We asked our participants to write about their experience and give us feedback on what we could improve. This is a selection of “voices” from the two Kolt we organized in 2010, KOLT Skärkäll and KOLT Riddu.
Overall it was an opportunity for me to test the new collaboration and artistic expressions. I am very grateful for that. Being where we were, Bottna, Skärkäll and Grelesborg, also gave very valuable input. It had a crucial role in the project I undertook, FOREVER UNTILL THE END. It had not been created in some other place, since we used nature of our work.
We also spent more than 20 hours walking up and down the road and talk about what we were doing. These talks we had would certainly not been able to be held as well in an apartment in Gothenburg and the final result probably would have become more predictable and less stimulating for me and my work.
I felt that the week started slowly and with time to think freely and in the end turned into a creative explosion where I went from practical work, show to show. I conducted five very different performances in 2,5 days. This is something I do not have the opportunity to do very often, and probably would not be able to last very long but it was incredibly rewarding to experience. When I left Skärkäll I brought with me a power and energy that led me to seek greater challenges. A newfound strength from working as closely with these amazing people while breaking ground in my own work.
I have participated in a number of Kolt´s since 2007. I definitely want to keep coming to Kolt. Since I work much alone during the year, this is an opportunity to share experiences and get input and to discuss. From having gone from an environment where all are artists or works with performative art to where I am now in the context in the years to become Kolt an invaluable environment for exchange and fellowship.
The last day of Kolt I was in doubt as to why I do this. I find it hard to live close to other people, difficult to work without a studio (which I chose to do at this Kolt), difficult to discuss. Now in retrospect, I realize how this challenge, teach me so much. Possible because of the difficulty, it allows me to face my limitations.
It has been magnificent to experience all these very different, but still similar, cultures. Similar in the way of how we how we where together and somehow understood one another, making good social chemistry. Personally I feel that we here in Greenland do not use our own cultural material enough, after seeing other cultures bringing their clothing and music to use while showing their own ways of express themselves. That inspires me to use my own Inuit materials more.
At Kolt I have met many great people that I can build strong relation with and work creative with.
Hey, the experience of KOLT was great!
I can assure that me and Banhi-re loved what we have been thought through participating at Kolt Riddu. If I could suggest something I think you should send the information on Kolts methods in advance. It would give some directions to what we should pay attention to during the Kolt before we arrive there.
One of the things that make Kolt so creative is this special space where the 'piece' or product or output is not the main focus of the project. What I personally found very good was that this was mentioned in the very beginning of the Kolt. This allowed us as artists to float more freely, to interact, to network, to create new methods without, the often so heavy pressure, of focusing on the product.
One fundamental idea of Kolt is the interdisciplinary working space, where traditional border lines between performing arts, visual arts and contemporary art are being crossed freely. This creates interesting situation because artists from different art practices view things from very different perspectives.
I think I got a lot of new thinking in my artistic practice during Kolt Riddu and I'm curious to see where it leads me.
Kolt Riddu was a learning session, and a nice mix of challenges and being seen for what you came with. It was god to meet others who worked with their own creative processes and the fact that I learned more about my own work by putting it in relation to other process.
The social part of the meeting stand out as very important and very rewarding.
It was good to have time and the surrounding nature at Skärkäll, where we could engage to work and discuss together with Katja. It was also great to be involved in other peoples' processes and see their work at the festival.
I felt that I and Katja struggled to find an “appropriate” way to share our work in this context. Better way in this context might have been to change the original plan and work for the week specifically in order to create a piece for the festival, as Carl Oscar and Jonathan decided to do. Now we aimed to commit to an ongoing open-ended process, but couldn't find a way to share with the Kolt group fluently (for example more often) the small discoveries and thoughts and let those resonate and be questioned by the group and that way exchange thoughts. It felt hard to find space for more subtle sharing in this Kolt, as the focus shifted towards presentations.
However it was good to understand, why it might be challenging to share a particular process. These kind of meeting points for artists are interesting because, even though they are sometimes challenging, the challenges create growth, exchange and thinking processes.
All in all it was good experience. It was inspiring to find out about the sort of community that there is in Skärkäll and Botnik Studios.
To get almost one and a half weeks of warm and wonderful artists from around the world was amazing! I feelt I wanted to be a sponge and have the time to learn as much as possible of all participants, and I know I will carry with me and experience them in my heart.
Something I had not expected of the process, was that I would learn so much about myself, and about my own creative process. It became very clear to me how I was used, and liked to work and also what things I need to work on. It became so clear when I had the opportunity to work with artists from other art disciplines and who had completely different approach.
Specifically, it became very clear how we were inspired by each other in the selection of projects we did. The project I was involved in the starting point came from one of the other participants' culture. One of the first days we watched a movie of a traditional ceremony, which was a huge inspiration. To hear other participants' experience of climate change was also very strong, and a great inspiration.
If I get a similar opportunity again I will jump on it immediately!
The first week's arrangement with short group work was a good way for getting to know the other participants, and a great way to learn to work with other expressions and to go beyond their limits.
There are many advantages of going into a project playfully, sketchy, and to find new forms of collaborating whilst learning about other artists. The disadvantages are that no one can plan their projects in advance. This can create difficulties in finding materials, providing techniques and equipment, therefore you become locked, limiting their ideas and expressions. This is also discussion of what results you would expect from the workshop.
If the “results” are meant to be seeds sown for future work, sketchy work is an excellent form. Then perhaps we might be able to some form of follow-up?
To arrange a workshop at the same time as a big festival is positively and good forum to show what they have worked with during KOLT.
Unfortunately it lacked in the information. We should have had time to for the performer ready at an earlier stage. We should also have had a corner with information about next exhibitions, etc. Everything must be so much clearer when competing with so much else, as you do in a festival.