You do things.
You try it, this way, that way. You stray, you flop and then you flip again, and something, some things come out of it.
You do them and please, please, you think, do not ask me what I'm doing, what my political take on this, for the moment now I just have a political in-take, the out is not political to my best knowledge. Fortunately, your knowledge is not best. You see, you do things.
And although most of them, you can honestly say, you know little about, the matter speaks for you. (Which, of course, does not mean you do not try to talk with it, for it, explain it, relate it and convey it, extrapolate it, and prove where it, the matter, stands).
Some of the works you work, frankly, are worthy of the highest criticism. They are, yes it has been said before, the flops. Or worse, they have the wrong ideas, wrong media, wrong impressions and plenty-wrong outcomes.
Yet within these plenty-wrong outcomes, things are born. And these things might just make connections, little roots holding on to little pieces of earth. Not that roots hold on to any particular piece, but this metaphor just decided to go its own way, and we at New Art listen to metaphors, so yes, there might be no palpable piece of anything that the roots hold to, yet the work (by now it is work) is starting to appear as if it were actually something, about something, into something, for something. It gains weight.
And then, at some ungiven points, not necessarily at the end or at any sort of finale, the Holy-Flip happens. It could be a form, it could be filled with air or helium, it could be pretty far away from you, but still yours, still stemming from this surprizing head. You might say "things came into place", but you have no clue what you are saying, you don't have the perspective, you just enjoy it, the fact that now it seems clear, there is a connection, things are being said which you knew you wanted to say or wanted someone to say, some other head maybe.
And you know what? When it works, it's so simple.
* * *
All the works above are by Marina Decaro. The first and last image are from a work called "4 ojos" ("4 Eyes"), 2007.
Disclaimer: Marina De Caro was not consulted before writing the above text, and it is not meant to portray the development of her career. The above text is fiction and any resemblance to real art life stories, living or dead, is purely coincidental.
(via)
Sunday, June 19, 2011
Sunday, June 5, 2011
Sharing the Sensible (In a Rich Man's World)
The thing is: I'm very excited about performance moving forward. And I love how it invades all sorts of territories. I do it, watch it, write about it. It's my cup of tea. That is precisely why I don't want to leave it with an "interesting experiment" tag. Experiments have their consequences, results, and it seems crucial not to stop at the freshman enthusiasm for everything about everything that is anything new. What I like most about the experiment I will criticize below is that it dared to go far, to talk to people, to uncover hidden layers in unexpected places. And yet, it troubled me.
In Gerardo Naumann's "Factory" performance during the Warsaw edition of the inspiring Ciudades Paralelas festival - we are taken on a guided tour of a functioning factory (in Warsaw it was an enormous steel factory). However, this is not your average tour. Here, we get the possibility of witnessing private stories of workers, to hear who they are, both within the company context and outside of it. The tour is at times poetic, at times simply human and direct. Every presentation mixes the description of a person's job with more personal matters. Our first guide is the factory's technical director, then we go all the way down the (wage) hierarchy to the gardiner, who also has his stories, telling us of his love for 60's music (Deep Purple et al.) and even making us listen to some of it. A truly human experience in an unexpected context.
So what is it that makes me uncomfortable about it?
It is an unwilling, yet uncritical, PR event for a huge, powerful and hardly uncontroversial business.
The project seems to follow closely the teachings of French philosopher Jacques Rancière - for several years now he has been advocating a change of paradigm in the way we look at others. Teaching something, or learning, should mean, above all, realizing how the way other people see the world is just as valid as ours - it is a structure that is already a "complete" structure, they are also "teachers" and we - students. To put it in other words - everyone is competent. It might just be a question of acquiring the possibility to further develop this competence.
Rancière gives this example: workers in a factory can also be seen as art aficcionados, as they have their (art, or aesthetic) specialities, their passions, their expertise. Tapping into this is, according to Rancière, a crucial step towards going beyond the simplistic emancipatory claim of passing on the "correct" sensibility.
The "Factory" project follows Rancière's ideas closely. And yet, all the while achieving an arguably closer relation with the subjects/performers, and while making us feel a bond with many of them, while amazing us with the aesthetic aspects of a factory, its dynamics and dramaturgy, it fails in an important aspect: it underestimates the power of the structure it works in.
"Just" showing the lives of the workers is never just showing their lives. It necessarily functions within the context. And this context, here, wins. The tour/performance becomes a scarily effective way of implementing propaganda. We are still given stories about how magnificent it is to work here, how everyone is happy, safe, friendly, how everyone who worked in the factory during communist times participated in strikes, and how the only mentioned case of someone getting fired... got immediately offered another job. And because a skillful theater director does it, we hardly feel manipulated. On the contrary, the "genuine" feeling prevails. We leave happy that things are as they are. We love the stories, the people, the parallel city, the way it works, the world it works in. It is difficult to imagine a better publicity.
