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The year of 2017

It was a very productive 2017 for me with lots of trips and new experiences, meeting more amazing people and creating more artistic works.

I have worked with such wonderful people with CAN team and also all of the Artists and teams I worked in different projects, such as the wonderful Jerwood Creative Fellows and the Talent Development team at MIF.

Getting the opportunity to travel to different countries this year was also another amazing experience I added to my journey this year.

I also get to know more about artists I knew for years and when you get to know them it will help you to see more of their talent and get inspired and one of them of course is my husband Mohammad which we wrote our piece for ‘Flying carpets’ together.

Here is the list of my works to remember this year:

  • Being the Digital Artist for Youth Art Programme 2016-17 with 2 performances in Leigh ‘Wizard of Leigh’ and Alice in Leigh’ by wonderful kamosi and ‘Snow Dragons’ as part Youth National Theatre at HOME by our CAN Young Artists
    ‘The Snow Dragons’
  • Digital Artist and Digital producer for ‘Outside the Frame Arts’ new arts collective based in Manchester that aims to raise the profile of underrepresented and marginalised communities by giving a platform to those absent from the mainstream and using the arts to challenge the status quo.
    Plat form for Palestinian Arts by ‘Outside The Frame Arts’
  • Receiving the Jerwood Creative Fellowship at Manchester International Festival
  • Digital Artist and Animator for International Women’s Day 2017 at Pankhurst Centre
    Pankhurst Centre Animation Workshop
  • Digital Artist for the co-creation documentary ‘Bright As The Moon’ working with Netherlands as part of European Cultural Foundation for TANDEM project
    ‘Bright As The Moon’
  • Digital Artist and Film Maker for the panel of ‘Migration and Health’ webinars by World Health Organisation at United Nation City in Copenhagen
  • Writer and Director of ‘Dance The Lash’ as part of Flying carpets performance at Manchester Museum as part of Journeys Festival international 2017
    Flying Carpets
  • Receiving the Digital Commission ‘Bringing Poetry into Code Generation’ by Commonword
  • Leading the first taster of Artists HUB in Contact theatre as part of Journeys Festival international 2017
    Artist HUB
  • Presenting our TANDEM documentary and Artist HUB at Platfroma 2017 in Newcastle.
  • Presenting my artistic work and Show and Tell at HOME
  • Creating and leading the DIPACT project to start its planning and creating the team of diverse artist from Manchester to produce a performance on Japan Day 2018 by an innovative new co-creation process, more news coming in 2018

I don’t know if I left anything but YUP it was a super duper productive year and it’s great to look back at the year and appreciate all these works and looking forward to the new year.

I know it feels weird but I still think I have not started yet and what I have done was all practice and experience to take bigger steps.



First Artist HUB

I am creating and leading the first Refugee Artist HUB that will also be a platform for diverse Artists to meet and work on creative ideas in new ways and method. Both Refugees and Diverse Artist and also people who work with Refugees are more than welcome.

Here is the information:



Tues 10 – Thurs 12 October 2017
At Contact Lounge, CONTACT, Oxford Rd, M15 6JA
5-7 pm

The Refugee Artist HUB is a free creative and informal opportunity for refugee artists in Manchester to meet and exchange ideas. Led by Mahboobeh Rajabi, digital artist and Manchester International Festival’s Jerwood Creative Fellow 2017, the HUB marks the beginning of a new creative network for refugee artists in Manchester.

Participants in the HUB can also have one free ticket to see the following performance:


#JeSuis (In Progress) at Contact 10 – 12 October

The award winning contemporary dance #JeSuis (In Progress) by Aakash Odedra Company. Exploring personal stories of conflict, media manipulation, displacement and identity. What makes “home” when millions are on the move?

To book your free ticket and for more information please contact:

Mahboobeh Rajabi
Mobile: 07426000762

MIF Jerwood Creative Fellowship Follow up

The Count Down Started to MIF:

So it’s only 2 days left to the opening of the biggest festival in Manchester which is ‘Manchester International Festival’ and follow up my previous posts, I am proud to be the Jerwood Creative Fellow for the MIF 2017 with other 5 amazing Artists that I introduced in my previous post.

