BackFEN (Far East Network)
Proposal for Asia Tour 2010.
Aims / Brief description of project
FEN (Far East Network) constitutes of improvisational performers from Singapore, Japan, China and Korea, which has been initiated by Otomo Yoshihide (Japanese Musician).
Each and every member is focused towards experimental sound-work scenes in their respective nation. Their works have been complementing each other and these supporting relationships can work as a driving force in developing a project
After many years of their individual performances, they start to realize that Asian countries could not make an active exchange due to cultural, linguistic, and historical background, unlike many European countries. To break through this problem, FEN has initiated come up with something useful and practical.
Here, it is also important to note that it is hard to maintain continual exchanges through invitations and introductions. Instead of having dichotomous hierarchy relationship, they have found out that it is even more important to further amplify their relationships with companions who are able to work together as a group.
There exist the mutual issues and interests as below.
1. Through sound-oriented attitudes rather than existing music structures, we should accept regional and individual sound attitudes. Based on this, what kind of aesthetic result can be drawn? At the same time, what is the most effective method to derive this result?
2. How can we produce and propose ways to maintain a distinct aesthetic consciousness and sustainable exchanges in Asian culture?
2. How can the artists who have met through FEN tour utilize each Asian network to mutually support each others’ activities?
As a solution to the above mentioned issues, Fen provides a method called ‘improvisational collaboration’ and a result called ‘aimless music’.
This shows that FEN not only is a music group, but also, it can be seen as a form that can create suggestions for sustainable exchanges and maintaining the unique aesthetic consciousness. In addition to this, we also aim to explore different forms of music- or sound-oriented aesthetic possibilities from Western countries. FEN is grounded for future cultural exchange advancements by building continual network and developing various forms of meetings through their own activities.
Methodology / Implementation of project
It will be a FEN Concert between FEN and local artists through improvisational collaboration.
Time frame of project
Starting from Seoul Singapore, Malaysia, Hong Kong and other countries, the tour will commence from September 6 to September 20. Currently, the performance of the above four mentioned countries have been confirmed and we are discussing for the specific dates and location.
이 기간 중, 가능하다면 위 국가를 중심으로 추가 지역 공연이 있을 수 있음.During this time, if possible, there may be additional local performances based on the countries mentioned.
Projected output of project
It will be workshop based on improvisation and technical approaches of FEN performances by the local scene, improvisational performances and talks with the local artist.
Audiences will be placed at the centre and FEN members will be surrounding audiences. This method of seat arrangement will secure an identity of each artist in a space of an individual performance/sound.
However, the method may be flexible depending on the conditions and forms of concert hall.
Who is your target audience for your project?
It will be focused for common people, artists, researchers, planners, students who are interested in many forms possibilities of sound/music-orientations.
How do you propose to disseminate information about the project to your target audience?
Performances, talk shows and workshops mainly will be conducted. Performances will be aimed to show results derived through improvisational collaborations and it will show the process of how the particular case will be structured through actual sound orientations by presenting the way that the situations are made from the result. At the same time, we will activity convey those interests, behaviours, practices, and the possibilities as a type of package tour, which includes the specific discussion with local artists or workshops to promote understanding of the method.
How do you think your project will create impact on the art communities/the cultures that you want to engage with? How will it develop the field of your art form?
How can a simple invitation by the artist and their art planning conditions can connect each artist in different regions? The question became sceptical after many years of activities. Above all, the collaboration has been recognized as the important point. However, at the same time, we often see some of the occasions where characteristicsthat a specific genre is affected by the way that a director directs. Although the project has been organized by Otomo Yoshihide’s suggestion, each member has the right to adjust or contribute to the project activities. At the same time, regional artists will be collaborating under the same condition. The ‘improvisational collaboration’ and ‘aimless music’ made this kind of system possible.
Although improvisational music has also executed from the existing music world, however, it has been regarded only as an interest towards music and it cannot seems to deviate from the specific genre characteristics in terms of communication process and the results. This is an example of regulations in communication. FEN, as a result, wishes to eliminate these kinds of specific genre characteristics and let the project participants to explore sound oriented improvisational music instead of music oriented improvisational music that each participant has in potential. This would not only help to broaden the scope of this communication but also to let the Asian region artists to freely collaborate. Otomo Yoshihide has already formed orchestra with the mentally disabled children through this method. In addition, he has also formed Festival that is open to the public. Asian Meeting Festival and Enssemble are existing examples of his interest that he has been working on since 2005. This has given special ventilation towards an art scene where only specific relation was thought to be important. Each of the members are concurrently planning individual scenes and working on various workshops, discussions and performances to expand the opportunities for new relationships. Hadaka M has been processed by Yuen Chee Wai in Singapore and it has been an important point for organizing FEN. FEN hops to function as a small but important unity that is related to this field.