Перуница

"Традиции" выпуск №3, июль - сентябрь 2019 г. (традиционный костюм Брянской области) (Thu, 18 Jul 2019)
В этом номере мы представляем женские костюмы Брянской губернии из коллекции Сергея Анатольевича Глебушкина. Это одежда разного назначения - от будничной до праздничной. Разнообразные фактуры тканей, цветовые решения, отделка - все является характерной чертой и особенностью тех мест, где они использовались.
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О географии, как важнейшей науке для советского ребёнка (Thu, 18 Jul 2019)
Среди наук, упоминаемых детскими писателями сталинской и ранне-оттепельной эпохи, особняком стоит география, землеописание, изучение, а иной раз даже - смакование озёр, гор на Востоке и прочей «прекрасной страны Сибири», воспетой в гайдаровских «Дальних странах». Поезд, как символ вечного движения и освоения новых, опасных, потрясающе интересных мест. Любовь к пространству, иной раз безнадёжно-безответная.
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Между гор, между Енисейских (Thu, 20 Jun 2019)
Игорь и Юлия Гайнутдиновы Июнь 2019 Сибирская песня (с. Урлук, Красночикойский район, Читинская область)
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П. Ефименко "Приданое по обычному праву крестьян Архангельской губернии." 1872 года издания (Tue, 18 Jun 2019)
Бесценная книга, в которой говорится о том, что праздничную одежду берегли и надевали на протяжении 300 лет, что более других ценилась невеста "работлива, ткать и прясть гораздна, шолком шить мастерица", что в приданое зачастую давали ткацкий стан (красенную збрую или кросна), самовар, мебель, землю. Находка любой старинной книги, в которой повествуют о стародавней одежде и обычаях обстоятельно да подробно - большая радость для всех любителей традиционной одежды.
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Монеты в народной одежде и украшениях (Mon, 10 Jun 2019)
В альбоме «Монеты в народной одежде и украшениях», подготовленном научным коллективом Российского этнографического музея, представлена традиция использования монет в костюме и украшениях разных народов. Монеты – одна, несколько или целая композиция из монет – входили в состав нарядного женского костюма – у русских казаков и однодворцев, украинцев, народов Балкан, у народов Прибалтики и Поволжья, Кавказа, Средней Азии, Сибири.
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Каменая голова - факты и домыслы (Sat, 08 Jun 2019)
Каменная голова как сооружение, происхождение которого отражено в различных публикациях не убедительно, - это факт, причем широко известный. Достаточно набрать в поисковой строке «каменная голова в Сергиевском парке у Петергофа», и через ИНТЕРНЕТ будет представлен солидный объем сведений по этой теме. Досадно, что множество иных фактов, связанных с данным сооружением, пропускается мимо внимания.
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Узоры Поволжья. Истоки, рожденные на Волге (Wed, 05 Jun 2019)
В коллекции Пензенского краеведческого музея есть два головных убора женщины средних лет из русского села Большая Ижмора. Они носят название «сорока», хотя и не похожи на головные уборы с таким же названием из других областей России.
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Полотенце в культуре русского сельского населения Алтая в конце XIX - начале XXI в (Wed, 05 Jun 2019)
В этом исследовании приведены диалектные названия полотенец, затронуты темы роли полотенец в родильно-крестильной, свадебной, похоронно-поминальной обрядности, уделяется особое внимание богатству разнообразных способов украшения полотенец, узорам вышивки и ткачества.
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Готовим настоящий русский квас в домашних условиях (Sun, 02 Jun 2019)
Главная задача напитков (от слова «питать») — быстро возместить потраченные силы и ушедшие питательные вещества. Традиционные летние национальные напитки, которые принимают во время физической работы (в России – квас, а на Востоке – подсоленная простокваша (айран) и зелёный чай с молочно-мучной заправкой), служат именно этой цели: они быстро снимают жажду, усталость и нервное напряжение.
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МЕЛОЧИ ЖИЗНИ (Sat, 01 Jun 2019)
Что же такое - мелочи жизни?