My commission to work with is ‘Party Skills for the End of the World’.

The intense 3 weeks of rehearsals was SUPER CREATIVE and exhausting and the team is on the work full days, which is the spirit of these form of theatre. The most interesting parts for me see the full process of choosing the building few month a go and checking it out with the team to see all those design meetings and work coming to live up to now.


The decision processes on which skills to use and the making process was one of the highlights on my observation. Beside that, as always, the process on working with the actors to bring the idea to life, was really interesting.

I look at the methods, the minutes on letting the actors find the reaction and look at the reason why they are doing those acts in different scenes. I look at the communication between the design team and production and what is interesting in between for me, it’s the connection between performers and design makers and understanding the atmosphere that is getting created in the building, which is ‘The End of The World’ and we are having a PARTY!

It’s kind a post-post Modernism and the understanding in symbolism is an essential when you are making an ABSTRACT form of theatre. In cases like ‘Party Skills’ you are also having participants and you have a a duty to also make them understand what you are making as a theatre maker.

My personal and professional way of work is always making sure that the actors I am working with, understand the theme and the ‘NOT REALITY’ nature and core in the work but mixing with REAL actions, so I always make sure of that and I always use of symbolism example. I am also always really interested to get the actor observation whcih always add to the co-creation process.

I have to say it was less of the actors observation on the work but still the co-creation process is hugely interesting with such a big team of also participants that are not performers. It might be scary for some theatre makers but definitely not for me and Louise and Nigel. I believe it’s our connection and why I am partying the end of the world with them.

I can see how the participants is enjoying the theme and that shows a power point on this show that it’s working. The energy in performers is also shows that YES the show is ready because now they know it’s time to PARTY at the end of the World.

I believe the confidence in knowing of ‘what your message will be’ is the key and you also need to transfer it to your team, so I believe this is the challenge to see how far you can bring in it on table and feed your team of your ideas.

The rehearsals makes these harmony happen and my experience with the rehearsals was to see this harmony and how is going in a right direction.

I have to say some of the decision process was totally different from my point of view as a theatre maker and some of them is my challenges. I see it as a strong point of my fellowship to also going back on my decisions and looking at my method.

I did not enjoy just doing observations and being quiet but it goes back to the intense rehearsal and understanding the situation. I should not forget the big scale of the project and because I was always involve in same projects with big number of participants, I understand this time which is important to use the best of it.

I believe I can bring positive suggestion on creating more space, involvement and communication with the commission teams in the fellowship for next years in my feedback, but so far the opportunity is what we needed in Manchester in order to make the connection to the festival. It also helped us, at the same time, taking our methods and decisions in to consideration. I strongly believe that being a part of my commission made me believing more on my practice and also what I learned will have a huge positive impact on my future works.

The network and connection between the projects and local Artists and communities shows that this decision of fellowship is going on a very positive direction and I am sure we, as Jerwood creative Fellows, can take it to higher level with our feedback and experience. I look forward to meet the team soon.

It’s okay for today because I can’t wait for the opening and the shows to begin and I will write about them all.

I am ready and my preparation is staring on my own commission: ‘Party Skills for the End of the World’:






My Jerwood Creative Fellowship with MIF

It’s time to write about my experience as Jerwood Creative Fellow at MIF.

We are 6 local Artists with different skills and each of us working on different projects. Here are us:

  • Hafsah Aneela Bashir, a poet and spoken word artist who’ll be helping Theatre-Rites prepare for The Welcoming Party
  • Chanje Kunda, a poet, playwright and performance artist who’ll be travelling to Fatherland
  • Amy Lawrence, a live and visual artist who’ll be going behind the scenes with Boris Charmatz as he creates 10000 Gestures
  • Erinma Ochu, a writer and producer who’ll be joining Yael Bartana and her team as they ask What if Women Ruled the World?
  • Mahboobeh Rajabi, a digital artist, animator, filmmaker and theatre director who’ll be testing out her Party Skills for the End of the World
  • Simon Bray, a photographer who’ll be shadowing Hong Kong artist Samson Young as he tells One of Two Stories, or Both.

