TURBO-FOLK #11

Laibach - "Bravo Interview"

TURBO-FOLK #10

jlg - Week End - Action Musicale

TURBO-FOLK #9

What is Turbo-Folk?
by Rambo Amadeus, World Mega Tsar

TURBO-FOLK is people.
Turbo is a system of injecting fuel by pressure into the cylinder of internal-combustion engine.

TURBO-FOLK is burning of people.
Every support of that burning is TURBO-FOLK.
Inflaming basic instincts of Homo sapiens.

I named it.

Alcohol is TURBO-FOLK
Coca Cola is TURBO-FOLK
Grilling on a skewer is TURBO-FOLK
Porn shops are TURBO-FOLK
Nationalism is TURBO-FOLK
Rave is TURBO-FOLK
Ethno Jazz is TURBO-FOLK

Music is favourite of every muse
harmony of all arts
TURBO-FOLK is not music
Cacophony of all tastes and scents.

Folk is people.
Turbo is a system of injecting fuel by pressure into the cylinder of internal-combustion engine.

I haven’t made up TURBO-FOLK
I named it.

Adolf Hitler is TURBO-FOLK
Human organ trafficking is TURBO-FOLK
Criminals are TURBO-FOLK
Marlboro is TURBO-FOLK
Silicones are TURBO-FOLK
Cocaine is TURBO-FOLK
Jeeps with low profile solid wheels are TURBO-FOLK

System of injecting fuel by pressure into the cylinder of internal-combustion engine.

TURBO-FOLK is burning of people.
Every support of that burning is TURBO-FOLK.
Inflaming basic instincts of Homo sapiens.
I haven’t made up TURBO-FOLK
I named it.

Ballot-paper that gives right to every fool to fill it in properly is TURBO-FOLK
Tattoo, piercing and body art is TURBO-FOLK
Car junk yards are TURBO-FOLK
Sex trafficking is TURBO-FOLK
Registrations with small or round numbers is TURBO-FOLK
McDonalds is TURBO-FOLK
Betting shops are TURBO-FOLK
Coffee shops are TURBO-FOLK
Gold and diamonds are TURBO-FOLK
Eurovision is TURBO-FOLK
Hypermarkets are TURBO-FOLK
Stadiums are TURBO-FOLK
Soap operas are TURBO-FOLK
Fashion designers are TURBO-FOLK
Political marketing is TURBO-FOLK

I haven’t made up TURBO-FOLK
I named it.

(Translation: Jelena)


A Protester (Yury Dyashchenko, 50) in Ukraine Setting his Clothing on Fire

TURBO-FOLK #8

National Heroes
LITHUANIA

Romas Kalanta (February 22, 1953 - May 14, 1972) is considered a national hero of Lithuania.

He set himself on fire in a public place in the Lithuanian city of Kaunas on May 14, 1972 in protest of the oppression of the Lithuanian language, culture and people by the government of the Soviet Union.

Kalanta used fuel to set himself alight. Due to the need for secrecy at the time, details of the event are disputed. The common belief is that he and a few of his classmates formed a patriot group, and that they held a lottery to determine which of them would have to carry out the mission.

When the authorities began to realize that Romas Kalanta was now a hero to people all over the Baltics, they sealed off the city of Kaunas. Bus and train traffic was halted into the city. There was no public transportation from Latvia or Estonia.

Before the funeral crowds of people from all through the Baltics who had arrived in Kaunas gathered in front of the Kalanta house. They began to shout, "Where is Romas?" When they heard what had happened, their anger and frustration began to grow. They linked arms and headed for police headquarters. Soon the militia appeared with their whips and clubs.

The demonstrations continued for several days not only in Kaunas and other Lithuanian cities, as well as in the other Baltic countries. Other people set themselves on fire.

TURBO-FOLK #7

Uma caixa, um adereço... na Roménia... um cenário

(foto de um amigo meu..Traian)

TURBO-FOLK #6

3 PEOPLE PAID TO LAY STILL INSIDE 3 BOXES DURING A PARTY
by SANTIAGO SIERRA

Vedado. Havana, Cuba / November 2000

Three young women were hired and paid $30 each to remain inside a wooden box during a party. The party was organized without explaining the contents of the boxes to the guests who used them as seats. The party took place during the celebration of that year’s Havana Biennial.

