Posts
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/
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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.
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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...
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