Number 45: Spring 2001 issue

Visiting Arts

Visiting Arts

11 Portland Place, London W1B 1EJ

Telephone (020) 7389 3019Fax (020) 7389 3016E-mail office@visitingarts.demon.co.uk

http://www.britishcouncil.org/visitingarts

Terry Sandell OBE, Director

Tim Doling, Assistant Director (R&D)Camilla Edwards, Asst. Dir. (Visual)Nelson Fernandez, Asst. Dir. (Performing)Adam Jeanes Asst. Dir. (Resources and Planning)Richard Jones, Office ManagerCaitlin Kennedy, ConsultantMelissa Naylor, Information ManagerSakiko Nishihara, ConsultantNansi O’Connor, Arts Projects ManagerLara Riley, Training Programmes ManagerAnne Sobotta, Consultant

Directors

Richard Lambert (Chairman),Editor, Financial TimesSue Harrison, Director, Arts Group, The British CouncilMichael Reilly, Head, Cultural Relations Department, Foreign and Commonwealth Office

Observers

Rosemary Edwards, International Arts Manager, Arts Council of WalesTessa Jackson, Director, Scottish Arts CouncilRoisin McDonough, Chief Executive, Arts Council of Northern IrelandAidan Stradling, Arts Support & International Branch, Department for Culture, Media and SportJeremy Theophilus, Senior Visual Arts Officer, Arts Council of England

Registered in England No. 4162404Charity No. 1085506

Published by Visiting ArtsISSN 1368-5236© Visiting Arts 2001

Copyright for the photographs reproduced in this issue remains with the persons or institutions individually credited.

Designed by John MacklinPrinted in Britain by E. Petch Printers Limited

Contents

Editorial Page 3

Visiting Arts news 3

Features

Brazilian fashion: first impressions 6.....................................................................................................................................................................................................

A brief introduction into the enticing world of Brazilian fashion

Japan 2001 9.....................................................................................................................................................................................................

Japan comes to the UK in this year-long celebration starting in May 2001

Saori hand weaving 10.....................................................................................................................................................................................................

A touring exhibition featuring workshops and demonstrations of traditional Japanese weaving

Textural Space 11.....................................................................................................................................................................................................

An innovative Japanese textiles exhibitions touring the UK in 2001

Spring Lines 15.....................................................................................................................................................................................................

Contemporary calligraphy exhibition featuring work from both East and West

Scandinavian Festival 2001 17.....................................................................................................................................................................................................

Highlights of the yearly Scandinavian music festival in the Yorkshire Dales

Noticeboard 20

Contact registration form 24

(cover) Shihoko Fukumoto (see page 11) Photograph: Toshiharu Kawabi Courtesy: Direct Design, London

Contents

John Kundu, Editor

Enquiries should be addressed to the Editor.

Telephone (020) 7389 3123 E-mail jkundu@visitingarts.demon.co.uk

Visiting Arts Number 45:Spring 2001 issue

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Visiting Arts has been going through a period of positive change including the tidying up of its legal status and a review of policy and activities, which will continue through further consultation. The results of this process will gradually become evident and we hope that it will contribute to our continuing effectiveness and ability to respond to expectations and opportun -ities in an ever-changing world.

Some areas of our work, including our publications, are still under review and in particular how best we can achieve the right balance between expanding web-based services and a continuing demand for materials in print form. We are currently experimenting in various ways, including with this magazine, and so would particu -larly appreciate relevant feedback on our publications and web services.

It would also be useful to receive feed - back with regard to the possible themes (country, artform, etc.) that could be covered in future issues of Visiting Arts.

Terry Sandell OBEDirector

Editorial Visiting Arts news

Visiting Arts

Visiting Arts has recently been set up as an independent charity (Registered in England as a charity number 1085506) jointly funded by the Arts Council of England, the Scottish Arts Council, the Arts Council of Wales, the Arts Council of Northern Ireland, the Foreign and Common-wealth Office and the British Council. The Department for Culture, Media and Sport also provides support. Our core purpose remains the same, i.e. as the national agency for promoting and encour aging the flow of international arts into the UK and developing related cultural links abroad to help build cultural awareness, positive cultural relations and the fostering of mutually beneficial arts contacts at national, regional, local and institutional levels. Our activities include: advice, information, training, consultancy, publica tions, special projects and project develop ment and we cover the performing arts, visual, applied and media arts, crafts, design, literature, film, archi tec ture and some museum activity.

Visiting Arts website

Visiting Arts has just launched its new website which will be subject to continuous development. Some traditional services are being transferred to it, for example, infor mation for overseas artists wishing to perform/exhibit in the UK and guidance for UK-based promoters and curators who are keen to present inter national work here. Key features currently include: information on Visiting Arts (company, staff and location); advice on presenting international work; Red Tape – notes for producers, promoters and agents wishing to present foreign artists in the UK and covering topics such as work permits, visas etc; a list of UK festivals (large and small) covering all the art forms; information on Visiting Arts publica tions including our country and regional arts directories; information on Visiting Arts Project Development Awards and other sources of funding; a yearly review of projects funded by Visiting Arts; latest news on all training and development programmes run by Visiting Arts; a listing of international artists and projects available to tour/exhibit in the UK; and links to other relevant arts and related organisations, partners and funders.

http://www.britishcouncil.org/visitingarts

Publications

The Visiting Arts Taiwan Arts Directory

As a result of rapid industrialisation over the last few decades, Taiwan has joined the league of Singapore, South Korea and Hong Kong as one of the four ‘Little Tigers’. But beyond the world of semiconductors and computer electronics, there is a vibrant arts scene as rich and eclectic as Taiwan’s heritage, from indigenous tribal dance companies to Peking opera troupes to classical western orchestras. Since the lifting of martial law in 1987, Taiwan has witnessed a veritable explosion in contem-porary performing and visual arts, with more and more artists exhibiting, touring and collaborating internationally each year. This publication is a door opener to this fascinating island with over 270 pages packed with essential contacts and infor - mation. It is now available from Cornerhouse Publications (details on following page).

Visiting Arts Quebec Arts Directory

With renowned creators such as theatre genius Robert Le Page and choreographer Eduard Lock and his La La La Human Steps company and the internationally acclaimed Cirque du Soleil, Quebec is brimming with creative talent and a burgeoning cultural scene. Quebec’s contemporary arts are enjoying an extraordinarily exciting phase of expression including in new media arts. Quebec boasts some of the world’s most interesting interpretive museum displays and the film industry is now seriously competing with the most important North American studios. With outstanding arts facilities offering state-of-the-art equipment, a blossoming touring network around the territory, and an amazing number of out-stand ing festivals, Quebec is increasingly becoming a magnet in Canada for per-formers and programmers from around the world and a major player on the world stage. Publication date: May 2001.

Visiting Arts Japan Arts Directory

Although Japan is very active in cultural exchange programmes with other countries, people still often experience difficulties in understanding the structures of its arts and cultural sectors and finding the right con - tacts. The Japan Arts Directory is designed to address this by helping professionals,

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researchers and artists to develop con -tacts and international cultural activity and exchanges and by providing research and planning information. The Japan Arts Directory will contain extensive new infor mation and contacts across the arts and cultural sectors. Publication date: summer 2001.

Publications focusing on Brazil

In partnership with the British Council, Visiting Arts is planning to work on research into different areas of the arts and creative industries in Brazil. A specialist report on the Brazilian fashion industry by Anne Sobotta and sponsored by CIEPAG is the first stage. From the music of Caetano Veloso and Antonio Carlos Jobim to the architectural masterpieces of Oscar Nimeyer, and with a rich and varied culture that stretches from the traditional dances and pantomimes of the Nordeste region to Walter Salles films’ scenes in the streets and beaches of Rio, Brazil continues more than ever to burst with talent and to attract arts and culture profes - sionals and aficionados from all around the world.

Coming soon:

Visiting Arts Viet Nam Arts DirectoryVisiting Arts Singapore Arts Directory Visiting Arts Cambodia Arts DirectoryVisiting Arts Thailand Arts directory

For information on all Visiting Arts country directories contact the Editor.

For all purchases contact:

Sales DepartmentCornerhouse Publications70 Oxford Street Manchester M1 5NH, UK

Telephone 0161-200 1503 Fax 0161-200 1504 E-mail publications@cornerhouse.org

http://www.cornerhouse.org

Specific projects

Visiting Arts International Fellowships Programme

Visiting Arts’ International Fellowship Programme is developing well. The suc-cess ful artist for the Spike Island residency, which focussed on South East Europe, arrived in the UK on 23 April and comes from Bulgaria. Her name is Tanya Abadjieva and she lives and works in Plovdiv. She studied at the National Academy for Fine Arts, in Sofia and has since had a number of group exhibitions in the USA, Canada, Romania, Germany, Poland and other South East European countries and has shown extensively in Bulgaria. She will be resident at Spike Island, Bristol for four months until 19 August and will be there at the same time as the Henry Moore Fellowship artist Jackie Donohue.

A number of very high quality applications have come in for the Visiting Arts/Delfina Residency focussing on the Middle East and we hope to make the selection in early June.

In the meantime we are in discussion with a number of other venues/studio facil - i ties across the UK, including Cambridge and Glasgow, with a view to developing similar partnerships with a focus on Central Asia and the Caribbean respectively.

