‘Peach Blossom’ in bloom

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Peach-Blossom-in-bloom-30285719.html

ART

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Next stop, contemporary art, at Seoul’s former railway station

The former Seoul train station, now Culture Station Seoul 284, is hosting a multi-arts festival that might prompt commuters to linger before catching their trains at the new station next door.

The arts show “Peach Blossom: Hopeful Flower of Utopia”, organised by the Korea Craft and Design Foundation and the Ministry of Culture, Sports and Tourism, brings together 27 individual artists and teams from seven countries.

They’re presenting interactive art that attempts to “stimulate the six senses of visitors”, says artistic director Shin Su-jin.

The Culture Station Seoul 284, a Western-style building erected in 1925, reopened in 2011 to offer diverse arts projects, ranging from contemporary dance, theatre and music to visual arts and films.

The festival has site-specific installations that explore innovative forms of art such as sound, interactive media and video in the old lobby, the waiting rooms and the stationmaster’s office.

At the entrance, architect Kook Hyoung-gul has built a vertical labyrinth using plastic shipping pallets. Viewers navigate through to find an image of waterfalls painted by Lee Hee-won.

In the former stationmaster’s quarters, Kim Joon has installed a wooden casket in which viewers can lie to listen to Buddhist percussion and prayers and sounds captured in churches.

The sound can also be heard from outside the coffin, but the bolder visitors will want to experience the strange feeling of lying inside a casket. It’s up to them to interpret what’s intended, since the staff offer no clues.

In the old VIP lounge is a tree hanging from the ceiling that appears to be supported by floating red balloons. Kim Myeong-beom’s installation is a popular photo spot for passers-by.

The art project also affords chances to participate in theatre, dance and music performances presented by foreign artists.

On Saturday at 2pm London-based composer Gabriel Prokofiev will be mingling classical and electronic music. The grandson of celebrated Russian composer Sergei Prokofiev is known for mixing classical and popular styles for his record label Nonclassical.

Spain’s Marisa Silbatriz Pons will demonstrate how she turned her childhood habit of blowing whistles into an artistic performance at 2 on May 28.

And at 8pm on June 17, Korean-American Bora Yoon will give a recital of music created from the sounds cellphone buttons make when pressed. The concert is called “Phonation”.

The third floor of the station is a theatre screening 38 movies recommended by Korean and French artists, fashion designers, actors, film critics and psychiatrists.

In June you can see the satirical comedies “Modern Times”, “Idiocracy” and “Playtime” – the choices of French artist Orlan, who underwent plastic surgery to resemble the Mona Lisa and the goddess of love in Botticelli’s painting “The Birth of Venus”.

On the Web:

http://www.Seoul284.org

EVERYBODY’S kung-fu fighting

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/EVERYBODYS-kung-fu-fighting-30285718.html

SOCIAL SCENE

Eastin Grand Sathorn has a mob of kids in for a movie and much more

PO AND TIGRESS from the |hit “Kung Fu Panda” animated-film franchise showed the kids at the Baan Mahamek Home For Boys a few slick moves recently, courtesy of 20th Century Fox Thailand.

The cartoon characters in |life-size mascot form met the 80 youngsters – mainly orphans and needy kids – at the Eastin Grand Sathorn before heading back to their own home, not in China but the United States.

The hotel arranged a screening of the first “Kung Fu Panda” movie (as requested by the boys) to give a little something back to society on the occasion of its fourth anniversary.

Presents were distributed as well while one of the hotel conference rooms became a private movie theatre for the children, complete with a popcorn machine and hot dogs.

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The boys giggled their way through the rough and tumble antics of the characters in the film and then, to their astonishment, Po and Tigress appeared in person. The mascots were entertained in turn with |the kids’ rendition of |”The Chang Song”.

The hotel’s executive chef, Stefan Nietsche, then invited the boys to a buffet banquet of their favourites – pizza, spaghetti, som tam, fried chicken, cake and, okay, more hot dogs.

General manager John Westoby, who served as host for the festivities, said later he and his staff had as much fun as the boys did. The youngsters were duly appreciative.

“On behalf of everyone here I would like to say thank you for arranging such a wonderful time for us,” nine-year-old Nong Win declared. “It was great fun and we really enjoyed the snacks during the movie. We all wish the hotel continued success and hope you’ll arrange more nice activities for us every year.”

Win then led the boys in saying “Khob khun krub” three times.

Baan Mahamek welfare director Areewan Lalitpipat also thanked the hotel staff and congratulated them on the Eastin Grand Sathorn’s anniversary. And a representative of 20th Century Fox Thailand said they were “delighted to be a part of a day that brings so much happiness to these young boys”.

After presenting each of the youngsters with sportswear, Westoby was all smiles.

“Being a family man myself, it makes me feel extremely humble to see these boys who’ve endured such a lot in their young lives, enjoying themselves immensely, and I am delighted that we could have the privilege of welcoming them to share this special occasion with us.”

