She played and sang during the dances and later during the games.  [A friend showed me a photo of her as a young Geiko in 1952, hence my calculation of her age.]

After the dance, it was time to be introduced to teenage Toshiemi-san from Miyagawa-cho. We were shown how to tell the difference between a Maiko (Toshiemi-san) and a Geiko (Ryouka-san).

Toshiemi-san shows us her kanzashi. Note how only her bottom lip is painted. This is because she is a first-year Maiko.

Ryouka-san regards the room while the outfit of a Geiko is explained.

In the following two photos you can compare the obi lengths of Maiko and Geiko.  Also note the very different hair styles.  To sum up, a Maiko is dressed in the style of a young girl – cute and colourful.  A Geiko has grown into womanhood.  Her style encompasses sensuality and refinement.

After the education, it was Toshiemi-san’s turn to dance.  She performed “Gion Kouta”.

The serious part of the evening was over.  (Oh – I forgot to mention the food was absolutely delicious and I left NOTHING.)   But now it was time for games.  I have never been much of a game player so I didn’t participate but most of the guests had turns.  We were shown two drinking games.  Usually the guests lost so had to drink a small glass of beer as punishment (though one could choose green tea if one didn’t drink alcohol).  There was much hilarity as Ryouka-san and Toshiemi-san repeatedly got the better of their opponents.

We are being shown how to play “Tora Tora” (“Tiger Tiger”)

As well as performing, Tanekazu-san, Ryouka-san, and Toshiemi-san circulated around the tables, meeting all the guests, asking questions and chatting.  There was an interpreter on hand.  Tanekazu-san was like one’s favourite grandmother.  She looked stern but when she smiled her face lit up.  She hovered over us, concerned that we were enjoying our culinary courses.  She put her arm round me when we had our photo taken and I felt honoured.

A happy moment as I posed with Tanekazu-san.

There was time for group photos.  But then it was all over.  How quickly the two hours evaporated – in a happy haze.   I loved every minute and I will most certainly repeat the experience.  Who can I rope into coming with me next time?

“Ookini, Tanekazu-san, Ryouka-san and Toshiemi-san.”

 

 

Go Around Again

Go Around Again

15th September 2015 was second day of Katsutomo-san’s Erikae. A few photographers and I accompanied her on ’round 2′ as she paid her respects around Gion.

Just like coming out on stage; but the stage was the street.

Here she was; relaxed and happy.

For a while Katsutomo-san stood in front of her Okiya posing for photos.

We followed Katsutomo-san and her Otokoshi as they did the rounds.

This was a pleasant stroll with a few photographers (both amateur and professional) – as opposed to a mob of paparazzi.

Tsurui Okiya is at the end of this tiny lane.

This is the café where there is always a break in proceedings for refreshments. My reflection selfie made it into this photo.

I forgot to say that Otokoshi nipped into the Okiya to get a wahigasa for Katsutomo-san. I was delighted as this is a very photogenic accessory. (ps a parasol)

Wahigasa and lantern juxtaposition. Nice.

Another ‘selfie’ reflection sidled in to the photo.  (I never notice these things until later.)

Circle and partially folded circle.

Crossing Shirakawa stream.

Through traditional Gion streets…

Circle with globe

This was a very hot day like the first day of the Erikae walk. The wahigasa was very much appreciated by its owner.

Composition with red circles and yellow rectangles.

Framed

Back on Shijo-dori. Passers-by were happy to see such a lovely Geiko.

Katsutomo-san folded and unfolded her wahigasa a few times just here to give us photographic opportunities.

Thank you, Katsutomo-san, for a wonderful two hours. I wish you every success as Geiko-san.

To view the photos from the day before, see A Walk with Katsutomo-san

I hope you clicked on the photos to enlarge them.

A Walk with Katsutomo-san

A Walk with Katsutomo-san

It just so happened that the day I arrived in Kyoto was also the day Katsutomo-san made her debut as Geiko.  What fantastic fortune for me!  I was ready.  The following photos document my walk with Katsutomo-san.   (Please click on the photos to enlarge them so that they can be fully appreciated.)

I waited for one and a half hours across from the door of the okiya so that I would get this first view. I was surrounded by many other photographers – some of whom pushed in front of me!  This was the moment people saw Katsutomo-san for the first time as Geiko.

Katsutomo-san looked serious most of the time…I might even say, tense.  I love the textures captured here.

While I was waiting I decided to try an unusual viewpoint for this photo.

Here you can see the pattern on Katsutomo-san’s obi.

I like the movements of Katsutomo-san and her Otokoshi here – almost like a dance.  He looks like he is pulling her along with invisible thread.

Here is an idea of the difficulty of getting photos. One really had to work HARD to get into position: walk very fast and always try to be in the right place at the right time. Impossible of course.

Canine observed human.  This is Chiro at Nishimura Okiya.  I have been seeing him from time to time since he was a puppy.

I was trying to photograph this exit over a sea of heads , arms and cameras.

Not all of Gion is made up of historic wooden tea houses. The convenience store is ubiquitous in Japan; Gion is no exception.

We arrived at one of the most beautiful areas of Gion – Shinbashi.

Double portrait in idyllic Shinbashi.  I think Katsutomo-san realised she was over half way now.  Not much longer to go.

Katsutomo-san paused for a couple of minutes to give photographers time for portraits. But this was a classic case of me NOT being there. I was waiting further up the road. I had to rush back when I realised that this opportunity was being missed by me.

Perhaps this photo gives a hint of the intense heat and humidity. Just briefly Katsutomo-san shows us how she was feeling.

This is the gorgeous bridge which is a photographer’s delight. Trouble is, ALL the photographers were delighting there already – which means they became part of my photo.  (And I’m probably part of theirs!)

Juxtaposition between tradition and modern.

I was waiting outside Katsutomo-san’s okiya from 10 a.m.  She came out around 11.40 and we didn’t finish until nearly 15:00.  It was hot and exhausting but also exciting.

Later that night as I walked around I saw Katsutomo-san flit by.

Tourists caught a glimpse…

…and she disappeared into the Gion night…

In my next post I will present my photos from day 2 of the Erikae walk.  Katsutomo-san was so much more relaxed and there were way less photographers than day 1 (as always).

ps.  Katsutomo-san has already appeared in two of my drawings, both done within the last year.

In the drawing “Diamonds” Katsutomo-san was the Maiko in the middle.

Here she is in my drawing “The Art of Elegance”

For photos of the second day, please click on Go Around Again

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