For more information on the fellowship programmes, contact:

Nansi O’ConnorArts Projects Manager

Telephone (020) 7389 3052 (direct line)E-mail noconnor@visitingarts.demon.co.uk

Visiting Arts Romanian study tour 2001

In February Visiting Arts hosted a group of 43 young Romanian specialists from various areas of the cultural sector. They were in the UK for a week as part of an institutional strengthening project. They also visited France, Italy and Greece. The aim of the visit was to expose them to UK methods of cultural management; inform them of the content, function and organisa-tional structure of various UK organisations as well as cover areas such as marketing, sponsorship, fundraising and audience development; provide an introduction to cultural policy in the UK and encourage contacts and potential collaboration between Romania and the UK.

Crossing Over: India–UK workshop on cultural festivals and cultural tourism 9–14 April 2001, Indian Institute of Management, Kolkata

Forty-six festival directors, managers and tourism coordinators from all over India met at the prestigious Indian Institute of Management in Kolkata in order to under- take a work shop from 9 to 14 April this year. The group focused on cultural tourism and the produc tion and management of con-tem porary cultural festivals. This formed the latest element of an arts development programme jointly set up by the British Council, India and Visiting Arts. The larger programme, taking place over a period of four to five years, will include activities such as workshops, seminars, the setting up of a website and various forms of cultural exchange between the UK and India.

The Crossing Over workshop was set up following the success of the first work - shop at the West Zone Cultural Centre in Udaipur (April 2000). The initial seminar received overwhelming positive feedback and a need for further training had been identified, therefore the second India-based workshop of the programme was developed. This latest workshop has been made pos- sible by the support of the Paul Hamlyn Foundation, and with assistance from the Indian Institute of Management in Kolkata

The workshop’s main aim was to pro vide arts managers involved in cultural festivals and individuals involved in cultural tourism with the opportunity to meet and discuss topics of common interests through a series of specially devised activities.

The workshop was led by Roger McCann, Director of McCann Matthews Millman Ltd, a highly experienced trainer with a distin-guished international track record. The team also included: Stella Hall, Director of Belfast Festival at Queens; Professor Michael Hitchcock, Director of the Inter national Institute for Culture, Tourism and Develop-ment, London; Linda Lewis, Director of the Visions Festival, Brighton; Sanjoy Roy, Director of Teamwork, an Indian event manage ment company that organised the Khajuraho Millennium festivities and Nelson Fernandez, Assistant Director Visiting Arts.

Russian Federation–UK Arts Management Placement Programme 2001

Building on the success of last year’s programme, the Russian Federation–UK Arts Management Placement Programme is being organised again by Visiting Arts in partnership with the British Council and the Open Society Institute.

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Interviews across Russia have already taken place and 15 participants so far have been selected to take part in this year’s programme. The performing and visual arts managers, curators, and producers from the Russian Federation, will take part in a four-week placement in any one or two arts organisations throughout the UK. The organisations involved will range from small to large scale and include producing theatres, theatre and dance companies, festival organisers, galleries, art centres and new media facilit ies, indi vidual curators, museums and arts admin is- tration organisations.

The programme consists of an intro duc- tory seminar, practical work placements and an evaluation meeting at the end of the UK part of the programme. The intro duc - tory seminar will focus on basic performing and visual arts management terms, issues and UK practices. It will also place the training which will follow in an appropriate context, encour aging participants to question, analyse and even reject what they learn in the light of their own cultural and organ isa tional structures.

For more details on the Romanian Study Tour 2001, The Crossing Over workshop and the Russian Federation–UK Arts Management Placement Programme 2001 (and if you are interested in making contact with the Russian participants during their stay) please contact:

Lara RileyTraining Programmes Manager

Telephone (020) 7389 3018 (direct line)E-mail lriley@visitingarts.demon.co.uk

Arts Management Curriculum Development Project in Vietnam

An on-going four-year project funded by the Ford Foundation. From this autumn, staff from the Vietnamese institutions working in partnership with Visiting Arts on this project will be undertaking internships in arts organ isa tions in the UK, Singapore and Australia. In parallel they will be attached to arts management courses within training institutions. This is to ensure that as well as gaining experience of how arts organisations operate in a market economy, they also have an opportunity to analyse how courses are designed to be relevant to this context. A smaller number of participants from Vietnam will be under taking full-length MA courses in arts management. Their experience will also contribute to the curriculum development

process, as will the series of short courses in arts manage ment and curriculum design given by visiting professors, which is due to begin in Hanoi in June.

Visiting Arts has published an edited version of the report, which served as the basis for the launch of the project. Written by Gerald Lidstone and Tim Doling, the report presents the findings from the research and consultation phase and sets out the strategy for the project over the next four years. It will be particularly useful for briefing any organisations (or individuals) involved in the implementation of the project (internship hosts, visiting professors, etc.), but is also of wider interest.

If you are interested in making contact with those participants coming to the UK or wish to receive a copy of the report, please contact:

Caitlin KennedyViet Nam Project Manager

Telephone (020) 7389 3112 (direct line)E-mail ckennedy@visitingarts.demon.co.uk

Iranian Contemporary Art, Barbican, London, 13 April – 3 June 2001

Iranian Contemporary Art celebrates innovation in Iran’s vibrant culture. Showing a diverse range of media, from painting to video, this exhibition charts the development of the most groundbreaking work of the last 40 years. Most of these works have not been seen outside Iran before.

Two of the young artists whose work is being shown in the exhibition will be under - taking a mini-residency at Delfina Studios supported by Visiting Arts. Bita Fayyazi (b.1962) is one of the few artists who returned to Iran after the revolution in 1982. She uses clay to explore her obsession with the animal world. Her most recent series Cockroaches (1997–2001) is showing at the Barbican. This installation was also shown in an interview between Fayyazi and Sean Langan in the recent Langan Behind the Lines focus on Iran as part of the wider Channel Four series on Islam. The cine- matic and photographic tradition that has flourished in Iran in the post-revolutionary years is taken up in the video work of Ghazel (b. 1966). In the Me video installation series, Ghazel continuously jumps from outdoor to indoor activity. Though she refers to Iran and the West as home, she emphasises that she is an outsider in both. The paradoxes she reveals are a constant reminder of her nomadic life. When she left in 1988 she

was all too familiar with wearing the chador. Coming from a privileged background, she portrays herself water-skiing, motorcycling, swimming, riding and dancing ballet with the dress restrictions imposed upon her in her teens, all of which make her look out of place. The exhibition has been organised by Barbican Art in association with the Iran Heritage Foundation and Tehran Museum of Contemporary Art. It has also been supported by Balli Klockner plc, Asia House, Delfina Studios, the Foreign and Common wealth Office, the Iran Society and Visiting Arts. To complement the exhibi - tion there will also be a film week entitled Unveiled Lives: Women in Iranian Cinema, a set of ten films directed by new and established Iranian women filmmakers shown at the Barbican.

For more information on any of the projects mentioned in this issue, please contact the Editor unless alternative details are given.

John Kundu

Telephone (020) 7389 3123 (direct line) E-mail jkundu@visitingarts.demon.co.uk

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Features

Features

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Brazilian fashion: first impressions

Anne Sobotta Consultant, Creative Industries

Creative Industries Export Promotion UnitThe British Council11 Portland PlaceLondon WIB 1EJ

Telephone (020) 7389 3194 Fax (020) 7389 3199E-mail annesobotta@hotmail.comhttp://www.britishcouncil.org

Brazilian fashion is getting ready to con quer the world. In South America’s eco nomic giant and the world’s fifth-largest country, changes are happening fast and after many years of shameless counter feiting, Brazilian fashion designers have now gained great self con fidence and their unquestion able talent is just starting to be shown and acclaimed abroad.

Over the last 500 years, Brazil has, in a very singular way, assimilated and blended the various cultures and peoples that created the country, from the Indian ances tors to the Dutch or the Angolan, and transformed them into distinct Brazilian features and a culture distinctive for its unique ness, its richness and variety across the country. Despite being confronted with unresolved (and sometimes worsening) major difficulties, especially at the social, economic, political and racial levels, Brazil today is rapidly evolving and shows an ability to turn some of its past weak nesses into strengths. To take just one example, after being deeply affected by the Aids virus, Brazil has inched into the spot- light as a model for other developing nations and after the start of a controversial policy to manu fac ture and produce its own generic medicines that has the nation at odds with pharmaceutical manufacturers, the spread of the disease has been stabil ized and Aids deaths were cut by half between 1996 and 1999.

It is widely agreed that there has been a ‘fashion boom’ in Brazil since 1999. The last two years have seen great changes and progress in the fashion industry in Brazil, from heavy investments and modernisation in textile factories to the acclaimed parti-cip ation of Brazilian fashion designers in the Paris and London fashion shows. The fashion industry in Brazil is professionalising and improving its quality and image at all levels. Not to be forgotten are the many Brazilian top models on the international cat- walks who play a significant role in focusing the world’s attention on Brazil.

Brazilian fashion design is best seen during the biannual Sao Paulo Fashion Week (formally known as MorumbiFashion) where the catwalks present the creations of the top Brazilian designers and designer brands. Whether self-taught fashion designers, or entrepreneurs with strong experience in jeans or the casual-wear business, they all encompass the many faces of Brazil: colour ful, sexy, avant-garde and experi mental. Now held in the Sao Paulo Biennale pavilion, one of the finest examples of Oscar Nimeyer’s archi tec tural wonders, this bril liantly organised event launched in 1996 is attracting more and more the attention of fashion professionals worldwide.