 

Eyes can look younger with a double eyelid enhancement

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Eyes-can-look-younger-with-a-double-eyelid-enhance-30285717.html

SKINDEEP

Some elements of beauty appear to be universal. Large eyes with double eyelids, for instance, are considered a mark of youthfulness and femininity.

Some elements of beauty appear to be universal. Large eyes with double eyelids, for instance, are considered a mark of youthfulness and femininity. Unfortunately, women lose skin elasticity as they grow older and excess skin develops leading to droopy eyelids. These droopy eyelids make the eyes appear smaller and the natural crease of the lid becomes less defined.

And that little crease makes a huge difference! Most Asian women believe that the double eyelid gives the eye a more beautiful appearance and use a thin strip of tape or sticker to enhance their double eyelids and give the eyes an open look.

However, there will come a time when the trick looks unnatural or no longer works at all.

What do you then?

The drooping eyelid can be fixed with surgery known as blepharoplasty. For some women, the surgery is extreme. They want a procedure with less downtime and less of a dramatic result.

In response to this demand, Professor Giorgio Fippi, president of the Italian Society for Aesthetic Medicine, has developed an innovative device that uses plasma. This plasma treatment is the latest technology in blepharoplasty and non-invasive double eyelid surgery.

The device, which has received CE approval, works through the non-ablative process of sublimation. Plasma is formed through the ionisation of atmospheric gas, which works to coagulate the surface of the skin causing tightening of skin fibre and new collagen production. This results in the reduction of the excess skin on the upper eyelid and the improvement in the eye appearance. |The procedure usually takes approximately 30 minutes, depending on the area being treated and the severity of each case. Once treated, the skin will develop a crust-like protective layer, which will fall off within five to seven days post procedure. The new skin will be smooth, firm, pinkish and develop to match the natural skin colour within a month.

For double eyelid correction, three to four sessions may be required, and these are performed at intervals of six to eight weeks. Studies into the efficacy of plasma technology for enhancing double eyelid have been conducted with positive results.

Surgical blepharoplasty is still the “gold standard” for people seeking dramatic and impressive results but plasma technology is a good non-surgical option for |others who want a gradual, |scar-less correction without the risks of surgery.

THANISORN THAMLIKITKUL MD| is a member of the American Society of Cosmetic Dermatology and Aesthetic Surgery and |certified in dermatological laser surgery. Send your questions |for her to info@romrawin.com

Feeling is believing

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Feeling-is-believing-30285594.html

From left, Sutat Pungsiripattana, vice president of Thailand Association of the Blind; Parattajariya Jalayanateja, managing director of J. Walter Thompson Bangkok; and her teammate Satit Jantawiwat, the chief creative officer./Nation photo

From left, Sutat Pungsiripattana, vice president of Thailand Association of the Blind; Parattajariya Jalayanateja, managing director of J. Walter Thompson Bangkok; and her teammate Satit Jantawiwat, the chief creative officer./Nation photo

Bangkok ad agency J Walter Thompson comes up with a way to reach the visually impaired, with touchable ink

Hailed as a major breakthrough for the visually impaired when they were first introduced a couple of decades ago, Braille embossers, as the impact printers that render text as tactile Braille cells are known, are of little use to Thailand’s blind. Their high price – about Bt100,000 each or more than Bt30 per printed sheet, the need for special, heavier and more expensive paper that has to be imported and the resultant thicker and often unwieldly books have led to the blind turning to audio services for their reading pleasure or simply going without.

That could be about to change thanks to Touchable Ink. Currently in the development process, this new process will erase all the obstacles associated with Braille printing, and once when it is ready will represent a real breakthrough for the visually impaired.

The seeds for the idea were first planted here in Thailand by the advertising agency J Walter Thompson.

Parattajariya Jalayanateja, managing director of J Walter Thompson Bangkok and Satit Jantawiwat, the chief creative officer, grin when asked how the advertising agency came up with the innovative idea when their main business is surely to create catching ads for their clients.

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“At JWT we have always had teams looking at consumer needs and behaviours in order to enrich creativity,” Parattajariya explains.

“The Touchable Ink project began from a study of visually impaired people that led to better awareness of these needs. The blind depend largely on Braille code but the printers available on the market are way more expensive that ordinary printers and we wanted to see if we could come up with a Braille embosser for the home that couldn’t cost a fortune.”

The agency also looked at embossing pens, which are used for arts and crafts and sold in most stationary shops. Enquiries revealed that embossing powder was also available on the market at a very low price. They then took the idea to Dr Nopparat Plucktaveesak, head of the Department of Chemistry at Thammasat University’s Faculty of Science and Technology and also asked for support from Samsung, which was pleased to contribute laser printers, ink cartridges and technicians to work on modifying the printers during the experiment process.