TURBO-FOLK #5

"They don't realize that we're bringing them the plague"

(Freud to Jung, pointing to the Statue of Liberty upon arrival in New York Harbour)

TURBO-FOLK #4

Shall We Dance IV

Já seguir, e antes de folclores turbinados, em Setembro e em dose tripla:

SHALL WE DANCE IV
Off the White, Hunting Scene e Geografias e Tratados são espectáculos inseridos no Ciclo de Duetos “Shall We Dance”, que este ano realiza a sua 4ª edição

CO-PRODUÇÃO TEATRO PRAGA - CULTURGEST - ESPAÇO DO TEMPO
RESIDÊNCIAS CRIATIVAS: O ESPAÇO DO TEMPO - DEVIR/CAPA
ESTREIA: 25 DE SETEMBRO 2007 – HOSPITAL MIGUEL BOMBARDA
ESPAÇO DO TEMPO, BLACK BOX (MONTEMOR-O-NOVO): 3 E 4 DE OUTUBRO
DEVIR/CAPA (FARO): 16 E 17 NOVEMBRO
DURAÇÃO: 2 HORAS C/ INTERVALO

Dando seguimento ao ciclo iniciado em 2003, um ciclo que pressupõe um convite de um elemento do Teatro Praga a um criador “de fora”, programámos para 2007 em parceria com a Culturgest, um Shall We Dance que pretende levar mais longe as condições arriscadas que a proposta deixa antever. Três elementos do Teatro Praga voltam a convidar 3 criadores para partilhar, não apenas uma dança simples e descomprometida mas um território que se antevê povoado de escolhas difíceis e onde universos geracionais, linguísticos, intelectuais, culturais, políticos (e por isso artísticos) procuram os passos possíveis (e não os acertados) para três coreografias teatrais.

PROGRAMA

Off The White (Paula Diogo e Alexander Kelly)
Ambos gostamos de trabalhar numa zona ténue entre a realidade e a ficção e esse é também um ponto de partida para o trabalho. Neste momento estamos a trabalhar sobre várias possibilidades: contagens decrescentes e saltos perigosos; aventuras subaquáticas; bancos de jardim; bandas sonoras para a vida; vinhos de Portugal; listas infindáveis; mutações de crescimento…

Geografias e Tratados (Sofia Ferrão e Nuno Carinhas)
Tu perguntas-me porque é que te convidei, eu respondo-te: porque é que aceitaste? Trocamos cartas que se extraviam, telegramas com erros e e-mails com anexos vazios. Conto-te os meus planos para me manter viva.
Falas-me da tua vontade de bombardear as coisas quietas.
Planeamos um espectáculo boicotado por não querermos ser espectaculares. Por preferirmos criar um desencontro agendado.

Hunting Scene (Cláudia Gaiolas e Daniel Worm d’Assumpção)
Uma cena de caça.
Um espaço pequeno, exíguo, onde o ar quase não cabe. A presa e o predador. O mais fraco é comido. Crise social, crise política, crise geracional, crise cultural, crise de linguagem, crise de identidade. Crise no habitat natural. Terramoto. Equilibrio, desequilíbrio. Centrífugo e centrípeto. Implosão e explosão.

