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Satyajit Ray, the very well-known Bengali (Indian) filmmaker (1921-1992) says in his book first published in 1976, that he learnt one lesson of film making. It is ”(…) by far the most physically demanding of all activities that are dignified by the epithet ‘creative’”. ”The whole process takes place in three broad stages: writing, filming and editing”, he writes and continues: ”All three are creative; but while in the first and the third one uses mainly one’s head, the second calls for the use of all one’s faculties – celebral, physical and emotional – going full steam at all times.”
Somehow our meeting at Toonskool, the education on animation, is about this. It’s about film making with animation, where you need several skills: craftsmanship of animation, cinema and film, filming, lighting, editing…Toonskoll started in 2004 and is India’s first degree programme in animation we are told. They have around 1000 students around India and the school is about the Art of animation. The focus is on the Artistic side and they even offer a course in acting so the student will better understand movement on stage as they animate their films. The concept is a lot about ”learning by doing” with the idea that you learn from your mistakes.
School of Film Directing in Goteborg has prolonged ideas of starting a school of animation in Sweden, and in the light of Toonskool, this seems necessary. How else will the field of animation evolve? Tarik Saleh, a film maker in Sweden, just launched the first full-length animated film in Sweden, Metropia (see clip below), a great piece of work. But how do you get more people involved in such risky and difficult projects? How do you make sure that skills are there for future projects?
An interesting discussion where film making, film directing and animation films seem very close in the thinking behind the making.
The visit is part of an exchange set up by Region Vastra Gotaland and Karnataka. Read o former post on animation in West Sweden and the making of Metropia here.
Schedule, Bangalore on the 13th of August 2009:
10.00–12.00 meeting at Srishti School of Art, Design and Technology to discuss cooperation on social and innovative entpreneurship, pedagogical and educational ideas, and young filmers. The meeting was held by Arvind Lodaya and Geeta Narayanan, taking part was members of staff of different positions.
14.00–15.00 meeting with animators, among them the Association of Bangalore Animation Industry, the animation education Toon Skool, animation studio Raydrops and Mediateck, and Asian Institute of Gaming and Animation (Aiga). Discussion around possible exchanges between animators in Region of Västra Götaland and Karnataka.
15–18 meeting at Attakkalari with Jay Palazhy and his colleagues. Several performances are planned to come to Vara Concert Hall in West Sweden in March next year. More possibilities were discussed as perhaps events at Museum of World Cultures. We got an introduction of all different projects going on from ”teachers’ training” to workshops on grassroot level as well as experimenting performances on movement, technology and lightning. We were introduced to graduating students’ work and were generously shown parts of their graduating performance – impressive work.
18.30–20.00 (we arrived late to this meeting) meeting with filmmakers, film critics, film association, writers, activists to discuss the film scene in India and the set-up of a Film Directing School in Bangalore. Among the participants was well-known Karnataka filmmaker Girish Kasaravalli, giving an idea of the filmmaking in India and Karnataka. Parallell to this, a discussion on how to start a new organization in Bangalore inspired by and in cooperaton with Nätverkstan.
20.00 – all participants from the former meeting continued over dinner.
Etiketter:Animation, Artist, Artistic practice, Bangalore, Creative Industries, Creativity, Cultural Project, Education, Entrepreneur, Entrepreneurship, International exchange, Resources, Social entrepreneur, Västra Götaland
The heroes survived. They were supposed to be killed after the film was made, but the film maker just couldn’t. The animated dolls were characters, personalities, so how could you kill them? Instead he hid them. After each movie he hid them in his house with the risk of getting caught. Intellectual property rights in the 70s, the government was afraid that the dolls would be used in another movie and they would have troubles with angry doll makers who wouldn’t get paid. Now we are able to watch them in a small, one-room museum. Beautiful hand-made dolls, made in Russia in the 70s for animated film made in Georgia. The most known is Bombora, a character who just wanted to go to school and in his frustration for not being able to sets fire on things. Now this character is posing over the entrance in the newly made amusement park at Tatsminda.
Wato Tsereleti, a well-known curator and Artist is describing the contemporary Art scene for us on a café. A major problem, many Artist tell us is space and funding. There is no space for Art or large events. In October the conference Artisterium is taking place, and a difficult part has been to find where to have it. A wonder, really, since Tbilisi is still very much a city in transition and there are many empty spaces. Wato Tsereleti has finally been able to find a locality, and the idea is to restore it into an Art center.
Many meetings has been taking place among visual Artists and Art education, between colleagues in the literature and publishing scene in Sweden and Georgia, as well as performance and film. Bakur Sulakauri Publishing is the biggest publishing house in Georgia, publishing around 200 books every year. They are meeting with colleagues at the publishing house Tranan in Sweden, together with writers, to discuss on how they can work together. The idea is that each Art form will come up with project ideas for future cooperation and exchange.
And as we walk to all these meetings, have discussions between colleagues in the Art world, we pass the cells at Rustaveli Avenue and get reminded of the situation in this country. What is it we see in the streets? At Rustaveli, near the Parliament and Freedom Square the streets are filled with cells, small plastic covered boxes where people stay all day, all night in protest of the government. It’s difficult to analyse or understand what the cells stand for. Is it an organized protest of a well defined opposition? Or a more a protest of angry inhabitants showing their miscontent of the president? Or is it a show put forward by a few people with economic resources wanting to overthrow the president and take power? Perhaps it’s an Art show, or an installation? We get different versions, different stories. But it is clear that many people are very tired of the situation, of the threats of war, and long for coming back to a normal situation.
