IETM Satellite Meeting in Yokohama
Period: February 14 (Mon) - 16 (Wed), 2011
Venues: Kanagawa Arts Theatre (KAAT), Kanagawa Kenmin Hall and Yokohama Creative City Center(YCC)
Organized by Japan Center, Pacific Basin Arts Communication and IETM (International Network for Contemporary Performing Arts)
Supported by the Agency for Cultural Affairs Government of Japan in the fiscal 2010
Co-organized by: The Japan Foundation / Kanagawa Arts Theatre (Kanagawa Arts Foundation) /
Yokohama Creativecity Center (Yokohama Arts Foundation)
Supported by : the Agency for Cultural Affairs Government of Japan in the fiscal 2010
Associated Project: Performing Arts Meeting in Yokohama (TPAM in Yokohama)16th [Wed]-20th [Sun] Feb. 2011
[Entrance fee]Early bird: 3,000JPY (deadline 31st January 2011) Normal: 5,000JPY
Participants of Performing Arts Meeting in Yokohama (TPAM in Yokohama) 2011 can participate in the IETM Satellite Meeting in Yokohama without admission.
To participate exclusively in the IETM Satellite Meeting, please apply via email.
Mail: ietm@parc-jc.org
IETM is a membership organisation which exists to stimulate the quality,
development and contexts of contemporary performing arts in a global
environment. It aims at proving the value of the performing arts in the
society by initiating and facilitating professional networking and
communication, the dynamic exchange of information, know-how transfer
and presentations of examples of good practice.
This IETM-TPAM Satellite is the latest in a series of IETM events in
Asia since 2005 (Satellite meetings in Singapore 05, Beijing & Shanghai
06, Seoul 07, Tokyo 08 and Jakarta this year) and it links to the Asian
Producers Network initiated by colleagues we met during those events.
Fore more information about the meeting and for practical information,
you can also visit IETM's website:
http://www.ietm.org/index.lasso?p=information&q=eventdetail&id=463
Here is TPAM@IETM Satellite Meeting 2008 Record (PDF:3.01MB)
Here is Perfotming Arts Presenter's Network Conference Record 2009 (PDF:1MB)
Venue: Yokohama Creativecity Center (YCC) 3F (access)
Date: February 14 (Mon) 10:30-13:30
Part 1
Speakers:
Mary Ann DeVlieg (Secretary General, IETM) [Belgium]
Hiromi Maruoka (Director, Performing Arts Meeting in Yokohama 2011) [Japan]
To open this second IETM Satellite Meeting in Japan since the IETM@TPAM in Tokyo in 2008, which brought the idea of international “open network” to us, Mary Ann DeVlieg gives a presentation on the current policy of IETM “Unpacking Sustainability” and Hiromi Maruoka reports what efforts have been made to build open networks in Asia since 2008.
Mary Ann DeVlieg
Has been working in the cultural sector for over 30 years, holding various posts in Europe and the USA; most of her work has been in the performing arts (creation, production, diffusion) in an international context, with special emphasis also on policy, cultural diversity and professional training. She is currently the Secretary General of IETM and the Chair of the EU Working Group on Creativity and Creation (EU Culture Platform on Access to Culture).
Hiromi Maruoka
Director of TPAM since 2005. She coordinated the first meeting of IETM in Japan and directed International Showcase in 2008. She started “Postmainstream Performing Arts Festival” (PPAF) in 2003, and has been directing international programs of the festival, introducing such companies as PME, Forced Entertainment, MaisonDahlBonnema and Hotel Modern. As a producer, she has introduced such artists as Compagnie Marie Chouinard and Rotozaza.
Part 2
Speakers:
Toshiki Okada (Playwright / Novelist / Director, chelfitsch) [Japan]
Daisuke Miura (Playwright / Film Director / Director, potudo-ru) [Japan]
Kuro Tanino (Playwright / Director, Niwa Gekidan Penino) [Japan]
Moderator: Hiromi Maruoka (Director, Performing Arts Meeting in Yokohama 2011) [Japan]
Toshiki Okada, who was one of the panels of the keynote session of IETM@TPAM 2008, has since been touring around the world with his company chelfitsch and accumulating encounters and experiences. Daisuke Miura, with his company potudo-ru, has made his sensational debut in Europe with hyper-realistic Castle of Dreams in Theater der Welt in July 2010, which was introduced as “a wordless analysis of society.” Kuro Tanino has recently presented his illusory Frustrating Picture Book for Adults at Hebbel am Ufer (HAU), Zu¨rcher Theater Spektakel and Noorderzon Performing Arts Festival. It seems that their international activity is not an optional addition to their domestic work but a seamless extension of their work as a necessary result. Where does the necessity come from? In this panel, these three playwrights/directors share with us the ideas that they have gained through these experiences.
