About ASEF
The Asia-Europe Foundation (ASEF) seeks to promote better mutual understanding between the peoples of Asia and Europe through greater intellectual, cultural, and people-topeople exchanges. Established in February 1997 by the members of the AsiaEurope Meeting (ASEM), ASEF is based in Singapore and reports to a board of 39 governors representing the 38 ASEM countries* and the European Commission. ASEF always seeks to work in partnership with other institutions and private sector entities to ensure its work is broad-based and spread as widely as possible throughout ASEM member countries. ASEF carries out its mandate by initiating projects and fostering networks in the intellectual, cultural and people-to-people fields, as well as engaging journalists in a variety of Public Affairs programmes. ASEF’s flagship programmes include the ASEF Talks on the Hill, Informal Human Rights Seminars, Asia-Europe Youth Cooperation Network, Asia-Europe young Artists’ Exchange, ASEMUS (museums), and Asia-Europe Editor’s Roundtables. The Foundation is funded by contributions from the member governments and the European Commission, but the cost of many of its projects are shared by other institutions as well as private corporations of ASEM countries. * ASEM member countries are: Austria, Belgium, Brunei, Cambodia, China, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Indonesia, Ireland, Italy, Japan, Laos, Latvia, Lithuania, Luxembourg, Malaysia, Malta, Myanmar, Netherlands, Philippines, Poland, Portugal, Singapore, Slovakia, Slovenia, South Korea, Spain, Sweden, Thailand, United Kingdom and Vietnam.
14-21 May 2006
I’mPULSE and DJs 心跳时刻（亚洲—欧洲） 心跳时刻是亚欧基金会(ASEF)文化交流部为亚欧音 乐营地的发展而组织的，是想给年轻的音乐人提供一 个交流的平台。最终的目的是通过互相学习，鼓励用 新思潮去发展音乐观念。 同亚欧基金会(Asia-Europe Foundation-ASEF) 联合作举办 策划： 李宝衍(Leon Lee),Producer, Pentatonic Workshop, 亚历山大(Aleksander Motturi), Clandestino艺术总监 Vanini Belarmino,“心跳时刻”亚欧基金会项目主管 工作坊 / 大山子艺术区微波释/5月14日–18日 DJ 表演 /糖果俱乐部/5月19日–20日 1- 工作坊 注意：此活动是专门为邀请来的DJ举办的，不 对外 开放 大山子艺术区微波释/5月14日–18日 来自欧洲和亚洲的十八位新兴的DJ将会参加一个维 持一周的对话和工作活动，他们将会为我们展示一个 包罗万象的数字音乐的试验。正在探究各种混合音乐 的 DJ们将会有机会分享他们新创音乐的激情。 亚洲和欧洲的DJ文化的表现、诠释、以及转换很可能 会通过这些DJ在亚洲的地下现场融合在一起。他们 有来自英国的山姆(Sam Zaman)、盖斯(Ges-E)，中国 的杨斌。 2- DJ 表演 糖果俱乐部/5月19日–20日 DJ的演出安排在糖果俱乐部。同时也有德国艺术家 创作的多媒体装置Walkscreen（一系列反应北京人 日常生活／场景的细微差异的图片）、以及由中国 青 年在 I’mPULSE Minutes活动中 创作的一分钟的小故 事录像。
by Vanini Belarmino
The coming together of individuals and spontaneity characterises the core of I’mPULSE. Under the portfolio of the AsiaEurope Foundation’s (ASEF) Cultural Exchange sector, I’mPULSE aims to encourage fresh minds to pursue the development of their music concepts by learning from each other. Organising a DJ exchange for the Third Asia-Europe Music Camp is a challenging and provocative step following the previous programmes in music composition and performance. For its Philippine launch in February 2005 involving Asian traditional and Western classical musicians, and the gathering of traditional singers in Ireland, November of the same year, designing a programme for DJs is not a lesser task to undertake. As co-curator for this Beijing project, serving full-time programme manager for I’mPULSE, I hold such close affinity to this platform as witness to the initial contact amongst creative people expressing their similarities and differences through music. By focusing on a dynamic artistic discipline highly popular not only amongst DJ practitioners, but also with young people, part of the aspiration for this year’s I’mPULSE is to embrace both its participants and audiences in an environment created in the rhythm of the mind, body and soul shaped by music. Rooting from popular/contemporary context, this DJ exchange deviates
