CURATORIAL NOTE on EBJ

CURATORIAL NOTE for the1st edition of the Biennial. HOME and ABROAD. For the curatorial discourse of this 2009 edition of ewaBAMIJO, we propose "HOME and ABROAD" as the theoretical basis from which we hope to explore our critical vision. under the Artistic direction of Qudus ONIKEKU. Context and Rationale: Contemporary dance in Africa has struggled for a while to overcome problems like accessibility by local audience, finance and lack of Infrastructures, power and lacks critically in legislation. Dance-forms other than traditional dances in contemporary Africa, are very similar to all imported or foreign activities in the society at large, reserved particularly for the expatriates and the elite class, it is obviously there present in the society but it has been suspending and surviving in a sort of extinction, never had the ability to come to rest and be integrated in the society we operate. Moreover, there is only a thin line between the artiste and his society, paradoxically we get fame and gain grounds outside our primary society, and all these is as a result of the standards and circumstances at which we operate our art "HOME and ABROAD." We are convinced that the notion of HOME for many artist of the 21st century varies, it could be only but, a series of thoughts, images and sensations - a CONCEPT - a cherished aspiration, ambition and ideal, it perhaps exist only in our self/deluding fantasy - Not in real-time. Maybe this earth is an eternal ABROAD after all, and so said Faustine Linyekula 'Maybe my only county is my body', but on what basis does our art excel at 'home'? The art market or its practice? Our proposition of "HOME and ABROAD" as the theme for this first international edition of ewaBAMIJO, is not a denial of the existence, importance and rewards of this intellectual tradition; but in many ways to further seek a place for the entrenchment of cultural and racial, economic and other fundamental differences under the machinery of globalisation. Reality has proved to us that, due to our lack of infrastructure and audiences structure, many African creators make their works ready mostly for exportation in order to survive as artistes, not only for economic balance, but for their sanity and survival of their creativity, productivity, and pride in the companies they run, this irreproachable trend also have a reverse effect on our primary society. As we have seen in the recent past that a higher percentage of African audience has practically lost interest of live arts to showbiz and home movies, The basic interest of this initiation is primarily to review our basis and bring back attention to the Theatre. We believe that at this present point of our encounters, after many decades of pre|post colonial exchanges and several hand shakes with the world, it is high time we became focused on internal issues. More so, as we live in a new media world saturated with technological advancement, coupled with our vast resource of indigenous professionals, we only need to appropriate all these ready made elements as our own means and apparatus, as well as using maximized effort to sculpt our art face and divert some sluggish energy into a steady and positive change reaction. A moment of reflection around DANCE in contemporary African... History itself is shaped and written in bias towards the present day reality, and slightly directed to favour the orientation at which the future is dreamt of by the powerful, and so as contemporary dance in Africa, America and Europe and elsewhere where 'political correctness' matter, the ideals and the writings of contemporary dance on a global world-view has enriched itself on the inevitable notion of identity, race, gender and class. Far from identifying the contemporaneity of our dance in Africa or branding it for that matter, but approaching it from a viewpoint which doesn't ignore the state of affairs of our collective economic, social, political and cultural reality as a people. In the era of post colonialism, post modernism and post world war II, other art forms had exercised continuous revolutionary concepts that transformed into leading discourses guarded by 'political correctness'. As 'African' dance practitioners, it is inevitable to disregard the question of identity, color and other baggage of history, due to the direct exposure of our naked bodies and the visible twist of cultural expressions, which has in turn triggered a series of resistance in the part of traveling dance practitioners, as against exoticism and second class validation, if not third. However, this construction and continuous resistance have also adversely developed an institutionalised pluralistic landscape that has today turned into a combative affirmation of an ideology, and unfortunately a new form of stereotyping. For some years, major international organisations and parastatals around the world, have worked towards building up 'discursive platform for a cacophony of African voices' outside Africa, and emphasizing 'correctness' in cultural politics; these have of course created more talks that hinder actions, it has stated more obvious problems than proposing solutions, but unconsciously succeeded to the neglect of the core existence of the young and alternative artist's project in the continent, creating further fiesta of the ex-colony and the ex-colonised, an independent pursuit of illusive relationship through artistic endeavors. Fundamental problems transformed into cocktails and social rendezvous of the dominant sect, through which the new order is defined to create restriction for liberal artistic expressions. In this first edition of EBJ we wish to draw attention to the 'political (in)correctness' of traditional trends which led to the dominative power play of multiculturalism, globalisation, identity politics and post-colonial discourse. Urgent issues facing contemporary dance today, that we wish to make a scandal of is; How do we establish an 'ethics of difference and mutual respect' within the framework of dissimilarities in cultural production and functionality? Is DANCE in contemporary Africa: An imported household branding or a local craft for export? How do we prevent 'Hegemony' without sacrificing the grounds already gained against the power status quo at Home and Abroad? By Re/Moving boundaries, are we certain of creating larger territory for dreams? Core principles of the EBJ biennial: Negations Africa has been told and shown constantly through western eyes, and in funny way we end up seeing ourselves through western judgment. To trail the proposition of the 3rd GUANGZHUO Triennial, ewaBAMIJO may be as well understood as a locus of questions for the international art world, boom time of fresh breeds hailing from cities yet to come around the world, as history has been written based on the intuition of a few and rules always made for us to follow, we have the conviction that there are lots of lies in history and we are set to deny everything regarded as 'truth' to lead the way for our discovery, the existence of this Biennial will be a process of discovery for ourselves; not just the fulfilling of preconceived ideas. Instead of claiming what this Biennial 'is', we wish to find out what it should not be. The Self Imagining of ewaBAMIJO is an Ètude in Negation ... Neither global nor local; Neither Western nor African; Neither mainstream nor independent, Neither tourist spectacle nor high art. Not multiculturalism; Not tribalism; Not post-colonialism; Not identity politics; Not sociological report; Not alternative modernity; Not showcase of new stars; Not competition for superiority; Not a celebration of our heroes and wins, Not further affirmation of all possible swear words, such as **gritudism... By saying 'Home and Abroad' we call for the renovation of the practices and theoretical interface of contemporary dance around the world, to depart from its all pervasive socio-political discourse, but work together with other kind of artists, scholars, students, critics and our audience, to discover new modes of thinking and develop new analytical tools for dealing with today's world, and bring attention to the 'limits of globalisation'. ----------------------------------------------