First we had our first meeting April and it was absolutely amazing to work with a team with different skills but a same vision. The great news of this opportunity by MIF to link with local Artists in Manchester which has a great diversity and different nationalities who are making Art in this city.

I am working with ‘Party Skills for The End of The World’ created by Nigel Barrett, Louise Mari and Abigail Conway. This is such a  co-creative process and we had more than 90 people came to 4 events so far. I leave the details for my next posts, because currently I am creating like a co-creation map of my experience.

Being the Digital Artists for #TANDEM Europe this year and focusing on co-creation and creating a documentary and also taking my directing courses focusing on co-creative process of making theatre and thinking about even more innovative of doing performances, #PartySkills is the actual project that will enhance my knowledge and experience.

I will definitely write more when my co-creative map got ready.

One of the most important point for me to be a MIF Jerwood Fellow, is the creating this relationship with the Festival which is an international but always the actual diversity inside of the city was not a part of the festival, which is changing now.

I always believed in the the concept of the team work and collaboration not only one focus direction by one person, especially with my theatre background, studying ina theatre school that it’s foundation was based on the ‘School of Theatre and Music’ by Stanislavsky and Nemirovich Danchenko. I still used some great pints and practices by them especially Danchenko regarding ‘Who is Theatre Director’. (I also did a full presentation on taht when I was 18 in IRAN). But I love creative and collaboration works.

I absolutely enjoyed having creative meetings with fellows. This is also an opportunity to learn from each other and work together at the same time promoting this amazing way of linking to the MIF which is also promoting the shows.

More is still to come …

to be continued …


My Recent Art Works

So basically life been fantastically productive for me after finishing Youth Art programme 2015-16 in March.

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I have started ‘Hidden Tales, From The Rochdale Underground’ project as the Digital Artist/Animator, which is an 18 month project to give expression to the unique wit and profound narrative of the Petrus service users and volunteers, by creating Digital stories such as short films, animation, poetry films and etc.

I have produced few animations and my main work was No Mean Feet which is a Motion Graphic Photography video based on an amazing poem by one of the service users of Petrus which is also the photographer of the images in the video. We had an amazing event 20th October at Touch Stones Arts and Heritage Centre with nearly 90 audiences and we received such powerful and positive feedback.

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I have also continued working on creating documentaries on Homeless issue in Manchester which is getting worst and I worked with Mancunian Way amazing project “Change 4 Good” and I have produced Change 4 Good Project video and we are continuing our work and research to stop the homelessness in Manchester.

By continuing my work as Digital Marketing Admin, Digital Artist and Media Content Producer for CAN, I have met with 2 big and well known Artists from my country Iran which are living in Manchester, to bring them back to the Art world in the UK.

I have also worked with Contact Theatre and Z-Arts to produce Testimony video for an interactive show By Darren Pritchard, staring Yvonne Shelton.

I have also got published in Elevator fiction book by Common word as one of their BAME writers which was an other fantastic achievement for me.


By working on so many Digital and Media works, I have been invited to Rethink Digital Conference this year at HOME MCR to look at what is next as Digital for Manchester which is expecting to be a Digital City in the UK.


Continuing my visual Research on Far East of Asia mainly Japanese Mythology after massive succes on ‘Amaterasu, Goddess of The Sun’ project 2014-15, I have developed some more ideas and we agreed on doing a Digital Innovative Performance for Japan Day 2018 which she said Japan society of North West (JSNW) is so excited about and they would love to make it happen and they ask me to be in charge. I have discussed it with CAN and HOME MCR I have been accepted to do two Directing Course with HOME with 9 other Artists to start Directing Theatre. It was such an amazing opportunity for me at the same time starting the Digital Innovative project with JSNW and also my background in Iran as a Theatre Director, worked together for me to make the best of these two courses.