itself from the conventional music camp practice, bearing (hopefully) with it the strength to share and transfer the collective experiences to an audience that can give a direct participatory response during the live performances at Club Tango. The process of learning is not limited to the DJs alone, nor does it define the parameters of inspiration for those whose senses may be touched by the I’mPULSE experience. Thanks to the commitment and cooperation of curators: Leon Lee (China) and Aleksander Motturi (Sweden); Guest DJs: Sam Zaman (UK), Ges-E (UK) and Yang Bing (China); multi-media artists Walkscreen: Ruthe Zuntz and Michael Rietz (Germany); and the 18 participants DJ Wolfgang Fuchs (Austria), DJ Isjtar, DJ Mellow Yellow (Belgium), DJ Wordy (China), DJ Katcha (Czech Republic), DJ Tal (France), Sick Girls (Germany), DJ Sztyepp (Hungary), DJ Krist (Indonesia), DJ Langstrumpf (Italy), Daito Manabe, VJ Masato (Japan), DJ Siuli KO. (The Netherlands), r-H (Singapore), DJ Romo (Slovakia), DJ Latrama (Spain) and DJ Moymo (UK), this one-week convergence on scratching, mixing and swapping is realised in Beijing, China. This project is done in partnership with the Dashanzi International Arts Festival with support from the British Council, Goethe Institut-Beijing, Hart Centre for Arts, the One Minutes Foundation, Tokyo Art Project, Vibes, At Cafe and Club Tango.
Migration, Asian (and) Underground by Aleksander Motturi
The migration of music—its movement beyond origin, its ongoing distortion of authenticity and multiple home cuttings—is, due to its very essence, integral to the art of DJing. After all, DJing crosses borders at a speed that few other art forms can compete with. Sounds from one track are transferred in real time and mixed with sounds from another in order to finally debouch into a hybrid culture of sound systems. DJs do not merely allow music to travel from one source machine to another; they facilitate its movement over global and virtual territories. For DJs, cultural borders do not exist. In the early 1990s, a vivid club scene began to evolve in the cities of London, Bombay and San Francisco, which very quickly became commonly referred to as the ”Asian Underground”, despite the fact that most of the producers associated with this emerging scene were unhappy with such branding. Many myths surfaced around this movement. One of the most significant is hidden within the phrase itself: The so-called “Asian Underground” is in fact neither ”Asian” nor ”Underground”.
pioneers of this particular scene, were actually raised in a postcolonizing Europe. Some of them were indeed born in Asia, but usually this meant that they were born on the Indian subcontinent (Bangladesh, Pakistan and India). Also we should mention another subset of ”Asians” who grew up in Europe but—due to the hereditary character of immigration—were deemed to ’come from’ those ’other’ countries even though they were born somewhere else, even though they had spent their entire lives in Europe and even though their passports and language tell another story. Within the time line from punk to drum’n’breaks, they might have returned back to their supposed ’roots’ (qawwali, bhangra, etc) where new musical forms were created on the mix board.
Or is it? And if so, in what sense? What kind of cultural structures and production of knowledge make it ”Asian” and ”Underground?”
”Asian Underground.” Use the word; confuse the world. Why is mainstream media obsessed with the discourse of ethnicity and cultural origin of artists? Many stories can be told on the substitution of racial categories, with the concept of ethnicity continuously reproducing waves of neo-exotic fetishism and cultural cannibalism.
