Composer, singer, choreographer, and director Jerry Snell is committed to innovative theatre production and
performance, and to left-field sociopolitical ideas. He was born in Vancouver but has been based in Montreal since before the start of his professional career.

Interview with Jerry Snell
By kSea flux

Jerry Snell: Hey, thanks for the contact for the Dresden Dolls (DD). Beth got back to me and I'm sending them out some stuff after the weekend.

kSea: Right on. Brian and Amanda are incredibly dear people. The collaboration between you two would I think be phenomenal. There's something big going on.

JS: I think that would be great for me -- because I've been working a lot in Asia for a long time and there are lots of things that you do but you've got to work within a kind of restraint of a more traditional society. With them (DD) and with the market they've created, you know, I think that would go crazy.

kSea: I would love to see what you all could put together!

JS: Are they based in New York or San Francisco?

JS: Okay. So that's good. I'm basically in Montreal but I'm living most of the time in Asia. My administration is in Montreal. The last three years have just been one project after another but I've got to get back to Montreal because I start to lose some of the roots and some of the connections with the artistic world in Montreal…there’s fantastic stuff going on, Cirque Eloize, 7 FINGERS and of course Cirque du Soleil (CDS)…

kSea: We’ve heard a lot about artistic creativity in Quebec, have you ever worked with Cirque ?

JS: Hope to some day, but at the same time, what is happening for me now in Asia is very exciting… Now creative doors are wide open. Working at Cirque du Soleil is good and it's a great thing to do, but at the same time, it is very demanding. I mean, when you do a Cirque du Soleil show, it's got to be a Cirque du Soleil show. I respect all that 100%. When you do a commission work, you have to respect what the commissioner wants. If they've got you and they hire you, you have a certain artistic liberty because they've taken you and not somebody else. They somehow want what you do, so I think there are certain things that you have to deliver with Cirque du Soleil but there are certain things that I can deliver with the freedom that I've got in doing the work I'm doing. One of the things that was really funny - I was by the Hill Tribes on the Burma border and I was doing a phone interview with Cirque du Soleil human resources person for a job in Japan. They said, 'Could you work under another person another director?' She thought I'd have a hard head [kSea laughs] and not be able to follow anybody. I said, 'Yeah, well if you hire me, I will follow what you want to do.' Then I said something she misunderstood, and she said, 'Oh, you so you think Cirque du Soleil are commercial?' I said, 'I didn't say they're commercial. When you're working for any person who’s commissioned you to work, you have to work under the restraints of what they're doing. If you've got a multi-million dollar investor, you've got to respect what they want, whereas now I have the artistic liberty to use any music I want. For example, if I want to use Marilyn Manson or Nine Inch Nails, I use it.' The woman said, 'We would never use that kind of music!'

kSea: Guess she wasn’t a Trent Reznor fan, huh?

JS: [laughs]….There you go. It’s not a question of commercial or not commercial, it’s just what your mandate is. If your mandate is working with Cirque you do that, whereas my directive is my directive. If I work for me, I do what I want. I respect the person who's producing or financing the shows. If I'm financing the shows, then I'll do what I want.

kSea: Yeah, I completely understand that. The show is still yours, but perhaps a bit more tame...

JS: If Cirque du Soleil or another big company is producing the show, then I'll do what they want, and create with my style and vision within their artistic objectives or goals. You want people to be happy.

kSea: Exactly. You have the talent to work within guidelines, as long as it's not too insanely strict. Each person brings what they have to offer and you work with that.

JS: Yeah. I think the whole thing about circus which I like a lot is basically, for a director, you just got to make people look good. People who are performing want to do the best job they can. The performer & director working together, you come up with something that is quite explosive. I think no one's working against each other. Sometimes in other artistic domains there's a whole lot of ego working.

kSea: Yes. Everyone trying to out-do the other in order to survive

JS: …Circus is basically -- The better you look, the better we look, the better everyone looks.

kSea: Exactly.

JS: Just by coincidence, I was here (Vancouver), and was lucky enough to go to the opening of the new Cirque du Soleil show, Corteo . It was a high-quality show. Physically, you could see a lot of the intimate work in the dynamics and the timing of the artists that blew everyone away. I think, basically, from one show to another, it’s the artists are what blow you away.

kSea: True. Absolutely true. Cirque du Soleil are probably the forefathers of this new circus that has been happening, or at least made it a lot more visible, and sparked the creativity in many people, but now the whole scene has become a lot more independent. Cirque has been an inspiration to many people & of course they still rock, but they need to pay their bills and therefore need to play to the public, whereas, as independent people or companies, we can do whatever the fuck we want. That's the most glorious thing.