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Icaria (Wed, 17 Jul 2019)
Icaria For this editorial partnership between NOWNESS and the Manchester International Festival, Emmy-nominated director Fx Goby breathes new life into the time-honored Greek myth of Icarus, a young man who flew too close to the sun. Icaria features a solo dancer who transforms into a shapeshifting silhouette that crumples, tenses and flexes in time to a dark and triumphant electronic soundtrack from French composer Clément Chassaing. Fx Goby created Icaria in response to the world premiere of Alphabus, a Manchester International Festival-commissioned show that unites transatlantic street dance with poetry, choreographed by Flex dance pioneer Reggie ‘regg roc’ Gray. “I was inspired by Reggie’s contemporary take on old myths,” says Fx Goby. “I then became interested in revisiting the myth of Icarus through dance.” “I was particularly struck by the energy and grace of one of the Alphabus dancers, Yandass, who stars in Icaria,” Fx Goby continues. “Yandass brings great sensitivity and emotion. Her dance is complemented by original music that adds power and gravity to the film.”  Manchester International Festival (MIF) is the world’s first festival of original, new work and special events staged every two years in Manchester, UK. MIF launched in 2007 as an artist-led festival presenting new projects from across the spectrum of performing arts, visual arts and popular culture. The festival has commissioned, produced and presented world premieres by artists including Marina Abramović, Damon Albarn, Björk, Boris Charmatz, Jeremy Deller, Elbow, Wayne McGregor, Steve McQueen and much more.  Manchester International Festival runs from 4 - 21 July 2019
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Sister Cities (Mon, 15 Jul 2019)
Sister Cities Los Angeles-based director Jimmy Marble directs this uplifting narrative short about two star-crossed companions who are determined to jumpstart their long-distance relationship with a city break. But their plans hit a snag when they mistakenly fly to different cities. Undeterred by this hiccup, the women choose to double their cultural experience and live out parallel weekends on FaceTime. “The two best friends love each other, fail each other, try to do right by each other, all the while looking like each other,” says Marble. “But instead of being a perfect match, the women discover they actually complement one another, which is all they really want from a best friend.” Their hotels are not only a gateway to the world but provide a welcome break from the city’s sights and sounds. Marlyn returns to the chic comforts of Ink Hotel in Amsterdam, which encourages guests to create inspiring stories, hearkening back to the building’s past as the headquarters of a Dutch newspaper. On the other side of the world Irina reclines at the award-winning 21c Museum Hotel in Louisville, a museum and boutique hotel reflecting the city’s flourishing contemporary art scene. “Miscommunication has always been a humorous subject to me,” says Marble. “There’s a great slapstick quality to this film, and even a little bit of tragic fate, which are both great ingredients for a fun tale.” “I chose to use split screens so we could see Irina and Marlyn’s body language open and close towards each other as the story progressed,” Marble continues. “But to build harmony and symmetry between their two worlds I played with composition and color.” Sister Cities is the second collaboration between MGallery and Nowness which forms part of the hotel brand's Stories That Stay campaign—a philosophy that encourages guests to make memorable moments deeply rooted in a destination’s rich cultural history. Sister Cities showcases MGallery, a collection of boutique hotels that provides singular experiences for lovers of art, design, and travel in 30 countries. Explore the collection here
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Yehaiyahan: Under the Moonlight (Fri, 12 Jul 2019)
Yehaiyahan: Under the Moonlight Director Shijun Jia captures the daily rituals of the Yi people, an ancient Chinese minority, in this music video for Shanghai-based singer and producer Yehaiyahan. Under The Moonlight explores the growth of Yi women living in the Daliang Mountains of China’s Sichuan province and the daily activities that govern their lives.  This latest song from Yehaiyahan is a low-fi neo-soul ballad supported by a sample from a small, female Yi choir. The director came up with the idea to track down the singers and make their home the focal point for the music video. “During our week of location scouting my team and I felt a fantastic energy surrounding the community,” says Jia, describing the Yi’s sheltered village that sits 3700km above sea level. “It’s a place that’s incomprehensible when using language.”  “When the Yi put on their traditional dress for the party scene in the film, we felt their pride,” he continues. “Being a city person, the beauty of the place is hard to ignore. The environment the Yi grow up in is very ancient and natural, which completely fits the aesthetic of Yehaiyahan’s track.” Under The Moonlight, which was shot entirely on 15mm film, won Best Music Video at Queen Palm International Film Festival in LA and Best Film at Thunderdance Film Festival in France—reinforcing Yehaiyahan’s presence on the international stage.  The singer has emerged as one of China’s most prolific and magnetic independent musicians in recent years. Not only does her back catalog school listeners on hip-hop, dub, folk and electronica, but the genre-bending artist continues to build momentum by headlining multiple showcases at this year’s South by Southwest festival and embarking on a US tour.  Yehaiyahan also appears as Faded Ghost, her experimental alter ego, in Frontiers—part of our China Wave special program profiling a new era of Chinese creative expression that is rewriting the rules on conventional art, filmmaking, music and performance.
