Posts
A lot of works, or a pressure from "a lot of works".
I was quite depressed last and this month sometime from my situation, especially from a lot of paper works!! I hate it.
Yes, but I'm getting better.
Just I started to read Jacques Derrida's "Cosmopolitanism and Forgiveness", although I have not yet finished to read "Writing and Difference" :P
Forgiveness is very interested for me now. And also cosmopolitanism.... last month I read a book about a situation of immigrants in France(well, that was in Japanese though).
There's a lot I have to confront it. As a person, and (maybe... or hopefully) as an artist.
Somehow I will make an installation again in Instituto Franco Portuguese, as a consequence of my thought these days.
And I am also working with one Portuguese artists for her new piece. It would be shown on January.
30.11.08
3.9.08
Text of my Research about/around the idea of the other
This texts are displayed in Teatro Caros Alberto(Porto, Portugal) in the 3rd open house of SKITe/Sweet and Tender 2008, as a part of my installation of Resarch about/around the idea of the other.
----
1
Na tentativa de criar relações com informação que já conhecemos, realizamos, no nosso dia a dia, qualquer tipo de coisas.
In our daily life, according to making a relationship with infomation we already know, we realize any kind of things.
In unserem taeglichen Leben nehmen wir unsere Umgebung in ihrer Gesamtheit wahr, da wir mit der Information vertraut sind.
私たちは日々の生活の中であらゆるものごとを、既に知っている情報と関連づけることで了解(realize)する。
2
Acontece que temos medo quando enfrentamos o desconhecido.
So, we get a fear when we meet up unknown things.
Deshalb bekommen wir Angst, wenn wir auf unbekannte Dinge treffen.
だから我々は何も分からない未知の存在、未知の領域に恐怖を覚える。
3
Na escuridão, um lugar nunca alcançado pela luz, nunca chegamos a descansar.
In the darkness where no light can reach, we never arrive to rest.
In der undurchdringbaren Dunkelheit, werden wir niemals Ruhe erlangen.
光の全く届かない闇の中で、安息は訪れない。
4
Este tipo de acções (ou auto-acções) acontecem porque precisamos de nos sentir em segurança. Então, muitas vezes, essas mesmas acções permitem-nos estar em contacto tanto o “desconhecido” como o “conhecido”.
This action(or auto-action) is because of to keep our security. Thus, often this action let us realize even “unknown things” as “known things”.
Diese Haltung (oder auch Reflex) existiert zu unserem Schutz. Sie laesst uns das Unbekannte oft als bekannt erscheinen.
この行為は自身の安全(security)を保全するためにある故に、しばしば本来「分からないもの」さえ「分かるもの」として了解しようと促す。
5
Por vezes, como consequência deste processo, acontecem “mal-entendidos” na nossa comunicação.
Sometimes a consequence of this process appears as “misunderstanding” in our communication.
Manchmal erscheint eine Konsequenz dieses Vorganges als “Missverstaendnis” in unserer Kommunikation.
その結果はコミュニケーションのレベルにおいて、時に「誤解(misunderstanding)」を生み出す。
6
O que é a discriminação? O que é o racismo? O que é a guerra?
What is the discrimination? What is the racism? What is the war?
Was ist Diskriminierung? Was ist Rassismus? Was ist Krieg?
差別とは何か。民族主義とは何か。戦争とは何か。
7
Mais ainda, quem é o outro?
Even more, who is the other?
Und ausserdem, wer ist der andere?
さらに加えて、他者とは誰なのか。
8
O outro não sou eu.
The other is not me.
Der andere ist nicht ich.
他者は私ではない。
9
O outro é diferente de mim.
The other is different from me.
Der andere unterscheidet sich von mir.
他者は私とは異なる。
10
O outro vem de um lugar que eu não conheço.
The other is coming from where I do not know.
Der andere kommt von einem Ort, den ich nicht kenne.
他者は私の知らないところからやってくる。
11
O outro é inesperado.
The other is unexpected.
Der andere ist unerwarted.
他者は予期し得ぬ。
12
O outro representa impossibilidades e possibilidades.
The other is impossibilities and possibilities.
Der andere steht fuer das unmoegliche und das moegliche.
他者とは不可能性と可能性である。
13
Apesar de tudo, temos que viver com o outro.
Although, we have to live together with the ohter.
Dennoch muessen wir mit dem anderen zusammen leben.
しかし私たちは他者と共に生きてゆかねばならない
14
Portanto, temos que ouvir a voz do outro. Temos que enfrentar a face do outro.
So we have to listen a voice of the other. We have to confront a face of the other.
So muessen wir auf die Stimme des anderen hoeren. Wir muessen uns mit dem Gesicht des anderen konfrontieren.
だから私たちは他者の声に耳を傾けねばならない。他者の顔に向かい合わなければならない。
15
O outro pede-nos sempre “Não me mates”. Este é o início da nossa ética.
Always the other asks us, “Don’t kill me.” It is the beginning of our ethic.
Der andere bittet uns darum: “Toete mich nicht”. Das ist der Beginn unserer Ethik.
他者は常に私に語りかける。「殺さないで。」 それは私たちの倫理の始まりである。
16
Eu “não matarei” o outro. Portanto, poderemos viver juntos.
I do “not kill” the other. Therefore we can live together with the other.
Ich toete den anderen nicht. Deshalb koennen wir mit dem anderen zusammen leben.
私は他者を「殺さないで」いる。それ故に私は他者と共に生きることができる。
----
1
Na tentativa de criar relações com informação que já conhecemos, realizamos, no nosso dia a dia, qualquer tipo de coisas.
In our daily life, according to making a relationship with infomation we already know, we realize any kind of things.
In unserem taeglichen Leben nehmen wir unsere Umgebung in ihrer Gesamtheit wahr, da wir mit der Information vertraut sind.
私たちは日々の生活の中であらゆるものごとを、既に知っている情報と関連づけることで了解(realize)する。
2
Acontece que temos medo quando enfrentamos o desconhecido.
So, we get a fear when we meet up unknown things.
Deshalb bekommen wir Angst, wenn wir auf unbekannte Dinge treffen.
だから我々は何も分からない未知の存在、未知の領域に恐怖を覚える。
3
Na escuridão, um lugar nunca alcançado pela luz, nunca chegamos a descansar.