Desenho de luz: Daniel Worm d’Assumpção / Produção: Pedro Pires

Folclore Turbinado

Turbo-folk. Um nome que surgiu como uma brincadeira e a união de duas palavras um tanto conflitantes: turbo e folk. Modernidade somada ao antigo e folclórico, um termo cunhado para designar um ritmo nascido na Sérvia. O seu autor, um tal de Rambo, fez questão de dizer que se arrependeu um pouco do filho que criou. O rótulo Turbo-folk precisou de alguns anos para pegar. Alguns sucessos na década de 90 marcam o nascimento do ritmo. Antes disso já existiam canções identificadas como música folclórica comercial e na prática fica difícil estabelecer o seu início exacto. A sonoridade se assemelha ao pop ocidental, mas é fruto de uma grande mistura que inclui influências de outros ritmos do leste europeu, além de elementos românicos, gregos, turcos e música eletrónica. O Turbo-folk recebe críticas que vêm de vários lados. Muitos queixam-se da valorização do corpo e erotização presente nas letras e na postura dos próprios cantores. Outros destacam também a apologia à violência. Elementos que podem ser facilmente encontrados noutras vertentes musicais como por exemplo no rap norte-americano. Mas a polémica mais séria envolvendo o ritmo está relacionada com a política. A cantora Ceca, um dos grandes nomes do Turbo-folk, foi casada com Arkan, líder paramilitar sérvio acusado de inúmeros crimes durante a guerra que varreu a antiga Jugoslavia na década de 90. A verdade é que o ritmo permanece popular até hoje. Com o apoio da Pink TV, emissora local, o Turbo-folk cresceu. Mas para a esquerda do país o ritmo além de ser considerado vulgar e de mau gosto carregava também a ideologia do nacionalismo sérvio. Muitas suspeitas em torno de um possível favorecimento dos artistas do Turbo-folk durante o governo Milosevic foram levantados. O facto que é o Turbo-folk segue bem popular não só na Sérvia, mas também nos outros países que formavam a antiga Jugoslávia.

