Author name: inessa kalabekova

An instinct for Dragons by David E. Jones

Just Finished an Intriguing Read. An instinct for Dragons by David E. Jones  As I closed the final chapter of this book, I couldn’t help but feel like I’d embarked on an adventure as an anthropological detective.  This book delved deep into the fascinating world of dragons, those mythical creatures that have captured human imagination for eons. Did you know that dragons are often depicted as a blend of the eagle’s strength, the leopard’s agility, and the snake’s serpentine allure? But here’s a thought: could the horns and scales of some dragon species really have been lost through evolution?  The author’s exploration of the Tree of Life as a universal symbol was a delightful twist in a book primarily about instinct and dragons. It got me thinking: there might be more to this symbolism than meets the eye. Snakes, Primates, and Evolution  Lynn Isbell, an anthropologist at the University of California, Davis, proposed a remarkable idea. She suggests that snakes and primates share a long and intertwined history, a battle for supremacy that forced both groups to adapt and develop new strategies. Early primates honed their ability to perceive color, detail, movement, and 3D vision—essential skills for detecting threats up close. And guess what? Humans share a lineage with these very same primates.  Perhaps modern research by biologists and anthropologists could unveil even deeper connections between this symbol and the human psyche.     

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Dance is my tool, and the stage is where magic happens

My art invites you into a world of feelings, stories, and culture—a lively celebration of magic in everyday moments. Influenced by the study of human societies, cultures, and evolution, my work sparks conversations about the connections between our biology, cultures, and stories. Dance is my tool, and the stage is where magic happens. Each dance, like a fairy tale or a personal story, becomes a special moment where feelings, stories, and the magic of dance come together. In this dance of colors and moving bodies, I aim to create a conversation between what you see and what you feel—a picture that shows the magic of moving. Each dance, like a fairy tale, becomes a unique story for the people watching.

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Chinese tale of the Nian monster

The incorporation of a children’s theater performance within my exhibitions serves a dual purpose, transforming them into both entertaining and educational experiences. These events aim to transcend conventional forms of amusement, emphasizing a broader perspective. What sets my exhibitions apart is the active involvement of families. It’s heartening to observe parents not just attending but actively guiding their children to engage deeply with the narratives conveyed through my artwork. This unique blend of artistic expression and educational intent characterizes my approach, reflecting my roles as an artist, a mother, and a socially responsible individual. In this upcoming exhibition, the theme revolves around the ancient Chinese tale of the Nian monster and the essence of the new year, delving into the concept of monsters and their ultimate triumph in a compelling narrative. me in the days ahead.

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“Golden Bough” the project

As I dive into “Golden Bough,” the project is still in its early stages, and my ideas are taking shape. It’s like a puzzle I’m figuring out, connecting ancient myths with present-day beliefs. The concept is fresh, and I’m still exploring which stories and ideas will become the heart of the project. Right now, it feels like the calm before the creative storm. I’m thinking about how to blend the past and the present in a way that feels meaningful. The excitement is building as I imagine how “Golden Bough” will come together, and I’m eager to see where the journey takes me in the days ahead.    

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Ian de Souza’s art exhibition at Privat Museum Singapore

Last Saturday, I visited a private museum in Singapore to check out Ian de Souza’s art. Surprisingly, I got a bit emotional and ended up shedding a few tears. His paintings, all about dedication and love, really got to me. Honestly, at first, I didn’t think his art was very fashionable. But as I spent more time with it, I realized there’s something special about the simple way he puts feelings into his work. It hit me in a way I wasn’t expecting. It just goes to show how powerful art can be.