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These New Puritans: Six (Wed, 10 Jul 2019)
These New Puritans: Six "There’s a strength in this film's stillness," says musician George Barnett, who forms one half of the critically-acclaimed experimental band These New Puritans. "It’s not competing with the attention-deficit-disorder culture of today, it’s going in a totally different direction. This is very much an anti-music video." "Fire always turns up in our songs somehow. Maybe it’s to do with moments that are seductive and powerful but can also consume you and destroy you," Barnett continues. "Obviously, it’s such a primal theme. The history of fire is really interesting, I find. It was really the first technology for transforming our environment, the whole landscape that we consider ‘natural’ is the result of fires started by humans." Six is the third collaboration between Australian filmmaker Daniel Askill and These New Puritans, following on from their highly commended music videos "We Want War" and "Fragment Two". Askill created the visuals that would be used in Six before the band approached him—he’d been waiting for the right project to come along. “I knew this track was the perfect partner to my film,” Askill says. “Six is such a beautiful piece of music and combined with the imagery it creates a visual meditation with open eyes. I think George describes it best when he contemplates themes like ‘nostalgia for the future’, ‘eternity in a moment’, ‘power in stillness’, ‘something modern that resonates with the primal and ancient’... I think we are both drawn to these kinds of polarities and interested in finding ways to explore them in image and sound.” Six is the last track from Inside the Rose, the hotly-anticipated first album to be released by These New Puritans in six years.
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A White Butterfly on a Bus (Sun, 07 Jul 2019)
A White Butterfly on a Bus For ten days, in a city in the far west of China, a young Chinese actor and a Belgian filmmaker embark on a relationship that blurs the line between fictional performance and documented reality. The protagonists, played by Jin Jing and Matthias Delvaux, go on a hunt for intimacy in a city that is unfamiliar to them both. Hangzhou-based director Xinyuan Zheng Lu presents A White Butterfly on a Bus like a fragmented memory. The audience are only invited to witness partial events from the characters' lives and form a narrative from Zheng Lu's use of static, observational shots and suffocating handheld close-ups.  The up-and-coming director made this project as part of First International Film Festival's Training Camp program, which is designed to cultivate a new generation of directors.  A White Butterfly on a Bus was screened at Beijing International Short Film Festival and First International Film Festival Xining in 2018. Aside from film, Zheng Lu has experimented in other art forms that explore the boundaries of visual media. A White Butterfly on a Bus is part of China Wave, our month-long special program of films profiling a new era of Chinese creative expression that is rewriting the rules on conventional art, filmmaking, music and performance
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Aerobics (Fri, 05 Jul 2019)
Aerobics Tian Xiaolei is one of the most experimental VR artists to emerge from China in recent years. His imaginative work has won him awards from Today Art Museum and UCCA in Beijing, where he uses history, religion, science, technology and biology to create new, otherworldly visual experiences. The artist’s latest project, Aerobics, is a carnival of eccentric and far-fetched digital creations that run amok in a graphic cathedral. Xiaolei ‘repairs’ the Venus de Milo by attaching a pair of swaying robotic arms to her body.  A man gyrates wearing nothing more than an x-ray scanner around his waist and a microscope on his head. A gilded monkey and baby in spherical cages replace the moons of Jupiter, and a piston spliced with human legs pumps to the music.  “In the future, god will be replaced by a hybrid being that is both man and machine,” says Xiaolei. “Humans are only at one stage of evolution and we will continue to go through progressive upgrades. A new era for a fleeting species is about to begin.” Aerobics is part of China Wave, our month-long special program of films profiling a new era of Chinese creative expression that is rewriting the rules on conventional art, filmmaking, music and performance
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Double Sexy (Wed, 03 Jul 2019)
Double Sexy Documentary filmmaker Ben Mullinkosson provides a no holds barred look at the skate culture and underground party communities of Chengdu—the capital of Southwest China’s Sichuan province. Double Sexy introduces the audience to three of Chengdu’s countercultural residents who represent the beating heart of China’s capital of cool. Their disparate lives coalesce in this film that becomes a sympathetic spectator to their drunken antics, coarse conversation and clandestine pleasures. “It’s not until I started living in Chengdu and speaking Chinese that I realized the government is not an accurate reflection of the people of China,” says Mullinkosson who lives and works between Chengdu and LA. “The world is quick to dismiss any empathetic bridges that connects them to the individuals that comprise the largest country population on Earth. “The characters each have big dreams and are growing up in a place changing faster than almost any other city in the world,” Mullinkosson continues. “They are free—free in the sense that they go out, get wild, fall in love, explore their sexuality, make mistakes, and learn from the process. Each person is figuring out answers to life’s questions. “As a doc filmmaker I’m attracted to stories that help us understand each other and the world around us. I moved to Chengdu because I wanted to get a different perspective on the world and, after being here for a number of years, I’ve fallen in love with the complexities of the Chengdu underground party scene.”
