#Gisela Insuaste

[literaturha]

Gisela Insuaste, el farro

[nyfacurrent]

Conversations | Changing the World With Your Art, While  Maintaining a Work-Life Balance

Find out how to stay focused and keep your mind, art, and heart inspired with a few tips from the IAP Interview Archives.

Below you’ll find top tips and advice for immigrant artists and creatives collected from conversations featured in IAP Newsletters across the years. Whether you’re telling your personal story, looking for a residency, or balancing a 9-to-5 job with your artistic practice, read on to learn more about the fine art of wearing multiple hats in the art world. For the full conversations, click on the interviewees' names below. 

NYFA: What advice would you give to artists who are looking to share their personal story in the hopes of inspiring large social change but who do not know where to start?

Ambika Samarthya-Howard: I think the hardest part of sharing your personal story is that when people reject it, it feels like they are rejecting you. This is true if you are a writer or a video producer, or a painter. Art is always hard because it’s a reflection of your identity in so many ways, but it’s even harder when it’s a personal story that’s already fraught with vulnerability, like stories of trauma.

My advice is to first step back and ask yourself if you want/need to tell this story. I’ve often found telling my story to be key to personal growth and very cathartic and so whether it’s accepted in a film festival or publication, I was happy to tell it. Second, do you want to put this story out there? Artists can have personal projects that they don’t share and I think it’s worth asking, especially with sensitive subject matters, if it makes sense to put this out into the world. How would a public critique or rude comment on YouTube make you feel? Lastly, connecting to community and other artists can often make this process easier and help through the journey of not only producing the work, but also the much harder process of sharing it and finding the right channels for distribution.

Martita Abril: I found it was critical to be comfortable with myself and my own style and to embrace and engage my fellow immigrant artists like the community embraced me.

Techung: Well, immigrant artists naturally face more challenges, but they should never give up on their art and instead work toward finding possibilities. There are a lot of kind people out there—organizations such as NYFA and others who will support, give feedback, and guidance—but the drive should come from the artists themselves. It takes time and energy to succeed and one must not feel shy or discouraged to ask for help. Keep your mind, heart, and art inspired.

Angélica Dass: For me, the role of an artist is to start a conversation. Because, in the end, I really believe that I can’t change the world; the only person that I can change is myself. But if we talk more about these issues that you feel are not right outside (and as an artist you are able to put these inflections in the making of art), maybe other people can decide they want to change themselves. So that is why I see the role of the artist as someone that uses something (photography, archive, images, etc.) to generate empathy and propose a discussion that can have a direct impact on our collective future. 

I always have the same advice for my students and it is: “Be honest!” It looks like something very basic, but really, be honest! You know it when you are doing something that is not right, not coherent, in a work of art. This is something that I miss in the art world, sometimes. Maybe we can be too critical and too political in a piece, but the truth is that we are just showing one side. My other advice is to give back. Give back to the community that you’re working with and try to be coherent and respectful of them.   

Sébastien Sanz de Santamaría: When artists are applying for opportunities, they should ask these four questions: What do I need to advance my creative practice? Does this opportunity (grant, residency, workshop, etc.) provide the resources and means for me to advance my practice? Do I have all the requirements necessary to apply? Have I reviewed all the details of the program entirely? I think to be successful you must select the right opportunity at the right time. After that, I think perseverance is very important. Normally, one successful experience takes you to the next one, in a process that is connected with your artwork.

Ronny Quevedo: If there is something you need help with, reach out to someone that can help you. We shouldn’t be ashamed of our unfamiliarity with something. For example, I didn’t know how to develop a budget for a very long time. Try not to hide what you think you are not good at, instead be more proactive about facing what challenges you.

NYFA: What are your tips for balancing a job with an artistic practice?

Gisela Insuaste: I think of them [my job and artistic practice] as part of my identity as a human being (and engaged in activities that are important to me), and avoid thinking of these as separate, vying for my time and energy. I see them in collaboration.

Ideally, the administrative work connects, informs, or inspires my artistic practice and vice-versa, but most importantly, aligns with my values. Actually, that’s the case for all activities, relationships, etc. in my life. I’d like to say that once your values are aligned, then everything is perfect! But that’s not the case—it’s also about time management and prioritizing the work, making adjustments, always. Sometimes, administrative work will require more time, while a creative project takes back seat. Shifting gears for a 35-mile bike ride in the hills is just as important if your body and mind need to be outdoors.

A good practice for me is to take moments to play and socialize during intense work, either in the office or studio, with friends or colleagues. If need be, set parameters with people or spaces to manage time—decide what’s important to get the work done and surround yourself with what you think you’ll need. Assess where you’re at with your projects/personal well-being. Sleep, eat well. Go outdoors for a walk and get some Vitamin D!

