OJO*EYE*OOG and the artistic products it brought forth challenged and continue to challenge more than just a few concepts. On a very practical level, OJO*EYE*OOG should be viewed as an international pioneer low-budget project.

The companies involved had met before, unavoidably, at festivals. Diagonaal is a drama company from the Netherlands, basing its productions on a method called disability analysis. Crei-Sants/BCN Doble is a Spanish company that transforms therapeutic-creative processes into spectacle- performances based on images. Common Ground is a British sign-dance group, blending these mediums in their performances.

The decision is made to use the Unlimited Arts Company as an umbrella for the OJO*EYE*OOG-project.

• Two series of workshops:
• Performance of previous work:
• Creating documentation:

During a period of workshops based on the sign-dance working method Common Ground OJO was created. The piece was brought out at the Chapman Theatre, Salford University. The SHAPE International "Visibility Festival of Integrated Arts" at Nottingham then proved to be another good environment for the presentation of work from OJO*EYE*OOG and the project's companies. All three companies were invited to the final night of the festival, They brought a special edition of OJO*EYE*OOG in the Nottingham Playhouse.

November 1997 EYE

In Holland EYE was made, even though the Spanish group could not join caused by lack of money and both OJO and EYE were performed twice and workshops given.

January 1998 OOG

The last workshop of OJO*EYE*OOG centered on the theme of artistic leadership in Barcelona. They planned a project based on the poems of Lorca. Its outline and planning of the production were set, when it became clear BCN Doble/Crei Sants again would not be able to participate. As Spain withdrew from the project, the board of Unlimited Arts made the hard decision to abort the project altogether.

Most of the goals that were set for OJO*EYE*OOG were achieved and even some not expected ones. It was a "learning zone" for all those involved. So although not all the elements it was designed to incorporate could grow fully or to an ideal extent, the project was a tremendous success. An evaluation and analysis of its course might give future projects an opportunity to stand on the shoulders of OJO*EYE*OOG.

For a clear view on OJO*EYE*OOG and the course of the project it is absolutely necessary to take into account that all companies involved were and are pioneers in their field. In their ways of questioning the regular idiom and its elaborations all three companies are successful pioneers. But also regarding organization and infrastructure companies like those involved are always working close to the impossible. For the course of the project these circumstances entailed:

• Pressure on the work floor is always very high in pioneer-companies. There are too few people and there's too little money to make the dreams come true.
• Also the project suffered from the 'too many people with too many hats'-phenomenon.
• The structural lack of financial resources obviously also influenced the practical course of the project.

• Performances have been made and staged successfully. .
• Workshops have been given in Great Britain and the Netherlands, both as master classes from one company to another as to target groups of people with a disability in these countries.
• Part one of the project, OJO, has resulted in the making of a wonderful film on dance. It will receive its premiere December 10th. 1998 on a seminar organized by the Flammish Fund for Social Integration of People with a Disability.
• The project brought the dawning for a European Network in which a connection with other groups is sought.

Self-reflection and outbreak from isolation

• Unlimited Arts recommends a follow-up of OJO*EYE*OOG, in which Spain will function as the hosting country.
• A necessary condition to elaborate what has been started with this project is a better attunement of subsidiary money to the requirements of the project. Especially concerning the exploitation costs of the work floor.
• Those artistically involved should not be involved in the production of a project itself.

Joke Menssink, project leader

Amsterdam, December 8th 1998