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Frontiers (Mon, 01 Jul 2019)
Frontiers This week we kick off China Wave—our month-long program that puts the spotlight on the rising stars and underground icons using unorthodox yet intimate storytelling techniques to embody modern Chinese culture. Frontiers is a multisensory feast of music, drag, art and dance, performed by China’s most rambunctious, generation-defining artists. “Chinese youth have all become creators on social media. I started to wonder about the nature of self-expression today, particularly in the field of underground subcultures,” says Roni Shao, the Shanghai director who makes music and youth culture his lifeblood. “When I met these young underground artists I was shocked by their bold souls. Their performances revealed unknown frontiers where emotions explode and flow. They never give in to sugary, gratifying art. Instead, they provoke you. They make you uncomfortable with displays of pain." "Give him a mask and he will tell you the truth," says Shao, quoting an old saying. “But I wonder whether the artists wear their masks when performing, or just when they return to everyday life?” The eight performers featured in this film are as follows:  Absolute Purity is a Shanghai-based experimental post-punk band, known for their explosive sets, who merge melancholic vocals with touches of electronica and psychedelia. Alex Wang & ChillChill join forces to create a whole new audiovisual landscape. Alex Wang is a Shanghai-based producer, musician, and DJ who creates futuristic club sounds. ChillChill is a 3D artist who uses game engines, algorithms and virtual worlds to explore people's relationships with the internet and reality. Faded Ghost is the producer/DJ pseudonym of Shanghai-based vocalist ChaCha Yehaiyahan. She is as much at home on the stage at SXSW as in the underground clubs of Beijing. In Frontiers, she performs an ethereal vocal set cross-legged and surrounded by intergalactic flora and fauna. Hua Who is a practitioner of Shibari, the Japanese art of rope bondage, which has found a new home in China's fetish clubs and queer spaces. Yanhao Du is a Chinese contemporary dancer and choreographer. Huang Jiaqi is a model and photographer known for his shy yet expressive aesthetic voice. In Frontiers, he is seen smearing himself with lipstick until his entire face and torso are covered in deep red. Jia Wei is a Beijing rapper who belongs to Purple Soul, one of the biggest hip hop groups in China. His crew is currently setting the music industry on fire by releasing music with politically sensitive material. Yi Hao is a makeup artist and drag performer from Chengdu. For this performance, he faces the camera in a resplendent extraterrestrial outfit and wears exaggerated fingertips. His character is then beset by a dark figure that robs him of his clothes, leaving him naked and powerless.