Marco Antonio Castro: I have been active in the New York arts community since my arrival in 2005. I co-founded and curated MoD (Monitor Digital), the first Interactive Art Festival in Guadalajara, Mexico. We brokered partnerships in the public and private sector to give new audiences an access point to explore digital art and performances. From 2007 to 2013, I guided the vision, curatorial strategies, fundraising, and assessment for the annual festival, while tapping the diverse arts community that thrives in New York. MoD’s public programs, workshops, performances, and artists expanded the festival’s reach to ultimately serve as a pipeline for international artists to connect and collaborate across borders. The festival has helped me understand the process and care needed to reach new audiences and how to make a digital exhibition as inviting as possible without lowering the quality of the content. This has helped me in my practice to make sure I know how to talk about my projects in different ways, to make them understandable by different audiences.

Catherine Yu: For an art form so bound to structure and plot, remember with relief that life works differently from art. Life often goes off-script. For those who feel daunted by the unknown, allow me to quote the great poet Rainer Maria Rilke: “The future enters into us in this way in order to transform itself in us long before it happens.”

Leeza Ahmady: One of the skills I’ve managed to develop is to keep the insight that the art world has many parts and that each part plays an important role at the forefront of my mind. I see it as an ecology, a landscape. Because of this perspective, I’ve been able to include and engage with all spectrums of the art scene: the nonprofit and for-profit museums and galleries, academic institutions, art biennials and festivals, smaller arts organizations with similar missions, community organizations, and artistic collectives as well as auction houses and art fairs. I have achieved this by being conscious of each entity’s mission and by creating and envisioning programs that appeal and address the needs of all these varying operating sectors while keeping the empowerment and promotion of artists at the very top of ACAW’s priority. It’s all about making practical, conceptual use of what resources are already there and sharing the spotlight without being invasive of any one’s territory.

- Interview Conducted by Alicia Ehni, Program Officer at NYFA Learning

This interview is part of the ConEdison Immigrant Artist Program Newsletter #120. Subscribe to this free monthly e-mail for artist’s features, opportunities, and events.

Images from Top: Angélica Dass, Yo Soy Somos, Courtesy the artist; Ronny Quevedo, no hay medio tempo: there is no halftime (detail), 2017, Queens Museum, Photo Credit: Hai Zhang

[jyslifetimes]

Yin & Young Episode 20 - Seng Chen - Artist, Cyclist, Tracer

iTunes: http://tinyurl.com/yb9bracv Website: http://tinyurl.com/ybtuezzn (link also in bio)

Dan and James have a chat with polymath Seng Chen. Seng is an artist (photographer, musician, writer), cyclist, and a tracer (practitioner of parkour aka freerunning).

James get some tips on cycling and briefly touches upon his solo ride from LA to San Diego.

Seng doesn’t listen to music while cycling because he likes to “hear myself suffer”.

Perception that minorities are not welcome to some activities like the outdoors.

Seng recently went to Cuba for a week as a cameraman for an art project.

OkCupid helped Seng meet his wife. James and Seng review “Okja” and discuss eating meat, Koreans directing white people, and exaggerated humor.

Seng’s has been involved in various aspects of filmmaking.

Music is a preferred creative outlet for Seng.

See more of his stuff at: sengchen.com/ LANGUAGE CORNER: James: Korean - 똥 (dong/ttong) - poop Mandarin - 小便 （xiao3bian4) - pee (number 1); 大便 (da4bian4) - poo (number 2) Dan: Japanese - 糞 (くそ) - kuso - crap Seng: Spanish apoderar - empower fortalecer - strengthen

–

Find @YinYoungPodcast on Facebook. Like us please! 😊

#yinyoungpodcast #podcast #gaffer #filmmaking #musician #okja #okcupid #suffering #cycling #freerunning #parkour #traceur#cuba #outdoors #photography (at Oakland, California)

Photos courtesy of Gisela Insuaste

[lafilleblanc]

Gisela Insuaste

"it's all about el arcoiris (rainbow), you'll see, 2011"

[apexart-journal]

At the elephant kraal. Such big beautiful creatures. They are a symbol of Thailand and has played a significant part in Thailand's history: warfare, logging/clearing of trees, and special spiritual significants with its association with Buddhist and Hindu beliefs.

[ginsuaste-blog]

[youngamberdawn-blog]

Gisela Insuaste

[literaturha]

Gisela Insuaste, cruces

[nyfacurrent]

Conversations | Gisela Insuaste

“Support for local artists and makers brings people together to create change.”

For Immigrant Artist Mentoring Program: Oakland consultant Gisela Insuaste, all experiences can inform her practice, from a bike ride in the hills to a leisurely walk along a lake or a plane ride across the ocean. Born and raised in New York City by Ecuadorian parents, she is an artist, arts administrator, educator, and cultural producer, who works as a Communications & Program Specialist at the Center for Cultural Innovation (CCI).

Read our interview below to learn about Insuaste’s experience moving from New York City to the East Coast five years ago, and the importance of connecting with the landscape and the people.

