World Water Day symposium was a succes thanks to:
all presenters/performers from around the world; Riccardo Petrella and Ulay who opened the event; Amin Hammami and Prof Hichem Rejeb in Tunisia, who organised the main node at Sousse University; and our energetic team in Brisbane composed of James Cunnigham as go-between, Jeff Turpin aka Prof, our time-keeper (!) and the team of Inkahoots who streamlined the arrival on the Taps just on time for audience to go from tap to tap following the flow of ideas, thoughts and propositions of the day.
WaterCheers started with Mahesh Vinayakram‘s beautiful voice witnessing the sunrise in Chennai and ended with AWA, a group of Argentinian artists who fell in love with Waterwheel’s possibilities.
My Australia Council for the Arts Fellowship ended in April 2012. If you are interested to read the report, let me know. I can send it to you.
I’ve decided to continue this blog and will keep you in the loop about my upcoming adventures…
Next: I will be Copeland Fellow with a residency at Amherst Five College and Associate Researcher with the Women Studies Research Centre at Mt Holyoke in Massachusetts, from August to mid-December 2012.
The fellowship, awarded to me by the Australia Council for the Arts, will allow me to dive into old footage I collected over the years and didn’t have time to address. I will be able to watch, catalogue, note, and dig into what was potentially latent material, things that i preempted, sensed, but that I will be able to see and articulate more clearly with distance. This is something that I did for FRAGMENTATION, showing how valuable it is to take time to reflect. I wrote more on this in an article in ninethletter.com. Fragmentation has been screened in a dozen festivals and more than 25 venues so far, which I will try to update in the top menu “about” > screendance festivals.
My interest in performance for the camera comes from my performing arts and visual arts education. I discovered the camera when I was at La Cambre in Brussels, a school formed on the philosophy of the Bauhaus, examining how different artistic disciplines inform each other. La Cambre is where I completed my Masters in Visual Arts. The camera was a great tool to unify the performance and visual spaces and it allowed me to notice the dance of light: the light in perpetual motion, revealing what we see. The camera became like a pen: documenting but also writing and refining ideas, drawing the frame. At that time, it was a super8 film camera, with the tactile feel of cutting and pasting the celluloid in a linear fashion. With the digital reign, I became more and more interested in editing, which allows the designing of the space visually and auditively.