{"id":286,"date":"2004-09-05T00:00:00","date_gmt":"2004-09-05T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/09\/05\/novas-realidades-novas-abordagens\/"},"modified":"2008-08-05T04:09:57","modified_gmt":"2008-08-05T07:09:57","slug":"novas-realidades-novas-abordagens","status":"publish","type":"post","link":"https:\/\/idanca.net\/novas-realidades-novas-abordagens\/","title":{"rendered":"Novas realidades, novas abordagens|New realities, new approaches"},"content":{"rendered":"

Este texto foi originalmente apresentado na sess\u00e3o de abertura do encontro anual 2003 da Ietm<\/a> em Birmingham, na Inglaterra. <\/strong><\/span><\/p>\n

Eu gostaria de acreditar que a mobilidade \u00e9 hoje um estado mental, mais que a mobilidade f\u00edsica. Alguns de n\u00f3s s\u00e3o afortunados que viajam infinitamente, alguns de n\u00f3s v\u00e3o em nossa imagina\u00e7\u00e3o \u00e0s m\u00edticas terras distantes, se comunicando com os antepassados, com soldados sem nome, com futuros terrestres.<\/span><\/p>\n

Freq\u00fcentemente, eu sou rotulado quando eu trabalho nos Estados Unidos. Sou chin\u00eas, ent\u00e3o me convidam a fazer uma \u00f3pera nova que seja uma fus\u00e3o da \u00f3pera chinesa e da \u00f3pera italiana. Sou chin\u00eas, ent\u00e3o me chamam para dirigir uma pe\u00e7a sobre tr\u00eas homens gay orientais.<\/span><\/p>\n

Eu chamo isto de nicho dim sum da temporada.<\/span><\/p>\n

Hibridismo sem-vergonha<\/strong><\/span><\/p>\n

Em 1995, eu comecei o projeto Flying Circus<\/a> em Cingapura. Este \u00e9 um projeto baseado na diferen\u00e7a e na negocia\u00e7\u00e3o cultural. Artistas asi\u00e1ticos foram convidados a partir de oposi\u00e7\u00f5es polares a explorar o continuum que \u00e9 a \u00ffsia hoje. Os artistas contempor\u00e2neos do mesmo pa\u00eds come\u00e7aram a conversar com seus artistas tradicionais (por exemplo os bailarinos contempor\u00e2neos com os mestres de m\u00e1scara tradicional). Os videoartistas trabalharam com os mestres do teatro sanskrit nascidos em fam\u00edlias tradicionais. Os m\u00fasicos de computador dialogaram com os ritualistas tibetanos. N\u00f3s n\u00e3o compartilhamos a mesma l\u00edngua e tivemos que nos esfor\u00e7ar para encontrar uma comunidade. N\u00f3s nos juntamos em nosso desejo ouvir uma voz nova, para compreender uma vis\u00e3o nova do mundo; alguns mais tentativamente, outros completamente famintos.<\/span><\/p>\n

Nesse estado de desorienta\u00e7\u00e3o, de constru\u00e7\u00e3o e desconstru\u00e7\u00e3o, de autenticidade e de reinven\u00e7\u00e3o, n\u00f3s criamos uma historia fr\u00e1gil mas compartilhada onde a esteira fosse puxada freq\u00fcentemente sob nossos p\u00e9s. Neste laborat\u00f3rio, a terra estava se deslocando constantemente, n\u00f3s tivemos que repensar nossos marcos. N\u00f3s sa\u00edmos do laborat\u00f3rio diferentes no retorno a nossas vidas criativas, mas para alguns de n\u00f3s esta janela compartilhada persiste ainda, provocada quando n\u00f3s nos encontrarmos outra vez alguns anos mais tarde ou quando encontramos com um outro esp\u00edrito familiar na areia movedi\u00e7a.<\/span><\/p>\n

E se n\u00f3s pararmos de pensar nos termos da etnicidade e projetarmos \u00e0 frente em afinidades? Eu posso ser chin\u00eas mas compartilho afinidade com um bailarino contempor\u00e2neo sul-africano cuja m\u00e3e seja uma sangoma, uma dan\u00e7arina sham\u00e2nica. N\u00f3s dois est\u00e3o tentando fazer o sentido do que \u00e9 hoje contempor\u00e2neo em nossas culturas, estando enraizados mas para transcender e transformar nossa hist\u00f3ria, mitologizar al\u00e9m da mem\u00f3ria.<\/span><\/p>\n

E se n\u00f3s pararmos de pensar em ter uma pe\u00e7a turca para falar \u00e0 comunidade turca? E se n\u00f3s nos afastarmos das equa\u00e7\u00f5es lineares? (“voc\u00ea \u00e9 asi\u00e1tico, ent\u00e3o vou convid\u00e1-lo quando n\u00f3s necessitamos energizar a communidade asi\u00e1tica”). E se n\u00f3s come\u00e7armos cruzar as linhas sem verginha, corajosamente, audaciosamente, hibridizando furosamente e infinitamente?<\/span><\/p>\n

Isto aconteceu quando eu fui convidado pela Casa das Culturas do Mundo (Haus der Kulturen der Welt<\/a>), em Berlim, para criar um festival para o p\u00fablico berlinense. Eu fiquei um pouco sobressaltado inicialmente: como posso eu, um n\u00e3o-europeu n\u00e3o baseado em Berlim, ser curador de um festival para uma audi\u00eancia com quem eu n\u00e3o compartilho uma historia? Mas talvez fosse este o ponto, talvez o festival devesse ser sobre o tempo e o espa\u00e7o serem em tr\u00e2nsito, nunca est\u00e1veis.<\/span><\/p>\n

Eu lembro de viajar a Zanzibar, na encruzilhada da \u00fffrica com o mundo \u00e1rabe. Eu tinha feito contato preliminar com alguns m\u00fasicos l\u00e1. Quando me apresentei na porta, eles ficaram chocados. Depois de negociar o choque, confessaram finalmente a mim que esperavam um homem branco, j\u00e1 que o festival In-Transit fica em Berlim. Elas n\u00e3o conseguiam aceitar minha pele amarela (China, Jap\u00e3o, Cor\u00e9ia?) com o fato de que eu falava ingl\u00eas e era o diretor art\u00edstico de um festival em Berlim.<\/span><\/p>\n