The process is surprisingly simple. The embossing powder is first mixed into the ink cartridges and then printed on normal paper. The paper is heated using a hair dryer, iron or popped in a microwave for seven seconds, which puffs out the ink and makes it perceptible to the touch.

Tests conducted so far show that the process works well with laser printers that provide a more stable and better printing quality than their inkjet cousins but are still affordable to home users.

“It also allows embossed printing of non-Braille characters and other shapes and patterns too. This will open up a new world for the visually impaired and revolutionise their access to knowledge,” Satit adds.

“We do know that the embossing should be around 0.1mm thick so that they can read it smoothly and perfectly. Moreover the ink should stick strongly to the paper,” he explains, adding that the research team is still working to find the right formula so make the printing more stable. “Sometimes they have to print seven or eight sheets before getting it perfect,” he says.

“We tested it by scratching at the embossed Braille but it stuck firmly to the paper and it works,” says Sutat Pungsiripattana, vice president of the Thailand Association of the Blind.

“I’m thrilled about the invention. Once they find the final formula, it will make our lives and education so much easier,” he adds.

Although numerous assistive technologies exist for the visually impaired such as screen readers, Sutat says that the Braille code is still more convenient for the blind, as it is non-linear, using six-dot cells in two rows.

Those who do not suffer from visual impairment have little idea how even normal daily activities present a challenge for the non-sighted and how much they are forced to rely on other people. Imagine, for example, the problems differentiating between juice and milk cartons, categorising medicines according to their packaging and pressing the remote control for the TV.

The easiest way of overcoming such handicaps is to have products and facilities marked with commercially printed Braille labels, which allows them to differentiate between the ATM card and BTS or MRT cards.

With the touchable ink technology and an inexpensive laser printer, they will be able to print their own labels. Such printers can be found for as little as Bt2,000 and while the ink cartridges run into the hundreds of baht, the whole process is still much, much cheaper than the Braille printer or even the typewriter.

And because there are fewer than 200 Braille embossers in Thailand, printing a book usually takes around two weeks.

The number of blind is Thailand is estimated at 700,000 though only some 100,000 are officially registered. And not all blind people know Braille. Sutat says that the association has 10,000 members but the number who have applied to learn Braille is considerably lower.The touchable ink will provide more opportunities to learn Braille, printing what they need to known from online sites to their home laser printers. And they can print labels for milk and juice, for example, thereby making life easier and at a price that everyone can afford.

JWT expects the final product to be ready in a few months from now and is turning its efforts to making it available through interested printer manufacturers.

 

Who’s the babe on the bike with our boy?

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Whos-the-babe-on-the-bike-with-our-boy-30285592.html

SOOPSIP

photo courtesy of Vogue Magazine

photo courtesy of Vogue Magazine

Vogue Thailand has on the cover of its May edition Luping Wang, the latest in an increasingly hot line of fashion models from China.

She’s seen posing with sexy Sukollawat “Weir” Kanarot on his beloved Triumph T120.

Wang was the only Asian model on the runway in Rome for Valentino’s big autumn couture show recently. Hailing from rural Guangzhou, the 178cm-tall model debuted only last year, showing the Burberry Prorsum spring-summer collection.

And between Prorsum and Valentino there were Just Cavalli, Ports 1961, Marni, Dolce and Gabbana, Alexander McQueen, Dior, Viktor and Rolf, Chloe, Stella McCartney, Hermes and Chanel.

So Vogue Thailand was perhaps lucky to get Wang aboard a motorcycle with Weir, who incidentally becomes the first male on the cover in its three-year history.

Wang has done Vogue China before – last November when it showcased all the Chinese models burning up catwalks at the moment, the others being Dylan Xue, Gia Tang, Xiao Wen Ju and Yuan Bo Chao.

“That cover had the entire new generation of Chinese models and I was surprised to be part of it,” Wang told Weir while preparing for the Bangkok shoot. Handling the Vogue China cover assignment in New York was leading British photographer Elaine Constantina. Wang said it was one of her proudest moments.

“It has to be one of the peaks of the profession for any young model to be recognised at the international level – I’ve walked very far and very high in this career,” she said. “So I’m always happy to work with the professional teams at Vogue.”

Weir asked her just how difficult it is for Asian models to gain global recognition.

“The world of fashion is still dominated by white-skinned models,” Wang pointed out. “But in the past there were only one or two models from Asia in the big shows, and now they all have at least five.

“There are more Chinese models now because Chinese business is really booming. Chinese are the big spenders in luxury fashion, so a lot of the international brands want Chinese models on the runways. It’s been quite a success.”

The Bangkok shoot was in the capable hands of the country’s hottest fashion photographer, Tada Varich. He’s got Wang and Weir looking very cool on the classic bike. It’s no surprise seeing Weir in the saddle because he rides professionally and also owns the official distributorship for Triumph here.

