CANFACS - Multicultural Art Interaction Festival 2019

NEPAL DAY MULTICULTURAL ART INTER-ACTION FESTIVAL 2019

By:

Dr. Drona Rasali, Senior Vice-President

Anupama Rai, Vice-President

CANFACS

Canada-Nepal Friendship and Cultural Society (CANFACS) successfully organized Nepal Day Multicultural Art Inter-Action Festival 2019 in two parts on Saturday, the 21st September, 2019 at the Crystal at York in the City of Surrey, British Columbia, Canada. The day’s event was sequel to Multicultural Inter-Action Festival organized on September 16, 2018. Sponsored by the Surrey City through its Cultural Grants Program, the event was organized in partnership with Nepal Cultural Society of BC (NCSBC) and Fraser Region Aboriginal Friendship Centre Association (FRAFCA) and was supported by Nepalese Embassy in Canada.

The event initiative was organized by CANFACS as Nepal Day celebrated by Nepali community on the occasion of National Constitution Day of Nepal. The purpose of the event was to build and strengthen the cultural bonding relationship between Canada and Nepal through exchange of multicultural cultural arts .

Event Description

The multicultural art festival, organized on the event day from the full afternoon until late evening, comprised of two event parts.

In the first part of the event, the Multicultural Art Inter-Action Festival was organized with the goal of introducing Nepali cultural heritage reflected by its material arts (artefacts) along with other cultural arts of multicultural fabric of Canada including Canadian Indigenous cultures to interact with each other. It was hoped that the event would facilitate diverse cultural groups to intermingle with each other to find similarities and diversities among each other’s cultures towards their eventual mainstreaming in the Canadian multicultural milieu. The event organized in Surrey city has begun a meaningful discourse on multicultural material arts towards creating multicultural bonding among various cultures in the City of Surrey, the Lower Mainland, BC and Canada. It is hoped that Nepali culture which is a growing element in the multicultural fabric of Canada will not only serve as the vehicle of this discourse but also eventually becomes established itself in Canada.

The multicultural art inter-action showcase event was attended, observed with interest and remarked with positive notes by distinguished invited guests, namely Honorable Bruce Ralston (BC Minister of Jobs, Trade and Technology), Honorary Consul General of Nepal in Victoria Mr. Christopher Considine, Nepal’s popular singer, actor and movie director/producer Yash Kumar and Nepali Dohori Song expert and Associate Professor at University of Hawaii Dr. Anna Stir, President of FRAFCA Greg Anderson, Executive Director of FRAFCA Joanne Mills, President of NCSBC Kalyan Thapa, Former Executive Director of BC Provincial Health Services Authority Lydia Drasic and some 60 attendees from various walks of life.

In the beginning of the program, FRAFCA representative Gary Abbott did the Indigenous prayer, which was followed by the national anthems of Canada led by young Nepali Canadian singer Muskan Poddar and the national anthem of Nepal led by Astha Pandey. CANFACS President Mankajee Shrestha ‘Jena’ welcomed the distinguished guests, presenters and participants of the program. A message of wishes for success of the event sent by the His Excellency Ambassador of Nepal Bhrigu Dhungana was read by CANFACS Senior Vice President Dr. Drona Rasali, who along with CANFACS member Hemi Shrestha who moderated the Multicultural Art Inter-Action show.

Each of the registered presenters, with their artefact entries arranged in a designated presentation booth each, explained the background and themes of the art forms. The visitors and participants had ample time to mingle around and exchange information on the artefact exhibits in the show. At the end of their presentations, all presenters, artists and contributors were recognized with honoring plaques or medallion during the occasion.

In the second part of the event, Cultural Dohori, Dinner and Dance (3-D) was organized. Visiting Nepali popular singer Yash Kumar performed his concert, while American citizen Nepali Dohori Song expert Dr. Anna Stir performed various Nepali folks songs. Local Nepali community volunteer performing artists performed their cultural songs and dances. Canadian Indigenous Jingle Dancer Shanice Malloway performed First Nations Jingle Dance. Anna Stirr and Yash Kumar joined by women’s and men’s team performed Nepali cultural Dohori (Dialogue) songs in a heated competition for winning each other’s hearts. The second part of the event was a ticketed event for fund raising purpose to offset the expenditure of the day’s event. The event was attended by more than 200 people of various walks of life including artists, volunteers, guests and general audience.

All in all, the day’s event had varieties of cultural art forms presented to generate cultural interactions between Nepali cultural arts and various other multicultural arts of Canadian multicultural fabric comprising Chinese, European, Canadian and Canadian Indigenous cultural arts. The event was very well acclaimed especially by Nepali audience and was covered in the Nepali media : nepali.breaknlinks.com:

Cultural Artefacts Entries

Canadian Indigenous Art of Carving and various other indigenous arts: ARNIE LEON
A local, land based Nation elder who will be bringing his carving work to the event for display.

Canadian Indigenous Drum and Rattle Display: GREG ANDERSON Anishnaabe elder displays Canadian Indigenous Drum and Rattle.