In my first course  I have worked with with Walter Meierjohann (Artistic Director of HOME), John McGrath (MIF), Richard Gregory (Quarantine Theatre), JMK Trust and Zoonation.

The second course was with Lily Sykes as part of Berlin Now festival looking at Germany Theatre and the directing style form there which was really amazing and different and I have learned a lot. It made me to look at Germany expressionists style mainly inset design and looking at different styles in directing and producing a theatre piece.

I am doing more planning for the end of this year to start this Digital Innovative Project for 2017-18 which is so exciting for me working with also some Japanese companies and Artists.

The project ‘Outside The Frame Arts’ which is collaborating BAME Artists in Manchester & Palestinian writers to deliver series of writing & theatre workshops, and I am the Digital Artist and Digital Producer for this project, got funded by Arts Council and we finally started which is an incredible news.

I am currently excited to working with Youth Art Programme 2016-17, again as the Digital Media Content Producer for the third year and continuing my work as the Digital Marketing Admin and Digital Artist/Producer specially for a new Digital Innovative Project.

WOW! it’s been such a fantastic year for me and I know it’s a bit soon to say but we are already in November and I look forward to 2017 and creating and producing more Arts works.


My New Promo Video for CAN Young Artists #CYA


I want to proudly present my new promo video for “What’s Done Is Done” performance that been created by CAN Young Artists as part of world stage.

The project started in partnership with HOME MCR and it will be on 19th of March at HOME.

I also created the 3D logo and 3D motion video work that I am really proud and I would definitely continue to add Motion Graphic to my videos and of course more 3D experience in my animation works.

It was a fantastic experience working with these young talented Artists as I knew a few of them from 2 years a go and it was amazing to see them grow and shine.

Documenting the sessions and seeing all the improvements and the process even gave me more courage to work more on creating best visual productions to release and let Manchester and UK know such powerful projects is happening and I am honoured to be a part of it.

As always Community Arts North West created a magnificent piece of ART plus giving opportunity to young people to find their skills and use them in professional way.

Please have a look at the video and share  🙂



The world of “Mahjong”

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So basically I started an Event management course that included “Pod casting”

I know that some would say “Are people still doing those things?”SnippetCompilerIcon

And yes … OF COURSE … it’s like when you’re listening to your audio book so you may be interested in listening to your favorite stuffs in your favorite web site or blog when you can’t reach them or not have enough time you can listen when you’re walking, driving and it’s enough You get the reason why “Pod casting” is cool and STILL useful (don’t argue about that … I am serious) CPU_SeriousFace_Emoticon

The great thing about “Pod casting” is that I want to do mine about Gaming and mostly about Board Games


So yes … Board games … I’d been introduced to the “Dice tower” pod casting episodes and I LOVED it … and it was interesting how fun and great was listening to the review of the games and all the discussions and … every thing about it was cool.

and this idea make me back to play after I can say 9 years … I just played “Magic the gathering” from 2 and half years a go and I love it but playing different games make the sense of Board games … because you need to get on different boards to get more strategies and ways of playing and rise up the skills … (I loved my quote … may publish it in board game geek website SnippetCompilerIcon)

And I will work on the new blog till next month … So I thought now it’s great that I put a history of a very old game relate to my research in Far East of Asia and it’s “Mahjong” (The idea of pod casting gave me good ideas to help with my research and projects too that I will leave it for my own life lesson )

So many people know “Mahjong” but deep of this game is slightly different and so many other meaning that I will work on it in my new blog.

Let’s see the history of “Mahjong”

Mah Jong – History and Useful Information


Mah Jong LidA great deal of bunkum has been written about the origin of Mah Jong.   Both the Chinese, and later, the rest of the world decided to embellish the truth liberally and outrageously for nefarious purposes and the result has been a number of spurious assertions for the game’s history.  As usual with Chinese games, one theory has it that Confucious invented it and mystical histories of hundreds and even thousands of years have been claimed often by western tradesmen keen to impress their potential customers.  All this is very unlikely because the stark truth is that no evidence of the game exists before around 1880.

