Future Shorts will provide an alternative to the traditional film festival model, believing that all people regardless of geography, status or wealth should be able to see the most important and exciting new work from the world’s boldest filmmakers. From New York to Perth; from Hanoi to Berlin; from Edinburgh to Copenhagen; this is the next generation of film festivals.

Connecting audiences around the world with the boldest filmmakers working today in live, simultaneous events.
Bringing together a massive network of music venues, cinemas, theatres, clubs, warehouses, schools, hospitals, prisons, and more.

ONE NIGHT. 12 COUNTRIES. 50 CITIES. LET’S COME TOGETHER

Film. Music. Art. People. This is not just an event. This is not just a film festival. This is a global cultural movement.

For more information on events taking place near you in November: http://www.futureshorts.com

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Almaz Collective presents On/Off, featuring 9 of Myanmar’s leading contemporary artists: Aung Pyi Sone, Maung Day, Moe Satt, M.S.O, Nge Lay, San Min, Than hay Maung, Thu Rein and Wah Nu, practicing contemporary art since three different eras of Myanmar history (1974 until now), join together to display installation, video, photography and performance. Two days of performance and art talk, to introduce you to the new explosion of art in Myanmar.

“The name “On / Off” refers to the quick moment between when something is switched on and switched off. It is not permanent nor a period of time one can prepare systematically. What one can see, hear, feel or interpret within a moment between when something is opened up and closed again is paramount. Just a short plotted incidence between the audience and artists – we share the moments together.”

Moe Satt – Curator

Almaz collective goes into a mission : meet with the young Myanmar art scene !
Raphael Olivier came out with a photo presentation of Yangoon underground Hip-Hop Scene

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http://static.ning.com/socialnetworkmain/widgets/music/swf/MusicPlayer.swf?v=201012232039
Find more music like this on The Official Fanclub of Myanmar Hip Hop Association
And Vincent Baumont with a video about contemporary art:

Let the artist talk :

“Almaz Collective was kind enough to offer up the space between the 7th Floor and the roof top for me to do the first in an ongoing series of drawing experiments. I arrived in the early hours of a Sunday morning, and drew slow and steady on the wall until I reached the very top of the stairwell.

The project requires a pencil, a pencil sharpener, a stairwell and some patience. I’ve been thinking about this Vietnamese saying “Muon di xa, phai di tu tu”, which means “If you want to go far, you have to go slowly.” I’ve been sticking to the belief that making things, or specifically, drawing things, has the capacity to make you a better person – more patient, more careful, lighter, and cleaner. I think I’m sort of testing out this theory of transformation, making the act of drawing make me go up, through physical space, and through spending time.

This also is about being in transition – of figuring out how to make space, how to make my way to a destination. I’ve since tried out the drawing in different homes in Hanoi. Pham Ngoc Duong’s and Tuong Linh’s house in Gia Lam, and Nguyen Thao’s housing block in Vinh Phuc. The drawing lets me inhabit different places, be quiet and listen to them.

Thao helped me out by relating “muon di xa, phai di tu tu” to the title of Hanoi Painter Ha Tri Hieu’s exhibition “Đi thì thành đường”. This saying is a bit difficult to translate, but it basically means that “in going, one makes their own path through the street.” The doing is the means and the way.

Clearly this isn’t all thought through, but I’m very glad to have been able to start this project at Almaz. How to make sense of making this drawing at a former brothel inhabited by artists and ex-pats? I’m not sure yet!”

Gabby Miller

The golden age of hip-hop is dead, yet it is now part of the official culture in western countries. Urban styles, underground music and the freedom it brought with it has changed into MTV culture, commercial music and short-lived artists.

But what happens in countries that have just recently opened to hip-hop? A young generation that has grown up with the internet and satellite television has chosen from the treasures of this well-established culture, and have interpreted them in their own ways. In Czech Republic hip-hop has now become popular, especially for kids from the gray, underprivileged outskirts. They found in it a means of expression to reflect, in their own words, the difficulties of their own lives, the minor and major trifling business of daily life, as well as their dissatisfaction and anger that comes with the contradictions of a changing society.

These are scenes that come from Prague and its outskirts, not Los Angeles. No ghettos, no gang wars, no guns or racial issues. The entire scope of the art form, when transplanted to a place as remote from the originating point, is different.Of course it cannot be compared directly with the culture that has come from the violent streets of the US. Still, you can see an incipient struggle, through language, for a search for identity.
Certainly an unlikely hybrid, this transposition from Los Angeles, New York, Atlanta, so on, to the ancient and alien culture that exists in the Czech Republic. Yet this is what makes the film fascinating: how, why does hip-hop take hold in such places.

“Here we are not too gangster,” Pavel Abraham, the director of Ceska RAPublica told Radio Prague on December 5, 2008. “We like to talk about enjoying life, about the simple things in life, like you know, the most important things, like love and so on.”

When comparing Czech rap to European hip hop from other countries, Abraham said French or Polish rappers were more socially conscious and “a lot braver.” When Czechs rap, it is “more an occasion to express something funny, or something poetic than some sort of idea or ideology.”

Czech people are famous in eastern europe for their irony, not their riots. It’s their own way to fight, and they’ve always used this as a weapon against intolerance. Pavel Abraham, director of Ceska Rapublika, uses his unique style of documentary film making to confront traditional Czech culture by focusing on the new generation’s enthusiasm for hip-hop. For him, reporting and documenting is not enough. He also plays a sort of game with the real life characters, Hugo Toxx, Orion, James Cole, all famous Czech rappers, that shows their views on social and political issues in a different light.

Picture a meeting between Czech rappers and a professor of linguistics, or classical musicians, even old villagers and kids from gipsy ghettos? It’s not so much a movie about the hardcore lives of these artists as it is about the absurdity – about playing with the absurdity – of the cultural gap between two generations, as well as how that gap can be bridged.

The documentary is in czech with english subtitles. Screening at Almaz, last floor (no elevator). If you can, please bring your pillows, or rug, or couch…

vietnam works to live
vietnam works old into new
work makes piles of trash

come see almaz’s trash
the piles of trash in almaz
reflect work’s glory

Brian Webb