Joining up the dots.

I've been meaning to write about the need for small-scale arts organisations to connect with each other. I believe we need to join forces, to compare methods, to explain what we do - we need to connect, assemble and aggregate. 

Bubble recently offered a flat pack version of a script to other small organisations to read locally and I've written previously about Hiroshima Dispersed - it was a simple idea and worked pretty well. Some of the responses are below - and I want to share them as they capture how people truly appreciated working locally and globally. 

FROM PUNE

To be a part of something that is much bigger than you, is a strange feeling. The emotion that such an experience stirs may range from being completely humbled to feeling immensely powerful. The humility stems from realizing how insignificant you are in the larger scheme of things; while the sense of power is inspired by the knowledge that your actions, no matter how small, contribute to this whole.

This ‘feeling’ is impossible for me to articulate in any language and the attempt in the previous lines may have been futile. But I felt just that, as part of a small, seven-member team that recently performed a reading of a play, to an audience of about 35 people, at an unconventional venue (a rock themed coffee bar) in Pune, on a sleepy (and rainy) August afternoon.

However, it wasn’t much the location, the weather or the size of the audience that made a difference. The feeling stemmed from what I was a part of – the play itself – The Grandchildren of Hiroshima – true stories of real people who survived the atomic bombing in Hiroshima.

Initiated as an oral history and performance project, by London Bubble, a London based theatre group, in the year 2014, ‘The Grandchildren of Hiroshima’ is rooted in interviews between local children in Hiroshima and survivors who were the children’s age when the bomb was dropped. The project aimed to reach out to people across the world through community performances in August 2015 to commemorate the 70^th anniversary of the Hiroshima bombings.

On August 6^th 2015 and over that weekend, community theatre groups across Hiroshima, London, Wimborne, Palestine, Johannesburg, Brisbane, Milwaukee and Manila performed readings of ‘The Grandchildren of Hiroshima.’ And we (Orchestrated Q’Works) became a part of this inspirational global movement by reading the play in Pune.

Weeks before our performance, when we had started rehearsing, these powerful human stories of people residing miles away initiated a subliminal emotional upheaval in me. I knew I might never be able to truly empathize with them, as I have never been through such horrifying circumstances myself. It made a part of me feel grateful for my own protected life. However this gratitude was smeared with a sense of melancholy as somewhere I could sense a portion of the pain they had endured.

Most of these stories are very detailed and skillfully paint a vivid picture of the massive destruction and it’s agonizing after-effects. Part of the play also presents historical facts about the bomb, the war and the politics and conspiracy behind it.

But beyond all the politics and war, these were stories of real human suffering, tales of survival against all odds and most of all rebuilding life and one’s own being, piece by piece. Underlying somewhere in the recounting of all the demolition and death, is a story of hope and peace – a story that goes beyond the bounds of language, age, culture and borders. 

Being able to share these stories; being a part of the vessel that transmitted the energy in these stories to others was an unforgettable experience. At the end of the performance, when we bowed, there was a sense of oneness … with the team, the audience, groups across the world who organized similar readings and with Hiroe, Hiroko, Teruko, Suzumi, Fumiaki and others who’s stories we shared through the play.

A feeling that is both humbling and empowering at the same time.

Contributed by Ritwik Borthakur

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FROM SOUTH AFRICA

Just wanted to give you feedback on the 6th August reading. We were a small group of 11 including my 7 year old daughter who sat through the reading listening intently.

We created an 'alter' of sorts with the image of the river and 7 candles which were lit each representing one of the rivers. We sat in a semi circle and basically read the script one line at a time going around in the circle, this was the best solution and worked well. At the end of the reading we had at least an hour sharing where all of us shared our responses and thoughts to the reading. This was very productive and heartfelt. Some of the reflections were profound and initiated a discussion of the contemporary relevance of the Hiroshima bombing, especially in post apartheid South Africa.

Thanks again for this opportunity, we thoroughly enjoyed being part of this process.

I hope to send a small video soon.

All the best

Colin

FROM MANILLA

Here are a few pictures from our gathering on Thursday. It was a tight international group of 12 (artists, cultural workers from different regions in the country), a good number for creating the intimate feel we wanted. Aside doing the reading (improvising props with whatever was at the house which also serves as a semi-storage room for our Ensemble!), we folded paper cranes, feasted together, and had charged conversations on peace, our role as artists and social beings in keeping & creating it, and what greater togetherness and solidarity can mean for us today. 

