Over the weekend of February 8-9, 2020, I attended the third iteration of Animation First at the French Institute Alliance Française. It was also the third time I’ve attended the event, but looks like the first time I’ve written about it. As with the previous two events, I enjoyed myself and the animations.
Here are a few of my highlights and a few photos at the end.
Louise by the Shore
The feature-length film I watched was Louise by the Shore (2016), by Jean-François Laguionie, the guest of honor. It was a movie about remembering the past and living simply.
Animated Shorts, by Jean-François Laguionie
I also watched a series of Jean-François Laguionie‘s early animated films, which had been recently restored and digitized. His works were both hand-drawn and stop-motion, such as the example below.
The animation style was relatively rudimentary, compared to today, but the stories were really good. I saw some student works and I’d say one of the key differences came down to telling a good story over technical ability.
The video below needs no translation.
Lorenzo Mattotti: Panel Discussion and Illustrations
I also attended a panel discussion with Lorenzo Mattotti, who recently directed The Bears’ Famous Invasion of Sicily. He has also been an illustrator for New Yorker magazine for many years and examples of his magazine covers were on display.
After the talk, he signed books. Those lucky people got a sketch from him, right there on the spot. Amazing.
I wanted see the The Swallows of Kabul but it came on right after Louise by the Shore. I didn’t want to sit for back to back films and I wasn’t in the mood for something super heavy. Hopefully it will be released in the US, soon.
What got me interested in this topic was a video I watched about a rural Japanese town where pretty much the only people left were older residents; many young people had moved to big cities.
Despite everyone being 65+, the residents still try to maintain an active way of life. The video comes from two researchers focused on a study centered on “active” aging — “active” being a term created by the World Health Organization. You can read more about “active aging”, the Global Age-Friendly Cities Project, and also download the brochure on their website.
Being Old in Rural Japan
Synopsis: The story portraits two single-living seniors: the 84-year-old Shimako, a former farmer wife, with a husky deep voice, who still grows vegetables. She regularly meets her neighbors for tea chats and joins the village choir and gymnastics course. Her biggest passion however is gateball, a very popular senior team-sport in Japan, similar to croquet. And there is the 93-year-old Genichi, the oldest man in his village with driving license, who hates sport but loves composing short poems (tanka) on daily events. As he enjoys his freedom in old age, deciding for himself when to get up and when to work, he refuses to live with his son’s family. Also he still cultivates his agricultural field for self-subsistence.
I thought it was a fascinating video. It’s about 35-min long, in German with English subtitles.
The talk was co-organized by New Food Economy; Design and Urban Ecologies, Parsons, The New School for Social Research; and Slow Food New York City. Presented at the Japan Society as part of their Innovators Network.
Our first speaker was Richard McCarthy, from Slow Food USA. He went to Japan to discuss and explore rural strategies through the Innovators Network. There was a moderated discussion following the presentations, led by Kate Cox, New Food Economy editor.
Rural Japan and Kuni
The Japanese speaker, Tsuyoshi Sekihara, is an artist who is involved in rural Japanese development. He was sharing the concept of Kuni and how it developed.
It’s easier to show the manifesto rather than explain it.
Explanations of Kuni:
Rural US and the Aspen Institute
I learned a few interesting facts from the Aspen Institute speaker, Janet Topolsky, focused on Rural Development Hubs:
About 49 million Americans live in rural communities
Over 50% of the Native American population live in rural communities
The top industries in rural areas are: education, health, and manufacturing, in that order
Seems like there are a lot of business opportunities in rural areas for creative entrepreneurs. Rural areas tend to get overlooked. Traditionally, businesses focus on scaling up. Rather than focus on scalability, the speakers suggested focusing on penetration. That is, what percentage of a population is using your business.
Marketplace, on NPR, recently discussed the lack of broadband access in rural Georgia.
A lot of rural America is a desert when it comes to high-speed internet access. And that’s a drag on economic growth: Communities without broadband have a hard time attracting new residents and businesses…
Another problem rural communities have is dwindling populations. Here’s a recent CBS Sunday Morning video about the population struggles of small towns in Japan, now facing extinction, as the country’s overall population decreases from a peak a few years ago. For instance, in the town featured in the video, the school’s 6th grade class now only has 6 students, down from dozens.
The video above reviews some of the more creative and technological solutions Japan has invented. Ideas range from repurposing malls to senior centers, to high-tech mausoleums, to robots — Japan likes robots — officiating weddings due to a shortage of monks. Lot of interesting concepts to think about.
Now that I think about it, this story of rural villages populated by an aging population reminds me of Tokyo Story, by Yasujiro Ozu.
I’m taking a break from all this portfolio stuff to talk about something fun I got to do recently.
Over the past 2 years or so, I have been learning about Japan and Japanese culture. Going farther back, I’ve been interested in Asian cultures for many years, having joined Asia Society Texas many years ago.
Japanese society being what it is, there are many ceremonies and rituals when a new emperor ascends the throne. They involve, among other things, music. And the fun thing I go to do recently was attend a performance of Japanese court music.