fonte

TURBO-FOLK #3

Ti si moj, moj, moj,
Slovenski superboy,
Ti si moj heroj
Ljubezenski si stroj

FINE ARTS

General Hospital

A Portrait of the Artist as a Worker
Dieter Lesage

You are an artist and that means: you don’t do it for the money. That is what some people think. It is a great excuse not to pay you for all the things you do. So what happens is that you, as an artist, put money into projects that others will show in their museum, in their Kunsthalle, in their exhibition space, in their gallery. So you are an investor. You give loans nobody will repay you. You take financial risks. You speculate on yourself as an artistic asset. You are a trader. You cannot put all your money into one kind of artistic stocks. So you diversify your activities. You manage the risks you take. You would say it differently. I know. You say you suffer from a gentle schizophrenia. You are multiple personalities. You are a photographer, but also a DJ. You have a magazine, you are a publisher, but you also organize parties. You take photos from party people. You throw a party when you present a magazine, you make magazines with photographs of party people, you throw a party and you are the DJ. You have a DJ collective, so you can walk around at your own party, you talk to people and ask if they want to publish in your magazine, you make CD’s, you present them with a party, you make CD-roms with photographs of party people, you insert CD-roms in your magazine, you want your readers to listen to your music, you want your party people to read your texts, you invite those who write in your magazine to come to your parties, you make installations from photographs. You do interviews with people you meet, you do interviews with people you would like to meet, you tell the people you meet about your magazine. You distribute flyers announcing your parties in the bars where you meet people for an interview. You buy records in flee markets, you distribute flyers announcing parties in the bar where you have a coffee after visiting the flee market, you make videos recording how you destroy the records you bought at the flee market, you liberate your country from its bad music, you show the video in a gallery and you are a DJ at the vernissage where you invite people who wrote for your magazine and enjoy the party and being photographed. You invite other DJ’s to DJ with you, you are an MC and someone else is the DJ, you welcome the people who came to the party, you introduce people to one another. You are an artist and you are a mediator, you mix records and you want people to mix, you even mix photographs, you mix photographs of people you want to mix. You talk to the people you photograph, they invite you to their parties, where you talk to other people about photography. You make T-shirts with your name, you have people wearing those T-shirts, you make them swear to wear your T-shirt when they go to parties where you are not. You are everywhere and you make people wonder where you are. You are at home, you are working on your laptop, you are taking up all your e-mail conversations where you left them, you are updating people on your projects, you are doing projects all the time. You call for tickets, you call for a cab, you’re wearing two hundred pounds of materials from the cab to the train. You work in different places. You move. You move from one city to another, from one country to another. You take another cab, it takes hours to find your place in Istanbul. You make photographs and you ask others to make photographs the way you want it. You distribute flyers announcing the presentation of the magazine in clubs where you are having a party, you distribute flyers announcing a party you are organizing at the presentation of the magazine in a bookshop, you announce another presentation of the same magazine in another bookshop, you thank people for being there, you are introducing people you interviewed to one another, you invite them to come over to the party. You organize exhibitions, you invite people to present their work, you work with people on the presentation, you write announcements of the exhibition to the media. You present yourself as someone else than you are and you are the way you present yourself. You pretend and you are for real. You sing. You’re doing research on the swing. You make photographs from photographs, you put magazine covers in your magazine, you cover songs. You are an artist and that means it would be nice to get some money for all the things you do. You write for subsidies, you try to get grants, you talk with nice people who might lend you some money, you have a sollicitor to help you in order to get money from people who aren’t nice. You make dinner for people you introduce to one another, you discuss publication plans over dinner. You ask people to write about your work, you tell them how you work, you show them all. You explain them the basic facts of a young artist’s life. That you are an artist and that it means: you don’t do it for the money. That is what some people think. It is a great excuse not to pay you for all the things you do. So what happens is that you, as an artist, put money into projects that others will show in their museum, in their Kunsthalle, in their exhibition space, in their gallery. So you are an investor. You give loans nobody will repay you. You take financial risks. You speculate on yourself as an artistic asset. You are a trader. You cannot put all your money into one kind of artistic stocks. So you diversify your activities. You manage the risks you take. I would say it differently. You know. I say you suffer from a gentle schizophrenia. You are multiple personalities. You are a DJ, but also a photographer. You organize parties but you have a serious side too that publishes magazines. Just kidding. You give people photographs at parties. You consider magazines as an excuse for a party — kidding again — you collaborate with party people to create magazines, you throw a party and the DJ is a girrrrl. You’re lots of girrrrls. You walk around with no breaks at parties of Femmes with Fatal Breaks and you are so shy you don’t even dare to order a drink, you go home with two hundred pounds of CD’s, you sell them at another party, you put photographs of party people on CD-roms you insert in your magazine, you invite those who write in your magazine to come to your parties, you make photographs of installations, not to mention what you expect from your readers and listeners. You meet people for interviews, you do interviews as an alibi to meet people, you tell the people you meet about your party life. You distribute flyers announcing your magazine in the bars where you meet people for an interview. You buy records in second hand shops when it is just too rainy to go the flee market, you distribute flyers announcing parties in the bar where you have a nice hot cup of tea after shopping, you sell the videos recording how you destroy the records you bought at the second hand shops or at the flee market to a museum, you liberate your country from its bad taste in general, you show a video in a gallery and you are the DJ at a dernissage, or a finissage, or whatever it is called, where you invite people who make photographs and enjoy writing critiques on the magazine. You want your fellow DJ’s to have a break, it’s your turn now and you take the mike to welcome all the people who came to the party. You are a remediator, you remix records and you rewant people to remix, you even remix photographs, you remix photographs of people you rewant to remix. You rephotograph the people you retalk to, you retalk to other people about photography, again. There is this T-shirt with T-Ina on it, and there is this funny guy you want to swear to wear your T-shirt when he goes to parties on his own. You are nowhere and you make people wonder where you might be. You are not at home, your answering machine is answering for the multiple personalities you are. You just got off, you took a cab, you’re wearing fifty pounds of material from the cab to the airport. You’re leaving Berlin. You’re coming back soon. You’re always on the move. You take another cab, it takes less time to find your place in Istanbul now you know your way. You make photographs and you ask others to make photographs the way you want it. You interview the people you asked to make photographs, you transcribe the tapes of the interviews, you type the transcriptions of the interviews and get them published in your magazine. You invite the people you interviewed to the presentation of the magazine, you distribute flyers announcing your parties at the presentation of your magazine in a bookshop, you distribute flyers announcing the presentation of your magazine in the club where you are having a party, you announce the next party at your party, you apologize the people who couldn’t make it, you are sharing addresses, you promiss people to send them invitations. You mediate between the media and the artists in the exhibitions you organize, you make arrangements for interviews, you invite critics to the opening, you make copies of critiques of the exhibition, you send them to the artists in the exhibition. You represent yourself as someone else than you are and you are the way you represent yourself. You pretend and you are for real. Things may vary. You’re doing research on the military. You make photographs of soldiers, you make photographs of artists. You are an artist yourself and that means it would be nice to get some money for all the things you do. Sometimes you get subsidies, it’s great to get grants, you know this nice guy who might lend you some more money, you still have that sollicitor who helps you in order to get money from people who just happen to be very very bad people. You make dinner for people you don’t need to introduce any more, you discuss publication plans over dinner and there is still some wine from last time. You ask people to write about your work again. They know already how you work and what it means to be an artist: that is that some guys think you don’t do it for the money. Yeah, right. It’s a great excuse not to pay you shit for all the things you do. So what the fuck happens is that you, as a fucking artist, put fucking money into projects that others will show in their fucking museum, in their shitty Kunsthalle, in their sexhibition space, in their gutter gallery. So you are an investor. You give loans nobody will ever ever repay you. You take fucking financial risks. You speculate on yourself as an ‘artistic asset’. Don’t you see? You are a trader! You cannot put all your money into one kind of artistic stocks. So, well, you ‘diversify your activities’, as they would say. You manage the risks you take. Great. You would say it differently. Don’t tell me that. You say I suffer from a very unpleasant schizophrenia. That I am multiple personalities. Well yes I am. Didn’t you know that before? I am a philosopher, but also a writer. I am an editor of a magazine and I invite people to write for this magazine. I occasionally work with artists on projects that end up in exhibitions where I meet people who ask me to write about their work. Sometimes I do it for free. Because you know how hard things are for an artist these days. You don’t do it for the money. That is what some people think. It is a great excuse not to pay you for all the things you do. So what happens is that you, as an artist, put money into projects that others will show in their museum, in their Kunsthalle, in their exhibition space, in their gallery. So you are an investor. You give loans nobody will repay you. You take financial risks. You speculate on yourself as an artistic asset. You are a trader. You cannot put all your money into one kind of artistic stocks. So you diversify your activities. You manage the risks you take. You would say it differently. I know, but I don’t use the f-word. You say you suffer from a gentle schizophrenia. You are multiple personalities. I think I understand.