JS: I went to the show with my family. We were in the west (of Canada). I was thinking about what we had presented in Montreal. That's where Cirque du Soleil came from, and that's where Quebec’s creative artistic energy is coming from. There's a whole dynamic that's been going on for 25 years that we can push the limits, but when you bring a show out to the west, the people are going to see these (CdS) shows for a specific thing. I understand what they deliver. I saw the public. I thought, 'There's one thing that we did in the beginning of my FLASH show that I did. I did a Nine Inch Nails song (Something I can never have) at the very opening scene. There's the word 'fuck' at the beginning. I said, 'No way would that work here in Vancouver, for a family audience. No way would that work in the mid-west. That worked in Montreal because you can push those limits, but that can't happen anywhere. You can do it in New York or San Francisco but you're taking a show on tour and you're going everywhere. It's the same with a lot of companies that I know. It's got to be flexible but it's still got to be open to the public. The show (FLASH) we did was in Montreal, for a audience between 7 to 70 years old. I had a lot of questions-and-answers after the show. I asked the kids because it was a lot more rock version than we did in Taiwan, 'Is this a kids show?' They said, 'Yeah! Right on. It was a kids show.' [kSea laughs] In Montreal, we pushed the limits but it's not everywhere you can do that. This was the same in Taiwan, but in the end, they loved it. Sometimes people forget, kids like to rock…

kSea: Definitely. It’s mixing artistry with a bit of edginess – keeping the younger generation interested in the wonder of the beauty created while still making it fast-paced enough, through music and/or performance, to fit the times and all the insanity that they’ve gotten used to.

JS: People that are investing money -- you want them to be happy and you want to come back. Like you said, if you've got your own public you can go crazy. When you're doing an underground rock show and you've got 200 people, you can do whatever the fuck you want, but if you've got 10,000 people and you've got somebody that's investing, wanting something to be a success, you've got to push the limit but you also need to make it accepted by such a diverse audience. When you're working for 10,000 people or 58,000 people, you've got to figure that there's got to be a certain reality to respecting what the people want (and of course their culture).

kSea: It needs to be palatable to pretty much all generations.

JS: Exactly. What they've (founders of new circus) done is they've just opened the door to an art form that we now don't have any limitations for. It's indefinable. The thing about the evolution of circus is that each show is trying to make itself indefinable. It can be a rock show, it can be art, multi media, it can be pop, it can be a children’s show, it can be anything. There's basically no limit. Whereas maybe 50 years ago, there were a lot of rules to it. People who do traditional circus said, 'It's got to have this, it's got to have this, it's got to have this, otherwise its not circus.

kSea: Right. Exactly.

JS: Whereas now, creativity just exploded. Because it's got a certain commercial popularity to it, it's much easier for us to open new markets where it's never been before, like what we're doing in Asia right now. They trust you. Because I'm from Montreal and because I've had a lot of good friends at Cirque du Soleil, & I’ve worked at the National Circus School in Montreal, which is also a partner of CdS. Basically, they open the doors completely to what I was suggesting and they don't know this creative fusion. Because of that, and because of our success, we have a lot of liberty in Asia.

kSea: Let's start talking about that, Jerry. How did you get connected with Asia? I had an interview with Andrea not too long ago, and the Laughing for Life circus. She's also from Vancouver. I'm curious to know how that happened, what the connection between Canada & Asia is.

JS: Well, I'm amazed at how the Internet is working. Through the social circus project that we're working on now, there's a huge network of people. There's a communication network that is really, really helpful right now. I emailed two people that we're working with at Vancouver Circus School. I said, 'How do I get in contact with the circus school, because we've got this project in Thailand.' They said, 'Oh, we know this girl you should contact. She's great. She's doing that kind of thing.' I sent an email to her, and then we were talking.

kSea: To Andrea?