Thank you so much for giving us the opportunity to be one with you in this. We appreciate everyone's effort and generosity! It's been especially exciting to read how the readings have gone all over the world.

Wishing we meet in person soon!

All the best,
Sarah (in behalf of everyone from Sipat Lawin Ensemble)

FROM PALESTINE

Dear Colleagues, 

Hope that my email finds you well. I have attached here some pictures for our reading. It is worth mentioning that the event was attended by more than 150 individuals. In my next emails, I'll share you articles and TV interviews that were conducted by Palestinian and Japanese journalists to cover the reading.

Note: One of the Japanese citizens who is visiting Palestine right now, came to attend the event and brought with him a flame from Hiroshima that it is still lightning since 1945 as a symbol of peace. 

Regards

Saja Shami

Yes Theatre

00972- 2- 2291559

 https://www.facebook.com/pages/Yes-theatre-Palestine/289764851145997?fref=ts

FROM WIMBORNE

Dear Dispersers,

First, the twelve of us gathered in the nearby White Hart garden for a planning pre-read.  As we left to make our way to the Minster Green, a gardener having a pint, said, “I’m not into culture, but that was very interesting.’  

In the shadow of the War Memorial, commemorating the lives of local men who died in both World Wars, we laid several kimonos in the shape of the rivers and positioned ourselves in a semi-circle.  We wore black with brightly coloured scarves.  

Over twenty people gathered on the grass and the memorial steps to listen as we read ‘The Grandchildren of Hiroshima’ by Misaki Setyoyama, accompanied at times by live flute and recorded rivers - as well as the real sounds of aeroplanes, car horns, and rubbish trucks.  When we spoke the storytellers’ memories, we held up their portraits.     

A Japanese women and her daughter  travelled many miles to hear the reading and were moved by the retelling of the story they know so well. Somebody brought a basket of origami cranes to distribute to the listeners, and as we handed them around at the end of the reading, a dove was spotted flying over our heads to join its partner on a nearby roof.

Thank you, Peth and London Bubble, for this opportunity to look beyond our own lives, and to learn. We look forward to hearing more accounts.

Good wishes from Wimborne Community Theatre

Gill Horitz
on behalf of Wimborne Community Theatre 

www.wimbornecommunitytheatre.co.uk

FROM BRISBANE

At 8.15 Hiroshima time, we observed a minute's silence, standing in the space where third generation hibakusha Yukiyo Kawano's soft sculpture of "Little Boy" was hung, as a centre piece in our exhibition of artworks developed with atomic survivor communities. Simultaneously, on the other side of the Pacific, Yukiyo herself was also standing silent with a group beside a replica of her "Little Boy" sculpture in the Seattle Asian Art Museum. For us this was the start of a two day seminar attended by students, academics, art workers and others at Queensland University of technology, in their multi-media venue "The Block". We had twenty people present on that morning. After the minute's silence we proceeded with our reading of "Grandchildren of Hiroshima" and then discussion of the script. We selected Fumiaki's story to develop into a filmed reading, with "Little Boy" as the backdrop. We went for the simplest of staging – to speak the lines around a circle, facing each other, allowing contemplation of the words, rehearsal of the lines, and ultimately the filming. Once we'd done that we reflected on our responses to the reading and the play overall. Perhaps our feelings were best summed up by one of the students present. She had spent a year in Japan, and was familiar with Hiroshima and its Peace Park, and she told how moved she was by reading part of one family's story – at one stage almost unable to get the words out because she felt emotional, but determined to do them justice. We all felt very privileged to play a part in the project, and grateful that we'd made the connection that has allowed us to share in this important work. We will shortly edit and make available the film version of Fumiaki's story, along with coverage of the discussion we had after the reading. 

Many thanks to London Bubble and all the contributing individuals and groups.

Best wishes

Paul

Paul Brown

Hon. A/Prof Institute of Environmental Studies, UNSW

Creative Producer Nuclear Futures

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FROM BOHOL

Dear Jonathan and  All

Good evening.

We NGO Ikaw-Ako in Bohol, Philippines finished our reading program today.

We held it at one elementary school in Ubay Bohol, explained about Hiroshima,

World was 2 and atomic bomb a little bit and read the script with 87 grade6 students

, 4teachers and one JICA staff and 2Ikaw-Ako staff at 9am.

We gave the script to school one week before we hold the program but

students prepared very well.

They read Fumiaki's parts.

