Ibunka is a poetic collaboration, a sound poetry performance of Zuzana Husárová & Steven J.Fowler.
It was perfomed in Paris at the Societe de Curiosities on the Rue de Cligancourt, curated by Martin Bakero, the Festina Lente sound poetry festival took place on March 7th 2015. The term “Ibunka” means “Deviant Culture” in Japanese, in Slovak, “bunka” means “cell” — so we want to refer to a deviant culture/deviant cell.
This is my first duo collaboration with Steven Fowler, an extremely talented, hard-working, amusing, bright and always funny British poet & martial artist, who walks this poetic universe with the same mind-set and spirit. These are Steven´s words as he put them on his website: “Zuzana is about what I am about. She is forward thinking, discerning, works incredibly hard to develop expertise while always being hungry to learn and grow, and go outside of her comfort zone. Moreover she is funny and humble and a joy to work with. We developed Ibunka conceptually and then, in person, reconstructed it completely, to draw upon my background in grappling martial arts in order to facilitate a physicality in performance that was never violent, never overbearing or threatening, or overemphasising my maleness over her femininity. This is so so hard to achieve, and I believe we did achieve it, creating something playful, playfighting, energetic but still serious and considered. Her technical brilliance underpinned the work, for its first act and I’m sure it’ll be the first of many times we work together, in our collective TRYIE, hopefully all over Europe.”
This is a whole video footage of the performance:
These are highlights cut into a 2 minute video:
These are postperformance shots and a preperformance setting up of my technology
In his article On the Psychology of the Uncanny from 1906 (which inspired Freud to use the term Uncanny), Ernst Jentsch describes the concept of uncanny as related to the inability to distinct between animate and inanimate. And I especially like how he starts implementing poetry there and poets! I recorded the following lines and we played it as we were fighting.
“Among all the psychical uncertainties that can become a cause for the uncanny feeling to arise, there is one in particular that is able to develop a fairly regular, powerful and very general effect: namely, doubt as to whether an apparently living being really is animate and, conversely, doubt as to whether a lifeless object may not in fact be animate – and more precisely, when this doubt only makes itself felt obscurely in one’s consciousness. The mood lasts until these doubts are resolved and then usually makes way for another kind of feeling. […] Conversely, the effect of the uncanny can easily be achieved when one undertakes to reinterpret some kind of lifeless thing as part of an organic creature, especially in anthropomorphic terms, in a poetic or fantastic way. … Fantasy, which is indeed always a poet, is able now and then to conjure up the most detailed terrifying visions out of the most harmless and indifferent phenomena; and this is done all the more substantially, the weaker the critical sense that is present and the more the prevailing psychical background is affectively tinged. […] It is a favoured and quite banal trick to come up with the most hair-raising things and then to reveal all that happened to the reader in three lines at the end as the content of a wild dream vision – favoured, because in this case it is possible to push the play with the reader’s psychical helplessness very far with impunity. Another important factor in the origin of the uncanny is the natural tendency of man to infer, in a kind of naive analogy with his own animate state, that things in the external world are also animate or, perhaps more correctly, are animate in the same way.” Ernst Jentsch: On the Psychology of the Uncanny