But wait - could all this be true? Maybe it is a good company? Maybe it is happy and safe and the best of possible industry worlds? Well, it's enough to make a quick news check - there was a fire in the factory just a few months ago, and just recently the company just layed off many of their executive personnel (apparently they were transferred to another company for "effectivity reasons" and were subsequently fired). I dig a little deeper. ArcelorMittal - that is the name of the company, is owned by the 6th richest person in the world (with a personal wealth of $38.1 billion - link). The company made 10 billion dollars profit last year alone. On the other hand, since the company started taking over Polish factories, it diminished its staff by some 3000 workers in Poland (ca. 25%).
This type of criticism could be contested. Should this matter? Should the work of art take this into account?
Can it? How?
Can we play with the system, within the system? Can we work our works so as not to become victims of the same propaganda we would usually receive - or worse, not just victims, but advocates?
Or can we ignore this and consider that not all works of art need to be political, or not necessarily in that sense, that it can also be about the people who work there, that they too have the right to be important subjects, and not just the megarich owner of their company?
But if we just move in and focus on them, while remaining on the factory ground, if we call it a Parallel City (Ciudades Paralelas means Parallel Cities), aren't we playing the status quo game? Aren't we the perfect PR people, giving the company - and the world which it co-creates - our seal of approval, a "positivist" acceptance? (A disturbing trait of the performance is that the workers/performers come and go - without too much of an introduction, and with no goodbye whatsoever, so while we are kept entertained, they have nearly no chance of receiving our recognition, or of establishing a human contact beyond the script. The beginning and the end is clear - it is the Ciudade Parallela, the company, not the people). Doesn't the critical art, so cherished by Rancière, become uncritical because of the very same (human) aproach he proposes?
So how are we to make - and look at - art in all those parallel cities that are more and more often taken over, or at least manipulated by, the powers that be, be they economic, or more directly political?
The fight here is indeed a fight over the sharing of the sensible - how do we value what we see? How can we reevaluate it? What sort of sharing is this? What do we want out of this situation? How can we, as artists, but also as viewers (viewers are artists, but artists are viewers too, to many people's surprize), find a common ground without becoming the agent of some powerful megastructure? Should we worry about it?
Banning the word "Facebook" on TV might seem like a silly idea, but I know some theater companies who do not use any brands in their shows. And for them, it's not about having the power to change the world. It's about enjoying the possibility.
----
Curiously enough, I was told that when Naumann made an analogous performance in Buenos Aires, the factory was a small and badly run one, and some commentators thought he was too rough on it, making it look very bad. One possible answer is: this format simply gives you the possibility to take a peek inside - and whatever you find there has been there already. But another possible explanation is: it may not be enough to implement a "personal guided tour" formula if we want to move beyond the small industry into the big guys' terrain, where they know how to charm us, seduce us, and make it appear like it's all immaculate. Then, it seems, it would need to be a whole new ball game.
---
I have a vague recollection of reading about a performance by the great Brazilian visual artist and performer Hélio Oiticica (I couldn't find the reference now). I believe it took place in the 70's. Oiticica walked around the public space, pointing at different objects. The spectators which followed him understood (were told?) that through the gesture, the objects acquired the status of works of art.
Oiticica's enchantment with the world seems clear. This is what the world is like, he seems to be saying. Look at this piece of art! I couldn't have done this better. The only thing I can do is to point it to you.
What would happen if Oiticica did the same thing in the factory? Would the objects he pointed at stop becoming art? Certainly not. The factory would gain the status of an aesthetic object - it would become the same marvel as any of the trees, benches, stones, clouds. Look at this piece of art! I couldn't have done this better.
Could we not?
In Gerardo Naumann's "Factory" performance during the Warsaw edition of the inspiring Ciudades Paralelas festival - we are taken on a guided tour of a functioning factory (in Warsaw it was an enormous steel factory). However, this is not your average tour. Here, we get the possibility of witnessing private stories of workers, to hear who they are, both within the company context and outside of it. The tour is at times poetic, at times simply human and direct. Every presentation mixes the description of a person's job with more personal matters. Our first guide is the factory's technical director, then we go all the way down the (wage) hierarchy to the gardiner, who also has his stories, telling us of his love for 60's music (Deep Purple et al.) and even making us listen to some of it. A truly human experience in an unexpected context.
So what is it that makes me uncomfortable about it?
It is an unwilling, yet uncritical, PR event for a huge, powerful and hardly uncontroversial business.
The project seems to follow closely the teachings of French philosopher Jacques Rancière - for several years now he has been advocating a change of paradigm in the way we look at others. Teaching something, or learning, should mean, above all, realizing how the way other people see the world is just as valid as ours - it is a structure that is already a "complete" structure, they are also "teachers" and we - students. To put it in other words - everyone is competent. It might just be a question of acquiring the possibility to further develop this competence.
Rancière gives this example: workers in a factory can also be seen as art aficcionados, as they have their (art, or aesthetic) specialities, their passions, their expertise. Tapping into this is, according to Rancière, a crucial step towards going beyond the simplistic emancipatory claim of passing on the "correct" sensibility.