The United Nations Educational, Scientific and Cultural Organization (UNESCO) provides the following description for Gagaku:
Gagaku, characterized by long, slow songs and dance-like movements, is the oldest of the Japanese traditional performing arts. It is performed at banquets and ceremonies in the Imperial Palace and in theatres throughout the country, and encompasses three distinct arts. The first, Kuniburi no Utamai, features ancient Japanese songs, partial accompaniment by harp and flute and simple choreography. The second consists of instrumental music (especially wind instruments) and a ceremonial dance developed on the Asian continent and subsequently adapted by Japanese artists. The third, Utamono, is danced to vocal music whose texts include Japanese folk songs and Chinese poems. Influenced by the politics and culture of different periods over its long evolution, Gagaku continues to be transmitted to apprentices by masters in the Music Department of the Imperial Household Agency, many of whom are the descendants of families with deep roots in the art. It is not only an important cultural tool in confirming Japanese identity and a crystallization of the history of Japanese society, but also a demonstration of how multiple cultural traditions can be fused into a unique heritage through constant recreation over time.
Here’s UNESCO video on Gagaku:
Essentially Gagaku is the entire performance and Bagaku is the dance.
There are 3 types of musical instruments: Wind, String, and Percussion. I’m not sure if all of these instruments are included in every Gagaku performance, but these were listed in my program.
These are the wind instruments.
Gagaku translates to “elegant music” and that’s probably the best way to describe the sound of the Shô. You’d probably recognize the sound if you heard it. It’s a “mouth-organ”.
When I was watching the performance, the shô players rotated their instruments over some kind of urn. I thought it was something to catch extra moisture, like spit-valves in trombones. I learned from the video below that the shô has wax inside where the mouthpiece is located and these urns have small pieces of coal in them, which the musicians rotate the shô over to heat up the wax.
The Gakusô is a type of Koto, which is a 13-string instrument and is the national instrument of Japan. Modern kotos are derived from the gakusô used in Gagaku performances. I couldn’t find a great photo, but the wikipedia article where I found this info is interesting.
The yamatogoto, or wagon, is another type of Koto. But it usually has only 6 strings or so. It’s also considered fully native to Japan, unlike the other types of Koto which were imported from China.
Shôko is a kind of small, metal gong that sounds like someone tapping a iron/stainless steel skillet with a drumstick. The taiko is a kind of large, hanging drum. It’s struck with big, padded mallets. The kakko is a double-headed drum that’s beated with skinny drumsticks. (Shakubyoshi look like 2 wooden sticks. To be honest, I don’t remember these but maybe I was watching something else.)
These are photos I took after the performance. The theater lights helped them turn out really well! 🙂
Our program didn’t include much information about the dancing portion, but UNESCO comes through again. Here’s a video that goes much more into the dance portion of Bugaku.
When I was there listening, I felt like I had been transported into a Kurasawa film. In particular, “Dreams” from 1990. And specifically, the scene in the peach orchard when all the dolls come alive.
I love this movie a lot but I have found throughout the years that this particular scene is very difficult to find online (for free).
However, the trailer for the movie is available. The only problem is that it’s set to Vivaldi’s The Four Seasons, Invierno and La Primavera. (Violin Concerto in E Major, Op. 8, No. 1, RV 269, “Spring”: I. Allegro; and Concerto No. 4 in F minor, Op. 8, RV 297, “Winter”: III. Allegro.) It’s not bad music, but it’s not Japanese.
Anyway, if you are looking for more information on Gagaku and Bugaku, here’s some information:
I have a lot of thoughts about the idea of “culture fit”, because rarely is culture so clearly defined in a company. I think most companies use it to discriminate and/or to try and get away with bad behavior.
Two Stories About “Cultural Fit”
There are 2 stories I think about when I hear about companies hiring for “culture fit”.
I will never forget this talk because something she said was so relevant about why diversity is important. She said: if everyone is the same, it means they can all fail the same way.
As a new member of her company’s engineering team, she came in with a bit of a non-traditional background, which gave her a different perspective when approaching problem solving. In her example, she explained how she solved a critical error that all the other experienced team members failed to recognize because they all thought about the problem in the same way. Her value to the team was not her skill as a developer. Her value was her knowledge about their customers. It was that unique perspective that allowed her to view this critical problem differently and find a solution that everyone else missed.
Story Two: What is your culture?
The second story is my own experience from job hunting. A few years ago, I was on a call with a creative director and the CEO/President of a small e-commerce company selling men’s clothes. As I talked to them about the role and what they were looking for, they revealed that they’d spent a long time looking for the “right person” who could fit into their culture. When I asked them how long they’d been looking, they told me 8 months. (8 months!?)
When they told me that, I realized they didn’t know what they were looking for and all this time they’d come up with some type of excuse to eliminate candidates from their list. And I basically told them that it sounded like I was unlikely to get the job. I even asked them, what was special about their culture. They couldn’t articulate any details about their company culture that made them any more unique compared to any other company.
So what is culture anyway?