We should realise that many of the DJs/producers who were the
Similarly, what is it that makes it ”Underground”? Why not
(to paraphrase UK Apache): ”overground”, ”sideground” or simply even ”on the ground”? And since, ultimately, it is always a collection of individual experiences that gets reflected in the production of music, one could also correctly call it ”my ground”. ”We have,” as Aki Nawaz, originator of Fun^da^mental and Nation Records, asserted in Gothenburg during the Clandestino Festival #2/2004 ”no prejudice, no kind of immigration control on other sorts of music. We absorb them and embrace them even though we don’t understand their languages.” This is also the comprehensive theme for the Asia-Europe Foundation’s I’mPULSE – Third Asia Music Camp, 14-21 May 2006, Beijing, China: The uncontrolled migration of music; the move from one source to another; the crossing of borders; the remixing of the cultural difference and the future of ethnical representation.
I’mPULSE is, however, not limited to simply inspiring reflection upon such issues. The gathering is designed to provide a platform for young and innovative DJs from Asia and Europe to meet and share. It is designed to facilitate the migration of sounds, as well as exchange techniques, tricks and personal experiences. The line up of DJs will tag teams. Beats will be swapped and broken. New technologies will be examined. The art of DJing, in this context, will surely challenge existing precepts of aesthetics and blur the lines between genres of the participating artists. Whenever existing power structures reproduce cultural differences and try to determine them as monolithically fixed, there will inevitably be a tendency to move towards the ”underground”, where unrestrainable and cutting-edge human desires flourish. Between Asia and Europe there is no sound barrier. The links between DJs can never be soundproofed.
Programme of Activities by Leon Lee
MEET and GREET
A luncheon for DJs to meet and greet (private), followed by short presentations. Participating DJs will be asked to introduce themselves, their music, and the DJ scene in their homeland.
OPEN AGENDA MEETING
An ‘no agenda’ meeting asking each participant the things they are interested in talking and exploring while in China. Interested parties will break into small groups to discuss the topic and present to the larger group what they found out. From the results, we can pair off DJs who are interested in working together for the following 2 days. The results of the discussion will be documented in the DIAF 2006 Art Catalogue and for Asia-Europe Foundation documentation.
TRICKS OF THE TRADE
DJs will be encouraged to show each other their tricks to expand their skill set. Also, we hope that this workshop serves as a platform for DJs to share their findings and to explore issues realised while “on the job.” Some of these things can be the development of new technologies (software/hardware) that have affected their work, limitations of the equipment/ technology/venues that can be improved upon, as well as the direction that DJing is going for the next cycle of development.
GAME: THE RECORD SWAP
DJs will ‘tag team’ (either in pairs or fours) and trade off spinning records [or other instruments] in an effort
to find a ‘common sound’ and learn to work with records, a DJ, and samples that they are not familiar with. DJs can also trade record bags and listen to how another DJ would put together a set of music with the records from their record bag. Rules of the game can be tailored according to the interest of the participants and hopefully, each participant will discover or rethink the way they put a set of music together and open their ears to new ways of hearing things.
FOLLOW-UP WORKSHOP from OPEN AGENDA MEETING
This workshop will be designed to follow-up on the results of the meeting and meet the wants and needs as decided upon by the DJ’s in their exchange. This could include more in-depth exchanges between DJs of a certain style, or their DJ partner of choice to use as a rehearsal for their gig. Participants will schedule a block of hours to work together at the mixing desk and exchange ideas for performance.
CLOSE-UP
A close-up on the possibility of representation, translation and migration of Asian and European DJ-culture will be presented by guest DJs from Asian Underground: Sam Zaman of State of Bengal and Ges-E of Nasha Records (UK), and China’s Yang Bing. During these sessions discussions on how Djs are represented in Asia and Europe and how hybridity is at times cheered as solutions to the dichotomies and divides that have formed a base for and legitimised colonial expansions.
