Sunday, February 26, 2012

West Coast Wood Fire Ceramic Artist Exhibitions

UPDATE FEB. 28


March 2- 31 “West Coast Wood Fire”
Fire Arts Center, 520 S. G. Street, Arcata. www.fireartsarcata.com
Opening Reception Friday March 9th, 6-8pm (During Arts! Arcata)
Hours: Monday-Friday 9-5 and by appointment
Phone #: 707-826-1445

Artists include: Mike Beebe (CA,)John Benn (WA), Doug Browe (CA), Rhue Bruggeman (CA), Conrad Calimpong (CA), Richard Carter (CA), Bonita Cohn (CA), Thomas Fossier (CA), Colleen Gallagher (WA), Bill Geisinger (CA), Kathy Guss (WA,)Colinda Gutierrez (CA),Rod Guyer (CA), Chuck Hindes (WA), Sam Hoffman (OR), Richard Hotchkiss (CA), Glenn Husted (CA), Terry Inokuma (OR), Lisa Jetonne (CA), Kathy Kearns (CA), Nils Lou (OR), , Marc Lancet (CA), Diane Levinson (CA), Ron Linn (OR),), Hank Murrow (OR), Fred Olsen (CA), Hiroshi Ogawa (OR),Reid Ozaki (WA), Scott Parady (CA), , Kenneth Pincus (OR), Stephen Robison (WA),Andy Ruble (CA), Monique Rutherford (CA), Steve Sauer (WA), Nick Schwartz (CA), Tim Steele (OR), Jules Stout (CA), Al Tennant (WA), Mark Terry (OR), Mila Visser ‘t Hooft (CA), Jon Weil (CA) , Jay Widmer (OR), David Zdrazil (CA)

The original venue (Plaza Design) for local artists is closing. There are two new venues:

March 1 – April 30 “West Coast Wood Fire Local Artists”
Sewell Gallery, 423 F Street, Eureka. www.sewellgallery.com
Opening Reception Saturday, March 3rd, 6-9 p.m. (During Arts Alive)
Hours: Tuesday – Saturday 10 a.m. – 6 p.m.
            Sunday, Noon – 5 p.m.

March 1 – 30 “West Coast Wood Fire Local Artists”
Ironside Gallery, 900, 9th Street, Arcata. http://ironsidegallery.com/category/home-page/
Opening Reception Friday, March 9th, 6-9 p.m.  (During Arts! Arcata)
Hours: Tuesday- Thursday 11 a.m. – 4 p.m.
            Friday & Saturday 11 a.m. – 7 p.m.

Artists include: Conrad Calimpong, Darcy Casagrande, Honoree Cress, Jessica Eden, Rebecca Degagne, Stephen Faletta, Keith Fleury, Thomas Fossier, Ben Freund, David Jordan, Karl Klingenspor, Peggy Loudon, Matthew Meil, Noel Munn, Scott North, Bob Raymond, Elaine Shore, Shannon Sullivan, Margaret Whitcomb, David Zdrazil

Read more about the exhibits and events at davezdrazil.com/blog/

Saturday, February 25, 2012

Lunar New Year Photos – Finally!

I'm finally posting photos and a video from a Lunar New Year celebration in January. The Multicultural Center of our own Humboldt State University hosted a Lion Dance performance and martial arts demonstrations by the visiting U.S.A. Yau Kung Moon Kung Fu Association of San Francisco. Click here for more photos or watch our YouTube video.

Feeding the lion money for good luck

Kung Fu demonstration

Thursday, February 23, 2012

Japan Tsunami Debris: Information and FAQs

UPDATE: April, 2012

Japanese teen traced as owner of tsunami soccer ball found in Alaska

Japan tsunami debris: Alaskan finds grateful teen's soccer ball 



Feb. 23, 2012

As the March 2011 earthquake and tsunami wreaked devastation on land, it also washed tons of debris into the sea. Heavy debris settled to the ocean floor, but buoyant debris continued to drift out to the open ocean. This debris could reach the west coast of the Americas as early as this winter, according to scientists at the National Oceanographic and Atmospheric Administration.

NOAA's debris flow model using Ocean Surface Current Simulator.
Year 1 = red; Year 2 = orange; Year 3 = yellow; Year 4 = light blue;
Year 5 = violet Courtesy of NOAA; created using Google.
More information and video can be found on NOAA's website, http://marinedebris.noaa.gov/info/japanfaqs.html.

