21 October, Red Room Stone Soup Fundraiser 紅坊國際村募款會

2017 / 10 / 21
6:30 ~ 10:00pm
紅坊國際村募款會
Red Room International Village Fundraiser

七年多前,紅坊以一個單純的構思為起點, 創造一個”美好空間”, 為每個願意分享自我與啟想的人帶來鼓勵, 也鼓勵人人開放溫暖胸懷學習傾聽彼此。

透過想法的交流及故事的交換,這個多元社區共同創造出了一鍋萃取紅坊精神的「石頭湯」。我們達到了一個美麗又值得慶祝的里程碑。

紅坊邀請各位來賓與贊助者及來參加這場聚會,讓大家一同發展我們的生活圈、資源及機會。

跟我們慶祝的話可以享受表演、美味佳餚、及與紅坊人互動的機會。來加入我們這個充滿詩人、管家、信仰紀錄人、石匠、文士、和平締造者、酒保、小丑、聲創者、雕刻家、畫家等性格的社群。

More than seven years ago, Red Room began as a single event with a simple desire: to create a space where sharing ourselves and our inspirations would be celebrated, and where we could practice listening to others with openness and warmth.

Through the exchange of ideas and sharing of stories, this diverse community has co-created a “Stone Soup” that exemplifies our culture. We have reached a beautiful milestone worthy of celebration.

Red Room invites you to a gathering that will expand the reach, resources, and opportunities for all in our beloved community: patrons and participants alike.

Celebrate alongside us with a showcase of performances, culinary delights, and an opportunity to engage with members of the Red Room.
Join our community of bards, stewards, faith keepers, masons, scribes, peacemakers, tavern keepers, jesters, sound-scapers, sculptors, painters and many more.

In the words of our co-founder Ping Chu:

“As a successful platform for the performing arts, Red Room bridges the gap between Taiwan and the rest of the world- cultivating a melting pot of local people & expatriates.”

Red Room Village Fundraiser 紅坊國際村募款會
$2,500 patronage fee 贊助費
RSVP <reeves@redroomtaipei.com>
Casual Dress 輕便服裝

Red Room International Village TAF LIBRARY 2F No. 177, Sec.1, Jianguo S. Rd, Taipei
空軍總部「圖書館」2樓 台北市大安區建國南路一段177號

If you want to go quickly, go alone. If you want to go far, go together.
若想走得快,即獨自走。若想走得遠,即一起走。

~ African proverb 非洲諺語

Stage Time & Wine origins

Charles Haines, Master of Cups, Artist and dedicated Red Roomer, shares his memory of the Red Room’s creation:

Being part of the first days of Red Room was pretty amazing. It started sitting around a table at Roma’s house. Ayesha, who is the co-founder of Red Room, presented us with her idea for the Red Room platform [at that table]. She had traveled to Taidung and she had met Ping Chu there. They got talking about what she wanted to do, which was create a listening space, and a sharing space. Ping just happened to have a place where we could do this. This partnership, which started during that meeting, led to the creation of the Red Room.

She talked with us about it after that first meeting with Ping. We started throwing around ideas about what we were going to do, and who we were going to invite, and the name of the event. We had the name Red Room, but we wanted a subtitle to give a better- nobody [knew] what Red Room [was], so we needed something to explain [it]. Manav came out of his room and said “Why don’t you call it Stage Time & Wine?” and that was it. He walked back into his room and we didn’t hear from him again. I think he was, like, eighteen at the time. His involvement with the Red Room grew progressively and he used to open each Stage Time & Wine with a poem he wrote.

I wasn’t really very much involved with the organizing of any of the events at that time. I sat in and talked about things, but it was very kind of organic that first one. We were just asking friends to come and play music. At the very first Stage Time & Wine, I worked with Manav at the bar. We had a great time together. I think it was that night that we bonded. I did not know then how much a part of my life he would become and I am so grateful that we worked together at the first Red Room bar.

Since we didn’t know whether it was going to be a onetime thing—one Stagetime & Wine– or six months, or whatever, we didn’t really plan for Red Room to be what it’s become. It’s grown every year. We definitely didn’t know when we were sitting around the table what Red Room would become.

I think, after that first one, a lot of people that were involved were so excited about it. It was their enthusiasm that encouraged Ayesha, and all of us, to do it as a once-a-month event for as long as there was an interest. Ayesha left a few months later and Roma and Manav have run with it and made it what Red Room is today.

14 March 2016

Image: The earliest invitation to Stage Time & Wine, art by Charles Haines.

Stage Time & Wine LXXXIX: May 2017

From Jimbo Clark, our MC for Stage Time & Wine LXXXIX

Number 89 went just fine.

From poems and tributes to Moms, to a little Shakespeare and an emotional monologue from “When a Man Loves a Woman,” the night was full of emotion, laughter and intimate sharing. On the musical side we had a first time Ukulele duo, and songs about Angels and “Whatever you want this song to be about,” and a moving sign language version of the song Flashlight. Magical moments moved the universe as we enjoyed giving and receiving the best of each other.

