on interculturalism rcrossroadsoads
2 on interculturalism cross on interculturalism crosscontents
introduction Mark Deputter 2.0.1 thematic contributions 2.1.1 Free Reflections on African Dance Ousmane Boundaoné 2.1.2 1 Thoughts for Action Mark Deputter 2.1.5
portraits 2.2.1 Studios Kabako Virginie Dupray 2.2.2 Centre of Choreographic Development - Ouagadougou Salia Sanou 2.2.5 Afrique en créations - "Dances under creation” Valérie Thfoin 2.2.9 2 CACAO/CCAWA - "A stage in the organisation of cultural civil society in Africa" Isabelle Bosman 2.2.11 Arts Network Asia Ong Keng Sen 2.2.16
reports 2.3.1 IETM Satellite Meeting / Africalia Professional Meetings 3 (12 -13 March 2003, Brussels) Amélie Clément 2.3.2 2. 0. 1
on interculturalism roadsintroduction
This second edition of Crossroads is meant as a continuation of Crossroads 1 and as a working document for the discussion group on Contemporary Dance in Africa at the IETM Plenary Meeting in Birmingham (9 - 12 Oct 2003). As such, it contains three types of contributions: Portraits, Thematic Contributions and Reports. In the series of "Portraits", Crossroads 2 continues to present a number of interesting projects, festivals, art schools, companies, venues, etc. that stimulate North-South collaboration in their daily practice. After Shuttle 02 (Denmark/South-Africa), L'École des Sables (Senegal), Festival of the Dhow (Zanzibar) and Dançar o que é Nosso (Portugal/Cape Verde/Mozambique/Brazil), we present in this publication Studios Kabako (RD Congo), the Centre de Développement Chorégraphique de Ouagadougou (Burkina Faso), Afrique en Créations (France and many African countries) and the regional arts networks CACAO/CCAWA (West Africa) and Arts Network Asia (Asia). Although the latter is obviously not an African network, it is a fascinating example of how networking can help to create new dynamics in regional south-south exchange. Next to the "Portraits", Crossroads 2 contains the report of the IETM Satellite Meeting held in Brussels during the Africalia African Dance Platform last March. Finally, Crossroads 2 includes two texts written in preparation of the Birmingham Meeting. The aim of this meeting is to build upon the results of the meetings of Lisbon (Danças na Cidade, June 2002) and Brussels (Africalia, March 2003), where many problems have been discussed, people have met, points of view have been compared. In Birmingham it is our objective to do one more step 2. 0. 2
on interculturalism crossintroduction
and discuss concrete strategies to support the development of contemporary dance in Africa and create the basis for a more regular and balanced artistic exchange between the North and the South. A first text contains a number of crucial reflections about African dance by Ousmane Boundaoné, moderator of the meeting. The second one is a compilation of ideas and proposals taken from previous meetings and from replies to a request directed to the people invited by IETM to participate in the Birmingham meeting. We thank all contributors to this publication for their valuable participation and hope that Crossroads 2 may provide interesting lecture and food for thought for our meeting in Birmingham.
Mark Deputter I Editor 2. 1. 1
roadsthematic contributions 2. 1. 2 roadsfree reflections on african dance ousmane boundaoné
"Contemporary African dance, traditionally inspired dance, dance of creativeness or creative dance or even trad-contemporary dance": these are a few of the terms used to designate what is known as new African dance. Its very visible development presents all kinds of problems with regard to what name it should be given. However we should not lose sight of the real issue here. It is worth noting that this difficulty, or more precisely this modesty, reflects an uneasiness or a frame of mind that wants African creations to be given one connotation or another. It is not this debate that interests me, but it is important to understand this uneasiness and the motivations these 'new' creators have, above all how they see themselves, and finally what their aspirations might be. I would like to limit my reflection in time (starting from "Yennenga" in 1992 by choreographer Irène Tassembédo from Burkina Faso) and in space, that of West Africa, with some references to southern and central Africa. This contribution makes use of two lines of thought that to my mind illustrate the two tendencies in dance in Africa - two tendencies that seem irreconcilable to me. The first gains strength in this comment from Florent Eustache Hessou, director of the National Ballet of Benin and the Ori Dance Club company. In the magazine Oriculture, he says: "With the Ori Dance Club, dance has become a valuable export product, a product able to generate immeasurable financial resources and so boost development". The second tendency can be found in an interview with Seydou Boro in Libération and reprinted in the programme to the Salia nï Seydou company's latest creation entitled "Weeleni, l'appel". In essence it says: "We are not breaking 2. 1. 3
free reflections on african dance away from our African heritage. No-one grants for production. us that dance, the kind that has all eyes leading the campaign by inventing watching our performances can say that We are aware of the danger and it can on it, is far from being a fashion. It is a spaces of expression and passing on we have lost our way or completely be found in these questions: What place real movement under construction, a their expertise to educate and changed how we are. We are simply does the local audience have in dynamic that is really making itself strengthen the community. evolving in another way. We are Africans contemporary African choreographic heard. To justify this reality we want to creating." creation? What importance is attached refer to the determining factors here. Salia and Seydou have been directing to this audience when for once they can the Dialogues de corps encounters in We should not feel ashamed to say that see a production of the performing arts Dance: a community Ouaga since 2000 for training and dance is currently evolving with these (apart from music) without having had Today the world of dance in Africa is a presenting dance productions. Their two tendencies which are either to attend the Sorbonne or Oxford first community. Little by little, thanks to centre of choreographic development in expressed or latent, but visible when we (language barrier), a production where professional encounters (festivals, Ouagadougou "La Termitière" will be attempt to analyse the contents, for once they do not need to belong to competitions and forums) and real opening its doors in a year to approaches and aesthetics of or know about a particular caste or a aspirations, increasingly African dancers choreographers from West Africa and choreographic productions. The particular ritual or tradition? What and choreographers are forming a the whole world. In Dakar, Nganti Towo motivations behind them are just as importance is attached to this audience community that wants to share, and her team are expanding the Kaay perceptible when you read the sub-text when for once, at last, they could be exchange, pass on, propose and express fecc festival admirably. Through the of notes of intention and other relied on for being equipped with itself. Godown research centre, Opiyo is synopses of African productions. emotional, sensitive and sensual The example of Germaine Acogny, from offering a fantastic work space to Asserting or seeing the logic of dance understanding, thirsting for images and Mudra-Afrique to Jant-Bi and l'Ecole creators from southern Africa. Elise productions as an 'export product' is to dreams? des sables, is proof that dance is a Mballa is working hard to make see things from a completely outward- catalyst of energy. Another proof is the Yaoundé the centre for the development looking 'market' dimension. It has led a Answering these questions would make example of the younger generation that of choreographic art in central Africa. distinguished African man of the us hang our heads at the sight of the does not break away from its heritage Ketly Noël, who has now settled in theatre to say that "African dance is a tour programmes of African nor tries to simply return to it, but seeks Bamako after a productive stay in fashion now", in reply to an assertion choreographic companies whose to "weave the new cord onto the end of Cotonou, is in the middle of setting up wanting to contrast the dynamism of schedules are filled with trips outside this old one", lifting things unto another the first dance festival there, Donko dance with African theatre. The the continent (mainly Europe and the level. Salia Sanou and Seydou Boro in Seko, the first edition of which is evolution or so-called dynamism of USA). An agonising situation? Burkina Faso, Nganti Towo in Senegal, planned for December 2003. In Tunisia, dance does indeed resemble a fashion An inhibitive one? Definitely. Opiyo Okach in Kenya, Faustin Linyekula the Rencontres chorégraphiques de phenomenon where dubious creators try However things are not desperate. in the DRC to name just a few who, Carthage (RCC) just held their second to rush and benefit from international Very fortunately, creators are showing beyond their activity as creators, are festival in April. 2. 1. 4
free reflections on african dance
