Thursday, December 31, 2009

EXIT

If everything goes to plan, this darling year of ours will end today at midnight. After trudging along relentlessly, 2009 will finally pass. It will have had twelve months, filleted into fifty-two weeks or, if you prefer it, crumbled into three hundred sixty-five days. Something takes place around this time of year, every year, which gives me a certain degree of pleasure: news programmes have a nostalgic tendency to show footage they have steadily collected over the last year. The images, I have to say, tend to include a high percentage of despair and tragedy, only peppered by a few fortunate incidents. And yet, I sit and watch. Perhaps it is not actual pleasure but rather awe that I experience. What I am sure of is that I enjoy sitting and watching the year go past in images; a rather trivial reminder of the inexorable passage of time, and perhaps a last ditched attempt to understand what has happened. So far I have not been able to get the same high whilst browsing through the 20 events that Hotmail tells me ‘made the decade’, but they served as an appetiser. However, for the first time, I have read something in print which has come close to producing the exhilaration I feel when watching an edited potpourri of news footage. And I believe it is able to do so because it highlights the inevitability and complexities we all face when leaving a decade behind and starting a new one:

History doesn’t seem to have a taste for round figures. The decade of the 1980s, for example, began in May 1979 when Margaret Thatcher swept into the British Parliament. The decade of the 1990s also began ahead of its time, just at the moment when the Berlin wall fell, in November 1989. And the first decade of the 21st century truly seemed to get started with the terrorist attacks on September 11 2001.
There are decades that are marked by ideas. Ideas are something different to events. Ideas are often the consequence of events, although they can also be the cause that leads to events. On the one hand, the communist regimes were a product, at least in part, of Marx’s idea that history would end with the triumph of socialism. On the other hand, Francis Fukuyama’s idea that history ended with the triumph of democracy and the free market was the consequence of the event that closed the 20th century: the failure of communism. In the decade of the 1980s the idea that led to events was economic ultraliberalism; and the decade of the 1990s the idea that defined the period was globalisation, the vision of a more interdependent world. The first decade of the 21st century has been defined by the attacks in New York and Washington; attacks that kick-started a period characterised by global terrorism, from London to Bali, passing through Madrid and Istanbul. But this decade has also been dominated by an idea: the so-called global war against terrorism and its first battle started in Afghanistan. The idea that dominated George W. Bush’s presidency was neoconservativism, a maniqueist cosmovision. And the fear and wrath resulting from the 9/11 attacks facilitated that the neo-cons should apply their idea which, amongst other things affirmed that the soviet threat had transfigured into militant Islamism.
The overthrow of the Taliban regime (2001) and Saddam Hussein (2003) marked the unilateral/centralised moment, the period when the USA exhorted its highest level of power. But the neoconservative vision demonstrated that it was incapable to reorganise the world. The Bush Administration pretended to revolutionise, with wars in Afghanistan and Iraq, the system inherited from the Cold War. The result was a disaster, amongst other things because the war against terrorism did not become an organising principle for the international system. Bush announced the democratisation of the Middle East after the invasion of Iraq, but the Middle East has taken a turn for the worse. The autocracies in Egypt and Saudi Arabia, for example, had become harder, which does not necessarily mean they have become stronger; Iraq is total chaos; Iran has become a regional power; new non-govertamental players such as Al Qaeda, Hezbollah, Hamas and the Mahdi Army have become consolidated; peace between Palestinians and Israelis provokes general scepticism.
Global terrorism has affected Western societies, but the war against terrorism has relegated to the background the events taking place in South America, where populism doesn’t relent; in Africa, tormented by poverty, illness tribal rivalries, and the tragedy in Darfur; and in Asia, where two emerging superpowers continue to grow: China and India. That is to say, the world has become multifocal/decentred. Bush invested his first term in the search of weapons of mass destruction that Saddam was supposed to have. When he left the American presidency it became known that said weapons rested underneath Wall Street. Then, on a date that was not a round figure either, the unilateral/centralised moment came to an end. Shortly afterwards Obama walked into the White House. It was the beginning of a multifocal/decentred decade in which the world’s organisation will not depend upon the war against terrorism, but on the relationships between the USA, the established superpower, and the emerging powers, beginning with China.
(The text is by Xavier Batalla and I have taken the liberty to translate and edit it myself.)