In fact, the history of the game is straightforward and can be viewed in two parts – “until the early 1920s” when the game was almost exclusively played by the Chinese and “after the early 1920s” when the game was discovered and immediately popularised by other nations.

A set of 144 Mah Jong tiles consists of 36 tiles in the Bamboo suit, 36 in the Circle suit, 36 in the Character suit, 16 Wind tiles, 12 Dragon tiles and 8 bonus tiles (4 Flowers and 4 Seasons).  The best tiles are made from bamboo and ivory or bone and have beautiful hand-painted pictures representing the face of each tile.   Traditionally, the Flowers, Seasons and the One of Bamboos come in for particular artistic creativity.

The aim is to collect sets of tiles according to the number and type shown on the face of each tile.  A player takes and discards a tile each turn and the first player whose hand consists entirely of a legal set orFlowers Seasons sets goes out or goes “Mah Jong”.  The game is effectively the same as the card game Rummy, in fact.   For what always appears initially to be a very complicated game, Mah Jong is really remarkably simple when reduced to its basics and it is only the accompanying rituals and complex scoring that change this.  One of these rituals, the process of shuffling the tiles at the start of the game, is known as “The twittering of the sparrows”, presumably because of the accompanying noise.   Since Mah Jong means “the game of the sparrows” or “Sparrow tiles” in Chinese, it seems likely that this is the source of the game’s title.

The three pictures on this page show an early British Chad Valley game from around 1923/24.  Across the top of the box lid can be seen a very dubious assertion.  The tiles are wooden but for a low quality set, the Flowers and Seasons are fairly decorate.

History Prior to the 1920s

Tile games of some form have been found from around 1120 AD in China and Chinese dominoes has been played for centuries in that region.  For more information, see the history of Dominoes.  Mah Jong, however, bears a much greater resemblance in play to certain card games, namely those of the Rummy family.   Prior to the appearance of Mah Jong, a variety of card games were played in China with at least four types of cards decks.  However, just like Mah Jong the majority were of the set-collecting variety and certain terms from these old card games are also used in Mah Jong.  So, it seems not unreasonable to place Mah Jong as a nephew of those card games.

The conception event that mated the card collection methodology with the tile pieces is usually touted as a missing link and it certainly appears possible that Mah Jong may have been the result of such a unique event although it’s just as likely that nothing so straightforward ever occurred.  Here are four theories for contemplation:

  • There is good evidence from Chinese researchers that Mah Jong originated in the provinces of Kiangsu, Anhwei and Chekiang near Shanghai because no records of Mah Jong are found in any other part of China before 1900.  Beyond that, one theory from Canton states that the inventor was Hung Hsiu-Ch’uan, the Cantonese who led a rebellion and proclaimed himself Emperor of Nanking.  It’s certainly feasible that the game appeared in his court which was famous for its hedonistic pursuit of pleasure and entertainment.

  • A rival theory believes that the inventor was an inhabitant of Ningpo in Chekiang which is famous for its ivory carving.  It is believably claimed that playing cards used for an earlier game were for the first time recreated as ivory tablets here.

  • A third, credits a pair of brothers in Ningpo with the act of transposing playing cards used for the game of Ma-Tiao onto ivory and bamboo about 1870 or 1880 and advances that a magistrate of Chekiang province became an enthusiast who promoted the game and made it popular throughout Chekiang.  A quite detailed account of this was given by one T. E. Pun and there is no doubt that Ma-Tiao is similar enough to Mah Jong to be reasonably certain that it is, indeed, its direct ancestor.

  • More cynical authors note that the Chinese term for card, “P’ai”, actually simply means “playing rectangle” and the same word is used for such objects whether they be made of paper, card, bamboo, bone, ivory or any other solid material.  Evidence shows that many P’ai games recorded through history had always been played on both tiles and cards interchangeably.  This certainly spoils a good story but it is just as likely that no “invention” ever really took place and that a much more blurred development is the fact of the matter.