JS: Yeah. I said, 'Where are you, in Vancouver?' 'I'm in Bangkok.' 'You're a few feet away from where I live.' We hooked up. There's a lot things like that happening. You just hook up. Because we're based in Bangkok, there are a lot of people traveling. There are a lot of people in transit. It's a really good zone for people to meet. Then I hooked up with Andrea. I met you, and then you hooked me up with the Dresden Dolls. It goes on infinitely. It's amazing. No one is really asking for anything. They're just offering their time and offering their connections, saying, 'Hey, I know somebody.' In circus, it works a lot like that. Some guy is looking for an audition, and it's amazing now the communication network of people that is through circus. I'm a musician and I compose music. Originally, I was a physical actor for a physical theater multimedia company that was based in Montreal. Then I started doing music. Then I was doing music for dance companies, but since I've been in circus I've never seen such a huge amount of communication. And there is Mike Finch and all his performers from Circus OZ in Australia, they have helped me a lot with networking, bringing really fantastic people in contact with one another. I guess since the beginnings, circus has been a nomad, traveling kind of thing. It was basically a gypsy kind of life, always moving, always touring.

kSea: Exactly. From town to town, show to show. Now it’s become much more international – worldwide.

JS: It's kept that momentum. It's kept that movement. It's kept that more than anything else. I'll get back to how I ended up in China. I was composing music for the Beijing Modern Dance Company about 3 years ago. It was just a fluke meeting that I met them. We decided to do a project together. I composed the music for their show. I did that show, and then I met some people in Taiwan (Tai Gu Tales Dance Theatre) who were doing another dance show. I was asked to compose the music for that show in Taiwan. In between those two shows, we had brought the Beijing Dance Company to one of the biggest theaters in Montreal. I got a phone call when we were doing the run, it was from the National Circus School. They said they wanted me to do a show. I said, 'Oh, they probably want me to compose music for a show.' When I got in contact with the directors, it was actually to direct the first show that would be for the opening of the TOHU, which is the first circular theater in North America made specifically for circus arts, in Montreal, which is a partner of Cirque du Soleil. On my website, under links,' you can find the connection, and also for the Circus School).
They asked me to direct a show for the 2004 graduates of the National Circus School. I said, 'Okay.' I had six months to think about it. In the meantime, I went back to Taiwan and I composed the music for that show. Then I went back to Montreal and I did the circus show. That was my first return to circus since about 10, 15 years. The very, very first time I was working in Montreal I was as a street artist, as a mime performer. That’s how I knew Cirque du Soleil, because the loft that I was living in -- We were all street performers, and the guy who owned the loft was a maniac for circus. He had a vision to create a circus school. He had a vision of bringing updated circus to Montreal. He was a clown and but kept studying Russian Circus, and administration…

kSea: So who was this person?

JS: This guy was Guy Caron and he eventually became the founder of the National Circus School. Three years after the founding, Cirque du Soleil was born. I knew all the Cirque du Soleil people and all the National Circus School people when they were street performers.

kSea: Before they were ever Cirque du Soleil.

JS: That means I'm really fucking old.

[both laugh]

kSea: Bullshit. How old are you?

JS: I'm 49.

kSea: Yeah, okay, you're really fucking old! Just kidding - you've got 9 years on me but you sure don't seem to have settled down – but then again, age has little to do with anything in the world anymore.

JS: That's the thing about circus. We don't have to get mature. The more we stay young -- If you start taking yourself too seriously, you're in the wrong business.

kSea: Exactly, my friend. It's all in the heart. I still feel like I'm 20, except I know a lot more than I did then - and I've lived long enough to be able to remember the dreams I had back when I was much younger and make them happen.

JS: The thing is that you can organize your insanity a bit more so that it can build and have a long life. [kSea laughs] When you meet people and you talk business, talk straight, but when you actually start to do the show, you can go wild. I was working with the National Theater of Taiwan. They're very conservative people. A traditional Chinese opera director came in a suit while I was with directing the acrobats. I had an electric guitar and super fuzz pedals and distortion. They didn't quite get it. They were kind of worried. I brought in some of my other musicians. They still didn’t get it. Then when they saw it on the stage with the video, acrobats and stuff, they got it. They said, 'Ah, we like that.' They loved it…

kSea: Right on.

JS: Yeah, you gotta be crazy. You can be crazy but I'm sure, as any successful group does, you've got to have the business side and the control over what you're doing. Otherwise, if you're a complete anarchist 100%, you're going to lose somewhere along the track. You could get exploited, or somebody's going to take advantage of you. You got to keep part of your brain open. One part of your brain in control. Your imagination has got to go wild but your control has got to be aware of what's going on.

kSea: Exactly. That brings up an interesting point. I know you’re really proud of blending music like Nine Inch Nails with traditional Asian music -- Was that a part of it, to make it more palatable to them, make it more acceptable to the Asian culture? Or was that just something that you felt like doing because you saw it would work really well.