I prepare myself to greet 2010 and the new decade with a different kind of excitement to the one I experienced ten years ago, on 31st December 1999. This I feel, is a sober excitement, free of the naïve anxieties caused by a possible crash of all computers systems around the globe. A further difference is that back then, as far as I remember, I did not have this sense of waving goodbye. I was so fixated with what as to come that I did not fully register the period we were just leaving behind. Yes, we were also exiting a decade and arguably a century, but somehow I was so busy thinking about the new century that I did not take stock.
Things are different now. Quietly, I am taking stock. This, the decade that is about to slip through our fingers, has been my decade. I have the ‘honour’ to say that I was born in the early 1980, then, the remaining years until the end of the decade came and went in the stupor of childhood. After that, the 1990s came and went in much the same manner, this time muddled by the negotiations and awkwardness of adolescence. For instance, my only memory of the first invasion of Iraq remains this: my mother, standing in front of the television, ironing a pile of clothes, wearing a black and white keffiyeh (at that stage the Palestinian headscarf had not yet become a fashion accessory and retailed its militant aura). The rest is rather hazy.
So… this has been, finally, my decade: I have gone from being 17 to being 27. As far as periods go, this has undoubtedly been the most important to date in personal terms. The narrative of my life coils behind me like a used rope and I prepare for the next tug.

So this is it. And I have only four hours and three minutes left. And as the last twelve seconds of the year rush past I will push the metal bar and open a heavy door with an exit sign glowing above it…

PS: though of course, things are never as straightforward as that. It is peculiar to think that the new year and the new decade have already commenced, at least numerically, for millions of people living on the landmasses that stretch from India to New Zeeland. And on and on and on and on and on the Earth’s rotation continues...

Pablo

Tuesday, December 22, 2009

On the value of things...

So last Friday I managed to escape the weather nightmare at Gatwick and only suffered three hours delay. I was flying to Spain for the festive season after a year’s absence. And now…? Now I am in Alicante, a place I can only really call home because my family lives here and there is a room full of my stuff – old stuff. Anyway, last night I had a long and somewhat overdue chat with my mum: told her everything about i am small THE WORLD IS BIG. I don’t know what this kind of conversation is like for other fellow creatives out there, but for me it’s an important moment. Though my mother is certainly cultured she does not necessarily have a full understanding of the ins and outs of contemporary performance practice. Furthermore, though she is certainly supportive she is equally critical and analytical. And so, the moment I tell her about one of our new projects is always exciting because I know I will get a barrage of questions followed by her honest opinion. She was excited about i am small THE WORLD IS BIG and was impressed by its scope and scale, but that is not what I wanted to write about…