Regardless, the game that sprang from this area of China, almost certainly a descendant of the card game Ma-Tiao, was initially somewhat rough around the edges. In 1905, Mah Jong was not really known outside its original area but over the next 15 years it spread incredibly quickly across most of China and in doing so supplanted Chess as the most popular Chinese game.  The Chinese gradually removed the inelegant elements of game play and incorporated a bevy of rituals surrounding the method of play that have now become enshrined in stone.  Most of these rituals occur at the start of the game and are to do with the shuffling, the building of the four walls in a square, the deal and the splitting of the wall to form the “Kong box”.  To a beginner, they seem mystifying and unnecessary but the truth is that Mah Jong is, by origin, a gambling game and most of these elements prevent cheating very effectively, a factor that is important when the stakes are high…..

These gradual improvements that nominally were concluded between 1910 and 1920, produced a game of  mathematical beauty as well as being physically aesthetic.   Certain authors wax lyrical for a great many pages about the mystic and harmonious background to this process and the result.  Suffice to say that numerous aficionados of the game regard the variety of Mah Jong of 1920 as the “perfect” Mah Jong and look upon all future modifications and evolutions with great disdain.  In fact, at this time, the Chinese played a ream of variations in rules and procedures according to the locale and the seriousness of the game, and so there was nothing clear-cut about the Chinese game of the 1920s which was as unregulated then as it is now.  However, the game had come about with a natural regard for playability and elegance

History after 1920s

Mah Jong Chad ValleyWhen the West “discovered” the game around 1920 the Mah Jong craze enlarged by another factor again to encompass much of the world.  Many regions in the Far East play a game akin to the classical Chinese form but in particular, the British, the Americans and the Japanese all grabbed the game and ran with it in their own direction.

Mah Jong first hit Japan in 1907 and, like North America and the British Empire, became a fad in the 1920s.  A similar but less dramatic experience to that of America occurred in that the initial game was simplified and then complicated again with new rules.  However, the Japanese managed to do this without completely altering the underlying nature of the game and thus the game has remained steadily popular.

Japanese rules take two general forms – those adopted officially by the Japanese Mah Jong Association and “riichi”, all the unofficial but sometimes more popular versions played by casual players.  However, the main differences from the classical Chinese game are consistent in both.  The primary modification is that the winner is paid by all players so that there are no points for second place.   Unlike other variants, therefore, each Japanese round is an all-out race to be the first to go Mah Jong as opposed to a more careful campaign with the long term objective of amassing the greatest number of points over a series of games.

Mah Jong was taken to America by Joseph P. Babcock who began importing sets in bulk to the USA in 1922.  In order to make it a commercial success, Babcock heavily simplified the rules, many of the interesting intricacies of play being removed.   While this worked to a degree because the game did indeed become popular very quickly, Americans were not satisfied for long with this version.  Consequently they began to embellish it, by the addition of an array of weird and wonderful “special hands” that allowed one to go Mah Jong and other new rules supposed to increase the enjoyment.  The result was confusion.  The two most popular variations of the game in 1924 were the One-Double and the Cleared-Hand games and little was known of the classical form from China.  While superficially more enjoyable, after a short time, people lost interest in these games and consequently, the Mah Jong bubble burst.

In 1935, the game began to gain again in popularity in America based on newly published rules from the The National Mah Jong League Inc. who still claim to produce the “official” American rules.  Unfortunately, rather than go back to the essence of the original form, the same error was repeated and an effort to simply fix the flawed existing American games was made.  This complicated and pushed American Mah Jong even further from the original form.  Indeed, it is now so different from the original Mah Jong that it is effectively a different game, its most notable feature being the enormous number of legal special hands.

In Britain, an explosion of interest occurred about the same time as the initial bubble in America and this was mirrored in many other parts of the British Empire, especially in India.  For instance, Chad Valley first published the game in 1923. Both the American and the Chinese forms were played but, unlike most Americans, the British understood that the Chinese version was the “real” game and that the American and other versions were modern forms.  The most popular variations were based on semi-official rules in circulation – The Queens Club Rules and the rules laid down in a booklet by C.M.W Higginson.  Both of these were based on Chinese variants which probably accounts for the fact that the game remained popular in Britain well into the 1930s – considerably longer than in America – although interest dwindled between the wars.  Nowadays, although the usual proliferation of rules exists, the British Mah Jong Federation publish a set of rules that are a distillation of the way that Mah Jong has been played in Britain during the 20th century and these rules are closer to the Chinese game than the Japanese or American varieties.  The main differences are that only one Chow is allowed per person per round and that a few additional special hands are permitted.

