Immo Buhl Germany ex Martha Graham/ Marie Wigman Dancer – my first dance and art education teacher. We were educated in music, art and literature as well as world culture and Macrobiotic nutrition.
Martha Graham modern dance pioneer and Mary Wigman the Expressionist dance pioneer
Ernst Ludwig Kirchner – Die Tanzende Mary Wigman 1933
Andy Warhol of Martha Graham 1986
Mercier “Merce” Philip Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefront of the American avant-garde for more than 50 years. Throughout much of his life, Cunningham was considered one of the greatest creative forces in American dance. He is also notable for his frequent collaborations with artists of other disciplines, including musicians John Cage and David Tudor, artists Robert Rauschenberg and Bruce Nauman, designer Romeo Gigli, and architect Benedetta Tagliabue. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance. I went several times to New York to train at his school as well as Martha Graham in the tate 1990’s
Rudolf von Laban aka Rudolf Laban (Hungarian: Rezső Lábán de Váraljas, Lábán Rezső, Lábán Rudolf) (15 December 1879 – 1 July 1958) was a dance artist and theorist, notable as one of the pioneers of modern dance in Europe. His work laid the foundations for Laban Movement Analysis, Labanotation (Kinetography Laban), other more specific developments in dance notation and the evolution of many varieties of Laban Movement Study. He is considered to be one of the most important figures in the history of dance and fencing. I went to the Laban School London for 2 years before my final in Amsterdam SNDO
All of the above artists work is based on collaboration principles and this is were I got the appreciation and deep respect for the necessity to collaborate inorder to go deeper into the realm of art and its expressions irregardless of what form it may be.
My final master degree as a dance choreographer/ director was at the
Amsterdamse . Hogeschool voor de Kunsten – AHK
Holland is so open to the arts and very supportive more then the uk at the time.
This Academy was a dream come true for me as it is a world renown school attracting artist from all over the globe.
A cultural melting pot. The entire work and study was always in form of collaborations of musicians, filmakers, writers, painters, theatre and any Art form imaginable.
It was basically a laboratory and investigation tank for creativeness with many recourses and possibilities.
Secretly I wish I could do this academic years again, thats how great and liberated I felt, meeting new creative individuals from brazil, venezuela, croatia, russia etc. I was working 16 hours a day with many fantastic people on many projects as well as doing the school curriculum.
Now my main subject would be food of course, experimenting with as much collaborations as possible.
During my final years I was awarded a scholarship to take part in a project which was about the intercultural communications through the arts. This was an amazing project that led me to be in Indonesia for about 2 years working with many artist from different walks of life and local artists from Indonesia to explore art in all its form as a way of communicating culture and humanity as well as understanding without speaking each others language through the various forms of art. This was investigated through all the different art forms and as different colaboration projects.
Boedi S. Otong director of SAE, Teater A theatre group in Jakarta that was established in 1977. This theatre group arisen from the Jakarta Teenager Theater Festival, which then developed into an ‘experimental’ theatre that was prominent in the 80s. Under the leadership of Boedi S. Otong, he applied tight exercise discipline and created a pressured atmosphere at every show. For the SAE Theater, the actors were not used to deliver dialog, but were the dialog itself. The props on the stage, tables, washbasins, chairs, umbrellas were as important as the human body, which were present as organic objects or only as props. Many of his works received the attention of critics, particularly during the performances of poet Afrizal Malna, who was dominant in proclaiming human alienation. In 1984, they performed the repertoire Introduction to the Ecstasy of People’s Deaths, which was followed by Happening Channel OO (1986), Biograji Yanti Setelah 12 menit (1992), and Migrasi dari Ruang Tamu (1993). Prominent actors from this theatre were Arifin Domba and Margesti.
Boedi S. Otong was one of the main collaborators in the cultural communications through the arts project and we produced a whole body of work together with many other artists.
