"Fires of Formosa" combines elements of music video, documentary, research, written text and guerilla performance.  It is unclassifiable and even debatable as an artwork.  Yet, it is created from sincerity and combines the raw, primal passion of punk with an abstract realm of performance art.

  The end results are a 3 part video, a music cd, a collection of photography and a written story.  The upcoming release is intended to reflect all of these aspects.

 It is considered an on going project, and a Sikhara concert performance has been developed based on the themes of 'FOF'.

 

  During my first stay in Taiwan, I became fascinated with the sight and sounds of the islands' many temples.  While doing photos and field recordings I began to conceive of how the music and performance of Sikhara might unfold in this setting, however at that time, I didn’t actually have any instruments.  That began the first series of guerilla performances.

  While learning about the ancient Chinese culture these places reflect, I also began studying the history of local aboriginals.   The performance became more involved and valid and the story line and arc of the final video began to take shape.

 Upon returning to the US, I arrived immediately to Seizure's Palace in Brooklyn, where the real master monk, Jason LaFarge, edited the first audio.  In only a few weeks I made a short, on-line release called "Temples of Taichung".   I prepared a storyline and performance outline based upon ritualistic possession with the primary characters being an Aboriginal headhunter and a Dutch sailor.

 

   The main components of the audio portion range from recording the rituals and chanting of monks, including their use of traditional music instruments and the critical bells and drums that are inherent to this culture.  Other times I was allowed to use the instruments or even be joined in a recording.  However more than just the drums, but a very percussive vocal style became the core of the performances I gave. 

 The visual aspect of the guerilla performances was quite savage and physical, the body compensating when challenged for the ability to make sound. 

 

  Having invested so much time and energy in the project, I was very concerned with the details of the final version of the video.  Not happy with the outcome of my work with the first video editor, the project was stalled.  I turned to Jeremy Morelock of URCK and we camped out for an intense session in North Hollywood that yielded most of the video aspects.   

 

  The back story of the film plot is intentionally vague, but very much in mind while shooting the video.  I worked with an editor on endless revisions of the story, never quite satisfied and finally settled on breaking it down until segments.  

 

  While rehearsing the performance presentation for the project, although many of the audio aspects of the original project were present, a new sort of concept was forming within the process.  “Fire of Formosa”, although allowing the main character of the storyline to out in a more literal delivery, splits in another and non-fiction tale.   This historical incident was the first arrival of the Japanese on the island and their encounter with the aboriginals.   This became the second installment, “Visitors”.

  The final and yet to be completed conclusion, is chance for greater experimentation with the audio aspects.  The earlier sounds were preserved as they were captured mostly and there is a lot of potential for greater manipulation.  There is also a wealth of video footage, some quite intense, that did not get more than a glimpse in the version.  The door is open, for future exploration of the material.

 

The ultimate release of the project is confounding.  The term “multi-media” is not really adequate to describe what is a bizarre artistic display of brute force and madness, thoughtful but chaotic and a schizophrenic mixture of sound and image.