JS: It's a product that identifies Asia very well. In traditional society in Asia, they're very proud of their heritage. They're very proud of where they come from and they're very proud of their traditional music. At the same time, they really love things that are new. They're really thirsty for everything that's new, any kind of new style. When I work with them, I like their traditional music. I like their traditional heritage; I like their traditional philosophy. At the same time, my roots are from rock. Whatever I do has a rock edge to it, so when we put the two together, I bring people like young Chinese traditional musicians who also like rock. I like rock and I like traditional music so it's a synthesis of people who like to share. This was the same thing when I was working with the traditional kung fu artists. They had been working in a traditional style of kung fu, and then I started mixing them with hip-hop artists. They're both the same age and they both love to move. They both love to explore new things, so the fusion became organic. It wasn't like, 'I want to change your art.' It was something that just naturally happens. The same way that we in American have grown in the fusion of world music. In some parts of Asia, it's still been closed, in a certain sense. There is rock, there is a lot of alternative music but it's still very, very minimal. It's very difficult, for example, to make a living doing hard rock music in Asia. You can do pop until you die. It's no problem, but as soon as you turn 20 you gotta get a new job. They want 16 year olds and 20 years olds. Basically, that’s the market (JPOP). It's very difficult for somebody to do something alternative. That was one of the points we were proud of doing in Taiwan -- being able to bring an edgy fusion and make it commercial. At the same time, we were happy to do that in Montreal, too. We were bringing alternative music to circus. Even though it has an alternative vision to it, the success that we know of circus, the mega successes are not using alternative music or hard rock music. That's something that I like because it's unique to what I do, being able to make it interesting for both the public in Asia and for the public in North America, that fusion. Some people would say, 'You're using a Nine Inch Nails song. We know that song,' but you've never heard it done with Chinese instruments. Then they say, 'Yeah, that's true. That's gonna sound weird. Yeah, that's really weird.' I had some critics in Montreal. A real dick (pretentious reviewer) was saying, 'Why do you use these songs that we know? We already know this.' I said that you've got to look from a musician's point of a view, not from your limited point of view. Think of how we fused those instruments and the arrangements. I'm a musician. I do that intentionally. It's not just to throw on a song and say, 'That's a good song. That's a hit that will get everyone moving.' Because I'm a guitarist, I will take a song that's got a good riff to it, that I know will transpose to a Chinese instrument. It's not like I take just any song whatsoever. It takes some time… In the West, sometimes they will say, 'That's a stereotype.' Unless you've lived 4 or 5 or 6 years in Asia, how can you tell what is a stereotype when it's coming from Asia? Because it's your stereotype. What is the norm in Asia might seem like a stereotype to you, but for them, that's normal.

You have to understand the two cultures. People who live in the two cultures understand that. That was the thing about this show (FLASH). It wasn't just me directing the show. It was a collective creation. Because it was from Asia, I couldn't imprint my politics or impose views. I could just imprint the vision of where it was going. Then I would say to the Asian participants, 'Do you like that? Do you want to go there?' They would say, 'Yes, we want that. We want that.' They still love it. The artist (Thien Vu Dang) who was doing the Video, was born in Vietnam and then came to Canada as a refugee. The camerawoman (Yasuko Tadokoro) was Japanese. They had their vision that was Asian but also North American, so it was basically a fusion of all those things. To put the music together, it had to be something new for Asia and something new for Canada. People loved it in Canada and they loved it in Asia, so it means that we did do something new. I love to do that. I have musicians in Montreal that blow me away, and in Taipei that blow me away, so getting those two to mix together was really fun.

kSea: On top of that, you found a very unifying bridge with two incredibly different continents, two incredibly different worlds. I haven’t been to Canada or Asia yet but they seem so incredibly different. Asia seems so beautiful, so remarkable, so immersed in its history, and you're bringing something new to that. I know so very little about Canada but I'm looking forward to going there at some point in time. Just being able to have such a positive reaction between both countries with the same music, the same performance, is pretty phenomenal.