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Kiss of the Rabbit God (Fri, 28 Jun 2019)
Kiss of the Rabbit God Long-time Nowness collaborator Andrew Thomas Huang writes and directs this captivating short film about an ordinary restaurant worker’s extraordinary sexual awakening. Nightly visits from the Rabbit God, who arrives in the body of a tantalizing mysterious stranger, blossom into a tryst that empowers the young man to embark on a journey of self-discovery. “Interweaving my personal family history in the Chinese restaurant business with the richness of Chinese mythology,” says Huang, “Kiss of the Rabbit God is a confession and a love letter to my queer Asian community.” LA-based Huang looked to his own Chinese heritage as inspiration for this Nowness-commissioned project, which is also the filmmaker's first fictional narrative short. The Qing dynasty myth of Tu'er Shen—the Rabbit God—traces the story of a Fujianese soldier who was executed for professing his love to another man. The ruler of the underworld decided that since Tu'er Shen’s crime was one of love, the soldier would be ordained as the Rabbit God, the patron deity of gay love. “Being asked to create a piece centered around queer Asian characters became a dauntingly personal journey for me,” says Huang. “I grew up with a deficit of queer Asian visibility on-screen along with the frequent stigmatization and devaluing of Asian male bodies in Western visual culture. I wanted to unpack these issues while also crafting a story that I felt enriched our collective imagination of what queer Asian male love, sex and intimacy could aspire to be.”  Huang is internationally renowned for creating outlandish imagined landscapes and for experimental filmmaking that blurs the line between video art and traditional cinema. His strength in world-building has led him to collaborate with Icelandic artist Bjork, avant-pop musician FKA Twigs, Radiohead's Thom Yorke and British director Joe Wright.  Kiss of the Rabbit God forms part of China Wave, our month-long special program of films profiling a new era of Chinese creative expression that is rewriting the rules on conventional art, filmmaking, music and performance.  Kiss of the Rabbit God will be screening at Outfest Los Angeles LGBTQ film festival, which runs from 18 – 28 July 2019. Click here for more information
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Dambe (Wed, 26 Jun 2019)
Dambe “Nigerian Dambe is a brutal and exhilarating sport. A fight to the knockout with prize money at stake,” say Alex Simpson and Sebastian Barros, the London-based co-directors behind this new project. “This style of Nigerian boxing is fiercely competitive and largely undocumented.” The story of Dambe is told through the eyes of 35-year-old Taiwo, a street boxer from Ogun State, Nigeria. Simpson and Barros conducted parts of Taiwo’s interview on top of one of Lagos’s many unfinished tower blocks that provide cinematic sunburnt views across the former capital. Shots reveal the Ogun fighter training in empty stairwells, underneath bypasses and with a make-shift punch bag made from rice. “We wanted to capture the essence of Dambe in a cinematic way,” say the directors. “Witnessing the practice through the eyes and experience of Taiwo felt like the most personal and effective way to do it.”  Dambe is fought in rounds of three, or less if an opponent is knocked out. The fighters are self-taught and surreptitiously learn the rules and techniques of the game by watching other fights. The most fascinating feature of Dambe is the competitor’s primary weapon, a single arm bandaged in cotton and rope—not for their own protection but to deliver devastating blows. What started as a rural sport in Northern Nigeria has become a national phenomenon that is now somewhat funded by the government and has a dedicated channel on YouTube (Dambe Warriors) boasting millions of online views. “Beyond the strikes and intimidating stares there’s a depth to Dambe that you otherwise may not have known existed,” the London filmmakers comment. “The sport is steeped in tradition and surrounded by theories of supernatural protection and magical amulets.” Dambe fighters may receive money, cattle or jewelry as winnings but Taiwo explains that the real prize is the glory and adoration the competitor receives from the crowd. Simpson and Barros conclude, “When Taiwo spoke of his fights we felt the enthusiasm pour out of him—reliving each fight with intensity and affection in equal measure.”