We were talking about world atlases and how we plan to use them for our project when she referred to them in passing as a ‘defunct technology’. That strange thought grabbed me. We live in the age of Google Earth and other such technological marvels. In fact this morning my brother showed me that Spain is the most ‘photographed’ country after the US, on Google Street View that is. So it is strange to think that I could give you my ‘home’ address and you could have a peek at my family’s house! Though to be honest I’m not sure how I feel about that… At any rate it was something I had not considered before: the possibility that good old world atlases printed in book form might already be a thing of the past. Where does that leave i am small THE WORLD IS BIG? At the moment I cannot say. Of course you don’t yet know what we intend to do with the atlases we have collected – and we have collected quite a few! (We already have atlases in English, German, Spanish, and we are still hoping to find more in Easter languages such as Arabic, Cantonese, Japanese, Hindi, and Mandarin.) For the time being all I will say is that we will be cannibalising these world atlases… So, if we accept the statement that printed world atlases are a ‘defunct technology’, does that mean they are becoming historic artefacts? Should we therefore treat them with more respect? I am not sure.
A telling moment came a few weeks ago when we received in the post an atlas I had bought on eBay. It was printed in 1917. When he saw it Rick put his foot down and was adamant that we could not cannibalise it. This, he said, was a precious thing… But why? Do we feel some strange nostalgia? What happens when we see Canada appear as the Dominion of Canada; or see that Pakistan, India and Bangladesh were united under British rule; or that Germany was once huge? I don’t know. Or is it rather that we value artefacts such as this 1917 world atlas because they have survived the relentless passage of time, because they offer us a window into the past?
After taking into account other, more practical considerations (such as the quality of the paper), Daisy and I compromised and agreed not to use the 1917 atlas in the same way as we intend to use the other ones. However, my mother’s comments put this into perspective and problematise our attitude. If all world atlases are ‘on their way out’ and will eventually be replaced by electronic copies, then does that not mean that even newer atlases (from the 1960’s to 1990’s say) are already in the process of becoming historic artefacts? Will we be cutting this process short by using them in our project? Or rather, do we mind that they will become different and transformed artefacts once we have cannibalised them? The whole question reminds me a little bit, though tangentially, of the discussion that ensued after the Chapman brothers (Jake and Dinos) ‘defaced’ or rather ‘rectified’ 80 of Goya’s famous prints (http://www.guardian.co.uk/culture/2003/mar/31/artsfeatures.turnerprize2003). Not that I think we are operating on the same level of course! I am aware that the world atlases we will be cannibalising are not precious works of art, but they do have a value in themselves. Hum… Many questions. Few answers. For now.

Pablo

PS: and if I don’t blog before the end of the week… Feliz Navidad!

Tuesday, December 15, 2009

YOU GOOGLE WE GOOGLE

Now, now....
Here is something interesting about the individual and the global...

http://technology.timesonline.co.uk/tol/news/tech_and_web/article5489134.ece
(Thanks go to Ian Baird for sharing it with us.)

Pablo

It's not all child's play....

For those of you who do not know, I am a confessed addict to BBC iplayer. And there is nothing more tempting than a good documentary on BBC4. Last night I watched the second episode of Games Britannia. The series traces the development of games throughout British history, from mysterious druid board games to Monopoly and beyond. For those of you living in the UK, here is the link:
And there is something I want to share with you… Bear with me.

Half way through last night’s episode presenter and historian Benjamin Woolley discussed the subtle, almost stealthy political role that games can play. I quote:
In the years leading up to the First World War, in 1909 an apparently conventional race game was published. It was titled 'Pank a Squith', and it encoded a radical political message. It represented the escalating battle between Emmeline Pankhurst, leader of the women’s suffrage movement and her arch enemy Prime Minister Herbert Asquith. The aim of the game was to get a woman into that bastion of male oppression and exclusion, the Houses of Parliament. Her path was strewn with obstacles such as imprisonment and ridicule, and opportunities such as financial sponsorship and public support. Each player had to pick their way through this political mine field.”

Woolley then talked to Andrew Sheerin, the designer responsible for the satirical board game ‘War on Terror’ (http://www.waronterrortheboardgame.com/). I quote Sheerin:
I think games are ideally suited for exploring current events, and particularly very difficult and complex subject matters. And it sets up a conflict around a table, but a safe conflict. You are not having a political debate, which can turn personal, but you are having a staged conflict and through that you come to a resolution.”