And so it goes on. Spaces dedicated to meet and commune with their lighting engineers, administrators, Contact: dance are being created with the audiences. producers, critics, specialist journalists). Ousmane Boundaoné common denominator being about Africans' views on this profusion of Cultural Officer, Lecturer at the opening up in geographical but also Conclusion activity going on around them are still University of Ouagadougou aesthetic terms. We are no longer When all is said and done, despite all long awaited - what has been done is Burkina Faso "idealising" national cultures in cultural the possible pitfalls, dance in Africa is tentative and almost non-existent. The 04 BP 8732 Ouagadougou 04 biennial events, but rather a real evolving well. The creation of training work of recording this in written and Tel: + 226 61 01 51 transafrica-ness, real spaces of artistic structures, the quality of choreographic visual form has still to be done and, no e-mail: [email protected] movement and encounters. productions, their extensive touring and doubt, existing or future spaces are the presence of the creators themselves going to integrate this dimension in Educating the audience on the continent, through events that their activities. The second dimension to these are popping up everywhere, allow us to initiatives can be found in their think that for once something concrete We have to hope that dance in Africa geographical location. They are taking is in the process of being achieved, that will play a role in educating civil society place on the continent and are targeting a dream is in the process of becoming through its great freedom for bringing development at the grassroots. Here reality. down barriers between different artistic dance is stealing a lead over African All these initiatives also seem to be disciplines (visual arts, photography, theatre, which saw its first real preceded by reflections, self-criticism multimedia, video, literature, theatre), so international space created in Limoges and above all fed by past experience as to establish a real interdisciplinarity in France, where the African theatre (leaning on the shoulders of our elders and a new language to the world. In community (French-speaking to see further). However things could be short, democracy. particularly) had assembled. going better and tightened up a bit, because it is true that what has been New African dance has been created in achieved in this field is fragile and that, Africa since the choreographic despite these words of hope, the chain encounters in Luanda in 1995. We think is far from being completed. this is an important point for educating local audiences and sensitising decision- Africa has to get hold of the missing makers, both political and economic. It links found in the huge lack of is truly remarkable that from Dakar to supporting expertise essential to Nairobi the concern creators have is to creation (technicians, stage managers, 2. 1. 5 roadsthoughts for action mark deputter
The following ideas, proposals, thoughts for action were compiled from a number of meetings that I have had the privilege to attend in the past years, from many talks with friends and colleagues and from e-mails sent to me by Nganti Towo, Georgina Thomson and Nolitha Peters. It is not the objective of this text to repeat or synthesise the existing problems - they have been thoroughly discussed before - but to bring together a number of practical ideas that have been launched along the way, often in the middle of gloomy reports of shortage and isolation. Although concrete proposals often seem limited or inadequate to solve the deep-rooted and immense problems that we are confronted with, I share a feeling with many artists and arts professionals that our own actions and attitudes will make a real difference. Most proposals listed underneath touch on more than one issue or problem, but I have tried to organise them into clusters around a limited number of themes, so as to create some structure in the many issues at hand. Finally, I want to remind that not all ideas mentioned are necessarily subscribed by the writer of this article and also that they are not a conclusion, but only a start. Infrastructure Many see the creation of working spaces and theatres as the basis for any structural advance in the working conditions of choreographers and dancers. Obviously, building theatres and dance studios is a serious matter that can only be undertaken in joint ventures between national and local authorities, international cooperations, private sponsors, cultural foundations, etc. 2. 1. 6
thoughts for action
Each project has to be studied and 2. Lobby with the European community from colleagues from the North by 2. Create long-lasting support developed within its own context. to open the Culture 2000 programme to offering lodging, for instance. With a bit partnerships, to help develop knowledge What can WE do? non-European co-organisers. It is true of organisation it should also be and experience in the above mentioned 1. Publicise examples of existing artistic that Culture 2000 is a programme possible to book group tickets for 10 areas. These needn't be full-blown initiatives in low cost infrastructures. designed to foster European cultural European programmers to visit a festival official programs, but can be very simple There are many examples all over the integration, but this idea would only be in Africa. To see and be seen is cooperation agreements between two world that could be used to convince strengthened - not threatened - if it important. theatres, a small group of festivals, two authorities. would allow for a (minority) 7. Maintain a continuous effort to dance companies,… 2. Create an international help desk for participation of non-European partners. inform each other through newsletters, 3. Continue and intensify the issues related to infrastructure, with It is necessary to give form to European web pages, e-mails, etc. Create habits of organisation of workshops, dance experienced architects, engineers and cultural integration in a global sharing information and publicising courses and exchange programmes for arts producers and a small budget to environment, opening up instead of openly the existence of aid programmes dancers and choreographers, investing enable them to visit possible future closing within fortress Europe. and opportunities. as much as possible in long-term infrastructures for the arts and make 3. If that is not possible, lobby for cross- 8. Create a CD ROM or DVD to present projects and partnerships. basic projects. cultural programmes in the context of the companies of the African continent. 4. Offer end-production residencies, in 3. Create a system in which second the European Cooperation with ACP which dance companies have the hand theatre material can be offered for countries. Training, capacity building opportunity to finish their creations in use in poorer countries. 4. Create a North-South mobility good technical conditions and with the programme, for instance based on the Another extremely important issue, necessary equipment. Festivals and Mobility, communication and example of the Roberto Cimetta Fund where small-scale, continuous action theatres could include this kind of networking 5. Create stronger structural links will make a vital difference. residencies in their invitations to a between African and European 1. The training of technicians, arts number of African companies that need it. Mobility and communication are networks. E.g., IETM representatives administrators, marketing people, etc. probably the most important issues to could be invited to meetings of African could easily be furthered by a system of Reflection, art criticism, theoretical be developed and also the ones in which networks and vice versa. placements. Not only in the North, but research the efforts of all of us - artists, critics, 6. Facilitate visits of programmers to our also in the South, a number of organisers, programmers, producers, festivals. For sure, many festivals from organisations and initiatives have lots of 1. The production of a basic video library culture officers, etc - can make a the North have the possibility to put experience to share. It should be on the history and variety of tremendous difference. Some things we some money aside to invite two or three possible to find funding for this kind of contemporary dance. This library should could try to realise: programmers from the South. Festivals activities from national governments, fit in a suitcase, could be created in 1. Create cross-cultural networks from the South could facilitate visits foundations and supra-national bodies. hundreds of exemplars and be 2. 1. 7
thoughts for action distributed at a very low cost. let authorities know that they do have embassies and cultural representations 2. Invite journalists and art critics to an important role to play in the cultural to dictate programmes of festivals and festivals. Maybe put a number of them development of the country. venues in the South. We can do this by to work on a concrete project to 4. A plea has to be made for more creating direct contacts between the describe and analyse the new African continuous support through pluri- companies from the North and the contemporary dance movement. It is annual subventions, long lasting support programmers from the South. time to start to write the history of this programmes, etc. 3. For companies from the South: create young, but rich movement. 5. Start up a dialogue with local and long-term partnerships between 3. Organise theoretical seminars, northern development agencies and festivals, arts organisations and dance promote workshops, and create discuss with them the idea to invest in companies, to assure, in the first place, exchange programmes. culture and artistic projects to create an ongoing interest. From this interest sustained development. can grow international tours. Political action, strengthening civil 4. Develop South-South co-production, society, create a place for art on the Artistic creation, co-production, residencies, tours, etc. political agenda touring 5. Create a Euro-African co-production fund with partners from both sides with 1. It is important to invest more in In the long run, it is absolutely the aim to support the creation of new technical support and training initiatives necessary to develop the African work and emerging artists from the in order to raise the level of 'market': create local systems of African continent. Festivals, theatres, professionalism also on the side of the funding, a network of African festivals cultural institutions, corporate sponsors state agencies. and venues, and governments could finance this 2. It seems also necessary to find ways 1. Co-commissioning and co-producing fund. The support package could also to further the creation of associations are happening all the time within the include things like administrative back that can defend the rights of the artists European market. Isn't it about time to up, technical help, residencies for and demand transparency and good start doing this on a global level? Extra creation, etc. policies. advantage: in the weak-currency 3. Always include the national countries of the South, northern Euros authorities in collaborative North-South and Dollars often go a long way. projects, even if it is known that there is 2. For companies from the North: make no money to be expected from that side. active efforts to show your work in the It is important to keep the pressure and South. We need to break the habit of 2. 2. 1