We didnt have any music and items, so it wasn't a play but they enjoyed it.

Thank you very much to give us this oppotumity!

For Ikaw-Ako its first time to have like this program, because we focus on

environment basically and mostly our activity is mangrove planting ,

but it was nice challenge.

I put some photos today as attached file.

Thank you very much.

Best regard,

Miyuki Fukuda

Coordinator

Ikaw-Ako Bohol

FROM MILWAUKEE

Dear Dispersers-

Wishing you all meaningful readings and presentations of Hiroshima Dispersed.  I was reunited today in Milwaukee, USA with a wonderful former student of mine, Anne Schulthess, who I last saw in 1999.  Anne lives in London now, and with Bubble Theatre and Peth, brought this to my attention.  She will be with us in Milwaukee, USA tomorrow evening and join us in the reading of the play as a part of the American Alliance of Theatre Educators conference, where 350 Theatre Educators will be here and some will participate in the hearing and reading of this play.  Our presentation is scheduled for the Milwaukee Hilton City Center, Juneau Room, 5^th floor with young performers and adult performers at 4:00 pm Central Standard Time  (Milwaukee/Chicago time).  I believe we will be either the last or one of the last readings as these will begin shortly.

Thank you all and hoping for meaningful reports from you all.

Jeff Schaetzke
Company Manager

325 West Walnut Street | Milwaukee, WI 53212
(414) 267-2985 direct | (414) 267-2930 fax

FROM TOKYO

As promised, here's some photos from the event. We invited a "Tipi" making artist who makes Native American style tents with second hand materials.

After the talk back session, audience and participants and staff(Yes all of us)  joined to add a small decollation on the tipi with pieces of used kimono.

I hope you enjoy them!

In the post showing discussion, there were many participants and audiences who showed strong interests on knowing more about the war history and they mostly gave positive comments on the script as well as the entire project.

Best regards,

Yorie

FROM DEPTFORD IN LONDON

Our reading took place at the Deptford Creekside centre an extraordinary environmental education centre in the heart of South London on the edge of a creek which carries the water from the Quaggy, the Pool and the Ravensbourne rivers into the mighty river Thames. 

Exactly 70 people gathered to remember the events of 70 years ago. (It wasn’t planned that way but that is honestly how many people turned up.) Together we made and decorated lanterns and as the light began to fade, the script was read. As requested in the instructions we let the words do the work, adding just a few moments of simple imagery, wild rice scattered on a white sheet to represent the black rain, lanterns raised on poles during the final testimony.

The lanterns we had made earlier in the evening were carried down to the creek and people gathered on a footbridge to watch them being floated towards the Thames.

As a nod to the next part of the project in London, ‘After Hiroshima’ which will gather testimony about the Anti nuclear and Peace movement,  the evening was supported by a simple rendition of songs from the peace movement including Tom Paxtons  ‘Peace will come’. Amidst the noise and bustle there were moments when the city seemed to go quiet and reflect with us.

Adam Annand

FROM A READER IN WIMBORNE

I felt it was very powerful to read such moving stories while the world around us kept on moving.

A dust cart was uploading rubbish.

A child was singing and playing on the green near our performance place.

People were walking by chatting.

Normality and all I kept thinking was this is how it must have been just before the bomb was dropped in Hiroshima and how would my town be if that happened now.

The vulnerability of lives came across by performing it in such a familiar and open space.

Best wishes, Tracie.

Laying the table and lighting the candles

We are about to start the technical rehearsal of Grandchildren of Hiroshima It's quite a complicated show, many sound queues, quite a lot of lighting, puppetry, live overheard projection and various everyday objects. We have an excellent crew, and it's fascinating for me, as a stage manager/technician in a previous life, to watch how the technicians work with an application and precision which is admirable.

I'm writing as the lights are focussed with a long pole*, and Sayuri San (who I have cast as the stage-servant) practises manipulating a glass cup above the light of the projector. Into the cup she will pour water and then droplets of ink - the black rain that fell after the bomb.

The audience will be sat on two sides in traverse, looking on to a wide long stage space which gives the cast of 21 space to run , and throws balls, and fire elastic projectiles.

Around the room are the props, 5 large brooms which silently sweep away the rivers of Hiroshima, narrow copper pipes that drip water, and tiny houses on stilts which light up behind the audience as Hiroshima is re-built.

In two hours the cast will arrive to get into costume. The magic of the space, equipped and theatrically lit will excite them and the adrenalin will kick in. The work they have done over the last two weeks, working 12 of the last 14 days, deserves this.

