Review by Professor Dr. Irmgard Merkt

The Superraum in Dortmunder Brückstraße stands for interculturality and inspiration. On March 24, 2024, both were impressively con firmed. On the occasion of the Nowruz festival, the New Year and spring festival celebrated by approximately 300 million people from Iran to Turkey and recognized by UNESCO as intangible cultural heritage, the THINKUP Connectivity network together with THINK UP Editions organized a “Festival of Resilience and New Beginnings”. The core of the event were four short films, one each from Japan and Italy, and two from Iran. The thematic focus in each case was on girls and women. Short films, as short stories, sometimes have fleeting, sometimes lasting effects. The four films shown each refer in different ways, and in any case, significantly to the blending of self and other energy, of dependence and development. “Natsu Dance”, Japan, screenplay and directed by Teruyoshi Uchimara, addresses not only the emancipation of the girl through her development into a member of a dance group, but also that of the father, who struggles with himself and his ideas and ultimately gives his daughter permission to participate.

“The Last Party”, Italy, screenplay and directed by Matteo Damiani, is a enchanting film about two sisters who encounter each other anew in their old age.
“It’s never too late to find each other and to dance” – more shall not be revealed.

“Katvoman”, Iran, screenplay and directed by Hadi Sheibani, awarded in France, deeply shocks with the dimensions of violence against women and immediately raises the question of the efficacy of art, as does the film “Water.Wind.Dust.Bread”, Iran, screenplay and directed by Mehdi Zamanpour Kiasri, which, as a documentary, equally engages with the fate of a boy with physical disabilities and girls in the Afghan border region who are unable to attend school due to political circumstances. Four films, four such different realities of girls and women – and all are present. A rich and enduring evening at the Superraum.

 

Born in Munich, Professor Dr. Irmgard Merkt, affiliated with TU Dortmund, embarked on her journey into German music education following her studies in opera singing. Transitioning to music education for grammar schools, she earned her doctorate in 1983 with a pione

ering dissertation on intercultural music education. Throughout her career, Merkt held diverse academic roles, notably contributing to inclusive music education for individuals with disabilities and spearheading initiatives such as “InTakt” and “Dortmund Model: Music”. Her tireless advocacy earned her prestigious recognition, including the Order of Merit of the Federal Republic of Germany in 2020, solidifying her status as a pioneer in the field.

Merkt’s influence transcended academia into practical projects focused on enhancing diversity and accessibility in music education. Even after her retirement in 2014, she remained committed to inclusive education, playing a pivotal role in the “Network Culture and Inclusion” from 2014 to 2021. Professor Dr. Merkt has been honored for her exceptional contributions to the musical life in North Rhine-Westphalia through the annual awarding of the “Silberne Stimmgabel” in 2016 by the State Music Council of NRW during its general assembly. Her profound impact on music pedagogy continues to inspire educators and musicians, shaping inclusive music education for future generations. We were honored to welcome Professor Merkt to our event, where her critical insights sparked lively discussions and provided valuable perspectives to all attendees. Her contributions enriched the experience, fostering open and constructive dialogue, and we eagerly anticipate benefiting from her expertise in the future.

 

Review by Shahram Karimi

The short films presented themselves at a professional level, with “The Last Party” particularly standing out for its precise portrayal of the theme and landscape, as well as successful post-production. Despite their brevity, the films masterfully addressed aspects such as patience, tolerance, and the joy of life. In particular, the short film “Katvoman”, one of the young filmmaker’s first shorts, offered an engaging and cinematic portrayal that also addressed the challenges faced by Iranian women and women in general. An impressive portrayal of a mother highlighted the pragmatism necessary to protect children from patriarchal violence in backward societies.

A tragedy between dance and life, presented through a culture of acceptance that acknowledges reality and continues life, even amidst unrequited love. The bond between a father and his adolescent daughter was emphasized, with home always serving as a place of return and comfort.

The documentary “Water.Wind.Dust.Bread” portrayed the lives of nature-bound people who lead a tough yet simple life despite their challenges. The portrayal of a disabled child who still performs all necessary tasks illustrated the love and support within their environment. This approach underscored that life is not defined by external circumstances or formal documentation but rather by the relationships and experiences it offers.

