Posts
1.1.09
30.11.08
forgiveness
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.
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.
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.
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