In the darkness where no light can reach, we never arrive to rest.
In der undurchdringbaren Dunkelheit, werden wir niemals Ruhe erlangen.
光の全く届かない闇の中で、安息は訪れない。
4
Este tipo de acções (ou auto-acções) acontecem porque precisamos de nos sentir em segurança. Então, muitas vezes, essas mesmas acções permitem-nos estar em contacto tanto o “desconhecido” como o “conhecido”.
This action(or auto-action) is because of to keep our security. Thus, often this action let us realize even “unknown things” as “known things”.
Diese Haltung (oder auch Reflex) existiert zu unserem Schutz. Sie laesst uns das Unbekannte oft als bekannt erscheinen.
この行為は自身の安全(security)を保全するためにある故に、しばしば本来「分からないもの」さえ「分かるもの」として了解しようと促す。
5
Por vezes, como consequência deste processo, acontecem “mal-entendidos” na nossa comunicação.
Sometimes a consequence of this process appears as “misunderstanding” in our communication.
Manchmal erscheint eine Konsequenz dieses Vorganges als “Missverstaendnis” in unserer Kommunikation.
その結果はコミュニケーションのレベルにおいて、時に「誤解(misunderstanding)」を生み出す。
6
O que é a discriminação? O que é o racismo? O que é a guerra?
What is the discrimination? What is the racism? What is the war?
Was ist Diskriminierung? Was ist Rassismus? Was ist Krieg?
差別とは何か。民族主義とは何か。戦争とは何か。
7
Mais ainda, quem é o outro?
Even more, who is the other?
Und ausserdem, wer ist der andere?
さらに加えて、他者とは誰なのか。
8
O outro não sou eu.
The other is not me.
Der andere ist nicht ich.
他者は私ではない。
9
O outro é diferente de mim.
The other is different from me.
Der andere unterscheidet sich von mir.
他者は私とは異なる。
10
O outro vem de um lugar que eu não conheço.
The other is coming from where I do not know.
Der andere kommt von einem Ort, den ich nicht kenne.
他者は私の知らないところからやってくる。
11
O outro é inesperado.
The other is unexpected.
Der andere ist unerwarted.
他者は予期し得ぬ。
12
O outro representa impossibilidades e possibilidades.
The other is impossibilities and possibilities.
Der andere steht fuer das unmoegliche und das moegliche.
他者とは不可能性と可能性である。
13
Apesar de tudo, temos que viver com o outro.
Although, we have to live together with the ohter.
Dennoch muessen wir mit dem anderen zusammen leben.
しかし私たちは他者と共に生きてゆかねばならない
14
Portanto, temos que ouvir a voz do outro. Temos que enfrentar a face do outro.
So we have to listen a voice of the other. We have to confront a face of the other.
So muessen wir auf die Stimme des anderen hoeren. Wir muessen uns mit dem Gesicht des anderen konfrontieren.
だから私たちは他者の声に耳を傾けねばならない。他者の顔に向かい合わなければならない。
15
O outro pede-nos sempre “Não me mates”. Este é o início da nossa ética.
Always the other asks us, “Don’t kill me.” It is the beginning of our ethic.
Der andere bittet uns darum: “Toete mich nicht”. Das ist der Beginn unserer Ethik.
他者は常に私に語りかける。「殺さないで。」 それは私たちの倫理の始まりである。
16
Eu “não matarei” o outro. Portanto, poderemos viver juntos.
I do “not kill” the other. Therefore we can live together with the other.
Ich toete den anderen nicht. Deshalb koennen wir mit dem anderen zusammen leben.
私は他者を「殺さないで」いる。それ故に私は他者と共に生きることができる。
6.8.08
SKITe/Sweet and Tender Porto 2008
I would participate this collaboration project from 14th Aug. this summer in Porto.
web site: http://www.sweetandtender.org/
----
Summary
Following the project held in PAF - Performing Arts Forum, in 2007, this second edition, co-launched by the Association SKITe and Sweet and Tender Collaborations, will gather 40 young artists from 26 countries and different performance-related disciplines during a period of a full month.
▪ Date: August 15th to September 20th 2008
▪ Place: Porto, Portugal
This project will bring together various institutional and non-institutional partners in Porto and open itself up to a wide range of international collaborations
▪ Theme: relation between artistic process & product through the creation of an environment based on constant showings and feedbacks.
▪ Primary purpose: A systematic experiment with modes of artistic exchange, creation and production inside a specific context provided by the hosts (Portugal, Porto)
Participants will engage in a practice of exchange and dialogue, open up their research to the others - from the formulation of their ideas to their referential sources, practices and concerns.
Events and activities
<laboratory>
▪ What Artistic experiments, research, workshops, dance classes, showings, feedback sessions, open house days, ...
▪ When August 15th to September 13th
▪ Where Porto: Teatro Nacional Sao Joao, 555, Maus Hábitos
▪ Duration One month
<running>
▪ What Remake of a performance choreographed by Meg Stuart in 1992
▪ When From August 17th to August 21st
▪ Where Porto: Mosteiro São Bento da Vitória (Teatro Nacional Sao Joao)
▪ Duration Five days
<fragments>
▪ What Public presentations of the work in progress
▪ WhenSeptember 12th and13th
▪ Where Porto: Mosteiro de Sao Bento da Victoria
▪ Duration Two days
<site-specific>
▪ What Residençial da Praça in the frame of FIMP festival: workshops, sound installations, radio show, ..;
▪ When September 14th, 15th and 16th
▪ Where Porto: Praça do Joao I
▪ Duration Three days
<debriefing>
▪ What Evaluation, General Assembly of SKITe/ Sweet and Tender Collaborations participants
▪ When September 17th to September 20th
▪ WherePorto: Mosteiro Sao Bento da Victoria
▪ Duration Four days
<diffusion>
▪ What International public presentations
▪ When February 2009 to May 2009
▪ Where Barcelona, Paris, Brussels, Oslo
▪ Duration Long run
To the Day-to-day schedule
Objectives
<Short Term>
▪ Consolidation of Sweet and Tender Collaborations network sustainability in the long run.
▪ Deepen a collaborative dynamic (sharing resources and initiatives) among young artists from different nationalities and working with various media.
▪ Involving a local community in discovering how a creative process evolves.