Hoje, os relacionamentos bin\u00e1rios est\u00e3o corro\u00eddos. H\u00e1 uma explos\u00e3o de potenciais que somente \u00e9 poss\u00edvel com mobilidade aumentada, hibrida\u00e7\u00e3o transforma-se um recurso mais que uma fraqueza. Talvez a diversidade cultural deva ser abordada criando uma viagem de abertura em seu teatro, mais do que direcionando a uma comunidade espec\u00edfica em sua cidade (sobretudo, ningu\u00e9m gosta sempre de ser um alvo!).<\/span><\/p>\n

Talvez a diversidade cultural deva ser sobre os processos transculturais m\u00faltiplos comm janelas abertas. Talvez a diversidade talvez cultural seja sobre escancarar o externo e interno constantemente, mesmo que isto n\u00e3o seja sempre confort\u00e1vel.<\/span><\/p>\n

Talvez n\u00f3s tenhamos que chegar primeiramente a uma confus\u00e3o das identidades antes de continuar num fluxo corrente de consci\u00eancia. Uma forma org\u00e2nica porosa e respirando desce em nossos teatros e come\u00e7a a respirar em un\u00edssono com as pessoas.<\/span><\/p>\n

Gram\u00e1tica geradora da diversidade cultural<\/strong><\/span><\/p>\n

Eu gostaria de ver artistas e institui\u00e7\u00f5es das artes indo al\u00e9m da pol\u00edtica de inclus\u00e3o que alguns dizem ter degenerado em rotula\u00e7\u00e3o e ghetto-isa\u00e7\u00e3o. Finalmente ela cumpriu a promessa de um espa\u00e7o compartilhado. Eu ouvi muitos lamentos de que os turcos ou os chineses n\u00e3o est\u00e3o vindo a este trabalho turco ou esta dan\u00e7a chinesa que foi curada especificamente para incluir outros setores da comunidade. No entanto, noto que n\u00e3o h\u00e1 nenhum problema quando estas comunidades n\u00e3o v\u00eam assistir ao Forced Entertainment (Sheffield) ou um Tchekhov ou Xavier le Roy (Berlim)! N\u00e2o \u00e9 sobre eles ent\u00e3o tudo bem se n\u00e3o vierem. O que vem a ser o problema com pol\u00edtica de inclus\u00e3o – n\u00f3s estamos ainda pensando dentro da caixa.<\/span><\/p>\n

Se n\u00e3o bastasse, a pol\u00edtica de inclus\u00e3o criou os estigma dos artistas n\u00e3o-t\u00e3o-bons que ganham muito dinheiro porque sua pele aconteceu de ser a certa! Mas o problema persiste. Eu lembro que ap\u00f3s o primeiro festival In-Transit em 2002, um artista contempor\u00e2neo amigo veio me perguntar “pode um artista \u00e9tnico ser um artista contempor\u00e2neo?” Eu me pergunto por que isso, j\u00e1 que eu trabalho na regi\u00e3o da arte contempor\u00e2neo e o In-Transit tinha apresentado justamente muitos artistas n\u00e3o-europeus que trabalhavam em contextos contempor\u00e2neos. Ent\u00e3o h\u00e1 os curadores que me dizem \u00e0s vezes que n\u00e3o encontraram nenhum trabalho contempor\u00e2neo na cidade que acabam de visitar. Fico ent\u00e3o estupefato a respeito do que \u00e9 arte contempor\u00e2nea? O contempor\u00e2neo \u00e9 definido pela Europa? N\u00e3o h\u00e1 espa\u00e7o para que o comtempor\u00e2neo esteja em continuum com suas raizes no passado, reinventado para que o presente seja modelos para o futuro? Est\u00e1 o contempor\u00e2neo j\u00e1 t\u00e3o definido que n\u00e3o h\u00e1 nenhum espa\u00e7o para a expans\u00e3o? Est\u00e1 o contempor\u00e2neo morto?<\/span><\/p>\n

Al\u00e9m da pol\u00edtica da inclus\u00e3o, eu gostaria de sugerir que n\u00f3s f\u00f4ssemos al\u00e9m da manifesta\u00e7\u00e3o f\u00edsica da etnicidade entre os artistas e na cidade. Sim, naturalmente, h\u00e1 uma face em muta\u00e7\u00e3o na Europa. O caminho para Birmingham tem p\u00fablico predominantemente n\u00e3o-branco no \u00f4nibus. Mas \u00e9 a abordagem certa simplesmente fornecer uma est\u00e9tica espec\u00edfica e performances espec\u00edficas para estas audi\u00eancias espec\u00edficas? Para mim, este \u00e9 o erro fundamental em muitos programas de diversidade cultural at\u00e9 agora – est\u00e3o procurando um conserto r\u00e1pido para impedir uma crise de descontentamento \u00e9tnico.<\/span><\/p>\n

Eu proponho que n\u00f3s olhemos al\u00e9m da face da diversidade cultural antes que os corpos da pol\u00edtica insistam na mudan\u00e7a com os instrumentos, legisla\u00e7\u00e3o e aumento dos financiamentos. O que est\u00e1 por tr\u00e1s da diversidade cultural, qual \u00e9 sua gram\u00e1tica geradora?<\/span><\/p>\n

A gram\u00e1tica geradora, como o nome sugere, \u00e9 um dos muitos blocos construtivos b\u00e1sicos em que a diversidade cultural se ap\u00f3ia. \u00c9 a gram\u00e1tica que cria a l\u00edngua, a express\u00e3o. Promove tamb\u00e9m um ambiente melhor para a for\u00e7a continuada da diversidade cultural na express\u00e3o. A esta altura, proponho que uma das gram\u00e1ticas geradoras da diversidade cultural \u00e9 a abertura. Sem abertura das comunidades constitutivas diferentes na cidade, seria dif\u00edcil come\u00e7ar mesmo a discutir programas tang\u00edveis de diversidade cultural. Sem abertura, a programa\u00e7\u00e3o toda seria somente cosm\u00e9tica. Sem destruir as vozes “aut\u00eanticas” da cidade, n\u00f3s nunca poderemos encontrar um espa\u00e7o compartilhado, porque determinadas vozes seriam preferidas a outras. Uma outra gram\u00e1tica geradora da diversidade cultural deve construir a multiplicidade das interpreta\u00e7\u00f5es, das identidades e finalmente de um espa\u00e7o “confundido” onde todos tenham uma reivindica\u00e7\u00e3o que deve ser entretida.<\/span><\/p>\n