Meanwhile around the world, 10 other small groups are getting nervous about their reading of Grandchildren of Hiroshima. In Wimborne they will sit in a semi circle on the village green, in Brisbane beneath a sculpture of the bomb, 'Little Boy', made from fragments of Kimono sewn with hair, in Manilla they will share a meal, in Milwaukee it is part of a conference of educators, in Palestine it is being read in Arabic and televised, in Pune, Delhi, Bohol and Belgium plans are being finalised, and in Deptford in London, Bubble participants, actors and board members will hold a public reading at the Creekside Centre in Deptford.

Our best wishes from Hiroshima go to all those groups.


*actually after I wrote that, an electrician climbed up a tall ladder tied to a table top on wheels - frightening looking home made Tallascope, from which she is doing the 'Shoot' or focus.

Confidence and the balloon

When I am asked what's the point of people making theatre I often talk about building confidence. We put it in funding applications and wax lyrical in reports about how people grow. But not only does it sound patronising, the claim can lack evidence and can be misleading.

It can sound like theatre requires people to speak more loudly or stand more upright - and that adds to the common assumption that theatre is acting. Acting a text by a playwright.

Instructing people to 'be confident' is like trying to inflate a balloon by pulling the outside apart. Confidence - surety, congruence, comes from our centre. Confidence is keyed by feelings. When we say something and others agree or approve - we feel affirmed... and we say more.

When making theatre with an intergenerational group, we regularly sit in a circle and listen to what people have to say. We affirm or disagree respectfully. We model good listening. Adults and children are equals. We shape the opinions and ideas into something to be said collectively and artfully to the outside world (and in this case world is the right word).

Yesterday I read through a report on Bubble's Speech Bubbles* project - another example of creative listening and I was struck by a quote from a teacher's report on a child:

Pre project ‘Below AET (Age Expected Target), reluctant to speak in class, poor listening skills, low confidence when speaking to adults ’

Post project ‘AET, more eye contact, engages fully in learning, speaks out in class, questions if unsure’

This mirrors what I see happening to Hikaru, a 7 year old girl who joined our Hiroshima project quite late, and who I wrote about in my last post.

Hikaru now has lines. A few days ago she took on her first text - the words of a girl searching for her family through the radio. Calling, 'I am here' her voice was plaintive and barely audible. Then we created a story told by a chorus, and Hikaru was given more to say 'I needed to run away', and 'close to me was already burning', and 'she groaned'.  She learned the lines by the next rehearsal. (Well nearly... there was the run through when we got to her line and everything had to stop while she crossed the rehearsal room, found her script, found the right page, checked the line, walked back to her place and then said, 'she groaned').

Now Hikaru also has lines in the end section, but this is her own text. This has come from a recent exercise which asked the children their opinion about war - in the discussion Hikaru said 'I think it's ok to fight, but you have to sympathise and listen to people too'. Her opinion has now become her lines. We want the children to interrupt the solemnity of the narrator to deliver these lines directly to the audience  - in Japan children are not expected to speak up, but the current generation are growing up in a country whose Prime Minister is seeking to change the constitution, signed in 1945, which forbade the maintenance of an army. The Hibakusha (survivors) want the children to speak up in a way their generation did not. Many of the Hibakusha vehemently oppose the Prime Minister's suggestion but seeing the children speak out also means that perhaps their messages of peace have been heard.

If we have no opportunity to speak, if others put us down, we are hurt and remain silent, we don't want to feel that hurt again, it is safer to say nothing. Before long, we have no voice. The process of making theatre is built on many strategies for getting people to speak out - to pool information or disagree. Performance outcomes can present a magnification of that voice - and yes at that point people need to stand tall and speak clearly.

But do the behaviours we practice in the rehearsal room/speech bubbles session, transfer to the outside world ?  Do those feelings engendered in the artificial tribe become extinguished by the reality of the classroom or office. I can't prove it. But I do know that Hikaru is enjoying herself hugely - and that she is watching her mother enjoying herself too. And I do so recognise the observations of that teacher.

*Speech Bubbles is delivered to groups of 10 children at a time, once a week for a year, by a drama facilitator and teacher. The children who would benefit most are referred by the class teacher who also helps evaluate the outcome. The core activity is the gathering of stories from individual children. These dictated stories are then acted out by the whole group. For more information go to http://www.londonbubble.org.uk/projectpage/speech-bubbles/