conversations in ten questions 85: Simone de Jong
© Kamerich & Budwilowitz - Eyes 2
The programme of this year's sixth edition of the festival includes opera for babies, dance for audiences aged 7 and above, theatre and pop-up performances. From 22 November to 8 December 2024, performances by ensembles from the United States, Denmark, France, the Netherlands and Ireland, as well as Atta Festival's own and co-productions, will be staged at Alan Kadıköy, Arter, Caddebostan Cultural Center, Hisar Schools Cultural Center and Kadıköy Barış Manço Cultural Center in Istanbul. A show from the festival will also be a guest at the Municipal Palace of Arts and Culture in Eskişehir.
In our "conversations in ten questions" series, we welcome Simone de Jong, one of the festival guests. Founded in 2015 in Amsterdam to ‘produce works based on movement, music and imagination’, Simone de Jong is the artistic director of the Simone de Jong Company. Jong was trained in modern mime/physical theatre and music theatre. She has taught professionals (in Egypt, Belfast, Munich, Arnhem and Amsterdam) and children, and is the author of two novels for children. A strong believer in the interplay between teaching, performing and writing, Jong believes that meeting children is the fuel for creativity.
With the cooperation of Alan Kadıköy, Kadıköy Municipality and Das Das, Simone de Jong's 2016 show Hermit will be staged in two sessions on Saturday 7 December at Alan Kadıköy and Sunday 8 December at Das Das with the support of the Kingdom of the Netherlands.
What do you think is the essence of performance?
Energy. Connection. Attention. Sharing a truth.
Do you believe in the transformative power of art? In what way?
I think that if you are creative and learn to use your imagination, you will be a better human being. Cause you learn to feel and see what other people see and feel. And it enables you to disappear every now and then into an imaginary world.
Art lifts me up, gives me hope, makes me see the world from somebody elses point of view. Consoles…
When you are working on a piece, what sources inspire you? Do dreams play a role in your work?
Scenes from daily life from a child’s point of view. Books, things I experience while teaching children theater. Memories.
I tend to forget my own dreams as soon as I wake up…
I do like to make dream scenes in shows, cause they have their own strange logic. We adults often want to do everything from our conscious minds, while the subconscious is also very important.
When do you decide to give a piece you are working on a title if it does not already have one?
As late as possible ;-)
Is there an artist or person who you think has influenced your art the most? And if so, who?
Not one…
Laurie Anderson, David Lynch, Federico Fellini, Josephine Baker, Janelle Monáe, De Jeugd van tegenwoordig, Rosalía, lots of amazing choreographies and theater, flamenco, Roald Dahl, Studio Drift, new music, the people I love…
Considering the current state of the world in every sense, what is the most important and urgent issue for you as an artist?
To inspire children (and adults) to stay open towards eachother, since every child is born without prejudices.
And tell them that your imagination is for free and can help you, also in hard times.
Are there any differences between creating a piece for early years and young audience and one for adults? Or we could ask the question this way: Are there any features you pay special attention to when creating a piece for children and young audience?
Working for young audiences is being responsible, taking them seriously, looking at and from their point of view.
They are present in the moment, so you have to be as well.
They are honest in their reactions.
It is not an easy job, because when they lose their interest, they are not gonna be polite. So you have to work hard, but then you get rewarded. It is so lovely to share with them, cause they are the most open people you will meet. They open your eyes.
As well as creating shows for children, you have written two books. You deliberately do not use words in the stage shows you create for children. How do you feel about being both a writer and a choreographer for children, i.e. creating in two disciplines that are at odds with each other, given your preference not to use words in your stage work?
I used to work in theater for grown-ups, and made performances in music theater and modern mime, and wrote libretti for them.
The world of young children is another world. A world with 100 languages, according to the pedagogy of Reggio Emilia. Spoken and written language are only two of them. The others also need attention.
My books are for older children, from 8 on, their world is different again…
How did you come up with the idea of Hermit, which we will see at the Atta Festival in Istanbul? And how did the process of creating Hermit unfold?
Usually it starts with an image. I saw this image in my head of someone in a very small home. Also, there was a hermit in a book I liked a lot when I was a child; the shows Dutch title refers to him. And I always kind of understood why people want to seclude, or are shy, and do not know if and how to relate to other people. My father was a bit like that.
Is there anything special you would like to say to the young audience of Istanbul before they experience Hermit?
Just enjoy the show :)
I do think it is best if young children see it without extra information. Afterwards we often see they repeat things from the show, it is not finished for them. You never know when and how often they will remember, and what it means. That is a lovely secret.
I am very happy we will perform for them at Atta festival, with the support of the Dutch Consulate. Performing is planting seeds.
[The Turkish version of this interview was published in Art.unlimited.]
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