A abertura e a multiplicidade n\u00e3o s\u00e3o reparos r\u00e1pidos, s\u00e3o basti\u00f5es de dif\u00edcil comprometimento, porque ambos podem ser demasiado vagos e demasiado perigosos.<\/span><\/p>\n

A presen\u00e7a de um laborat\u00f3rio robusto \u00e9 uma pr\u00e9-condi\u00e7\u00e3o a focalizar na gram\u00e1tica geradora da diversidade cultural. No laborat\u00f3rio In-Transit que n\u00f3s fizemos em Berlim, baseado no conceito do Flying Circus de Cingapura, artistas se encontraram cada manh\u00e3 para apresentar uma oficina, compartilharam um contexto, conduziram uma sess\u00e3o do treinamento das performances da noite anterior. O p\u00fablico veio a este espa\u00e7o poroso participar, refutar e ser informado. Durante estas sess\u00f5es da manh\u00e3 do laborat\u00f3rio, havia opini\u00f5es diferentes brandidas ao redor, desacordos e \u00e0s vezes tens\u00e3o, mas todos se permitiram arejar. Nas tardes, os artistas se recolhiam aos espa\u00e7os fechados onde discutiram projetos, experi\u00eancias conduzidas. Ap\u00f3s cada par de dias, as apresenta\u00e7\u00f5es informais eram feitas a uma plat\u00e9ia. Na sess\u00e3o do fim da tarde, n\u00f3s todos nos encontr\u00e1vamos na “sala de dormir”, com ch\u00e1 e biscoitos. L\u00e1 os artistas se aglutinavam em discuss\u00f5es facilitadas por cada um. Eu lembro uma sess\u00e3o interessante onde n\u00f3s discutimos o que \u00e9 produ\u00e7\u00e3o.<\/span><\/p>\n

Os escritores, em particular, discutiam fortemente que seu trabalho estava na gera\u00e7\u00e3o das id\u00e9ias e pensamentos. Esta era sua produ\u00e7\u00e3o e a prefer\u00eancia por oficinas f\u00edsicas poderia conduzir a uma prefer\u00eancia por uma modalidade da produ\u00e7\u00e3o. Em uma outra sess\u00e3o, algu\u00e9m acusou outro de traficar a tristeza nas produ\u00e7\u00f5es documentais que permitem que as audi\u00eancias consumam vicariosamente guerras e a dor infligida em culturas diferentes. Depois disso n\u00f3s trouxemos o p\u00fablico outra vez para as conversas, que foram concentradas nas diferentes problem\u00e1ticas da colabora\u00e7\u00e3o intercultural tal como a pol\u00edtica da tradu\u00e7\u00e3o etc.. Os artistas ent\u00e3o viram as performances p\u00fablicas uns dos outros, um outro deslocamento em sua identidade, do processo ao produto.<\/span><\/p>\n

O p\u00fablico participou em muitas janelas abertas do projeto, tais como as oficinas da manh\u00e3, as conversas com o p\u00fablico e naturalmente as performances (o \u00fanico evento com ingresso pago). A ele foi dada a oportunidade de n\u00edveis diferentes de conviv\u00eancia com os artistas e com diversidade. O p\u00fablico para estes eventos era diverso de forma natural e org\u00e2nica. Com estas janelas abertas, as plat\u00e9ias podem perceber o artista em esferas diferentes, em uma oficina, em uma discuss\u00e3o, em cria\u00e7\u00e3o, como int\u00e9rprete, numa improvisa\u00e7\u00e3o. Os artistas transformaram-se seus guias nesta viagem de abertura. As plat\u00e9ias v\u00eam compartilhar e fazer parte do discurso, n\u00e3o apenas para as performances prontas. Tiveram freq\u00fcentemente insights pessoais nas vidas e os trabalhos dos artistas.<\/span><\/p>\n

Viram os artistas correrem riscos no laborat\u00f3rio. Experimentaram os debates e foram \u00e0s vezes energicamente envolvidos neles. A diferen\u00e7a das abordagens e as interpreta\u00e7\u00f5es m\u00faltiplas eram n\u00e3o mais uma fonte de constrangimento mas um combust\u00edvel ativo para empurrar o laborat\u00f3rio a remanescer incompleto, sempre em-tr\u00e2nsito. H\u00e1 um car\u00e1ter imediato no contexto do laborat\u00f3rio que for\u00e7a a abertura mais que o produto art\u00edstico pronto, fechada, herm\u00e9tico. Juntos, plat\u00e9ia e artista come\u00e7am a mover as fornteiras fixas das culturas pessoais para participar em um espa\u00e7o transcultural – s\u00e3o transformadas lentamente em uma comunidade com valores e pensamentos compartilhados.<\/span><\/p>\n

Esta \u00e9 somente a ponta do iceberg. Deve-se realmente preparar a terra para o encontro futuro. O primeiro encontro nos conduz mais fortes para o encontro seguinte. Este \u00e9 o processo de tempo com que o laborat\u00f3rio, o teatro e a cidade geram os testes padr\u00f5es da comunidade, formas de celebra\u00e7\u00e3o, vistas m\u00faltiplas do mundo. O que estou dizendo? Eu estou dizendo que tal trabalho necessita a paci\u00eancia. Tal trabalho requer uma confian\u00e7a inata e uma coragem imensa em persistir e insistir. \u00c9 um processo de di\u00e1logo, uma plataforma onde as id\u00e9ias, trabalhos, sejam negociadas loucamente como no mercado de a\u00e7\u00f5es, onde a euforia e a dor s\u00e3o amantes. Todos os artistas v\u00eam para as oficinas. E compartilham habilidades. E se apresentam cada noite. Mas esta performance \u00e9 como um presente. E h\u00e1 uma plat\u00e9ia l\u00e1 para testemunhar o presente.<\/span><\/p>\n