The visit is part of the project EKAE 2009, run by Natverkstan and financed by the Swedish Institute.
Categories: Art Artistic practice Blogg Creative spaces Cultural Journals Cultural Policy Democracy Economy Education Entrepreneurship Georgia Innovation International Network Performance Tackling poverty University
Etiketter:Animation, Artist, Artistic collective workshop, Artistic practice, Burning Platforms, Creativity, crisis, Cultural economy, Cultural Journal, Cultural Policy, Cultural Project, Democracy, Development, Economy, Education, Entrepreneur, Flexibility, Georgia, Globalization, Innovation, International exchange, Literature, pedagogical, Renewal, Social entrepreneur
How do we look at work and employment? What is our relationship to working? How does time linger after people left? How do our perception and dreams change as we grow up? Are we prepared to do anything to reach our goals? What is meaningful work?
Skifte is a collective digital exhibition with filmmakers, animators, photographers, artists and poets, who all reflect on the theme work. Nine pieces showing different aspects and expressions, putting forward questions rather than answers. The exhibition is part of Medieverkstäderna i Väst, a collective of digital workshops in Region Västra Götaland, where members are visual artists, editors, photographers, poets and film makers.
Curator has been Stina Karlsdóttir Vestrin, who is also a student at Kulturverkstan. In the folder coming with the exhibition she writes:
”The fact that our work is one of the things forming us, building our identity and creating a community in a social context, we can all agree on, work is a central part of our lives. I would like, with this exhibition, to do some pounces in everyday working life and lift reflections around its structure. What is a job? What is a good job? Why do we work and what makes an honourable day’s work? The same occupation can in some cases be a job and in others not. In today’s society it’s more and more important to be adaptable and flexible on a more and more demanding labour market at the same time as the boarders between working life and leisure is erased. Working conditions is constantly shifting and each time as its problems to solve.
The war of ants has disappeared from our TVs. The digital era has its own noise, its own war, other ants. Internet is today an obvious part of labour market. Fifteen years ago you hardly knew what it was, yet it has since changed labour for many people all over the world. It also affects those workers who don’t have access to computers. A shift has taken place. Changes can sneak on you slowly without us understanding a shift is on its way. What happens to our jobs? The new is growing out of the old, breaking out from it, against it, want to be free. It is in this contradiction that we find other ways and tramp our own tracks.”
The exhibition will be touring in Region Västra Götaland and is on Internet 25 of April to 24 of May 2009. Look at www.skifte.se and click for English. Download (in Swedish) the catalogue here: skifte_katalog.
Etiketter:Animation, Artist, Artistic collective workshop, Artistic practice, Creativity, Development, Digitization, Employment, Flexibility, Labour, Medialab, Medieverkstäderna, photo, Shift, Skifte, Västra Götaland, Work
Do you have a hard time following how in the world we ended up in the financial crisis? Here is the animated film that describes it: ”The Crisis of Credit Visualized – Part 1.
”It’s made out of love”
We meet in the new office areas of Dockhus Animation in Innovatum Technology Park in Trollhättan. Up the spiral stairs is an office where four people work with their computers. Downstairs is a large table tennis (”the best thing we put here”) and handmade models of characters and milieus used for making animated films. In the basement, among old furniture, stacks of boxes, paint, brushes and all sorts of useful findings from different containers in town, sits the newest model. A beautiful done room with wooden floor, painted walls, windows where light can come in from different angles to make the perfect scenes for film sequences. Another model is a rooftop room with a small bed, a desk with paper on it, some suitcases leaning on the wall, empty boxes and a window where the moon shines in. It’s a room in miniature, made with such character and personality it feels alive. It’s as if you could go in and sit by the desk. How is the animation model done we ask with admiration in our voices? ”It’s made out of love”, is the simple but evident answer.
Passion is the driving force. Every animator we meet talk about the passion, describe the characters they made with affection and love. They have names. Even for a character in a commercial for a telecompany or climate issues. At Meindbender Animation Studio we are introduced to ”Doctor Meindbender”, a figure that looks like a crazy professor.
”Animation takes so much time”. Tarek Saleh, one of the founders of Atmo, shows us short clips of his latest production”Metropia”, the first full-length animated film in Sweden. It will be launched around May 2009. The most difficult part is that the productions of animated films take so much time to make, another is it’s hard to find talent. Tarek Saleh decided to place the production in Trollhättan, the small town of around 44.000 inhabitants, 78 km north of Göteborg. They had a choice of Hungary and Paris. Why Trollhättan? ”The big disadvantage is recruiting talent, but the hugh advantage is that people working fully understand the project”. You must be with the production team and animators; otherwise you loose the feeling in the film, he tells us. In Trollhättan he has mixed experienced animators with non-experienced, something that works very well for keeping the edge.
Animation Artist Artistic collective workshop Artistic practice Bangalore Burning Platforms Business idea Creative Industries Creativity crisis Cultural economy Cultural Journal Cultural Policy Cultural Project Democracy Development Digitization Distribution Economy Education Employment Encatc Entrepreneur Entrepreneurship EU Finance Flexibility Georgia Globalization Innovation International exchange Literature New economy pedagogical Policy for Global Development Renewal Research Resources San Francisco Self-employment Silicon Valley Social entrepreneur Transformation USA Västra Götaland