#100daysofteabagart

#100DaysofTeabagArt | The Spring Series | Day-44 | Roar, Chennai Super Kings! Pen and ink, gouache, watercolors on used @bigelowtea teabags ! Cricket happens to be one of those bonding factors for a lot of us, and in that vein CSK is our pride (see what I did there?). I haven’t been watching IPL since they banned us for two years, but we’re back now. I absolutely love seeing Dhoni and the boys back on the field. For all of you people trying to call us the ‘senior’ team, you might want to look for something better for a comeback! Today’s match was stunning! :D #EngathalaDhoni #CSKForever #teabagart #100daysofteabagartbyhemu

#100DaysofTeaBagArt | The Dance Series | Day-10 | Can-Can Watercolours, Gouache, Pen and Ink on used tea bag skin The can-can is a high-energy, physcially demanding dance which became a popular music hall dance in the 1840's and is still maintaining its popularity in French cabaret to this day. It was originally danced by both sexes though it is now traditionally associated with a chorus line of female dancers. The main features of the dance are the high kicks, splits and cartwheels. The name can-can may be derived from the French for tittle-tattle or 'scandal'. However, the dance was also referred to as the coin-coin and this may have become corrupted into can-can. In its early days, the dance was also called the chahut (French for noise or uproar). The dance was considered scandalous for a while and there were even attempts to repress it for a while. This may have been partly because in the 19th century, women wore pantalettes, which had an open crotch, meaning that a high kick could be unintentionally revealing. Occasionally, people dancing the cancan were arrested, but there is no record of it being banned, as some accounts claim. The cancan is now considered a part of world dance culture. Often the main feature observed today is how physically demanding and tiring the dance is to perform, but it still retains a bawdy, suggestive element. #danceseries #day10 #teabagart

100 Days of Teabag Art | The Dance Series | Kecak | Day-6 Watercolours and Ink on Tea bag (Twinnings) Kecak is a form of Balinese dance and music drama that was developed in the 1930s in Bali, Indonesia. Since its creation, it has been performed primarily by men, with the very first women's kecak group starting in 2006. Also known as the Ramayana Monkey Chant, the piece, performed by a circle of at least 150 performers wearing checked cloth around their waists, percussively chanting "cak" and moving their hands and arms, depicts a battle from the Ramayana. The monkey-like Vanara led by Hanuman helped Prince Rama fight the evil King Ravana. Kecak has roots in sanghyang, a trance-inducing exorcism dance. Kecak was originally a trance ritual accompanied by male chorus.In the 1930s, Walter Spies, a German painter and musician, became deeply interested in the ritual while living in Bali. He adapted it as a drama, based on the Hindu Ramayana and including dance, intended for performance before Western tourist audiences. I had the opportunity to actually witness this dance live when I visited Bali several years ago and I must tell you that it was one of the most trance-inducing thing I have witnessed so far. I would definitely recommend that you check out the dance-drama on the web! #100daysofteabagart #kecak #day6

100 Days of Tea Bag Art | The Dance Series | Kathak | Day-5 Kathak is one of the ten major classical dance forms of India. The term Kathak is derived from the Vedic Sanskrit word 'Katha' which means 'story' and kathaka, means 'they who tell a story' or 'to do with stories'. The origin of this dance form is traditionally attributed to the travelling bards of northern India known as Kathakars or storytellers. These wandering Kathakas communicated stories from great epics and mythology through dance, songs and music. Kathak is found in three distinct forms, named after cities where the dance tradition evolved: Lucknow, Banaras and Jaipur. Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells (Ghungroo), and the movement harmonized to the music. The legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, stage movements, bends and turns. The main focus of the dance becomes the eyes and the foot movements. The eyes work as a medium of communication of the story the dancer is trying to communicate. The difference between the sub-traditions is the relative emphasis between acting versus footwork, with Lucknow style emphasizing acting and Jaipur style famed for its spectacular footwork. This performance art was passed on as an oral tradition, learnt and innovated from one generation to another verbally and through practice. It transitioned, adapted and integrated the tastes of the Mughal courts as well, and was declined, like several other classical art forms during colonial British era. The costumes and facial cosmetics among Kathak performers too, are either Hindu or Muslim (based on the troup) given its journey throughout different times and rules. The pure dance is called a nritta, while the expressive dance is called a nritya.A Kathak performance can be solo, duo or team. In a technical performance, the speed and energy the dancers exchange with the audience increases in multiples, that is the tempo doubles or quadruples. #100daysofteabagart #day5 #kathak

