共同製作のアイデア:TPAMディレクション 2018ディレクターからの呼びかけIdeas for Co-productions: Call from TPAM Direction 2018 Directors

ホセ・マセダ・プログラム(恩田晃)、Complete Futures of Malaysia(ジューン・タン)José Maceda Program (Aki Onda), Complete Futures of Malaysia (June Tan)

BankART Studio NYK, LibraryBankART Studio NYK, Library
〒231-0002 横浜市中区海岸通3-9Map3-9 Kaigan-dori, Naka-ku, Yokohama 231-0002Map
2.15 Thu 10:00 - 12:00
上演時間Run Time


TPAM registration required (admission free, reservation not required)

英語、日本語(通訳あり)English and Japanese with interpretation


Two directors of this year’s TPAM Direction, who have ventured to direct talk events in the framework of the performance program, introduce their projects planned for presentation in TPAM2019. TPAM has been exploring the possibility of co-production in Asia looking at various stages of the process, and this is one of the attempts; a call for co-production partners in a open talk session. Please join also as a discussion on the idea and scheme of co-production.

ホセ・マセダ・プログラムJosé Maceda Program


フィリピンの民族音楽学者・作曲家のホセ・マセダ(1917〜 2004)は、民族楽器の多用、 数百人から数千人までの演奏者の参加、 カセットなどの失われたテクノロジーの使用など、 特殊な形態を必要とする楽曲を書き続けました。 ユニークであると同時に、演奏の実現は容易ではありません。 このトークでは、 TPAM2019でマセダのプログラムを組むためのプロダクショ ンから予算組みまでを含めた実施までの過程を話します。これは、 他のキュレーター、 プロデューサーに対する共同製作への呼びかけでもあります。

Speaker: Aki Onda

Filipino ethnomusicologist / composer José Maceda wrote a number of pieces that require unusual methods of performance, including traditional and ethnic instruments, hundreds or thousands of performers, and out-of-date technologies such as cassette tape. As a result, it is not always easy to experience his exhilarating and singular work. In this talk, I would like to discuss about a possible process for programming Maceda’s pieces in TPAM2019, including production management and budgeting. This will also serve as an invitation to curators and producers for co-production and input.

Courtesy of UP Center for Ethnomusicology

恩田晃Aki Onda


Born in Japan and currently resides in New York. He is particularly known for his Cassette Memories project — works compiled from a “sound diary” of field-recordings collected by Onda over a span of two decades. As a curator, he has continuously curated tours and exhibitions of such artists as Gozo Yoshimasu, Akio Suzuki, Yoshihide Otomo, Kanta Horio and Fuyuki Yamakawa in North America, including Time-Based Art Festival in Portland and The Kitchen in New York.

Photo by Brian Whar

Complete Futures of MalaysiaComplete Futures of Malaysia


1991年、マレーシアを2020年に高所得な国民国家にするという「Wawasan 2020」(ヴィジョン2020)が発表されました。2017年、一世代後になって、新たに「Transformasi Nasional 2050」(国民/国家改造 2050)が発表されましたが、それは基本的にWawasan 2020と同じ内容でした。マーク・テによるイベントやパフォーマンスのシリーズ『Complete Futures of Malaysia』は、これらのヴィジョンの不/連続性 — 未来の再利用、延期、前借り — の間で展開し、マレーシアの複数の未来、国民的「ヴィジョン」と個人レベルでの想像力・経験の不一致を探究しています。これまでのバージョンはクアラルンプール、バンコク、ミュンヘンで初演・発表され、東京とソウルでの上演が近日予定されており、ファイブ・アーツ・センターは同作品の新しい「チャプター5」のTPAM2019での発表を準備しています。

Speaker: June Tan

In 1991, Wawasan 2020 (Vision 2020) was launched to transform Malaysia into a high-income nation-state by 2020. In 2017, a generation later, Transformasi Nasional 2050 (National Transformation 2050) was announced, a seemingly new programme similar to Wawasan 2020. Caught between these visions and dis/continuities of the futures — recycled, postponed, in debt — Complete Futures of Malaysia by Mark Teh is series of events and performances investigating multiple futures of Malaysia, and frictions of the act of national “visioning” against the imaginations and experiences of the personal. Past chapters of the project have premiered and were presented in Kuala Lumpur, Bangkok and Munich, and upcoming soon in Tokyo and Seoul. Five Arts Centre is working towards presenting a new Chapter 5 at TPAM2019.

Mark Teh (Photo by Anastasia Sai)

ジューン・タンJune Tan


June Tan is a biologist from Imperial College, London and a member of the performing arts collective Five Arts Centre (Malaysia). Her producing focus builds from a parallel experience in the corporate sector (1997–2008), and her entry into stage management since 1997. June is interested in facilitating space for difference, for discussion, and models for art making. This is seen in her initiation for platforms for emerging practitioners, and her programming for Kotak, an independent arts space in Kuala Lumpur.

Photo by Hoe Hui Ting