Carta Abierta

http://microbiusproject.wordpress.com

Querido artista de la danza de Buenos Aires,

Políticas culturales de vacaciones

Cuando se trata de políticas culturales tengo que reconocer que me encuentro en un dejavú constante. Otra vez un paso importante se ha hecho en tiempo de vacaciones y otra vez se ha presentado de manera diferente de lo que es realmente. Otra vez es el termino del día parece, porque otra vez políticos se cubren con estudios académicos inconsistentes, como si todo lo que surgiera desde la academia tuviera su propria validez. Otra vez se presenta como si fuera una topografía de un estado actual, cuando en realidad es un corte muy parcial y problemático, otra vez hay mucha aceptación no-critica y no-entendimiento de de como esto impacta en la situación personal del artista tal como en la situación futura de la comunidad artística. Otra vez mentes estrechas y conservativismo que matan el arte. Y otra vez los artistas que dejan que las instancias políticas hagan. Nosotros los artistas debemos dejar que otros decidan como se tiene que ver nuestro trabajo y nuestra comunidad? Porque es lo que estamos haciendo. Debemos dar aprobación silenciosa a nuestro proprio morirse de hambre y ser censurados? Porque es lo que hacemos otra vez, y otra vez, y otra vez.

Déjenme que lo aclare. Este estudio significa que unas pocas personas y las opiniones de unas pocas personas, de las cuales no se como fueron elegidas en la variedad de realidades que están sucediendo, se han hecho parecer oficiales para justificar políticas actuales de una institución.

Por supuesto lo que se lee en el estudio también es realidad, pero una pequeña parte de ella. Lo que no veo acá es una propuesta de cambio, un plan, un entento de mejorar las cosas. Este estudio parece justificar el status quo, sin afirmación, sin cuestionamiento, sin cambio de políticas. Es superficial e incompleto, porque un sociólogo no tiene que saber que preguntas hacer. He criticado esto y la respuesta ha sido que siempre hay espacio para mi, para completar la información. Esa es la intención de este cuestionario. Hacer una topografía escrita a mano por nosotros, los artistas.

Por favor tomen el tiempo de completarlo. Puede que ayude a mejorar algunos aspectos de las politicas actuales. Ponemos como fecha limite el 15 de Mayo para juntar los cuestionarios y publicarlos online por completo, para que pueda haber varios analisis del mismo material y una discusión abierta sobre y con dicha institución.

Voy a poner mi proprio nombre abajo de esta carta, para empezar a dar un ejemplo y para mostrar que no le tengo miedo a las consecuencias de decir lo que pienso. Bring it on.

Angela Vadori, Dance Artist.

El cuestionario se encuentra en http://microbiusproject.wordpress.com

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Dear Dance Artist from Buenos Aires,

Cultural politics vacationing

When it comes to cultural politics I must say I am in a constant dejavú. Again, an important step has been taken in vacation times and again it has been presented differently from what it really is. Again is the word it seems, because again politics are trying to cover their backs with inconsistent academic studies, as if everything coming out of academia would have a validity of its own. Again it is presented as a topography of a state of things, when it really is a very problematic and partial cut through, again there is a lot of non-critical acceptance and non-understanding of how this impacts the personal situation of the artist just the same as the future situation of the artistic community. Again narrow-mindedness, conservativism killing off art. And again the artists letting the political instances do it. Are we artists to let others decide how our work and our community looks like? Because that is what we do. Are we to give silent approval to our own starving and censoring? Because that is what we are doing again, and again, and again.

Let me break this down for you. This study means that a few people and a few people's opinion, of which I do not want to know how they were chosen in the variety of realities that are happening, are made look official to justify the current politics of an institution. Of course what you read in the study is also reality, but just a small slice of it. What I do not see here is any proposal for change, a plan, a trial to make things better. This study seems to justify the status quo, without any affirmation, further questioning, change of politics. It is superficial and incomplete, since a sociologist does not need to know what questions to ask. I have criticized this and been answered that there is always space for me to complete this information. That is what the intention of this questionnaire is. To make a topography that is handwritten by us, the artists.

Please take a little time and complete it. It might help to improve some aspects of current politics. Let's put as a deadline the 15^th of May to collect the questionnaires and publish them online so various analysis of the same material can happen as well as an open discussion about and with said institution.

I will set my own name under this letter, to start giving an example and to show that I am not afraid of the consequences of speaking my mind. Bring it on.