Profiles Curators Leon Lee China
Leon Lee studied flute and improvisation with Francis Wong and Hafez Modirzadeh, was the Founder and Co-Director of Alliance for Emerging Creative Artists (AECA)), a multi-disciplinary arts organisation dedicated to the development of emerging artists in San Francisco, California. He has received composition awards including Meet the Composer Fund, and Invisibl Skratz Piklz Emerging Artist Grant and has performed at venues as diverse as Asian Art Museum to Yoshi’s Jazz House. In Beijing, he is the Co-Founder of Pentatonic Workshop, an organisation for cultural production, preservation and education in traditionalcontemporary arts. He is also the Managing Editor of that’s Beijing, a monthly lifestyle magazine and also the leader in the field.
Aleksander Motturi Sweden
Born 1970, is artistic director of the annual Clandestino Festival in Göteborg, Sweden. After studying philosophy in Finland, Wales, Sweden and Norway he published his monography Philosophy at the Heart of Darkness – Wittgenstein, Frazer and the Savages (the original in Swedish, Filosofi vid mörkrets hjärta), which gave him a PhD degree at Åbo Akademi, Finland 2003. Aleksander Motturi is the creative mind behind Bwana Club, an international network of artists and intellectuals that strive to scrutinize how colonial structures are reproduced in contemporary culture production. He is also a frequent essayist, lecturer and member of the editorial board of the Swedish cultural journal Glänta.
Vanini Belarmino Philippines
Vanini Belarmino, Filipino cultural manager, received academic training in theatre arts, art history, cultural policy and management. She is responsible for programme management of the Asia-Europe Foundation’s Cultural Exchange flagship projects: I’mPULSE (music camp), Pointe to Point (dance forum and ASEMUS (Asia-Europe Museum Network). She has over 10 years of professional experience in performing arts management and has worked for institutions like the Cultural Center of the Philippines, Department of Education, and Ballet Philippines. Vanini is also a dancer and video producer.
Guest DJs Yang Bing China
Sam Zaman
A native of Beijing, Yang Bing has been integral to defining Beijing’s underground music and dance scene, and is famous with the city’s clubbers for his fat bass, funky tech-house style. In April 2000 Yang Bing and his friends brought their experiences together, beginning the China Pump Factory parties, which remains as one of the most popular events on the Beijing scene.
Sam Zaman/State Of Bengal is one of the Key DJ / Producers to have emerged from the Cutting Edge British Asian Music scene that emerged in the late 90s that gave birth to the ‘Asian Underground’ movement. He was deeply influenced by the Indian music and succeeded to build a bridge between the two cultures.
He has performed in Austria, Brazil, Germany, San Francisco, Singapore and Switzerland, and continually tours different cities in China. Aside from his love of music and performing, Yang Bing is actively concerned and involved with awareness creation on social issues.
United Kingdom
Bjork discovered and fell in love with SOB’s music and unique Djing style, She was so inspired that she asked him to open for her world tour and remix the track ‘Hunter’ for her Homogenic album (end of 97) and a musical friendship was struck. Their mutual respect as artist developed that led to Bjork pursuing Sam to sign up to her label One Little Indian. He has since been highly sought after by numerous cutting-edge club nights in the United Kingdom and has been continually invited to performed in several international festivals.
Multimedia Artists Walkscreen Ruthe Zuntz and Michael Reitz Germany
Ges-E
United Kingdom By 1997, Ges-e was a prominent figure in the Asian Underground music scene. He has been Djing at all the serious Asian Breakbeat club nights nationally and internationally including Outcaste (Resident), Anokha, and Sitarfunk. DJ Ges-e’s choice in the early 90’s was Hip hop, Hardcore, House, and Electro anything with soul. He started to Dj at parties in community halls and local youth clubs around Brick lane in East London, alongside fellow djs Badmarsh and Osmani Soundz. He has just completed compiling “Eastern Drum and Breaks - vol 2”. The compilation features the very best Asian beat scientists Equal-i, Osmani Soundz, Aktarv8r and Vani. The album has been described as the definitive Eastern beats compilation.