2000 was a particularly good year for Brazilian fashion designers achieving inter national recognition and securing over seas sales. Alexamdre Herchcovitch, Icarius (based in Paris) have already success fully participated in the Paris and London biannual fashion shows, while Lino Villaventura, Reinaldo Lourenco, Walter Rodrigues and Carlos Miele/M Officer are attracting buyers in their overseas show-rooms. The list does not stop here and to mention just one more, Rosa Cha’s fab -ulous beachwear is very sought after by the world’s most glamorous sun lovers.

Not so close to the limelight, but equally talented if not more so, are individuals follow- ing their own singular creative stems. The traditional work of the crafts people from the Nordeste region (especially the states of Ceara, Pernambuco and Maranhão) illustrate an incredibly rich popular culture, ranging from lace and basketwork to graphic arts with the ‘cordal’ (popular literature) and sculptures seen in the exceptional wooden pieces of the artist Nino. Others follow even more unusual paths, like Márcia Ganem, based in Salvador de Bahia, whose jewel- like and very theatrical clothes are truly contem por ary but derived from the beliefs and music of Candomblé.

Anne Sobotta Consultant, Creative Industries

This article is based on a piece of extensive research on the Brazilian fashion industry commissioned by the Creative Industries Export Promotion Unit (CIEPU) at the British Council and undertaken by Anne Sobotta of Visiting Arts working for CIEPU. The resulting report, which will be available in late June 2001, will support a series of events and an outward trade mission to Brazil organized by the CIEPU and the British Council office in Sao Paulo.

Eventually, the aim of the CIEPU is to pro duce a series of reports which look at the different strands of the arts and creative industries sectors in Brazil. It is planned that the next reports will cover the performing arts then heritage.

(page 6)

Carlos Miele/ M Officer:Strapless dress in black guipure lacePhoto: Fernando Louza

(opposite)

Carlos Miele/ M Officer:White embroidered lace shirt worn with Gabardine Collezione Paramount off-white trousersPhoto: Cláudia Guimarâes

Courtesy: Carlos Miele/ M Officer

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Matsuri – Japan in the Park

11am – 8 pm, 19/20 May 2001(free admission)

Regional Matsuri will happen throughout the country at various centres including:

Brighton, 27 May; Bangor, 9 June; Oxford, 9 June; Cardiff, 9/10 June; Cambridge, 17 June; Canterbury, 22/23 June; Peterborough, 23/24 June; Northeast (Washington), 7/8 July; Exbury, 21/22 July; Cheltenham, 15/16 September; with many more across the UK to be announced.

The Matsuri in Hyde Park is produced by Zap Productions.

Some events taking place throughout the Japan 2001 festival have received Visiting Arts support. For more details on these projects, please browse our website:

http://www.britishcouncil.org/visitingarts

Birdsong PR

Telephone (020) 7229 9166 Fax (020) 7221 5042E-mail info@birdsongpr.com

Public information:

Sophie Branscombe Administrative Director, Japan 2001c/o Embassy of Japan101–104 PiccadillyLondon W1J 7JT

Telephone (020) 7499 9644 Fax (020) 7499 9634 E-mail info@japan2001.org.uk

http://www.japan2001.org.uk

The doors to Japan open throughout the country in May as the sensational Japan 2001 festival is launched across the UK. Fun, surprise, learning and discovery are integral to the ethos of this nationwide festival, reflected by its exhaustive series of thrilling events that celebrate the culture and lifestyle of contemporary Japan. The driving force behind its inception is to deepen existing UK–Japan relationships and to foster new ones, with the emphasis on people-to-people events embracing both the ‘ordinary’ and the ‘extraordinary’ facets of today’s Japan.

Participation and exchange are at the heart of Japan 2001. As well as the pre - sentation of a broad range of cultural events, Japan 2001 is clearly focusing on modern-day UK–Japan relationships at the grass-roots level. Existing links are being devel oped and new dialogues begun through exchange and education activities already being set up in schools, universities and local com mu - nities spread across both countries. The Home Stay UK programme is one example: British children studying Japanese will spend a weekend with Japan ese families and personally experience both similarities and differences in life style and customs.

“Our aim is to deepen the understanding between our two countries and dispel some of the myths and misconceptions about Japan ese culture and lifestyle which still exist today. We want Japan 2001 to give as many people as possible the opportunity to explore the historic traditions of Japan as well as the present day forces which make it one of the world’s most influential countries in so many ways.” (Christopher Purvis, Chief Executive, Japan 2001.)

The Joint Patrons of Japan 2001 are His Royal Highness the Prince of Wales and His Imperial Highness the Crown Prince of Japan. Japan 2001 has the strong support of the Japanese and British Prime Ministers as well as leaders in various commercial, edu cational and artistic fields in both countries. Mr Naohiko Kumagai, Adviser of Mitsui & Co Ltd and Lord Blakenham, Chairman of the Board of Trustees of the Royal Botanic Gardens, Kew, are the two Chairmen. A Secretariat has been estab-lished in both countries.

Following on from May’s spectacular Matsuri – Japan in the Park in Hyde Park, July and August’s events will continue the themes of participation and exchange central to Japan 2001. Matsuri in Norwich, Washington, Derby, Surrey and Portsmouth are planned throughout July and August.

Highlights in July and August include Kyogen Theatre performing Shakespeare’s Comedy of Errors at The Globe; concerts in Exbury Gardens; and at London’s Queen

Elizabeth Hall there will be a performance of the award-winning opera Eikou No Inochi. Composed by Kazuko Hara, this is the first ever Japanese opera to be performed in the UK.

Visual arts are a major component of Japan 2001. Highlights during July and August include a retrospective of design icon Isamu Noguchi at the Design Museum in London; the British Museum is showing an exhibition entitled 100 Views of Mt Fuji; and the Royal Museum in Edinburgh opens its exhibition of the textile works of the hugely influential artist Serizawa Keisuke. Also the Kettle’s Yard in Cambridge shows the works of Mono-Ha, a group of artists who came to critical attention in Japan in the 1960s; Naoya Hatekeyama continues his photo-graphic residency with Architecture MK. Further north the National Railway Museum in York unveils its new Shinkansen Bullet Train display. Japanese cinema is also a summer feature of Japan 2001. In August the National Film Theatre will host a major season focusing on landmark films in Japan - ese cinema never before seen in the UK.

Matsuri – Japan in the Park

As the flagship of the opening events of Japan 2001 in May, Hyde Park will play host to Matsuri – Japan in the Park, an extra ord - inary celebration of Japanese culture and the biggest free event to take place in Hyde Park in 2001.

Drawing on the skill, expertise, traditions and energy of both Japanese and British artists and organisers, the Matsuri in Hyde Park will be one of the major events of Japan 2001.

Embracing many aspects of contem-por ary and traditional Japan, the two-day Matsuri is a vibrant festival offering an abund ant showcase for Japanese arts, food, sport, tradition and modern lifestyle. With two performance stages, concerts, demon strations, processions, street per - formers and a wide variety of Japanese foods and crafts, the Matsuri is expected to attract audiences from all over the UK. It is expected that more than 200,000 people will attend this spectacular event.

“The Matsuri has been planned for maximum participation and fun. This really is an event people of all ages can enjoy and it brings a truly festive air to the opening month of Japan 2001. No doubt, everybody will enjoy the sights, smells and sounds of Japan in the Park” (Christopher Purvis, Chief Executive, Japan 2001).

On the busy Arena Stage, performances will include an opening ceremony with breaking of sake barrels, traditional and modern Japanese music, martial arts demon -

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stra tions and entertain ment for children. Two groups of taiko drummers, the popular Rinken Band from Okinawa and other Japan - ese pop and traditional groups will entertain the crowds on both days.

To create a really festive atmosphere there will be lively mikoshi processions through the Matsuri area. Master dancers from the island of Shikoku will lead awa-odori proces- sions and invite all spectators to join and experience the most famous traditional street dance of Japan.

Yabusame, the traditional art of horse- back archery will be one of the highlights of Matsuri. Dating from the thirteenth-century, the yabusame ritual includes a procession and religious blessing followed by the riders embarking on a course testing skill, discip-line and concentration.

Another feature of the Matsuri is a colour- ful, traditionally decorated village featuring a wide array of food, games, information and Japanese goods. A stage in the heart of the village presents perform ances of music, dance, fashion and theatre. No Japanese event of this kind would be complete without martial arts and this Matsuri is no exception. Leading UK and Japanese professionals will demonstrate the art of aikido, kendo and kyudo (Japanese archery) and shorinji-kempo.

Workshops and exhibitions will encour-age audiences to view and take part in Japanese crafts, and also provide a souvenir of the day to take home. From origami and shodo (calligraphy) to shiatsu (Japanese massage), ikebana (flower arranging) and sado (traditional tea ceremony), particip- ation will be the key to enjoyment. There will also be an exciting sports and fun day for both disabled and abled alike organised by the volunteers of the Japanese and British Red Crosses.

Japan 2001 is a UK-wide celebration of Japanese culture and runs from May 2001 to March 2002. Please check the website for full listings details.