▪ Testing the validity of an experimental and autonomous project inside a specific context establishing a direct interaction to Porto city.
▪ Exploring modes of public presentation of artistic works
<Long Term>
▪ Openness and deepening of dialogue with certain cultural institutions in Europe to increase the support for emerging models of research and production in artistic creation, and different practices of interaction between artists and art institutions
▪ European diffusion of the SKITe/Sweet and Tender Collaborations results on a European level through the diffusion of Fragments of Experiences project
▪ Follow up of the initial proliferation of artistic projects started and nursed in SKITe/Sweet & Tender Collaborations in Porto – their further development.
▪ Research on European Financing to consolidate the structure of Sweet and Tender Collaborations as an artistic project and as a model of artist-led network organization
web site: http://www.sweetandtender.org/
----
Summary
Following the project held in PAF - Performing Arts Forum, in 2007, this second edition, co-launched by the Association SKITe and Sweet and Tender Collaborations, will gather 40 young artists from 26 countries and different performance-related disciplines during a period of a full month.
▪ Date: August 15th to September 20th 2008
▪ Place: Porto, Portugal
This project will bring together various institutional and non-institutional partners in Porto and open itself up to a wide range of international collaborations
▪ Theme: relation between artistic process & product through the creation of an environment based on constant showings and feedbacks.
▪ Primary purpose: A systematic experiment with modes of artistic exchange, creation and production inside a specific context provided by the hosts (Portugal, Porto)
Participants will engage in a practice of exchange and dialogue, open up their research to the others - from the formulation of their ideas to their referential sources, practices and concerns.
Events and activities
<laboratory>
▪ What Artistic experiments, research, workshops, dance classes, showings, feedback sessions, open house days, ...
▪ When August 15th to September 13th
▪ Where Porto: Teatro Nacional Sao Joao, 555, Maus Hábitos
▪ Duration One month
<running>
▪ What Remake of a performance choreographed by Meg Stuart in 1992
▪ When From August 17th to August 21st
▪ Where Porto: Mosteiro São Bento da Vitória (Teatro Nacional Sao Joao)
▪ Duration Five days
<fragments>
▪ What Public presentations of the work in progress
▪ WhenSeptember 12th and13th
▪ Where Porto: Mosteiro de Sao Bento da Victoria
▪ Duration Two days
<site-specific>
▪ What Residençial da Praça in the frame of FIMP festival: workshops, sound installations, radio show, ..;
▪ When September 14th, 15th and 16th
▪ Where Porto: Praça do Joao I
▪ Duration Three days
<debriefing>
▪ What Evaluation, General Assembly of SKITe/ Sweet and Tender Collaborations participants
▪ When September 17th to September 20th
▪ WherePorto: Mosteiro Sao Bento da Victoria
▪ Duration Four days
<diffusion>
▪ What International public presentations
▪ When February 2009 to May 2009
▪ Where Barcelona, Paris, Brussels, Oslo
▪ Duration Long run
To the Day-to-day schedule
Objectives
<Short Term>
▪ Consolidation of Sweet and Tender Collaborations network sustainability in the long run.
▪ Deepen a collaborative dynamic (sharing resources and initiatives) among young artists from different nationalities and working with various media.
▪ Involving a local community in discovering how a creative process evolves.
▪ Testing the validity of an experimental and autonomous project inside a specific context establishing a direct interaction to Porto city.
▪ Exploring modes of public presentation of artistic works
<Long Term>
▪ Openness and deepening of dialogue with certain cultural institutions in Europe to increase the support for emerging models of research and production in artistic creation, and different practices of interaction between artists and art institutions
▪ European diffusion of the SKITe/Sweet and Tender Collaborations results on a European level through the diffusion of Fragments of Experiences project
▪ Follow up of the initial proliferation of artistic projects started and nursed in SKITe/Sweet & Tender Collaborations in Porto – their further development.
▪ Research on European Financing to consolidate the structure of Sweet and Tender Collaborations as an artistic project and as a model of artist-led network organization
12.7.08
Basic philosophy of my work
This is a text which I wrote this week for one application: the explanation of my basic philosophy of all the artistic work.
---
I chose art as my work, because I would like to affect general people on our primitive level of sense and thought. I would like to provoke people to confront or even just think about our social problems on their each own perspective, especially with focusing our communication.
Speciality of art is that it can connect directly and profoundly people's mind at a moment. For instance, when we confront a great picture, it grabs our mind immediately; then often that great pictures also provokes us into thinking something about/around/beyond it. Dance has also the same effect, but dance has a "corpo". On the level of provoking people into thinking of a dance work, people can see the things through the dancers' body.
Of course in our daily life, everyday we are seeing somebody's body. Although, under the certain structure or the frame of dance, I found that we can find a primitive level of human's activities: intension, personal history, cultural background, social behavior, etc. Those things are very subtle and rarely to be conscious about it, more than obvious characters such as race, language, religious and economical situation. Yet those human's primitive activities are important keys to realize our communication in terms of understanding(or at least being aware of) the other just as he/she is.
In 2006 and 2007, I was traveling around western Europe. As an artist, I was working and studying in several places. But not only artistic experiences, also I could have experiences to see a lot of social problems on the very basic level. Most impressive experience is that, once I had to sleep on the street in London. I understood physically how the homeless people were feeling. How complex the problem of the poverty is. Clearly I could feel there is a certain gap between the mind of the politic and reality.
Anyhow the politic is always assuming the center area(which often called "normal") in our society(community) even unconsciously, and excluding things out of its limit. This is a very first motivation of a mind to exclude homelessness, immigrants, aliens, different race... That means, in this process, the politic projecting its own perspective and ignore the personality/thought/philosophy/emotion/reason of each own excluded person. The war is good example of this, we assume some people as enemy and stop a effort to understand them just as they are, then start to exclude them physically.
With a speciality of art and dance, letting people think about/around/beyond the art work and notice human's primitive activities(intension, personal history, cultural background, social behavior, etc), I would like to provoke people into re-thinking about our communication —re-looking the other just as he/she is before putting him/her into a particular context. Performance is a place where artists expose their work. At the same time, performance can be a place where people "experience" something through the art work. As a dance artist, again, in this way I would like to stimulate general people to confront or at least be aware of our social problems on their each own perspective.