Estes artistas recolhem as id\u00e9ias para levar de volta \u00e0 casa e em um sentido forma afetados, impactados em sua maneira de pensar, sua maneira de trabalhar. Assim, ao longo do caminho, h\u00e1 eventos para p\u00fablico, eventos para gestores de pol\u00edtica, eventos para pensadores culturais. Tudo que acontece em uma estrutura gigante como a que Vito Acconci constru\u00edu para Graz, capital cultural de Europa em 2003. O p\u00fablico passa, entrando por corredores longos, a estrutura pr\u00f3pria \u00e9 suspendida precariamente acima de um rio. Na estrutura, h\u00e1 uma circula\u00e7\u00e3o, um fluxo e umas interfases. Ap\u00f3s ter feito estes laborat\u00f3rios por oito anos, eu sei que inicialmente a resposta do artista \u00e9 \u00e0s vezes de raiva, viol\u00eancia e ressentimento porque voc\u00ea os est\u00e1 pondo realmente em um contexto onde t\u00eam que se deslocar de suas zonas de conforto para algum outro lugar. E tornam-se em um sentido muito agitados. Mas depois que alguns meses come\u00e7a fluir outra vez. As portas come\u00e7am abrir. E n\u00e3o me refiro a t\u00e9cnicas.Talvez o desejo se acenda. E os artistas sentem que querem trabalhar com os povos de outras culturas. Querem compreender mais de outras culturas, eles t\u00eam uma sede. Isto, eu acredito, reflete as jornadas da plat\u00e9ia tamb\u00e9m.<\/span><\/p>\n

Realidades m\u00faltiplas: as justaposi\u00e7\u00f5es inesperadas, afinidaoes melhor que etnicidade<\/strong><\/span><\/p>\n

N\u00f3s devemos deliberadamente nos afastar de uma perspectiva pol\u00ecticamente correta, n\u00f3s devemos desafiar este cuidado que pode limitar. Ser\u00e1 perigoso, mas isto \u00e9 parte de todo encontro: o perigo e seu excitamento. H\u00e1 dois anos, eu dirigi uma produ\u00e7\u00e3o em Tokyo onde o objetivo era engajar a jovem plat\u00e9ia sobre a Segunda Guerra Mundial, quando o Jap\u00e3o foi um agressor na \u00ffsia. Eu propus representar este assunto em um ambiente de clube noturno. N\u00f3s fizemos a pe\u00e7a para plat\u00e9ias jovens que pensam de que esta historia n\u00e3o \u00e9 uma parte de suas vidas. A Segunda Guerra Mundial \u00e9 algo do passado. Os livros de Hist\u00f3ria do Jap\u00e3o minimizam a real agress\u00e3o japonesa. Em lugar disso, focalizam na bomba de Hiroshima, quando o Jap\u00e3o era uma v\u00edtima na Guerra.<\/span><\/p>\n

N\u00f3s ent\u00e3o juntamos jovens artistas como djs, artistas do hip hop, estilistas, decoradores, quadrinistas, drag queens, pessoas que n\u00e3o v\u00eam do “teatro” convencional. E eles trouxeram sua plat\u00e9ia. N\u00f3s giramos o vinil em um ambiente de clube e falamos sobre este material realmente pesado da guerra – como um cabar\u00e9 que faz a festa enquanto a morte ataca l\u00e1 fora. A plat\u00e9ia jovem ficou chocada. Seus \u00eddolos estavam comportando-se fora do contexto. Sentiram que esta quest\u00e3o das mulheres prostitutas da guerra e o que o Jap\u00e3o tinha feito nos 1940s \u00e9 algo que pertenceu aos pol\u00edticos, a seus pais. Leram nos jornais sobre como as mulheres coreanas est\u00e3o exigindo a compensa\u00e7\u00e3o agora para o que aconteceu na guerra, quando foram feitas prostitutas, servindo a cem soldados japoneses por dia. Quando voc\u00ea traz este material ao mundo do clube ficam chocados. Porque este \u00e9 seu mundo. E t\u00eam que tratar disso. O que acontece quando no meio de um show de drag queen ou num momento trance voc\u00ea tem algu\u00e9m falando sobre como era ser “confort women”? E momentaneamente voc\u00ea fica desorientado. Voc\u00ea pensou que voc\u00ea estava no clube e de repente as quest\u00f5es de seus pais ou de seu governo v\u00eam ao clube. Quando voc\u00ea junta situa\u00e7\u00f5es e assuntos desta maneira inesperada, voc\u00ea come\u00e7a ter uma maneira diferente de perceber.<\/span><\/p>\n

Pares inesperados – talvez n\u00f3s necessitemos ir al\u00e9m da etnicidade e juntar os artistas em suas afinidades compartilhadas. As afinidades que n\u00e3o s\u00e3o imediatamente fisicamente evidentes mas que emergem das narrativas paralelas. Como a artista visual de Belgrado Tanya Ostojic, que fez um projeto autobiogr\u00e1fico chamado “Procurando um marido com um passaportr da Comunidade Europ\u00e9ia”. Como a busca pessoal por uma casa ,do bailarino de Nova York Ralph Lemon, quando ele retra\u00e7a a luta da liberdade dos afro-americanos e seu combate aos linchamentos enquanto comemoram suas vidas com jazz e blues. E apresentando estas afinidades n\u00e3o como produtos terminados mas como perguntas abertas, feridas abertas que est\u00e3o sendo feitas ainda, que est\u00e3o sendo vividas, que est\u00e3o ainda sendo vestidas. A arte torna-se mais transl\u00facido porque h\u00e1 uma reconsidera\u00e7\u00e3o do relacionamento entre a arte e a vida.<\/span><\/p>\n

Eu n\u00e3o estou preocupado aqui com a autenticidade, mas que as plat\u00e9ias se lembrem uma vez mais que a arte \u00e9 uma plataforma para discutir nosso mundo, seja em fantasias ou em respostas extremamente individuais.<\/span><\/p>\n

Eu n\u00e3o estou interessado em aprender as etapas reais ou a can\u00e7\u00e3o correta ou a maneira certa. Porque sua maneira \u00e9 muito diferente de minha maneira. Talvez, porque para mim o objetivo final \u00e9 bifurcado, me tornar mais aberto quando encontro religi\u00f5es diferentes e filosofias diferentes, mas me disciplinar tamb\u00e9m para criar constantemente maneiras novas de pensar.<\/span><\/p>\n

