Nordic Culture Point in Japan, day 2

Miðvikudagur, 16 Febrúar 2011 07:59


Follow our advisor Annika Söderlund at the IETM/TPAM meeting in Yokohama, Japan 14-20 February!

Tuesday 15 February, afternoon

After a stroll in the sunlight and a quick lunch I go together with the representatives in my panel group. We started to talk about our topic and plan the session. After a while more people joined us and this pre-discussion was actually more fruitful than the one with a whole lot of participants.

Our topic was “Mobility Funding from users point of view” and the participants were Mary Ann DeVlieg (IETM), Atsuko Hisano (The Saison Foundation, Japan), Tay Tong (TheatreWorks, Singapore), Katelijn Verstraete (Asia-Europe Foundation, Singapore), and I.

Mary Ann who acted as the moderator wanted the audience to be more active in the discussion and she really tried to find out what their reasonable dream for mobility funding would be. And the main issue that rose was a need of a portal that would include all the different funding organizations in the world and artists from different regions who’d like to connect and make a co-productions etc. These things were actually something that united the participants no matter if they came from Australia, Canada, Europe, or the SEA:n region.

After the panel I had some lovely tempura with sashimi.


Tuesday 15 February, morning

Today I attended two different sessions, as a listener in the first one and as a speaker in the second one.

The first working group discussed about “Who selects and what? – Festivals and Theaters”. The speakers represented three different festivals, two in Asia and one in Europe (Singapore Art Festival, Kyoto experiment festival/Japan, and Theatre der Weldt/Germany).

They all had in a way similar view. They want to “invest” in younger artists, the younger generation and not choose the famous play writers or plays. The festivals are not made as entertainment – there is a clash of division and the audience should experience it.

It is also very important to be demanding towards all the artists from all parts of the world since there can only be good or bad work. There is nothing that could be classified as good work just because it is from a certain part of the world. All has to be treated in the same way.

The also emphasized on the fact that the dialog with the artists is extremely important: “what are you as an artists interested in? what would you like to do?” instead of “this is our theme, this is what we want you to perform here at our festival”.

A minor (?) thing that I found interesting was that part of the Singapore Art Festival is for children. Plays made by children and only for children, from kinder garden up to elementary school. The adults can see these plays only if a child accompanies them!



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