NYFA: Can you tell us about your experience moving from the East Coast to the West Coast?

Gisela Insuaste: Moving to the West Coast was a lot harder than I anticipated. I moved out here for love, and didn’t have anything set up for myself.

The biggest initial challenge was feeling disconnected to the landscape and as a result, to the people around me. I really didn’t know who my community was (Latinx, artists, outdoor enthusiasts, educators, etc.) or where/how I “fit” in this landscape. New York City has so many diverse art spaces and art-making practices and conversations on a range of different issues and themes, ranging from conceptual to literal to abstract modes of expression and execution using diverse media. Having lived in a large metropolitan city with a large immigrant population, with many cultural institutions, and resources/funding opportunities for artists and communities, the Bay Area is a very different place altogether. In the Bay Area, I felt that the range of art-making and expression was different—less international and more regionally-focused. Well, what I didn’t realize then and realize now, is that the local matters tremendously, and support for local artists and makers brings people together to create change.

Having a supportive and creative partner who also loves the outdoors and biking has also been a tremendous factor in this transition. He keeps it real for me. He has questioned my New York-centric mentality and has encouraged me to develop my interests out here. Moving to the West Coast and reinventing yourself is something that many people have done before me and, honestly, I didn’t want to reinvent myself—I liked who I was. This place has helped me to reflect and develop my interests, as well as prioritize what’s important to me right now, experimenting with creative practices, and leading a lifestyle that reflects my values and love of art, music, nature, and people that inspire me to be involved in my community. The landscape in which I find myself has a strong pull to dig deeper and connect with people around you but also question and challenge injustices you see.

Five years later and I feel very fortunate to be in Oakland, it has been transformative on many levels.

NYFA: You are an artist, arts administrator, educator, and cultural producer. How do you balance your administrative work with your artistic practice?

GI: I think of them as part of my identity as a human being (and engaged in activities that are important to me), and avoid thinking of these as separate, vying for my time and energy. I see them in collaboration.

Ideally, the administrative work connects, informs, or inspires my artistic practice and vice-versa, but most importantly, aligns with my values. Actually, that’s the case for all activities, relationships, etc. in my life. I’d like to say that once your values are aligned, then everything is perfect! But that’s not the case—it’s also about time management and prioritizing the work, making adjustments, always. Sometimes, administrative work will require more time, while a creative project takes back seat. Shifting gears for a 35-mile bike ride in the hills is just as important if your body and mind need to be outdoors.

To go back to your question, I would rephrase it as how do I manage my administrative work and artistic practice or work in collaboration with other parts of my life—I would say by keeping a detailed calendar and making adjustments as needed to the amount of time I spend on activities in relation to the goals/tasks I want to accomplish for that day, week, etc. and being aware of my personal well being and mental health throughout.

A good practice for me is to take moments to play and socialize during intense work, either in the office or studio, with friends or colleagues. If need be, set parameters with people or spaces to manage time—decide what’s important to get the work done and surround yourself with what you think you’ll need. Assess where you’re at with your projects/personal well-being. Sleep, eat well. Go outdoors for a walk and get some Vitamin D!

NYFA: What is your current role at the Center for Cultural Innovation (CCI)?

GI: I recently started working at CCI, a non-profit arts organization that promotes knowledge-sharing, networking, and financial independence for artists and creative entrepreneurs. CCI is based in Los Angeles with an office in San Francisco. I’m still relatively new in my role as the Communications & Program Specialist. So far, I’ve had quite an experience working with grantmaking, professional development workshops, program development, and communications, including sharing the different CCI opportunities and resources for artists. After leaving the San Francisco Arts Commission in late 2017, I took a sabbatical from arts administration to engage in my creative practice, to explore, and to connect with the Bay Area differently. When I decided to step back into arts administration, I was interested in working with an organization that supports artists and their professional development, and learning about alternative economic systems that artists, especially POC (people of color) artists.

NYFA: Do you have resources and advice to share with immigrant artists?

GI: As POC and immigrant artists, we already bring so much knowledge and experiences to a new place and community. It may take some time to adjust and find your people but know that you have a lot to offer and share.

Take advantage of all those free activities offered by arts organizations and cultural institutions such as open studios, convenings, screenings, artist lectures, etc.

Social media such as Facebook, Twitter, and Instagram are good places to find and share resources and opportunities about grants or residency opportunities, or interesting article posts about not only the arts field, but other issues and topics I find important (climate change, education, immigration, youth development, local news, etc.).

We don’t live in a vacuum, so avoid creating a bubble—find out what’s going on in other places outside your community and city, across the nation and the world, including your own country. It’s a way to keep informed and gauge the kind of conversations happening in different places. I’m fortunate to be connected not only to the East Coast but also the Mid-West and Latin America so I keep tabs on what’s going on in these areas, whether about politics or educational reforms.