crossportraits 2. 2. 2 crossstudios kabako virginie dupray
"I am Kabako, Ugandan border, on the road that was four dancers, with whom he would Kabako is who I am, taking him to Nairobi. In 2001, after present "Spectacularly Empty" in still Kabako, always Kabako, several years of roads and places of exile Cameroon and in Kinshasa in November and it's when there is Kabako between Kenya - where he formed the that same year. that Kabako becomes Kabako". Gàara company with Opiyo Okach and Afrah Tenambergen - Rwanda and Studios Europe, Kabako returned to impose This is how Kabako introduces himself, Because it is really about a place: an himself on Faustin when he decided to imaginary, imagined place, a nomadic the strangely present servant in the play go back to the Democratic Republic of "Mhoi Ceul" by the Ivory Coast writer place situated for the time being today the Congo, formerly Zaire, formerly the in the Halle de la Gombé, the French Bernard Belin Dadié. So well was the Belgian Congo, formerly the character incarnated by a young actor Cultural Centre in Kinshasa. It is a place Independent State of the Congo as he where people work, where they search from Kisangani that he gave up his amuses himself remembering it - a name for good to become simply for an identity and where, occasionally, country bruised by seven years of they find it. A place where there is Kabako. Kabako, Faustin Linyekula's trouble and armed conflict. brother on stage and in his heart, plenty of doubt but where some So in June 2001 he created the Studios evenings certainties impose themselves. disappeared far too soon at the Kabako, taking along in the adventure 2. 2. 3
studios kabako
In short - and it is an ambitious project technical work on the body, it is about Faustin Linyekula), "Le Sentier" (2003, anything: furthering movement - it is a place of training, of research, of sharing with the dancers some Madrice Imbujo) and "Spectacularly (north/south, south/south) while making creation and of exchange open to theoretical tools on dance and Empty II" (2003, Faustin Linyekula). real contributions in specific socio- anyone interested in dance and visual contemporary creation in general, The Studios also support the creative economic and political contexts. theatre. A place for Congolese artists, through discussions, videos and reading. work of dancers in the company but also open to welcoming artists in (particularly in staging projects) or that An open place residence from other places. The following have been involved: of any other artist who makes the - in September/October 2001, French request and can present a work of After taking quite a voluntarist A place of training dancer Céline Bacqué; quality. approach during the Studios' first two - in August 2002, the Toufik OI years, we would now like to encourage When Faustin came to Kinshasa, not Company with choreographer Toufik A place of research an active approach by the artists, so one dance company was working in the Oudrhiri Idrissi and two dancers, Olivier with each project we are keen that the capital. There was theatre of course, but Stora and Gilles Imbert; Far from restricting research to different actors involved reaffirm their it was confined to academic, often - in August 2002, Hanna Hedman. contemporary dance, the Studios commitment. The Studios Kabako stereotyped productions. It has therefore been a matter of laying Kabako are investing in a wide range of continue to be a place open to It was obvious therefore that training the foundations for a professional different artistic fields: electronic music initiatives, to comings and goings, to would be the prerequisite for all choreographic undertaking - first in - reflected by a long and loyal discussions, to being there one minute creation work. Kinshasa, later in the rest of the RD collaboration with the French sound and gone the next. The objective was not to pass on a Congo (a training programme began in artist Joachim Montessuis, theatre - Faustin Linyekula is also developing a personal approach to dance, but to Lubumbashi in 2002). Two three-week Studios Kabako have worked with number of projects outside the Studios develop performers capable of training sessions are planned in 2004 French directors Philippe Boulay and (training programmes, commissions, questioning what choreographers were focusing on choreographic writing. Jean-Paul Delore and welcomed the creations), comings and goings that we proposing in order to nurture and Egyptian director Hassan El-Geretly in consider necessary for the vitality of the extend their propositions, and to A place of creation September 2003 as part of an exchange project. encourage independent thought, programme between the Arab world and creation and expression. Faustin began Under Faustin Linyekula's artistic sub-Saharan Africa initiated by the Ford The structure with the four dancers who would be direction, the Studios Kabako are a place Foundation - and video. performing in "Spectacularly Empty". of creation and production with four In this huge capital of between 9 and 10 The company is organised in two Foreign artists have been invited to give creations to their name today: million inhabitants isolated by almost associations: one based in Kinshasa and workshops in which around ten other "Spectacularly Empty" (2001, Faustin ten years of conflict, it is about opening the other in Seine-Saint-Denis (France). dancers participate too. As well as Linyekula), "Triptyque sans titre" (2002, windows onto the world more than 2. 2. 4
studios kabako
Future projects working for three years on training and National de la Danse (Paris) and the great adaptability - the void is creation with the Ethiopian company Council of Seine-Saint-Denis. potentially as rich as the fullness - that Our projects involve these many places Adugna, and Faustin Linyekula in a solo Tours have also been supported by the the project's strength lies. of thought, training and the dream of for the Vif du sujet-Festival d'Avignon AFAA / Programme Afrique en créations, finding a home under one roof in 2003. It will comprise three to four the Ford Foundation and the Prince And the risks? As we seem to have both Kinshasa. Ideally, two workspaces with weeks of encounters, workshops, Claus Fund. Studios Kabako have also conviction and energy, I would say that the possibility of welcoming an training sessions, discussions and staged their work in other theatres and the risks are hidden in what eludes us: a audience for small events and work-in- creations in Kinshasa and Addis Ababa festivals: recently the Africalia platform still fragile political situation, for process showings, a place well between the Studios Kabako and the in Brussels in March 2003, the Shams example, or sometimes the 'African integrated in its neighbourhood where Adugna company, and will be bringing festival in Beirut in April 2003 and the prejudices' (from tradition to modernity, the Studios could develop projects with together two quite different "souths". festival Tanz im August 2003. what is Africa's place in all this?) that the different communities living there. some programme directors and We want to enhance the environment And then in 2005, maybe a festival of So a large part of our financing audiences in Europe still have. It's up to and attempt to open windows on our dance, theatre, puppets, performances, "classically" comes from the north. us to change how people see us! dream for its inhabitants, doing so not music and other arts well and truly alive However, we are convinced that it is by wearing material wealth like a mask, in Kinshasa. Of course it's a dream… possible to create with very little Contact: nor by conjuring up mythical names resources, as people surviving in Virginie Dupray from elsewhere, as do the shop signs in Financing Kinshasa do: DIY and arte povera www.kabako.org the poorer districts (Station La Firenze, Kinshasa-style, with the creed to always [email protected] Ville Bercy, etc.). It is simply about Since 2001 the company has been make do with what you have. Above all tel: + 243 81 50 188 74 / attempting to invent a moment of supported by the French Cultural Centre we are keen to guarantee the project's + 33 6 68 39 28 48 dream, like story-tellers, by displaying and Halle de la Gombé which have been autonomy, particularly by developing the poverty of its resources: dancers' involved in co-producing four pieces partnerships locally (local businesses) or bodies in a familiar space. while providing the Studios with work perhaps eventually securing other spaces and, since 2003, an office. sources of financing (investment in local Another project is an encounter In 2003/2004, the Studios Kabako have micro-societies). This is what is also between Kinshasa and Addis Ababa in been supported, within the context of driving us to look for an independent May/June 2004 that has come about co-productions or presentations, by the location. Finally we think that going from another wonderful encounter: the Cultural Forum of Blanc-Mesnil (Seine- abroad with fifteen to twenty dates per one between Sylvain Prunenec, a French Saint-Denis, near Paris) as part of a season could constitute a solid base for dancer-choreographer who has been residence programme, the Centre self-financing the project. It is in this 2. 2. 5 crossCDC - ouagadougou, burkina faso salia sanou
