Wereldmuziek Bestaat Niet
“Multicultureel kunstbeleid zou op lange termijn de deconstructie van genres als wereldmuziek en niet-westerse kunst tot doel moeten hebben. Wereldmuziek is geen genre, maar het gevolg van een verouderd uitsluitingsmechanisme van de bestaande kunstpraktijk. De gevestigde orde maakt dankbaar gebruik van dit type containerbegrippen om alles wat niet binnen de referentiekaders van de gehanteerde kunstopvatting valt te benoemen. Deze categorisering houdt de hegemonie van de huidige opvattingen in stand omdat zij op deze manier niet ter discussie worden gesteld. Verdere constructie van het genre wereldmuziek binnen de multiculturele beleidskaders zal de emancipatie van alle muziekvormen die hieronder geschaard worden eerder tegengaan dan stimuleren.”
Oscar van der Pluym in: De Kunst van het Kiezen, een reeks essays over niet-westerse kunst in Nederland, uitgegeven door de Rotterdamse Kunststichting, de Phenix Foundation en de Boekmanstichting 2003.
De Wandelende Tak, een programma van Walter Slosse
In De Wandelende Tak van 31 mei 2008 komt Oscar van der Pluym daarover uitvoerig aan het woord (in gesprek met Walter Slosse) . Hij geeft een antwoord op de vraag of het niet beter is de term “wereldmuziek” minder te gebruiken, en meer te spreken over een algemene culturele samenwerking, waarbij ook de grenzen wegvallen tussen de verschillende muziekhokjes.
In 2006 ging in Rotterdam het World Music and Dance Centre (WMDC) van start, op initiatief van Codarts, de Hogeschool voor de Kunsten. Het is een podium en expertisecentrum voor muziek- en dansstijlen uit de hele wereld. Van Argentijnse tango tot Indiase ragas, van Surinaamse kawina tot Turkse sazmuziek, is het WMDC een ontmoetingsplaats voor iedereen die belangstelling heeft voor niet-westerse podiumkunsten en wereldmuziek. Oscar van der Pluijm, de directeur van het WMDC, vertelt hoe de wereldmuziek volwassen werd en zelfs een Nederlands exportproduct is geworden. Op 23 en 24 mei 2008 werd de eerste Dutch Blend Meeting in Rotterdam georganiseerd, met als doel internationale aandacht te vestigen op wereldmuziekgroepen die Nederland als thuisbasis hebben. Walter Slosse
Beluister De Wandelende Tak van 31 mei 2008 (mp3)
woensdag 25 juni 2008
vrijdag 23 mei 2008
Guilin Girls
video Guilin Girls © Paul Donker Duyvis
still from video Guilin Girls © Paul Donker Duyvis
[from Mrs. Deane - nothing is too amazing to be true]
No time to post last night as we were participating in Cinema at Home, a small film/video/av festival event [Curated by Jerome Symons at K13 Velp, NL, May 20 2008], where we saw this mesmerising video by Dutch artist Paul Donker Duyvis (view a smaller version here on Youtube) when travelling through the Chinese city of Guilin.
The video was a happenstance which came about when he was filming something else. The whole video was shot from one position (him sitting on the ground) with the children zooming in and out in front of the camera. Instead of using the entire film, Donker Duyvis reduced it to a sequence of randomly selected frames, through which it becomes almost a stop-motion animation of black and white photograps. We felt it works quite well this way.
Mrs. Deane, written on May 21, 2008
http://www.beikey.net/mrs-deane/?p=546
CINEMA AT HOME: Personal Meeting 15 t/m 23 mei 2008
film/video/av festival event Curated by Jerome Symons / Hear With Heart Cinema
at K13 Velp, NL
http://pddvideo.come2me.nl
still from video Guilin Girls © Paul Donker Duyvis[from Mrs. Deane - nothing is too amazing to be true]
No time to post last night as we were participating in Cinema at Home, a small film/video/av festival event [Curated by Jerome Symons at K13 Velp, NL, May 20 2008], where we saw this mesmerising video by Dutch artist Paul Donker Duyvis (view a smaller version here on Youtube) when travelling through the Chinese city of Guilin.
The video was a happenstance which came about when he was filming something else. The whole video was shot from one position (him sitting on the ground) with the children zooming in and out in front of the camera. Instead of using the entire film, Donker Duyvis reduced it to a sequence of randomly selected frames, through which it becomes almost a stop-motion animation of black and white photograps. We felt it works quite well this way.
Mrs. Deane, written on May 21, 2008
http://www.beikey.net/mrs-deane/?p=546
CINEMA AT HOME: Personal Meeting 15 t/m 23 mei 2008
film/video/av festival event Curated by Jerome Symons / Hear With Heart Cinema
at K13 Velp, NL
http://pddvideo.come2me.nl
vrijdag 16 mei 2008
Irena Sendler 1910-2008
Irena Sendler 1910-2008
She takes the crying baby into her arms, turns her back on the hysterical mother, and walks off into the night. If she's caught, she and the baby will die.