But of course, interacting with people in real-time and in person is the best way to connect with others and learn a little about yourself in the process. I would recommend attending public events that you find interesting, including events in fields that may not be related to art but may intersect with your artistic practice. It’s okay to be awkward in new spaces—bring friends!

Sign up to receive newsletters from organizations, cultural institutions, libraries, city/state arts agencies, and artists/cultural workers and get the latest news, updates, events, and opportunities. Find out what’s happening on a local, regional, or national level and/or how to get involved. Examples: Art Practical, Creative Capital, Center for Cultural Innovation, Intersection for the Arts, California Arts Council, SF Arts Commission, Laundromat Project, A Blade of Grass, National Association of Latino Arts & Culture, Alliance for Artist Communities, and NYFA (of course), to name a few.

NYFA: Tell us about your upcoming commission with the NYC School Construction Authority, Public Art for Public School.

GI: The public art commission is a sculptural installation that will hang from the atrium of a new school addition at PS 254 in Sheepshead Bay, scheduled to open by August 2021. For the proposal, I was drawn to the history of the school’s neighborhood. The installation consists of a large suspended bridge-like sculpture inspired by the Ocean Avenue Bridge, a historic pedestrian footbridge that connects Sheepshead Bay to Manhattan Beach. This bridge represents a space of transition, with openness to new places and other neighborhoods. Like in my previous work, I am interested in how the landscape and built environments shape our experiences. Tentatively titled “Crossings & Bridges,” the sculpture functions like a drawing in space, a process that mirrors my walks through cities and spaces. Other suspended pieces will consist of local imagery such as native plants and architectural forms from the neighborhood. As part of the commission, I will also be leading several workshops with students that relate to my artistic process, including walking, observational drawing, and mapping.

- Interview Conducted by Alicia Ehni, Program Officer at NYFA Learning

This interview is part of the ConEdison Immigrant Artist Program Newsletter #118. Subscribe to this free monthly e-mail for artist’s features, opportunities, and events.

Images from top to bottom: Gisela Insuaste's shoes designed during a Seoul, South Korea residency, photo by Seng Chen/Gisela Insuaste; Insuaste riding her bike up a steep hill, through the redwoods near San Francisco, photo by Seng Chen; Photo project/experimentation during a sabbatical, photo by Gisela Insuaste; Photo project/experimentation during a sabbatical, photo by Gisela Insuaste.

[literaturha]

Gisela Insuaste, boat shore

[literaturha]

Gisela Insuaste, fe

[literaturha]

Gisela Insuaste, montanitas bailando

[nyfacurrent]

Announcing | 2019 Immigrant Artist Mentoring Program: Oakland Participants

Meet the mentees and mentors who are participating in this year’s program!

Through the support of Ford Foundation, The New York Foundation for the Arts (NYFA) is pleased to announce the participants in the 2019 NYFA Immigrant Artist Mentoring Program: Oakland, presented in collaboration with local partners World Arts West, Oakland Asian Cultural Center, Oakland Public Library, Aggregate Space Gallery, and Bisemi Foundation, Inc.

The program combines two of NYFA’s professional development programs, the Immigrant Artist Mentoring Program, through which NYFA provides access to artist mentors and arts professionals via panels and workshops, and the Artist As Entrepreneur Boot Camp Program, which provides artists with the fundamental principles of sustainability in the arts.

2019 Participants and Disciplines:

Mentee Asya Abdrahman, Multidisciplinary (Ethiopia), paired with Mentor Kristian Kabuay, Multidisciplinary/Folk & Traditional (Philippines)

Mentee Katherine Agard, Interdisciplinary (Trinidad and Tobago/Ghana), paired with Mentor Jason Wyman, Multidisciplinary (United States)

Mentee Etty D Alberto-Zamora, Visual (Honduras/Belize), paired with Mentor Kelly Ording, Visual (United States)

Mentee Byb Chanel Bibene, Multidisciplinary (Republic of Congo), paired with Mentor Melanie Wofford, Arts Administration/Performing (United States)

Mentee Kristiana Li-Yen Chan, Visual (Canada/Malaysia), paired with Mentor Alice Wu, Visual/Multidisciplinary (United States/Taiwan)

Mentee Daniel Chein, Film/New Media (Taiwan), paired with Mentor Kwesi D. Wilkerson, Performing/Literary (United States)

Mentee Paola de la Calle, Visual (Colombia), paired with Mentor PJ Policarpio, Multidisciplinary (United States)

Mentee Alisson Göthz, Visual (Brazil), paired with Mentor Jason Wyman, Visual (United States)

Mentee Patricia Leal, Interdisciplinary (Brazil), paired with Mentor Beth Waldman, Visual (United States)

Mentee Izidora Leber Lethe, Interdisciplinary (Croatia), paired with Mentor Brian Conley, Visual (United States)

Mentee Andreina Esther Maldonado Sosa, Performing (Venezuela), paired with Mentor Aimee Suzara, Performing/Literary (Philippines/United States)