The "Factory" project follows Rancière's ideas closely. And yet, all the while achieving an arguably closer relation with the subjects/performers, and while making us feel a bond with many of them, while amazing us with the aesthetic aspects of a factory, its dynamics and dramaturgy, it fails in an important aspect: it underestimates the power of the structure it works in.
"Just" showing the lives of the workers is never just showing their lives. It necessarily functions within the context. And this context, here, wins. The tour/performance becomes a scarily effective way of implementing propaganda. We are still given stories about how magnificent it is to work here, how everyone is happy, safe, friendly, how everyone who worked in the factory during communist times participated in strikes, and how the only mentioned case of someone getting fired... got immediately offered another job. And because a skillful theater director does it, we hardly feel manipulated. On the contrary, the "genuine" feeling prevails. We leave happy that things are as they are. We love the stories, the people, the parallel city, the way it works, the world it works in. It is difficult to imagine a better publicity.
But wait - could all this be true? Maybe it is a good company? Maybe it is happy and safe and the best of possible industry worlds? Well, it's enough to make a quick news check - there was a fire in the factory just a few months ago, and just recently the company just layed off many of their executive personnel (apparently they were transferred to another company for "effectivity reasons" and were subsequently fired). I dig a little deeper. ArcelorMittal - that is the name of the company, is owned by the 6th richest person in the world (with a personal wealth of $38.1 billion - link). The company made 10 billion dollars profit last year alone. On the other hand, since the company started taking over Polish factories, it diminished its staff by some 3000 workers in Poland (ca. 25%).
This type of criticism could be contested. Should this matter? Should the work of art take this into account?
Can it? How?
Can we play with the system, within the system? Can we work our works so as not to become victims of the same propaganda we would usually receive - or worse, not just victims, but advocates?
Or can we ignore this and consider that not all works of art need to be political, or not necessarily in that sense, that it can also be about the people who work there, that they too have the right to be important subjects, and not just the megarich owner of their company?
But if we just move in and focus on them, while remaining on the factory ground, if we call it a Parallel City (Ciudades Paralelas means Parallel Cities), aren't we playing the status quo game? Aren't we the perfect PR people, giving the company - and the world which it co-creates - our seal of approval, a "positivist" acceptance? (A disturbing trait of the performance is that the workers/performers come and go - without too much of an introduction, and with no goodbye whatsoever, so while we are kept entertained, they have nearly no chance of receiving our recognition, or of establishing a human contact beyond the script. The beginning and the end is clear - it is the Ciudade Parallela, the company, not the people). Doesn't the critical art, so cherished by Rancière, become uncritical because of the very same (human) aproach he proposes?
So how are we to make - and look at - art in all those parallel cities that are more and more often taken over, or at least manipulated by, the powers that be, be they economic, or more directly political?
The fight here is indeed a fight over the sharing of the sensible - how do we value what we see? How can we reevaluate it? What sort of sharing is this? What do we want out of this situation? How can we, as artists, but also as viewers (viewers are artists, but artists are viewers too, to many people's surprize), find a common ground without becoming the agent of some powerful megastructure? Should we worry about it?
Banning the word "Facebook" on TV might seem like a silly idea, but I know some theater companies who do not use any brands in their shows. And for them, it's not about having the power to change the world. It's about enjoying the possibility.
----
Curiously enough, I was told that when Naumann made an analogous performance in Buenos Aires, the factory was a small and badly run one, and some commentators thought he was too rough on it, making it look very bad. One possible answer is: this format simply gives you the possibility to take a peek inside - and whatever you find there has been there already. But another possible explanation is: it may not be enough to implement a "personal guided tour" formula if we want to move beyond the small industry into the big guys' terrain, where they know how to charm us, seduce us, and make it appear like it's all immaculate. Then, it seems, it would need to be a whole new ball game.
---
I have a vague recollection of reading about a performance by the great Brazilian visual artist and performer Hélio Oiticica (I couldn't find the reference now). I believe it took place in the 70's. Oiticica walked around the public space, pointing at different objects. The spectators which followed him understood (were told?) that through the gesture, the objects acquired the status of works of art.
Oiticica's enchantment with the world seems clear. This is what the world is like, he seems to be saying. Look at this piece of art! I couldn't have done this better. The only thing I can do is to point it to you.
What would happen if Oiticica did the same thing in the factory? Would the objects he pointed at stop becoming art? Certainly not. The factory would gain the status of an aesthetic object - it would become the same marvel as any of the trees, benches, stones, clouds. Look at this piece of art! I couldn't have done this better.
Could we not?