Toshiki Okada
He founded chelfitsch in 1997 and has been working based in Yokohama. He won the 49th Kunio Kishida Drama Award in 2004 with Three Days in March, and participated in Mu¨lheim Theatertage as the Japan delegate in June 2006. He debuted as novelist with The end of the special time unrestricted to us, which was published in 2007 from Shinchosha and won the Kenzaburo Oe Prize in 2008. He presented Freetime as a co-production with Brussels, Vienna and Paris in March 2008, and has been actively touring overseas.
Daisuke Miura
Born in 1975 in Hokkaido. Graduated from Waseda University. He established a theatre unit potudo-ru in December 1996, and has been writing and directing all of the company’s performances. Among his recent works are a film Boys on the Run (2010, writer and director), PARCO Produce Uragiri no Machi (2010, writer and director) and a translated play The Shape of Things (2011, director). An international tour of potudo-ru’s Castle of Dreams in May and June in 2011 is being planned.
Kuro Tanino
Born in 1976 in Toyama prefecture. Besides his activities as a playwright, director, and leader of Niwagekidan Penino, he is working as a psychiatrist in his “ordinary life”. In 2000, when he was a student of the faculty of medicine at Showa University, he joined a theatre club at his university and founded Niwagekidan Penino. Tanino, who does painting as a hobby, is strongly attached to every detail of the stage design, a fact that relates to his style of directing, all of which are products of his personal delusions and fantasies.
Performance and Discussion: About Khon by Pichet Klunchun
KYOTO EXPERIMENT official program, About Khon, photo by Ayako Abe
Venue: Kanagawa Arts Theatre (KAAT) Medium Studio (access)
Date: February 14 (Mon) 14:30-16:30
About Khon is a continuation from Pichet Klunchun and Myself and I am a demon. The exploratory threads of these works are woven into the fabric of About Khon which will explain how to understand the language of the movements and other elements of Khon (Thai Classical Mask Dance) performance and appreciate it. Zan Yamashita will appear on stage with Pichet Klunchun. The dialogue that develops between them will give new ideas about the traditional and the contemporary, the connections they have, the struggles they face, and their sense of separation. This presentation is the first half of the piece that features the dialogue between the two artists.
Supported by Esplanade (Singapore), The Goethe-Institute Thailand
Speakers:
Pichet Klunchun (Choreographer / Dancer) [Thailand]
Zan Yamashita (Choreographer / Dancer) [Japan]
In IETM@TPAM 2008, we had a session analyzing Pichet Klunchun and Myself that involved a dialogue between Pichet Klunchun and Je´ro^me Bel and discussed the concept of representation and orientalism in the contemporary context. The first part of About Khon involves a dialogue too, but it is done by artists from Asian countries, whom we have as panelists of this session to hear about what the notions of “contemporariness” and “tradition” could mean for them and what gazes they had on each other.
Pichet Klunchun
Pichet Klunchun trained in Thai Classical Mask Dance, Khon, from the age of 16. After receiving his degree in Thai Classical Dance at Chulalongkorn University in Bangkok, he pursued theatre both as dancer and choreographer. In 1998, Klunchun directed the opening and closing ceremonies of the Asian Games in Bangkok. In 2001, he participated in the 7-month residency program in the United States sponsored by the Asian Cultural Council. In 2005, he presented 3 dance pieces at Kunstenfestivaldesarts in Brussels. He has been actively performing both in Asia and in numerous cities in Europe, Middle East, and North America. In 2008, Klunchun received the Routes Princess Margriet Award for cultural diversity from the European Cultural Foundation. In 2009, he attended Artists Summit, KYOTO organized by Kyoto University of Art and Design.
