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<in·site> CONCERT, October 2000

 

CAN DU PIRATE TV TOUR, August/September 2001

RASTI IZ MUZIKE (GROWING FROM MUSIC)

ART FOR SOCIAL CHANGE PROGRAMME, MACEDONIA)

 



<in·site> 28th October 2000

One of the very first things Future Trust organised was a concert at the Pavarotti Music Centre in Mostar (Bosnia Herzegovina), involving musicians from Britain, the United States, Japan, India, the West Indies and Australia. They performed their own sets as well as collaborating with locals. Most important of all, the concert brought together musicians and audience members from the divided communities of former Yugoslavia. The three-hour concert was broadcast in full on Bosnian national TV and webcast in Japan.

It was like this...

Nifty idea > A one day performance of music and video in the Pavarotti Music Centre…featuring musicians from round the globe, from Jamaican Horace Andy to English Brian Eno, Indians, Slavs and a hundred others in between...

The Venue was a special place where people from the divided city felt safe. This venue was home to normality...

Live music interlaced with videos from the global contributors > visual mixmology from ColdCut > scratchmic wrist rendering from ShingO2s main man DJ Nozawa > Oh yeah Big Up Peter Gabriel for the contribution of Biko > Biko's main man and driver Eugene Skeef supplied 50% of the heart 100% of the time for this place...

Brian Eno on <in•site> I just wanted to say what a great time I had in Mostar, and many congratulations to you all for getting that complex thing to work so seamlessly. It was really wonderful - everybody had a great time and it must be the beginning of a new era for the Centre. I was sceptical when I saw the programme that such an ambitious event could be made to work. Well, it did, and it worked fabulously. This is exactly the kind of thing the Centre was set up for - but better than I could have hoped for. I realise you all must have put a lot of work and thought into this and I'm really deeply grateful to have been a small part of it. I felt that this was a new bridge built in Mostar, probably more important than any of the other bridges being made there. Please give my best regards to everyone involved. You did something great.

Ambassador Daniel H Simpson, OSCE, Mostar on <in•site> I admire greatly what you did for the Pavarotti Centre, Future Trust, Mostar, and Bosnia/Herzegovina in general through your work and effort in putting together the 28 October event here. Please know that there is enormous appreciation here for what you did. You can count on us for future enterprises, as needed. All the best. Ambassador Daniel H. Simpson, Director Regional Center Mostar, OSCE Mission to Bosnia and Herzegovina

Murray McCullough OBE, Head of Office, European Commission, Mostar on <in•site> The concert has been a huge injection of hope for the staff at the Pavarotti Music Centre, they no longer feel quite so forgotten and the issue of sustainability is firmly at the top of the agenda. Very, very well done.

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 CanDU PIRATE TV TOUR. August/September 2001

The CanDU PirateTV Tour took in much of former Yugoslavia with dates in Slovenia, Croatia, Bosnia and Serbia. This was the largest event in a post-war zone using the talents of international musicians as a catalyst for reconciliation. It drew attention to Future Trust’s CanDU campaign to seek the abolition on the use of depleted uranium in war zones. The heart of the Pirate TV Tour was an interactive multimedia circus incorporating the audio and visual talents of Ninjatune, the pioneers who created and influenced most of the music DJs play today. The tour, however, was not DJ-based as it also incorporated live performances and video jockeys (VJs), using the VJAMM software program developed by Coldcut and Camart, which allows the manipulation of visual images as if they were musical instruments. Arriving in town a day or two before each public performance, the group's work with young people was used in performance. The crew filmed their workshops and collaborations with local youth which then appeared within hours on the six stage screens and "timed" to the music. Pre-edited film on Future Trust’s depleted uranium campaign was also VJAMMed. Long before the tour opened, the ColdCut & Ninjatunes 'Solid Steel' radio show was syndicated to radio stations on the route. The tour crew also dropped in at local radio stations to loan DJ exclusive sets for the performance, part of building an atmosphere of expectation and excitement.

'We had an astonishing promotion - two way mix via internet link: Belgrade - London, between Jonathan and Matt [Cold Cut] was one of the best art events I have ever participated in.

Thanks for making it possible.' Dragan Ambrozic, B92 Radio/TV station, Belgrade, Serbia

NOTE: Cytomation GmbH supported Future Trust’s DU campaign by providing £20,000 worth of technical services to maintain the blood cell analysis machines at St George’s Hospital London

 
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RASTI IZ MUZIKE (GROWING FROM MUSIC)

Future Trust were able to provide film-making equipment, computer edit suite and other equipments to the Pavarotti Music Centre at the time of the <In.Site> concert as well as contribute to local staff pay for a number of months. The charity were also able to provide support to the local NGO, Rasti iz Muzike, to help them with their music workshop projects with local youth.

 
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ART FOR SOCIAL CHANGE PROGRAMME, MACEDONIA

Performing Arts Centre MULTIMEDIA in partnership with FOSI Macedonia, European Cultural Foundation and Future Trust.

The 'Art for Social Change' programme used drama and theatre in education as a tool to help young people from all ethnic groups (Slavs, Albanians, Roma and Turks) throughout Macedonia understand who they are and the world in which they live. The aim was to aid self-confidence, self-exploration, cultural expression and aid in conflict resolution. The programme was targeted at children and young people between the ages of 6 and 18 years confronted by the many kinds of violence affecting their lives: military, environmental and domestic.

The programme was led by artists, social workers, pedagogues and psychologists. Face to face work with the children and young people was carried out in working groups consisting of 20-25 children, meeting a minimum of twice per week for a duration of two hours. Facilitators-artists led the workshops, and each team of artists had a group supporting them.

The Art for Social Change programme for the period 2002-2004 was structured to cover more than 400 children with 40 facilitators. It included the active involvement of the children’s parents.

Future Trust supported this work alongside the Macedonia Education Ministry and the European Cultural Fund. This support was possible thanks to a grant received from the JJ Charitable Trust.

 
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