Yk Projects. info@ewabamijo.com +2348055276317

ewaBAMIJO Media Campaign

Latest on ebj

If you've been wondering what's next on EBJ. the media campaign took us round the doorsteps of the following confirmed EBJ Dance Ambassadors: Dr Ahmed Yerima, Ambassador Segun Olusola Tunde Kilani Jimmy Jatt Peter Badejo (OBE) ASA and Nomoreloss. On the other side of the Mediterranean sea, Qudus Onikeku, the EBJ Dance guru himself, held Paris in hostage and he is set to take the gospel of EBJ round Sao Paolo, Belo Horizonte (Brazil), Buenos Aires (Argentina), Bogota (Colombia), Maine and New York (USA). With the aim of creating new and lasting relationship with other territories other than our familiar acquaintances in Europe. See this for yourself and share the word. http://www.facebook.com/video/video.php?v=93707865876&ref=mf... EBJ will be kicking off with its strategic international relation and mobilisation in Sao Paolo, Brazil on the 8th of June 2009, hosted by the Matilha Cultural; http://matilhacultural.com.br/. It will be followed by a cinema screening of our documentary film "Do we need cola cola to dance" and a Non conventional space performance on the 13th of June 2009... Followed by a second Showing in New York on the 25th of July 2009, also followed by a studio screening of "Do we need cola cola to dance" and a solo Performance hosted by the Dance Theatre Workshop. New York. http://www.dancetheaterworkshop.org/ A third showing will be during a residency at the Bates Festival between 19th of July - 9th of August 2009, with a cinema screening of "Do we need cola cola to dance" and two solo Performances on 6th and 7th of August 2009, during the "Different Voices" Hosted by the bates Dance Festival in Portland Maine. http://abacus.bates.edu/dancefest/performcalendar.php --------------------------