Even with sophisticated modeling, some uncertainty exists about what is still floating and where it will go. There are even concerns that some of this debris may be contaminated by radiation from the melted-down Fukushima  Daichi nuclear plant. Recently, a large piece of debris found on a beach in Humboldt County, Calif., was the cause of such concerns and prompted a response by the local Office of Emergency Services, state and federal agencies. The object and persons who came in contact with it were monitored and determined to be free of radioactive materials, however it raised concerns about the potential hazards of beach debris whether or not they pose a threat of radioactivity. (Read more at http://www.times-standard.com/ci_20003553.)

NOAA is working with the Japanese consulate to return any item that they can positvely trace back to a person or company. To report any debris sightings, email disasterdebris@noaa.gov. To sign up as a volunteer, email md.monitoring@noaa.gov.

Tuesday, February 21, 2012

Twice As Nice

Rich Paselk, a long-time friend and Chanoyu booster, shared with us this charming stereoscopic photo from his collection titled "1001. Japanese Girls at a Tea House." 

1001. Japanese Girls at a Tea House

Detail
I was interested to see what other historic photos of Japan I could find and a Google search first took me to this site, http://pinktentacle.com/2009/10/animated-stereoviews-of-old-japan. (They're beautiful, but I'll warn you — the animations made me a little seasick.) Following a link beneath the photos will take you to this Flickr page, 309 images of Old Japan in 3D. Enjoy!

Waiting for Spring

We're restless.  

It seems this is the time of year when we begin thinking about holding chaji, tea gatherings, with our friends.  Perhaps it's the longer days and a little bit of warm weather — a false spring — we had earlier this month. Daffodils and narcissus are blooming — and the plum trees! They have been stunning this year. 

With the thoughts of chaji came thoughts of kaiseki, and those thoughts gave rise to requests from our regular Chanoyu practice group to learn more about kaiseki. I'm certainly no expert, but since I have been in the kitchen during many chaji, learning from and observing experienced tea people, and have the most kaiseki cooking experience of our group, the requests came round to me to share what I know about kaiseki. 

Hassun. More photos here.
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Springtime Cha-Kaiseki Cooking Workshop

Introduction

There are two forms of modern kaiseki: Kaseki Ryori, served at specialty restaurants and bearing only a passing resemblance to its cousin Cha-Kaseki, the meal for tea. Cha-kaseki seems to have evolved from Shoujin-Ryori, vegetarian meals served at Zen Buddhist temples. The word “kaiseki” is often translated as “breast stone,” in reference to a warm stone pressed to the bellies of Zen monks to stave off hunger pangs as they meditated. Traditionally, a tea master could maintain the garden, cook the meal and serve by tea him or herself, but today a kaiseki chef is often employed to prepare the meal.

What follows is a brief introduction to the courses and types of food served at a cha-kaseki meal. Interactions between host, assistant(s) and guests have been intentionally simplified or omitted for the sake of brevity. For more complete description of how to serve the meal and the verbal exchange between host and guests, see Soshitsu Sen’s Chado: The Japanese Way of Tea.

Cha-Kaiseki

The meal served at a chakai, or tea gathering, is a physical and spiritual preparation for the guest to receive tea. The meal is intended to be sufficient to quell hunger, like a warm stone, and settles the stomach for the coming sake and tea. Guests should not feel stuffed or over-full so that when they leave the tea gathering it is with a sense of wanting to return. 

Garlic, onions, hot pepper and other strong flavors and aromas can disrupt the guests’ sense of taste and smell, and prevent them from enjoying subtle aromas and flavors of sweets and tea to come. Ingredients should be simple, fresh, seasonal and of the highest quality; they are prepared with care and utter consideration for the guests. Perhaps this is expressed best by the motto used by Zen temple cooks: chouri ni kometa aijou, “cooking with love.”

Dishware is chosen to complement the food, season and theme, which, in turn, is arranged to complement the dishware it is served on. Monotony is to be avoided: if an ingredient is repeated it should be prepared in a manner different from the preceding dish (such as simmered in one course and raw or fried in another); if a square dish is used, the food served on it should be round or, if also square, rotated 45°. Severe contrast — in texture, color, shape, taste — is also to be avoided as this disrupts harmony. Elements of kaiseki should complement and harmonize without artifice.

The first three courses of a formal tea kaiseki are served together on one tray. Gohan (rice) and misoshiru (miso soup), both in lidded lacquerware bowls, are arranged next to one another — rice on the left and soup on the right — on the near side of the meal tray. On the far side of the tray is mukōzuke. The three bowls form a triangle on the tray.

  • Gohan — white rice, the first taste. Rice made for kaiseki should be cooked so it is soft and tender -- not al dente or chewy -- in order to maintain harmony in the tea room. The rice is shaped to represent the character ichi, the number one.