Tuesday, March 29, 2011
Allan Kaprow on installation and performance
Now, I think those two words, installation and performance, mark accurately the shift in attitude toward a rejection or sense of abandonment of an experimental, modernist, position which had prevailed up to about, lets be generous, up to about 1968-1969, and began gradually becoming less and less energized. So, I think what you’re getting there is the flavor of modernist exhaustion and incidently a return to earlier prototypes, or models, of what constitutes art. And it’s no accident that the majority of most performance nowadays, there’s not much installation anymore, by the way, the majority of those performances tend to be of an entertainment, show biz, song and dance, in which the focus is on the individual as skilled presenter of something that tends to have a kind of self-aggrandizing, or at least self-focusing, purpose. It is artist as performer, much like somebody is an entertainer in a nightclub. And they’re interesting. Some of them are very good. I think Laurie Anderson is very good. She’s got all the skills that are needed in theater, which is what this is. Many others who jump on the bandwagon, coming from the visual arts, have no theatrical skills, and know zilch about the timing, about the voic about positioning, about transitions, about juxtapositions, those moment by moment occurrences in theater that would make it work. But it’s another animal, whether good or bad, from what we were doing, and I think, in general, even the good ones are a conservatizing movement.
- Allan Kaprow, 1988 (full interview is here)
Monday, March 14, 2011
Black Square: Malevich and The World That Wouldn't Die
Here it is: the end of the world.
I am standing in front of it, and it looks like shit.
It is Kasimir Malevich's "Black Square", it hangs at the New Tretyakov national gallery in Moscow, and it is dirty, tired, bleak, so unimpressive it is embarrassing to see.
And yet, that is the end.
This can well be seen as the point where art enters the other world zone, leaving our poor miserable world of bodies behind. This art is spiritual, declares Malevich, and I am ready to believe him, not on faith, but because at this point faith is the only thing that can carry me as a viewer. To appreciate it - I think while standing in front of the painting - I need to believe that what my mind brings me when looking at this painting, it brings thanks to the painting. (And that it's worth the trip). Any thought, then, is a belief.
The painting is all cracked, it seems like it lived through terror, two wars and a revolution (it did).
For a while, I wonder what disturbs me in all this. I take Malevich's painting as an ever-returning challenge. We are challenged to accept this or go beyond this. We are challenged to deal with the out-of-this-worldliness of aesthetic creation. Supreme it is.