100 Days of Tea Bag Art | The Dance Series | Bharatanatyam Bharatanatyam is a major genre of Indian classical dance that originated in the Hindu temples of the south Indian state of Tamilnadu and neighbouring regions. Bharatanatyam is a compound of two words: 'bharata' and 'natyam'. The tradition states that Bharata is a mnemonic, consisting of "bha"-"ra"-"ta" where bha stands for bhava (feelings, emotion), ra stands for raga(melody, framework and musical notes), and ta stands for tala (rhythm). The term natyam refers to 'dance' in Sanskrit. The term, thus, refers to a dance which harmoniously expresses and makes use of bhava, raga and tala. Bharatanatyam style is noted for its fixed upper torso, legs bent or knees flexed out combined with spectacular footwork, a sophisticated vocabulary of sign language based on gestures of hands, eyes and face muscles.The dance is accompanied by music and a singer, and typically her guru is present as the director and conductor of the performance.The dance has traditionally been a form of an interpretive narration of mythical legends and spiritual ideas from the Hindu texts. The performance repertoire of Bharatanatyam, like other classical dances, includes nrita (pure dance), nritya (solo expressive dance) and natya (group dramatic dance). Bharatanatyam remained exclusive to Hindu temples through the 19th century, was banned by the colonial British government in 1910, Indian communities protested the ban and expanded it outside the temples in the 20th century. Modern stage productions of Bharatanatyam have incorporated technical performances, pure dance based on non-religious ideas and fusion themes. #100daysofteabagart #day3 #bharatanatyam

Here is a teabag I drew on, it was all but I progress picture. I didn’t like how it turned out and so, I crushed it up... I looked at the picture today and am trying to be okay with messy/ incomplete/paint pending/a work-in-progress in art and life. Not officially a part of #100DaysofTeaBagArt but it’s a worthy reminder of many emotions. (at Columbus, Ohio) https://www.instagram.com/p/Bz1qwm6Dqrw/?igshid=1dpnkd5zulcsc

#100DaysofTeabagArt | Day-55 | Charles Mingus | Sold Pen and ink, gouache and watercolors on used Bigelow Lemon teabag I was on a jazz playlist on YouTube letting songs roll by on its own, one by one, when I chanced upon Mingus’s Moanin’…I found the piece so cheeky-happy I couldn’t get it out of my system for a few days…and well, here we are: Me experimenting one of Mingus’s famous photographs in simple line-art form, which I don’t always do. Mingus was an American jazz double bassist, pianist, composer and bandleader. He is considered to be one of the greatest jazz musicians/composers in history and was a big proponent of collective improvisation, i.e., all band members engage in some sort of improvisation and embellishment with their respective instrument instead of just one musician stepping forward to do so. His compositions are said to be heavily drawn from black gospel music and blues, while still holding on to hard bop. With a career spanning three decades, he’s collaborated with other jazz legends and has a special place in the world of jazz music. #Teabagart #day55 #100daysofteabagartbyhemu (at Columbus, Ohio) https://www.instagram.com/p/BzmFrrLDZsi/?igshid=s1542n6hebb6

#100DaysofTeabagArt | Day-54 | Man on the Beach | SOLD Pen and ink, watercolors, gouache on used teabag (at Columbus, Ohio) https://www.instagram.com/p/BzG-TWyDkMw/?igshid=1cn98vynwccfa