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Sorry for answering in English. I am not proficient enough for written Japanese. The kenzan carrying case is useful due to the spikes. They won’t rip pouches when inside the carrying case. For water, there are foldable water containers, but they aren’t closed, so they are only good to store and reclaim water. The only pitchers I know that have protection are laquer ones made by artisans. Years ago, the Kadosha store sold one, but I believe it is now only available when you go there in person.

In this one, the flower lasted 4 days, the ruscus could be reused

@@IkebanaFlowers thank you ❤️

Typically depends on the material and its freshness. Some branches will last basically forever and take root. Flowers are consumables in the vegetal world, where they will bloom to allow fertilization and wither afterwards. The good thing about Ikebana is you can remove the inadequate parts and replace them with fresh material. Of course, you need to regularly add / change water. In an exhibition, an arrangement will last 1 day, up to 3 if you replace parts diligently. At home, it’s typically 1 week. Some arrangements, such as ones with chrysanthemum, can live up to a month.

@@IkebanaFlowers thank you❤️

Oh merci beaucoup !

@@IkebanaFlowers À bientôt

Nous travaillons fort à préparer des contenus parlés. C'est un défi afin de conserver le tout multilingue. Le premier "essai" risque d'arriver cet été si tout va bien. Lorsque serons contents de la qualité, nous allons débuter une série avec explications des différents arrangements. Merci énormément du commentaire!

We understand. Like every new project, there is an exploration on what works and what doesn’t (including the stress of doing any new project, where everyone will rightfully criticize your every move). We moved to less meditative songs in general, and are changing things as we get new data. However, that video is an exception to our roster, with more than 10 times the average play count, so there must be something good (or awfully bad) to it. Thank you for the comments, we hope you’ll keep on enjoying the channel, it’s hard and time consuming, but we’re glad people enjoy what we do! Keep on commenting ideas, suggestions, and the ones you enjoy!

Good question. This is what we usually do… But we tried, and it eventually made less interesting videos, where the cut is done either outside the camera realm, on a 2nd camera, or on the table, far from view. It also takes twice the time since the cut is mostly done outside the water, and then, only the last centimetre is cut in water. So it actually makes lesser quality presentation. Besides, there are other techniques for flower preservation… I might do a video on them if it applies. This is the same than I usually catch everything, and put all the trimmings in a bag directly, but it’s « fun » to let things fly away for camera. Or whenever a floral arrangement is done in front of a crowd, the show is most important (and cuts are done in air), which is in stark contrast from exhibition pieces that typically has all the flower preserving done religiously. So, you are right, but currently, we decided not to do so.

To máte pravda, doma si můžu "vyhrát" a rostliny řezat pod vodou, dělám to pro sebe. Ale Vy ukazujete, učíte mnoho jiných, tak je třeba postup zrychlit i za cenu, že květiny budou mít ve vláknech zčásti vzduch. A mohu se zeptat, zrovna u karafiátů - vidím, že je řežete kdekoli na stonku, jak potřebujete výšku květiny do celé kompozice. Neplatí tedy, že by se měly lámat, či řezat v kloubku na stonku? Já to zatím tak dělám, ale ai nevím, kde jsem k tomuto názoru nebo praxi přišla.🤔

For the height of the branch, if you look at the initial flower arrangements where we tried doing the full length of the video without any cuts, you will see I am calculating the height of all the materials, depending on the vase first, and then, relative to the other flowers. I still do it here and there uncut, where I bring the material near the vase to calculate my cutting height. So for a Shōka Shōfūtai, the materials are typically (width+height)*2 for Shin, then, 3/3, 2/3, 1/3 + mizugiwa for Shin/Soe/Tai. But some materials or seasons require different formats, and it can be adapted to the requirements of the floral arrangement (hence it’s shown as a guideline, but not a dogma). For Ikenobō school, nowhere in this has any requirement to be cut elsewhere. This will be especially true for the Rikka, that has very clear positions, widths and heights for everything. However, you are right that cutting on a knot helps by having stronger material inside the kenzan, it also is typically bigger, so slimmer materials has better chances of staying strong in a pin. So it does improve stability. Finally, likewise materials will have similarly spaced knots, so it will help giving a simple height guideline with ready-made proportions. So I do invite you to keep on doing this.