Wang straddles the fuel tank, facing Weir. And unlike Weir, she’s never been on a big bike before. “Being a model is like being a silent actress,” she told Weir. “When you wear clothes and makeup in different looks, it’s like I need the actress spirit to portray all the varied roles.”

So what’s so alluring about motorcycles, she asked him.

“Unlike acting, riding gives me new experiences every time, especially when I’m riding in other countries. You learn about different cultures and have to adjust to them. And biking over long distances is a good way to calm the mind. I get a lot of fresh ideas along the way, so it’s a way of recharging my energy.”

The farang who knows Thais best

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/The-farang-who-knows-Thais-best-30285445.html

THAI HISTORY

Craig Reynolds goes native in 1964, when he was in the Peace Corps, teaching English, the photo by collque David Cadigan is included in 'A Sarong for Clio'.

Craig Reynolds goes native in 1964, when he was in the Peace Corps, teaching English, the photo by collque David Cadigan is included in ‘A Sarong for Clio’.

David Cadigan returns Bangkok for launching 'A Sarong for Clio' at Jim Thompson House. Nation/Kupluthai Pungkanon

David Cadigan returns Bangkok for launching ‘A Sarong for Clio’ at Jim Thompson House. Nation/Kupluthai Pungkanon

'A Sarong for Clio – Essays on the Intellectual and Cultural History of Thailand Inspired by Craig J Reynolds'. Nation/Kupluthai Pungkanon

‘A Sarong for Clio – Essays on the Intellectual and Cultural History of Thailand Inspired by Craig J Reynolds’. Nation/Kupluthai Pungkanon

From left, Sulak Sivaraksa, Dr Charnvit Kasetsiri, Dr Tyrell Haberkorn, and Dr Thanet Arpornsuwan join the talks at Jim Thompsom House. Nation/Kupluthai Pungkanon

From left, Sulak Sivaraksa, Dr Charnvit Kasetsiri, Dr Tyrell Haberkorn, and Dr Thanet Arpornsuwan join the talks at Jim Thompsom House. Nation/Kupluthai Pungkanon

Scholars gather in praise of Craig Reynolds, who’s made Southeast Asian studies his life’s work

Craid Reynolds is earning due praise for charting important aspects of Thai culture. Now 74, the American professor is well known among students of local history. He has for decades been an inspiring teacher whose writings are a rich resource for their own papers.

Reynolds was back in Bangkok recently, at Jim Thompson House, for the launch of the book “A Sarong for Clio – Essays on the Intellectual and Cultural History of Thailand Inspired by Craig J Reynolds”.

The event was packed with respected Thai and foreign scholars. A panel discussion featured social activist Sulak Sivaraksa, Waruni Osatharom, Professors Charnvit Kasetsiri, Thanet Arpornsuwan and Saichol Sattayanurak of Chiang Mai University, Dr Tyrell Haberkorn of Australian National University, Dr Patrick Jory of the University of Queensland, and Associate Professor Villa Vilaithong.

Independent scholar Chris Baker offered the closing remarks along with Reynolds himself.

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More famous names were in the audience, including Professors Chatthip Nartsupha and Pasuk Phongpaijit, Dr Attachak Sattayanurak, Thanet Wongyannawa, Associate Professor Viengrat Netipho, Chalong Soontravanich, Dr Thanapol Limapichart and Rasmi Paoluengthong.

No one was distracted by the word “sarong” in the title of the book. It’s only other reference is in a 1964 photo of Reynolds wearing the cloth draped from the hip. He was in Thailand with the Peace Corps at the time and teaching English in Krabi.

Seen as a “wrap-around”, though, the sarong affords an apt metaphor for the influence of Reynolds’ writings, which have played a vital role in shaping our understanding of Thai social history. His famous studies include “The Case of KSR Kulap: A Challenge to Royal Historical Writing in Late Nineteenth-century Siam” and “Thai Radical Discourse: The Real Face of Thai Feudalism Today”.

Reynolds preferred to joke about the old snapshot, accusing the book’s editor, Maurizio Peleggi, is forging a conspiracy. “It’s a picture of someone I don’t know anymore,” he said to appreciative laughter.

The Clio of the title is the muse of Greek myth who “conveyed the idea that history offers maternal sustenance, as well as stern example”, as Peleggi writes in the introduction.

Reynolds remains academically active and continues to inspire Thai scholars and students with his scholarship and his famously sharp criticisms of their papers, Peleggi notes. For three generations he’s been in this position among “peers, his former students and increasingly their students”.

“A Sarong for Clio” contains nine commentaries by 10 scholars – Baker and Pasuk, Thongchai Winichakul, Villa, Peleggi, Jory, Tamara Loos, James Ockey, Yoshinori Nishizaki and Kasian Tejapira.

Reynolds told The Nation that, of necessity, the language first held his interest in Thailand. He studied linguistics in graduate school with Professor Oliver Wolters, who taught early Southeast Asian history at Cornell University.