In a situation like this many things became apparent that one may not see when you are working alone, One learns to listen, understand and as a result one can create in a much less ego centered perspective.
We were working in lage groups which is the most difficult situation and the group formed of no particular choice.
A real diversion of ages sexes and cultures as well as metal states. The most valuable observation for me that arose was ” likes” and “dislikes” creating a kind of uncomfortableness and barriers. The process of this then concludes that both are of equal value at first, then of no value and finally of no significance what so ever, leaving me to experience everything without prejudice.
Another interesting factor of working with artists of a different form example a musician with film director, dancer and painter you automatically are more open and transformed, adapting to the different elements.
The dancer was responding to the painters dynamics that translated into a composition for the musician and that in turn was directing the way the film had to be shot and finally how this collaboration was presented.
Our final collaborative group traveled all over indonesia merging as much as possible with local tribes, people, artist and nature and of course food was also a really important experience throughout this 2 year adventure.
I can not live without collaboration however not many people can really let them selfs fully follow the collaboration feeling or essence as it takes very subtle sensitivities inorder for it to be manifested without any one person in particular to take over.
Collaboration is so different in essence then to listening to your own creatieve impulses by yourself as you have to comunicate with people and that is when things can go funny.
You are a group of people, all not sure were you might end up with this collaboration and the need to make it into something can certainly become an obstacle.
I believe it is important to have a starting point and to then go on this journey and that is what is the most interesting part, what happend on that journey rather then expecting a incredible final result.
Here is an example of the beauty of a collaborative journey of Spanish pastry chef Jordi Roca (pictured left) traveling to Lima, the capital city of Peru, to work with chef Gaston Acurio for episode six of the BBC’s Collaboration Culture series. Their artistic creations will be edible.
Adopting a Collaborative spirit is definitely a positive attitude to everything in life and I am always open and exited to hear from people who want to do something together.
Dont hesitate to contact me if anyone feels inspired to investigate possible collaborations.
I have created this blog for this purpose and offer many ideas reports to start dialogue with all different passionate individuals and walks of like.
The art and dimensions of food are open to be expressed just as universally and diverse as any other form of art.
I believe there are many new things that can and will be expressed through collaborations of cuisine, chefs, art, music, film, theatre, literature, dance and or course intercultural communications through the arts and food world wide. The possibilities are endless and wonderful!
The husband-and-wife collaboration team of Charles and Ray Eames were America’s most influential and important industrial designers. Admired for their creations and fascinating as individuals, they have risen to iconic status in American culture. ‘Eames: The Architect & The Painter’ draws from a treasure trove of archival material, as well as new interviews with friends, colleague, and experts to capture the personal story of Charles and Ray while placing them firmly in the context of their fascinating times.
(Just a note : people often ask me how come you became a chef from being a dancer/ artist?…… I was a student and was incredibly poor coming from a family with not much money. Most of my years of studying I was living on mainly toast and jam and the occasional an apple and sometimes when lucky I was invited to my south american friends who shared a more community eating philosophy. We used to all buy something very cheap look at all the ingredient and improvise a pot of food to share.
I had to consider also some kind of employment and the only job I was able to do had to be nights and therefor always was a restaurant job. Of course it was another way of getting fed as well. Apart from student poverty reasons of course I had a deep affinity with Toshiro Mifune and Kyoto cuisine which is the biggest significant point in my life as a chef however I was too young and needed to ensure I had some sort of education and arts was of course my biggest interest. I will write a separate article on this.
Due to malnutrition and dancing for years, my body was very weekend, overused and brittle and I incurred a very serious injury that was so severe it refrained me from using my body as a dancer ever again. I was told if I continue I would have to suffer , especially as an older person in the future in constant pain and with physical problems. It was a hard decision and this is when I redirected all my energies into becoming a chef. It was not an easy decision to make at that time as I was not fully aware that I can be exactly the same person as I was hoping to be doing the same thing just using food as my main subject. )