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A creative experiment where I find myself in a spontaneous dance

This marks my first foray into the realm of filming and dancing, a creative experiment where I find myself in a spontaneous dance with a tree and the sky. To be honest, the whole endeavor feels a bit mystifying, and I can’t quite articulate the purpose behind it just yet. It’s like embarking on a journey without a map—exciting, but a tad perplexing. Looking ahead to my next video, I envision a larger tree taking center stage, its roots serving as a comfortable and encompassing space for relaxation. There’s a notion of creating a serene oasis, a place where one can unwind and connect with nature in a unique way. The why of it all is still elusive, but there’s a sense of curiosity and a desire to explore this unconventional dance with the elements. Despite not fully understanding the motivation behind these dance escapades, there’s an undeniable allure to the idea of capturing these moments on film. Perhaps through this process, a deeper meaning will emerge, or maybe it’s simply about embracing the joy of the unknown. Either way, it’s shaping up to be a fascinating journey of self-expression and discovery.  

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Stories of Nezha and Kuan-Yin, perfomance at the exibition

I found myself in an art exhibition featuring stories of Nezha and Kuan-Yin. Despite the modern setting, the tales of bravery and mythical beauty struck a chord with me. With just an hour and a half and armed with my mother’s old pearls, I decided to improvise. Focusing on Kuan-Yin, a Chinese princess and Buddhist goddess, I explored a legend where she saved the Dragon King’s son, Shancai, from a fisherman. In gratitude, the Dragon King gave her a bright pearl. In the unfolding story, Nezha wanted to learn from Kuan-Yin. She tested him with illusions of monsters chasing her. In a bold move, Nezha threw himself off a cliff to dispel the illusions. Kuan-Yin stepped in, saved him, and Nezha became her devoted follower. From the viewpoint of an artist and dancer, this spontaneous performance blended ancient tales, modern art, and personal expression. It echoed themes of bravery, compassion, and the power of selfless acts through movement and storytelling. 

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So, I’ve got this thing with the number twelve

So, I’ve got this thing with the number twelve. Hercules, months, Gilgamesh—kind of like a cosmic playlist. Why twelve? It’s like nature’s favorite number, popping up in years, months, moons, animals, hours, you name it. Now, imagine twelve squares, 40×40 cm each, in my Golden Branch project, turning Dragons from the Snakes. I think of it as an experiment. 

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Perfomance at the Japanese Cemetery, Singapore

In the quiet morning of a Japanese cemetery, my dance is like a nod to the past. Each step is a way of saying, “I remember you.” Dressed in simple, respectful clothes, I move with a soft rhythm, honoring the stories written in the stones. The space, filled with memories, deserves a kind of quiet dance. It’s not fancy; it’s a simple way of showing respect for the people who came before us. The dance speaks quietly about gratitude for what they went through and the things they left for us to learn. As people walk around, I hope my dance helps them feel the weight of history and the importance of remembering. The video isn’t just a recording; it’s a way to hold onto the respect we have for the stories that happened long ago. In the morning dance, I want to share a simple truth — that remembering where we come from is like a gentle dance, a way of saying thanks for what we have and passing it on to the next chapter.  

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The Fruit, The Tree, And The Serpent de Lynne A. Isbell

But the serpent said to the woman, ‘You will not die; your eyes will be opened, and you will be like God, knowing good and evil. Genesis3:4-6 Imagine a story where a woman talks to a snake, saying, “We can eat from any tree, but God says we can’t touch the fruit from this special one, or we’ll die.” It’s a scene from an ancient book, and it got me thinking. This book I’m checking out says snakes have been a big deal in stories and myths forever. From the snake tempting Eve to one causing trouble for mighty Thor, they’ve always been a symbol of problems. But why do we care so much about snakes, even if we don’t really meet them often? Turns out, the book suggests it’s because snakes played a huge role in how our early relatives survived. They were like the original predators, silently pushing our ancestors to be smarter and see better. This struggle for survival is in the roots of why snakes are a big deal in our stories. The Bible story with the talking snake and the forbidden fruit? It’s like a snapshot of this ancient fear. The snake becomes a symbol of temptation and danger, something deep in our history that still gives us the shivers. As an artist looking into this, I’m picturing scenes that capture this primal fear, connecting the dots between the Bible tale and our instinctive unease about snakes. It’s like telling a story with colours and shapes, trying to unravel why snakes have been haunting our imaginations for so long.

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