---
I chose art as my work, because I would like to affect general people on our primitive level of sense and thought. I would like to provoke people to confront or even just think about our social problems on their each own perspective, especially with focusing our communication.
Speciality of art is that it can connect directly and profoundly people's mind at a moment. For instance, when we confront a great picture, it grabs our mind immediately; then often that great pictures also provokes us into thinking something about/around/beyond it. Dance has also the same effect, but dance has a "corpo". On the level of provoking people into thinking of a dance work, people can see the things through the dancers' body.
Of course in our daily life, everyday we are seeing somebody's body. Although, under the certain structure or the frame of dance, I found that we can find a primitive level of human's activities: intension, personal history, cultural background, social behavior, etc. Those things are very subtle and rarely to be conscious about it, more than obvious characters such as race, language, religious and economical situation. Yet those human's primitive activities are important keys to realize our communication in terms of understanding(or at least being aware of) the other just as he/she is.
In 2006 and 2007, I was traveling around western Europe. As an artist, I was working and studying in several places. But not only artistic experiences, also I could have experiences to see a lot of social problems on the very basic level. Most impressive experience is that, once I had to sleep on the street in London. I understood physically how the homeless people were feeling. How complex the problem of the poverty is. Clearly I could feel there is a certain gap between the mind of the politic and reality.
Anyhow the politic is always assuming the center area(which often called "normal") in our society(community) even unconsciously, and excluding things out of its limit. This is a very first motivation of a mind to exclude homelessness, immigrants, aliens, different race... That means, in this process, the politic projecting its own perspective and ignore the personality/thought/philosophy/emotion/reason of each own excluded person. The war is good example of this, we assume some people as enemy and stop a effort to understand them just as they are, then start to exclude them physically.
With a speciality of art and dance, letting people think about/around/beyond the art work and notice human's primitive activities(intension, personal history, cultural background, social behavior, etc), I would like to provoke people into re-thinking about our communication —re-looking the other just as he/she is before putting him/her into a particular context. Performance is a place where artists expose their work. At the same time, performance can be a place where people "experience" something through the art work. As a dance artist, again, in this way I would like to stimulate general people to confront or at least be aware of our social problems on their each own perspective.
28.6.08
Hard Times Come Again No More
by Nanci Griffith
This is a american folk song, also sang by Japanese pop singer Akiko Yano. One of my favorite songs by Yano.
Here is the lyrics:
Let us pause in life's pleasures and count its many tears,
While we all sup sorrow with the poor;
There's a song that will linger forever in our ears;
Oh Hard times come again no more.
There's a song, the sigh of the weary,
Hard Times, hard times, come again no more
Many days you have lingered around my cabin door;
Oh hard times come again no more.
While we seek mirth and beauty and music light and gay,
There are frail forms fainting at the door;
Though their voices are silent, their pleading looks will say
Oh hard times come again no more.
There's a pale drooping maiden who toils her life away,
With a worn heart whose better days are o'er:
Though her voice would be merry, 'tis sighing all the day,
Oh hard times come again no more.
Tis a sigh that is wafted across the troubled wave,
Tis a wail that is heard upon the shore
Tis a dirge that is murmured around the lowly grave
Oh hard times come again no more.
---
by Stephen Foster
by Bob Dylan
22.6.08
New Video: f/f in Maus Hábitos(Porto, Portugal), 2008
I uploaded the video of my work, "f/f", last month in Maus Hábitos(Porto Portugal). It was on 9th May 2008.
duration of the video: 10:18
About "f/f":
f/f is improvisaton dance project, which is core of all of Hajime Fujita’s dance works, and has been presented in several places (Reims, Motemor-o-Novo, Osaka, Kyoto and Yokohama) since 2001. The original theme is showing the existance of himself, not only showing “dance” or “performance”. To do that, he trys to be honest and to show everything what he feels/thinks/reminds.... on the each moment. So sometime he losts, he hesitates, even sometime he starts to speak
Recently, this piece is also involved by presenting in the alternative places. Especially, in the Festival Ananil in Motemor-o-Novo, Portugal, Fujita represented this piece on the path of country side besides old house, collaborating with Spanish musician, Andreu Jacob, was quite appreciated. All of the nature surrounding him affects his sence, and make the movements diverse and flexible. Also in the French momument, Palais du Tau, he danced in the outside place.
read more and watch other videos (on Hajime Fujita official web site)
duration of the video: 10:18
About "f/f":
f/f is improvisaton dance project, which is core of all of Hajime Fujita’s dance works, and has been presented in several places (Reims, Motemor-o-Novo, Osaka, Kyoto and Yokohama) since 2001. The original theme is showing the existance of himself, not only showing “dance” or “performance”. To do that, he trys to be honest and to show everything what he feels/thinks/reminds.... on the each moment. So sometime he losts, he hesitates, even sometime he starts to speak
Recently, this piece is also involved by presenting in the alternative places. Especially, in the Festival Ananil in Motemor-o-Novo, Portugal, Fujita represented this piece on the path of country side besides old house, collaborating with Spanish musician, Andreu Jacob, was quite appreciated. All of the nature surrounding him affects his sence, and make the movements diverse and flexible. Also in the French momument, Palais du Tau, he danced in the outside place.
read more and watch other videos (on Hajime Fujita official web site)
16.6.08
Coming back from Ananil
just coming back from Ananil. 2 performance + 1 workshop(my first workshop!!) in 3 days, pretty busy, but really great people and familiar beautiful festival. Now time to back to the reality again, and rest somewhat... zzz...
11.6.08
"f/f" on 13th/15th June in Montemor-o-Novo
I would represent my improvisation piece called "f/f" in the festival Ananil in Motemor-o-Novo(eastern Portugal). This is 2nd time to show this piece in the same festival since last year. Please visit and enjoy the great summer atmosphere surrounded beautiful Portuguese country side :) :) :)
"f/f"
f/f is improvisaton dance project, which is core of all of Hajime Fujita’s dance works, and has been presented in several places (Reims, Motemor-o-Novo, Osaka, Kyoto and Yokohama) since 2001. The original theme is showing the existance of himself, not only showing “dance” or “performance”. To do that, he trys to be honest and to show everything what he feels/thinks/reminds.... on the each moment. So sometime he losts, he hesitates, even sometime he starts to speak
Recently, this piece is also involved by presenting in the alternative places. Especially, in the Festival Ananil in Motemor-o-Novo, Portugal, Fujita represented this piece on the path of country side besides old house, collaborating with Spanish musician, Andreu Jacob, was quite appreciated. All of the nature surrounding him affects his sence, and make the movements diverse and flexible. Also in the French momument, Palais du Tau, he danced in the outside place.