Georgina Langdale andRichard Bealing

Birdsong PR

Cranks, Dartington Cider Press Centre, 1 June – 12 July

An exhibition of saori works, with demonstrations and a sale of woven goods on 16/17 June.

The history and culture of saori hand weaving, Stevenson Theatre, The British Museum, London, 13 June 2001

An exhibition of fabrics accompanied by saori weaving folk musicians Kinki Zatsuggakundan, and a fashion show by 40 Japanese weavers includ ing some with physical or learning difficulties wearing their personally woven garments.

Dartington Hall, South Devon,16 June 2001

An intensive saori weaving course intended for teachers, parents and local leaders (although everyone is welcome) and tuition is free. Wheel chair access is available. Contact Dartington Hall.

East Wing LibraryDartington Hall DartingtonTotnesDevon TQ9 6EL

Telephone (01803) 866051

Jan Austin12 QueensgateMillbridgePlymouth PL1 5NQ

Telephone/fax (01752) 561665 E-mail saoriweaver@yahoo.co.uk

Very Special Arts Japan3-f, Meidai Building1-2-21 Nakatsu, Kita-KuOsaka, 531-0071, Japan

E-mail osaka@saori.co.jp

“Weaving is a method of expressing one’s own thoughts. In order to express oneself happily and vividly one weaves.”

Forty contemporary hand weavers will be touring London and Devon to exhibit, display and demonstrate the art and philosophy of saori hand weaving. Thirty years ago in Japan a middle-aged lady named Misao Jo began weaving. She wove purely from her intuition, following no design or pattern, creating beautiful works of art. Later to be known as saori weaving. The ‘sa’ of saori is the first syllable of the word ‘sai’ which is found in Zen vocabulary. It means that everything has its own individual dignity. The ‘ori’ of saori means weaving. The purpose of this weaving technique is to express freedom of thought, as saori’s main philosophy is freedom; a true freedom of expression, a release of individuality using colour, imagina tion, texture and width where one weaves as an artist. Selvage, looser threads and accidental skips of thread all add to the whole beauty and freedom of saori.

Misao Jo turned her attention to teaching others the art of saori weaving. She went into special schools for people with dis abil - it ies. Students with the greatest mental and physical difficulties were given the space and opportunity to express their creativity, allowing each individual freedom of choice with colour, texture and design. A new loom was designed by her son Kenzo Jo which fits comfortably with a wheelchair and is simple to use. Even if you only have one finger or one foot you can still weave with this. This method is perfectly suited to occupa tional therapy.

The success of the project has led to the setting up of 100 saori weaving work shops in Japan run by schools, hospitals and day centres. There are also ten main schools throughout Japan for saori weaving. Weaving classes for people with mental and physical disabilities are now being con duc ted in 35 other countries including the USA, Canada, Hong Kong, Singapore and Thailand.

Jan Austin

Saori hand weaving: weaving in pure heart

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Textural Space: contemporary Japanese textile art

The James Hockey & Foyer Galleries, Farnham; Brighton Museum and Art Gallery & Fabrica; Maidstone Library Gallery; Rochester Art Gallery;The Guildhall Museum, Gloucester

28 April – 28 June 2001

Symposium: The Texture of Space

The Surrey Institute of Art and Design, 4 May

The exhibition will subsequently tour nationally to:

Sainsbury Centre for Visual Arts, Norwich, 9 July – 2 September 2001

Whitworth Art Gallery Manchester,21 September – 18 November 2001

The Museum of Fashion and Textiles, London, April 2002

Textural Space was originated through the Surrey Institute of Art and Design. It is funded by the Regional Arts Lottery Programme, the Crafts Council of England, The Great Britain Sasakawa Foundation, The Daiwa Anglo-Japanese Foundation, the Brighton Festival, South East Arts, Kent County Council Arts & Libraries, the Arts Council of England and Visiting Arts.

The Surrey Institute of Art and DesignUniversity CollegeFalkner RoadFarnhamSurrey GU9 7DS

Telephone (01252) 892646Fax (01252) 892667

For further information please visit the website:

http://www.texturalspace.com

In the West there is an awareness of the influence Japanese textile designers, parti - cularly weavers, have had on the world of fashion. The combination of consummate technical skill and daring use of materials as typified by the textiles produced by the Nuno Company have resulted in the revolu - tionary clothes designed by, for example, Issey Miyake, Comme des Garcons and Yoji Yamamohto. At the same time it is apparent that, throughout their own country, the Far East, Australia and the USA, Japanese artists have had the equivalent impact on contemporary textile and fibre art. However, since the ending in 1995 of the Lausanne International Tapestry Biennale there has been little opportunity to see Japanese large-scale textile art in Europe and the work is almost unknown in the UK.

In 1998 I took Revelation, an exhibition that I had organised featuring mainly UK textile artists, to The National Museum of Modern Art in Kyoto. Many of the artists exhibiting in Revelation took the opportunity to accompany the exhibition to Japan. This led to the establishment of an exchange of ideas between these artists and some Japanese textile artists during which the differences between the two approaches to their respective work began to emerge. Both Japanese and UK textile artists base their work on a particular understanding of their chosen materials and the history of textiles. The UK textile artists, through the use of content in their work, are subverting our pre conceptions about the role of textiles as a medium in contemporary art. Of the many possible examples, Clyde Olliver’s hand embroidered slate constructions question preconceptions about gender and materials. Lesley Mitchison’s exquisite hand woven triple cloths, deconstructed and recon-structed into semblances of clothing, make a direct and moving reference to our under - standing of both our personal and cultural histories. As I looked at more and more Japanese work and talked in depth with the artists, it seemed to me that the Japanese textile artists, through their textural under-standing and sense of space, are challen-ging our expectations of the material nature of textiles. For example Kyoko Kumai’s stain less steel work, in its embodiment of move ment and air, is the antithesis of what we expect from this material. The deliber-ately revealed structures in Koji Takaki’s work have the quality of membranes of light stretched between the skeleton of stitch. For both the Japanese and UK textile artists, the contextual framework is of primary importance, but for the Japanese the context is the harmony achieved, whereas for the UK textile artists the context refers to contem-porary discourse. These are very basic

differences of approach but each has much to offer the other and from these observa-tions the idea of Textural Space emerged.

In looking at contemporary Japanese textile art I have been most interested in the way certain artists are using their work as a creative intervention within the built environ-ment. Textiles generally have a softening effect within a given area and all the artists in Textural Space are using their knowledge of materials and techniques to indicate, without enclosing, the particular space in which the work is hung. Machiko Agano’s huge installa- tions, created from hand-knitted fishing line and steel wire, move from specific reference points towards less well determined bound - aries and are striking examples of the use of form to suggest the space. For Chika Ohgi, the space and the work within the space take on equal value and become one integ - rated whole. Her hand made paper instal la - tions, constructed from many units, play with the gaps between the objects and the external space.

The overall effect is one of a quiet beauty as each of the artists addresses their stated concern to recreate the harmony of nature. Their delicate, at times playful, use of light, texture and structure is only possible through their rigorous training in the tradi tional craft skills. Most of the artists in the exhibition were born or trained in Kyoto, a region associated with textiles for over 1,000 years. The artists all draw on this history. Chiyoko Tanaka talks about the importance of the Silk Route to Kyoto, to her understanding of the position of woven textiles in Japan and to her approach to her own work. Shihoko Fukumoto stresses that her indigo dyed works be understood as part of a con tinuum reaching back to traditional indigo dyed kimonos and also the importance of her surroundings in Kyoto. For Fukumoto the city of Kyoto is responsible for her working rhythm. The intense heat and humidity of the Kyoto summer make it impossible for her to work with the indigo dye vats and, rather than attempt to fight nature by trying to continue the dyeing process, she spends the summer months looking at work com - pleted and thinking about new work. In the winter months she makes the work she has thought about and designed during the summer months. Fukumoto is demonstrating, through her practice, an understanding of the Japanese close relationship with nature, acutely aware of both its destructive and regenerative powers.

The work of the artists in Textural Space is essentially structural, conceived and under - stood to be three-dimensional through out all the stages of making. In the catalogue accom panying the exhibition I wrote: “The means of creating this structure is largely

Textural Space: contemporary Japanese textile art

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incremental, either as an accumulation of texture or as a multiplication of parts. Yoshiko Tanabe’s Endless Netway directly mirrors the natural multiplication of cellular structure, Shigeo Kubota’s flat strips, when sewn together, take on three-dimensional form. Harumi Isobe’s dense pleated tapestry and her transparent pieces demonstrate a certain polarity between the first, which contains within its structure so much more than is revealed, and the second, which allows us to see through it, revealing more than it contains.” (from the catalogue Textural Space: contemporary Japanese textile art. Published, 2001 by the Surrey Institute of Art & Design.)

The emergence of three-dimensional textiles and their subsequent use within the built environment by architects and designers has its foundation in traditional Japanese houses. Historically textiles were not hung on the wall, unlike the tapestries of Britain and Europe, the division of space was not static but created by sliding walls and movable screens. Objects, both func - tional and decorative, were placed and removed as appropriate throughout the day. These houses also demonstrate the Japanese affinity with fibre through the use of paper for the walls, tatami for the floors and bamboo and reed for the roofs. Thus when the opportunity came, through the opening up of the Lausanne International Tapestry Biennale to three-dimensional work in 1969, to create three-dimensional works, Japanese artists were able to draw on their own cultural references, moving the textiles off the wall and into space. At the same time the artists turned to the natural fibres surrounding them in their daily lives, which were associated more with architecture than with textiles.