Eu acredito que a colabora\u00e7\u00e3o intercultural \u00e9 sobre eficazmente tecer estas experi\u00eancias diferentes juntos em uma respira\u00e7\u00e3o \u00fanica com as plat\u00e9ias, para que uma tape\u00e7aria coletiva possa se formar, uma tape\u00e7aria coletiva em torno de um tema, embora \u00e0s vezes haja rupturas e meandros.<\/span><\/p>\n

Deixe um artista \u00e1rabe trabalhar com a comunidade imigrante chinesa em nossa cidade. Por que n\u00e3o? Talvez em seu esfor\u00e7o para encontrar uma terra comum, para dar forma a uma narrativa, esteja o pulso da diversidade cultural.<\/span><\/p>\n

Vivendo em uma sociedade multiracial, multireligiosa como Cingapura, n\u00e3o h\u00e1 homogeneidade. E voc\u00ea tem que lidar com esta realidade. E voc\u00ea lida com isto comutando c\u00f3digos. Eu sei quando usar o singlish (ingl\u00eas de Cingapura) ou quando usar um ingl\u00eas mais formal ou quando usar o chin\u00eas. Em Cingapura voc\u00ea est\u00e1 muito entre culturas. O ingl\u00eas \u00e9 a primeira l\u00edngua mas eu sou de ascend\u00eancia chinesa. Mesmo quando voc\u00ea come\u00e7a a atuar, voc\u00ea est\u00e1 descrevendo talvez uma situa\u00e7\u00e3o chinesa e voc\u00ea est\u00e1 usando o ingl\u00eas. Ent\u00e3o j\u00e1 \u00e9 ‘intercultural’.<\/span><\/p>\n

A vida di\u00e1ria \u00e9 sobre m\u00faltiplas realidades e tipos diferentes de identidades. Eu fui a uma escola protestante onde n\u00f3s t\u00ednhamos capela e ora\u00e7\u00f5es. H\u00e1 uma atividade religiosa que cerca os estudos. Ao mesmo tempo eu ia para casa para a adora\u00e7\u00e3o ancestral chinesa e o budismo porque meus pais s\u00e3o budistas. Assim voc\u00ea se torna um mestre na troca de c\u00f3digos. Comutar de uma religi\u00e3o a outra. No entanto sem o sentimento de que voc\u00ea est\u00e1 traindo uma ou outra religi\u00e3o. Que voc\u00ea est\u00e1 dando o que voc\u00ea pode dar inteiramente a ambas as religi\u00f5es. Que voc\u00ea \u00e9 muitas pessoas diferentes em um corpo e muitos esp\u00edritos diferentes em um corpo. E continua com a l\u00edngua. Eu falo o chin\u00eas com meus pais. Mas falo o ingl\u00eas com todos meus irm\u00e3os, com meus amigos e com o mundo. Estes s\u00e3o os selves m\u00faltiplos em mim. Conforme me torno mais velho alguns destes selves come\u00e7am a tremer e desaparecer. Acho que porque como crian\u00e7a voc\u00ea tem muitas identidades diferentes, muitos mundos imagin\u00e1rios diferentes. E estes desaparecem enquanto voc\u00ea cresce mais velho.<\/span><\/p>\n

Este \u00e9 o desafio da diversidade cultural em nossos teatros, nossos mundos, para que n\u00f3s provoquemos as identidades diferentes em cada membro de nossas plat\u00e9ias. Que n\u00f3s fomos uma vez diversos dentro de n\u00f3s mas abafamos nossos mundos imagin\u00e1rios diferentes para pertencer ao mainstream social singular. N\u00f3s nos projetamos como uma identidade reparada de modo a que n\u00f3s possamos pertencer, de modo que n\u00e3o nos atirem nada.<\/span><\/p>\n

Para concluir<\/strong><\/span><\/p>\n

H\u00e1 alguns povos que dizem que o trabalho intercultural \u00e9 um luxo. Eu acredito que o trabalho intercultural \u00e9 uma necessidade porque n\u00f3s lutamos com as diferen\u00e7as em n\u00f3s e escondemos freq\u00fcentemente as diferen\u00e7as entre n\u00f3s. Ano que vem estarei trabalhando com o The Kitchen, em NY, para criar um instituto para os artistas novos que est\u00e3o ainda na universidade, uma estadia de ver\u00e3o para come\u00e7ar a pensar sobre a diversidade cultural na criatividade. A colabora\u00e7\u00e3o internacional intercultural necessita incluir abordagens diferentes e estrat\u00e9gias diferentes, quero dizer, \u00e9 para isso que n\u00f3s trabalhamos com os povos, para se associar ao desconhecido em vez de confirmar o que j\u00e1 sabemos. A colabora\u00e7\u00e3o intercultural precisa de espa\u00e7o para refletir as tens\u00f5es diferentes mesmo dentro de um indiv\u00edduo. Um espa\u00e7o de laborat\u00f3rio n\u00e3o \u00e9 um festival internacional, \u00e9 tamb\u00e9m muito diferente de um festival onde voc\u00ea tenha as oficinas de t\u00e9cnica que est\u00e3o sendo dadas por dez bailarinos diferentes e voc\u00ea aprende contato-improvisa\u00e7\u00e3o, hiphop, butoh etc..<\/span><\/p>\n