I thought all this quite disappointing, a concept I would have rather kept as a concept, a story, rather than seeing it translated into a poor somewhat-black square. But what about the painting? Doesn't it have anything to say? The cracks are most probably the result of the artist being in a hurry (it seems he put the black layer over the white one before the latter dried out). The strokes, we can clearly see, are uneven, quick, there is nothing uniform about this, and even the outside lines of the square are uneven (he is said to have painted it free hand, and very free it was). It is not a good square. Or, no: it is not the square we are told it is. It is a square that tells the history of its creation, the story of the tension, the energy, the impatience. It is a clear window into something that happened, into a performance of painting and a moment of life. In that sense, the painting appears better than we ever could have dreamed. It goes back to this world. The painting outdoes the painter - through unveiling something more than what he had planned.
Inside of the cracks, if we watch carefuly, we see another color, it is not black or white, and at moments it seems like it's not grey either. It varies from spot to spot, it is reddish, brownish, somewhere close to the color of flesh. It is the color of revenge. The revenge of the painting.
Monday, February 21, 2011
Himi Suwada
- MATA MANGANAMA
- SEETHALA VASSE
- ISSARA WAGE
- BATH PATHA
- NIWADUWATA MAN ENNAM
- GAMMADDE
- PINI WATUNATA
- SITHIN ADINAWA
- SONDURU PEM KATHAWA
- GEUNU ATHITHAYA
- PIYEK WENNA
- MAHA SAURE
- PUNCHI DUWE
- NATHIWENNA DEYAK NA
Delum Malak
Ratharan Adarea
Punchi AS Deken
- sada meedumey
- punchi eysdeyka
- hitha hiri wattana
- nohada notheyvi
- hada theypul
- sada giniaran
- tharahath neythi
- kochchara deywal
- puhu chodanaa
- mandahaasa
- obey eys laga
- preymaye malhi
- surathal muwey
- duvilleyn watala
Pujaniya Adare
- HADAWATHA PARNA
- LASSANA OBA DUTUDA
- MA SITHA BANDUNE
- MAGE HITHATA SISILA VI
- PALUWE THANIWELA
- PATA PATA HANDAWA
- RATHU ROSA MAL YAYAK
- SANDA VANI RUWAI
- SUDU MAL HANDUWA
- SUPEN SUWANDAK ARAN
- SURANGANAVIO ATHA DEU LOWE
- THAWA EKA SARYAK
Adare Sundarai
- ADARIYE OBE SUWANDAI
- HAMUWENNAT SAMUGANNATA
- MAL PETHTHAKA THAWARU
- MAN PODIKALE KALA NOMANAKAM
- ME THARAM KANDULU WAL
- OBA MAGE JEEWAYAI
- PREMAYAKA SANWEDANA
- PREMAYE MANTHLA WASILA
- SANDA PAYANA NIL AHASATA
- SANDAWATHIYA OBAI
- SIHINA DANAUWAKA MA THANIKARA
- SITHA DUNNE VINDINNI
- SITHA RAYAK UNUHUMK WAGE
- WALA YAHNE SANDA
Flashback Live In Kandathuduwa
BAND SONG
01 - MRIYA MAW GEE UPAHARA
02 - ANTHIMA SATANE
03 - NIWADUWATA MAMA ENNAM
04 - BATH PATHA DUTUWAMA
05 - SUDU MANIKE
06 - ADA KALA BEELA
07 - HITHA HIRIWATTANA
08 - PINI WETUNATA
09 - JOHN CENA
10 - MEHE BOOBA
11 - PERADENIYE
12 - TAMIL SONG
13 - JOTHI NONSTOP
DULANI SITHARA
14 - IGILENNA THAHANAM NAM DURAK
15 - RAN GIRA MA
16 - HADA VIMAN DORIN
17 - HIRU GILILA
GINGER
18 - HINDI SONG
19 - SUDU WALAKULE
20 - TAMIL SONG
21 - NONSTOP
SUSIL FERNANDO
22 - THATIYA MADDE
23 - KODI GAHA YATA
24 - SAMARU POTHE
25 - MANIKE MAMA AYE
SURENDRA PERERA
26 - DIYA KINDURIYA SE
27 - LAN LANWA
28 - WEHI PABALU
29 - MALIGA PEM MALIGA
30 - GANGAWAY MAHA MUHUDAY
31 - SALENA LELENA
32 - NILLA NAGANA
33 - HITINNA PODDAK
JOLI SEEYA
34 - SUKUMALA MANALOLA
35 - MAGE MARIYO
36 - SUWANDATA MAL MATHA
CHAMARA WEERASINGHE
37 - SAMAWELA
38 - ATHIN ATHATA
39 - GADIKELLE
40 - WANA WADULE
41 - BADDATA SANDA WAGE
BAND SONG
42 - NONSTOP
Flashback Live In Galwala Mahara
ARUNA THAMEL
01 - ANTHIMA SATANE
ASANKA PRIYAMANTH PEIRIS
02 - DEEPAWALI DATA