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In Residence: Pamela Shamshiri (Mon, 24 Jun 2019)
In Residence: Pamela Shamshiri The Hollywood Hills are peppered with several architectural wonders from pre-war Austrian and German designers. However, none lay quite as enveloped by its natural landscape as the 1947 Rudolph Schindler-built home of Pamela Shamshiri—the interior design maven whose client list includes Oscar-winner Anne Hathaway and musician Beck. Austrian architect Rudolph Schindler built Shamshiri’s Lechner house—named after the original proprietor—in the weeks following a visit to the prehistoric masonry dwellings of the Pueblo native Americans who built their homes into cliff faces. Wedged in a V-shape in the side of Laurel Canyon, the Lechner home captures the same spirit of the earthenware masonry homes that were both a part of nature and voyeurs on it. Shamshiri has frequently commented on how her home resembles a tree house; endless glass walls provide uninterrupted views of verdant nature in the valley beyond and below. Clerestory windows diffuse light throughout the building and sliding doors honor Schindler’s intention to create rooms that invite nature in.  The LA-based designer spent eight years restoring the modernist building back to Schindler’s original design, aided by early black-and-white photographs, plans and drawings diligently archived by University of California Santa Barbara. Half a century and eight owners later, Shamshiri sandblasted 17 layers of paint to reveal the building’s natural grain, and tore down marble, drywall and black granite to showcase Schindler’s stainless steel fireplace and brick columns.  Shamshiri also reinstated key furnishings such as built-in asymmetric sofas, a mirrored bar and a pull-out dining table. However, not all the renovations were beholden to the spirit of Schindler’s master plan. The galley kitchen was extended to fit more people and an entirely new Onsen-like bathroom was built, boasting a cedar tub and plywood cabinets. Shamshiri has matched her own design eye with Schindler’s philosophy of using low materials for high design to create a truly modernist family home, one which has been revealed as a gift to architectural history.
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Wonderful Walk (Fri, 21 Jun 2019)
Wonderful Walk Emerging from the viscous black shadow of a backstage tent, The Killers frontman Brandon Flowers leads the camera on an exhilarating journey to the band’s sold out headline show at British Summer Time festival in Hyde Park, London. “The walk to the stage is really a moment of transformation,” says long-term The Killers collaborator and director Giorgio Testi. “It’s when the artist changes their off-stage persona to an on-stage one.” Flowers’ marshmallow pink showman’s jacket weaves through an endless entourage of backing singers, technicians, photographers, artist liaisons, stage crew and security. Each moment in this one shot, behind-the-scenes short is ecstatically elongated by the Testi’s slow-motion filming technique. The director has built a star-studded portfolio of electrifying and award-winning films for Nile Rodgers, Savages, Blur, Oasis, London Grammar and The Rolling Stones. “There’s a lot of work that goes on around concerts," says Testi. “It’s like a plane about to take off. Once you walk on stage you can’t go back until you’re airborne." The festival’s Great Oak Stage looms in the distance like a behemoth, dampening the screaming voices of 65,000 faceless Londoners. “It’s a sacred moment. You can feel the adrenaline and the tension,” says Testi. “I’ve done quite a few live shows in my career. Whether it’s a big or small gig you always feel the pressure as you approach showtime. But Brandon, cool as always, makes it look so easy.”
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Photographers in Focus: Catherine Opie (Wed, 19 Jun 2019)
Photographers in Focus: Catherine Opie From freeways to nipple rings, dinner scenes to dildos, iconoclastic American photographer Catherine Opie describes her thirty-year oeuvre as “twisted social documentary photography” that is unapologetically queer. “Opie’s work holds a narrative that forces you to stop and look closely,” says Jess Colquhoun, the director behind this episode of Photographers In Focus. “Her images command your attention through their purposeful form and gaze.”  Opie rose to prominence in the early ’90s with an arresting portrait series of friends from Los Angeles’s leather community. Her refined and elegant images of California’s drag queens, queers, leather dykes and transgender people upended traditional notions of sexuality and opened up conversations about identity performance.  As a photographer and member of San Francisco’s BDSM scene during the ’80s, Opie vowed never to be a voyeur within her own community. One of her earliest works is Cathy (bed self-portrait) (1987), which is a brazen black-and-white image she took of herself wearing a strap-on, dressed in negligee astride a bed. This and other photographs from the artist were an affront to social conservatism and cultural censorship, created in the knowledge that representation is crucial to securing recognition and respect. Opie’s most hard-hitting images are also her most confessional. In Self-Portrait/Cutting (1993) her bare back reveals a stick-figure image of two women holding hands in front of a house, etched into her flesh with a blade. Her skin, still raw and glistening with blood, is a statement to her longing for domestic bliss—a dream society continues to deny queer identifying people. For the last decade Opie’s work has included portraits of Malibu’s surfers, high school footballers, LA’s mini-malls and the mansions of Beverly Hills. What appears to be a deviation from her early career is actually an extension of the photographer’s steadfast commitment to documenting California’s changing physical and cultural landscape. “Opie’s ambition to continuously reinvent her voice is influential and thought-provoking,” says Colquhoun. “She is always shifting focus and pushes against the idea of creating a single identity as an artist.”
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