Centre of Choreographic development (CDC) - Ouagadougou, Burkina Faso From dream to reality In 1993 Seydou Boro and I embarked on a project of creation entitled "Pour Antigone" with the French choreographer Mathilde Monnier. It was a creation that brought together dancers from several countries (Hungary, Spain, Germany, USA, Mali, France and Burkina Faso). The encounter was a clash of cultures and different choreographic visions: the African dancers came with their thoughts on dance (traditional dance, African repertory, dance as an act from social life where gesture and movement are not freely given, a dance always full of meaning and symbols and bearing energy) and in western dancers discovered abstract ideas, technical skill where the gesture is refined, beautiful and fluid, the use of silence, space and light and consideration given to stage design. From this rich contact in human terms, the African dancers and western dancers fed off each other artistically. Out of this adventure emerged a willingness on our part for movement between Africa and Europe, on the one hand to go back to our roots and on the other to share European experience with African dancers. Through dance workshops organised on every trip to Africa, and particularly to Burkina Faso, we noticed that the young dancers had a strong desire to meet others, a thirst for learning, an aspiration towards new approaches to choreography or quite simply the desire to dance differently in Africa. We were able to witness a dynamic, an infatuation and the young dancers' growing interest in creative dance: an African dance rid of the folkloric image always attributed to it and freed from the burden of 2. 2. 6
CDC - ouagadougou, burkina faso tradition in order to gain a foothold in and an even greater curiosity on the project and share our thoughts with feasibility study. The study's conclusions the present and the future. Guided by part of the audience. friends from the artistic and enabled the ministry responsible for continuous thought and daily The third piece "Taagala, le voyageur", professional worlds. culture in Burkina Faso to establish a challenges, Seydou and I saw ourselves created in 2000 on the notion of January 2000. From the moment we committee for considering and as pioneers of this new dance. journey in the broad sense of the word defined our project, it was imperative to evaluating the project with the task of: (spiritual journey and physical journey - sensitise politicians, artistic institutions - proposing a statute for the CDC. This The creation of the Salia nï Seydou he who travels discovers, gives and and development cooperations. The statute defines the different company started with work on the receives), was well received. Even the Ministry of Culture and Tourism in relationships with the authorities, the choreographic piece "Le siècle des fous" most reluctant ended up admitting that Burkina Faso, the city of Ouagadougou, management association and in 1995, a piece that aroused very we had something to say and to defend the Coopération Française (French Aid development partners, different reactions in audiences in and that we had not got to that point Agency) in Burkina Faso, the French - establishing a terms of reference, Africa. "See, they went to spend a few purely by chance. AFAA, the Centre Chorégraphique - establishing an architectural plan for months in France and look at how they The fourth creation "Wéléni, l'appel" National in Montpellier, the European developing the site provided for the dance now!" Some of the audience felt created in 2002 was received by the Commission and many more partners project. we had lost our way, wanting to deny audience as a continuation of a line that were responsive to our appeal. The our own African dance traditions to had already been drawn and the Burkina Faso Ministry of Culture and Today the project for the CDC has dance like Europeans and for Europeans. persistence of an approach. Tourism agreed to provide the project entered the final stage of its realisation. The rest of the audience were really with a site that contained an old open- According to the refurbishment enthusiastic to see a new approach, an The need to have something air theatre. The city of Ouagadougou timetable, the Centre of Choreographic innovative vision, a dance out of the constructive to help us made itself felt. was prepared to clean up and service Development should be ready in ordinary and different from what had The necessity to create a context for the site. The Coopération Française December 2004. gone on before. exchange, research and sharing included the project in the Aid and From these critiques and the audience's experience inhabited us. Very quickly the Cooperation Fund (ACF) programme of Of course, we haven't waited for the reactions, we understood that we had desire to create a centre for developing the French embassy to Burkina Faso to CDC to have four walls and a roof to get taken a step in a particular direction and the choreographic art asserted itself. We renovate, build and provide technical going with our activities. Prior to taking that we would have to persevere. The started thinking about it in 1997, asking equipment to the spaces. The European over the premises, we are running company's second creation about ourselves questions about the kind of Commission helped the project by residence, creation, training and wasted relationships between people, work space we needed, the size it should financing the rest of the technical exchange projects, such as the "Dialogue "Figninto ou l'œil trouer" in 1997, be, the way it should be structured and equipment and supporting artistic de corps" festival, to welcome the enabled us to convince observers more. how it should function. So many activities. establishment of the CDC. The piece also provoked astonishment questions led us to talk about the In March 2002 the AFAA financed a 2. 2. 7
CDC - ouagadougou, burkina faso
What will the Centre of - lasting relationships to be formed, - cross-country and interdisciplinary by specialists using all available means Choreographic Development be? both at a technical and human level, projects will find a laboratory there for to disseminate (demonstrations, between artists and artistic teams experimenting, brochures, books, videos, CD-ROM, For us, the Centre of Choreographic (welcoming companies in residence) - this programme will culminate in websites, conferences), record and Development is part of a global - the Salia nï Seydou company to have a annual choreographic encounters: archive their work at the CDC. framework developing dance in its home there (creations by the company) Dialogues de corps. difference strands: creation, training, Audiovisual methods and multimedia exchanges and research. Based in This investment in artistic creation The aim of this programme will be to are fantastic tools for the performing Burkina Faso and open to the West should enable the CDC to be recognised stimulate collaborations and encounters arts today. Capturing rehearsals, African sub-region, this centre seeks to: as a place of contemporary creation. between artists working with different workshops and performances on tape - provide an opportunity for the hope This presupposes the acceptance of practices or in complementary fields. enables archives to be established, a placed in our work as choreographers, artistic risk and the diffusion of The objective is to create synergies record created over the seasons that but also for new companies making a productions at a national, even between different artistic fields and should be accessible to the public significant contribution to the international level. different creators. Even if the dominant through the following: development of dance in Africa, characteristic of this work rests on live - establishing a video library equipped - create high quality choreographic A place for ongoing training and performance, projects can originate with an advice point, works, sensitisation from video, visual arts etc. - setting up educational dossiers, - offer a space for work, exchanges and Training will be a key part of the CDC's - montages of excerpts from research on the African continent for activities. The "Training Programme" will Research productions for sample films, choreographic projects by artists from have three elements to it: ongoing There are two phases to the "Research particularly for promoting the Burkina Faso, the sub-region and the training, lessons in dance techniques Programme": companies. rest of the world. and sensitisation. - The first phase is addressed to researchers and students engaged in a The statute A space for choreographic creation A place for exchange process of reflection on the On top of our usual work of creation in The "Exchange Programme" combines choreographic art in Africa. They will The CDC is a not-for-profit association, the Salia nï Seydou company, the Centre three elements: find surroundings to work in at the governed by law 10/92/ADP of 15/12/92. of Choreographic Development will be a - the CDC will be a crossroads of CDC's multimedia library and discussion The organisation is made up of three permanent place for choreographic exchanges where projects of artistic space. electorates: creation committed to an innovative collaboration between international - The second phase is centred on 1. the electorate of legitimate members approach. The "Creation" programme companies and those in Burkina Faso theme-based research projects on the is made up of legal entities: the Ministry should enable: will find a space and constructive tools, choreographic heritage of Burkina, run of the Arts, Culture and Tourism, the 2. 2. 8
CDC - ouagadougou, burkina faso
Ministry of Finance and the commune Opportunities and risks of Ouagadougou, 2. the electorate of associate members We want to give this project a national, is composed of natural and legal sub-regional and international entities. Associate membership is dimension and create a focal point for conferred by the Board on natural and choreographic research. We will legal entities who through their various doubtless encounter difficulties in means of assistance (grants, setting it up, because it is a new sponsorship, technical abilities) support adventure where everything has to be the Centre of Choreographic established in accordance with the Development. regulations. Although there will be 3. The electorate of ordinary members is moments when artistic and political composed of natural entities: the agendas point in opposite directions, we cultural and artistic associations sincerely hope that the political will to involved in the area of dance and realise this project to the full will, at all choreographic development with their times, remain intact. number fixed at five (5). Each application has to be approved by the board. Each year they pay a subscription which is set annually by the general meeting.