=videos from last year in Ananil (collaboration with Andreu Jacob)=
"f/f"
f/f is improvisaton dance project, which is core of all of Hajime Fujita’s dance works, and has been presented in several places (Reims, Motemor-o-Novo, Osaka, Kyoto and Yokohama) since 2001. The original theme is showing the existance of himself, not only showing “dance” or “performance”. To do that, he trys to be honest and to show everything what he feels/thinks/reminds.... on the each moment. So sometime he losts, he hesitates, even sometime he starts to speak
Recently, this piece is also involved by presenting in the alternative places. Especially, in the Festival Ananil in Motemor-o-Novo, Portugal, Fujita represented this piece on the path of country side besides old house, collaborating with Spanish musician, Andreu Jacob, was quite appreciated. All of the nature surrounding him affects his sence, and make the movements diverse and flexible. Also in the French momument, Palais du Tau, he danced in the outside place.
=videos from last year in Ananil (collaboration with Andreu Jacob)=
2.6.08
Renewal of Website
As you see, I am improving my web site and add the section of text. And, the section of works shows a lot of information and videos.
Slowly, but certainly I am making better my web site. I would continue to organize to make it easier to get information of myself for the visitors.
Hajime Fujita Official Web Site
Slowly, but certainly I am making better my web site. I would continue to organize to make it easier to get information of myself for the visitors.
Hajime Fujita Official Web Site
27.5.08
IHT: Burmese villagers had little, and lost it all
IHT: Burmese villagers had little, and lost it all
Since Cyclone Nargis devastated the area May 3, this isolated village in the Irrawaddy Delta has been all but ignored by the junta. As of this past weekend, it had yet to be reached by international relief workers.
Then Khin lost 15 family members when Nargis swept through. For those in the family who survived, life is a litany of woes and the recovery has only just begun.
-----
For people like Then Khin's family, for those who live in the isolated, outlying hamlets of the delta, putting their lives back together after Nargis has been a sad affair - and a struggle that international aid workers have largely been unable to help ease. The Myanmar government, critics say, is distrustful of outsiders and does not want the villagers to meet foreigners. Meanwhile, the ruling junta is unable or unwilling to provide adequate help on its own.
"I don't expect anything from the government. I never have and I don't now," Then Khin said. "I heard on the radio about foreign help on its way, but I haven't seen any in the past 20 days. It's the same as before, nothing changed."
Since Cyclone Nargis devastated the area May 3, this isolated village in the Irrawaddy Delta has been all but ignored by the junta. As of this past weekend, it had yet to be reached by international relief workers.
Then Khin lost 15 family members when Nargis swept through. For those in the family who survived, life is a litany of woes and the recovery has only just begun.
-----
For people like Then Khin's family, for those who live in the isolated, outlying hamlets of the delta, putting their lives back together after Nargis has been a sad affair - and a struggle that international aid workers have largely been unable to help ease. The Myanmar government, critics say, is distrustful of outsiders and does not want the villagers to meet foreigners. Meanwhile, the ruling junta is unable or unwilling to provide adequate help on its own.
"I don't expect anything from the government. I never have and I don't now," Then Khin said. "I heard on the radio about foreign help on its way, but I haven't seen any in the past 20 days. It's the same as before, nothing changed."
18.5.08
pois...
Last 2 weeks were the busiest moments since I came to Portugal.
I worked in Festa da Dança in Lisboa and showed 2 pieces: "dontdiemyfriendtommy" in Alkantara and "f/f" in Terreiro de Passo, in collaboration with Hana Kogure.
Then I went to Porto to show "f/f" in Maus Hábitos and support the concert of Hana Kogure, as general cordinator and translator.
All of things were just great and I really appreciate all the people we met there: public, stuff, artists. It is incredible that I met how many great people... Muito obrigado.
Though, afterwards, I got really tired and sick again. Now still on the way to recover. But I think it takes time. So here just I apologize to be late to send a plenty of e-mails to thank a lot of people. Anyway I am here and slowly getting back the pleasure of my life.
I have a show of "f/f" and a workshop on Festival Ananil next month in Motemor-o-Novo. If you have a chance or have some friends (near from) there, please (ask them to) visit and have a nice summer time together in beautiful outside festival :)
Beijinhos,
Hajime
I worked in Festa da Dança in Lisboa and showed 2 pieces: "dontdiemyfriendtommy" in Alkantara and "f/f" in Terreiro de Passo, in collaboration with Hana Kogure.
Then I went to Porto to show "f/f" in Maus Hábitos and support the concert of Hana Kogure, as general cordinator and translator.
All of things were just great and I really appreciate all the people we met there: public, stuff, artists. It is incredible that I met how many great people... Muito obrigado.
Though, afterwards, I got really tired and sick again. Now still on the way to recover. But I think it takes time. So here just I apologize to be late to send a plenty of e-mails to thank a lot of people. Anyway I am here and slowly getting back the pleasure of my life.
I have a show of "f/f" and a workshop on Festival Ananil next month in Motemor-o-Novo. If you have a chance or have some friends (near from) there, please (ask them to) visit and have a nice summer time together in beautiful outside festival :)
Beijinhos,
Hajime
23.4.08
Improvement of my Web Site
Slightly improving my web site.
Now I just added the pages about my dance pieces.
This could be very useful to watch all the videos uploaded on the internet.
Now I just added the pages about my dance pieces.
This could be very useful to watch all the videos uploaded on the internet.
17.4.08
CoffeeGeek.com: Coffee: Portugal's Other National Drink
CoffeeGeek.com: Coffee: Portugal's Other National Drink
What can you expect in a Portuguese coffee shop?
In Portugal most people don’t have an espresso machine in their house. If you’re entertaining friends you offer them Port wine. If they want a coffee, you invite your guests to go with you to your neighbourhood pastry shop/ coffee shop/ bakery, where coffee is affordable and the atmosphere is relaxing. What can you expect when you get to the coffee shop?