Buy Mah Jong

A variety of Mah Jong Sets from Masters Traditional Game Shop.


It is worth repeating that probably more than any other indoor game, there are no standard rules for Mah Jong.  However……

Masters Traditional Games provides free game rules based on the original Chinese and British games.
Japanese Mah Jong Rules by Laurent Delfosse.
Mah Jong Museum has Traditional Mah Jong rules and Filipino/Taiwanese rules.  I’m not sure how close traditional rules are to the Chinese game.
I’ve yet to find a complete set of American rules on the Interenet although the AMJA ought to be able to help.
A site specifically about the Rules of British Mah Jong.


Mahjong History

Japanese Mythology

Japanese MythologyThis is a featured page

[I really like reading and studying the mythical creatures that had the great effect on every artistic field such as painting, movies, animation and etc. So I would like to share some of them in here that helped my research too:) ]
Japanese Mythology contains a wide variety of unique and bizarre monsters. Yet others are counterparts to creatures in the neighbouring mythologies of Korea and China. Many are seldom known in the Western world, even today.Below is a list of Japanese creatures collected:
               – Akamataa


AkamataaThis is a featured page

The Akamataa is a serpent spirit in the Japanese folklore. It is a mix of a woman and a snake.

Oni (鬼?) are a kind of yōkai from Japanese folklore, variously translated as demonsdevilsogres or trolls. They are popular characters in Japanese artliterature and theatre.[1]

Depictions of oni vary widely but usually portray them as hideous, gigantic ogre-like creatures with sharp claws, wild hair, and two longhorns growing from their heads.[2] They are humanoid for the most part, but occasionally, they are shown with unnatural features such as odd numbers of eyes or extra fingers and toes.[3] Their skin may be any number of colors, but red and blue are particularly common.[4][5]

They are often depicted wearing tiger-skin loincloths and carrying iron clubs, called kanabō (金棒?). This image leads to the expression “oni with an iron club” (鬼に金棒 oni-ni-kanabō?), that is, to be invincible or undefeatable. It can also be used in the sense of “strong beyond strong”, or having one’s natural quality enhanced or supplemented by the use of some tool.[6][7]


Akki - Mythical Creatures Guide Oni

GashadokuroThis is a featured page

A Gashadokuro according to Japanese folklore is a giant skeleton many times taller than a human. It is though to be made of the bones of people who have starved to death. After midnight the ghost roams the streets making a ringing noise that sounds in the ears. If people do not run away when the Gashadokuro approaches it will bite off their heads with its giant teeth.(Source – A Little Lesson in Japanese Ghost Lore: 

GhidorahThis is a featured page

Ghidorah (Ghidrah, Ghidora, King Ghidorah, the three-headed monster, Monster Zero) is a fictional three-headed dragon-like monster featured in severalGodzilla films. It is often depicted with two wings, two feet, three heads and a tail. It always appears as an antagonist to Godzilla and Earth at large. Originally it arrived by a magnetic meteorite before being repelled into space (proving it can survive in a vacuum). Aliens return with Ghidorah as their mind controlled slave. Its havoc is again stopped, even killing the creature in the 1968 movie.The monster returns in several resurrected forms thereafter.

GojiraThis is a featured page

Gojira monsters are huge sea monsters that are longer than the blue whale. They are extremely muscled and lean. The muscles make up at least 80 percent of its body weight. Its skeleton weighs nearly nothing but is sturdy enough to hold all of the muscle. These monsters have small eyes and usually use smell and hearing for tracking down food and enemies. Their thick tails with fringed fins make it very very fast. Its claws are longer than a bus. If you see a Gojira, do not get anywhere near teeth, because they are sharper than glass shards. The tongue has a gooey liquid on it that makes prey stick on. Its slitted nostrils are admirable to Voldemort or gorillas. It is at least 90 times bigger than the blue whale and the blue whale is what it eats. Extremely dangerous. Do not come in contact with a king of Gojiras, or it will swallow you whole in a second. Try to kill it somehow. Its most sensitive part is the underbelly.

