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daily chronicle

How to enjoy life with instructions for the stranger

By Claudia Galhós

Some say happiness is the ultimate goal for any person. Others say you never really get there. Artists, some think, are the most free people to dream of happiness as a possibility. They have the needed creativity and the skills and the intelligence to transform the world. Or even invent a new world. But then someone has the idea of organizing a device, with as minimum rules, frames and constraints as possible – to try to create a place where artists can be just artists, not having to worry about managing the resources or react to the market pressure of producing an object for commercial consumption inside the cultural market – and artists resist to this.

Some say artists role in contemporary life might be to create a new world disorder (this expression was used by gipsy artist Ema Dei in TryAngle Marseille). Others say you always need some kind of order to create the possibility of question what exists. Artists, some think, are the privileged ones in that space in between. Is from instability, that most adequate position, that they access a more complete and rich perspective on live. That is an out of balance position, and each artistic gesture or step is just a changing of position, always in a precarious equilibrium between order and disorder.

In theatre, Colette Conroy says (in the book “Theatre & the body”), we need to be able to use ideas as possibilities. When the ideas that create possibilities breathes a wish to be profoundly connected to the world, and to real life, artists have to deal with the inevitable negotiation between those two conflicting forces. Artists, facing a problem, like artists facing the practice of questioning and doubting, are said to have the tools to find a way to deal with the problem and get closer to the materialization of the original idea, which is a possibility to transform the world.

The practice of communication is a very complex subject. A dialogue is a two way conversation where misunderstandings are a reality. Some deal with this saying: “I am responsible for what I say, not for what you hear”. That is also a question of perspective. But artists are supposed to know this. And so, the language of an artist, being so much powered by imagination, is filled with an immensity of misunderstanding murmurings. For artists, the shattering of points of view that surrounds each contemporary act of word he shares, how distant from the intentions he put out into the world, is material for music with which he gives sound to a restless body.

There were more than forty people starting a day in a round table discussing the programme for a first day of collective artistical research. There were the twenty artists, there were the technical team and the media and documentation team, from Tanzhaus and from the Faculty of Design. There were the directors of the project, presenting the minimum organizational frame in which TryAngle is going to work: every morning there is a meeting at 10a.m., to discuss what is going to happen during the day – is the moment of Forum (and in here there is a significant change, out with the “Market” that existed in Colina and survived to TryAngle Marseille); and at the end of the day, at 6 p.m., there is the discussion meeting – a proposal very much discussed (questions of time and the consumption of time…).

At the end, the day went by as if it was a kind of absurd proposition from Jayrope, even if very different from the idea he presented of taking a considerable group of people to brush their teeth in a Burger King’s public toilet. A group went to the streets of Düsseldorf with Gisle Martens Meyer searching for the sound of the city; a considerable group was flying with Cecile Martin in the main stage; some did the dance training without a leader that ended up by questioning what is a warm up and a training, as suggested by Dejan Srhoj; some joined Jayrope and Gui Garrido for an open workshop on looping – in the schedule on the wall there was “Looper’s delight”; Kingsley A. Odiaka shared his research interest in a frank discussion with Jayrope; and Gui Garrido organized his material in one of the dance studios to create the possibility for the portraits of artists, in collaboration with the media team. It is a clear view over the fact that there are very different approaches to practice starting something, as Gui said at the end in the afternoon meeting. Anyway, with refreshing candour and frankness, an artist has the means to keep alive the possibility of happiness, and doing so maybe a stranger can come along.