I love going to cultural events. It’s such a great way to learn about people and different parts of the world, without actually traveling and spending money on a trip. 🙂
Culture is the combination of art, language, food, dress, religion, music and social rules of a society. Here’s what Wikipedia has to say:
Culture is an umbrella term which encompasses the social behavior, and norms found in human societies, as well as the knowledge, beliefs, arts, laws, customs, capabilities and habits of the individuals in these groups.
Humans acquire culture through the learning processes of enculturation and socialization, which is shown by the diversity of cultures across societies.
A cultural norm codifies acceptable conduct in society; it serves as guideline for behavior, dress, language, and demeanor in a situation, which serves as a template for expectations in a social group. Accepting only a monoculture in a social group can bear risks, just as a single species can wither in the face of environmental change, for lack of functional responses to the change.
I think companies neglect the second paragraph: enculturation and socialization. Enculturation is the process by which people learn the dynamics of their surrounding culture. Socialization is the process of internalizing the norms and ideologies of society.
The first question to ask is whether a company is truly aware of their culture, and the second is if they have a plan to help new employees learn it. All companies have a culture, but do they recognize the elements of their culture enough to help new people learn them.
With so many companies cutting back on HR departments, I wonder how many of them have truly invested in the process of enculturation and socialization to help people learn and internalize the culture of their workplace. And have they considered how much time they’re willing to allow for assimilation to happen. My guess is too many employers are looking for exact matches, which makes no sense because the only way someone would have a company’s exact culture is if they already work there.
Is “cultural fit” just an excuse for bad behavior?
To be totally honest, when I hear people talk about “cultural fit”, what I think they really mean is:
Will this person complain or push back at working nights and weekends?
Is this person going to get offended at our sexist jokes?
Can we drink in the office or have bottles of liquor on the desk?
Can we swear like pirates at work?
Can we get away without a true HR department?
Maybe in some cases, it’s Will this person turn us in for doing something illegal?
But I think what they’re really asking is: Is this someone we can control? To some extent, that’s a fair question. On the other hand, is anybody asking, controlling for what?
Same Words, Two Deliveries
I sometimes think companies try to squeeze the individuality out of their employees, so that they can all become the same type of person over time. For that, let me share an example from Shakespeare (aka culture).
What I love about this is that despite the words being exactly the same, the director gave them the freedom to express their own versions of the character. The video is under 12 minutes, so it doesn’t take long to view.
This example is kind of the embodiment of what I wish companies would really get about “cultural fit” and diversity. I really don’t think the question to ask is ‘Do you fit in?’ To me, that list is pretty short:
be pleasant to be around
don’t do illegal stuff at work or on behalf of the company
It shows a theater company that has hired two accomplished actors who can do the same role and speak the same exact words, yet their individual and diverse perspectives are what brings value to their performances. It also shows that the theater company, either at the same time or at different times, not only values the diversity of a heterogeneous theater troupe but they also recognize that their audience does too.
I hope that for-profit companies can also get to a place where they value that some of their employees will express the company culture differently than others, or express different aspects of the company culture at different times — and they’re OK with that. They’re still getting the job done, but the uniqueness each person brings to the job is still valued and ultimately will be a benefit to their company and their customers.
And just for fun, here’s Al Pacino doing the same scene:
A quick search for fonts that look similar to fire-writing, the handwritten font J. R. R. Tolkien invented in 1953.
I recently attended the Tolkien: Maker of Middle Earth exhibit at the Morgan Library, and I wondered if anyone had created a true Tolkin-esque font. I did a search for fonts that look similar to fire-writing, the handwritten font J.R.R Tolkien invented in 1953. You can see an example on the exhibition web page. My findings are below.
There are plenty of runic or “elvish” fonts, but I was only looking for Tolkien-esque fonts that resembled fire-writing.
A few weeks ago, I attended a few screenings at FIAF, the French Institute-Alliance Francaise. I go to many of their events and I was really excited to attend this one because I love animation. I have been watching French films for years, and I find them refreshingly diverse and smart.
The weekend was a collection of film screenings, including feature-length animations and shorts, as well as talks, an AR gallery, a VR gallery, events for kids, and an opening night party. And the event planners at FIAF ended up adding additional screenings and events.
When I heard about the weekend event, I wrote down a whole list of films I wanted to see. Unfortunately, I only ended up going to a presentation of 3-D short films, followed by a short talk, a feature-length animation, another talk, and I viewed the AR gallery. I also got a free poster.
My initial list of films included: Miniscule, The Red Turtle plus a talk, a few 3-D short films, Last Man, Renaissance, Day of the Crows, more short films, and probably another talk. I ended up only seeing Day of the Crows, as well as the 3-D films I mentioned above.
It may be possible to see some of these films above, but Day of the Crows did not seem to be currently available in the US, which is why I wanted to see it. Here is a French trailer with German subtitles.
I spent time looking for some of the names for short films, so I could try and watch them later. Here are some I found. I cannot remember which list they came from, so they might be a little disjointed.
René Laloux in 1987 | Comment Wang-Fo fut Sauve / How Wang-Fo was saved
René Laloux |Les Dents du Singe (The Teeth of the Monkey), 1960