Interactive installations or “walkscreen” is the artistic center of gravitation of the media artists Ruthe Zuntz and Michael Reitz. Using photography as a medium, they capture the spirit of vibrant places and cultures and transfer its essence to a different but corresponding place. Since 1997, Walkscreen has created a series of interactive environments making the visitors as active integral players and wanderers in a virtual place. The movements of the spectators initiate the flow of pictures, visual codes and sound bites. Employing dozens of remote sensors, the recreated space is reacting to every step, every act of the body. The visitors are dragged into the distant place, allowing them to experience their very own vibrations of life and culture.
Participants Wolfgang Fuchs Austria Coming out of rhythm-driven pop music I have been developing a musical language with turntables and records for use in a very diverse field of contemporary performing arts practice for the past 8 years. This trip to Beijing for I’mPULSE should bring me closer to the answer the question: Is Improvisation the ‘real’ World Music, mostly cleaned up from clichés?
DJ ISJTAR
Albert Vandebroeck
Belgium
I also hope to have some time left in Beijing to visit flea markets and record shops to collect material for spontaneous turntablesessions.
Having no formal education in music and coming from a very non-musical family, it was only at 18 that I started to read up on music and sound design. Now that I have a basic background in harmony and rhythm, I have reached high-level of learning in sound design and working towards becoming an expert on experimental techniques. I expect to meet a varied and talented group, and hopefully learn a lot from each other. I especially look forward to doing all this in China, which is a great setting.
The most exciting aspect of this event will be the confrontation with artists and music from Asia and Europe I’ve never met and heard before: Crossing the border, being outside of your ‘scene’ for one week. And I never use headphones.
I hope I can show people some new and experimental techniques and that they can finally get me to beat match and scratch properly. If we put it all together, it might be quite exciting...
DJ Mellow Yellow
DJ Wordy
Belgium
China
DJing is all about sharing; sharing the music and energy. It fills me with passion that I can bring a certain mood, atmosphere into a space full of people and make them dance and be excited.
When I’m in the DJ Booth with a crowd in front of me, I feel like I have the power to control people. Not in a negative way, but I feel like I can affect the crowd’s emotions, make them dance, jump, and forget everything but the music.
Pauline Doutreluingne
At the age of 16 I bought myself two turntables and a mix panel and started to buy a lot of vinyl and started to frequent Goa Trance parties (Goa Trance is a kind of Trance music with psychedelic influences) in Belgium. When I moved to China after graduating as a sinologist, I brought my record bag of 25 kilo of vinyl and a mix panel SMAC PRO 20. I can only be very happy with an initiative as I’mPULSE as there is definitely a need for events like this in China. I hope to enhance my own DJ skills, discuss and exchange flavours of music, different ways of mixing and ideas towards organising parties.
Liang Wang
I began spinning in small clubs and bars, and as my skills improved I have had some great experiences DJing at regular Hip-Hop events. I currently use DJ software and vinyl for live performances, which allows me to play a wider range of music than using one format. I struggle sometimes with my vision, motivation and staying positive like most DJs, but have some unique challenges specific to China and DJing in a developing country with limited resources. ImPULSE is interesting to me because I really enjoy meeting and interacting with other artists and DJs and hope that this project can be key in opening the channels of communication between East and West. I look forward to show other people my town and learn what is going on in the music scene in the rest of world. I hope to gain some insight into other forms of music, styles, and techniques and of course, gain new friends.. I welcome the chance to represent China in a setting like this and look forward to showing the world the current state of modern Chinese Music.