Mentee Anthonia Onyejekwe, Film/Video/New Media (Nigeria), paired with Mentor Tossie Long, Performing/ Multidisciplinary (United States)

Mentee Ginika Oruche, Film/Video/New Media (Nigeria), paired with Mentor Destiny Muhammad, Performing (United States)

Mentee Reaa Puri, Film/New Media (India), paired with Mentor Shalini Agrawal, Visual/Multidisciplinary (India)

Mentee Lydia Queriani, Multidisciplinary (Philippines), paired with Mentor Ely Sonny Orquiza, Multidisciplinary/Film/Video/New Media (Philippines)

Mentee Keyvan Shovir, Multidisciplinary (Iran), paired with Mentor Megan Wilson, Interdisciplinary (United States)

Mentee Anita Sulimanovic, Visual (Croatia), paired with Mentor Taro Hattori, Visual/Film/Video/New Media (Japan)

Mentee Rupy C. Tut, Folk & Traditional Arts (India), paired with Mentor Karen Fiss, Visual/Folk & Traditional (United States)

Mentee Dor Wand, Film/Video/New Media (Israel), paired with Mentor Lyz Luke, Performing (United States)

Mentee Juniper Yun, Multidisciplinary (South Korea) paired with Mentor Mayumi Hamanaka, Visual/Multidisciplinary/Curatorial (Japan)

This program is made possible with the generous support of the Ford Foundation.

Click here for more information on the Immigrant Artist Mentoring Program. And don’t forget to sign up for the monthly Con Edison IAP Newsletter to receive opportunities and events as well as artist features directly to your inbox.

Image: 2019 Immigrant Artist Mentoring Program: Oakland, Photo Credit: Gisela Insuaste for NYFA

[nyfacurrent]

Apply Now | Immigrant Artist Mentoring Program: Oakland

Deadline to apply is Monday, December 10, 11:59 PM PST.

The New York Foundation for the Arts (NYFA) is pleased to announce the second year of the Immigrant Artist Mentoring Program: Oakland, presented in collaboration with Oakland local partners through the support of the Ford Foundation. 

The program’s goal is to foster a local community of artists sharing the immigrant experience and provide resources through entrepreneurial training, access to other artists, arts professionals, and organizations. Conducted in an inclusive, safe space, the program offers immigrant artists the opportunity to focus on their creative practice and gain support and exposure for their work while upholding their distinct cultural identities.

The program combines two of NYFA’s professional development programs: the Immigrant Artist Mentoring Program, which provides access to artist mentors and arts professionals via panels and workshops, and the Artist As Entrepreneur Boot Camp, which provides artists with the fundamental principles of sustainability in the arts. Featured topics include strategic planning, finance, law, marketing, and fundraising. Additional material will be drawn from NYFA’s newly-revised popular textbook The Profitable Artist (Allworth Press, 2018).

In collaboration with Oakland-based partners, the program will offer two weekend entrepreneurial boot camps, one-on-one mentoring, an informal gathering between weekend sessions, and an individual consultation with an arts professional.

This is a competitive program open to artists from all disciplines (Performing, Literary, Visual, Multidisciplinary, Video/Film, Folk and Traditional Arts) based in Oakland, CA, and provided free of charge to accepted participants. The program will run from January 2019 to April 2019, and will bring together Oakland artists to nurture a productive environment for collaboration.

Testimonials:

I wholeheartedly recommend the NYFA Immigrant Artist Mentoring Program to any immigrant artist! First off, the content is invaluable and taught by experts in the field. More importantly, the people are fantastic! From the program administrators to the guest speakers to the mentors to my fellow artists – I felt welcomed, supported, and valued by all. This community of artists is a network of people who truly want you to succeed. - Melissa San Miguel (Immigrant Artist Mentoring Program: Oakland ��18)

I am so fortunate to be one of the participants in the NYFA Immigrant Artist Mentoring Program. In the first weekend of the Boot Camp Workshop, we learned about fundraising, basic marketing, goal setting, and so on. Learning the right way was a success to our organization; we were fortunate to get two grants this year. The last workshop was about finance and some legal regulations for artists. The teachers were very talented and I learned a lot from them. As an immigrant artist, I suggest this program to all. - Hamere Seble (Immigrant Artist Mentoring Program: Oakland ‘18)

Eligibility:

Live within the Oakland area (within commuting distance of Oakland)*

Either you or your parents were born outside of the United States or in United States territories including Puerto Rico, Guam, and the U.S. Virgin Islands

Refugees are welcome to apply

Are NOT currently enrolled in a graduate or undergraduate degree program**

*Priority will be given to artists living and working in Oakland; however the program is open to artists in the Bay Area within commuting distance of Oakland. **Students who will graduate before the program starts are welcome to apply.