Zan Yamashita
Born in 1970 in Osaka. Choreographer. Living in Kyoto. Started to work as choreographer/director in the mid-1990s. Among his works are It is written there (2002), Invisible man (2003), It’s just me, coughing (2004), The Sailors (2005), Animal Theater (2007), Daikozui (2010).
Working Group 1: Chinese Independent Performing Arts and International Connections
(with volunteer interpreter)
Venue: Yokohama Creativecity Center (YCC) 3F(access)
Date: February 14 (Mon) 17:00-19:00
Guest speakers:
Kwong Wailap (Director, Guangdong Modern Dance Festival / Fringe Shanghai)
Zhao Chuan (Artistic Director, Grass Stage)
Hiroshi Ohashi (Artistic Director, DA-M Theater and Asia Meets Asia)
A chance to learn about and discuss the situation of Chinese contemporary performing arts and possibility of international connection, having guests who are working on an independent basis: Zhao Chuan from Shanghai, who will have completed an international collaboration project with Hiroshi Ohashi from Tokyo (A Madman’s Diary, February 8-11, at Morishita Studio in Tokyo) few days before this session, and an internationally active festival director Kwong Wailap.
Working Group 2: Contemporary Ontology?
(with English-Japanese consecutive interpretation)
Venue: Kanagawa Kenmin Hall 6F Conference Room (access)
Date: February 14 (Mon) 17:00-19:00
Moderator: Natsuko Tezuka (Choreographer / Dancer) [Japan]
Natsuko Tezuka has been working on “Private Anatomical Experiment” series, through which she works on contemporary daily-life physical condition to explore how to find, extract, create, or probably even falsify movements, and she has also been making researches in Japanese, Indonesian and Korean folklore and traditional performing arts aiming to contribute to mutual exchange of Asian artists. Having a presentation of her “experiment” as the trigger, this session focuses on the necessity to reconsider preexisting languages of physical expression, which must eventually involve reconsideration on preexisting ideas of “being” in society, in contemporary performing arts.
Working Group 3: Asian Performing Arts Presenters’ Network Meeting
(with volunteer interpreter)
Venue: Yokohama Creativecity Center (YCC) 3F(access)
Date: February 15 (Tue) 10:00-12:00
Since the IETM Satellite Meetings in Asia (Singapore 2005, Beijing and Shanghai 2006, Seoul 2007, Tokyo 2008), we have been trying to build open networks in Asia and between Asia and other parts of the world, through such efforts as Asian Performing Arts Presenters’ Network Meeting (Tokyo, 2009), Creative Producers’ Network Meeting (in Performing Arts Market in Seoul 2009 and 2010) and IETM Satellite Meeting in Indonesia (2010). Although our efforts have just started, we have been experiencing advantages of open networking, which we often enjoy even before establishment of forms. This is a session in continuation of this effort.
Working Group 4: Career Paths of Young Producers―Entrepreneur? Freelance?
(with volunteer interpreter)
Venue: Kanagawa Kenmin Hall 6F Conference Room (access)
Date: February 15 (Tue) 10:00-12:00
Guest speaker: Hugo De Greef (Cultural Entrepreneur, European House for Culture)
Moderator: Saya Namikawa (Production Coordinator, ST Spot Yokohama)
Some of young and emerging performing arts presenters have founded their own production companies, and others have been working at theaters or on a freelance basis. In this session, they discuss what is needed to step forward from their current positions and how they can continue to actively work freely from established concepts and national or regional borders.
Participants (expected): Akane Nakamura (precog / NPO Drifters International), Tatsuya Ito (Gorch Brothers, Ltd.), Anna Wagner (Hebbel am Ufer [HAU]), Sinta Wibowo (Freelance), Masashi Nomura (Seinendan Theatre Company / Komaba Agora Theater), Hisako Yamaura (The Museum of Art, Kochi) and others
Organized by: Collaborative Research Center for Theatre and Film Arts, Theatre Museum, Waseda University (Research Project “Creation in Performing Arts and Its Environment in/outside Japan”); Japan Center, Pacific Basin Arts Communication; IETM
Working Group 5: Who is Selecting What?―Festivals and Theaters
(with interpretation)
Venue: Yokohama Creativecity Center (YCC) 3F(access)
Date: February 15 (Tue) 13:00-15:00
While festivals and theaters “look for,” “discover,” or “select” artists, it seems that artists are becoming conscious more than ever of the contexts, aims, or ways of understanding their works of these festivals and theaters. This session focuses on the ways festivals and theaters “select” artists and are “selected” by artists, and what makes programming through dynamic interaction with artists possible.