-------------------------- Watch out for more intriguing update on the journey to EBJ 2009. Before then, HOW MANY PEOPLE HAVE YOU INVITED TO JOIN THE GROUP ? Its not enough to support by sending us email and wishing us success, no one can clap with one hand, it will be appreciated if you can go to the group page and click on the Invite people to get all your friends list to join the train, that will not cost so much and also join the discussion board to let's hear your views... LATEST ON THE DISCUSSION BOARD; is DANCE a Sport? Following a long argument in an online forum, whether DANCE is a sport or not, i found it interesting as a topic to discuss, i have curled two significant point made by two distinct persons, one for and the other against such notion Brittiny Catalano stated that "1) Dancers are physically fit and need conditioning. they work extremely hard and train till they cant walk anymore and then continue on... Visit http://www.facebook.com/topic.php?uid=51419822397&topic=9287 to let your voice be heard. Yk Projects. Nigeria +2348055276317 info@ewabamijo.com

Join the EBJ CAMPAIGN train !

Hello Good People of this great World.

As WE move ahead with our never ending aspiration, Ewa Bami Jo is improving from day to day, our list of partners, sponsors and interested individual is getting longer by the day. Also in that line we keep building on the concept of the festival. 

As part of our strategies to achieve our objectives: We've put in place the EBJ ONE MINUTE media campaign, which kicks off two months prior the festival, where we engage various celebrities and public figures telling us “What dance means to them...”and this will be proffered with a high sense of esteem and professionalism, and well broadcast nationwide, it is our own way of getting the public aware of such existence though such endorsement. 

We have as well began EBJ mobilisation of a minimum of 100 students of performing arts in all the three major universities in Lagos to adhere to the festival as volunteers, to host the over 500 students and scholars coming from other parts of the country, as well as over 300 participants coming in from outside the country, giving them the possibility of getting closer to either professionals of their chosen career or fellow arts students coming in from other parts of the country, this we believe will in a way create relationships, and at the same time, give them a sense of ownership of the festival to certain level.  So this is where we feel the need to begin a concrete relationship with our adherents on facebook. Ewa Bami Jo is an event specially dedicated to throwing glitz and glamour on the city of Lagos through DANCE, CIRCUS, COMEDY, MUSIC, DRAMA, SPOKEN WORD and other interdisciplinary art forms. It operates under the auspices of a NON PROFIT organisation. Thus, we seek volunteers from every part of the world, and the objectives laid down for our volunteers are pretty simple.

• PRE-EBJ VOLUNTEERS - 

*SPREAD THE WORD ON FACEBOOK *INVITE ALL YOUR FRIENDS ON FACEBOOK TO JOIN THE GROUP *TAG YOURSELF IN ANY OF THE EBJ PHOTOS ON THE GROUP AND USE THEM AS YOUR PROFILE PIX. *GIVE SUGGESTIONS AND BE PART OF DISCUSSIONS ON THE GROUP. VISIT THE GROUP AT LEAST ONCE IN A WEEK FOR UPDATES.

• EBJ VOLUNTEERS - FOR THE EBJ PROPER.

AS PART OF OUR STRATEGIES OF CREATING A WHOLE NEW IMAGE OF WHO LAGOSIANS ARE TO OUR INVITED GUESTS AND WHAT LAGOS IS ALL ABOUT.  *WE NEED GOOD PEOPLE WHO LIVE IN LAGOS AND CAN VOLUNTEER, TO ACCOMMODATE ONE OR TWO PEOPLE COMING IN FROM OTHER PARTS OF THE COUNTRY OR OTHER PARTS OF THE WORLD. *WE NEED GOOD LOOKING PEOPLE TO HOST OUR INVITED GUEST FROM ALL AROUND THE WORLD DURING THE ENTIRE PERIOD OF THE FESTIVAL. *WE NEED GOOD PEOPLE WHO WILL BE IN CHARGE OF THE FESTIVAL KITCHEN THAT WE SHALL BE MOUNTING. *WE NEED VOLUNTEERS TO BE AT OUR TICKET SALES OUTLETS AROUND LAGOS. *WE NEED USHERS AND GATE KEEPERS DURING THE INDOOR EVENTS. *AND FINALLY WE NEED TO CREATE A FESTIVE MOOD.

