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Gregor

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juhu dela

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This time my stage fright was not as big as the first time when we had workshop at Yokohama Ouyou High School. The school looked quite similar to the one in Ouyou. Interesting is why I expected the schools to look different.

Anyway the structure of workshop was actually the same, we just adjusted with Ryuzo few things to the fact that this is a theatre class rather then dance class.

The workshop turned up ok and functional for the needs of the girls, teacher and school. Both workshops sparkled ideas to develop and widen such collaboration. To me came the idea that actually we could develop similar thing in high schools with the project Ecollectiv. We could give workshops in couples in different schools the whole season through. This of course requires quite an organization and lobbying. Nonetheless it is an idea.

Major difference between Ouyou and Tsurumi high school workshop is that at Ouyou girls do this as extra curriculum and girls at Tsurumi do this course as obligatory curriculum. The atmosphere is accordingly different in that girls at Tsurumi were waiting for us to impress them and then they would be willing to collaborate more actively.

The surprise that was waiting for us was that a (female) ambassador of Slovenia her excellency Helena Drnovšek Zorko payed a visit to the high school to meet girls and us at the workshop. She expressed an admiration that a Japanese artist (ok to be correct an artist with Japanese citizenship) living in Slovenia and  Slovenian artist have a workshop at Japanese High School. This is quite a peculiar thing and sure I will meet with to find out more about Embassy's interest into such Slovenian endeavour.

Slowly a wish is growing in me to know the language. Ryuzo does excellent job in translating, but there are situations that require a personal approach. So I bought myself a book to learn some Japanese. Of course not for now to learn Japanese fluently, but for the next time since there will be next time for Japan.

Everything counts. That would be yesterdays sum-up for me. I enjoy the fluid and playful communication we have with Ryuzo. That is an important corner stone of the work we do, ie A.Void. To say the least, I feel weird in this project. We did it three times (Wakayama once, Yokohama twice). Describe weird, Gregor. I enjoy performing it and I enjoy performing it with Ryuzo. I reckon tasks we have given to ourselves. And I do go into practice mode.

Why should one write about what happened? Especially of the event that roots in practice? And it takes performance as a one way to practice dance. So better write about practice. Practice of what? Practice of dance. Practice is not an opposite of theorizing. In includes theorizing. This way it enables one to practice also theory, their supposed complimentation and opposition.

At the Martinc Farm a dozen of people gathered. Together with dogs, cows and other smaller creatures. Like spider and plentiful of bacteria.

Gilles and Felix told me they wrote the book that forms a rhizome with the world. That there is an aparallel evolution of the book and the world. That the book assures the deterritorialization of the world, but the world effects a reterritorialization of the book, which in turn deterritorializes itself in the world (if it is capable, if it can).

Jaka told me that word “no” is somewhat attractive.

In Celje (Plesni Forum Celje) we were joined by young dancers (age 10 to 15) on our invitation. We introduced briefly the context of the project, the aim of this project and this particular session. This was third day of work for core members. We decided to research the list of tools for improvosation, this time of course with youngsters. Each impro lasted 3min and last one 6min. One of us introduced the word, everyone decided weather they will be observing or dancing. At the last impro we suggested that you can go from dancing to observing while the impro. After each impro there was short feedback.

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slo / eng