"Promise me my child will live!" the mother cries desperately after her.
She turns for a moment. "I can't promise that. But I can promise that if he stays with you, he will die."
Irena Sendler was 97 years old. She has seen this image in her dreams countless times over the years, heard the children's cries as they were pulled from their mothers' grasp; each time it is another mother screaming behind her. To the children, she seemed a merciless captor; in truth, she was the agent to save their lives.
Mrs. Sendler, code name "Jolanta," smuggled 2,500 children out of the Warsaw Ghetto during the last three months before its liquidation. She found a home for each child. Each was given a new name and a new identity as a Christian. Others were saving Jewish children, too, but many of those children were saved only in body; tragically, they disappeared from the Jewish people. Irena did all she could to ensure that "her children" would have a future as part of their own people.
She listed the names of every rescued child and buried the lists in a jar, hoping that the children could be reunited with their families after the war.
Mrs. Sendler listed the name and new identity of every rescued child on thin cigarette papers or tissue paper. She hid the list in glass jars and buried them under an apple tree in her friend's backyard. Her hope was to reunite the children with their families after the war. Indeed, though most of their parents perished in the Warsaw Ghetto or in Treblinka, those children who had surviving relatives were returned to them after the war.
Yet Irena Sendler sees herself as anything but a heroine. "I only did what was normal. I could have done more," she says. "This regret will follow me to my death."
...
Even before the war, Irena had strong loyalties towards Jews. In the 1930s, at Warsaw University, she stood up for her Jewish friends. Jews were forced to sit separately from "Aryan" students. One day, Irena went to sit on the Jewish side of the room. When the teacher told her to move, she answered, "I'm Jewish today." She was expelled immediately. (Decades later, under Communist rule, she was considered a subversive; her son and daughter were refused entry into Warsaw University.)
...
Breaking the Silence
Though she received the Yad Vashem medal for the Righteous Among the Nations in 1965, Irena Sendler's story was virtually unknown. But in 1999 the silence was broken by some unlikely candidates: four Protestant high-school girls in rural Kansas. The girls were looking for a subject for the Kansas State National History Day competition. Their teacher, Norm Conard, gave them a short paragraph about Mrs. Sendler, from a 1994 U.S. News & World Report story, "The Other Schindlers." Mr. Conard thought the figures were mistaken. After all, no one had ever heard of this woman; Schindler, who was so famous, had rescued 1,000 Jews. 250 children seemed more likely than 2,500.
Conard encouraged the girls to investigate and unearth the true story. With his help, the girls began to reconstruct the life of this courageous woman. Searching for her burial records, they discovered, to their surprise, that she was still alive, ninety years old and living in Warsaw. The girls compiled many details of Mrs. Sendler's life, which they eventually made into a short play, "Life in a Jar."
(source; also see this site)
zaterdag 19 april 2008
donderdag 3 april 2008
Rutger Hauer spreekt op de herdenking voor de Soldaat van Oranje
Rutger Hauer spreekt op de herdenking voor de Soldaat van Oranje, de bijnaam van Erik Hazelhoff Roelfzema uit het verzet tijdens de Tweede Wereldoorlog. ...
dd. 3-4-2008
dd. 3-4-2008
Willem-Alexander spreekt op de herdenking voor de Soldaat van Oranje, Erik Haselhof Roelfsema dd. 3-4-2008
Willem-Alexander spreekt op de herdenking voor de Soldaat van Oranje, de bijnaam van Erik Hazelhoff Roelfzema uit het verzet tijdens de Tweede Wereldoorlog. ...
dd. 3-4-2008
dd. 3-4-2008
dinsdag 11 maart 2008
HandMade
HandMade 2008
This project is part of
XXIV International Festival Sarajevo
7.2. - 21.3. 2008.
Visual Identity:
Barricades Without Borders- New (Brave) Worlds
Encumbered Memo´s,
Exhibition Project (Performances / Installations)
by Paul Donker Duyvis / Nine Dragon Heads
maandag 10 maart 2008
Tolerance - Time
" Tolerance "
The Year 5768 according to the Jewish Calendar.
The Year 4341 according to the Buddhist Calendar.
The Year 2008 according to the Christian Calendar.
The Year 1429 according to the Muslim Calendar.
The Year 9999 according to the Shamans Calendar....ahahahhhaaa
from a letter of PARK, Byoung-Uk to me
dd. 7 march 2008
Explicit / Explicito ...
Paul Donker Duyvis Performance - X
Woodcut Poster Project for
VILA da BARCA, Belem 2006
Fotoattiva Gallery, Belem
photo: Renaro Chalu / O Liberal 14-6-2006
Explicit
without being
Explicit
EXPLICITO
SEM SER
EXPLICITO
see
Woodcut Poster Project for
VILA da BARCA, Belem 2006
zaterdag 1 maart 2008
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