03 - MAGE DARU PATAW
04 - PUNCHI HADAKARIYE
05 - RODA HATHARE MALIGAWA
06 - SANDA ELIYA
CHANDRASENA HETTIARACHCHI
07 - EATHA EATHA
08 - SANDATA SAHASI
09 - SELLAM GE
10 - TIKA KALAKA SITAN
DAMITH ASANKA
11 - MAIM GAME
12 - SUDU MUHUNA
13 - CHIRI CHIRI WESSA
14 - PAYANA SANDE
15 - BAGETA SALUN DORIN
DANAPALA UDAWATHTHA
16 - MA ADARA NEEYA MAGE
17 - MAMA
FLASHBACK
18 - HOYYA HO HO
19 - RAMBARI
20 - REGE GOO BETTA
21 - SOORA WEERA
KINGSLY PEIRIS
22 - BIM KADAK
23 - GEDARA HITIYA ROSA
24 - BATH PATHA
LATHA WALPOLA
25 - AMMALA DUK GANNE
26 - NELUM MANEL
27 - RATHU GURU PARE
28 - SRINI VIBHUSHITHA LANKA
LAXMAN HILMI
29 - WAS DOS YANNATA
30 - RIDEE PATA KALA
31 - MATA KIYAPAN UMA ENKA ERAKA MA
DANAPALA UDAWATHTHA
32 - ABHEETHA SINHAYEKU LESIN
33 - HI NADEEKA
MANJULA WARNAKULASOORIYA
34 - BALANNA ARUNA
35 - MEE PIRUNU
36 - SEETHALE
37 - SUDAGE MIHIRI KATHA
MICKY DANIAL
38 - RAHASAY SONDURU JEEWE
39 - TIKKI TIKIRI
40 - NALAWENA MAW UKULE
NELU ADHIKARI
41 - MAN NETHI DA
42 - NAGE MALE
43 - OBA ASA SITEE NAM
44 - PAWEE PAWEE
NIHAL NELSON
45 - KARUNA SUWANDA
46 - LASSANATA PIPUNA
47 - KOTHU ROTIYA
48 - SALLI MITI GANAN
49 - KAWADI BAILA
PUNSIRI SOYZA
50 - DEGURUN WENUWEN
51 - SEWWANDIYAKATA PEM BANDA
52 - ME BUS NEWATHUMA
53 - EKAMA MAGAKA
ROSE ALAHIYAWANNA
54 - MEHE BOOBA HINDI
55 - THUMKO PAYA HINDI
ROSHAN FERNANDOO
56 - NIWADUWATA
57 - OBATA THIYENA ADARE
SARATH RODRIGOO
58 - DAKUNE IDALA
59 - WASTHUWA ILLANA
60 - ASIRI MANGALA
61 - ADARA MA RUPIKAWO
SHANIKA WANIGASEKARA
62 - WENA ONEDEYAK KIYALA
63 - DAGAKARA PEMWANTHAYO
64 - APADI PODE
65 - NONSTOP
01 - ANTHIMA SATANE
ASANKA PRIYAMANTH PEIRIS
02 - DEEPAWALI DATA
03 - MAGE DARU PATAW
04 - PUNCHI HADAKARIYE
05 - RODA HATHARE MALIGAWA
06 - SANDA ELIYA
CHANDRASENA HETTIARACHCHI
07 - EATHA EATHA
08 - SANDATA SAHASI
09 - SELLAM GE
10 - TIKA KALAKA SITAN
DAMITH ASANKA
11 - MAIM GAME
12 - SUDU MUHUNA
13 - CHIRI CHIRI WESSA
14 - PAYANA SANDE
15 - BAGETA SALUN DORIN
DANAPALA UDAWATHTHA
16 - MA ADARA NEEYA MAGE
17 - MAMA
FLASHBACK
18 - HOYYA HO HO
19 - RAMBARI
20 - REGE GOO BETTA
21 - SOORA WEERA
KINGSLY PEIRIS
22 - BIM KADAK
23 - GEDARA HITIYA ROSA
24 - BATH PATHA
LATHA WALPOLA
25 - AMMALA DUK GANNE
26 - NELUM MANEL
27 - RATHU GURU PARE
28 - SRINI VIBHUSHITHA LANKA
LAXMAN HILMI
29 - WAS DOS YANNATA
30 - RIDEE PATA KALA
31 - MATA KIYAPAN UMA ENKA ERAKA MA
DANAPALA UDAWATHTHA
32 - ABHEETHA SINHAYEKU LESIN
33 - HI NADEEKA
MANJULA WARNAKULASOORIYA
34 - BALANNA ARUNA
35 - MEE PIRUNU
36 - SEETHALE
37 - SUDAGE MIHIRI KATHA
MICKY DANIAL
38 - RAHASAY SONDURU JEEWE
39 - TIKKI TIKIRI
40 - NALAWENA MAW UKULE
NELU ADHIKARI
41 - MAN NETHI DA
42 - NAGE MALE
43 - OBA ASA SITEE NAM
44 - PAWEE PAWEE
NIHAL NELSON
45 - KARUNA SUWANDA
46 - LASSANATA PIPUNA
47 - KOTHU ROTIYA
48 - SALLI MITI GANAN
49 - KAWADI BAILA
PUNSIRI SOYZA
50 - DEGURUN WENUWEN
51 - SEWWANDIYAKATA PEM BANDA
52 - ME BUS NEWATHUMA
53 - EKAMA MAGAKA
ROSE ALAHIYAWANNA
54 - MEHE BOOBA HINDI
55 - THUMKO PAYA HINDI
ROSHAN FERNANDOO
56 - NIWADUWATA
57 - OBATA THIYENA ADARE
SARATH RODRIGOO
58 - DAKUNE IDALA
59 - WASTHUWA ILLANA
60 - ASIRI MANGALA
61 - ADARA MA RUPIKAWO
SHANIKA WANIGASEKARA
62 - WENA ONEDEYAK KIYALA
63 - DAGAKARA PEMWANTHAYO
64 - APADI PODE
65 - NONSTOP
Flashback Live In Ahaliyagoda