When you enter, the first thing to catch your eye will be a large cabinet containing a coffee grinder and an espresso machine that can make anywhere from four to eight cups of coffee at the same time. Here are the different types of coffee you can order in a Portuguese bar or restaurant:
+Bica: Espresso shot
+Café Pingado: A dripped coffee, served in a beaker with a bit of hot water.
+Café Longo: Similar to a Café Pingado, but taller.
+Galão:A Café Longo with the ratio of 1:3 milk in it. It can be foamed and/or steamed.
+Garoto: Garoto also means "kid" and this drink is mostly milk and a favourite for children. It is made like a Galao but the coffee has been run through twice on the espresso machine and is weaker.
What can you expect in a Portuguese coffee shop?
In Portugal most people don’t have an espresso machine in their house. If you’re entertaining friends you offer them Port wine. If they want a coffee, you invite your guests to go with you to your neighbourhood pastry shop/ coffee shop/ bakery, where coffee is affordable and the atmosphere is relaxing. What can you expect when you get to the coffee shop?
When you enter, the first thing to catch your eye will be a large cabinet containing a coffee grinder and an espresso machine that can make anywhere from four to eight cups of coffee at the same time. Here are the different types of coffee you can order in a Portuguese bar or restaurant:
+Bica: Espresso shot
+Café Pingado: A dripped coffee, served in a beaker with a bit of hot water.
+Café Longo: Similar to a Café Pingado, but taller.
+Galão:A Café Longo with the ratio of 1:3 milk in it. It can be foamed and/or steamed.
+Garoto: Garoto also means "kid" and this drink is mostly milk and a favourite for children. It is made like a Galao but the coffee has been run through twice on the espresso machine and is weaker.
11.4.08
3/4 May in Lisboa, Performance in Festa da Dança
I would represent my two pieces (f/f and dontdiemyfriendtommy) in 3rd and 4th May in Lisbon, in Festa da Dança.
More details to be confirmed.
More details to be confirmed.
10.4.08
REUTERS: Ice cream stick ship's Atlantic bid
REUTERS: Ice cream stick ship's Atlantic bid
A Viking ship made from ice-cream sticks set sail for England from the Netherlands on Tuesday.
The 15-metre (50-foot) long ship, named after the Norse god Thor, is made from 15 million recycled ice-cream sticks glued together by U.S.-born stuntman Robert McDonald, his son and more than 5,000 children.
"If you can dream it you can do it ... I want to teach children that anything is possible," McDonald said.
Badly injured as a child in a gas explosion that killed the rest of his family, he has loaded his ship with cuddly toys and plans to reach London and visit children in hospitals.
A Viking ship made from ice-cream sticks set sail for England from the Netherlands on Tuesday.
The 15-metre (50-foot) long ship, named after the Norse god Thor, is made from 15 million recycled ice-cream sticks glued together by U.S.-born stuntman Robert McDonald, his son and more than 5,000 children.
"If you can dream it you can do it ... I want to teach children that anything is possible," McDonald said.
Badly injured as a child in a gas explosion that killed the rest of his family, he has loaded his ship with cuddly toys and plans to reach London and visit children in hospitals.
7.4.08
IHT: Torch draws protest fury in London's Olympic run
IHT: Torch draws protest fury in London's Olympic run
In a fresh bid by protesters to use the Beijing Summer Olympics as an opportunity to highlight China's human rights record, thousands of demonstrators crowded into the streets of central London on Sunday and turned the Olympic torch relay into a series of angry scuffles and melees. The police said that at least 30 people had been arrested.
In a fresh bid by protesters to use the Beijing Summer Olympics as an opportunity to highlight China's human rights record, thousands of demonstrators crowded into the streets of central London on Sunday and turned the Olympic torch relay into a series of angry scuffles and melees. The police said that at least 30 people had been arrested.
dontdiemyfriendtommy -sound
This is a sound from my short piece called "dontdiemyfriendtommy", which reading about my experience in London.
31.3.08
IHT: Nationalism at core of China's reaction to Tibet unrest
IHT: Nationalism at core of China's reaction to Tibet unrest
Communist Party leaders had hoped to use this Olympic moment to showcase how China has become a modern and nonthreatening emerging world power. President Hu Jintao has advocated a "harmonious society" as a catchphrase to signal a new government emphasis on addressing inequality in society. At the same time, China's soft power abroad is rising with its bulging foreign exchange reserves, its aid programs to poor countries and its increasingly active diplomatic role on issues like the North Korea nuclear crisis.
But the Tibet crisis has revealed a leadership that has seemingly stepped back into its harsher past. Buddhist monks in Tibet are now being subjected to punitive "patriotic education" campaigns. Paramilitary police officers and soldiers have swept across huge areas of western China in a crackdown that is under way, if unseen. Party leaders, including Prime Minister Wen Jiabao, have vilified the Dalai Lama and blamed a "Dalai clique" for orchestrating the protests to sabotage China's Olympic moment.
---
Scholars often describe nationalism as the state religion in China now that the Communist Party has shrugged off socialist ideology and made economic development the country's priority. Dibyesh Anand, a Tibet specialist, said modern Chinese nationalism can be traced to Sun Yat-sen, the Chinese revolutionary who described the country's main ethnic groups - the Han, Manchu, Hui, Mongolian and Tibetan peoples - as the "five fingers" of China.
Today, Han Chinese constitute more than 92 percent of the population, but without one of those five fingers, China's leaders do not consider the country whole.
"The Communist Party has used nationalism as an ideology to keep China together," said Anand, a reader in international relations at Westminster University in London. He said many Chinese regard the Tibetan protests "as an attack on their core identity."
Communist Party leaders had hoped to use this Olympic moment to showcase how China has become a modern and nonthreatening emerging world power. President Hu Jintao has advocated a "harmonious society" as a catchphrase to signal a new government emphasis on addressing inequality in society. At the same time, China's soft power abroad is rising with its bulging foreign exchange reserves, its aid programs to poor countries and its increasingly active diplomatic role on issues like the North Korea nuclear crisis.
