"All adventures, especially into new territory, are scary." — Sally Ride
"No artist is ahead of his time. He is his time; it is just that others are behind the times." — Martha Graham
From Alicja&Andrzej.
Dziękuję!
Tuesday, 3 June 2008
Saturday, 31 May 2008
Newsletter May 2008
Newsletter May 2008
Project “Takora”, Tacna, South Perú.
The second month of my placement in Tacna, South Peru, is almost over. It consists in artistic collaboration with Theater Group Deciertopicante (DCP) and, among others, it has as objective the strengthening of the role and importance of arts and culture in development, involving creative methods.
DCP is based in Teatro Orfeon. This small theater is dated 1850, it's really old and full of “fantasmas”. It needs an urgent renovation, but there are no founds for it. Probably, by the next stronger earthquake it might collapse. Also, I was asked to not push the walls while rehearsing as it might bring the same effect... Still, the atmosphere inside remains inspiring.
Our project is called “Takora” - as one of the volcano's in the horizon - and it is focused on performances in non-conventional spaces. I give training of contemporary dance, composition and improvisation. "Takora" embraces several activities: basic and advanced workshop for members of Deciertopicante, dance improvisation performances every month, 2 productions, basic workshop of video as well personal research inlands.
We have rehearsals every day in the evenings. During the daytime, the members of DCP are busy with their other jobs, academies or internships (mainly as teachers of fine arts in schools). The theater education does not exist. All actors are passioned autodidacts.
The first difficulty in this process considered the introduction of contemporary dance as artistic language. It was necessary to built a mutual trust and respect for our work. The challenge was, and still remains, how to make "dance" actors, who have never had any dance training nor have seen any performance of contemporary dance? Fortunately, with the director of DCP, Roberto Palza, they used strong physical training in their daily rehearsals before my arrival.
I also stressed goals where do I want to take them in this 6 months and what do I want to leave behind after my departure back to Europe. This transfer of experience and knowledge runs not only on the level of introducing new artistic language but also on the level of personal development, where limitations transform into opportunities.
In Tacna, I observe a lack of artistic proposition for other audiences, but children. This is due to the fact, that this target group- parents- are eager to pay for the performances or workshops for children and this facilitates to cover the rent of the theater space.
Yet a demand from other social groups does not exist because no curiosity or need is provoked. DCP and its artistic leader, Roberto Palza, would like to benefit from our collaboration to generate artistic innovation in the city of Tacna and strengthen the DCP's role of culture catalyst in the city.
The first occasion to make it in practice, was my solo improvisation evening called "Mudanzas" what means move; change. Before the event, we have been interviewed in 2 radios and benefit this time “on air” to talk about important topics: the need for ART as karma for the soul enriching individual's development and the "death" of Teatro Municipal (City Theater), which remains closed and what could be done about it.
On the evening of my solo performance the audience was really large- around 70 people came and were arriving till an hour later, when we already had a post-talk. I heard, that such a high attendance was due to the free entrance. Probably if they would have to buy a ticket even for 1 Sol, there would have come half of the public.
Before the performance, I felt too much pressure on my shoulders. The responsibility to represent "all" contemporary dance of Europe, as it was announced in the radio, was too much. Latinos like to exaggerate, but still, Tacna has never seen a contemporary dance performance before. After the show, the public was eagerly sharing their impressions. The most touching comment, I heard from one of my students, who got very emotional by seeing something for the first time in his life, something what he always wanted to see but didn't have access to. I felt strongly, how worth it was to come here.
Project “Takora”, Tacna, South Perú.
The second month of my placement in Tacna, South Peru, is almost over. It consists in artistic collaboration with Theater Group Deciertopicante (DCP) and, among others, it has as objective the strengthening of the role and importance of arts and culture in development, involving creative methods.
DCP is based in Teatro Orfeon. This small theater is dated 1850, it's really old and full of “fantasmas”. It needs an urgent renovation, but there are no founds for it. Probably, by the next stronger earthquake it might collapse. Also, I was asked to not push the walls while rehearsing as it might bring the same effect... Still, the atmosphere inside remains inspiring.
Our project is called “Takora” - as one of the volcano's in the horizon - and it is focused on performances in non-conventional spaces. I give training of contemporary dance, composition and improvisation. "Takora" embraces several activities: basic and advanced workshop for members of Deciertopicante, dance improvisation performances every month, 2 productions, basic workshop of video as well personal research inlands.
We have rehearsals every day in the evenings. During the daytime, the members of DCP are busy with their other jobs, academies or internships (mainly as teachers of fine arts in schools). The theater education does not exist. All actors are passioned autodidacts.