Mandatory Sessions:

First Weekend Boot Camp Workshop: Saturday, January 26, 10:00 AM - 4:00 PM Sunday, January 27, 10:00 AM - 4:00 PM

Mid-program Check-In:  Thursday, March 14, 6:00 - 8:30 PM

Second Weekend Boot Camp Workshop: Saturday, April 27, 10:00 AM - 4:00 PM Sunday, April 28, 10:00 AM - 4:00 PM

Attendance is mandatory to all sessions, so please check your calendar before applying. Oakland-based partners will host meetings.

Application Link: Click here to apply

Deadline: Monday, December 10, 2018 11:59 PM PST

Application Guidelines:

For the application we ask you to provide:

Your long terms goals and why you are interested in applying to this program

A narrative bio of your professional career

A link to your website or online presence

Work samples

To Apply:

Applicants can apply via Submittable; first time users will need to register with Submittable to access the application portal. Electronic submissions should be completed by Monday, December 10, 2018, 11:59 PM PST

Notification: Wednesday, December 12, 2018

Questions? Contact the NYFA Learning team at learning@nyfa.org and include “Oakland” in the subject line.

Thank you to our cultural partners in Oakland:

World Arts West

Oakland Asian Cultural Center

Oakland Public Library

Aggregate Space Gallery

Bisemi Foundation, Inc

This program is made possible with the support of the Ford Foundation.

Learn more about the Immigrant Artist Mentoring Program, and don’t forget to sign up for the monthly Con Edison IAP Newsletter to receive opportunities and events as well as artist features directly to your inbox.

Image: Immigrant Artist Mentoring Program: Oakland, Photo Credit: Gisela Insuaste

[apexart-journal]

Week 1, Pt. 2@ Bangkok (Chinatown, Markets, Parks, Biking...)

Week 1

May 1-May 8

MARKET AREA (near Grand Palace) and KAO SAN ROAD

Along the Grand Palace many people were selling new and used items in stalls or on blankets on the grounds. I noticed many men selling amulets (really interesting cultural objects made of wood, stone, etc..) They tend to depict Buddha images, monks, or other forms in various positions and offer protection/good luck to the wearer. Most are encased in similarly shaped containers and worn around the neck. These ‘talisman’ can provide financial luck, healthy living, etc. I saw some leather strappy shoes that looked awesome so I made my first purchase and bought a pair after getting a good deal (a Thai woman bought the same pair and had bargained it down to a good price- I benefitted from her efforts and paid the same amount.)

I walked to the Banglamphu area to Kao San Road, a touristy traveler's scene. Every major city in the world has a place like this. It reminded me of gringolandia in Quito! It’s basically a place for tourists with budget accommodations, overpriced food, clothing and other goods that Westerners buy without any question. Most of the people I saw at that time were tanned individuals who probably had recently arrived from a beach trip - all in hippidipity clothing. Sigh, to be young.

DEMOCRACY MONUMENT AND SANAM LUANG PARK

I walked along Sanam Luang Park, and lots and lots of tourist buses were lined up along the street and around the Grand Palace. It was like a mob scene but it felt right, here in Bangkok. As usual, the sun beat against me so I was grateful once again to have an umbrella.

I made my way to Democracy monument, which marks the occasion of Thailand's 1932 switch from absolute to constitutional monarchy. It is not a very pretty monument but it does mark a historical moment. Anyway, it was interesting coming across a bike path here out of all places.

MUSEUM OF SIAM 

I got lost looking for the Museum of Siam because of the construction going on the same street. I noticed that street cleaners wear full work gear from head to toe in such hot weather. Same deal with construction workers. Both workers wear long sleeves and long pants, boots, handkerchiefs covering their faces, gloves and hats. How do they breathe, move and don’t pass out? Logan mentioned that construction also tends to happen later in the evening to avoid the heat.

The Museum of Siam is one of Bangkok’s newest museums with some fun, interesting, and interactive. As a foreigner, the admission was expensive! As someone who has worked in museums, exhibitions and programming, it was great to be in a museum that was interactive- basically we could touch anything. Unfortunately, as a result, several of the touchables weren’t working- lights, levers, electronics broken, worn surfaces, etc.  The exhibitions were informative and I left knowing a little bit more the history of Thailand and the region. 

The Kingdom of Siam is a place made of many different cultural and ethnic groups from various regions, where agriculture gave way to commerce and other industries…a diverse place, and new nationalist beliefs. Religious beliefs (Hinduism, Animism, Buddhism), and cultural traditions, economic progress are mixed together to create a dynamic society….a modern nation that continues to move forward but changing along the way, from absolute monarchy, to constitutional democracy….to whatever the future holds.