A pro-active percent for art ordinance in the late 1970s and 1980s has resulted in close collaborations between textile artists and architects to create site-specific works. Shigeo Kubota approaches such commis-sions by first thinking about the atmosphere of the building and then discusses colour and form with the architect. Sometimes the commissioned work is so large that the artist will work with other artisans. Tetsuo Fujimoto described a particular commission titled The Tide of Life as being as: “Too big (4.45 x 13.6 x 0.2 m) for me (or any artist) to make by myself and had to have help. I became not just an artist but also a director.”

A feature of the opening of Textural Space will be four specially commissioned site-sensitive works for areas outside the exhibition space. For the Fabrica space, in a deconsecrated church, Machiko Agano will create one of her hand knitted installations approximately 15 x 10 m. In Maidstone

Yoshiko Tanabe carries her Endless Netway onto the outside Sculpture Court and, in Rochester, Kyoko Kumai will cover the seventeenth-century Court Hall in the Guildhall with a stainless steel ‘blanket’. The originating organisation of the exhibi - tion, The Surrey Institute of Art and Design University College, have commissioned Tetsuo Fujimoto to create a permanent installation for their new Learning and Media Resource Centre in Epsom. All four of these artists visited the sites last year for discus-sions with the curator and other relevant officers. In Fujimoto’s case he was able to meet and have a proper exchange of ideas with the architect and see the plans and models. Later in the exhibition tour we are hoping to have two artists-in-residence. At the Sainsbury Centre for Visual Arts in Norwich Chika Ohgi will create a response to, and amongst, the permanent collection and at The Whitworth Art Gallery in Man-chester Koji Takaki will create an installation outside in the grounds in front of the gallery. In this way we hope to demonstrate the versatility and range of all the artists and their work. To broaden the discussion about the work there will be an extensive education programme accompanying the exhibition, beginning with a symposium at The Surrey Institute of Art and Design on 4 May in which architects, designers, artists and makers will discuss ‘the texture of space’ within the built environment.

Textural Space grew out of Revelation and as a result of Textural Space, The Surrey Institute of Art & Design is hoping to estab - lish an Anglo-Japanese textile research centre together with a mentoring scheme linking recognised and emerging practi-tioners from both countries. From exhibiting the work of each in the country of the other, to working together, this would seem a natural progression, and in a few years time I hope to be writing about another exhibition, this time of work created jointly by UK and Japanese textile artists.

Lesley MillarCurator, Textural Space

Leslie Millar is currently a researcher and lecturer at the Surrey Institute of Art and Design.

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(top)

Naomi and Masakayu Kobayashi

(above and page 12)

Asako Ishizaki

(opposite)

Chika Ohgi

Photographs: Toshiharu KawabiCourtesy: Cawdell Douglas, London, and Direct Design, London

Spring Lines: contemporary calligraphy from East and West

Ditchling Museum, West Sussex,7 April – 10 June 2001

Prince’s Foundation, London, Spring 2002 (to be confirmed)

Spring Lines, the latest in a series of National Lottery-funded calli graphy pro -jects based at Ditchling Museum, set itself an ambitious agenda: to bring together examples of contem por ary calligraphy from each of the world’s great traditions, China, Japan and the Arab world, and to look for ways to deepen understanding of this work in a modern western context. The project has a practical and forward-looking emphasis, as it seeks to challenge and extend the concerns of western calli graphy through this encounter. But rather than simply raid distant cultures for new models of formal invention, Spring Lines has focused on the historical circumstances in which work in Asia and Africa has been produced over the last four or five decades. The artists selected have all, in quite differ - ent ways, had to come to terms with what it means to use letters, or characters, or simply the materials and techniques of the calligraphic tradition, amongst the social and political turmoil of recent years. The exhibi tion can provide no more than a glimpse of current activity, a very selective sampling from a vast range of work, but it does have the unexpected distinction, as far as we know, of being the first exhibition to bring together Asian, Islamic and western calligraphy under a single heading.

Since this exhibition is intended prim -arily for British audiences, the question of what can be understood by viewers who cannot read the text is a very important one. However, it turns out that this issue is not confined to the present multi-cultural context. In Japan, it has been argued since the resurgence of an avant-garde calligraphy movement after World War II, that if the function of the piece was not primarily to give information, then legibility was, in itself, not essential. This position has been hotly contested. Toko Shinoda’s reinter pretations of individual characters, consisting of series of loose variations on stroke sequences, were for a long time more or less unaccept-able as calligraphy at all. She now has an inter national reputation as a contem-porary artist, working within what looks to western eyes like a completely abstract visual lan guage, but is in fact still profoundly depend ent on her calligraphic roots. The ‘one-stroke calligraphy’ of the Zen tradition was practised in uniquely dramatic style by Yu-Ichi Inoue. Its relation to the practice of meditation should not lead us to assume that this is a calm, serene form of expres-sion; on the contrary, the highly con cen - trated energy of each gesture erupts onto the page with a brutal force which scatters ink spray all over the pristine surface of the surrounding paper. For some Arab calli graphers, reverence for Arabic as the

language of the Koran has limited use of the script in the secular contexts imposed by western galleries, art markets and publishing. Ali Omar Ermes creates single-letter images, which are however highly ornate and richly coloured, a far cry from the austere black and white of Japan. Rachid Koraichi, aware of the ways in which Arabic has been used to express newfound independence from western colonialism, has employed invented scripts and hieroglyphs, as an expression of contact with even more ancient forms of local civilisation.

A particular feature of Spring Lines has been the commissioning of new work. The exhibition will include a spectacular new piece by the American Thomas Ingmire, one of the so far relatively small bands of western calli graphers to engage fully with the chal lenge of the non-European traditions. His work consists of 28 pages executed almost entirely in newly invented scripts, which stretch both the calligrapher as performer and the reader as interpreter of the work.

The climax to the entire event will surely be reached by the visit to Ditchling of the eminent Japanese writer and artist Kazuaki Tanahashi. He is to create a calligraphic performance, using human-sized brushes, for an audience gathered on the village green. We can expect that our appreciation of the formal beauties of writing as some-thing based on rhythm and space will be completely remade through his activity. For Tanahashi, the act of writing becomes again a means of self-realisation, the very inter-section of idea and image.

Ewan Clayton and Timothy Wilcox

Ewan Clayton is a visiting lecturer at the Roehampton Institute and consultant at the Palo Alto Research Centre of the Xerox Corporation. He is also a research professor of the Art, Design and Media Department, Sunderland University and one of the founders of the Edward Johnston Foundation.

Timothy Wilcox is the Project Coordinator of Lettering Today and Tomorrow, he works as an art historian and exhibition curator with interests including British and French landscape painting as well as the history of twentieth-century craft. Recent work includes the exhibition Constable‘s Clouds in Liverpool and Edinburgh for which he co-authored the catalogue.

Spring Lines

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Ditchling MuseumChurch LaneDitchlingHassocks BN6 8TB

Telephone (01273) 845777

The Prince’s Foundation19–22 Charlotte RoadLondon EC2A 3SG

Telephone (020) 7613 8500

Ewan Clayton

E-mail eclayton@pavilion.co.uk

Timothy Wilcox

E-mail Timwilcox.Lewes@btinternet.com

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Ali Omar ErmesLetterform “Sad” with poetic texts (acrylic on paper with brushes)Photograph: Heini Schneebeli

For more information about the Scandinavian activities in Yorkshire and the availability of imported CDs of Scandinavian music contact the Yorkshire Dales Workshop.

Yorkshire Dales Workshops14 Oakburn RoadIlkley, West Yorkshire LS29 9NN

Telephone (01943) 609421E-mail ydw@ydw.btinternet.co.ukhttp://www.ydw.btinternet.co.uk

Scandinavian Festival 2001

Giggleswick, Settle, 4–7 May

The annual Scandinavian Festival in the Yorkshire Dales celebrates a rich tradition of folk music and dance, providing oppor-tun ities to see, hear and above all parti cip ate. It is one of a series of events run by York-shire Dales Workshops (YDW), an organ-isa tion which promotes participation in folk arts. YDW runs residential weekend events in the Dales as well as ongoing activities within Dales’ communities.

The story of how this annual festival came into being is a fascinating one as it involves so many different strands of arts activity and arts ‘visiting’. The story begins in a very real sense with the passionate interest in Swedish fiddle music of Felicity Paterson, a classical violinist who taught violin through the Suzuki method. Felicity lived for many years in Denmark, visited Sweden in the early ’80s, and was captivated by the folk music there. Sweden’s folk music includes a remarkably rich dance music tradition with the fiddle as the main instrument and with a particularly important rhythm, that of the polska, which is quite unlike anything in the fiddle-playing repertoire of Britain and Ireland. The opportunity to play and dance the polska in Sweden helped Felicity to gain some understanding of the complex rhythms and melodies and the improvised harmonies. She went on to study fiddle music on Kalle Almlöf’s courses at the Malung Folk High School, an adult education centre which offers advanced courses in folk traditions.