Ano, děkuji.

Thank you very much for the comments! I am sorry if we are lacking, it is very stressful to create videos that will be seen worldwide, it adds up a lot of complexity, everything must flow, be quick, and not make too many mistakes. Our goal is to show it's inexpensive, fun and easy to create floral arrangements, learning techniques, working with what everyone has at home, and of course, you have a beautiful result in the end. I hope we'll keep you interested and you'll learn much in the future!

I was doing it and I knew it would not suit your taste! The goal of this floral arrangement is to focus on two different masses, the trees and the shrub. The funny part is it’s definitely not my initial taste either, even if I believe I ultimately succeeded in that challenge, and made it to suit part of my taste. I can tell the next one should better suit your interests, though. Hope you will like it better. Thank you to have taken time to write me! We appreciate it a lot!

Děkuji za odpověď, jsem ráda, že se nezlobíte za mou kritiku. Dlouho jsem váhala a prohlížela vazbu a hledala co mluví pro ni. No nakonec to dopadlo tak, jak jsem napsala. A opravdu ty dvě různé zelené rostliny, byť to bylo zadání, bych takto vůbec k sobě nedávala. Co třeba varianta hada, kdy by se střdaly ty zelené rostlinky-zkrácené, vlnily by se a svrchu by to mohlo vypadat jako kůže zmije? A bílé karafiáty, tedy jen jejich květy, vložit do vody. A tato vazba by ale chtěla nízkou oválnou misku. Tak velkou, aby květy karafiátů mohly volně "plout". A poslední otázka: jak můžete vědět, co se mi líbí? Ale jsem ráda, že se můžu dívat a přemýšlet, hledat v hlavě jiná řešení a ty Vám případně napsat. Třeba něco z těch mých nápadů bude možné použít i ve Vašem umění aranžování květin, ikebany.

While teaching the Shōka Shimpūtai, I tell « there are three different floral arrangement. The one you wish to do, the one that is made, and the way it is perceived by others ». In that kind of Shōka, there are two main actors. While you do it, you have an idea on who the main actor is and what it should represent. Once done, that idea might change. And someone looking at the arrangement might have a totally different vision of things. This is all right and must be accepted. For the current Jiyūka, this is especially true. The fact that you are writing to me about the result means you actually believe it worthwhile to take your precious time and give your opinion divergence. No one forces you to do it. Same way than no one forces us to take money, time, fix technical hurdles in order to make TH-cam videos, or even answer and respectfully discuss the arrangements. But here we go, and we have a discussion on this, so please do not feel bad on telling what your state of mind is. I do not agree on your vision of things. A forest is a dense, opaque place that might be seen as either a canopy that hides the precious sun rays, or a protective element. The carnation is either a symbol of respect for the dead, or a symbol of pureness and hope. The green hydrangeas are either hiding from danger under the eyes of the big brother trees, or are ready to bloom in full colour and dazzle the world. It’s symbols of being repressed, or the moment before everyone gets dazzled. However, your view is perfectly valid too and to be respected, and we thank you to share it with us.

It's such a beautiful art form! Glad more people are learning about it!

Good day Maria Irene, I have looked up the different study groups abroad for a few different schools, and I haven't found any official study groups or chapters in Portugal for the main 3 schools. However, I have seen there seems to be recurring courses by Yuko Kase at the Museu do Oriente, Lisboa. Maybe she has an interest group in your beautiful city. Sorry for not knowing more. I recommend you contact them, maybe they will have more information. It's a worthwhile hobby, so I hope you will follow your heart and find a place that will help you learning about that beautiful art!