   NIGHTINGALE-OLYMPIC  DEPARTMENT STORE

I walked around and went in search of this old shop, the Nightingale-Olympic Department store. It has been around since the 1930s and used to attract wealthy patrons but over time it has lost its business to more modern and commercial shops. This place still sells the overstock products from way back. The upstairs was closed off and I couldn’t take pictures. Old shoes falling apart but the jewelry was interesting….but expensive. The only modern looking thing around was the makeup area. Check out this link. http://travel.cnn.com/bangkok/shop/photo-feature-bangkoks-department-store-time-forgot-814917

CHINATOWN AREA, LOCAL MARKETS, and WAT TRAIMIT

My first trip to Chinatown was via the Khlong San Sabe canal. I got off at the Golden Mount (Wat Saket), which was the  last stop, and walked along the same street as I did on Friday. Although I could have taken a tuk tuk or taxi, I liked to walk. And walking I did. Before heading out, I had looked up walking tours of Chinatown and pulled it up on my phone. It was a map that I found online and took me along the length of Chinatown. Every city has a Chinatown and from what I've learned, the Chinese were very important in the development of Bangkok and settled near the river, creating a community. Lots of neat markets here, day and night. I walked along Boriphat Road and then cut through Yaorowat Road and looped around to Sampeng and Phahurat Markets, basically the Chinese and Bombay Markets, respectably, where lots of merchandise, from gold to clothing to spices and stuff. Lots of venders along the way, even those selling guns and scary looking firing arms- I had to laugh at one sign that read ' not intended to be pointed at a human being.' Lots of food snacks and smells around me, signs in Chinese (distinct from Thai), and bought some sesame seed snacks and pomegranate drinks. 

Wandered around and found Wat Traimit, a temple with the largest 5.5 ton gold Buddha image in the world, Phra Sukhothai Tramit, and continued on. Walked through some old neighborhoods with wooden buildings- beautiful green places! Quite residential area, it seemed.

HOLY ROSARY CATHOLIC CHURCH and SIAM COMMERCIAL BANK

I wandered down some residential areas of Chinatown and wound up at a the Holy Rosary Catholic Church which was listed on the walking tour map. It’s a nice church located near the river and built in 1897 in the Neo-Gothic Style. The doors were open so I peeked, said a quick prayer and left. Nearby is the building of Siam Commercial Bank, the first commercial bank of Thailand run by Thais. It was built in 1904 and The place was closed but I was able to view it from outside the gate. Right near the gate, there was an old tree with colorful gauzy fabric wrapped around- reds, yellows, greens. This big, beautiful (banyan) gnarly tree was lined up with small Buddha figures, sweet drinks, and jasmine flower necklaces…basically a a shrine with offerings. These offerings honor the spirits that live in these old trees, which deserve our respect. The color strips of cloth tied around is a symbolic warning for others not to cut down the tree.

CHATUCHAK WEEKEND MARET

It’s the largest outdoor market in the world! Oh man! A maze. A daze!

A lot of people, both tourists and locals flock the market each weekend which is open from 7am till about 6pm although it seems that most people are open by 10 and stay open till after 6pm. There is an order to this madness arranged in stalls in rows that offer similar merchandise throughout the area. With a map in my hand, I explored the market for several hours. I saw plenty of people some people pulling suitcases and carrying large bags of merchandise. Although I didn’t buy anything, I checked out the products and tasted different fruits, food and drinks. For me, I couldn’t get enough water/fruit bars or fruit in my body. I stopped in the center near the tower and figured out how to get out again. By midday most people were tucked away indoors away from the exposed…without the sun beating down on you, it was many degrees color but the air was so still…

My market day ended with an hour-long foot massage. I deserved it. I happened to walk by an enclosed area inside the market and when I looked in and saw people passed out on comfy chairs, I knew it was time for one. Before I left close to closing time, there were still plenty of people around. When I was in that area another night, I noticed makeshift karaoke and bars are set up after closing hours filled with a younger group, having a good time singing and drinking.

  FLOWER MARKET/PAT KHLONG TALAT

This day was great! I went to the flower market by 9am but it was already late to witness the fresh flowers piled up row by row inside/outside. The ideal time to be athe market is early morning, at 3 or 2 AM. Despite my late arrival, I still saw plenty of vendors selling flowers, vegetables and fruits. There were also many empty stalls, too. I was drawn to boxes and objects that were stacked one on top of the other, like the fruit cases and fruits/plants. It’s hard not to notice the natural symmetry, color and pattern design that exists in this market and others, mostly unintentional and random. Vendors were also selling vegetables and fruits nearby and around the closed flower market area.

KLONG TOIE MARKET

Klong Toei Market is a wholesale wet market and of the city's largest where apparently a lot of the produce here is used for our meals. Fruits, vegetables, meat, fish, and all sort of foodstuff that I don’t recognize are sold here. Don’t wear open toe sandals! I accidently stepped on puddles of….stuff. A highlight of the day was watching two men unloading chunks of ice and rolling them down a platform to an icebox. From there, ices was chipped to smaller pieces and placed in bags to be sent out to food stalls all over.

MASSAGES

Massage shops are found everywhere- Thais really like their massages and so do I! I got my first one at the massage training school at Wat Pho. It was a 30 minute session and was awesome. I was given cold tea afterwards, which was nice. I got my second massage after my all day excursion at Chatuchak Market. The foot massage included a head and shoulder massage after a long day at the weekend market. I really needed it. . All you do is relax in an air-conditioned room and let go.