roubado aqui

TURBO-FOLK #2

Eis alguns exemplos de videos do género.

Rambo Amadeus, da Sérvia, o autor do termo "turbo-folk":
http://www.youtube.com/watch?v=GRwDG9I8gZ8 http://www.youtube.com/watch?v=CQwwxzaPnBM
http://www.youtube.com/watch?v=aUjQeyHRt0s

Eslovénia:

Atomic Harmonic
http://www.youtube.com/watch?v=Jk5K3me5ahk
http://www.youtube.com/watch?v=M2-dc7pbz7E

Turbo Angels
http://www.youtube.com/watch?v=zgI0wJKkQTM

Skuter
http://www.youtube.com/watch?v=gpSaFbO2sjI

Sérvia:

Ceca
http://www.youtube.com/watch?v=WrFev-svdgI
http://www.youtube.com/watch?v=JMcr2SCpac8

Dzej
http://www.youtube.com/watch?v=AlJwmGw8v10

Jelena Karleusa
http://www.youtube.com/watch?v=Y6zzVRceQOw

Seka Aleksič
http://www.youtube.com/watch?v=yqPeXeCX_2c

Croácia:

Severina
http://www.youtube.com/watch?v=ebJfwI8EYhA

TURBO-FOLK #1

Slavoj Žižek on toilets and ideology

http://www.youtube.com/watch?v=AwTJXHNP0bg

PETIÇÃO

Carta Aberta de Apoio a Dalila Rodrigues:
http://www.petitiononline.com/Dalila/petition.html
Para assinar on-line.

PUBLICIDADE

O vídeo "O Jardim" de Vasco Araújo está em exibição no Museo Nacional Centro de Arte Reina Sofía, em Madrid, até 10 de Outubro.

Nesta sua obra de 2005, Vasco Araújo parte de uma série de fragmentos de diálogos extraídos de excertos da Ilíada e da Odisseia do Homero para reflectir o passado distante das colónias portuguesas, assim como as influências desta colonização na edificação da actual sociedade destes países.

Mais info em espanhol aqui

PUBLICIDADE

Leiam, divulguem, comprem.
Já está nas livrarias.

A MINHA MULHER e ONDE VAMOS MORAR
De José Maria Vieira Mendes
Livrinhos de Teatro nº 24
Artistas Unidos/ Livros Cotovia