• BENEFIT FOR VOLUNTEERS -

WE ARE VERY MUCH AWARE OF THE FACT THAT, NO AMOUNT PAID TO OUR VOLUNTEERS WILL BE ENOUGH TO SAY THANK YOU, AND AS WE ALSO INITIATE SUCH IDEA BASED ON A SOCIAL RESPONSIBILITY, WE CAN ONLY RECIPROCATE BY SHOWING KIND GESTURES. *EVERY VOLUNTEER THAT TAKE PART IN MAKING THIS FIRST INTERNATIONAL EDITION OF EBJ A SUCCESS, GETS HIM OR HERSELF A FREE TICKET TO ALL INDOOR EVENTS, AN EBJ TSHIRT, HAVE THE OPPORTUNITY TO HAVE FURTHER INSIGHT TO THE PERFORMING ART WORLD AND GETTING CLOSER TO PRACTITIONERS. FINALLY WE ARE DEDICATING THE CENTER SPREAD OF OUR MIND-BLOWING PROGRAM OF EVENT TO ALL THE NAMES OF OUR VOLUNTEERS, NO MATTER HOW MUCH THEY ARE, WHICH ALSO WIN THEM A COPY EACH, AND THIS WILL BE DESIGNED IN COLLABORATION WITH SWITCHEDON MAGAZINE. 

FOR ANTICIPATING VOLUNTEERS PLS DROP YOUR CONTACTS AND A BRIEF OF YOU INYKPROJECTSNG@GMAIL.COM. OR ONIKEKU@YKPROJECTS.COM. YOU CAN AS WELL LET YOUR INTENTION KNOWN ON THIS NOTE AND WE SHALL GET IN TOUCH WITH YOU FOR MORE BRIEFS.

LET'S THROW LIGHT ON THE CITY OF LAGOS. AND SHOW TO THE WORLD THAT THERE ARE SHORT-CUTS TO HAPPINESS. BEST REGARDS. Qudus ONIKEKU. Artistic Director Ewa Bami Jo.

24x24 Qudus Onikeku Video

24x24 Qudus Onikeku Video

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Yk in brief...

Yk Projects has practically been in existence since 2004, it regroups series of the next generation Nigerians, teamed up to form a collective of Artistes from the performing to the visuals and letters art.

• Young Kings Projects (Yk Projects) operates between Nigeria and France as a not-for-profit company, initially registered as a performing company in Nigeria, but due to the lack of appreciation of the arts and the disdain which tend to subject Artistes to a hostile environment, informed the coming together of a collective of Youths with legs in different sectors of arts, amongst which are Performing artistes, Visual artistes and Writers, all with similar intentions of creating an alternative landscape for the local audience to be aware of the art by projecting contemporary arts (Dance, New Circus and Street arts) through media and publications, thereby creating a conducive environment for their existence at home.

The main Activities of the Organization includes; 

• Creations and performances (Mainly Dance, New circus art and Street arts with the  fusion of other media)
• Coverage and documentation of art related profiles, for media and archival purposes.
• Event Organizations (such as the Bi-annual Ewa Bami'jo, workshops and conferences)

while we base our main source of income on Fund raising, Performances and income from existing projects.