DJ Katcha
DJ Tal
Czeck Republic
France
Katarina Hladka, aka DJ Katcha is one of the most outstanding figures of the Czech drum´n´bass scene. She started spinning records in 1997 in Prague dnb clubs. Since then Katcha’s name regularly turns up on line-ups of all significant events, from prestigious club parties to giant events like Open Air Field, Cosmic Trip, Summer Of Love or Hradhouse. Katcha’s professional successes range from being voted the best dnb DJ of 2003 and 2004 to her participation at the prestigious Red Bull Music Academy 2004 held in Rome. Nowadays, Katcha devotes most of her time to DJing and resident nights and festivals Cosmic Trip festival, Aquaphonic, Get punked. In addition she heads the production team of dnb night GetPunked. Katcha has also started to explore the area of studio production and with respect to her music history it is quite safe to say that we can expect some jaw dropping results
Tal Hadad is a Paris based DJ/artist and producer. He has launched “global heart me”, an art project and production company set to design events and music releases which emphasise common contemporary culture in “world cities”.
Katarina Hladka
I hope to meet new friends and to learn something from them. And to have a fun! The contributions I wish to make and get out of this exchange are simply: Some good music.
Tal Hadad
I expect to share personal experiences with digital music, art and DJing influences and to initiate creative exchange with DJs and artist working in Asia with emerging practices, urban life and crossover contemporary culture. I wish to contribute with a workshop or/and a music set or/and a performance by « GLOBAL HEART ME».
Sick Girls
DJ SZTYEPP
Germany
Hungary
Some of our favourite records are provided by a project called 2 Culture Clash, which we think is what music is all about: Colliding cultures and melting pots provide new ways of music production.
Peter Homoki aka DJ Sztyepp, is a musician & DJ, remix & sound engineer for more than 20 years now. He plays guitar, keyboards and percussions in the crossover ethno music band Uzgin Uver. He collects any kind of music what he uses for making music as live musician or as a radio dj.
Johanna Grabsch and Alexandra Droner
We are interested to see how music, DJ culture and clubs have evolved in China and what impulses it could have on German music culture. We are looking forward to be contact with a different culture and see their way of approaching underground music and their work as DJs. Sick Girls are about new musical impulses, be it Indian Punjabi rhymes, Sri Lankan singers, mainstream hiphop or street kids from London. We combine everything in our set and this meeting would be a great opportunity to receive an insight into the original Chinese street culture and music.
Peter Homoki
I’mPULSE is an interesting adventure in music and travelling experience. I hope I will meet new people who are just as enthusiastic about music like me.
I will take my sampler and vinyls to enable recording and making of some new music with other people. Plus I would enjoy doing live DJing at clubs or other venues with the other paticipants in Beijing. Some of my favourite styles: Trip-hop, hip-hop, dub, breaks, ambient and new wave.
KRIST
Achmad Krisgatha
Indonesia I would like to exchange of concepts, ideas, and undertake a comparative study of some sound projects and presentations. I hope that this would provide access to regional and global communications by communities, strengthen the capacity of communities in using art, especially sound and visual, to asses existing and planned networking opportunities in the future.
DJ LANGSTRUMPF Chiara Fumai
Italy My style (old school techno) reveals my interest into italo-disco and the noisiest area of the contemporary electro. Actually, I was born a dangerous punkrocker X. I really hope to meet new people, discover Beijing and find out more about the music scenes from abroad. I will bring with me some very beautiful rare records from the 80s (that you would never expect!) and my eclectic point of view into djism. I really hope to discover new labels and artists.
Daito MANABE
VJ Masato
Japan
Japan
Daito Manabe started his sound design carrier by doing club DJ, track making / scratching for Jazz bands, sound design for advertisement and for exhibition. He studied Mathematics and computer programming such as,
Masato learned electronic keyboard when he was twelve years old and loves electronic music.
Daito Manabe
Topology, Java language and Fractal theory etc at school. These educational and creative combinations made really interesting effect for his music carrier. After graduating from IAMAS (International Academy of Media Arts and Sciences) in 2004., he worked as system engineer / programmer for movie / sound control systems. After working as a system engineer and a programmer, Internationally acting Turntablist and Sound Artist using surround/oscillation/super low frequency technology and pursuing sensual peculiarity, commonality and interaction.
