“Grey Space” is a new, experimental initiative of M1 Contact Contemporary Dance Festival: 8 Asian artists and 1 European, our Annamaria Ajmone, gathered online to share their practices and to explore ideas with one another, highlighting the fractured facets of modern living.
The five days of video meetings were facilitated by Anthea Seah, Singapore, and ended up with a discussion on the topics of “coat-shifting”, identity and the interspace of being in this globalised world.
Next step of the project: a real life residency in 2022 for the 9 artists, supported by the a network of festivals and projects interested in future co-production.
Artists and partners:
- Reisa Shimojima (Japan) – Odoru Akita International Dance Festival
- KT Yau (Hong Kong) – Hong Kong Dance Exchange (H.D.X)
- Tracy Wong (Macau) – Contemporary Dance Exchange (CDE) Springboard
- Annamaria Ajmone (Italy) – Crossing the Sea
- Moh Hariyanto (Indonesia) – Indonesian Dance Festival
- Pakhamon Much Hemachandra (Thailand) – Bangkok International Performing Arts Meeting (BIPAM)
- Nguyen Chung (Vietnam) – Arabesque Dance Company
- Billy Keohavong (Australia/Laos) – Form Dance Projects, Sydney, Australia
- Zunnur Zhafirah (Singapore/Australia) – M1 CONTACT Contemporary Dance Festival / Perth Festival
Photo: Crispian Chan | Design: Zelda Chua
Fattoria Vittadini, thanks to the collaboration with Tijmur Dance Theater, has made a visit to various artistic organizations in Taiwan that are approaching the language of signs and the artistic problems related to inclusion, diversity and accessibility.
After the first external visits, focused on meetings and workshops, Fattoria Vittadini was a guest of Tijmur for a period of residence and shared artistic research.
Ilenia Romano was hosted by Hong Kong Art Festival for two weeks in December 2019 inside the Cattle Depot Lab, a residence and training space.
The artist has developed a programme of practical exchange with local artists, aimed at sharing her artistic methodologies and poetics and confronting the sensitivity of the public and participants in the work. The journey was shared with Luna Cenere, also a guest on the same dates and with the same activity proposal.
Every single step taken in Hong Kong has been a source of great inspiration and reflection on my personal and artistic path. I received countless stimuli from a place where tradition and novelty, technology and craftsmanship, nature and artifice, West and East coexist. A place that at this moment gives off very strong revolutionary vibrations.
The exchange experience with local dancers in the context of the Hong Kong Arts Festival was very positive and marked by mutual “elasticity”. In fact, I articulated my workshop sessions in relation to a daily variable schedule and attendance and I remodeled them every time based on the number and specificity of the dancers with whom I worked with. In each one, I found generosity in getting involved and a great confidence in adhering to the experiences I suggested. I managed to find harmony and effective communication channels with all of them and with someone in particular I discovered a remarkable artistic affinity.
The confrontation with the audience during a brief final post-sharing debate was useful to me as it gave back to me (through questions and considerations put in place by artists, observers and organizers) the contours, complexity and essence of the artistic investigation that I’m interested in carrying on.