JS: I think, for Canadians, we have a lot of Asian roots. I think in San Francisco and on the coast you also have a lot of Asian roots. What this show did was open up the Asian community a lot, in the sense that there's a lot defined in Asia that is already your neighbor. There's a lot already here. In Asia, they don't always have that. What's fun is that what we can bring as North Americans to Asia is the way that we can fuse things, the way that we can mutate things into new things, because that is our culture. We are not Europeans. We don't have 500 years of culture behind us and traditions and religion. In Asia, sometimes you're talking about 2,000, to 3,000 years of tradition.

kSea: Very strict tradition.

JS: It's hard to break out of. It's rigid, very rigid. We don't have that. That's where we have the strong point for our imagination. That's why we can build things that are in the realm of the new circus or in the realm of new music, or music fusion and that kind of thing. We don't have those borders, but at the same time we have all those links to Asia, if we look for them.

kSea: That's very interesting. Wow, you're absolutely right, too.

JS: Thank you! I'll hire you!

kSea: [laughs] I'm available. As long as I can keep on doing this magazine and letting the world know about people like you, Andrea, and all the others - you got it. But let's talk about the Circus School of Thailand now, yeah?

JS: This is a very interesting concept that has a lot to do with the economy of a country or the economy of the third world people living in Cambodia, Thailand, Vietnam and Laos, which is not at all what we were doing in Taipei or Taiwan It has a totally different culture and totally different economy. Most people only know Thailand for beaches or for exploitation or trafficking of children or stuff like that, but very few people know anything about the Thai people or culture. I started this project by accident. I was just invited there to start up a circus program in Bangkok. I will just give an example of the one artists (Rajanikara Kaewdee) that I'm working with: He is from the northeast of Thailand (Isaan), which is the farming, rural region of Thailand. As I started working with him, I started understanding his desire to go further but also we understood that the hopes of people living in economically strained areas still remain dreams for them. It's not something that they can actually do. We started exposing him to other artists who are on tour. Some of my friends who are on tour with Cirque du Soleil came over and started teaching him. He just grew and grew and grew. Now he's the first new circus performer of Thailand, the first one. I got him a scholarship with the National Institute of Circus Arts in Australia. They gave him a scholarship which was linked with the Cirque du Monde, which is Cirque du Soleil’s social circus program. I brought him on tour with me. I'll send you the DVD and show you what he looks like. Now he's got a scholarship in Montreal at the National Circus School to study for one year, and then he's going to come back. That inspired me to find out who else is doing social projects in the area. Below the border of Thailand and Cambodia, there's a city called Battambang. There's a person named Det Khuon who was in a refugee camp on the border of Thailand during the whole war. He went back to Cambodia. When he came back there was total destruction. Everything had been destroyed, not just physically, but their culture had been annihilated. There was nothing left.

kSea: When was this?

JS: Twelve years ago. He decided to set up a school that would bring back the culture, the music, the history and the art that had been destroyed during the Khmer Rouge. He set up a circus school. When he began, they had about 200 children. Now they have 1,200 children that are all orphans, trafficked children, abused and children that have just been left for nothing. He brought them in and now this whole school is working. They have 100 circus children that have built a professional show. Now what we're doing is taking that as a pilot project to show people what it does and how it can work. We're building exactly the same thing in Thailand in the northeast. One of the reasons for the northeast is because it's dry. There's drought. There's nothing to grow. It's very, very poor, so the poor farmers or the young kids migrate into Bangkok. That route that takes them from the north into Bangkok leads them into the prostitution and this human trafficking and all that. It's one way that we're trying to generate a bit of life by bringing some of the artists from Bangkok back to the northeast, and then bringing international artists to the northeast and use that as a center for circus arts. I didn't think of actually building a school there until I said to the NGO that I was working with, 'We want to start this program with a school somewhere that already has an arts program, that’s where we should to begin.' That was about three weeks ago. Then, a week ago, they sent me some pictures. They said, 'We found a school that's been doing circus and acrobatics for about 6 years. They've got no teachers and they have no money, and they need a acrobatic program.' I said, 'That's where we're going to do it.' That's what we're doing right now. We're going to open the school in November there. They've already got a program. They've got basically the essentials. They've got 70 students and about 100 including the community. We're going to bring in teachers there. We're going to set up and use all the different people who are traveling, who are going through on their way to Japan or whatever and just invite people to come and teach.

kSea: Beautiful. So basically what you're doing is taking these children who are abused and neglected and forgotten, and teenagers and young adults who have forgotten themselves, and giving them a sense of purpose again, giving them self confidence, given them a reason -- letting them find themselves again.

