{"id":9564,"date":"2023-10-09T15:23:37","date_gmt":"2023-10-09T07:23:37","guid":{"rendered":"https:\/\/asef.org\/aecfest\/?p=9564"},"modified":"2025-05-21T19:59:04","modified_gmt":"2025-05-21T11:59:04","slug":"aecfest-2023-interview-with-x","status":"publish","type":"post","link":"https:\/\/asef.org\/aecfest\/aecfest-2023-interview-with-x\/","title":{"rendered":"AECFest 2023 | INTERVIEW WITH ‘X’"},"content":{"rendered":"\t\t
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WE SPEAK WITH ITALIAN DANCER AND CHOREOGRAPHER, OLIMPIA FORTUNI AND JANUARY LOW, CHOREOGRAPHER AND DANCER FROM MALAYSIA, BOTH OF WHOM WILL BE PRESENTING 'X' AT AECFest 2023.<\/p>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1. In your own words, please introduce yourselves. The both of you have been working together online over the past few months as part of the research process, before \u2018X\u2019 will be performed in Singapore in the frame of the Asia-Europe Cultural Festival next month. Share with us more about how the research and collaboration process has been like thus far.<\/strong><\/p>

Olimpia Fortuni:\u00a0<\/strong>I am a dancer and choreographer. After graduating as a dancer from Civica Scuola di Teatro Paolo Grassi in Milan, Italy and attending a two-year course with Raffella Giordano (who used to dance with Pina Bausch’s company and Carolyn Carlson’s company), I worked in Italy and abroad, both as a dancer and actress. I think dance is any form of movement that one can imagine, including the voice.<\/p>

Meeting January was very natural, her openness to movement and research allowed me to get straight to the heart of the process. We met online to get to know each other and to share ideas and shamanic practices. I\u2019m looking forward to meeting her in person and developing the new form of \u2018X\u2019 together.<\/p>

January Low:\u00a0<\/strong>As a dancer and choreographer born, raised, educated and based in Kuala Lumpur, my journey in dance started with classical ballet. For the last 30 years, I have since delved into an Eastern classical Indian dance form,\u00a0Odissi<\/strong>.\u00a0<\/p>

I went into this project with an open mind and without any preconceived outcomes. I was curious to work with artists from different practices and discover resonance and intersecting questions and narratives. Olimpia and I agreed to meet each other through video calls once a month as a way to check-in and get to know each other, so that when we finally meet and perform in Singapore, we\u2019d be able to jump into work right away as we\u2019d already be familiar with each other\u2019s artistic enquiries and interests.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\"'Islanda\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t'Islanda boarding pass' by dancer, choreographer Olimpia Fortuni \u00a9 Cinzia Sit\u00e0\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t'A Listening Body' by Kuala Lumpur based dancer, choreographer January Low \u00a9 Vinoth Raj Pillai\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Questions 2 and 3, are answered by Olimpia, who is the creator of \u2018X\u2019.\u00a0<\/em><\/strong><\/p>

2. Olimpia, as the creator of \u2018X\u2019, what were your thoughts in choosing \u2018X\u2019 as the title of the performance and has that meaning evolved in any way since the first showcase in 2022 in Italy?<\/strong><\/p>

Olimpia:<\/strong>\u00a0The letter \u2018X\u2019 in Italian also means the preposition \u201cper\u201d, i.e. \u201cfor\u201d, thus conveying additional meanings in the title. After the pandemic, the idea was to create a gift for the audience. The meaning of which has since evolved into a real exchange between audience and performers.<\/p>

3. What were the inspirations behind the choreography and creation of \u2018X\u2019? Is there a message that you wish to convey to audiences through the performance? \u2018X\u2019 has been performed several times over the past year, what is it like to revisit the show with each performance, considering the change in space and location?<\/strong><\/p>

Olimpia:<\/strong>\u00a0My first inspiration was the meeting with the musician, Katatonic Silentio (Mariachiara Troianiello). Getting closer to sound in the most authentic and honest way possible, rediscovering my “natural” movement thanks to the shamanic practices, have opened the doors to listening to the spirit as well as self-awareness. The message behind the work is the exchange, the listening, the search for others through care and love. Simple values that capitalism has eradicated.<\/p>