“That’s when I converted to history, and almost immediately,” Reynold said. “And ever since I stayed in Krabi I’ve had great affection for Thailand and the language.

“I became pretty good at some of the difficult terms in Thai, so when I went back to the US I wanted to keep using the language. That’s why I went into linguistics, but then I met this inspiring teacher, so the two things came together and I become a historian – actually of all of Southeast Asia. I’ve also taught about Indonesian, Malaysian and Cambodian history.”

Asked to comment on one panellist’s insistence that Thailand has “no social history”, Reynolds suggested it might be construed as true since academic work “can’t touch on some of the important conflicts that had to do with the structure of society, including the monarchy”.

Other aspects of social history are amply documented, though, he pointed out. “There’s a young man studying the use of leisure time in Thai society from the reign of King Rama V to 1932, and others have written about sport and film history. So I wouldn’t say social history is totally neglected.”

Still, the politics and hierarchy of Thai society limit public discourse, Reynolds said.

“People outside, the country have to understand that being inside the country is different. Up until the coup in May 2014 it seemed that, if you spoke in English, you could say things you couldn’t say in Thai. Now even that’s changed. Some subjects are too difficult to work on even for Westerners.

“But that doesn’t mean you can’t study things. Some of the young historians’ projects are very inspiring. There are many things to study that don’t necessarily involve the social structure at the present moment.”

Reynolds said he was impressed by Varunee’s comments on one of his favourite but least-discussed pieces, “Tycoon and Warlord: Modern Thai Social Formations and Chinese Historical Romance”, which deals with the Thai-Chinese community leader Sam Kok.

“She made a point about how Sam Kok has been reproduced online in games, cartoons and so forth. Thailand is now saturated with mobile phones and Thais use the social media more than most other people. The present historical circumstances require people to find other means to express their opinions, not to protest but to exchange ideas. In the West people actually study the social media – it’s not surprising because they’re an important source of information, and in fact there’s so much information that it’s impossible to read everything.”

There is much anticipation at the moment over the publication of Reynolds’ conclusions on Khun Phan, the formidable authority figure of the South regarded as both nakhleng (a tough guy) and kru (a guru). Peleggi points out that the subject entails “several strands of Reynolds’ scholarship – Buddhism, magic, local knowledge and power”.

“I’m pretty sure it will be a perfect piece,” Sulak said. “Khun Phan was on the police force, a part of the bureaucracy, an oppressor, and an expert on southern amulets, so superstition is now mixing into the national subconscious.”

Thanet recalled meeting Reynolds in the US in 1967 and was struck by his distinctive smile, “a kind of mix between a smile and a laugh”.

“What Craig has been doing for the last 40 years is pushing for Thailand to have a social history. The way Thais think about society forms the thinking of the nation. We can switch between sangkhom [society] and chart [nation] with no trouble at all. No contradiction was noticed until Craig pointed it out, and then we began asking questions about the society and nation. Sometimes crossing the language barrier allows us better understanding.

“This is Craig’s contribution to Thai studies. I see some young faces among the historians here, and surely they will pick it up and do more.”

– “A Sarong for Clio: Essays on the Intellectural and Cultural History of Thailand, Inspired by Craig j. Reynolds” is available at Asia Books for Bt925

 

Having a blast with other people’s looks

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Having-a-blast-with-other-peoples-looks-30285422.html

SOOPSIP

Benjaphorn 'Sine' Jessadakan uses everyday item to recreate fashion photos by beauty queen Panadda 'Boom' Wongphudee. Photo/FaceBook/Sine

Benjaphorn ‘Sine’ Jessadakan uses everyday item to recreate fashion photos by beauty queen Panadda ‘Boom’ Wongphudee. Photo/FaceBook/Sine

Sine dresses like Treechada 'Poy' Petcharat. Photo/FaceBook/Sine

Sine dresses like Treechada ‘Poy’ Petcharat. Photo/FaceBook/Sine

Sine dresses like Davika 'Mai' Hoorne. Photo/Facebook/Sine

Sine dresses like Davika ‘Mai’ Hoorne. Photo/Facebook/Sine

In a lonely quirk of fate, Benjaphorn “Sine” Jessadakan set out to advertise the women’s dresses she makes and ended up being more famous than her online store.

That’s because she dresses up as celebrities for the photos posted on Facebook and the resemblance is often amazing.

The second-year student at Nakhon Pathom Rajabhat University uploaded her first “celebrity dress-alike” picture two months ago and she now has more than 30,000 followers on Facebook and thousands more on Instagram.

The initial post was a shot of Chloe Grace Moretz in shorts and a spaghetti-strap shirt side by side with one of Sine in the same outfit. “I dress just like her, so why do I look like Co?” she said in the caption, punning on Thai slang for “cow” that rhymes (sort of) with Chloe.