The first difficulty in this process considered the introduction of contemporary dance as artistic language. It was necessary to built a mutual trust and respect for our work. The challenge was, and still remains, how to make "dance" actors, who have never had any dance training nor have seen any performance of contemporary dance? Fortunately, with the director of DCP, Roberto Palza, they used strong physical training in their daily rehearsals before my arrival.
I also stressed goals where do I want to take them in this 6 months and what do I want to leave behind after my departure back to Europe. This transfer of experience and knowledge runs not only on the level of introducing new artistic language but also on the level of personal development, where limitations transform into opportunities.
In Tacna, I observe a lack of artistic proposition for other audiences, but children. This is due to the fact, that this target group- parents- are eager to pay for the performances or workshops for children and this facilitates to cover the rent of the theater space.
Yet a demand from other social groups does not exist because no curiosity or need is provoked. DCP and its artistic leader, Roberto Palza, would like to benefit from our collaboration to generate artistic innovation in the city of Tacna and strengthen the DCP's role of culture catalyst in the city.
The first occasion to make it in practice, was my solo improvisation evening called "Mudanzas" what means move; change. Before the event, we have been interviewed in 2 radios and benefit this time “on air” to talk about important topics: the need for ART as karma for the soul enriching individual's development and the "death" of Teatro Municipal (City Theater), which remains closed and what could be done about it.
On the evening of my solo performance the audience was really large- around 70 people came and were arriving till an hour later, when we already had a post-talk. I heard, that such a high attendance was due to the free entrance. Probably if they would have to buy a ticket even for 1 Sol, there would have come half of the public.Before the performance, I felt too much pressure on my shoulders. The responsibility to represent "all" contemporary dance of Europe, as it was announced in the radio, was too much. Latinos like to exaggerate, but still, Tacna has never seen a contemporary dance performance before. After the show, the public was eagerly sharing their impressions. The most touching comment, I heard from one of my students, who got very emotional by seeing something for the first time in his life, something what he always wanted to see but didn't have access to. I felt strongly, how worth it was to come here.
Friday, 30 May 2008
"Fronteras" & "Alice baila"
Now the speed of events and creative work has accelerated. Coming 31st May and 1st June, Deciertopicante will present the first work-in-progress "Fronteras". It will be an improvised performance with use of individual material, that have been developed in the rehearsals and non-conventional use of space.
The second day, with the group of DCP' apprentices, we will show a short choreography based on the story of “Alice in Wonderland” by Lewis Carroll. "Alice Dance" has been created with the assistance of Amiel Villegas Caceres, member of DCP, and it forms complementary part of theatre play directed by Roberto Palza, that will be premiered in end of June.
This meeting with the audience is important for both sides- for the actors, in order to cross step-by-step borders in performing arts, and for the audience, to develop inside need&curiosity for art and culture within the aim to generate a demand for more in future.
It will be a Fire Trial for our 2 months work. I can sense uncertainty among the actors and fear of the unknown.
Wednesday, 28 May 2008
White Rabbit
White Rabbit- Jefferson Airplane
One pill makes you larger
And one pill makes you small
And the ones that mother gives you
Don't do anything at all
Go ask Alice
When she's ten feet tall
And if you go chasing rabbits
And you know you're going to fall
Tell 'em a hookah smoking caterpillar
Has given you the call
Recall Alice
When she was just small
When men on the chessboard
Get up and tell you where to go
And you've just had some kind of mushroom
And your mind is moving slow
Go ask Alice
I think she'll know
When logic and proportion
Have fallen softly dead
And the White Knight is talking backwards
And the Red Queen's "off with her head!"
Remember what the dormouse said;
"FEED YOUR HEAD
_______________
FEED your head"
One pill makes you larger
And one pill makes you small
And the ones that mother gives you
Don't do anything at all
Go ask Alice
When she's ten feet tall
And if you go chasing rabbits
And you know you're going to fall
Tell 'em a hookah smoking caterpillar
Has given you the call
Recall Alice
When she was just small
When men on the chessboard
Get up and tell you where to go
And you've just had some kind of mushroom
And your mind is moving slow
Go ask Alice
I think she'll know
When logic and proportion
Have fallen softly dead
And the White Knight is talking backwards
And the Red Queen's "off with her head!"
Remember what the dormouse said;
"FEED YOUR HEAD
_______________
FEED your head"
Sunday, 25 May 2008
Ticaco i Tarata
Tacna is 750m above sea level. Tarata- 3070m and Ticaco, which lies 12 km from Tarata- 3438m. The distance from Tacna to Ticaco - 80 km. It means, that in less than 3 hours we changed the altitude drastically and the landscape surprised me discovering new sites around Tacna...