N\u00e3o posso dizer concretamente o que foi conseguido. Mas eu sei que muitos dos artistas ap\u00f3s terem visitado o Flying Circus come\u00e7am a sonhar projetos juntos, atrav\u00e9s das fronteiras. E n\u00f3s temos a evid\u00eancias. Em 1999 a Funda\u00e7\u00e3o Ford<\/a> se disp\u00f4s a dar sustenta\u00e7\u00e3o \u00e0 colabora\u00e7\u00e3o intercultural asi\u00e1tica. Ent\u00e3o eu juntei uma rede pequena, chamada arts network asia<\/a>, com um painel de artistas. N\u00f3s come\u00e7amos a abordar nichos que as institui\u00e7\u00f5es financiadoras n\u00e3o davam aten\u00e7\u00e3o. N\u00f3s fizemos considera\u00e7\u00f5es sobre pol\u00edtica que eram amig\u00e1veis aos artistas e processos. N\u00f3s mandamos cartas em oito l\u00ednguas diferentes aos artistas para convid\u00e1-los a aplicar para fundos para pesquisa ou processos. O dinheiro n\u00e3o \u00e9 muito mas come\u00e7a o projeto (infelizmente o painel de artistas n\u00e3o pode aplicar para estes fundos). E muitos dos artistas que passaram pelo Flying Circus aplicaram para esta rede. Porque querem desenvolver uma parte de trabalho em conjunto. Eu acho que este \u00e9 um grande sinal de que assim que voc\u00ea abrir portas, as pessoas come\u00e7am a ser curiosas. E cruzam o ponto inicial para emergir em sonhos novos. Atrav\u00e9s da arts network asia<\/a>, muitas imagina\u00e7\u00f5es diferentes foram sustentadas. Quando a imagina\u00e7\u00e3o seca ou se extingue, \u00e9 quando teremos perdido um momento vivo<\/span><\/p>\n


\n<\/span>This text was originally presented as the oppening session of Ietm<\/a> annual meeting 2003, in Birmingham, UK. <\/strong><\/span><\/p>\n

I would like to believe that mobility today is a state of mind rather than physical mobility. Some of us are fortunate to travel endlessly, some of us travel in our imagination to far away mythic lands, communicating with ancestors, with unnamed soldiers, with future terrestrials.<\/span><\/p>\n

Often, I find myself typecast when I work in the usa. I am a chinese so they invite me to make a new opera which is a fusion of chinese opera and italian opera. I am a chinese so they call me in to direct a play about 3 oriental gay men.<\/span><\/p>\n

I call this the dim sum slot in the season.<\/span><\/p>\n

shameless hybridity<\/strong><\/span><\/p>\n

In 1995, I started the Flying Circus Project<\/a> in Singapore. This is a project based on difference and cultural negotiation. Asian artists were invited from polar opposites to explore the continuum which is asia today. Contemporary artists from the same country began to converse with their traditional artists (eg.contemporary dancers with traditional mask dance masters). Video artists worked with sanskrit theatre masters who had been born into traditional families. Computer musicians dialogued with tibetan ritualists. We did not share the same language and we had to struggle to find a commonality. We were joined in our desire to hear a new voice, to understand a new world view; some more tentatively, others quite hungrily.<\/span><\/p>\n

In that state of disorientation, of construction and deconstruction, of authenticity and reinvention, we created a fragile but shared history where often the mat was pulled from under our feet. In this lab, the ground was constantly shifting, we had to rethink our landmarks. We left the lab to return to our different creative lives but for some of us this shared window still lingers on, triggered when we meet again some years later or when we meet another kindred spirit on shifting sands.<\/span><\/p>\n

What if we stop thinking in terms of ethnicity and project forward into affinitiy? I may be a chinese but I share an affinity with a south african contemporary dancer whose mother is a sangoma, a shaman dancer. Both of us are trying to make sense of what is contemporary today in our cultures, to stay rooted but yet transcend and transform our histories, to mythologise beyond memory.<\/span><\/p>\n

What if we stop thinking of having a turkish play to speak to the turkish community? What if we move away from the linear equations? (“you are asian, so I will invite you when we need to energize the asian community”) what if we start crossing the lines shamelessly, boldly, recklessly, hybridising furiously and infinitely?<\/span><\/p>\n

This happened when I was invited by Haus der Kulturen der Welt<\/a>, in Berlin, to conceive and create a festival for the audience of Berlin. I was a little thrown initially: how can I, a non-european who is not based in berlin, curate a festival for an audience whom I did not share a history with? But perhaps that was the point, perhaps the festival should be about time and space being in-transit, never stable.<\/span><\/p>\n

I remember travelling to Zanzibar, the crossroads of Africa and the arab world. I had made preliminary contact with some musicians there. When I presented myself at the doorstep, they were stunned. After some moments of negotiating the shock, they finally confessed to me that they had expected a white man as the in-transit festival is in berlin. They could not reconcile my yellow skin (China, Japan, Korea?) With the fact that I speak english and that I am the artistic director of a festival in berlin.<\/span><\/p>\n

Today, binary relationships are eroded, there is an explosion of potentials which is only possible with increased mobility, hybridity becomes an asset rather than a weakness.<\/span><\/p>\n

Perhaps cultural diversity has to be addressed by creating a journey of openness in your theatre rather than targetting a specific community in your city (after all, nobody ever likes being a target!)<\/span><\/p>\n

Perhaps cultural diversity has to be about multiple transcultural processes which have open windows.<\/span><\/p>\n

Perhaps cultural diversity is about straddling the outside and inside constantly even though this is not always comfortable.<\/span><\/p>\n

Perhaps we have to arrive first at a confusion of identities before continuing onto a mobile stream of consciousness.<\/span><\/p>\n

A porous breathing organic shape descends into our theatres and begins to breathe in concert with the people.<\/span><\/p>\n

Generative grammar of cultural diversity<\/strong><\/span><\/p>\n

I would like to see artists and arts institutions go beyond the politics of inclusion which some say has degenerated into branding and ghetto-isation. Ultimately it has not yielded the promise of a shared space. I have had many a lament in my direction that the turks or the chinese are not coming to this turkish work or that chinese dance which has been specifically curated to include other sectors of the community in the city. Conversely, I note that there is no problem when these communities do not come to force entertainment (sheffield) or chekhov or xavier le roy (berlin)! Its not about them so its alright if they don\u2019t come. Which is the problem with politics of inclusion \u2013 we are still thinking inside the box.<\/span><\/p>\n

If anything, the politics of inclusion has gained a stigma of not-so-good artists who get pots of money because their skin happens to be right! But the problem persists. I remember after the first in-transit festival in 2002, I had a contemporary artist friend coming up to ask me “can an ethnic artist be a contemporary artist?” I did wonder why he was telling me this, bearing in mind that I make work within the realm of contemporary art and that in-transit had just presented many non-european artists who were working in contemporary contexts. Then there are curators who sometimes tell me that they could not find any contemporary work in the city they had just visited. So I am often stupefied as to what is contemporary art? Is contemporary defined by europe? Is there no room for the contemporary to be a continuum with its roots in the past, reinvented for the present to be role models for the future? Is contemporary already so marked that there is no space left for expansion? Is the contemporary dead?<\/span><\/p>\n