Sine’s friends thought it was adorable and urged her to post it on the “LowcostCosplay” Facebook page, home to amateur fantasists in low-budget costumes. There she earned her first ovations, along with encouragement to keep being creative.

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“I picked Chloe because she looked so good in shorts and the top and they were easy to find,” Sine says. “Once it hit the social networks, people said they’d love to see more funny DIY celebrity look-alike dress-ups. Whatever’s trending on the social media, if it suits my style, I’ll work on it.”

By “working on it”, she means trying to build an outfit out of whatever’s lying around. “I used my pyjamas, mesh netting from my car park and plastic bags to create a mermaid costume. And my boyfriend handles the settings and photography.”

Sine’s greatest hits have involved superstars Davika “Mai” Hoorne and Treechada “Poy” Petcharat and beauty queen Panadda “Boom” Wongphudee.

Mai looked so elegant in a black off-the-shoulder dress and pearl necklace that Sine contrived a matching gown and made do with a necklace of round sausage links. Poy looked like a princess in a Ralph Lauren satin gown and long glossy-black hair. Sine managed to replicate the look with seaweed, aluminium foil and a wire pot-scrubber.

Boom proved even more of a challenge, topped by a tiara and funnelled into a sleek black number with plunging cleavage. Sine pulled it all together and then stuck it out front, padding up with, what else, a pair of milk cartons.

Sine’s efforts got a big boost in popularity when Internet star Noo Noi Bon Yod Khao Un Nao Neb (Little Girl on Top of Cold Mountain) – a humorous fashion plate herself – shared Sine’s bosomy Boom with her multitudes of followers.

Naturally it came to the attention of Boom, who re-posted it on her Instagram, saying, “I don’t know who you are, but you’re so funny and I love it!” Boom even supplied a phone number that Sine could call to receive an undisclosed gift.

Now nicknamed the Low-cost Cosplay Queen, Sine has been booked up with TV and newspaper interviews, and one channel even offered her a job.

So, her fans asked, what was the gift from Boom? “The biggest gift Khun Boom gave me was the opportunity to be seen on her Instagram. It’s opened a lot of windows of opportunity for me and my shop.”

 

In step with the times

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/In-step-with-the-times-30285421.html

STAGE

Dance-drama Storm Clouds, based on the popular comic series, 'The Storm Riders', won several trophies at Hong Kong Dance Awards. Photo courtesy of Hong Kong Dance Centre

Dance-drama Storm Clouds, based on the popular comic series, ‘The Storm Riders’, won several trophies at Hong Kong Dance Awards. Photo courtesy of Hong Kong Dance Centre

Principal dancer Pan Lingjuan plays the heroine, Hung Chi, in 'Storm Clouds'. Photo courtesy of Hong Kong Dance Centre

Principal dancer Pan Lingjuan plays the heroine, Hung Chi, in ‘Storm Clouds’. Photo courtesy of Hong Kong Dance Centre

Dancers Tong Chi-man, left, Pan Lingjuan and Hong Kong Dance Company artistic director Yang Yuntao take a break. Photo courtesy of Hong Kong Dance Centre

Dancers Tong Chi-man, left, Pan Lingjuan and Hong Kong Dance Company artistic director Yang Yuntao take a break. Photo courtesy of Hong Kong Dance Centre

Hong Kong Dance Company takes a page from comics to appeal to a new generation

As it celebrates its 35th anniversary, the Hong Kong Dance Company (HKDC) is preparing to take to the stage with an exciting new range of shows. “The Legend of Mulan” is still the company’s flagship production, drawing capacity crowds for the last four years, but the current season is more likely to appeal to the younger generation with performances of “Storm Clouds”, “Reveries of the Red Chamber” and “Chinese Hero: Tales of the Blood Sword”.

The HKDC’s adaptations of Chinese classics are usually produced with a view to making these more relevant to the audience. While the trend in cinema or literature has been to make a super-hero of Mulan, HKDC’s artistic director Yang Yuntao is in favour of playing up the human side of the fable, trying to draw parallels with the daily lives of common people. “For people like us with no personal experience of war, the saga of Mulan in the battlefield seems too far away from our lives. However, the filial ties and fortitude displayed by Mulan in a harsh environment can strike the right chord with a contemporary audience,” Yang says.

The HKDC’s performances resonate well with the audience also because of their emphasis on conveying the emotion of a piece.

“We scale down the display of dance techniques in favour of a smooth conveying of emotion,” says the company’s principal dancer Pan Lingjuan. “Even an abrupt kick – a basic dance move – might come in the way of the audience appreciating the mood of the moment.”

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Dancer Tong Chi-man reiterates the importance of maintaining perfect synchronicity between dancers performing in a group. “Each move by a dancer in a group plays an important part to help immerse the audience into the story,” he says.

It took Yang a while to figure what the audience really like. The productions that seemed to him to have reached a level of creative excellence after he had put in hours of hard work, failed at the box office.