But the Tibet crisis has revealed a leadership that has seemingly stepped back into its harsher past. Buddhist monks in Tibet are now being subjected to punitive "patriotic education" campaigns. Paramilitary police officers and soldiers have swept across huge areas of western China in a crackdown that is under way, if unseen. Party leaders, including Prime Minister Wen Jiabao, have vilified the Dalai Lama and blamed a "Dalai clique" for orchestrating the protests to sabotage China's Olympic moment.
---
Scholars often describe nationalism as the state religion in China now that the Communist Party has shrugged off socialist ideology and made economic development the country's priority. Dibyesh Anand, a Tibet specialist, said modern Chinese nationalism can be traced to Sun Yat-sen, the Chinese revolutionary who described the country's main ethnic groups - the Han, Manchu, Hui, Mongolian and Tibetan peoples - as the "five fingers" of China.
Today, Han Chinese constitute more than 92 percent of the population, but without one of those five fingers, China's leaders do not consider the country whole.
"The Communist Party has used nationalism as an ideology to keep China together," said Anand, a reader in international relations at Westminster University in London. He said many Chinese regard the Tibetan protests "as an attack on their core identity."
27.3.08
South Park!! South Park!! South Park!!
Hey Common!! All the episode of South Park is now on the internet!!!
Lovely!! Horay!!!
http://www.southparkstudios.com/
ATTENTION: AS YOU KNOW, SOUTH PARK HAS A LOT OF VIOLENT/SEXUAL EXPRESSION.
24.3.08
Wired: Chinese Authorities Place 'Wanted' Posters For Tibetan Rioters On Web Portals
Wired: Chinese Authorities Place 'Wanted' Posters For Tibetan Rioters On Web Portals
Meanwhile, Tibetans in Los Angeles held a rally. Xeni Jardin of Boing Boing covered the event and interviewed some of the participants.
The news wires also report that the current riots may have some expensive consequences. The Chinese authorities are re-thinking the idea of allowing the American news networks to broadcast live from Tiananmen Square during the Olympic games this August. The networks apparently paid hundreds of millions of dollars for the privilege.
In other news, the Dalai Lama, it seems, also shares a pet peeve with reporters that all other leaders do. The Dalai Lama issued a terse press release today that said: " ... He also reminded the Media not to quote him out of context."
Meanwhile, Tibetans in Los Angeles held a rally. Xeni Jardin of Boing Boing covered the event and interviewed some of the participants.
The news wires also report that the current riots may have some expensive consequences. The Chinese authorities are re-thinking the idea of allowing the American news networks to broadcast live from Tiananmen Square during the Olympic games this August. The networks apparently paid hundreds of millions of dollars for the privilege.
In other news, the Dalai Lama, it seems, also shares a pet peeve with reporters that all other leaders do. The Dalai Lama issued a terse press release today that said: " ... He also reminded the Media not to quote him out of context."
19.3.08
IHT: Tibetan exiles in India join in protests
IHT: Tibetan exiles in India join in protests
"All the streets are smoke and tears," said Choedak, 18, a student who spoke to his mother in Lhasa by telephone Saturday night. " 'We cannot open our eyes,' " he said she told him. " 'Every street is like empty.' "
"All the streets are smoke and tears," said Choedak, 18, a student who spoke to his mother in Lhasa by telephone Saturday night. " 'We cannot open our eyes,' " he said she told him. " 'Every street is like empty.' "
10.3.08
Julyen Hamilton's classes ended last week
Last week, finally we finished 2 weeks Julyen Hamilton's classes. It was quite nice opportunity to know the person in those generation, and way of very sensitive/open physical improvisation style. In addition, in the class, I got the way to focus my "center/joint" as the core of movements. I started to use off-balanced movements more comfortably.
Although, to be honest, these 2 weeks had been totally making me frustrated. Because, Julyen did not give us our space. He just pushed his idea always. It was very clear that, if we said opposite idea from him in the discussion, he must deny or ignore that. Of course I can understand that is because of his experience and this kind of attitude often appears when we get old. But anyway (even I understand logically) I could not feel well, and not easy to stand to stay in the class sometime...
=Profile: Julyen Hamilton= http://www.julyenhamilton.com/
Julyen Hamilton has been making dances, directing and teaching for the past 30 years.
He was born in England, then lived in Amsterdam and now is based in Girona, Spain.
In 1984 he was awarded the 'Zilveren Dansprijs' by the VSCD in Holland.
Trained in a period of experimentation in London in the mid-70s , he has constantly made work from a radical point of view.
His work, both in company and solo, develops dance for the theatre
where dancers and light designer are directed to compose pieces instantly,
a process of practising improvisation in rehearsal and in the moment of performance.
Hamilton creates his own personal language where movement and text constantly intertwine
and are passed amongst the performers as a way of manifesting the sharing of the imagination.
He is also invited to play with musicians, to choreograph for other dancers and to collaborate with other directors.
Since 1990 he has made more than 100 solos which have been seen all over the world. They are a highly original interplay between dance, live text and light. His latest solo Cell premiered in Barcelona on 2004.
His teaching work comes straight from the stage experience; it goes deeply into the compositional aspects of creativity through the areas of the physical body, space, time, dramaturgy and voice.
His label Blue Dog DVDs produces videos of his performances on dvd.
Although, to be honest, these 2 weeks had been totally making me frustrated. Because, Julyen did not give us our space. He just pushed his idea always. It was very clear that, if we said opposite idea from him in the discussion, he must deny or ignore that. Of course I can understand that is because of his experience and this kind of attitude often appears when we get old. But anyway (even I understand logically) I could not feel well, and not easy to stand to stay in the class sometime...
=Profile: Julyen Hamilton= http://www.julyenhamilton.com/
Julyen Hamilton has been making dances, directing and teaching for the past 30 years.
He was born in England, then lived in Amsterdam and now is based in Girona, Spain.
In 1984 he was awarded the 'Zilveren Dansprijs' by the VSCD in Holland.
Trained in a period of experimentation in London in the mid-70s , he has constantly made work from a radical point of view.
His work, both in company and solo, develops dance for the theatre
where dancers and light designer are directed to compose pieces instantly,
a process of practising improvisation in rehearsal and in the moment of performance.
Hamilton creates his own personal language where movement and text constantly intertwine
and are passed amongst the performers as a way of manifesting the sharing of the imagination.
He is also invited to play with musicians, to choreograph for other dancers and to collaborate with other directors.
