EVENT
Breath of fresh air
KAUSALYA SANTHANAM
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As the Edinburgh International Festival takes off later this week, Festival Director Jonathan Mills talks about his vision.
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Photo: Fima Barablat and Mark Hamilton
Cutting across culturesJidariyya, From the Palestinian National Theater. Below: Jonathan Mills
“Festivals are about introducing fresh air. They are not about reinforcement of the status quo,” said Jonathan Mills, Director, Edinburgh International Festival who was in Singapore recently. “In effect I’m launching the Edinburgh Festival during the Singapore Arts Festival.”
“The Edinburgh 2008 F estival, to be held from August 8 to 31, is dedicated to a New Europe,” announced the charismatic director. “Europe is fast changing and borders are constantly being redrawn. Festivals are not about maintaining the comfort zone,” he pointed out. “They are about bringing different cultures together and for people to explore borders, not just physical but cultural, spiritual and psychological ones as well. I believe festivals are about journeys and this one is on the theme of borders.”
The Edinburgh festival, “a festival to embrace the world”, was founded in 1947, a couple of years after the end of World War II. It “owes its origins to an imperative to rebuild a sense of community in a continent that had torn itself apart, to restore hope to shattered lives through music, opera, drama and dance,” said Mills.
Exciting and innovative, the Edinburgh International Festival draws thousands of people from across the world.
Jonathan Mills is a Bachelor of Music from University of Sydney and Master of Architecture (acoustic design) RMIT University. He was Artistic Director of the Melbourne Festival and Vice-Chancellor’s Fellow, University of Melbourne before becoming Festival Director and Chief Executive of the Edinburgh International Festival.
“They looked under every stone and in every corner to find me,” he quips. During a brief but exclusive interview Jonathan Mills talks about what goes into the making of this prestigious festival:
What are the chief difficulties in organising such a massive festival and how different will this one be from the previous ones?
This is my second festival. Last year’s festival had a very positive response. In some of the previous festivals, the same theatre people were brought in; I bring different people.
Also, when (Sir) Brian Mcmaster was the former festival director, the music featured was from the mid-18th to the early 20th century.
I’m making it from the 12th to the 21st century. In dance too, companies that haven’t been to Edinburgh are coming in. I’m not consciously trying to be different; I’m just being me.
The difficulties? It is all about keeping a balance: between standards, between forms, between new and old.
As you are a well known composer and musician, having composed the music for two operas( the chamber operas “The Ghost Wife” and “The Eternity Man”), how does your knowledge impact your capacity as Director?
It is very interesting that this question is not asked of somebody who has no music background. The fact that I have expertise in two areas, opera and music, shows how little I know in some other areas. But it helps in that I can talk to the performers, artist to artist, and also find out flaws.
Since the Artistic Director enjoys great independence, and there is no committee, does it not mean a great deal of responsibility in decision making ? And does it also not make you a sort of kingmaker (of artists)?
There is independence for the Artistic Director. Yes, it is a responsibility to bring the artist but you must also make sure he/she is ready; you must be very brave.
Any failures?
Not so far. But in 60 years (of the festival) there have been spectacular failures and spectacular triumphs. To err is human.
This time I was looking for artists for a particular theme, artists from Central and East Europe to collaborate on a particular project.
What about the selection of artists from India, since it is so rich in the arts?
Indian classical dance has always done well at the festival. I’ll be coming to India later this year.
In 2011, we will be focussing on Asia; India will be part of it then. I would say to people there to come to Edinburgh to see what the festival is like before they make the application.
But it costs a lot of money to travel to Edinburgh…
Maybe the Indian government can help.
How do you see the festival’s journey?
It will evolve in the years to come to engage more with people in Asia. Exploring change, responding to change in society we are living in today, we are constantly evolving.
This year’s highlights
The City of Mahogany: “where hedonism rules”, the opening concert.
Dybbuk: “Judaism beautifully updated”, theatre.
4.48 Psychosis: “incredibly reflective and simple presentation”, Polish translation of Sarah Kane’s last play.
Jidariyya by Palestinian National Theatre: “lyrical”, adapted from a poem from father to son.
Devil’s Ship: all female cast, performed in Farsi with English sub-titles.
Budapest Festival Orchestra: “authentic gypsy music”.
Chant Wars: “medieval music.
Tarzieh: “masterful piece of filmmaking.”
Dance of the Dervishes: “incredible energy”.
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