The bodies of the Centre of Choreographic Development are the General Meeting, the Board of Directors and the Executive Committee. The Board of Directors examines the artistic and cultural project and appoints the Director on the basis of the project and estimated budget. 2. 2. 9 crossafrique en créations - dance under creation valérie thfoin
Afrique en créations has been working to promote contemporary African creation in the area of the performing and visual arts since 1990. Its professional organisation has also been supporting this creation and getting it known on the international scene so that it is able to flourish on its own continent. The Rencontres chorégraphiques de l'Afrique et de l'Océan Indien [African and Indian Ocean Choreographic Platforms], which began in 1995, are the biennial culmination of a programme that favours training and exchanges between creators. Since Afrique en créations merged with the AFAA in 2000, these Rencontres have benefited from a professional international network allowing a wider diffusion of companies. They combine an inter-African choreographic competition, training programmes and professional encounters. There is no denying that in close to ten years they have stimulated choreographic development and contributed to its influence well beyond the continent itself: - the number of companies is increasing and the number of entries being examined for the competition continually rising; - twenty-five participating companies have toured in Africa and abroad; - choreographers have received international recognition, including Salia Sanou, who came second at the Rencontres in 1998 and has been its artistic director since 2001; - new aesthetics have been introduced to audiences, artists, cultural professionals, the press and institutions just as easily in African countries as in northern countries; 2. 2. 10
afrique en créations - dance under creation
- it has been possible to establish contamination. To pursue and improve for a real appropriation of the identity effective partnerships, with European this intercultural dialogue, it is also up to be asserted, and has benefited the programme directors opening up their to African choreographers to agree on a evolution of a fundamental artistic stages increasingly to African creators. more appropriate definition that could domain of the African cultural be proposed (or imposed) on the landscape. "Contemporary" terminology associated institutions financing the development With more and more African initiatives with "African dance" does however pose of their art. investing in its promotion (festivals, some questions that are symptomatic of places of creation and training, cultural the confrontation between the African The questions being asked around officers and networks), the outline of a vision and the western vision. For contemporary dance could therefore professional organisation is being drawn Afrique en créations, above all the also benefit the so-called "dances of on the continent today for an art that undertaking has been to develop an heritage". These dances - indigenous has not finished writing the Africa of "evolutional" dance, as opposed to sources of body movement and tomorrow. "traditional" dance (at the time limited knowledge, sometimes neglected to the to a more ethnological or folkloric benefit of exogenous forms - should www.afaa.asso.fr status than an artistic one), favouring reencounter their credibility within the research to make it evolve within a practice of choreographic creation. more actual context. Even if the need to give a name entails the risk of choosing In around ten years, Afrique en standardised terms to describe many créations has prepared the complex kinds of situations, this debate has the ground for "contemporary African virtue of challenging actions realised as dance" and the actions taken have had part of cultural cooperation and tangible results. With strength and stimulating reflection on the notions of occasionally weaknesses, they have aesthetics and identity. enabled African choreographic creation to find its own place on the The perverse effects of exchanges, and international scene and in its own lands the inevitable influences they have, are as well. The new representation of even more acute when there is an choreographic Africa that has been imbalance in the economic relationship. proposed and appraised has created Stimulation has not been able to avoid challenges and adjustments necessary 2. 2. 11 crossCACAO/CCAWA isabelle bosman
CACAO/CCAWA - a stage in the organisation of cultural civil society in Africa
CACAO/CCAWA is an organisation that has been set up by independent cultural actors from West Africa with the aim of developing professional exchanges and thus contributing to enhancing capabilities in their sector. The acronym stands for Concertation des Acteurs Culturels d'Afrique de l'Ouest / Congress of Cultural Actors in West Africa.
There are two features to CACAO/CCAWA that make it an innovative project for Africa. The first is that it has given itself a regional vocation, as the region, coincidentally that of the Economic Community of West African States (ECOWAS)1 , has specific stakes and opportunities. The second is that it brings together professionals from all areas of the arts and cultural activity - visual arts, performing arts, literature, film, heritage, cultural activities - because they face similar difficulties and because multidisciplinarity brings with it new approaches. CACAO/CCAWA defines itself as a network. This means that it will function first and foremost as a web of relationships intended for creating new projects, new associations and new networks between its members.
1 ECOWAS comprises 15 countries : Benin, Burkina Faso, Cape Verde, Ivory Coast, Gambia, Ghana, Guinea, Guinea-Bissau, Liberia, Mali, Niger, Nigeria, Senegal, Sierra Leone and Togo. Eight of these countries are also in the West African Economic and Monetary Union (WAEMU) : Benin, Burkina Faso, Ivory Coast, Guinea-Bissau, Mali, Niger, Senegal and Togo. 2. 2. 12
CACAO/CCAWA
The term also emphasises the actors from ten countries in West Africa Generally these fundamentalist sects employment. Their precariousness is importance given to its members' summed up the problems and debated and movements have two points in such that it threatens the very existence initiative on defining and realising the the solutions. The idea of a network common: the way in which they reduce of independent cultural actors. organisation's activities. CACAO/CCAWA took shape at its very first meeting in the interpretation of the world to a likes to think it is a place where the December 2002. The outline for the fight between good and evil, and their The role of cultural actors in civil initiatives people want to pursue can project was the subject of a fresh and influence on social and political life. This society come together and ideas incubate. Its very extensive consultation process by is how religion's hold on West African The development of civil society is one programme will evolve over the years in electronic mail. Confident in the interest cultural life is directly involved in of the most remarkable features of the accordance with the priorities of the shown by the actors, the working group conflicts. contemporary world. Cultural civil actors involved. met again in March 2003 to create a society has a particularly important role network and specify its project. Diversity to play in protecting freedom of Origins of the project The richness and diversity of artistic and expression, respect for diversity and The stakes cultural expression in West Africa is intercultural dialogue. In Africa it is CACAO/CCAWA is the fruit of an diminishing rapidly owing to the practically non-existent. When African extensive consultation process with Peace invasion of foreign cultural productions, journalists are imprisoned, at least their West African non-governmental cultural The fundamental stake in strengthening the hold they have on audience tastes associations denounce it. When artists actors. The aim of the consultations was the position of cultural actors in the and the outward-looking approach are reduced to silence very few voices to reflect on the stakes involved in present context is safeguarding a free several artists have who are more speak up. strengthening their position, analysing space for artistic expression and cultural concerned with international than local the difficulties they encounter in their activities independent from any political recognition. The religious phenomenon The success of regional integration own countries and that limit regional or religious pressure group, which could is making things worse. Many churches Cultural exchanges play an important and international exchanges, and help promote dialogue, recognition and are busy destroying expressions of role in the success of processes of debating ways of improving the respect of others. This space is getting culture, succeeding in banning regional integration that are themselves situation. Consultations were conducted smaller all the time. Evangelist sects traditional festivities here, musical a major stake for economic in several countries as part of regional developing at an alarming rate have instruments there… development and peace. This is why workshops. European professionals were taken over cinemas and theatres and are West African regional institutions are also called on to give their point of view working their way up to leading Cultural actors' living conditions gradually developing policies aimed at on international exchanges, notably as producers of music, videos and shows. The daily challenge for the majority of encouraging them. part of a survey undertaken by the IETM. Islamic movements are beginning to West African cultural actors is to At the end of this process, a working react by using the same weapons for manage to live on their chosen career, A different globalisation group comprising independent cultural their communication - or manipulation. without having to turn to other Cultural exchanges between Africa and 2. 2. 13