JS: Exactly.

kSea: Beautiful.

JS: It's giving a focus because, where there's nothing, at least if you bring somebody -- you know, when someone’s abandoned there's absolutely nothing. Then somebody comes in and says, 'We're going to help you.' Then you just bring in 2 or 3 or 4, and then you start to link with other people. Then, you're no longer abandoned. You actually have a power.

kSea: You have friends. You have something to believe in, and the most important thing to believe in is yourself; and you are giving that to them.

JS: Exactly. You have the power of the people. In Thailand, this area is what they sometimes call 'the niggers of Thailand.' The niggers, they're the dark-skinned. They're the people who work on the rice fields, cheap labor and the people that are looked down on. So if we can do like what we've done with this Thai artist, and he's become international right now, we can do that to five others and four others… We're still using their culture. We're still using their roots, their music. We're letting them develop whatever it is they can, and it will become something unique. As they've done in Cambodia, it will become something uniquely them but we can use it in a format that can be more exportable, in a sense. They can actually try to make a bit of money doing it.

kSea: Yeah, and support their families and become who they really are, believe in themselves.

JS: Exactly.The example that I've seen in Cambodia is amazing. Circus OZ also has been doing amazing work in Social Circus all over the world.

The work that Cirque du Monde, which is the social program of Cirque du Soleil, is a pioneer. They've been working in essentially in South American and Africa. Once this program is set up, I'm hoping that eventually Cirque du Monde/Cirque du Soleil will join in and help us develop these projects in Southeast Asia. Actually I am in the midst of making a formal request to get a Cirque du Monde “Teachers Training” program set up for our Thai artists.

kSea: That would be incredible…

JS: They need so little to make something happen. They already do amazing things with so little that you're bringing one teacher and already, boom! You've got something amazing going on.

kSea: And they need some way to be happy. They're so eager to learn something new, to become something more.

JS: That's the thing. The teachers that I'm bringing from the West sometimes teach spoiled kids, for example. Then they come to Thailand or to Cambodia and they go, 'I've never been so fulfilled in my life because I'm teaching somebody for whom it will dramatically change their life, and they appreciate so much what they give.' Whereas you go to another place and they all say, 'Oh, I've seen this, I've seen this, I've seen this.' I think that's why I do it, because you feel there's something concrete moving. There's something that is taking on its own life, where you don't have to sit behind it and push and push. You just feed it and it will grow. I guess it's like what people have when they have kids. [kSea laughs] I guess that's why... I gotta go.

kSea: Okay. Jerry, thanks man. It was a sincere pleasure to talk with you – until next time, my friend...

>>>Note from me (kSea) at the end of staying up all night creating these pages. First of all, if you have made it this far,thank you so incredibly much for reading this. There is a lot, I know, but in looking to edit it down to something a bit less wordy, there really wasn't much I could take out without sacrificing the whole feel of the conversation, and what I want to do with this magazine, where I want it to go. There is so incredibly much we can do, from the Grass Roots effort of Laughing for Life to what Jerry is doing... Think about it.

and received from Jerry seconds ago, I leave you with this...

From Jerry:

Here is the info for the festival...
Just ask people to mention that Jerry Snell & kSea sent them.

Circus Festival in Cambodia

Phare Ponleu Selpak is pleased to inform you that the next Tini Tinou
International Circus Festival will be hosted in Phare Ponleu Selpak
from the 2nd to the 6th of April 2009. The pre-opening will be held in
Phnom Penh on the 28th March 2009 with parade and shows.

For this 6th Tini Tinou, we continue to look for Co. coming from any
country. Our special guest 2009 should be a circus School from outside
of South-East Asia. We are thinking about Palestine.

Because of sutainability matter, we are looking for Co. who would
accept to participate in the festival with local indemnities. Also we
would like that Western and Northern Co. support themselves in terms
of International fair.

We have already started to work on the programmation.

Any idea and suggestion are welcome.

Hope to see you all in Tini Tinou 2009!

CONTACT: Jean-Christophe Sidoit
Email: This e-mail address is being protected from spambots. You need JavaScript enabled to view it
Web: http://www.phareps.org/

In the meantime, please visit www.jerrysnell.com