Independent Documentary Screenings
Independent Documentary Screenings
This year BOK Festival presenting Living Dance Studio from Beijing, in addition to showing a documentary performance “Red” on stage, also introduction a series of documentary film from the mainland by the company. Wen Hui, the founder of Living Dance Studio, who co-established the “Caochangdi Workstation” in 2005 with Wu Wen Guang. They started a “The Folk Memory Project” in 2010 by going back to their own villages and making interview with elderlies. Interview topics ranged from the “3 year famine”, the “Great Leap Forward,” the “Land Reform” and the “Cultural Revolution,” across different historical periods. In summary, this project is a trial in creating folk memory archives. This series of documentaries participated in different film festival world-wide, including US, Japan, Sweden, Denmark, etc.
BOK Festival has selected three works from the “The Folk Memory Project”. To Macau audience to find out more living stories from mainland “grassroots”.
19/06 iCentre (免費入場 Free Admission)
Directed, Photographed, edited by: Zou Xueping
The Director’s Statement:
After completing my previous documentary The Hungry Village, I returned to my hometown to give the first screening of the film to my family. The film was unanimously and fiercely opposed by my family members, including my parents who were born in the 1950s, my elder brother born in the 1970s, and my younger brother born in the 1990s. They were worried that investigating the history of the famine in the village from fifty years ago was dangerous; they also thought that after I had graduated I should find a more stable job instead of interviewing the elderly and making documentaries. I was very much frustrated with my family’s strong objections, and had some doubts and wavered over the path I has chosen; at the same time, I had to re-examine myself and do some soul-searching. It was the first time I had confronted my parents and my family in the 25 years since I was born, and was also the beginning of my rebellion. Fortunately, against the “high wall” of family opposition, I had a steadfast supporter standing with me—my 9-year old niece. She became my little angel. There were also the old folks I had interviewed; they still unswervingly backed me, even though after watching the film, some of them were afraid that a documentary intent on “exposing the history of the famine” would make China a laughingstock if shown to foreign audiences, and then an old man named Xiling spoke out and persuaded them to support me. It is the second documentary of “my village” series since I got involved with the “Folk Memory Project” and returned to my hometown to shoot footage, recording the realities I encountered in my search for memories. My biggest question is: after experiencing the disaster of the tragic famine fifty years ago, the villagers now are not short of food, and are living a better life than before, but is the spirit of this village still starving?
76分鐘 / 2013
Huamulin, Boy Xiaoqiang
Directed, Photographed, edited by: Li Xinmin
76 min. /2013
This film is about one four-year-old boy. His mother is Xiaoqun, just in my age. I filmed Xiaoqun and her family last year. This year I went on. In this process, I find Xiaoqiang so interesting. He played and picked up rubbish together with me. I also saw old people’s real life and found that villagers were destroying the environment. All of these consist my film.
Li Xinmin, was born in a montanic village in Yunnan Province in 1988. She had just got the education for four years and had to stopped for the financial program. She started to work to provide for her family in the city when she was 16 years old. Sinces 2007, and is currently a resident artist at CCD Workstation. She. She has completed her two documentaries Back to Huamuling (2011), Huamulin 2012 (2012). She also created and performed with Memory: Hunger (2010), Memory: Monument (2012).
片長: 75 min/ 2011
文慧舞蹈編導，舞者，同時做紀錄片和裝置作品。中國當代舞蹈劇場先鋒。1989年畢業於北京舞蹈學院編導系。1994年赴美國紐約學習現代舞。1997至1998年獲美國亞洲文化基金會 (Asian Cultural Council ) 獎金，再赴紐約研修現代舞及戲劇創作。1994年在北京與吳文光共同創建「生活舞蹈工作室」 並參與策劃和主辦和多個藝術項目。20年來，一直堅持以劇場的方式介入社會。2008年開始研究身體作為個人記錄社會的資料館和檔案庫，以個人的方式嘗試身體記憶如何將歷史與現實碰撞。
2004年，「生活舞蹈」的作品《身體報告》獲蘇黎世藝術節（Zürcher Theater Spektakel）獎：ZKB Patronage Prize。
Listening to Third Grandmother’s Stories
Directed, Photographed, edited by: Wen Hui
75 min. /2011
While searching for the memories that my entire family has forgotten, I found my third grandmother. She is the only one of my grandparent’s generation still living. She is my father’s aunt, my great-aunt, but neither my father nor my family ever mentioned her to me. Last winter I found her in a village in the mountains of Yunnan. Her name is Su Meiling and she is eighty-three years old. When I met her it was as if she had been waiting her whole life for me to come. Waiting for eighty-three years. I stayed with her and she began to tell me about her life. Through her stories I could see how China’s great changes changed one woman’s life.
About Wen Hui:
A choreographer and dancer, Wen Hui also makes documentary films and installations. She is one of the pioneers of Chinese contemporary dance theatre. Wen Hui graduated from Beijing Dance Academy in 1989 with a degree in Choreography. In 1994, she studied modern dance in New York. From 1997 to 1998, she received a scholarship from Asian Cultural Council to further her study of modern dance and theatre making in New York. In 1994, she formed Living Dance Studio with Wu Wenguang in Beijing, and has participated in curating and organizing numerous arts projects. For twenty years, Wen Hui has insisted in using theatre as an intervention in the society. Since 2008, she began to research the ways body form the archive of personal social documentation, using personal means to experiment how bodily memory catalyzes collision between history and reality.
Living Dance Studio is an independent non-profit contemporary dance creative collective. Since 1994 till now, the company has been active at the cutting-edge of Chinese contemporary art as well as the most probing stages and festivals internationally. They have presented their works in over seventy cities in thirty countries, winning international high appraisals.
French magazine Télescope describes Wen Hui as “a pioneer of dance…a miracle.”
In 2015 wenhui’s work: “Dancing with Third Grandmother” “Dancing with Farmer workers"at the Venice Biennale in Italy.
In 2004, Report on Body by Living Dance Studio won the “ZKB Patronage Prize” in Zürcher Theater Spektakel.
In 2005, Wen Hui and Wu Wenguang established Caochangdi Workstation and co-curated the first “Cross-arts” International Dance Festival in Beijing. In the same year, they initiated European Artists Exchange Project and Young Choreographers Project.