Ghana Kente Fabric Art: Dr. WILLIAM OSEI
(represented by Krishna Rasali)

Ghana is one of the important traditional textile centres in Africa. Ghana is known all over the world for its Kente cloth, with its unique art and design. It reflects its cultural heritage which is uniformly acknowledged and proudly used by its citizens at home and abroad.

The Kente cloth weaving originated from the Asantes of Ghana. It dates back over three centuries from a village called Bonwire. Bonwire is still the headquarters and centre of the Kente cloth weaving industry.

The original Kente cloth was woven in black and white cloth and silk and reserved for the sole use of royalty. The Asante king, Otumfuo Nana Prempeh-I was the first to don a multicolor Kente.

The colorful Kente cloth now comes in hundreds of geometric and cultural designs or patterns. Each pattern has a specific meaning or name and is associated with the history, culture or beliefs of the Asante people. There is no formal training for aspiring weavers of Kente. Trainee weavers are usually apprenticed with an older more experienced master weaver, a person who is an adept in the creation and the meanings of all of the old and current patterns.

The usage, design and patronage of Kente have grown in expanse and complexity. The blue-blood usage has devolved to almost every one who can afford a full Kente cloth or parts thereof for shirts, blouses, pants, curtains, ties, shawls, hats, sandals, shirts, jackets, caps scarves, etc. Kente cloth or any of the above designs have evolved into the ceremonial or national attire for most Ghanaians. It is now made

from cotton, rayon, silk. Thus Kente is worn or used by a broad spectrum of Ghanaians – students, choirs, politicians, and interestingly the graduating gowns of our universities have unique Kente designs. Several universities and the Black Caucus of the Congress in the United States, presidents, parliamentarians, and ministers use Kente for obvious purposes.

Thus all nations and cultures are welcome to use Kente as they deem fit.

Canadian Handloom Fabric Art: KATHERINE DRASIC, Weaver
(Presented by: Lydia Drasic)

Canadian handloom artefacts which have cultural stories that reflect values about what Canada means to me. I will have a little write up on my weaving (100wd), a picture of the loom, tags describing each woven piece, and some cards for my contact information.

I will be showing four pieces of weaving. Many of my pieces have certain intentions or stories woven into them. You will be able to read these stories alongside the weavings.

I have been learning to weave from Mary Bentley and members of the Sunshine Coast Spinners and Weavers Guild. After I had my loom set up for the first time, a feeling washed over me and it was like I knew in my bones this was something for me to do with my life. Weaving nourishes my soul in a way that I didn’t even know existed.

Weaving is an old art form. In fact, all human societies had some form of weaving. So to me, practicing this art is an opportunity to connect to all of humanity.

May this Art

Spread Beauty and Hope

Ignite Compassion and Connection

Kindle Courage to Live Our Truths

With Love

Katherine Drasic

www.katherinedrasic.com

Nepali Dhaka Fabric Art: HEMI SHRESTHA

Dhaka is an exquisite, hand woven cotton fabric with infinite variety of geometric patterns. Dhaka, in essence, is truly indigenous and traditional form of artistic expression that exemplifies the Nepali mastery of craftsmanship. Dhaka is more than a fabric – it is a piece of art reflecting history, culture and tradition of the hill people of Nepal, and is in need of revival and recognition.

Dhaka topi (cap) – is an iconic identity for Nepali men. The topi is a mixture of elegance and tradition, and a heritage; it carries a national legacy expressed with a simple headgear. The fabric is a part of Nepali identity.

Dhaka fabric can be purposed for many uses from upholstery: curtains, table runners, table mats, wall hangings to Sarees, designer outfits; and also for accessories like scarves and handbags.

Traditionally, women seated on the floor, transformed cotton from local fields into yarn using the Charkha: the wheel. This yarn was then dyed and dried under the sun to be homespun into Dhaka using the “Haate Taan” (the handloom). The art of making Dhaka is taught by one generation to another.

It is usually women’s groups who make the Dhaka fabric, supporting the craft in itself as well as providing for their families. It takes a woman one day to make just one metre of fabric from the raw fibre; making this a rare and unique product for one who appreciates fine, handmade items. The art has become a significant source of women empowerment and community development in various parts of Nepal.

Traditional Gold Ornament Art of Nepali Hills: KRISHNA RASALI

The people in the hills of Nepal, especially the women, are very fond of gold ornaments from time immemorial. They wear variety of decorative gold ornaments created by traditional artisans goldsmiths in handicraft art forms. The gold ornaments became modernized and more popular, once Hill Indigenous people started to serve British Army to bring wealth and prosperity to their homes from their earning abroad. A long necklace with a set of large gold beads (Tillary) woven into the garland of a glass beaded (Pote) threads became a major fashionable ornament for women’s festive day called “Teej” after the Late Queen Aiswarya Rajya Laxmi Shah donned it during this festival. The gold ornaments reflect art history of rural hills of Nepal, while they also serve as the household assets in these days of ever rising gold price.