ASANKA PRIYAMANTHA
01 - DEEPAVALEE DATA
02 - MAGE DARU PATAW
03 - PUNCHI HADAKARIYE
04 - RODA HATHARE
05 - SANDA ELIYA GAL ENA
ATHULA SRI GAMAGE
06 - HIMA MEEDUM
07 - KARA BADINA RATHTHARAN
08 - NIL NUWAN
DAMITH ASNKA
09 - CHIRI CHIRI WESSA
10 - MAIM GAME
11 - PAYANA SANDE
12 - SUDU MUHUNA
FLSHBACK
13 - ANTHIMA SATANE
14 - DOMBA MAL KALAWE
15 - GASSENA PADDENA
16 - KINGSLY NONSTOP
17 - MARADA WELLE
18 - MEHE BUBA (HINDI)
19 - NILLA NAGANA
20 - NIWADUWATA
21 - RAMBARI
22 - RANABIME VIRUVO
23 - REGE
24 - SOORA VEERA
GINJER
25 - CRICKET PITHTHA
26 - HINDI
27 - NONSTOP
28 - SUDU WALAKULE
29 - TAMIL SONG
JOLLY SIYATHU
30 - LALAKKA
31 - MAGE MARIYO
32 - SAPATHEDI EKATHU WELA
33 - SUWANDATA MAL MATHA
K.SUJEEWA
34 - INGI MARANA
35 - NON STOP
KINGSLY PEIRIS
36 - BATH PATHA DUTUWAMA
37 - OYA AS DEKATA
38 - SATANA JAYA LABAY
39 - SUDU MANIKE
MAHESHIKA LAKMALI
40 - NEELA KOBO
41 - PEM SWARNA
SENANAYAKA WERALIYADDA
42 - ANE GATAWNE
43 - AWADI KARANU MENA
44 - KEHERAL KADAGENA
45 - MAL VIYANEN
46 - PUNCHI DANGA KARIYE
SUBHANI HARSHANIE
47 - EKAMA EKA WARAK
48 - NANA THOTEDI
49 - PALAMU HADUWE
SUPUN MADUSHAN
50 - IREN HANDEN
51 - MERE SUPNEKI
Flashback Live In Sapirigama
ASANKA PRIYAMANTHA
01 - PUNCHI HADA KARIYE
02 - RODA HATHARE
03 - SANDA ELIYA GALA ENA
CHILD SINGER
04 - GIRI HEL MUDUNE
05 - RATHTHARAN KENNDIYE
06 - UDARATA NILIYA
FLASH BACK
07 - ANTHIMA SATANE
08 - AYETH ENN NEA
09 - BAND NON STOP
10 - MEHE BOOBHA
11 - RAMBARI
12 - RANABIME VIRUWO
13 - TAMIL SONG
HIMASH MANUPPRIYA
14 - MERE SUPNEKI
15 - TIKIRI MENIKE
16 - UNA PURUKE
JOLLY SEEYA
17 - SAPATHEDI EKATHU WELA
K.SUJEEWA
18 - INGI MARANA
KINGSLY PEIRIS
19 - BATH PATHA DUTUWAMA
20 - BIM KADAK
21 - OYA AS DEKATA
22 - PURUTHI GEESI KARAYA
23 - SUDU MANIKE
ROSHAN FERNANDO
24 - NIWADUWATA MAMA ENNAM
25 - OBATA THIYENA ADARE
SURENDRA PERERA
26 - DIYA KINDURIYA SE SAGARE
27 - GANGAWAY MAHA MUHUDAY
28 - GOWE GENU PARADAY
29 - HADA VIMAN DORIN
30 - SALENA LELENA DALLA
Flashback Live In Haldaduwana
FLASH BACK
01 - SENEHE SITHIN
02 - AWURUDU HATHARAK
03 - HITHA HIRI WATTANA
04 - HINDI SONG
05 - PINI WETUNATA
06 - REGGE
07 - FLASHBACK UNPLUG
08 - ANTHIMA SATANE
09 - SURANGANEE
10 - PERADENIYE
11 - JOTHI NONSTOP BY KINGSLY
CLARANCE WARNAKULA
12 - LASSANA SINAHAWA
13 - SATAN BIME
14 - KO NUMBE
15 - BALEDI BANDA
CHAMARA WEERASINGHE
16 - SUNDARA RATHRIYA
17 - ATHIN ATHATA
18 - ADI SIYE PARA GAWA
19 - GADI KELLE
PUNSIRI SOYSA
20 - BIDUNU KALAKA
21 - SEWWANDIYAKATA PEM BANDA
22 - ME BUS NAWATHUMA
23 - EKAMA MAGAKA
RUPA INDUMATHI
24 - KURULLANE PANI
25 - DESHAYEN DESHE BALA
26 - VIDULI DUMRIYE
27 - ROSA NONA
CHAMIKA SIRIMANNE
28 - SANSARA SIHINAYE
29 - LASSANA ATHTHATU
30 - SAMAWELA MATA KIYANNA
31 - HITHANNEPA ADARETA PATA
WALTER FERNANDOO
32 - PEM LOWA NINDEDI
33 - HARI LASSANAY BOLAN
34 - NELUM MALE PETHI KADALA
35 - HAH HADAY RUPE
SATHISH PERERA
36 - SUNDARAY OBA
37 - KANDALAME WEWA BALANNA
SURANI DE MEL
38 - SIHINAYEN PAWA
39 - ADAREI NAM ENNA MA WETHA
40 - RAHASIN AWITH
41 - BAILA
42 - NONSTOP
DULAJ DANUSHKA
43 - AMMA PEW KIRI KANDULIN
44 - KIRI MUHUDU WERALE
45 -KANDULINMA GAYU
SHANIKA WANIGASEKARA
46 - THIRIKKALEN ENA
47 - WADA MAPPLE
48 - DANGAKARA PEMWANTHAYO
49 - NONSTOP
FLASH BACK
50 - NONSTOP
Sunday, February 20, 2011
Flashback Live In Delgoda
FLASHBACK
