The One to Be Taken / Home
The One to be Taken / Home
The One to be Taken Home is the first of my series on family and memory. It is a video work I made while spending some weeks with a Medanese family at a temporary urban settlement in North-Sumatra.
In the work I attempt to become part of a place unknown - to explore a landscape like a naive ethnographer, if that's possible at all. The film invites the spectator to experience simply being there, sitting by and walking with the family members.
After this film I chose to abandon the idea of the documentary form in favour of more implicit forms of the moving image.
Image/Sound/Direction - Miki Ambrózy
Artistic coaching/sound mixing - Patrick Codenys
Music compositions - Janis Strapcans
Editing coach - Ben Russell
Produced with the support of the SoundImageCulture workspace
Notes to the film
Julie told me she was 12. I first saw her on Youtube in a video made by a group of older street musicians. They portrayed the heroic nature of being an anak jalan, or child of the street.
The choice to focus on the evils of the world in one place instead of another is contingent. We, humans, seem to go where we feel we are needed, where our sense of purpose is felt, lived, satisfied.
Through this video work I attempt to participate in the dynamic of one place. My intention is maybe naïve or futile: to explore the unknown with the unconditional seeing of a child, not having a shared language to speak with. The only way for a lived experience of this nature was the utopic desire to become one kid among many, being their apprentice.
In the making, the video became a site of exchange between our vulnerabilities. My world was suddenly devoid of meaning beyond the intention to explore, and Julie’s vague, playful hope for a change of fortune.
The street is claimed by all of us, yet it belongs to none of us. My images are but associative responses to Julie’s singing, to her sense of ownership of the place, to her family’s way of being in the world, all in the imaginary frame of one night and one day.
What I wish for the spectator is to experience being there without recourse to narrativity or explanation. A transsensorial gesture that steps away from locked formats. Like a child, I follow the desire for unconditional seeing. Traditional modes of producing documentary knowledge must be peeled away: language, narration, synchronicity, and the visual base.
I knew the means and the end: HDV video, a few reels of super8 and 21 days between arrival and departure. The rest of the work was unknown.
Until the moment I was first told about the intersection.
HDV, 20 min. | experimental ethnographic video | 2013 (c) Miki Ambrózy