• Since 2004 that Yk Projects has been in existence, we've been able to register ourselves in the subconscious of many and getting involved more in the contemporary dance discourse, both theoretical and practically in Africa, Europe and America at large, and we've participated in international workshops, festivals and conferences in Lagos, Bamako, Cotonou, Paris, Santo Domingo, Tunis and USA.  
• Since 2005 we organised Ewa Bami’jo locally in Lagos. An event that will later become a bi-annual and international event from 2009. 
• In 2007 the organisation executes a research project and happenings in non-conventional spaces titled Do we need Cola-Cola to dance? As part of the Afro-futurist struggles and inspiring Africa to dream using alternative measures. It toured round Nigeria, Egypt, South Africa, Mozambique, Kenya and Cameroon.
• In 2008, Yk Projects carries on with the realisation of a documentary film (Do we need cola-cola to dance?) and a documentary photographic book (Crossing Boarders) that follows our 2007 research project. A work-in-progress seires of Do we need cola cola to dance? Has been screened in Lagos, Kinshasa and Masachausette.
• Presently Yk Projects has moved on with the execution of a workshop series concept titled “Collection of those things that burn in us” 

1. whose series I was carried out in Lagos. Nigeria. April 2008.
2. Series II, in Massachausette. USA. June 2008.
3. Series III, in Kinshasa. DR Congo. July/August 2008.

DO WE NEED COLA COLA TO DANCE?

Photos by Emeka Okereke

-THE ART FORM - DANCE, CIRCUS, STREET PERFORMANCE, PHOTOGRAPHY, AUDIO VISUAL and ELECTROACOUSTIC MUSIC.  All these art-forms are what this project reunites into one. 

-THE PROJECT-

All photos by Emeka Okereke

The Artwork is disseminated into two phases, the first phase of the project was the touring of an outdoor performance in Six countries of Africa with a team of five, amongst which are 2 performers, 1 sound artist, 1 photographer and 1 video artist, during the tour we also had the opportunity of meeting and talking to professionals in the arts world, asking questions, trying to structure a future for ourselves as young professionals. The second phase of the project was to return to the studio in France with all the visual materials we were able to acquire during the tour, and came up with a documentary film titled "DO WE NEED COLA COLA TO DANCE?".

-ARTISTRY- 

The project rallies around Dance which is the centre of attraction here, and as it was showcased mostly in public spaces and performed by performers who at a time, posseses the skills of dancing, juggling, acrobatics and hand standing. It broke into the frontiers of street theatre. Meanwhile, the happenings were absolutely un-official; no posters, no info, even we didn't necessarily know where the next performance spot might be, just like in ancient traveling theaters. This "piece", more of improvisation, is to be an alternative artform to the traditional exhibition of dance in the theatre, it creates its own context, since there are few or no ready made theatre venues or audience to begin with, and there is only a few practice of alternative movements in the continent today, the coming to life of this project is not to insert a new style into existing buildings, nor enticing already formed audience away from existing venues, but just to be involved in a special broad oppositional art experiment. The Project is an artistic expression and declaration of our engagement in a structural development that is in the making, as well as our responsibility as artistes for change, it is a sincere laboratory experimentation of an existing theory. Our reference points or case study could be coming from dance and cinematographic perspective, but its a valid element for development using alternative measures.

-INTENT-

I thought of taking contemporary dance to “NON CONVENTIONAL” spaces and locations where the growing art network could not get to, be it public or private surroundings who are yet to discover the theatre for the purpose of Dance, as an avenue of crossing the borders that exists between artists and the audience, as well as formation of a local market and audiences structure. This first attempt took us on a journey across the African continent, around six countries, each from the different regions of the African continent including;Nigeria, Egypt, SouthAfrica, Mozambique, Kenya and Cameroon.

-TARGETS-

The first phase of the project was already two faced in terms of targets, it first seeks to cross the borders of our traditional four wall performances in the theatre space, to go in the pursuit of the populace, i decided to spread this research into three similar locations in 6 cities in Africa (Lagos, Cairo, Johannesburg, Maputo, Nairobi and Yaoundé), organize happenings in public spaces varying from market places to malls, university surroundings to the beach, bus stops and boat terminals as well as the corners of the streets and other unimagined available spaces that could accommodate such manifestation. One important criteria we put into consideration is the possibility of balancing the gaps, by making sure that our happening travels from the locality of the low income earners to the rich quarters and also the young intellectual sects in the educational institutions, in order to have a broader view to this issue. The echo of such project already travels around, and in its own special way inspires a handful of professionals who saw it as a fundamental step towards concrete and logical development.  The second phase which is the documentary film that followed such manifestation, the film is primarily directed to issues affecting the continent's arts world, but its primary audience lies amongst the young creators and the art's students anywhere in the world, which in no way limits its influential capacity to other domains and aspect of human development, which is more of the reasons why our diffusion cuts across different horizons, aiming at being part of the tours of my presently created solo piece, film festivals in the African world, Dance film festivals, documentary film festivals, alternative film festivals, libraries, schools, museums, cultural centers and all other imagined venues suitable for such presentation.