View the full album here:
Stage Time & Wine 89
“Hail Stage Time and Wine”

我發誓我很努力地想要想起來這次開場,主持人金箔帶領大家唱的健行歌,但卻怎麼想也想不起來了。

不過倒是確定紅緣寄詩酒沒有讓我失望過。
因為很神奇的是,每一次都不會如你預設,像是健達出奇蛋,讓人驚奇不斷。這次的是我想也想不起來的「健行歌舞」,我們一起像祈禱一樣圍圈跳很適合搭配唱著「哎呀伊呀喔」的舞蹈;還有開始的「主持人覺得現場氣氛需要更熱絡互動」,也就是我們跟身邊的人分享一則自己的好消息。於是我們知道身邊有人朋友要結婚,有人贏了一場球賽,有人要回國了。消息都不一樣,但臉上的笑容相同。

「沒有錄影,沒有世俗干擾,紅緣寄詩酒就像是一塊淨土,來欣賞你表演的是朋友是家人,表演者在上台前糾結的淡淡焦慮,我們想要保護這樣的感覺。」Manav那天在講到詩酒時,就像是他的孩子一樣。

「這次真的好好玩呀!」是這麼想的,但我沒說。
只是回家翻開行事曆,空下了下個月的第三個周六。

by 張悅安 YuehAn

Reflections 關於第88屆紅緣寄詩酒, May 2017

Reflections on Stage Time & Wine, 88th Edition.
Stage Time & Wine is a place to express yourself freely in any language or form, and remember that everyone is an artist.

關於第88屆紅緣寄詩酒

Stage Time and Wine 88

四月份的紅緣寄詩酒與昔日幾屆並沒有甚麼不同,也很不同。可以說它每次都那麼獨特,那麼不一樣。不僅每次都有新血加入,鼓起勇氣站上前去與大家分享,那些百花齊放的創作更是讓每次詩酒活動更上一層樓。
筆者參加過二三次詩酒,總是能見到百百種表演,熟面孔帶來的新意與新朋友激起的共鳴,台下觀眾時而專注時而放聲大笑,彼此因為欣賞與分享而模糊了界線,有時模糊視線,於此同時也因為「聆聽」這個動作更進一步地將表演者和聽眾的心凝聚在一起。
詩酒讓創作者能安全地表達自己,以任何語言,任何形式。也讓我們記住任何人,都是藝術家。

張悅安 YuehAn

I, Too: A Reflection of Stage Time and Wine 86

I, Too: A Reflection of Stage Time and Wine 86

Stage Time & Wine 86

Stomach churning, I put my name on the performers’ list of Stage Time & Wine (STW) LXXXVI. Although it would be my second time to read at STW, I had reasons to dread. Located near the top of the list, I thought my trial would soon come and be over. As time went by, however, I realized that the host had shuffled the performances to give the show a better flow. That unexpected unpredictability only worsened my stage fright.

Finally my name was called, and I dragged myself up front. My nervousness was transparent. I prefaced my reading with Langston Hughes’ poem “I, Too” as my backhanded apology. In this poem, the African American poet pays tribute to an earlier literary giant, Walt Whitman, and his poem “I Hear America Singing.” This “darker brother” stresses that in addition to the people of different genders and occupations whom Whitman praises for forming the multi-faceted American identity, African Americans, “too, sing America.” He laughs at the discrimination he suffers from and asserts that one day, people will see how “beautiful” he is. Just as the two poets reflected and celebrated the American-ness from their view points, so I wanted to maintain that “I, too, am America.” Despite being neither black nor white, or even American, having neither the English language as my mother tongue nor the Anglo-American literature as my inheritance, I’ve written a thesis which surfaces the little-noticed positive sides in one of the gloomier poets, Philip Larkin, and I wish to ascend from academic writing to poetry or prose, writings that may one day be included in the literary canon.

It was with this ambition I attended STW that evening—to test the waters as a writer for the first time. Like Hughes, I resorted to an earlier American writer, Raymond Carver, for inspiration and based my narration on his short story “Popular Mechanics,” a story about a couple fighting over their child. Beginning by borrowing elements from a famous writer and retelling his story from a different character’s perspective, I hope that one day I, too, an outsider of this language and this culture, will have unique tales to offer.

Ever so nervously, I started my reading. My whole body was tense, my legs trembling. So was my voice, I believe. A couple of times I paused, to catch my breath and for dramatic effect. During those moments, I found myself embraced by an attentive silence. I peeked over the edge of my script. No one was checking their phone or checking out the bar. Instead, I was greeted by faces with eager anticipation. Feeling encouraged, in a steadier voice I read on. After I finished reading, the audience’ warm applause thawed my stiff muscles, enabling me to bow and resume my seat.

Earlier that evening, I joked with friends that with Red Room’s renowned supportive crowd, “I wouldn’t know how badly I suck.” I was wrong. The audience’s feedback was genuine. They shared with me how they were moved (“I knew the cameraman was taking my pictures and I looked stupid, but I was jaw-dropped and couldn’t control my face”), and which parts of my story resonated with them (“I’m a mother, so I know what the woman in the story chooses to do at the end”). That night, I left STW, eyes brimming with tears, heart full of joy. Like many others, I, too, look forward to returning to STW, where several successful artists have been cradled. Uplifted by the warm air current at Red Room, a fledgling writer is gathering up momentum, ready to fly.

By Li-Chieh Lily Yen