CACAO/CCAWA rich countries have for a long time been the same difficulties in all countries: actors and the institutions of regional cultural actors face is organising marked by serious tendencies to absorb - insufficient information, cooperation, themselves to resolve these difficulties and dominate. African cultural actors - access to knowledge, research in their - the circulation of information and thus improve their working focused their attention on the north to sector and critical analysis of its necessary for encouraging exchanges, conditions. find opportunities there, while the very position, - communication between professionals, few professionals from the north who - the acquisition of new competences, - the acquisition of competences Organising the cultural sector is a were interested in Africa looked for new - financing, necessary for developing activities or complex process. At a national level, products to disseminate. Today, - the inadequacies of policies and organisations with a regional dimension, professional associations are increasing professionals want to intensify programmes concerning them, due to a - insufficient research on the state of but often function poorly. The international relationships and turn lack of dialogue between the decision- exchanges, their stakes and factors development of associations and the them into genuine exchanges. What is makers and the actors. conditioning their quality. very notion of civil society arouse the at stake is a globalisation that will make suspicion of many actors who fear way for diversity and will know how to The regional scene International exchanges manipulation. At a regional level, there link the local with the international. Culture in regional terms is far from African and European professionals have is practically no organisation; at most being organised. Independent operators made the same analysis of the we know of only two or three Weaknesses are increasing their efforts to create obstacles: professional heritage associations. Most regional projects of common interest, - financing: the lack of sources of organisations that have been set up National situations networks and diverse partnerships, but finance directly accessible to African have a pan-African vocation or meet a Working conditions in West Africa are they have difficulty succeeding. The professionals maintains them in a linguistic criterion. However the region such that the majority of cultural actors many small festivals that have come position of weakness, represents a key level of organisation. are confined to semi-professionalism, into being in recent years are often not - the weight of institutions financing even amateurism, obliged to do other very good, professional networks are cultural cooperation and dictating what Objectives and activities things to earn a living. They are not really up and running and they focus on; renewing exchanges increasing efforts to take the collaborations on creations and tours necessitates the development of true The main objectives to which development of their sector in hand, are rare. Their development runs into horizontal cooperation, directed by the CACAO/CCAWA wants to contribute are: compensate for major structural several obstacles: professionals themselves, - the promotion of culture as the problems (such as the lack of theatres), - financing, particularly lack of regional - information and communication. mainstay of development, a medium of invent new modes of dissemination and support funds, integration and a factor in peace, broaden their opportunities. But their - regional regulations on free circulation The organisation's challenge - the development of a cultural civil initiatives run into too many obstacles. are not being enforced, society committed to cultural diversity, Actors are fundamentally encountering - the lack of dialogue between the The fundamental challenge West African freedom of expression and intercultural 2. 2. 14
CACAO/CCAWA dialogue that in turn will contribute to 2. setting up an easily accessible centre on the initiative of groups of members, answers to its members' training needs the activities of a culturally informed of information and documentation. - annual plenary encounters, organised by organising subject-based encounters, and motivated civil society, CACAO/CCAWA will specialise in each time in a different country of the the production of methodological tools increasing cultural exchanges within information on: sub-region, that will serve as a etc. It will develop lists of experts in the region, - sources of financing, framework for the association's general different areas of the arts and cultural - developing exchanges between - regulations concerning the movement meeting. They will also form the action and will itself be able to obtain professionals from West Africa and the of actors and cultural goods, framework for subject-based meetings support and advice on developing rest of the world, - the practical terms and conditions and and sessions dedicated to presenting projects and programmes of cultural - a better consideration of culture in professional code of ethics for cultural members' activities and projects and will cooperation. development strategies and the exchanges, provide an opportunity to get to know development of policies and cultural - actors who play a key role in the cultural scene in participants' Organisation programmes in line with the developing exchanges (actors in countries. preoccupations of actors on the ground, information, festivals, workshops and 5. ensuring respect and contributing to CACAO/CCAWA is a not-for-profit - making public opinion and the opinion networks). the development of policies and association. Its office is in Porto Novo, of private partners more sensitive to the 3. undertaking research on subjects of regulations that help to improve the Benin. It brings together independent cultural dimension in development and common interest. The first projects will conditions of actors and encourage professionals and non-governmental the preoccupations of professionals in be on: exchanges. CACAO/CCAWA's cultural organisations. The statutes this sector. - national and regional cultural policies, accreditation with ECOWAS will allow it distinguish between ordinary members their evolution and application, to play an active role alongside this who are established or work CACAO/CCAWA likes to see itself as an - programmes of cultural cooperation, institution. The association will also permanently or principally in West Africa observation post, a space for - the state and evolution of cultural develop a relationship with the WAEMU, and associate members who do not work reflection and dialogue between exchanges, national ministries of culture and principally in West Africa but are professionals, an instrument of - relationships between culture and international cooperation organisations. interested in CACAO/CCAWA's objectives action at their service and a conflict, 6. sensitising opinion and promoting and willing to participate in its activities. representative of the institutions. The - cultural and artistic practices of West sponsorship. The network likes to see The association is managed by the association has set itself the target of African audiences. itself as a tool of cultural education and general meeting of members, which attaining the following results: 4. stimulating professional encounters. sensitising opinion on matters of elects the board. Its day-to-day In the image of the IETM, heritage, popular culture and the culture management will be given to an 1. rallying West African professionals CACAO/CCAWA will organise: of peace. executive secretariat comprising high- and making itself known to professional - subject-based encounters connected 7. promoting West African expertise. level staff (four people) to be recruited organisations in other regions; to the network's projects or organised CACAO/CCAWA will provide some of the by the board. 2. 2. 15
CACAO/CCAWA
Financing first two meetings in December 2002 relationships with organisations and March 2003, exchanges of representing non-governmental actors, CACAO/CCAWA will only be able to rely information between members, active in all areas of competence, with a view on a small financial contribution from participation at key moments when to linking them with developing policies its members. As a result of their cultural policies are being developed, and regulations and monitoring their precariousness, its activities will be such as the ACP meeting of artists and application, expensive as it will have to cover a large the first meeting of ACP Ministers of - the support of European cultural part of the costs that members of Culture in June 2003. networks. CACAO/CCAWA can rely on networks in rich countries themselves There are lots of opportunities for the growing interest of European pay on top of their subscriptions, such CACAO/CCAWA to be successful in the networks in international cultural as costs of attending meetings. The years to come: relations. In particular it is relying on its provisional annual budget is somewhere - the enthusiasm and willingness of the relationship with IETM, whose between three hundred and four nucleus of actors who have laid the experience was much taken into hundred thousand euros. foundations for the association, account when the project was being set The network is looking for partners who - the search for complementarity with up. will be able to give a big enough subsidy existing initiatives and the network's to get things going, demonstrate its function to develop and not compete effectiveness and develop strategies for with them, mobilising partners. In the medium term - extensive dialogues on creating this its activities will naturally be about association, encouraging interest from a large - the democratic way the association number of varied partners. operates, guaranteed by regular general meetings and the rotation of locations First results and success factors where they are held that will encourage the direct participation of a large CACAO/CCAWA is already operational. number of professionals, The most notable achievement so far is - the management capabilities that a to have sensitised ECOWAS to the idea professional executive secretariat will of creating a regional support fund for offer, mobility. Other results are exchange - the support of institutions, particularly projects developed by participants at the ECOWAS which intends to develop 2. 2. 16 crossarts network asia ong keng sen
Arts Network Asia, set up in September 1999, is a group of independent artists and arts activists primarily from Southeast Asia that encourages and supports regional artistic collaboration and develops managerial and administrative skills in the creative arts of Asia. Arts Network Asia is motivated by the philosophy of meaningful collaboration, based on mutual respect and initiated in Asia with strong Asian engagement. More precisely, the network aims to promote artistic exchanges that are primarily process-oriented, with a focus on Southeast Asia including its relationship with East and South Asia. Arts Network Asia (ANA) is interested in providing the means to promote these exchanges. The main work of ANA is threefold: 1. Redistribution of small amounts of monies to help initiate cross-cultural dialogues. 2. Organisation of a biennial exchange laboratory focussing on the dialogue between contemporary and traditional arts or on 'inter-genre' collaboration. This major exchange laboratory has been developed from the model of The Flying Circus Project by Theatreworks. 3. Organisation of a biennial workshop created by artists and concentrating on information exchange between different cities in one country or region. This has taken place in Shanghai in 2000 and in Hanoi in 2002. Plans are underway for the development of a third workshop in South Asia focussing on exchange between India, Pakistan and Sri Lanka and linking them to the rest of Asia.