Masato Tsutsui
I believe I’mPULSE is as a good opportunity to find special skilled music partners for the future. I wish to contribute to this cultural exchange with the music and the techniques I know.
DJ Siuli K.O Siuli Ko-Pullan
The Netherlands Siuli K.O.’s musical background goes way back to the hardcore punk from the 80s until she encountered acidhouse and was immediately converted. The long road of electronic dance music lead her past Detroit techno, Chicago house, underground techno and tekno to electro bass, electrobreaks and u.k. garage where she is today, and she can still see a long road ahead. I’mPULSE is a huge opportunity for Siuli K.O. to be able to go back to her roots, see and learn about the Asian (alternative) dance scene and culture, and hopefully be able to tell interested ears about the alternative dance scene in Holland, not to forget put on some boundary-pushing tunes for the dancefloor!
r-H
Rajesh Hardwani
Singapore Growing up in Singapore, Rajesh Hardwani (a.k.a. r-H) fed himself musically on everything from funk and soul, to blues and hip-hop. He eventually expanded his creative palette even further to include electronica, big beat, drum and bass, jazz, and much more. r-H is the founder of the Black Asia series. r-H is currently working on Black Asia Volume 2, and is sourcing material and acts for his remix and compilation projects for his association with TIME Music Group of India. I would like to meet and greet (network) and build new and great relationships with other musicians and the youth attending I’mPULSE, and, hopefully, collaborate with these contacts.
DJ LATRAMA DJ Romo
Roman Babjak
Slovakia I have a background in leftfield electronics; new jazz and alternative pop music (formerly a big fun of drum & bass). I would like to meet interesting people in new context, explore Asian contemporary music and get a new drive for my own Djing. I expect to learn the newest technologies and get a touch of Asian Underground. My contribution would be to approach to Djing by combining art and music scene.
Eduardo Duque
Spain I started with music by studying classical guitar & solfa when I was eight. I moved towards melodic hard-rock, industrial music & drum n bass in my adolescence. Then I turned into world beats & specially Asian vibes, what I’ve been developing for the last 8 years through music production, Dj & live sets with my live bands & Chandra Sound System collective spreading this magic way of music understanding wherever we have been. For me I’m PULSE represent one of the best meeting points for digital music & cultural trends. I really expect to get the best feedback experience as I hope that some of my experiences & skills will come in useful for everybody. I’m sure that this know-how exchange for digital music, clubbing culture, local scenes &, why not life, will enrich to anyone involved.
I’mPulse Beijing Organisers DJ Moyma
Paul Chowdry
United Kingdom Best known as a scratch DJ and is widely respected for his technical ability, eclectic taste and creative flexibility. Another hip-hop all-rounder he is also a graffiti artist, graphic designer, dancer and winner of BBC New Talent 2005. I expect to connect, vibe with people who love music and enjoy China! To be inspired and inspire others with new ideas for producing music.
Asia-Europe Foundation Programme Manager, Vanini Belarmino Production Coordinator, David Ocon
Dashanzi International Art Festival Beijing
Executive Director, Berenice Angremy Project Manager, Jian Cui Technical Director, Li Qian Production Coordinator, Marie Terrieux
Acknowledgments Neil Webb Ling Ning Dr.Ulrich Novak Dr. Clemens Treter Anja Sauermann Cindy Zeng Sophie Leferink Raya Ribbius
Tommy Laitio Chia Ming Chien David Lim James Ong Marcello Bellan Jennifer Su Khaliq Meer Floor v. Spaendonck
Special thanks for the support provided by: ASEF Public Affairs team: Chin Hock Seng (Director), Jessica Yom (Assistant Director), Soh Lai Yee (Public Affairs Executive), Tia Siew Keng (Project Executive/Administration), Ahmad Baihaki (Project Assistant) and Cahyadi Idrananto (Project Assistant)
Supporters
ASEF CULTURAL EXCHANGE AT A GLANCE Artist in Progress| Creative Process|Cultural Dialogue in Context
Mission
Cultural Exchange seeks to provide Young Artists and Cultural Professionals a unique environment and meeting point for dialogue that has the potential to evolve into positive artistic interventions, dynamic cultural networks and cultural policy development between Asia and Europe.