Chinese Clay Plate Art: BRUCE BAI
(represented by Navin Dhakal)

This piece of art shows the lovely maiden who stands amid the fragrant flowering laurel trees represents youth, rebirth, and thereby, immortality. The old monk, who stands behind her, represents the wisdom and dignity of age, and the relentless passage of time. The pair personify the ancient Taoist ideal of yin and yang - a perfect balance of contrasting elements.

Master Jiang's touch is subtle, delicate, using watercolors in translucent pastel washes in the original painting. He captures perfectly the colourful costume and delicate form of the young maiden as she bends her lovely head toward the blossoms, her graceful scarf billowing in the breeze. And through his mastery of the traditional Chinese art technique, first perfected during the T'ang dynasty (A.D. 699-759), he achieves an effect as fine and flawless as an engraving.

European Art of Wood-carved Clogs: CIARAN AIKEN

Often associated with the Netherlands, this cultural artefact of wooden footwear (“clog”) was common across Europe for centuries, prior to the widespread use of leather and rubber in the 20th century. Clogs were almost always hand-carved, and with local variations in design and pattern. Their traditional uses varied – from workwear (farming, mining) to cultural (ornate painted design, tap dance). Wooden shoes were valued for their durability - the oldest surviving wooden footwear in Europe is found in Amsterdam and Rotterdam, and dates from 1230 and 1280. Regional names for clogs include “klompen” (Netherlands), “sabot” (France, Belgium), “zoccolo” (Italy) and “albarca” (Spain).

This pair of clogs are approximately 110 years old passed down with in my family – given to my grandmother by her great grandmother. The origin is not clear, but the pattern and design of the toe suggest a possible French origin.

Nepali Handicraft Art: KAMALA BAJRACHARYA, Jhigu Palaa

Handmade handicrafts, sandals and other products made by victims of the earthquake.

Cultural household utensils: SURESH SHRESTHA

Household utensils reflecting Nepalese culture and heritage art
(for daily uses at home)

Nepali cultural Ritual Utensil art: SUNAINA PAUDEL

Ritual utensils reflecting Nepalese culture and heritage
(Uses: During marriages and religious activities)

Nepali Khukuri Art: KUMAR KC (NCSBC)

The Khukuri is not only just a weapon but is the quintessential representation of valor, pride and traditions of the Gorkhalis, the brave warriors of Nepal. The presentation is an attempt at providing a brief introduction of the weapon itself and its significances to the Gorkhali heritage. Each Khukuri is a piece of art created by traditional artisan blacksmiths of the Hills of Nepal.

Nepali Thanka Painting Art: RAJ SHAKYA

A Thanka, variously spelt as thangka, tangka, thanka, or tanka (Nepali pronunciation: [ˈथान्का]; Tibetan: ཐང་ཀ་; Nepal Bhasa: पौभा), is a genre of Nepali art of Tibetan Buddhist painting on cotton, silk appliqué, usually depicting a Buddhist deity, scene, or mandala. The earliest surviving thanka paintings from Nepal date to about the 14th century AD, but this is probably well after Buddhists and Hindus began to make illustrations of the deities and natural scenes. Historically, Tibetan and Chinese influence in Nepalese paintings is quite evident in Paubhas (Tangkas), and Nepalese styles have been a significant influence on Tibetan art. Paubhas are of two types, the Palas which are illustrative paintings of the deities and the Mandala, which are mystic diagrams paintings of complex test prescribed patterns of circles and square each having specific significance. It was through Nepal that Mahayana Buddhism was introduced into Tibet during reign of Angshuvarma in the seventh century AD.

Nepali Indigenous Weaving and Handicraft Art: HEMANTA SIWAKOTI

A variety of Indigenous weaving and musical instrument handicraft art display.

Canadian Indigenous First Nations Art: ALEXANDER ERICKSON

A variety of Indigenous arts displayed.

Newari (Nepal) Mha Puja material arts: RAJU BAJRACHARYA

Canadian Indigenous Dance Art, Hoop Dance: GARY ABBOT

Newari (Nepal) Lakhe Dance: SURESH SHRESTHA

Content Disclaimer:
Any opinion expressed or implied in this NEWSLETTER are solely those of the authors and don't necessarily represent those of CANFACS.

In this IssueA Message from the PresidentCANFACS TimelineA letter from FRAFCAA letter from Embassy of NepalGreetings from Bruce Ralston, MLAA letter from Nepal Oregon Association
SPECIAL FEATURESMulticultural Art Interaction Festival 2019Mitini: A Unique FriendshipPhoto GalleryList of Honored Participant Guests
ENGLISH ARTICLESA Journey to Nepal Anna Stir : A Dohori Artist
नेपाली रचनाअन्ना स्टिर : एक दोहोरी कलाकार अनुपमाको आकार हटाएर खरो दरो भान्छा भयो : एक प्यारोडीशुख दुख: मुक्तक
Our Community Supporters & SponsorsGreetings from Mha Puja BCA letter of support from Jhigu PalaaRealtors - Real Estate InvestmentAccountants - Business and Personal AccountingInsurance and Investment Advisor

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