Thank you for your comment! This is absolutely true for us too. Practice free style floral arrangements’s goal is to try out compositions one would never typically do, including many that are more exuberant. And of course, our skills might be lacking as we might not be perfect in fully resolving these floral arrangements, it’s very nerve-wracking to constantly be mindful of the camera while ironing out technical details in 10 minutes in a first try with the only scheduled element being an idea to convey, and trying to find a style for the channel. We hope to improve the stress and technical factors with more practice.

To jsem netušila, že máte stanovený limit pro vytvoření - nevím zadaného tématu?- nebo vlastního aranžmá. Umění ikebana je přece o myšlence, citu, prostoru a ne závod s časem. Zvlášt zpočátku bych očekávala větší časovou volnost a toleranci. Na výsledné aranžmá se aspoň zpočátku musím podívat ze všech stran, zda splňuje má očekávání, mé představy i určitá, dejme tomu, pravidla. Jak jsem psala, sleduji i jiné aranžéry-umělce a i s nimi takto na dálku diskutuji. Jedině tak, myslím, můžeme nechat tvořit naše ruce to, co naše srdce a mysl cítí. I na dálku. Lidé, aspoň většina, krásu, volnost a čistotu stylu cítí a ctí. Ať se vám všem daří. A já se budu s radostí dívat. ❤

In our opinion, there are multiple ways to create arrangements. There are following courses, teaching courses, doing a show and be spectacular, preparing an exhibition, and doing it for yourself. These will end up with different results. It’s easy to take an idea, get the perfect vase for it, get the perfect material for it, an exceptional branch from a tree. Then, you follow your script and make a beautiful arrangement. They are incredible and jaw-dropping, but this is not us. We are trying a different approach with the channel. It’s possible to experiment, make something different every single time from what we have (like following a course), have an idea and do it quickly and efficiently (like being a teacher) and have something nice to show in the end (like an exhibition). We definitely want to show everyone « they can do it », get flowers, find an idea, enjoy cutting and placing flowers, and make a beautiful arrangement, even if you don’t have experience. This is also why we want to show our child having fun even if they will probably never be the best videos, it democratizes the idea anyone can « play » with flowers even at 6 years. Sorry for rambling off. When I was little, I used to listen to a cooking show « The Urban Peasant » where the cook decided to take things simply, make seasonal dishes, burn cookies sometimes, doing mistakes on camera. To show it’s fun and easy to do cooking. We are humbly striving to do the same here for flowers. Not with the perfect branches or flowers, or the boldest ones, but quickly, simply, efficiently. For your question on the « practice » free styles, we are following a book where you have four emphasis sections: lines, surfaces, points, masses. Then, there are 1 kenzan, 2 kenzans, or side. Finally, there is vertical, slanting or horizontal orientation. We strive to do all combinaisons! There are examples in the book, but they don’t always apply to the materials we have at hand (again, it’s much easier to copy and prepare perfectly than to create). A good example: The bird taking flight used to be called « Sunset at the Beach » with three croton leaves representing a sky going into the ocean, but thinking of the limitation factors and the materials we had, we tried making a bird of prey taking off instead. If you look at the Shōka styles, though, they are more traditional. They are made quickly as a gift to the viewer, and shows up simplicity and elegance. And we hope one day to show up the fun of doing the definitely more involved Rikka, or some 12-stems Shōka, or special teachings Shōka for exceptional materials. Please do keep up the great comments. We’ll strive to answer your commentaries as much as we can. Constructive criticism like yours are making us very happy! And modern translation allows us to understand each other too. Isn’t life good? ❤️

Tak se mi to také líbí, komunikovat, mluvit, psát si. Každý máme své pocity, sny a představy a mně se líbí, když najdu souznění ve vazbách květin, které vytvořily ruce člověka ode mně vzdáleného na kilometry, ale cítěním na centimetry. Děkuji a psát vám budu. ❤

Fico feliz quando alguém curte os Meus comentários eu aprendi o estilo Sanguetso é maravilhoso me deixa serena