For example, “Spring Ritual-Eulogy”, in which performers simulated the movement of brush strokes drawing Chinese characters, did not go down too well with the audience. On the other hand, the shows Yang had put together without much artistic thought turned out to be hits. For example, his adaptation of “A Chinese Ghost Story” more or less followed the original version, which was well taken by the audience.

“The loud applause from the audience surprised but also disappointed me. I realised they were cheering more on account of their memory of the classic story rather than my creation,” Yang says.

Since then, Yang has considered both factors – familiarity and artistic innovation – while choreographing new shows.

To get a better understanding of local taste, Yang, who is from the mainland, has tied up with Hong Kong comic artist Ma Wing-shing. Together they worked on the dance dramas “Storm Clouds” which debuted in 2014 and “Chinese Hero: Tales of the Blood Sword”, which opens later this year.

Adapting “Storm Clouds” from a popular comic series by Ma Wing-shing was an experiment. Readers, who had never been to a dance drama performance before, attended the show. “Some fans told me openly that they came only because they liked Ma’s work although they weren’t that interested in dance,” Yang says. “But I am satisfied that they had their first experience of entering a theatre to see my work.”

The HKDC now targets potential audience across the board, as they believe everyone should have a taste of this performance form. Yang revealed that next year they have plans of bringing the story of Hong Kong movies from the 1970s to 1980s on stage.

The HKDC’s repertoire covers ancient Chinese ballads, martial arts-based legends, ethnic folklore and stories set in the present. While each genre is presented in its distinctive style, Yang has combined contemporary and traditional Chinese dance styles, as well as worked out unlikely fusions between the East and the West. “I think this is exactly where our strength lies,” says Yang. “It gives us greater flexibility in terms of artistic expression. In my eyes, the boundary between East and West has already blurred.”

Last year, the HKDC presented “The Legend of Mulan” at New York’s Lincoln Centre. Last month, they performed the-acclaimed dance drama, “The Butterfly Lovers”, at a dance festival in Seoul.

Yang and his troupe enjoy their trips abroad. They are too seasoned by now to get overwhelmed by the newness and unfamiliarity of a culture different from theirs. “I never see a theatre abroad as a totally strange place. I can always make good friends with people from different cultural backgrounds,” Yang says.

Tong feels that as trained users of body language, it’s probably easier for dancers to communicate with people from a different culture. The principle of communicating without words also works internally, as the HKDC’s dancers come from different parts of China, and speak different dialects.

Pan recalls an anecdote about meeting a fan during the performance of Mulan at Lincoln Centre. “He waited backstage for more than an hour to meet me. When he finally did, he was totally surprised at my height, as I seemed much taller playing Mulan on stage,” says Pan, smiling.

Evidently, an HKDC show can work like magic on the audience. Someone playing the heroine assumes larger-than-life proportions on stage, by dint of a performance delivered with panache.

 

Keeping dreams alive

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/Keeping-dreams-alive-30285419.html

CONTEMPORARY ART

Tsai Yi-ju is known for his ink-brush abstract painting. Photos courtesy of Tsai Yi-ju

Tsai Yi-ju is known for his ink-brush abstract painting. Photos courtesy of Tsai Yi-ju

His abstract 'Like a Poem' Photos courtesy of Tsai Yi-ju

His abstract ‘Like a Poem’ Photos courtesy of Tsai Yi-ju

A young Taiwanese artist walks on a lonely but spiritually rich road

Taiwan, internationally renowned for its high-tech industry, has little room for artistic creation. Professional artists have limited space to survive, especially over the last decade when investors with deep pockets have been reluctant to spend money on art.

But young artists have managed to not only survive but stand out in a highly competitively market where the rate of failure is high.

At 36, Tsai Yi-ju is among a generation of Taiwanese painters who refer to themselves as professional artists.

Tsai is known for his ink-brush abstract paintings and in 2010, saw his name listed alongside world-famous Zao Wou-ki in a directory of ethnically Chinese abstract artists published by the National Taiwan Museum of Fine Arts, which named Tsai as one of the youngest influential painters in the world.

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Though he considers himself lucky to finally be able to live a relatively decent life solely on proceeds from the sale of his art works, Tsai has gone through a great deal of hardship to get to where he is now.

“For several months in 2006, I ate only toast and drank water every day,” he recalls. “I’d spent all my money on pigments and canvases in preparation for my first major solo exhibition.

“It was probably the hardest time but it was also the most spiritually fulfilling. I knew what I really wanted, and he spent every day trying to fulfil my dream.

A Taipei native, Tsai said he has loved drawing things since he was a child.

He was also very good at it, winning one award after another, even though nobody in his family has ever worked in an art-related area.

During his junior and senior high school years, however, he stopped drawing, because like every other Taiwanese student of his generation, he had to study hard so that he could enter a better school.