Beyond the politics of inclusion, I would like to suggest that we have to go behind the physical manifestation of ethnicity amongst the artists and in the city. Yes, of course, there is the changing face of europe. Enroute to birmingham there was a predominantly non-white public in the bus. But is the approach simply catering for specific aesthetics and specific performances for these specific audiences? For me, this is the fundamental error in many cultural diversity programmes so far \u2013 they are looking for a quick-fix in order to prevent a crisis of ethnic discontent. I propose that we need to look behind the face of cultural diversity before policy bodies insist on change through instruments, legislation and increased funding. What lies behind cultural diversity, what is its generative grammar?<\/span><\/p>\n

Generative grammar, as the name suggests, is one of many basic building blocks on which cultural diversity rests upon. It is the grammar which creates the language, the expression. It also furthers a better environment for the continued strength of cultural diversity in expression. To this end, I propose that one of the generative grammars of cultural diversity is openness. Without openness from the different constituencies\/communities in the city, it would be difficult to even begin discussing tangible programmes of cultural diversity. Without openness, all diverse programming would only be cosmetic. Without destroying the \u2018authentic\u2019 voices of the city, we can never find a shared space as certain voices would be preferred above others. Another generative grammar of cultural diversity is to build multiplicity of interpretations, identities and ultimately a \u2018confused\u2019 space where everybody has a claim that must be entertained.<\/span><\/p>\n

Openness and multiplicity are not quick-fix ideas, they are difficult bastions to commit to as they can both be too vague and too dangerous.<\/span><\/p>\n

The presence of a robust laboratory is a pre-condition to focus on the generative grammar of cultural diversity. In the in-transit laboratory which we made in berlin based on the singapore Flying Circus concept, artists would meet every morning to present a workshop, share a context, lead a training session from the performances of the night before. The public came into this porous space to participate, refute and to be informed. During these lab morning sessions, there would be different opinions bandied around, disagreements and sometimes tension but all would be allowed an airing. In the afternoons, the artists retreated to private spaces where they discussed projects, conducted experiments. After each couple of days, informal presentations were made with an audience. In the late afternoon, we would all meet in the \u2018sleeping room\u2019 with tea and biscuits. There the artists would engage in discussions facilitated by each other. I remember one interesting session where we discussed what is \u2018production\u2019.<\/span><\/p>\n

The cultural writers, in particular, were strongly arguing that their work was in the generation of ideas and thoughts. This was their production and the preferencing of physical workshops could lead to a preferencing of one mode of production. In another session, some else pointed at the trafficking of sorrow in the documentary productions which allowed the audience to consume vicariously wars and pain inflicted in different cultures. Thereafter we joined the public again for talks which were concentrated on different problematics of intercultural collaboration such as the politics of translation etc. The artists then saw each other\u2019s public performances, another shift in their identity from process to product.<\/span><\/p>\n

The public participated in the many open windows of the project, such as the morning workshops, the public talks and of course the performances (the only ticketed event). They were given the opportunity of different levels of engaging with the artists and with diversity. The public for these events were diverse in a natural and organic manner.<\/span><\/p>\n

With these open windows, the audiences can perceive the artist in different spheres, in a workshop, in a discussion, in creating, in performing, in improvising. The artists became their transporters in this journey of openness. Audiences come to share and partake in the discourse, not just for the finished performances. They often got very personal insights into the lives and the works of the artists.<\/span><\/p>\n

Audiences saw the artists taking the risk in the lab. They experienced the debates and sometimes were even energetically involved in them. The difference of approaches and multiple interpretations were no longer a source of embarrassment but an active fuel to push the laboratory to remain unfinished, to remain always in-transit. There is an immediacy in the laboratory context which stresses the openness rather than the completed, closed, hermetic artwork. Together the audiences and the artists begin to move the fixed borders of personal cultures to enter into a transcultural space \u2013 they are slowly transformed into a community with shared values and thoughts.<\/span><\/p>\n

This is only the tip of the iceberg. It is really to prepare the ground for future encounters. The first encounter will lead us to become stronger for the next encounter. This is the process of time through which the lab, the theatre and the city generates community patterns, ways of celebration, multiple world views. What am I saying? I am saying that such work needs patience. Such work requires an innate trust and an immense courage to persist and insist. It is a process of dialogue, a platform where ideas, works are traded madly like in the stock market, where euphoria and pain are bedmates. All the artists come for each other\u2019s workshops. And they share skills with each other. And they perform every night. But that performance is like a gift to each other. And there is an audience there to witness the gift.<\/span><\/p>\n

These artists gather the ideas to bring back home and in a sense it has effected, impacted their way of thinking, their way of working. So along the way there are events for audiences, there are events for policy makers, events for cultural thinkers. All happening in a giant structure much like the one that Vito Acconci built for Graz, the cultural capital of Europe in 2003. The public passes through, entering it by long corridors, the structure itself is precariously suspended above a river. In the structure, there is circulation, flow and interphases.<\/span><\/p>\n

After making these laboratories for eight years, I know that initially the response of the artist is sometimes of anger and violence and resentment because you are actually putting them into a context where they have to shift out of their comfort zones into somewhere else. And they become in a sense very agitated. But after a few months it starts to flow again. Doors start to open. And by this I do not mean techniques. Maybe the desire is kindled. And the artists feel that they want to work with people from other cultures. They want to understand more of other cultures, they have a thirst. This, I believe, reflects the journies of the audiences as well.<\/span><\/p>\n

Multiple realities: unexpected juxtapositions, affinities rather than ethnicity<\/strong><\/span><\/p>\n

We should deliberately move away from a politically correct perspective, we should challenge this cautiousness which can be limiting. It will be dangerous but this is included in any encounter: the danger and its excitement.<\/span><\/p>\n

Two years ago, I directed a production in Tokyo where the objective was to engage young audiences with worldwar 2 when Japan was an aggressor in Asia. I proposed to represent this subject in a club environment. We played to young audiences who do not think that this history is a part of their lives. Worldwar ii is something of the past. History books of Japan actually downplay the Japanese aggression. Instead they will focus on the hiroshima bomb when Japan was a victim in worldwar 2.<\/span><\/p>\n