01 - ANTHIMA SATANE
02 - PINI WETUNATA
03 - HINDI SONG
04 - JOHN CENA
05 - ENGLISH SONG
SATHISH PERERA
06 - SUNDARAY OBA
07 - KANDALAME WEWA BALANNA
08 - SIHINAYEN
FLASHBACK
09 - KINGSLY PERERA
10 - AYETH ENN NEA
11 - HITHA HIRI WATTANA
12 - TAMIL SONG
NIMAL RANJITH
13 - Hada Handana
14 - SUWANDA ROSA MAL
15 - ANANTHAYATA
CHALAKA CHAMUPATHI
16 - SIHINA DEWDUWE
17 - ESA REDUNA
18 - WALAKULAK
ASANKA PRIYAMANTHA
19 - SANDA ELIYA GALA ENA
20 - PUNCHI HADA KARIYE
21 - DEEPAVALEE DATA
22 - GOLUDARUWEK
ANURA GAMINI
23 - SIHINA AHASE
24 - ADARA MAL PAWANE
25 - CHANDANA ELLEN
26 - GANGA GALLENE
CHAMIKA SIRIMANNE
27 - SANSARA SIHINAYE
28 - LASSANA ATHTHATU
29 - SAMAWELA MATA KIYANNA
30 - HITHANNEPA ADARETA PATA
SHASHIKA NISANSALA
31 - NUBE SITHA
32 - KIRIWEHERATA
33 - NISANSALA SADAK
34 - MAYA
CHANDANA LIYANARACHCHI
35 - POLRUPPAWE
36 - SITHIN ADINAWA
37 - SAMAWENA BOPATHAKATA
38 - HANDANA DHODANA
FLASHBACK
39 - KAPUGE NONSTOP
40 - NONSTOP
Flashback Live In Katuneriya
FLASHBACK
01 - THARUKA DILI DILEE
02 - ENGLISH SONG
03 - SUDU MANIKE
04 - JOHN CENA
05 - HITHA HIRIWATTANA
06 - KADA MANDIYE
07 - YAWWANA KALE
08 - UNPLUGED NONSTOP
09 - ANTHIMA SATANE
10 - HINDI SONG
11 - PERADENIYE
12 - ENGLISH SONG
13 - TAMIL SONG
15 - JOTHI NONSTOP BY KINGSLY
SENANAYAKA WERALIYADDA
16 - PUNCHI DANGAKARIE
17 - KEHERAL KADAGENA
18 - SAGARAYA BANDU
19 - ANE GATAWNE
20 - MAL VIYANEN
JAYA SRI
21 - BALU BALU SAMA THANAMA
22 - MAGE NONO
23 - MAMA MONKY
24 - PITARATA VISTHARA
25 - NONSTOP
26 - ENGLISH SONG
FLASHBACK
27 - KAPUGE NONSTOP
28 - PUNJAB MIX
29 - NONSTOP
Flashback Live In Gampaha
FLASH BACK
01 - RANA BIME
02 - BATH PATHA
03 - HEMADEMA LEBUNA
04 - DURA ETHA RATAKA
05 - NIWADUWATA
06 - ENGLISH SONG
07 - ANTHIMA SATANE
08 - RAMBARI
09 - WASANTHA KALETA
10 - TAMIL SONG
CHAMIKA SIRIMANNE
11 - SANSARA SIHINAYE
12 - LASSANA ATHTHATU
13 - SAMAWELA MATA KIYANNA
14 - HITHANNEPA ADARETA PATA
SENANAYAKA WERALIYADDA
15 - PUNCHI DANGAKARIE
16 - KEHERAL KADAGENA
17 - ANE GATAWNE
18 - MAL VIYANEN
SUNIL EDIRISINHE
19 - DUWA NUMBA MAGE
20 - LENCHINA MAGE
21 - PARU PALAMEN
22 - RA RA RA BOMBIYE
NIROSHA VIRAJINI
23 - SINASENNA MATA
24 - IGILENNA
25 - RANGIRA MA
26 - DUHULU MALAKA
AMAL PERERA
27 - MAL PITA MAL
28 - MASANASA
29 - ADARE RAN
30 - RAN MEEVITHA
31 - SANDA MIDULATA ENAWA
RAVINDU SATHSARA
32 - GIRI HEL MUDUNE
SHIHAN MIHIRANGA
33 - ADA THANIYEN MA
34 - MIHIRAVIYE
35 - SULANGAK WELA
36 - OYA RUWA DUTU VITA
37 - LANDE MULAWEE
Flashback With Superstar
FLASHBACK
01 - MAHA MUHUDA
02 - METHWA
03 - MEWELA PENEWE
04 - NEWADUWATA MAMA
05 - POKIRI
06 - RANABIME WERUWO
07 - WASANTHA KALETA
08 - NONSTOP [SUPER STARS]
AMILA NADEESHANI
09 - ADAM ENNA
10 - MERE
SUPER STARS
11 - DANGAKARE
MANJULA NIMANTHI
12 - DEWEYAN PAMULA
13 - SEETHALEN MAL
GAYANI MADUSHA
14 - DIKKASADA PEMBAREE
15 - SITHA BIDUNUDA
NADINI PREMADASA
16 - DUWANNE
17 - SAPU KUSUME
BUDDHIKA USHAN
18 - EGILENNA HADANNEPA
19 - EKMAN KOPAYA
SUPER STARS
20 - MAHAMERAK
SURENDRA PERERA
21 - MANARANJANA
22 - PAYANNA SANDA
23 - RASA HEGUM
MAHESHIKA LAKMALI
24 - NADUKARAYEK
25 - PEM SWARNA
GAMINI SUSIRIWARDENA
26 - NELA AKASE
27 - RATHU MENIKE
NALINDA RANASINHA
28 - PINI WETUNADA
29 - SANDUNI
FLASHBACK
30 - PODIKALE MARADA
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