 

 

Born in Shiraz, Shahram Karimi’s artistic journey reflects Iranian culture. Initially a painter, Shahram transitioned to film, collaborating with figures like Shirin Neshat and Shoji Azari. His work on “Desert Dancer” showcased his eye for detail. Devoted to painting, Shahram’s art is a homage to his homeland, blending past and present with Persian poetry. Traveling between Germany, Iran, and the US, he continues to bridge cultures through his art, celebrating humanity’s diversity. Aside from his film projects, Shahram Karimi is recognized for his work on “Empty Nets” (2023), “Logic of the Birds” (2002), “Windows” (2006), and “Open the Door” (2021). These works reflect his relentless pursuit of new forms of expression as he explores the boundaries between art and life, past, and present.

 

 

Review by Prof. Dr. phil. Makiko Hamaguchi-Klenner

The NATSU DANCE (NATSU ZORA DANCE 夏空ダンス) focuses on the relationship between a father and his daughter. The father, portrayed by the director himself, strives to revitalize his hometown in Southern Japan after it’s been ravaged by earthquake and flood. However, he’s disheartened to learn that his talented daughter, along with many others in the town, desires to leave and seek a better life in larger cities.

The film paints a picture of a traditional Japanese family dynamic, where the mother manages household responsibilities while the father holds authority in decision-making. The protagonist, NATSU (Summer), a skilled dancer, has injected vitality into the desolate town but now yearns to depart. In the past, the father might have insisted she stay.

 

Yet, in contemporary Japan, many housewives earn their own income, even through part-time work. Their voices carry weight in family matters, and husbands have come to value not just their wives but also their daughters, who deserve promising futures. After reflection, the father not only permits NATSU to pursue dance lessons in Tokyo but also welcomes her return should her endeavors not thrive.
In Japanese, “NATSU ZORA DANCE” translates to “Summer Sky Dance”. “空” means “sky” and implies that the dances took place in open air, while “夏” (Natsu) refers to both her name and the season during which they danced. “ダンス” (dannsu) represents the English word “dance”, and “空” denotes sky.

 

“The Last Party” focuses on the relationship between sisters, delving into the intricate psychological dynamics that require time to unravel. Despite their mutual love, differences in mentality, preferences, and lingering competitive feelings from childhood hinder their ability to openly express affection. It’s a journey where they must each live their lives and experience loss before they can authentically reveal their true emotions to one another.

 

The “Katvoman” focuses on the relationship between a mother and her son, with domestic violence (DV) as its central theme. While the father’s presence is acknowledged, his role in the film is relatively minor. Domestic violence, whether physical or verbal, remains a prevalentissue worldwide, albeit more prevalent in certain regions. Viewers may question why this cycle persists. The intimate bond between mother and son serves as a key insight. The mask she wears to conceal her scars becomes symbolic of the secret she keeps from her son. Perhaps she should have revealed her scars, explaining that conflicts between parents are inevitable, and he shouldn’t take sides without understanding both perspectives. Importantly, he should never resort to violence against his future spouse, but instead, respect her as an individual. Failure to impart such lessons could perpetuate psychological harm, leading the young boy to replicate his father’s mistakes.

“Water, Wind, Dust, Bread” was challenging to discern the central theme of this movie as it addressed numerous issues: poverty, limited educational opportunities, the affection between a boy and a girl, and the boy’s disabilities, among others. However, viewed through the lens of women’s emancipation, the film primarily revolves around the relationship between a privileged boy and a less fortunate girl. The girl, unable to attend school due to a lack of birth certification, forms a close friendship with the boy and assists him with daily farm chores. By the film’s conclusion, it seems improbable that the girl will ever attain the same privileges as her counterparts in more developed areas. Despite the boy’s kindness, he does not teach her to read or write, preferring independence and refusing her assistance. This behavior hints at a potential future where he may become a dominant husband, despite his kindness. The discrepancy between genders appears especially pronounced in impoverished regions of the world.

 

Prof. Dr. phil. Makiko Hamaguchi-Klenner, Political Sciences, Born in Tokyo in 1949, spent her childhood in California before delving into Chinese Affairs through studies in Tokyo and Singapore from 1969 to 1974. With a passion for East Asian Politics, she shared her expertise as a lecturer at Ruhr-Universität Bochum from 1991 to 2015. Alongside her academic career, she actively engaged in global discourse, attending World Women Congresses in Prague and Moscow, contributing to discussions on gender equality and societal progress. A staunch advocate for gender equality, she brought a unique perspective to her academic and activist endeavors. Makiko’s dedication to bridging cultural divides and fostering dialogue continues to inspire positive change worldwide.