Synopsis of Art by Artists of Haitian Descent in the Diaspora –– Part II

By Marcel Duret and Fred Thomas

One of Haiti’s greatest exports to the world is its beautiful art. To illustrate the four major trends of the Haitian diaspora as outlined in the 2013 Summer Issue of the Tokyo Journal, Haitian art experts Marcel Duret and Fred Thomas cast a closer look on the works of a few selected artists.

THE NAIVE VEIN
When looking at a naive painting a most striking element is the raw quality and directness of the composition and design. Everything is kept simple. What you see is what it is about. Lines and colors are combined to convey a clear image where each element appears necessary for the edification and justification of the whole. As few ornaments as possible are used, making the bluntness of expression look even more evident. The lack of artifice and hid- den meanings maximizes the connection between the picture and observers, many of who lose no time trying to decipher some cryptic iconography or unclear symbols that require initiation rites or specific knowledge. This simplicity can baffle onlookers who try so hard to complicate things based on their own bias or collective pool of references, instead of opening up their minds and let- ting themselves become impregnated by the unique visual and emotional experience that a primitive painting can achieve when it is made by someone genuinely awestricken by an inner vision or a natural phenomenon.

This simplicity sometimes appears in the flatness of shapes. It is as if the artists use some type of magnifying glass that enables them to bring forth every element of a scene as though each one is of equal importance. This way nothing is left behind for the benefit of the observer who can see the relevance of every item as it is conceived in the artist’s mind.The idea is not to judge but rather to take everything indiscriminately at face value.

Movie Subtitling with Natsuko Toda

Interview series with Japan’s most renowned translator of foreign films and interpreter for Hollywood stars, Natsuko Toda

Interview by Miyuki Kawai

TJ: What do you think is the future of subtitling?

TODA: There are not so many subtitlers anymore, and recently people have come to prefer dubbed movies. I believe subtitling will survive, but the number of subtitled movies will decline in the future.

TJ: That’s true. But isn’t it also true that the number of minor movies or TV programs to be subtitled has been increasing?

TODA: Yes, but the payment is very low even though it requires the same amount of effort.

戸田奈津子が語る映画字幕

日本で最も著名な字幕翻訳家でありハリウッドスターの通訳も務める 戸田奈津子のインタビュー・シリース
インタビュー:川合美雪

TJ: 字幕は今後どうなっていくと思われます か?

トダ: 最近は字幕より吹替えを好む人が多く なっています。もちろん字幕は残るとは思いま すが、数は減っていくでしょうね。

TJ: 確かにそうですが、マイナーな映画やテレ ビ番組の数は増えていますね。

トダ: でも同じ手間をかけても作業の単価はと ても安いでしょう?

Moments in Construction

by H. Suzuki

TJ: What makes a good picture stand out from an average photo?
Suzuki: A good picture moves viewers. Good pictures extract the intention of objects and invoke the feelings of viewers. In other words, a dialogue between objects and viewers is enabled.

TJ: Location and weather conditions seem to be crucial aspects to a successful picture. How do you handle these unpredictable factors?
Suzuki: I can’t control them, so it can’t be helped. But I think I am lucky in terms of unpredictable factors. For four years, I had a lot of luck. For example, I took a picture of 2,000 people gathered at a morning meeting in a construction area. Although such meetings were planned to be held regularly after that, they didn’t happen again. I need to rely on luck and instinct.

TJ: 優れた写真と普通の写真を隔てるものは何 でしょうか。
スズキ: 迫ってくるものがあるかないかの違い ですね。被写体の意図を引き出し、見る人の共 感を呼ぶ。つまり被写体と見る人の対話を可能 にするのが優れた写真でしょう。

TJ: ロケ―ションや天候は写真の成否に重要な 影響を与えると思われますが、こうした予測不 可能な要因にどのように対応なさっています か?
スズキ: これはどうしようもないことです。で も、この4年間の経験を考えると、僕はツイて いたと思います。たとえば、ある工事現場で 2000 人が集まった朝礼の写真を撮りました。 その後もこの朝礼は定期的に開かれるはずでし たが、結局 2000 人もの人が集まることは二度 とありませんでした。運と直感は大事だと思い ます。

THE British philosopher A.N. Whitehead had many wise things to say about business and society. One of his wisest observations was his statement that a great society is one in which its busi- ness leaders “think greatly of their functions.” When they fail, Whitehead concludes, the consequences are “orgies of exploitation” followed by “a descending standard of living.”

This philosophical way of thinking about business and society is strikingly different from the dominant view of economists and politicians. They favor a more technical picture of economies operating in accord with impersonal laws. In this view economies are semi-autonomous entities obeying laws that are independent of the norms, mores and characters of the societies in which they are embedded. The moral vision of the nation’s business leaders carries little economic weight.