On returning to live in England, Felicity

found only a handful of people who knew anything about Scandinavian folk music and dance. They included a number of musicians in Lancaster, one in Edinburgh, and an American in London, Tom Paley. She tried to get some Swedish fiddle music going at Irish sessions and at a folk club in Knares-borough but met with little response, partly because people found the rhythms much more difficult to pick up. Feeling isolated and frustrated by her wish to play Swedish music she decided to try and get some dance workshops going, thinking that an under standing of the dance would help with the music. Her monthly dance workshops between 1985 and 1988 in York attracted six or eight people and it was always a struggle to keep these going. One of these dancers had become interested as a result of a visit to Sweden with a Scottish dance group.

Then in 1988 a Swedish folk band, Filarfolket, hitherto unknown in this country, toured the UK and played some electrifying gigs. In August 1988 they played in Ilkley and Lancaster, which by now was known as Little Sweden due to the efforts and enthu si - asms of local ‘Scandiphiles’ (including a performing group called Fat Hen who had toured in Sweden and developed an interest in Swedish music). The Filarfolket visit was the spark which set alight an explosion of inter est in Scandin avian music. Filarfolket had an in-depth understanding of Swedish tradi tional fiddle music but incorporated

Scandinavian Festival 2001

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Participants from the 1997 Scandinavian Festival

other influences including jazz and Brazilian percussion. Their forward looking approach gave the music an accessibility and an impact which left everyone who heard them wanting to know more about the Scandin-avian roots of this compelling music.

Around the time of the Filarfolket tour a number of people from Yorkshire and other parts of the country were also gaining experience of Swedish folk music and dance as a result of exchange visits between English Morris Sides and Swedish dance groups. Two participants in these exchange visits were Geoff and Liz Bowen (founder members of YDW). As a fiddler interested in the different style and character of regional fiddle playing traditions Geoff had some familiarity with recordings of Scandinavian fiddle music. He was fascinated with the combination of haunting melodies and exotic, asymmetric rhythms, but he had no experi-ence of the way these related to the dances or of the particular bowing patterns and techniques used to impart life and rhythm into the music. The Swedish tradition has been described as ‘living baroque’ and the strong evidence of eighteenth-century baroque characteristics in the music was another feature inviting exploration. The Filarfolket visit to Ilkley in 1988 gave Geoff the inspiration and the opportunity to discover other interested musicians and to look for ways of developing this interest. It also inspired Felicity Paterson to attempt more workshops in Lancaster and York at

which Geoff was an eager participant. He found Felicity’s aural teaching and accurate transcriptions of tunes very helpful in grasping the intricacies of rhythm, orna-menta tion, phrasing and bowing.

In York, following some successful one-day events promoting French music and dance, organised by Tim Bayley, Felicity decided to organise an annual one-day Scandinavian event of workshops in music and dance. She had also gathered together a group of musicians, The Polska Band, to play Swedish dance music for concerts and dances. In Lancaster too, people were devel op ing events and running the occa-sional concert and dance. Geoff and Liz attended some of these events and work-shops and invited Felicity and The Polska Band to contribute some workshops, con certs and dances in Wharfedale at Ilkley and Addingham. The interest in the group was beginning to grow and with the estab - lish ment of YDW in 1992, Felicity was happy to off-load some of the admin is tration and to see her ambi tions promoted within the devel op ing YDW programme. A young Swedish fiddler, Åsa Hansson, came to a YDW week of work shops in British folk tradi tions and she was invited to return to work along side Felicity at a residential Scan din avian weekend, a fore runner of the now annual Scan din avian Festival.

One of the people who came to the first Wharfedale workshops was Phil Keen who at that time had no knowledge of Scan-

din avian music and dance but a love of Norway which he visited frequently. As a result of playing Swedish music in Adding-ham he set about discovering Norwegian music and dance, an equally rich variety of fiddle traditions including the music of the Hardanger fiddle with its sympathetic drone strings. Phil subsequently joined the YDW team and negotiated support from the Nor we gian Embassy for our festival in 1990 as part of the Visions of Norway pro motion. This enabled us to invite Nor we gian musi - cians and dancers to England to perform and run work shops at our 1990 and 1991 festivals. A talented amateur photo grapher, Phil will be exhibiting some of his black and white photo graphs of Scan din avian musi cians and dancers during this year’s festival in Giggleswick and Settle.

Another musician who came to the Addingham workshop was Hester Meadows whose first contact with Swedish music was on one of the Morris Dance exchange visits. Hester now spends much of her time in Sweden having studied the language and has become an expert on Swedish Dance. She has taught at workshops and contrib-uted dance notations to a YDW book of Swedish music and dances (with an accompanying CD).

Yet another key player in the upsurge in interest in Swedish music and dance is Max Brandt, a Lancastrian who has lived in Sweden for over thirty years and who came to the Filarfolket performances in Lancaster.

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Tutors teaching a workshop from the 1998 Scandinavian Festival

Many years ago Max decided to learn some traditional Swedish dances with his wife Jan at local evening classes. From attending the classes both he and Jan have become expert dancers with knowledge of many different dance and folk music groups in Sweden. They received publicity about YDW activities and offered to bring a group of dancers and fiddlers to contribute to a YDW Scandinavian event. One of these was a young musician, Emma Tibell, who later came to work in Leeds for a year. She continued to help with YDW workshops and with individual tuition for musicians in Ilkley, Leeds and York. Max and Emma, with their on-the-ground knowledge, helped to arrange for enthusiasts from the Yorkshire work-shops to visit fiddle and dance events in Sweden. For the past two years Max has arranged for British Scandiphiles to visit the Musik vid Siljan Festival including the famous fiddle gatherings at Boda and Bingsjö. There they have enjoyed and been inspired by magical performances from older tradition bearers and outstanding con tem porary Swedish bands who have yet to make it to the UK, as well as by the informal session playing of the hundreds of musi cians who meet at these gatherings to take full advantage of local traditions and the long summer days. To hear performances from Frifot and Nåra in Boda Church and to hear the cow calling songs at dawn on the hills is an experience to treasure. Without

the contacts made through the workshops few of us would have known how to seek out this musicians treasure-trove.

Complementary to the visits to Sweden have been visits in the other direction. First hand contact with musicians and dancers in Sweden and Norway has resulted in the discovery of outstanding tutors and per formers willing to come to our workshops in the Yorkshire Dales. This year’s artists are no exception. They join a growing list of visiting Swedish and Norwegian artists of the calibre of Matts Eden, Anbjørg Lien, Hanna Tibell, Karin Olsson, Susanne Lind, Louise Schultz, Arne Sølvberg and his family, and the groups Häxornas Brygd and Groupa.

Some of these Norwegian and Swedish artists and tutors have arranged, as a result of working together in Yorkshire, to take their traditions to America this year. Others now perform regularly in England, and with support for more visiting artists in the future this beautiful and extraordinary musical tradition and its contemporary development will hopefully become more widely heard and enjoyed here in the UK.

The 2001 Scandinavian Festival takes place in Giggleswick and Settle over the bank holiday weekend at the beginning of May. It is supported with grants from the Swedish and Norwegian Embassies and the UK Regional Arts Lottery Programme.

This year, from Sweden, we are privileged

to be able to welcome Kalle Almlöf and Anders Almlöf as fiddle tutors. Kalle runs a renowned fiddle school in his home district of Malung (western Dalarna) and is in the foremost rank of traditional fiddlers; his nephew Anders is another superb musician. They will be joined by Kalle’s wife Lisa and her dance partner Lars Halvarsson as tutors in the Malung dance styles.

From Norway, we have a welcome return visit by fiddlers Leif Inge Schjølberg and Ivar Odnes and dancers Tor and Randi Stallvik. Leif Inge and Ivar are much-acclaimed fiddlers from Vågå in Gudbrandsdal and Tor and Randi have had a life-long involve-ment in the study, promotion and teaching of Norwegian traditional dance styles.

A new event taking place during the festival this year is designed to be of parti cu- lar inter est to local people who have not encountered Scan din avian folk tradi tions. Rolf Dahlström and Hester Meadows will be talking about the customs, legends, dances and music which are linked to some of the celebrations that brighten the Swedish calendar. This is an event which will be of interest to young and old alike and gives a chance for youngsters to get dressed up and for audiences to learn some of the comic songs and dances that surround the erecting of the summer ‘maypole’.

Geoff BowenYorkshire Dales Workshops

All photographs: Phil KeenCourtesy: Yorkshire Dales Workshop, Ilkley

Arne Solvbergtut teaching a young violinist from the 1999 Scandinavian Festival

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Organisations Noticeboard

Notes

Noticeboard items are included at the discretion of the Editor of Visiting Arts. Entries will only be considered if they are relevant to Visiting Arts’ objectives, i.e. the promotion, facilitation, and encouragement of foreign arts in the UK in the context of promoting cultural relations and fostering international cultural contacts.

Visiting Arts reserves the right to edit, abridge or reject any material deemed inappropriate.

Festivals with specific country/cultural focus

We are trying to encourage an increased flow of information on cultural festivals taking place in the UK. If you are planning a festival with a specific country/cultural focus (whether it is at an ‘idea’ stage or is fully confirmed) please let us know as far in advance as possible so we can facilitate forward planning, encourage collaboration and assist promoters with their arts programming.

Please contact the promoter and/or venue to confirm dates, and for further details of the event.