  • Misoshiro — miso soup. After one bite of gohan, the guest takes a taste of misoshiru. In Kaiseki, gohan and misoshiru are a pair, meant to be tasted alternately. The soup is made from a blend of different types of miso depending on the season. Miso soup for kaiseki is strained to remove coarseness and present a smooth, refined texture.

After the guests have a few minutes to enjoy rice and soup, the host brings in the first serving of sake (rice wine) in a lacquered container. The host serves sake to the principal guest in lacquered saucers which are passed down the line. The host serves sake to each guest, who then may enjoy the third dish on the tray:

  • Mukōzuke — Foods in a dish arranged on the far side of the meal tray for each guest, which is why it is called mukōzuke (lit., "set to the far side"). Often this might be some kind of sashimi, though not necessarily so (traditionally, August kaiseki is entirely vegetarian). It should be a cool dish to contrast with the warm rice and soup. If sashimi is served, it should be complemented with wasabi and a garnish called tsuma. Tsuma can be anything that heightens the color and flavor of the sashimi, such as finely shedded daikon, somen noodles or chrysanthemum petals.

After sake is served, the host brings in a more rice in a covered dish and offers a second serving of soup. Guests may help themselves to a second serving of rice. Afterward, the host serves the next courses.

  • Wanmori or Nimonowan, simmered foods, served in a clear broth. Wanmori is the high point of the meal, the crescendo, the dish to which most attention is paid. The host will decide on the wanmori dish first, then all the other dishes in the kaiseki will be selected to complement it. Clear broth and simmered foods are cooked separately and arranged carefully in the bowl just before serving. It is served individually in lidded bowls slighly larger than the bowls used to serve miso soup.

  • Yakimono, grilled foods. Yakimono for cha-kaiseki is savory, prepared from vegetables (such as eggplant), fish, duck or tofu. It is brought out in a communal serving dish for the guests to serve themselves.

After yakimono, the host brings more rice in the covered container to which guests may help themselves. If the host plans on serving azukebachi (below), s/he brings another serving of sake from earthenware or ceramic tokkuri (bottle) and an assortment of cups. The host allows each guest to select a cup and serves each one sake from the tokkuri in turn. The host then brings in the next dishes which comprise azukebachi.

  • Azukebachi (“entrusted bowl” or "bowl left in another's care”), an optional course, comprised of dishes prepared differenly from one another. One is a rich niwase (simmered together), a stew-like dish, and the second bowl is a refreshing, light, salad-like dish. The dishes are left in the care of the guests. Contrast and complement are important in selecting foods for azukebachi.

After an adequate amount of time, the host returns to collect empty dishes, then returns with:

  • Hashiarai (chopstick rinser), clear broth served in a small lacquered and lidded cup or bowl. Hashiarai is lightly flavored but fragrant — perhaps merely hot water with salt, umeboshi or ginger with a simple, seasonal garnish such as cherry blossom petals or fragrant herb. Also referred to as kozuimono (small clear soup) or suimono.

Hashiarai is meant to cleanse the palate in preparation for the next course:

  • Hassun: a tray of two delicacies, traditionally one from the mountain and one from the sea. The name “hassun” translates as “eight (hachi) sun (a measurement approximately one inch in length).” Hassun has roots in Buddhist temple rituals, and extreme care is made when arranging the tray.

Hassun is a complex interaction known as chidori (plover) for the back and forth interaction of host and guests, reminiscent of a shorebird chasing waves on the beach. This is the only time when they will share food and drink together in the tea room.

If the guests need more sake or if the host has more dishware to show, then shiizakana is served:
  • Shiizakana :(insisting fish), usually a delicacy from the sea, always served in small portions. Shiizakana are usually savory and tasty foods that go well with sake. These are also “entrused dishes” and are left to the guests to serve themselves.
  • Yutō: pitcher of hot water with slightly browned rice in it, which the guests serve themselves.
  • Kōnomono: pickles that accompany the yutō.

Yutō and kōnomono signal the end of the meal.

Wagashi or omogashi (moist sweets) are served in individual lacquered boxes (fuchidaka) at the end of the meal, just prior to the intermission. Wagashi are large, sweet and made from a variety of ingredients including an (sweet bean paste), mochi, nut meats and squash. The cloying sweetness of wagashi is meant to linger in the guests’ mouth through intermission and into the next portion of the chaseki, charcoal arrangement and koicha.

Casual Kaiseki

When the occasion calls for it, many of the kaiseki foods are served together in jubako (a nest of boxes) or shokado-bento (individual boxes). Dishes arranged in these boxes are at the host’s discretion, but soups, if included, are served separately.