Working Group 6: Mobility Fund―From the Users’ Point of View
Venue: Yokohama Creativecity Center (YCC) 3F(access)
Date: February 15 (Tue) 17:00-19:00
Moderator: Mary Ann DeVlieg (Secretary General, IETM)
With contribution from:
Katelijn Verstraete (Assistant Director, Cultural Exchange, Asia-Europe Foundation)
Tay Tong (Director, Arts Network Asia)
Mobility is a crucial necessity for artists and presenters in both Asia and Europe. In this session, we hope to invite artists and presenters to share their experiences, perspectives and expectations on mobility awards/grants in both Asia and Europe. Based on these shared experiences and expectations, a proposal may be formulated to recommend how mobility awards can be increased and implemented to better fulfill the needs of artists and presenters.
Working Group 7: The Currents of Theaters in Japan
(with English-Japanese simultaneous interpretation)
Venue: Yokohama Creativecity Center (YCC) 3F(access)
Date: February 16 (Wed) 10:00-12:00
New schemes of theater management are emerging in Japan: some are engaging in their own creations, others in inviting foreign contemporary works or international collaborations. Presenters actively working at these innovative theaters in Japan discuss the aspects of Japanese theater system.
Working Group 8: On Mobility Fund and Arts Foundation
*Closed session―upon invitations only, thank you.
Venue: Yokohama Creativecity Center (YCC) 3F(access)
Date: February 16 (Wed) 13:00-15:00
Speakers:
Masao Katayama (Managing Director, Saison Foundation) [Japan]
Hirokazu Kadooka (Director, Office for Cultural Activities Promotion, Agency for Cultural Affairs, Cultural Affairs Department, Arts and Culture Division) [Japan]
Moderator:
Hiroshi Takahagi (Vice Director, Tokyo Metropolitan Art Space) [Japan]
Agency for Cultural Affairs of the Japanese government is setting up a committee to establish an arts council. The fact that Japan is one of the slowest countries to establish an arts council makes the process involve a lot of references, and because of this, the process can be a counter-reference for the colleagues of other countries. This plenary discussion is on both the specific situation in Japan and the idea of arts council itself.
Masao Katayama
Born in 1958 in Hyogo Prefecture. He graduated from Hitotsubashi University, and after working at The Seibu Department Stores, Ltd., became the secretary general of The Saison Foundation in 1989. He has been the managing director since 2003. He studied evaluation of nonprofit organizations as a Johns Hopkins University Fellow in the US from 1994 to 1995. While teaching as a part-time instructor at Tokyo University of the Arts, the Graduate School of Keio University and other schools, he has been serving as a board member of The Japan Association of Charitable Organizations, The Japan Foundation Center and Association for Corporate Support of the Arts, as well as a member of Expert Committee of the Arts Council Tokyo. He is a coauthor of such publications as Program Officer and Minkan Josei Innovation.
Hirokazu Kadooka
Director, Office for Cultural Activities Promotion, Agency for Cultural Affairs, Cultural Affairs Department, Arts and Culture Division.
Hiroshi Takahagi
Born in Tokyo in 1953, Hiroshi Takahagi graduated from the Faculty of Letters, the University of Tokyo in 1978, and studied in the Arts Administration program at the Teachers College, Columbia University in 1992-93. He was one of the founder members of Yume no Yumin Sha (Dreaming Playing Sleeping Company) while a student. He is a former manager of the Panasonic Globe Theatre, a former general producer at the Setagaya Public Theatre, and currently the vice director of the Tokyo Metropolitan Theatre (TMeT) and also a guest professor at Tama Art University and a member of an advisory council for cultural policy at Agency for Cultural Affairs. He has published several books including Boku To Engeki To Yume no Yumin Sha (published by Nikkei Publishing Inc.).