In order to further the exchange of information, a website has been created and plans are underway to create a web-board for active postings and discussions. www.artsnetworkasia.org 2. 2. 17
arts network asia
Before the mid nineties of the last Sen's belief was that even the proposal (Indonesia), Marion D'Cruz (Malaysia), knowledge. For instance, a century, most exchange programs with had to be the result of a collaborative Krishen Jit (Malaysia), Teresa Rances contemporary theatre artist may be Asian artists were initiated notably by discussion between artists of Asia. The (Philippines), Ong Keng Sen (Singapore) interested in exploring South Indian the United States, Europe, Japan and meeting was attended by Southeast and Santi Chitrachinda (Thailand). The traditional performing arts with parallel Australia. No major Asian alternative Asian artists/arts activists Krishen Jit network will consider issues of dialogue, traditional sources in Korea or China, was in place. Also, in the last decade, (Malaysia), Amna Kusumo (Indonesia), empowerment and autonomy among but lack the necessary contacts. ANA massive change has occurred in Asia, Marion D'Cruz (Malaysia), Ong Keng Sen the different cultures of Asia through can select this application and provide towards which regional cultural policy and Jennifer Lindsay. Based on these the diverse individual artists' contacts, opening doors for research and arts funding have not been discussions, a proposal was written for a approaches. possibilities in unknown cultures or responding. Many Asian artists have a project to be funded collaboratively by artforms. In other words, the ANA desire to collaborate with other Asian Ford Foundation offices in the region Arts Network Asia often invites for sometimes functions as a matchmaker artists but resources for such (Indonesia, India, Philippines, China and proposals through an open call sent to between different artists, if they are collaborations are scarce. This is a gap Vietnam). This proposal set out an as many artists as possible. The peer willing to meet to discuss. Ultimately that Arts Network Asia hopes to fill. An autonomous Peer Panel of Asian artists panel members have a responsibility to the ANA panel members have the inter-Asian fund will foster dialogue and art activists who serve as a policy ensure dissemination within their home responsibility to nurture projects and between Asian artists, who are often so making network and a trustee for a countries as well as their individual provide guidance, bringing the project near and yet so far away from each fund for regional collaborations. networks. The first proposal is often very to fruition with the artists concerned. other. simple - a one page statement of Sometimes, detailed questions may be Regrants from the Arts Network Asia intention. This may be in any Asian asked of specific applicants. In this way, Arts Network Asia has its beginnings in Fund language or in English. The invitations there is already a process of dialogue October 1998 in discussions between for proposals are sent out in 7 different going on between Asian artists even as Ong Keng Sen (Singapore) and Jennifer As a matter of principle, TheatreWorks languages: Thai, Bahasa Indonesia, applications are considered. From these Lindsay, program officer at the Jakarta and the individuals of the Arts Network Korean, Japanese, Mandarin, Vietnamese initial one-page proposals, Arts Network office of the Ford Foundation, about the Asia, their spouses and partners, as well and English. Asia will shortlist around 30%. The importance for inter-Asian as their companies will not be allowed shortlisted applicants have then to send collaboration, exchange and networking, to apply to the inter-Asian fund. The From this, the ANA peer panel selects in a full proposal, including detailed based on the process model of network is presently hosted and artists who have projects that share or budgets, from which the ANA will select TheatreWorks' The Flying Circus Project. managed by TheatreWorks (Singapore) extend our philosophy, intent and the final applicants for the year. Subsequently a think-tank was with initial funding from the Ford aspirations. Sometimes, these proposals convened in Singapore to develop some Foundation. This network is made up of: may express an intention that is not By doing so, we hope to discover a new preliminary ideas for a proposal. Keng Anuradha Kapur (India), Amna Kusumo easy to realise due to a lack of dialogue in the areas of dance, theatre, 2. 2. 18
arts network asia music, video, film, multi-media and grantees, please see our website. 2003 forms through knowledge sharing Kuala Lumpur. visual arts. At the same time, ANA will Awards Grantees include: sessions. consider applications for research and Singapore: Performance Studies Asian study grants, and exchange projects (not Cambodia: In the Middle yet on the Indonesia: Dance Video/Film: An Research Group limited to collaborations) that foster Edge - An art exchange between Introduction of a New Genre This project will allow selected inter-cultural interaction, exchange and Cambodia, Myanmar and Thailand This project will bring together an individuals from various Asian countries understanding. Some examples of inter- This exchange and research forum aims Indonesian choreographer with a to participate in a series of dialogues Asian initiatives and collaborations that to bring together artists, curators and filmmaker from an Asian country to and presentations at the Performance the Network will consider - the list is critics/writers from Cambodia, Myanmar produce a dance video/film in Indonesia. Studies Asian Research Group to be held not limitative. and Thailand for artistic and intellectual The aim of this collaboration is to in Penang. The project aims to begin the - The development of inter-cultural and exchange. The artists will participate in introduce a new genre to the process of assessing the state of the cross-national collaborations and short-term residencies; workshops, talks contemporary dance scene in Indonesia field of performance studies in Asia exchanges in the form of dialogues, and seminars will be organised, as well as well as create a new link across the today by addressing some of the diverse workshops, seminars, residencies and as more informal interactions with both art forms in Asia. interests and perspectives from within productions. artists and students. Upon return to Asia. It aims to build a base for the - The development of artistic networks their respective countries, artists will be Malaysia: Community and Youth production of future theoretical that create links between Southeast Asia asked to hold public sessions with local Engaged Arts Research inquiries. This dialogue will be carried and South and East Asia by way of artists and the community in order to The project involves the overseas into the Performance Studies exchange and sharing of information. share their experiences gained from the placement of six Malaysian youth International conference to be held in - The development of an arena for workshops. theatre facilitators to established Singapore in 2004. challenging and provocative community and youth arts collaborations that face the questions of India: Investigation of Techniques of organisations in the Philippines and Sri Lanka: Theertha International Artists' difference and the tensions between Breath in Performance Thailand. During the placement, the Workshop 2003 global and local identities. A month-long dialogue between artists Malaysian facilitators will research and The two-week workshop is envisaged as - The development of administrative of different performance genres, like learn the philosophies and a non-didactic experimental forum to and management skills through Koodiyattam (India) and Noh (Japan), methodologies of these arts facilitate an interdisciplinary exposure and internship schemes. about the varying methods in which organisations. This will provide them collaboration of art forms between breath is used. Following this month, a with more experience and a new Asian visual artists. The workshops will Arts Network Asia will provide dissemination program will then take resource of knowledge and expertise bring Sri Lankan traditional artists to approximately 8 to 10 awards each year. place. The project wants to develop new that will contribute in building the interface with the participating For detailed descriptions of award and hybrid practices in performance community outreach art models in contemporary artists through 2. 2. 19
arts network asia performances and discussions. The project aims to break ethnic and cultural divide between artists.