-AUDIO VISUALS- 

Our approach to the documentary film that emmanate from this tour, is powered by the juvenile energy we are presently bestowed with, by nature we ask ourselves questions about the future as much as we inquire from the older generation, a detailed account of their time for a better comprehention of our tomorrow. This film in its own special way sways between dance, interviews, reasoning, people and politics, aimed to combine entertainment with database, discussion, socio-political proposals, recommendations and policies of culture. Primarily committed to bringing about actual changes in specific communities towards arts and culture. All actions, aesthetics and pragmatics, stories and documentary explored in this film – are inscribed with questions of fundamental importance to the freedom of the young professionals. However, our choice of research was guided by a more fundamental impulse than the quest for mere traveling and performing.

-MESSAGE- This will perhaps send messages, meet the youth and young creators at their point of hunger, the young generation is hungry for life, we so wish to break bounds and go beyond the line drawn by the older generation, we jump on every thing that comes, and in a life where everything goes, we get confused about what to hold on to, Religion? Culture? Or the Media...? We imbibe the new culture and migrate easily towards easy life, run away from our social responsibilities and these will only lead to a further destruction of our nullifying "Self". Therefore as we seek this freedom, we however need a guideline.

-ADDRESSING FREEDOM OF EXPRESSION CONTRAVENTION-

This project is first an imagined solution to a very personal issue that bothers my soul as a young African creator, it speaks the mind of many youth of this 21st century, and breaks the bridge between the artist and his audience and vice versa. I happen to be one of those trained as dancers in an environment where all inconveniencies and risks were involved, yet survived it, it however gives my originality and identity at the end. i proceeded to study in France where all began to appear as two realities apart, just as the north and south pole, this project was then borne out of my introspection on where i was coming from. This refusal to go back to my locality with all foreign influence, becoming a dictatorial artiste who can no longer perform without a theatre well acclimatized with perfect technicalities and constitution, yet wishing so hard to have the same conditions and structures in Nigeria, as i presently enjoy in France, in order to give credibility to this art form by inspiring confidence in local audience and youth interested in taking up this art-forms.

-IMPACT ON HUMAN RIGHT ISSUE- I strongly believe that there's a powerful connection between artists of all kinds and human rights. Artist and activist sometimes stand up against the establishment to say what needs to be said in the name of humanity. Artists are a leading voice for freedom - and for this project, it is freedom from fear, such fearless project could get us into trouble, but truth comes out of the light that we brought and the powerful often fear this.  The French cultural centre and other international organizations has claimed a complete authority over the circumstances at which we operate contemporary dance locally, so the need to break bounds and refusal to hegemony brought about this project. This artwork communicates across boundaries of geography, politics, gender, race, cross all divides and belong to every individual in those public spaces. Freedom of expression is vital for an artist's work and the human rights activist works to protect that very right and in the end the relationship is more fundamental. We experienced art together with our audience, it makes us feel human, and moves us to protect the human rights of others. Everyone has a voice and should use it... No one sees the world in exactly the same way, no one sees the world through the same eyes as I do, nobody will see how i think and feel about the world unless i express it in some way. The interactive moments we shared with our audience was another means of getting closer to them, I was ready to hear their stories as much as they might like to hear mine. This can awaken their consciousness in a way politics or radical activism may not, this on the other hand inspires both fellow artistes and our audience, give self-confidence to people who believe in something but feel that they are alone.  FOR THE TRAILER OF DO WE NEED COLA-COLA TO DANCE VISIT:http://vimeo.com/1718985.