C Contact t Telephone number f Fax number e E-mail address u URL 20

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Surdhwani (Society for the promotion of Asian arts and culture),Wolverhampton

Surdhwani is a national arts organisation dedicated to promoting Asian arts and culture in the UK. It was set up in 1987 and, although based in Wolverhampton, it serves the whole of the West Midlands region and beyond. It is a non-profit-making voluntary organisation and a registered charity (No. 700909). It organises concerts, lecture demonstrations, workshops and master classes for students of schools, colleges and universities. It provides enter - tainment through concerts and recitals in Indian classical music and dance by inviting artists of outstanding calibre from home and abroad providing unique opportunities for audiences in the West Midlands to experi- ence the very best of music and dance of the Indian sub-continent. Surdhwani also seeks to increase public awareness in the classical music and dance of the sub- continent through an events programme called Raga & Rhythm. It caters for all sections of the community, regardless of economic and social background, sex, colour, race, religion, age or disability. It has a membership of over 300. Its member-ship is open to all and is gained by annual subscription. It is funded by West Midlands Arts and supported by the local authorities of Wolverhampton, Dudley, and Walsall. Paul Jewellers of Birmingham is its business patron. Surdhwani is looking for further sponsorships, business patrons and dona - tions to help with their ongoing promotion of South Asian culture. They aim to keep this going by: holding musical concerts in and around Wolverhampton by performing artists of outstanding quality from UK and abroad; advancing the education and aware- ness of the public in this field by providing instruction and training in Asian music, arts and culture; undertaking to publish and circulate printed or taped material (audio-visual) to spread the news. ...............................................................................................

C Maitreyee Sarcar, General Secretary, Surdhwani, 3 Sherington Drive, Goldthorn Park, Wolverhampton WV4 5DX t (01902) 658793 f (01902) 830278 e maitreyee@surdhwani.org.uk...............................................................................................

Can Serrat International Arts Centre,Barcelona

Can Serrat is an international centre for artists, art students, musicians, writers and others where they can work and reside in a communicative environment. It is located in an old farmhouse in Spain. ...............................................................................................

C Stefan Lismond, Maria Can Serrat, 08294 el Bruch, prov. De Barcelona, Spain t + 34 3771 0037...............................................................................................

SIETAR

SIETAR (Society for Intercultural Education, Training and Research) is a global network of national, regional and local SIETAR organisa tions. Some groups formed around geographic proximity, others around particular interests. Each organisation is unique and attends to the issues that are close to home or prevalent in its group, but the idea and mission of SIETAR reaches across national and cultural boundaries. SIETAR members contribute to the development of theory and to the field of intercultural relations in organisations and field settings all over the world. ...............................................................................................

C u www.sietarinternational.org ...............................................................................................

National Space Centre, Leicester

The £52 million National Space Centre opens in Leicester on 30 June 2001. Described as ‘an awe-inspiring journey through interactive challenges, images, sound and real space hardware’. It includes a 2-hour walk through exhibition, artefacts, audiovisual displays and simulators to explore space travel. Astronomy and the relevance of space to life on Earth also feature. There is a 42-metre rocket tower, where the attractions include the British-built Blue Streak rocket, an American Thor Able rocket, and a Russian Soyuz capsule. There is a domed space theatre with multi-media shows and (on a separate site) a Challenger Learning Centre (the only one licensed outside North America), with a mission control/space station simulator designed for younger visitors. The National Space Centre, on a 14.5-acre site a mile north of the city centre, was co founded by the University of Leicester and the city council, and has a satellite jointly operated with the University of New Hampshire, USA. There is also a restaurant and shop. ...............................................................................................

C e info@nssc.co.uk u www.nssc.co.uk...............................................................................................

NKA

Get into the mix with an immediate sub-scription to NKA, the leading magazine dealing with critical issues on contemporary African, African American, diaspora, and international art and cinema. Get new critical perspectives on post-colonial criticism, internationalism, postmodernism; and the latest news on artists, exhibitions, institu-tions, publications, and major events................................................................................................

C e nka_journal@cornell.eduu http://www.einaudi.cornell.edu/NKA/default.html ...............................................................................................

Pyramid or Pillars, Unveiling the Status of Women in Arts and MediaProfessions in Europe

This publication brings together the findings of a three-year European research project undertaken by ERICarts and Zfkf and sponsored by the European Commission and by the German Ministry for Family Affairs, senior citizens, women and youth. ...............................................................................................

C f + 49 228 41318 u www.ericarts.org/women/...............................................................................................

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Artist-atelier Gallery, Ukraine

Artist-atelier Gallery is a contemporary Ukrainian artists’ union that promotes Ukrainian art internationally. They feature artworks in all mediums including oil paintings, sculpture, and ceramics. They are keen to promote the art of the Ukraine and in doing so offer support to Ukrainian artists. The Artist-atelier Gallery is the first stage of a plan to develop a contemporary Ukrainian arts centre featuring a gallery space, studio spaces, auction room, work- shops and more. The gallery also plan to publish a visual arts magazine focusing on Ukrainian art as well as an online information service. They would also like to cooperate with other art galleries, dealers, agents, designers and publishing houses, art magazines and newspapers, art foundations and centres both at home and abroad. ...............................................................................................

C Nataliya Bezyuke atelier@fts.rv.au ...............................................................................................

Zion, Manchester

Launched this year in April, Zion is located in the heart of regenerated Hulme and is a new arts and media centre for young people from all over Manchester and beyond. It focuses on participation, offering 14–25 year olds a chance to learn new skills, try out their own ideas and be as creative as they want. From dance classes to fashion design, rock music to gamelan, painting to the internet, it is probably happening at Zion. Facilities include a theatre, dance studio, music rooms, galleries, workspaces and a creative technology lab. Young people have been consulted throughout the development of the venue and will continue to lead the creative vision for the future................................................................................................

C Zion, Stretford Road, Hulme, Manchester t 0161-226 1912 f 0161-226 1912 ...............................................................................................

Europas Parkas, Lithuania

Europas Parkas is the only residency centre in Lithuania, offering four week-long resid - encies, six times a year. The programme is open to creative artists working in any discipline, and focuses on the exchange of artistic experience and acquaintance with Lithuanian culture and traditions. While in Lithuania, artists can develop an individual project that may include the creation of new work or pursuit of their individual artistic goals. Opportunities to commun-icate with the local community as well as to visit studios of Lithuanian artists can be organised. The programme is very flexible and the aim is to enable the artist to discover new ideas and inspirations. ...............................................................................................

C Ginaras Karosas, President, Europos Parkas, Joneikiskiuk, 4013 Vilnius, Lithuania t + 370 2 502242 f + 370 2 652368 e hq@europarkas.elnet.lt...............................................................................................

Ocean, London

Ocean is a £23 million, state-of-the-art new music venue offering the latest in tech nology and design. The 2,700 capacity venue exploded onto London’s music scene in March this year with a month of music show cases encompassing a variety of music styles from rap to reggae, contem- porary to classical and salsa to soca. The opening party was inaugurated by Soft Cell who made a comeback after 17 years, followed by four sell out nights by the Fun Lovin’ Criminals and two nights of the acclaimed reggae artist Sizzla. To mark the opening of this exceptional venue and to represent Ocean’s commitment to the creation of new music, a unique work has been commis sioned. The piece is entitled Storm and has been directed by Diane Charlemagne and Paul Gladstone Reid and incorporates collaborations with artists from a cross-section of musical disciplines. Storm is composed in five movements and will feature five principal vocalists, three choirs, DJ and beat master, percussionists, synthes izer, band and orchestra. The performance date for Storm is still to be arranged, but will be in early summer. The venue has been converted from the Central Methodist Hall. The original façade has been retained however the interior has been transformed by a striking twenty-first century design including art installations and projections that have been created by the multi-disciplinary design team Burell Foley Fischer. Ocean incorporates three separate performance spaces and houses Aqua, a street-level café and bar that can also cater for live performance and DJ sessions. The technical facilities at Ocean are of the very highest standard offering sound facilities which surpass the quality in any other live music venue in the UK. The main audi t orium offers flexible acoustics which can be elec tronically pre-set for a performance enabling the venue to cater for a variety of music styles in one programme, changing the acoustics by the press of a button. Along side the live performance schedule, Ocean will offer a diverse education programme Rising Tide, offering exciting creative musical opportunities for the community. This project was launched in 1999 and is now permanently housed in the venue. Rising Tide offers a range of outreach music projects for the community in Hackney designed to encourage all sections of the local and regional community to participate in the creation, performance and appreci ation of music. It addresses the needs of the multi-cultural community in the local region and will promote social inclusion by proactively working with partners within ethnic minority and socially disadvantaged groups. ...............................................................................................

C Ocean, 270 Mare Street, Hackney, London E8 1HE t (020) 8986 5336 t (020) 8533 0111 (box office) u www.ocean.org.uk...............................................................................................

Concert-diary.com

Concert-diary.com is a dedicated internet search engine for concerts. The aim is to promote concerts to the widest possible audience with listings on their site and many on other websites that will be invited to feature real time feeds from their central database. A few hundred concerts have already been entered in the database as part of their testing and development programme but the system is designed to handle tens of thousands of concerts and this is where they require some help from organisations promoting concerts as they would be keen for them to enter concerts directly into their on-line database using the ‘add a concert’ link at the foot of the home page. A nominal fee for each concert may be introduced at a later date but for the time being the service is entirely free. ...............................................................................................

C u www.concert-diary.com...............................................................................................