Vietnam: Space of Traditional and Contemporary Music A research grant is for the study and exploration of Chinese musicians and instruments in China. This is an integral part of the process towards the creation of a performance program, entitled "Space of the Traditional and Contemporary Music". The artist hopes to strike a balance between traditional and contemporary music and research the use of diverse musical instruments such as the piano, bamboo flute, dan tranth and Vietnamese and Chinese percussion instruments.
9 Sep 2003
ONG Keng Sen Artistic Director, Theatreworks Host Director, Peer Panel Arts Network Asia [email protected] 2. 3. 1
roadsreports 2. 3. 2 roadsIETM / Africalia Meetings report: amélie clément
IETM Satellite Meeting / Africalia Professional Meetings (12 -13 March 2003, Brussels) 0. Context Several years ago the IETM network started to consider ways of enabling performing arts professionals of the North and South to collaborate. It is currently undertaking new projects together with African partners. To this end, IETM participated in a meeting in Lisbon in June 2002 organised by the contemporary dance festival Danças na Cidade. Following this, Mark Deputter (the festival's Director) compiled the various viewpoints and projects related to the issue in the first "Crossroads" publication. With the aim of continuing this initiative, IETM organised a professional symposium about contemporary dance in Africa, together with the African contemporary dance platform of Africalia. 2 round tables: 1. The development of infrastructures for contemporary dance within African 2. Improving the comprehension of contemporary dance from Africa, in Europe. 2. 3. 3
IETM / Africalia Meetings
1. Developing infrastructures for sharing of information gathered at African states in the framework of contemporary dance within Africa similar meetings, by co-operation African resources agreements involving culture networks (AFAA, British Council, Ford African states invest very little, in the How can we accompany the rapid Foundation), African regional networks cultural sector. To get around this, a few But (Isabelle Bosman, Pierre Garland) growth of contemporary dance in (West and Central Africa), professional ideas: the various parties must communicate Africa? By developing local European networks (IETM, Artfactories) - Rely on one-self, get by with limited more, so as to: infrastructures that are adapted to the means and - why not - turn the lack of - share information, needs of contemporary dance as it is Adapt the existing spaces to the needs means into an aesthetic choice, - draw up a report on the state of practised in the field, working on the of contemporary dance, ensure their - Share the work spaces between artists contemporary dance in their countries, basis of long-term collaborations. survival and development and create (artists' collectives) and work with - define priorities and consider joint Opening remark: this question cannot new structures suitable for dance networks of African structures starting cultural projects, be considered without thinking about 1. Bearing in mind the human, at the level of sub-regions, - have a stronger influence on the the overall context of African countries. geographic and climatic environment of - Engage various partners so as not to existing or future finance programmes Among the many issues raised were the the various countries and regions of depend on the goodwill of just one (e.g. creation of sub-regional funds). following: Africa, the finances available for - Lobby the various African states e.g., - The lack of structures, managing these structures in the long organise professional meetings in Africa What support can structures from the - Existing structures are often not term (running costs) and the country's involving African politicians. North bring? suitable for contemporary dance, overall cultural landscape - logistical (equipment: AFAA project), - The dependence of African cultural 2. By building lightweight structures Foreign resources - sharing of knowledge and expertise operators and organisations on foreign (moveable technical equipment), spread Financing from the Northern financing, across the country, developed by or in Hemisphere is usually granted for Conclusion - a few reflections: - The lack of freedom of expression in collaboration with the African users and creation, international tours and one-off - Think of exchange more in terms of many states, managed by Africans events (festivals), but very little for long sharing than in terms of needs, - The conditions for economic survival, 3. By considering the final use of these term development. However, politicians - Think of exchange as the logical - The difficulties of touring in Africa and spaces (training the trainers and the and institutions from the north have a follow-up of a meeting, of a genuine elsewhere artists, creation, artistic research, better understanding of: desire to work together, residences, performances and tours, - the importance of culture, - "Create space in one's head" (Faustin Ideas put forward increasing awareness of the audience, - the need to work in the long term by Linyekula) and get active politically Start by creating an inventory of professionalisation of the dancers, etc.) supporting local initiatives (e.g. PSIC (dangerous in many African states). structures that already exist in African 4. By training cultural operators to programme) countries, through the circulation and develop and manage the venues. - the importance of involving the 2. 3. 4
IETM / Africalia Meetings
2. Improving comprehension of Unlike contemporary dance in Europe, choreographic creation and to meet the contemporary dance from Africa, in debate about contemporary dance in creators in the context of their work. Europe Africa is poor and static. The 5. Make audiences - both European and "contemporary African dance" label that African - aware of the range of creation How do European audiences and was created is at the same time useful of African choreographers: this involves programmers perceive African (by increasing visibility, bringing people long term work of the promoters with performances? together around a shared interest) and the artists and audiences. How can we improve the understanding reductive. 6. Africans (artists, journalists and and reception African dance receives? critics) must recover possession of the What are the European touring circuits Some thoughts for fine-tuning the debate about African dance, both and networks for contemporary dance approach: traditional and contemporary. from Africa? 1. Highlight the difference between social African dancing and dance as Giving time more time "Contemporary African dance", a presented in theatre E.g. theatrical This leads to the question of the time label dance can be based on highly traditional needed for an emerging artistic - So that programmers can justify their gestures whereas African dance as movement to define itself with respect artistic choices towards funding bodies practised in a traditional context can to its roots and outside influences and and the audience, incorporate elements of daily life. In this to free itself of economic constraints - So that the audience can discover the case, which is the more contemporary? (meeting the aesthetic demands of the work of today's African choreographers, 2. Treat African choreographers as funding institutions and western - So that contemporary African dance artists developing a personal artistic audiences) to offer and defend personal can get more visibility (e.g. African universe and not as representatives of artistic approaches. week), an imaginary Africanity: "have the courage to talk about the works Conclusion It is necessary: themselves". How is this fruitful search possible? - to choose how to talk about 3. Contextualise the artistic research of While workspaces are lacking in Africa? contemporary dance from Africa, African choreographers with respect to While artists cannot assure their - and therefore to think theoretically multiple traditions, European influences, economic survival? about contemporary dance from Africa personal research, etc. While money from the North and the and build an approach through the 4. Invite programmers from the North to conditions tied to its attribution impose current work of African choreographers. visit Africa more often, so as to see an imbalance in the exchange? what is happening in the field of on interculturalism roadscrossroads
this publication was produced by layout concept / stills IETM (Informal European Theatre Meeting) (from the video installation “CCM” Brussels Centro Comercial da Mouraria - Lisbon, 2002) Africalia Luciana Fina, Moritz Elbert Brussels translators Danças na Cidade Claire Tarring Lisboa (French - English) editor Marie-Agnès Then Mark Deputter (English - French) Michaël Leahy support (French - English of "Summary IETM Satellite Meeting, European Union - Programme of Support Brussels") for ACP Cultural Events in the EU / PAMCE 2 september 2003