PARKS, RUNNING and BIKING

SANTIPHAP PARK

I’ve been running at my neighborhood park a couple of times a week, mostly mornings but have run in the evenings. Although it’s a small, it is great. I usually get up early by 6 am and out the door no later than 6:45 for my run.

The park is about a block wide green area with two man-made lakes and lots of trees (labeled) and plants. I’ve noticed that most joggers are older men and women. I feel connected when I run, connected to this place and the people who live here. I rarely see foreigners running here during the day. Each time I run in the park, I recognized the same faces and smile. They smile back. There is a group of women who hang out near the bathrooms, chatting away, with hats and bags. I had no idea who they were until one day I stayed after 8am and realized they were the park staff in charged of watering the grounds, cleaning the area, etc. At south entrance, there is a small shrine and garden area with a nice water fountain situated in a pretty sitting area. I sometimes splash water on my face and head to cool off. After every workout, I spend some time in the small exercise station that has basic workout equipment. Although primitive looking, the workout equipment works and is to work out a sweat and loosen my muscles…well I was sweaty already but anyway.

Of the few evening runs I have done around the park, the place is always packed. At 6pm the aerobics session starts so many people show up, mostly women, and gather in the center of the park. They move like crazy in rhythm to the loud dance music played over the speaker. I notice more foreigners in the evenings, as well as younger people too. Lots of walkers and joggers.

LUMPINI PARK

I made my way to Lumpini Park after my trip to the Khloe Toi Market. The park was created in 1920s by King Rama VI on royal property.  There is a statue of the king at the southwestern entrance to the park, and named after Lumbini, the birthplace of the Buddha in Nepal. It is about 2.5 km in length and has lakes and paths throughout the grounds and various places to rest and relax in the shade.  On my visit, I saw a large lizard while sitting in the shade! It was a hot and sunny day around midday but still noticed people running around the park and biking on the same path. Then I noticed a sign that read, running and biking 11am-2pm…isn't that the hottest time of the day? Hmnn. I would die.

  BIKES and BIKING

I noticed, incredibly enough, a bike path near Democracy Monument on the poorly maintained sidewalk. Although safer than riding in the street, I think biking in general is pretty dangerous here. I wouldn't recommend it to anyone, even the most experienced rider. Traffic lights are not always followed and motorcycles are constantly zipping by, through cars, through red lights, and even on sidewalks. I don’t know how people hop on these motorbike taxis without having a hear attack. I wish I could ride a bicycle here but have only been able to do it in parks and safe-looking places. I came across another bike path on my way to the Khloe Toi Market, tucked away from the main streets along the river…but all of these paths cover short distances and disappear as quickly as they appear.

Biking @ PHRA PRADEANG – GREEN LUNG

The first place that I was able to stretch my legs and ride on a bicycle was when I visited Phra Pradaeng. This place is aweseome! Phra Pradeang is also referred as the Green Lung of Bangkok. According to Seng is like the Wave Hill of Bangkok! But you can’t ride your bike in WH.

I had a great time here. I took a cab from a BTS stop but the taxi driver got lost. Thank god I had the handy atlas with me. And my GPS. We found our way to Wat Klong Toi pier and I hopped on a long-tailed boat to the island. Check ou this link http://travel.cnn.com/bangkok/play/bangkoks-green-lung-048555

I found the perfect bike with a front basket and had such a great time despite the hot sun and humid weather. I couldn’t help smiling..and sweating. It was quiet that day and perhaps because it was because it was (the day after) a holiday…or because it was hot and only silly tourists went out during the day (like me). I made sure I had lots of water and had lunch along the way. My worst fear almost came true- and that was my fear of being run over by a motorbike taxi- luckily, the motorbike taxi stopped on time and the driver smiled and apologized. His passenger also did the same. I kept on riding.

I was amazed at the amount of nature that surrounded me, especially after being in downtown Bangkok. I saw spirit houses and spirit trees along the way, and explored the floating market, which was closed, but it was still nice to visit this quiet and abandoned stalls. It reminded me of Chinatown on a slow day, a resting day. I found my way to the Botanical Garden Si Nakhon Khuen Khan Park after taking a side street and rode around, exploring the grounds. It was lovely, a place with small teak buildings, bridges, trees, plants and animals. This was a happy time for me. Several hours later, when I returned my bike and was having a cold sprite with lots of ice, and tiny and very old women sat next to me asked me in English the same question everyone keeps asking me- Are you traveling alone here?

This week I found out that a friend's husband recently passed away from cancer. Kevin and Annie were such a great couple....and he and Annie opened their doors to friends and family on summer nights for backyard movie nights. Kevin will be missed.

[apexart-journal]

Music and dance at Erawan Shrine in Bangkok.