Now, why would I mention this to you? I am aware that we have not yet outlined the particular activities involved in i am small THE WORLD IS BIG (I am enjoying the mystery at the moment, so watch this space for more info in the future). The one thing I can tell you is that it is not anything close to a board game. However, I think that Sheerin’s statement is relevant to the project nonetheless. Through this piece we are tackling a number of current events that are certainly difficult and complex. So, who are the players? Well there will be a core of selected collaborators who will be engaging directly in the activity. That said, the audience will not be relegated to simply spectate, but will be able to ‘join in the game’ in different ways. So, what is the game? As I said above we don’t want to give much away just yet. What I can tell you is that it will not follow a conventional set up like the games discussed in Games Britannia or the games that Sheerin is referring to. With that I mean that the rules of engagement are not based on a conventional structure where two or more parties directly confront each other (as it might be in chess or Trivial Pursuit). In our ‘game’ the conflict is not between the different ‘players’. Instead the conflict lies in the tension between the activity and the time dedicated to it. In a way, i am small THE WORLD IS BIG is a race against the clock. The different ‘players’ (collaborators and audience alike) will directly and indirectly engage in an communal activity that is set to take place over a finite duration. Jointly, as a team, we have to get it done –or rather, as much as we can. How much will we achieve? Will we ‘save ourselves’ in time? What role will you play? i am small THE WORLD IS BIG is a challenge to us all, it is a safe space we can use to practice/rehearse/play-out many of our current challenges and conflicts. Will we arrive at any resolutions?
Well, that’s up to each and every one of us…
Pablo

Sunday, December 13, 2009

SPACE

It’s official! Dates and location have been confirmed! (thank you Dee)
i am small THE WORLD IS BIG will take place on Friday 26th and Saturday 27th of February 2010 in the Senate Building at the University of Kent. We are terribly excited that the project will go ahead as we had envisioned at the start (i.e. using the Senate and lasting two days). Why insist on this particular space, why this particular duration? The answer for us, I would say, might be summarised by simply stating: form and content.


Let me start with the Senate and perhaps later I will get to the duration. For those of you who might not know it, this building is situated in the neuralgic centre of the University of Kent’s Canterbury campus: in front of the library, Eliot and Rutherford Colleges at either side, and a stone throw’s away from The Registry and the Gulbenkian Theatre. This central position, as well as its name, reflects its role: a symbolic seat of power. The Senate’s large upstairs room serves as the meeting place of various university governing bodies (for instance the Humanities’ Faculty Board will be convening there on the day before our project take place). It is a space where statements are made, discussions take place, votes are cast and counted, and decisions are arrived at. I am trying to remember my own impressions of the building whilst I was an undergraduate. It’s proving to be difficult. I had certainly not been inside the Senate, nor did I have any actual knowledge of what happened inside it, but what I find most confusing is that although I was a conscientious student I seemed to lack any curious desire to find out, to sneak in (surprisingly the building is open throughout the day and it would not have been hard to take a peek). So in my mind at least, the Senate was simply an amorphous presence on campus which I loosely associated with power, its mystery and inaccessibility.
So how did we come to choose the Senate as our location? As a principle, when we start a new project we attempt not to get bogged down in practicalities, allowing the concepts to develop freely before exploring how they will be realised. However, as it the case with much of our work, this issue is not as simple and linear as that; the chicken and the egg, the snake biting its own tail. There is a moment -difficult to pinpoint- where the core concept of a project meets the various practicalities involved in its realisation and begins to be shaped by them. Location, of course, is the first of such on the list. Once i am small THE WORLD IS BIG had begun to take shape and the project’s core had been established we reached this moment. Where should it take place? Schengen Smile, the piece we devised last February for WorldFest 2009 took place in a series of teaching spaces: a corridor and two seminar rooms. The starkness of these spaces contributed to the bureaucratic atmosphere we were creating and so the marriage between the site and the piece was easy. Now thou, our desire to produce a more ambitious project was coupled with our conceptual interest in facilitating a coming together. The small and out-of-the-way rooms which had been the setting for the solitary journey the audience took in Schengen Smile would not do. We had to upgrade to a space that was larger, more ‘important’. There are only a few such spaces at the University of Kent’s Canterbury Campus: the large dining halls in Eliot and Rutherford Colleges and the Senate Building’s upstairs meeting room. And so the decision was made. With its substantial dimensions, central location and powerful associations the Senate presented itself as the ideal location.