No, this wasn't our car, but this sort of buses are leaving Tacna early morning direction Tarata. It takes them some time to reach the 3000m level...
Our company in a taxi colectivo- Cynthia y Grishka.
Desert landscape transforming into...
...paisaje with green vegetation, eucalyptus trees and the Apu, volcano Takora has emerged in the close horizon.
One doesn't need coca leaves to feel high on 3000m above the sea level... My friend Rocio finds with difficulty a balance after hundreds of curvas on the way to Tarata...
Andenerias de Tarata covers 3 465, 67 hectares. It continues being used for the culture of maize and Pope. The terraces are irrigated with water of springs and brooks taken from the heads of Andean valleys. (See more information here)
Ticaco...
...and our main goal- Ticaco's hot springs resulted pretty disappointing, because of its size.
Tarata- side view of the Church.
Tacna in the sunset light on the way back...
No, this wasn't our car, but this sort of buses are leaving Tacna early morning direction Tarata. It takes them some time to reach the 3000m level...
Our company in a taxi colectivo- Cynthia y Grishka.
Desert landscape transforming into... 
...paisaje with green vegetation, eucalyptus trees and the Apu, volcano Takora has emerged in the close horizon.
One doesn't need coca leaves to feel high on 3000m above the sea level... My friend Rocio finds with difficulty a balance after hundreds of curvas on the way to Tarata...
Andenerias de Tarata covers 3 465, 67 hectares. It continues being used for the culture of maize and Pope. The terraces are irrigated with water of springs and brooks taken from the heads of Andean valleys. (See more information here)
Ticaco...
...and our main goal- Ticaco's hot springs resulted pretty disappointing, because of its size.
Tarata- side view of the Church.
Tacna in the sunset light on the way back...
Solo. Before and After.
22.05.2008"Mudanzas"
solo improvisation evening by Malgorzata Haduch
Teatro Orfeon
Tacna, Peru
dance: Malgorzata Haduch
music: Lorezno Brusci, Andy Moor
light: Arturo Carazas
In this performance, the starting point for the dance improvisation, was the abandoned space of Cafe Divas on the 2nd floor of Teatro Orfeon in Tacna. Themes as empty, abandoned and re-arranged were the impulses to move and improvise.
The audience was really large- around 70 people came and were arriving till an hour later, when we already had a post-talk. I heard, that it was due to the free entrance. Probably if they would have to buy a ticket even for 1 Sol, there would have come half of the public.
Before the performance, I felt too much pressure on my shoulders. The responsibility to represent " all" contemporary dance of Europe, as it was announced in the radio, was too much. Ah, Latinos like to exaggerate, but still, Tacna has never seen a contemporary dance performance before. (Important reminder: Tacna is a dynamic developing city of 300,000 inhabitants-not a pueblito in the mountains)
After the show, the public was eagerly sharing their impressions. Many complements and congratulations... The most touching comment, I heard from one of my students, who got very emotional by seeing something for the first time in his life, something what he always wanted to see but didn't have access to.
Of course, I was happy to bring such an unforgettable experience for the Tacneños. However, I am pretty critical to myself and I feel, this show could have been better. One more time I reflect on instant composition in site-specific places and how to sink deeper in emotional and physical states while improvising...
Tuesday, 20 May 2008
"Mudanzas"- una noche de improvisaciones
My first solo performance in Tacna is coming! This Thursday 22nd May at 20:30 hora exacta (precise time); 2nd floor Teatro Orfeon.This is an improvisation evening. "Mudanzas" means move; change and this subject is related to the previous Cafe Divas, which used to function on the 2nd floor of the Teatro Orfeon. Now DCP has overtaken the place, that at the moment is empty and abandoned. With my solo performance we are opening a new period in the story of that place. DCP focuses on artistic innovation and strengthening the role of culture catalyst in the city. Today we have been interviewed in 2 radios, where important subjects have been discussed: the need for art as karma for the soul; the "death" of Teatro Municipal (City Theater); and, in relation to my performance- the meaning of improvisation. It turned out, that in the Peruvian interpretation, improvisation has more negative connotation, means for example, an action made by someone who lacks of knowledge. I introduced the term of instant composition and alternative ways of using the space in a performance. The theme, that gained more attention was my request to the public for bringing one song, which make them reflect about the past time(s). It seems, the promise of interaction between performer and the audience, makes the Tacneños indeed curious.
And me- nervous...
And me- nervous...
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