KappaThis is a featured page

The Kappa (Kawataro, Kawako) is a dwarf-like water demon of Japan, sometimes listed as one of the Obake. They resemble shrivelled old-men, with webbed hands and feet, sporting a tortoise shell. Skin colour ranges from green to blue to yellow, and even red. Their face can contain a beaked nose or else look like a monkey. Crowning their head of page-boy style hair is a circular depression filled with water. A kappa covered in hair is known as a Hyosube. They are known to speak Japanese fluently.An origin for the demons could be they are the ghosts of drowned souls. Any pond or river may have one. They possess immense strength and can easily overpower a human. Although the source of this power comes from the stored water within the dish on their head. Emptying the dish reduces the kappa to frailty. This may be done by bowing to the kappa upon encounter. In a show of manners the creature will bow back and thus pour out the contents of its might.
Activities from this demon can range from mischievous to deadly. It enjoys passing gas and forever gives off a fishy odour. It may also try to look up women’s kimonos and swim down the plumbing to stroke a persons bottom as they defecate. Else they will overpower a person or animal to drown them. Once drowned they remove a person’s entrails through their backside, favouring the liver or something the Japanese call the shirikodama.Besides fresh flesh, the kappa also partakes in vegetarian cuisine. It enjoys eggplants and cucumbers. It is said carving your name and age into a cucumber, then throwing it into the water for a hungry kappa, will ensure that kappa cannot harm you. Though it is also dangerous to swim soon after eating a cucumber.Kappa also loved contests. They would challenge passersby to such games as pull-my-finger and sumo wrestling. Should the demon win, they usually drowned and ate you. One tale tells of a samurai who accepted a kappa’s request for tug-of-war. Fortunately he outsmarted the kappa and used a horse to pull in his stead. The outmatched demon fell, spilling the contents of its head upon the ground. Now too weak to get away, the kappa promised to teach the samurai the trick of bone-setting if it could be released.

Many kappas have proven to be quite knowledgeable on subjects of medicine and irrigation. In a case where one kappa lost its arm to a frightened horse, it petitioned the villagers for the limb’s return. The community forced the kappa to sign a contract with its webbed hand. From then on the kappa delivered to the village piles of fish, and warned of other kappa passing through the area.

Source: Myths and Magic Encyclopedia –

NingyoThis is a featured page

ningyo (head of a human body of fish) form

Ningyo is a Japanese water fairy who cries tears of pearls. Some say that Ningyo has the head of a human and the body of a fish. Other believe it is clad in sheer silk robes that move about it, like waves. Ningyos dwell in gorgeous palaces beneath the sea, and are very seductive.


New Painter From Ancient China


Bian Jingzhao

Introducing one of the great artist from ancient China.

Please go to “Chinese Paintings” page at the to of this page.

The pen of creation begins …


My pen begins to create stories, poems, quotes, visual art, ideas and mostly history in the universe and on earth where I live now.

I invite you to read the beautiful poem by Gertrude B. McClain called “New beginnings” to the beginning of this blog:


It’s only the beginning now
…a pathway yet unknown
At times the sound of other steps
…sometimes we walk alone

The best beginnings of our lives
May sometimes end in sorrow
But even on our darkest days
The sun will shine tomorrow.

So we must do our very best
Whatever life may bring
And look beyond the winter chill
To smell the breath of spring.

Into each life will always come
A time to start anew
A new beginning for each heart
As fresh as morning dew.

Although the cares of life are great
And hands are bowed so low
The storms of life will leave behind
The wonder of a rainbow.

The years will never take away
Our chance to start anew
It’s only the beginning now
So dreams can still come true.