Dance Theatre of Ireland

Information on performances, tours, classes, premieres, video and technology, oppor tun ities, video clips, New Centre for Dance POP and more................................................................................................

C u www.dancetheatreireland.com...............................................................................................

London Art and Artists Guide

The new colourful website designed by art-on-the-web designer Gary Bortz is now on-line. There are four sections. The first is entitled Books, featuring details of the London Art and Artists Guide, currently in its eighth edition and copies of London Art World (1979–99) and where they can be bought nationally and internationally. There is a Photographs section, with signed limited edition photo graphs of 150 images from back issues of London Art World plus many other images. There is also a Consultancy section for the art world and the general public, drawing on specialists in a variety of fields and an Art Magazine section, with reviews of current and future exhibitions in London, Paris, Stuttgart and New York. Major European cities will be covered, depending on what major shows are on. These sections will be updated monthly. ...............................................................................................

C 27 Holland Park Avenue, London W11 3RW u www.hwlondonartandartistsguide.com...............................................................................................

Shangh Art Gallery

A new website from the Shangh Art Gallery................................................................................................

C Shangh Art Gallery, 2a Gaolan Road, Shanghai, 200020, PR Chinae shanghart@shanghart.comu www.shanghart.com...............................................................................................

Universes in Universe, worlds of art

Information and communication system on the arts of Africa, the Americas and Asia/Pacific. As already announced, Art Action is currently renewing their systematical directories of annotated links on the arts of particular countries or regions. After New Zealand and South Korea, they have updated and broadened their other two extensive directories: Africa, http://universes-in-universe.de/africa/e_kont.htm; Mexico, http://universes-in-universe.de/america/mex/english.htm................................................................................................

C u http://universes-in-universe.de/action/english.htm ...............................................................................................

On the Edge: The benefits andchallenges of cultural development in remote areas, Banff, Scotland,31 May – 2 June 2001

Over the Edge is an international conference promoting art and heritage development in remote areas with models drawn from all over Europe. Cultural policy is moving from an emphasis on simple provision to a more active concept of culture as a force for development. Major regeneration projects like Tate Modern or the Guggenheim in Bilbao have come to symbolise the power of art to transform situations and redefine how we see places and people. But what of more geographically remote places, so often portrayed either as locked into the past or merely a place of re-creation for the urban actors who really shape our culture? On the edge arises from a belief that the unique character, situation and cultural resources of rural areas offers rich but under-recognised opportunities................................................................................................

C Duff House, Banff AB54 3SX, Scotland t 01261-818181 f 01261-818900 e duffhouse.er@aberdeenshire.gov.uk u www.duffhouse.com...............................................................................................

International Symposium on Dance and Medicine, Helsinki, 3–4 June 2001

The Research Centre for Sport and Health Sciences and the Finnish Information Centre in co-operation with the Hospital Mehilainen and the Finnish National Ballet will organise the second International Symposium on Dance and Medicine, in connection with the International Ballet Competition. Main themes to be discussed include mental training in dance, stereotypes vis-à-vis dancers and the understanding of bio chemical backgrounds in dancers’ injuries................................................................................................

C Symposium Office, Meritullinkatu 33A, 00170 Helsinki, Finland t + 358 9 135 7861 f + 358 9 135 5522 e ballet@teatteri.org u www.teateri.org ...............................................................................................

International Design Conference, Japan 2002

Led by Professor Hiroko Watanabe, the Japanese Association of Textile Designers plan to hold a conference for scientists dealing with textiles in late October/early November 2002. Textile designers, industrialists and end consumers may also participate. The subjects of talks and workshops are currently being finalised. ...............................................................................................

C Professor Hiroko Wantanabe, Vice President of the Textile Design Association of Japan, Tama Art University, 1-12-13 Tamagawa Setagaya-ku, 158-0094 Tokyo, Japan...............................................................................................

Websites Conferences/lectures

C Contact t Telephone number f Fax number e E-mail address u URL 22

Yurt from Kyrgyzstan

A yurt from Kyrgyzstan equipped with relevant artefacts is unexpectedly available for touring for a few months from May. It was originally going to be shown at agricultural shows but because of the foot-and-mouth outbreak, the event has been cancelled. The yurt is 5.8m in diameter and 3.5m high and could be a very interesting attraction at festivals or family events. Alternatively, it could be linked to an ethnographic museum or similar organisations. Please note that from 24 June to 14 July the Kyrgyz music group Kambarkan will be in the UK and would be willing to perform with or without the yurt. Kambarkan consists of four musi- cians and their instruments include the manaschy, komuz, iron komuz, chogino choor, choor and cjopo choor................................................................................................

C John Kundu, Visiting Arts t (020) 7389 3123 (direct line) f (020) 7389 3016 e jkundu@visitingarts.demon.co.uk...............................................................................................

he Way We Live, Munich

Entries are invited for the international short film festival The Way We Live in Munich, which intends to promote the production, showing, and distribution of authentic short films dealing with the daily life and the living conditions of disabled people. Films and videos max 60 min produced, showing after 1 January 1997 will be eligible for entry. The genres are documentation, fiction, animation and experimental film. Prizes are 10,000 DM, 5,000 DM, 2,000 DM. Visitors to the festival will be able to award an audience prize. The deadline is 1 August 2001. Festival dates are to be announced................................................................................................

C Arbeitsgemeinschaft Behinderte in den Medien, Karl Heinz Grubber (Festival Director), Bonner Platz 1, 5th floor, D-80803 Munchen, Germanyt + 49 89 307 992-20 f + 49 89 307 992-22 e gruber@abm-medien.de u www.abmmedien.de/filmbuero/2001 _e.htm...............................................................................................

Fifth Plataforma de Dansa de Catalunya,Barcelona, 7–10 June 2001

The Plataforma de Dansa de Catalunya is a unique opportunity for dance promoters who want to know more about the contem-porary dance scene currently being created in Catalonia. Catalonia’s contribution to dance includes important names such as Cesc Gelabert, Lanonima Imperial (both presented at the Edinburgh Festival in 1998 and 1999 respectively), Metros, and Mudances etc. The Plataforma de Dansa was created by the Department of Culture of the Autonomous Government of Catalonia to foster and promote the youngest gen era- tion of dance companies. During three days, more than ten companies will present selected parts of their new productions in short performances, up to 25 minutes long. La Plataforma de Dansa aims to be an informal meeting point for choreo graphers, dancers, promoters and dance enthusiasts................................................................................................

C The Catalan Consortium for the External Promotions of Culture. CoPEC, 3rd floor, 17 Fleet Street, London EC4Y 1AA t (020) 7353 2253 f (020) 7353 1166 e copec.gillas@zoo.co.uk...............................................................................................

Art 32 Basel, 13–18 June 2001, Venice

Art Basel’s international arts fair, the art world’s traditional annual meeting place, will, together with the Venice Biennial, be the highlight of art gatherings this summer. Art 32 Basel will once again showcase the very best of modern and contemporary art worldwide. ...............................................................................................

C u http://www.ArtBasel.com ...............................................................................................

Black History Month – Acts of Achievement, October 2001, UK

October is Black History Month in the UK. Black Arts Alliance have teamed up with Contact Theatre and new Zion Arts Centre to co-ordinate a programme of perform-ances, exhibitions and community-based projects celebrating the cultural achieve-ments of Black people in the UK and internationally. The three organisations are already planning a range of activities from the local to the international, but they are keen to involve other partners. BAA will be developing a co-ordinated calendar and brochure for the month and any artists or venues who want to include work taking place during October until early November and celebrating the history of Black cultural achievement can contact BAA directly. ...............................................................................................

C SuAndi, BAA, PO Box 86, Manchester M21 7BA t 0161-832 7622 f 0161-832 2276 e baa@baa.demon.co.uk...............................................................................................

Sacred Music Festival, Berlin, 7–16 December 2001

The Sacred Music Festival puts a special emphasis on the encounter between European and non-European traditions, between traditional and classical, between composed and improvised music. Staged in cooperation with the State of Brandenburg, this festival will be held for the first time in December 2001. The festival is part of a worldwide event organised on the occasion of the turn of the century. After festivals in Bangalore, Los Angeles and New York, Berlin is going to be the European station of this project. During the festival, choirs and instrumentalists from both Christian and Arab backgrounds, from the Indian and East Asian world are coming to meet and exchange ideas with each other. Shamanist and Jewish traditions will be present as well as masters of Sufism. Each concert is dedic ated to a theme, i.e. Music of the Sufis, The Mountain in Tibetan Music or New Sacred Music. The visiting music groups and artists will be performing in the Berlin House of World Cultures as well as in different venues in Brandenburg. The groups can also travel to other cities................................................................................................

C Sieglinde Tuschy, Haus der Kulturen der Welt Networking/International ContactsJohn-Foster-Dulles-Allee 10, 10557 Berlin, Germany t + 49 30 397 87181 f + 49 30 394 8679 e tuschy@hkw.de u www.hkw.de ...............................................................................................

Art Basel Miami Beach, 12–16 December 2001, Miami

Art Basel’s sister-show will celebrate its premiere featuring the leading contem-porary art galleries of both Americas and Europe. Introducing an innovative new concept, surprising art projects and an exciting event programme, the art world’s new favourite winter meeting place will offer unique experiences as well as lots of sun! ...............................................................................................

C u http://www.ArtBasel.com...............................................................................................

Funding/opportunities Festivals

23

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