And what will be doing in the building? I will leave that for later. For now it will suffice to say we will open up the building, inviting individuals to come together in a joint effort. In a way, the event will not be that dissimilar from the Senate’s normal use: meeting, discussing, deciding. We intend to occupy the entire building, transform it, and offer the audience a unique experience. As with Schengen Smile we are considering the possibility of creating a coherent route through the building, though in this case it will be multifocal and more complex. In regards to transformation, well, we are yet to find a specific relationship to the site. Will we ruthlessly colonise? Will we sympathetically stay within the vernacular of the building? That is, of course, only the first stage of our space-induced dilemmas. This search for conceptual clarity will then inevitably be followed by a series of practical negotiations. Please, please let us move the furniture around. Please, please let us use bluetack... When last year we had to relocate Lost In Translation from Canterbury city centre to Liverpool’s Victorian St. George’s Hall these practical negotiations resulted in significant formal changes to the piece. With that experience under our belts I hope that the process it more efficient this time. Fingers crossed.

Last Thursday Dee (Gulbenkian Theatre Director) kindly took us to the Senate. Since it was our first visit together and we did not have much time we could not go into much depth. But it is workable. We were excited by the motion sensitive sliding doors to the foyer and the red walls of the downstairs rooms. We were excited about the dramatic walk up the stairs. We were excited about the little square space just outside the upstairs meeting room and we were excited by the latter’s circular shape and significant dimensions. We were excited by the ten second lift ride and the feeling of disorientation when reaching the ground floor. We were not so excited by the artwork on display (sculpture of elephants and corporate-looking paintings downstairs, and portraits of past university Deans upstairs). But it is workable.

On a different, yet space-rated note, last Tuesday Rick and I met Fiona Watt (http://www.fionawatt.com/). She is a scenographer Cathy Westbrook (always the fairy godmother) had put us in touch with. We had a chat with Fiona about our company, past works and our current piece. She seemed enthusiastic and described i am small THE WORLD IS BIG as ‘life affirming’. Though at this stage we are designing the event on our own time will tell, and this might become the first project where we collaborate with a fellow creative. For the time being we have to sort things in our own heads, and Fiona’s questions were particularly useful because they pushed us towards clarity. We might have a few more informal chats and if a true collaboration is to take place it will do so after February’s presentation. As I said, time will tell.

Pablo


PS: We intend to take i am small THE WORLD IS BIG further, developing it beyond its first presentation next February. We want to take it elsewhere and tour. What about the location then? Ideas are beginning to flow and conversations are taking place. I wouldn’t want to give too much away just yet. We will keep you posted.

Tuesday, December 8, 2009

wow... i really am small

It has been a month and a half since we last blogged. My how time flies.
What have we been doing? well.......
Learning to stitch, looking for stitchers, making money and looking for money, reading and writing, listening and looking. That has kept us pretty busy.
However, Dear Blog, we have not forgotten you and indeed may have missed our regular little tet-a-tet. the regular mental emtetic, the mind enema that you gratefully serve....

I am fircely aware of how small i am and how short my reach is. We have been scouring the globe for Atlases in various foreign languages... how hard can that be?
There is an awfully long way between here and China, more than a simple afternoon stroll! in fact it would take weeks of strolling. despite the long ang gangly nature of my legs.
Its not such a long way to Germany (where my better half's parents have been visiting the Christmas markets this past week) Even that is a fair walk for my pins!
it takes me around twenty mins to get into town, a further twenty to get to the other side (Wincheap, say). i wonder how far i could go in a day, a week, a month.
How long would i have to walk to get to a point where i have no relation to my surroundings? What would it be about my surroundings that means i have no relation?
Can you negotiate ebay in Mandarin? me neither! i cant even negotiate it in languages closer to home, French, German, Spanish... Thank goodness for Pablo!
So i have instead fixed my focus closer to home... right on my doorstep instead.
I can reach to there... just.
Its funny how much there is and can be out there when you go looking for it!
People with pep, get up and go.... organiser, performers, writers and artists of every hue. All so close to home!!! in the words of Balloo the bear... "if you look under the rocks and plants and take a glance at the fancy ants... and maybe try a few" (obviously not in the literal sense here).
i may be small ant but i am small along with the myriad of other ants on my doorstep and that makes me feel a little bit better about myself and a little lesss scared of the world at large!

Rick