Cultural Exchange Team Acting Director, Marie Le Sourd Adminstration/Project Executive, Wendy Lee Project Executive, Vanini Belarmino Project Executive, Anjeli Narandran Web Developer, Jimmy Singal Intern, David Ocon
The Dashanzi International Art Festival 2006 The success of the past Dashanzi International Festivals leads into wonderful possiblities for the coming year. The theme of the 2004 DIAF, “Light. Sound/Time”, aimed at exploring the possibilities of using light, sound and time in the specific physical vicinity of 798. The event attracted 80,000 people altogether in four weeks. DIAF2005 with the theme “Language/Fable”, strove to present the influence of language/ literature and fables on art and art production. Over 80,000 people attended the event within the span of three weeks. Both years the festival attracted great attention from the media. The 2006 edition will use the theme “Beijing/ Background” to emphasize the urban dynamics and influence of Beijing as an extraordinary metropolis and its potential to become a modern classic. It will allow curators and artists to think about issues related to the specific city of Beijing, but also about the issues of other big metropolis across the world.
More than 20 events will take place; more than 50 foreign artists will be invited; more than 100 Chinese artists will be involved. DIAF2006 invites artists from 5 different disciplines to participate in a three week event. 100 000 visitors are expected. 2 million people will read about DIAF2006. DIAF2006 is officially supported by ThatÅfs Beijing and Modern Weekly. “Beijing/Background” invites curators and artists to think about issues specifically related to the city of Beijing, and also about the issues of other big metropolis across the world. DIAF 2006 team presents the following list of projects. The majority of the events will take place inside the Dashanzi Art District vicinity. This year, DIAF 2006 will also associate its energies with the most active and reactive poles of the artistic scene in Beijing, such as East End Art District and Tango Club.
关于大山子国际艺术节 大山子国际艺术节（DIAF）是自2004年发起，在北京 大山子艺术区举行的大规模当代艺术活动。2004年 和2005年的前两届艺术节已经取得了巨大的成功。 DIAF2004的主题是“光阴/光音”，意在探索在798周 边特定的物理区域内利用光、声音和时间的可能性。 这次艺术节在为期4周的时间里，吸引了80,000观众。 DIAF2005的主题是“语言/寓言”，表现了语言、文学 及语言对于艺术和艺术作品的影响力。3周内，共有 100,000多人参加了这次艺术节。两届艺术节都吸引了媒 体的大量关注（每届都有大量报纸、杂志报道）。 2006年的第三届艺术节主题是“北京/背景”，强调北京 这座城市的影响力和都市动态，以及它从历史都城发 展成为现代都市的潜力。 “北京／背景”将给予策展人 和艺术家足够的空间去思考北京这座城市，思考这座 城市的特点及问题，并引发也出现在世界上其他大城 市中的这种城市问题。 本届艺术节将有20多项活动，将邀请到5个不同领域的 50多位国外艺术家和100多位中国艺术家参加为期3周 的艺术节。预计将有150,000观众，并有2,000,000人看 到DIAF2006的相关报道。 （由周末画报、That’s Beijing 赞助） “北京/背景”将给予策展人和艺术家足够的空间 去思考关于北京这座城市的特点及问题，并且这种 城市问题也出现在世界上其他大城市中。第三届北 京大山子国际艺术节（DIAF2006）将展示以下艺术 活动项目，其中大部分项目都将在大山子艺术区内 进行，同时艺术节组委会将会联合北京的其他一些 活跃的艺术场所，例如艺术东区、糖果俱乐部等等。