Since 1990 he has made more than 100 solos which have been seen all over the world. They are a highly original interplay between dance, live text and light. His latest solo Cell premiered in Barcelona on 2004.
His teaching work comes straight from the stage experience; it goes deeply into the compositional aspects of creativity through the areas of the physical body, space, time, dramaturgy and voice.
His label Blue Dog DVDs produces videos of his performances on dvd.
4.2.08
Forum Dança, where I am studying
Forum Dança, where I am studying, is most well-known contemporary dance institution in Portugal. They have been acting very important roll to produce a lot of great works and educate people. First I knew their name in the Vera Montero's past productions. A lot of her production is supported by Forum Dança.
----
Forum Dança is a non profitable cultural association, created in 1990, and whose purpose is to promote both artistic and professional development, investigation, editing and documentation.
In the field of vocational training, Forum Dança conceived and organized, since 1991, Professional Development Courses. There were 22 of these Courses which were held in Lisbon, Oporto, Torres Vedras and in the Algarve, namely: Dance Monitors for the Community, Contemporary Dance Interpreters, Dance Management/Production, Performing Arts Management/Production, Dance Monitors’ Recycling Course, Choreographic Research and Creation, Dance Techniques for the Community, Dance in the Community.
Forum Dança is a bridge between the professionals and the audience. It develops pedagogical projects, seminars, workshops and regular classes, aiming both professionals and amateurs, both adults and young people.
It also provides artistic guidance and is equipped with a documentation centre specialized in dance, with about 550 works in different artistic and technical areas, magazines and dance catalogs, and also an image archive.
Forum Dança has worked with both national and international organizations spread throughout the world.
----
31.1.08
quality of time
finally I arrived Lisboa and started to participate PEPCC in ForumDanca today.
Ok this is formation, school, is not the same as kind of "projects".
But I mean, I had little surprised inside of quality of time.
Nobody rushed. Taking time to understand the class, communication, developing the relationship with other students.
Everything goes slowly based on no obesession.
This is what I have been missing last 2 years.... Always I had a pressure to do something. I had to make it, I had to finish it, even sometime it does not make any certain result.
Beautiful country Portugal, just I am so glad to be here and breath.
Ok this is formation, school, is not the same as kind of "projects".
But I mean, I had little surprised inside of quality of time.
Nobody rushed. Taking time to understand the class, communication, developing the relationship with other students.
Everything goes slowly based on no obesession.
This is what I have been missing last 2 years.... Always I had a pressure to do something. I had to make it, I had to finish it, even sometime it does not make any certain result.
Beautiful country Portugal, just I am so glad to be here and breath.
25.1.08
Hooray!! Finally I got a visa to be in Portugal!!
Deraest my frineds!!
after a long long days since the end of November, finally I got a
Portugal visa to be in Lisboa.
I will arrive on the evening of the monday, and going to attend the
Forum Danca from Tuesday.
I am very exited and, of course, little bit anxious for my new life..
See you soon!!
Lots of kisses,
Hajime
22.1.08
NYTimes: Israel Allows Some Supplies Into Gaza
NYTimes: Israel Allows Some Supplies Into Gaza
Mahmoud Daher, a health officer for the World Health Organization in Gaza, said Monday that there was a shortage of more than a hundred types of medications, and there were no spare parts to fix broken generators. “There is no crisis yet, but there will be one if the situation continues,” Mr. Daher said. “We are on the edge.”
Mahmoud Daher, a health officer for the World Health Organization in Gaza, said Monday that there was a shortage of more than a hundred types of medications, and there were no spare parts to fix broken generators. “There is no crisis yet, but there will be one if the situation continues,” Mr. Daher said. “We are on the edge.”
17.1.08
what's going on me
As some of you may know, I have been selected in the dance formation, called PEPCC, in ForumDanca in Lisbon. Actually the course already started from 7th Jan. but because my visa has not issued yet, I still be in Japan and waiting for its process (precisely, I just missed one paper for that...). Anyway after obtaining the visa, I will be in Lisbon and studying there for 2 years.
Now I am also editing the dvd of "one dance/one video/one day" projects as same as I updated on YouTube. First I thought this project as suitable for the internet, but some of my friends is much more easy to watch on TV or computer with DVD, and DVD is useful when I use this as material to apply some kind of programme.
I am also working for some other projects for this and next year. As usual it is, some of projects would be realized but othres might be not. Anyway. One thing probably happen is attending the Sweet and Tender annual meeting 2008. This precious group project is now growing more. I am very exited to contribute and participate this again.
Now I am also editing the dvd of "one dance/one video/one day" projects as same as I updated on YouTube. First I thought this project as suitable for the internet, but some of my friends is much more easy to watch on TV or computer with DVD, and DVD is useful when I use this as material to apply some kind of programme.
I am also working for some other projects for this and next year. As usual it is, some of projects would be realized but othres might be not. Anyway. One thing probably happen is attending the Sweet and Tender annual meeting 2008. This precious group project is now growing more. I am very exited to contribute and participate this again.
13.1.08
Wikipedia: Social alienation
Wikipedia (English): Social alienation
In a broader philosophical context, especially in existentialism and phenomenology, alienation describes the inadequacy of human being or mind in relation to the world. The human mind, as the subject of perception, relates to the world as an object of its perception, and so is distanced from the world rather than living within it. This line of thought can be found, among others, in Søren Kierkegaard, Martin Heidegger, Jean-Paul Sartre, Albert Camus and Theodor Adorno.
In a broader philosophical context, especially in existentialism and phenomenology, alienation describes the inadequacy of human being or mind in relation to the world. The human mind, as the subject of perception, relates to the world as an object of its perception, and so is distanced from the world rather than living within it. This line of thought can be found, among others, in Søren Kierkegaard, Martin Heidegger, Jean-Paul Sartre, Albert Camus and Theodor Adorno.
2.1.08
happy new year and renewal of the top page of my web site
happy new year. wish you have pleasant days this in 2008.
after crazy messed up days, i have been feeling really tired these days. just now try to rest well...
today i renewed the top page of my web site. i want to improve my web site more this week.
after crazy messed up days, i have been feeling really tired these days. just now try to rest well...
today i renewed the top page of my web site. i want to improve my web site more this week.
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