:: :: ::

Menu 
Theme: Haru wo Matsu

Gohan – rice
Misoshiru – shiromiso with simmered daikon, garnished with mustard
Mukozuke – (1) crab meat salad or (2) carrot and jicama sashimi (v)
(Sake)
Nimonowan – (1) lobster dumpling or (2) tofu dumpling (v), with spring greens, mushroom and garnished with lemon zest shaped like pine needles
(Sake)
Yakimono – (1) grilled seasonal fish (scallops?) or (2) tofu dengaku
Hashiarai – hot water seasoned with salt, umeboshi and a sliver of ginger
Hassun – asparagus; (1) smoked fish or (2) smoked tofu (v)
Yutou – hot water with toasted rice
Konomono – takuan and Japanese cornichons

(v) indicates vegetarian option

:: :: ::

References


Fletcher, Nichola. Charlemagne’s Tablecloth: A Piquant History of Feasting, pgs. 160-169. St. Martin’s Press, 2004.
Riccardi, Victoria Abbott. Untangling My Chopsticks, A Culinary Sojourn in Kyoto. Broadway Books/Random House, 2003.
Sen, Soshitsu. Chado: The Japanese Way of Tea, pgs. 77-110. Weatherhill/Tankosha, 1979.
Tsuchiya, Yoshi. The Fine
Art of Japanese Food Arrangement. Kodansha Publishing, 1985.
Tsuji, Kaichi. Kaiseki: Zen Tastes in Japanese Cooking. Kodansha Publishing, 1972.
Vitell, Bettina. The World in a Bowl of Tea. Harper Collins Publishing, 1997.
Yoneda, Soei. The Heart of Zen Cuisine. Kodansha Publishing, 1982.



Recipe Reference


Dashi, seasoned dashi and miso – Yoneda, pgs. 80-85
Drenched daikon radish – Tsuji, pgs. 395-396
Carrot and Jicama Sashimi – Harvey (handout)
Nimonowan – seasoned dashi, Yoneda; dumplings, Vitell, pgs. 63-64
Yakimono – tofu and scallop dengaku, Tsuji, pgs. 191-194
Hassun – sake steamed asparagus, Vitell, pg. 136
Arrangement – Tsuchiya, pgs. 37-48

"The Tsunami and the Cherry Blossom" Nominated for an Academy Award




"Survivors in the areas hardest hit by Japan's recent tsunami find the courage to revive and rebuild as cherry blossom season begins.
"A stunning visual poem about the ephemeral nature of life and the healing power of Japan's most beloved flower.

"Directed by Academy Award Nominated filmmaker Lucy Walker ( Waste Land), featuring photography by Aaron Phillips and music by Moby.

Links on the home page for The Tsunami and the Cherry Blossom allow you to make donations to benefit victims of the 2011 Tohoku quake and tsunami.

Academy Awards will be given on Sunday, Feb. 26. I can't wait to see this film.

Thursday, February 16, 2012

Valentine's Day Okeiko

Chabana — camellia and reed, by Laura
Harvey's Kokoro kogo — Vietnamese porcelain
Kobukusa — plum blossom brocade, by Holly

Tuesday, February 14, 2012

West Coast Wood Fire: Ceramics Exhibits and Events

Chaire (tea container) and chawan (tea bowl) made by Hank Murrow of Oregon.

“West Coast Wood Fire” is a series of exhibits and events relating to wood fired ceramic art and the culture that surrounds it.  Two exhibits featuring contemporary wood fired ceramic pottery and sculpture by artists from California, Oregon and Washington will be held at the Fire Arts Center and Plaza Design in Arcata. Several world renowned clay artists are featured in the exhibits including three authors of ceramics books, several professors and professors emeriti. The works featured have unique surfaces and ash glazes which occur naturally from atmospheric conditions inside wood fired kilns, which are sometimes fired for up to 10 days at temperatures exceeding 2,300° Fahrenheit.  

A traditional Japanese Tea Ceremony demonstration will be presented by the Horai Center for the Study of Pacific Culture, taking place in the College of the Redwoods Creative Arts Gallery on March 9.  The tea ceremony will highlight the connection between Japanese culture and traditions to the aesthetics found in Japanese folk art and humble ceramic forms such as the chawan (tea bowl).  Japanese folk art (mingei) and wabi-sabi aesthetic has been very influential amongst Western ceramicists who have traveled to Japan to learn their craft, especially in the context of wood fired stoneware and porcelain.  [UPDATE: Location Map]


The College of the Redwoods ceramics department will host guest ceramic artist Terry Inokuma (Oregon) for a two day ceramics presentation and demonstration of her techniques.  Ceramic artist Richard Hotchkiss will also be presenting a short documentary film, “The Climbing Kiln of Woolman Lane” which features a three day wood firing workshop at his kiln in Nevada City, California.  The six chambered kiln is the largest and oldest wood fired climbing kiln in North America and has provided a wood firing experience to thousands of ceramic artists since 1971.