He did not pick up his brush until his final year of senior high and only then because he needed to take advantage of his artistic talent to enter university.

In order to prepare, Tsai enrolled in an “art cram school” for a year and successfully entered National Chiayi Teachers College in southern Chiayi County.

To keep him occupied in a largely rural area, he focused on artistic creation and once again fell in love with art.

“I spent so much time drawing – and did not even return to my home in Taipei during long breaks – that my teachers and advisers had to ask me to visit my family,” he says.

“But I was happy painting. Then as now it gives me pleasure and satisfaction that I can’t find anywhere else.”

He was later was accepted by the same university’s graduate school in visual arts and continued his efforts to develop as an artist.

After graduating and completing compulsory military service, Tsai continued to work towards his artistic future.

After several months of living on bread and water, he won the Liu Kuo-song Award in the first Taipei Contemporary Ink Painting competition in 2006.

The honour not only afforded him a major boost in confidence, but also allowed him to walk away with NT$100,000 (Bt108,000) in prize money.

“I spent all the prize money buying pigments and canvases in preparation,” he noted.

With the money as a start-up fund, Tsai managed to survive by selling his art works alone.

Over the decade, he has held more than a dozen solo and joint exhibitions locally and internationally, including most recently in Japan in 2012 and in South Korea in 2015.

His works have been added to the collections of Taiwan’s national museums, including the National Taiwan Museum of Fine Art, while other works have been bought by private collectors.

“It’s been a gamble but I have no regrets. No one forced me to take up this career and while I am not thriving financially, I live a spiritually fulfilling life,” he says.

“I feel alive only when I am painting, and this feeling is what keeps me doing what I do. It’s a soul-searching process but it’s very worthwhile.”

 

High price to pay for being a Wed wonder

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

http://www.nationmultimedia.com/life/High-price-to-pay-for-being-a-Wed-wonder-30285351.html

SOOPSIP

Sexy Pancake

Sexy Pancake

Internet idol Sexy Pancake has had a lot of extra traffic to her “SexyPancake2” Facebook page lately, but unfortunately it’s not exactly cause for celebration.

Interest in the upcountry transvestite fashion-queen has spiked because she’s been hospitalised – diagnosed with penile cancer.

“I got cancer because I always tucked my penis out of sight between my legs, sometimes overnight, when I appeared at special events,” says 27-year-old erstwhile farm boy Niwat Sangmor. The designer of wild and amusing outfits in rural Khon Kaen made the announcement after discovering she has Stage 3 cancer.

“Remember when I told you guys I’d become unwell and lethargic? First I thought it was because I was working so much and not getting enough rest, but now we know it’s cancer.”

It is cancer, but Pancake’s own doctor says she’s wrong to blame it on the tucking. The doc says it’s probably the result of HVP (human papillomavirus).

Pancake has spent the past three years spinning heads online with her amazingly creative use of household and farm implements and materials to construct highly unusual outfits. The bizarre yet seemingly haute couture clothes made her one of the first Net idols to emerge from rural Isaan.

Much of the fun derived from hearing about the occupational hazards she encountered, like snakes, splinters, poison ivy and falling out of palm trees. But in Pancake’s mind, at least, tucking proved to be an unforeseen hazard – too many hours spent hiding the genital bulge from view. And surely the duct tape needed to secure the package couldn’t have helped matters.

We hope Sexy Pancake gets past this quickly and is back on her rustic runway soon.

Ready for her close-up

Actress and style-setter Araya “Chompoo” A Hargate returns to the red carpet at the Cannes Film Festival in France on Wednesday, her fourth straight appearance at the planet’s premier movie event. And again, she’s proving you don’t have to have a movie to screen to be there.

Asked by Manager Online if she’s ready to pose for the Cannes photographers once more as the face of L’Oreal Thailand, the makeup firm, Chompoo says she’s not even done packing yet.

“I’ll never be ready for this kind of event! I don’t think anyone ever could be! It’s such a big, big deal and I’m super-excited and nervous.

“This year I’ll walk the red carpet on opening night, too, which will be a first for me. So you can imagine the pressure I put on myself. The partners and my style consultant at L’Officiel Thailand magazine are making sure everything is flawless. My suitcases is sure to be constantly arranged and rearranged right up to the minute I get on the plane.”

The 34-year-old Thai-British star is also scheduled for red-carpet turns on May 14 and 15.

She’s been doing this since 2013 as brand ambassador for L’Oreal Paris and the year after that earned the “best dressed” title in the Red Carpet Fashion Awards in a sequinned Kaufman Franco gown.

“I can’t tell you how many dresses we’ll be taking this year – it’s a never-ending selection process and we have lots and lots to choose from,” Chompoo says.

“Normally we bring loads of clothes and accessories anyway, because you never know what will happen and you have to be prepared. Let’s just say I’m now 90 per cent ready.”