Angela Vadori, Dance Artist

Questionnaire on: http://microbiusproject.wordpress.com

Microbius is finally online/Microbius está online

Lo encuentran aquí/you can find it here: http://microbiusproject.wordpress.com

The hidden jewels of Teatro Colón

His steps are measured, precise, his movement careful and yet there is a strength, a presence, that catches the eye and the attention. Federico Fernandez is an earnest and intense dancer, one that understands his roles and does not need to fall into an obvious theatrical play. The interpretation is happening under his skin, in small adjustments of muscular tension, in an abandonment to the moment. It is rare to see such a young dancer with such an awareness of the scene in its many facets, with such simplicity and concentration. For moments you can see how the audience is not even there for him, how he lives within movement, eats the space with those eager feet, slides like silk over the floor. The barrier between self, imagination and action is so thin that one aspect seeps through into the other. A mature, self abiding dancer. His latest role has been the main character in Mac Millan's “Manon”. Soon to follow a lead role in “Corsaire”. He has been dancing lead roles on and off for a while, has been invited as a guest to companies throughout Latin America and even offered positions in international companies. But that same singularity of thought that makes him an excellent dancer, also mirrors in his decisions. Federico likes Buenos Aires, he likes his theatre and does not wish to leave it. Is it that peace of mind, that makes watching him such a soothing experience?

Many top dancers have passed through the Ballet Company of Teatro Colón and moved on, some coming back every now and again for one production, others have disappeared permanently. The flight of talent has hit the company hard. But then, there are many hidden jewels in this theatre. Teatro Colón is the latest amongst lyrical theatres, its architecture alone is a marvelous sight. It is the only Latin American theatre with its own production workshops. The Ballet is emblematic for all of South America. The corridors whisper of so much history, so many glorious moments and standing on the main stage makes you fall silent, feel small and insignificant. On the other hand there are talents such as Federico, a lead dancer with a contract of the corps de ballet. A hidden jewel. With his 24 years, he is the youngest of the stable company. There is no space for young dancers to follow, since the available spots are occupied with dancers who are far over the age of dancing, but cannot be pensioned. The upcoming premiere of “Corsaire” with Paloma Herrera from the American Ballet Theater as a guest will be canceled. The dancers cannot rehearse, because they do not have proper floors to work on. Someone seems to be working very hard to hide those jewels and to loose them to others who appreciate them. Despite all and despite the tired look on his face, Federico manages to smile, he is confident that everything will turn out just fine, he believes in the future of “his” theatre, a theatre whose management does not seem to realize how lucky it is to have the support of its artists, to witness such determination and good will.

Of strikes and media ignorance – when politics kill art.

The current situation of Teatro Colón is between preoccupying and absurd. The theatre is emblematic for the art in Latin America, not only Argentina. It is a beautiful historical building, that was just reopened after six years of restructuring. But despite the millions that went into this project, something seems to have gone terribly wrong. The theatre doesn't look to be ready yet. The underground corridors are full of water leaks, unfinished, or already breaking down again. The rehearsal spaces for the Ballet Company, that counts with over a hundred dancers and works with international star soloists and known choreographers, are a danger to their health. But the dancers cannot afford to get injured since they have no medical attention nor a physiotherapist on site. Not to speak of administrative oddities. Like dancers who are part of the company but haven't danced in years. No open audition calls, but rather phone calls to random dancer's homes. Corps de ballet acting as soloists without the difference in payment.

The company has been in a strike for 12 days now, demanding a change of direction and humane working conditions. Since there seem to be political implications regarding the theatre, there is no media coverage in the country. It turns out to be a silent fight for dignity and respect, like so many other fights artists have fought, but this time it is preoccupying because it is a great theatre we are speaking about, a symbol, a representative of a nation. If there is no concern with art in Teatro Colón, is there any concern with art at all?

De huelgas e ignorancia mediática – cuando las políticas matan al arte.

La situación actual del Teatro Colón es tan preocupante como absurda. El teatro es un espacio emblemático para el arte , no sólo en Argentina, sino en toda América Latina. Se trata de un bellisimo edificio histórico, que acaba de reabrirse después de seis años de refacciones. No obstante los millones invertidos en este proyecto, por alguna razón parece un fracaso. Las obras no han terminado. Los corredores subterráneos están incompletos, dañados y en ellos se filtra agua. Los espacios de ensayo son peligrosos para la integridad fisica de la Compañía de Ballet, integrada por mas de cien bailarines, que trabajan con solistas internacionales y coreógrafos reconocidos. Pero los bailarines no se pueden lastimar, ya que no cuentan con atención medica ni con un kinesiologo in situ. Sin hablar de las peculiaridades administrativas, como bailarines que forman parte de la compañía pero no han bailado en años; no hay audiciones abiertas, sino llamados aleatorios a las casas de bailarines; integrantes del cuerpo de baile que actúan como solistas sin cobrar la diferencia correspondiente.

La compañía está en huelga desde hace 12 días, reclamando un cambio en la dirección y condiciones de trabajo humanas. Como parece haber implicaciones políticas entorno al teatro, no hay cobertura mediática del conflicto en el país. Termina siendo una lucha silenciosa por dignidad y respeto, como muchas otras llevadas a cabo por artistas, pero esta vez lo preocupante es que estamos hablando de un teatro importante, un símbolo, un representante de una nación. ¿Es la falta de interés por el Teatro Colón un síntoma de la falta de interés por el arte en general?

(Apoyo en traducción: Fernando Nuñez).