So we brought together young artists like djs, hip performance artists, fashion designers, interior decorators, strip artists, drag queens, people who do not come from the conventional ‘theatre’ world. And they brought their audiences. We spun vinyl in a club ambience and talked about this really heavy material of war – like a cabaret partying while death is raging outside.The young audiences were stunned. Their idols were behaving out of context. They felt that this issue of war and comfort women and what Japan had done in the 1940s is something which belonged to politicians, belonged to their fathers. They have read in the papers about how Korean women are demanding compensation now for what happened in the war, when they were made into prostitutes, serving a hundred soldiers a day. When you bring this material into the club world they are shocked. Because this is their world. And they have to deal with it. What happens when in the middle of a transvestite dragshow or in a trance dance moment, you have somebody speaking about how she was made into a comfort woman? And momentarily you are disoriented. You thought you were in the club and suddenly the issues of your fathers or of your government come into that club. When you couple situations and issues in this unexpected way, you start to have a different way of perceiving.<\/span><\/p>\n

Unexpected couplings – perhaps we need to leave behind ethnicity and bring artists together in their shared affinities. Affinities which are not immediately physically evident but which emerge from parallel narratives. A belgrade visual artist tanya ostojic who made a autobiographical project called “looking for a husband with an eu passport”. A new york dancer ralph lemon\u2019s personal search for home as he traces the freedom fight of african americans, as they battled lynchings, as they celebrated their lives with jazz and blues music. And presenting these affinities not as finished products but as open questions, open wounds which are still being made, still being lived, still being dressed. The artbox becomes translucent as there is a reconsideration of the relationship between art and life.<\/span><\/p>\n

I am not concerned here about authenticity but that the audience becomes once more reminded that art is a platform to discuss our world, albeit in fantasies or in extremely individual responses.<\/span><\/p>\n

I am not interested in learning the real steps or the correct song or the way. Because their way is very different from my way. Perhaps, for me the end objective is twofold, to become more open when I encounter different religions and different philosophies but also to discipline myself to constantly make new ways of thinking.<\/span><\/p>\n

I believe that intercultural collaboration is about effectively weaving these different experiences together into one breath with the audience so that a collective tapestry can be formed, a collective tapestry around a thematic even though the thematic sometimes breaks and meanders.<\/span><\/p>\n

Lets have an arabic artist working with the chinese immigrant community in our city. Why not?? Perhaps in their struggle to find a common ground, to shape a narrative, that is the pulse of cultural diversity.<\/span><\/p>\n

Living in a multi racial, multi religious society like singapore, it is not homogenous. And you have to deal with this reality. And you deal with this reality by switching codes. I know when to use singlish (singaporean english) or when to use more formal english or when to use chinese. In singapore you are very much in between cultures. English is the first language but I am of chinese descent. Even when you first begin performing, you are maybe depicting a chinese situation and you are using english. So already it is ‘intercultural’.<\/span><\/p>\n

Everyday life is about mutiple realities and living with different kinds of identities. I went to a protestant school where we would have chapel and prayers. There is religious activity surrounding the studies. At the same time I will go home to chinese ancestral worship and to buddhism as my parents are buddhists. So you bcome a master at switching codes. Switching from one religion into another religion. And yet feeling that you are not betraying either religion. That you are giving what you can give fully in both religions. That you are many different people in one body and many different spirits in one body. It also goes down to language. I speak chinese with my parents. But I speak english with all my siblings, with my friends and with the world outside. These are the multiple selves in one. As I become older some of these selves start to shrivel and diasappear. I think as a child you have many different identities, many different imaginary worlds. And these disappear as you grow older.<\/span><\/p>\n

This is the challenge of cultural diversity in our theatres, our worlds, for us to trigger the different identities in each member of our audience. That we were once diverse within ourselves but we shed our different imaginary worlds to belong to the singular social mainstream. We project ourselves as one fixed identity so that we can belong, so that we are not frowned at. To conclude<\/strong><\/span><\/p>\n

There are some people who say that intercultural work is a luxury. I believe that intercultural work is a necessity as we grapple with the differences in us which we often hide and the differences amongst us. Next year, I will be working with the kitchen in nyc to create a summer institute for young artists who are still in university, a good time to start thinking about cultural diversity in creativity.<\/span><\/p>\n

Intercultural international collaboration needs to be inclusive of different approaches and different strategies, I mean that is why we work with other people to engage with the unknown instead of confirming the known. Intercultural collaboration needs a space to reflect the different tensions and doubts even within an individual. A lab space is not an international festival, it is also very different from a dance festival where you have technique workshops being given by ten different dancers and you learn contact improvisation, you learn hiphop, you learn butoh etc.I can’t say concretely what has been achieved. But I do know that a lot of the artists after visiting the Flying Circus, they start to dream of projects together, across borders. And we have evidence of this.<\/span><\/p>\n

In 1999 Ford Foundation<\/a> was willing to give support asian intercultural collaboration. So I set up a small network, called arts network asia<\/a>, with a panel of peer artists. We began to address niches which the funding institutions were not. We made policy considerations which were artist and process friendly. We send out letters in eight different languages to artists to invite them to apply for funds either for research or processes. The money is not much but it starts the project (unfortunately the peer panel cannot apply for these funds). And there have been a lot of artists who have been through the Flying Circus who apply to this network. Because they want to develop a piece of work with each other. I think this is a big sign that as soon as you open doors, people begin to be curious. And they cross the threshold to emerge into new dreams. Through the arts network asia<\/a>, many different imaginations have been sustained.<\/span><\/p>\n

When imagination dries up or shrivels, then we have lost a living moment.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O diretor e dramaturgo Ong Ken Sen p\u00f5e o dedo na ferida da diversidade cultural na colabora\u00e7\u00e3o art\u00edstica|Director and dramaturg Ong Ken Sen points the wound of cultural diversity in artistic colaboration<\/p>\n","protected":false},"author":78,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,28],"tags":[669,1327,273,816,1326,1325,1328],"yoast_head":"\nNovas realidades, novas abordagens|New realities, new approaches -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/novas-realidades-novas-abordagens\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" 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