The process of firing ceramics with wood dwindled with the advent of the industrial revolution and following technologies but has carried on through particular facets of tradition and aesthetic.  This labor intensive process usually requires a cooperative effort amongst participants for a successful outcome.  This idea of community is what has inspired “West Coast Wood Fire” and other events like it around the world.  

Thursday and Friday, February 23  and 24, 10a.m. – 3p.m.
College of the Redwoods hosts guest ceramic artist Terry Inokuma (Oregon).
Creative Arts room 136

Friday, February 24, 9 a.m.:
Richard Hotchkiss will give a guest lecture and present the documentary “The Climbing Kiln of Woolman Lane” which features his wood-fired kiln during a 3 day workshop.
College of the Redwoods, Creative Arts room 139
  
Friday, March 9, 1p.m.
Tea Ceremony Demonstration by the Horai Center for the Study of Pacific Culture held in the Creative Arts Gallery at College of the Redwoods, horai.center@gmail.com

March 2- 31 “West Coast Wood Fire”
Fire Arts Center, 520 S. G. Street, Arcata. www.fireartsarcata.com.
Opening Reception Friday March 9
, 6-8pm (During Arts! Arcata)

Artists include: Mike Beebe (CA,)John Benn (WA) Doug Browe (CA), Rhue Bruggeman (CA), Conrad Calimpong (CA), Richard Carter  (CA), Bonita Cohn (CA), Thomas Fossier (CA), Colleen Gallagher (WA), Bill Geisinger (CA), Kathy Guss (WA,)Colinda Gutierrez (CA),Rod Guyer (CA), Chuck Hindes (WA), Sam Hoffman (OR), Richard Hotchkiss (CA), Glenn  Husted (CA), Terry Inokuma (OR), Lisa Jetonne (CA), Kathy Kearns (CA),  Nils Lou (OR), , Marc Lancet (CA), Diane Levinson (CA), Ron Linn (OR),), Hank Murrow (OR), Fred Olsen (CA), Hiroshi Ogawa (OR),Reid Ozaki (WA), Scott Parady (CA), , Kenneth Pincus (OR), Stephen Robison  (WA),Andy Ruble (CA),  Monique Rutherford (CA), Steve Sauer (WA), Nick Schwartz (CA), Tim Steele (OR), Jules Stout (CA), Al Tennant (WA), Mark Terry  (OR), Mila Visser 't Hooft (CA), Jon Weil (CA) , Jay Widmer (OR),  David Zdrazil (CA)

March 1 – April 30 “West Coast Wood Fire Local Artists”
Plaza Design, 808 G. Street, Arcata. http://www.plazad.com/


The original venue (Plaza Design) for local artists is closing. There are two new venues:

March 1 – April 30 “West Coast Wood Fire Local Artists”
Sewell Gallery, 423 F Street, Eureka. www.sewellgallery.com
Opening Reception Saturday, March 3rd, 6-9 p.m. (During Arts Alive)
Hours: Tuesday – Saturday 10 a.m. – 6 p.m.
            Sunday, Noon – 5 p.m.

March 1 – 30 “West Coast Wood Fire Local Artists”
Ironside Gallery, 900, 9th Street, Arcata. http://ironsidegallery.com/category/home-page/
Opening Reception Friday, March 9th, 6-9 p.m.  (During Arts! Arcata)
Hours: Tuesday- Thursday 11 a.m. – 4 p.m.
            Friday & Saturday 11 a.m. – 7 p.m.


Artists include: Conrad Calimpong, Darcy Casagrande, Honoree Cress, Jessica Eden, Rebecca Degagne, Stephen Faletta, Keith Fleury, Thomas Fossier, Ben Freund, David Jordan, Karl Klingenspor,  Peggy Loudon,  Matthew Meil, Scott North, Bob Raymond, Elaine Shore, Shannon Sullivan, Margaret Whitcomb, David Zdrazil

For information, contact Dave Zdrazil at 940-206-5523 or davezdrazil@yahoo.com

:: :: ::

For more, read The Wildness of Natural Process: Wood-fired ceramics and "West Coast Wood Fire" by Jason Marak for the North Coast Journal.