Performing outside the theater is a choice. Personally, I’m tired of black boxes, especially after the pandemic, it was impossible for me to lock myself in a theater again. Changing up spaces and places each time means training the senses to listen to the subtle and like a musician becoming a jazz player of the body in relation to space and time that changes from place to place. The meeting with January is the strength of the proposal in this edition of \u2018X\u2019, which requires fluidity and being open to change.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\tPerformance of 'X' by Olimpia Fortuni and Katatonic Silentio at the Fabbrica Europa Festival 2022 \u00a9 Monia Pavoni\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tPerformance of 'X' by Olimpia Fortuni and Katatonic Silentio at the Fabbrica Europa Festival 2022 \u00a9 Monia Pavoni\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The following question was answered by January, who has been brought into the upcoming restaging of \u2018X\u2019 for the Festival, to highlight the artistic diversity and collaboration between European and Asian artists.\u00a0<\/em><\/strong><\/p>

4. January, you have over 30 years of experience in the Indian classical dance form, Odissi, what aspects of it has sustained your interest over time? How do you think your background in Odissi has helped in reshaping \u2018X\u2019?<\/strong><\/p>

January:\u00a0<\/strong>Being an active witness to how Odissi has and continues to evolve in my body over the past 30 years has kept my practice sustainable. I\u2019m currently interested in peeling away from the commodified and familiar exoticised elements of Odissi. Also, I am keen on developing entry points into the form to create more agency for the audience and performer.<\/p>

During the pandemic, I started to question what was lost when the whole world went online, and I discovered that the \u2018intangible\u2019 experience shared between the artist and audience was invaluable and very precious to me. I am curious to explore this intangible \u2018X\u2019 with Olimpia through my practice of Odissi.<\/p>

5. With the COVID-19 pandemic, opportunities for international cultural exchanges have been dramatically reduced, although we are slowly getting back on track. Any advice for artists who aspire to collaborate across borders, like the both of you did?<\/strong><\/p>

Olimpia:<\/strong>\u00a0What I\u2019m used to doing in my job is looking for and surrounding myself with people that sincerely respect my research, and this is my personal advice. In this case, it is thanks to Maurizia Settembri that I am happily here. She sowed in my research and January\u2019s research something in common to develop together. I see this type of opportunity as a gift to grow and develop and I\u2019m really thankful to collaborate across the borders.<\/p>

January:\u00a0<\/strong>I think when artists are brought together, it takes time to learn about each other\u2019s culture, artistic questions, practice and art can never be forced. I believe that the art needs to present itself and artists need to be present for this to take place. Initial dialogue and conversations are very important in the early stages.<\/p>

6. What excites you about \u2018X\u2019 and its themes, and being part of this upcoming production in Singapore?<\/strong><\/p>

Olimpia:\u00a0<\/strong>\u2018X\u2019 is a metaphysical journey and all the work is around and about journey-ing into the inner world. Thanks to this complex journey, I am exposed to a new culture and be acquainted with January, connecting me with her is our passion for dance, bound by the sound of a great musician.<\/p>

I hope that through my work the audience will enjoy the same feeling where sound and movement have the same aim of bringing two worlds together into a new one.<\/p>

January:\u00a0<\/strong>I believe that Olimpia and I are both exploring the \u2018intangible\u2019 force of the divine feminine in her many forms. The process of creating \u2018X\u2019 together will be the bridge between cultures, realms, power and much more.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Cover Image: Performance of ‘X’ by Olimpia Fortuni and Katatonic Silentio \u00a9 Monia Pavoni \u00a0<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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The Asia-Europe Cultural Festival is organised by the Asia-Europe Foundation (ASEF) and funded by the European Union, with the generous support of the Embassy of Italy in Singapore, the Embassy of Estonia in Singapore, and Casa Asia. ASEF would also like to thank the Asian Civilisations Museum (ACM) and Dance Nucleus for their support.<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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