Fukuoka, Nina International Festival of Contemporary Music Warsaw Autumn

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Born in 1988 in Osaka, Japan, she graduated from Zygmunt Krauze’s class at the Bacewicz Academy of Music in Łódź and studied with Peter Swinnen at the Royal Conservatoire of Brussels. She began to work on electronic music with Krzysztof Knittel in Łódź and continued in Brussels with Katarzyna Głowicka. At present she is a doctoral student at the Columbia University of New York. 

Her works have been performed notably by the Łódź Philharmonic Symphony Orchestra, Koninklijke Muziekkapel De Gidsen, Il Fondamento early music ensemble, Hashtag Ensemble, Ensemble Garage, and Ensemble Adapter. They have been premiered at the Brussels opera house of De Munt/La Monnaie and the Muziekgebouw aan’t IJ in Amsterdam, as well as being presented at numerous festivals such as Musica Privata in Łódź, Wrocław’s Musica Polonica Nova, Lublin’s Codes, Cuban-Norwegian Theatre Days in Havana, Klangwerkstatt Berlin, the Darmstadt International Summer Courses for New Music, and the Manufactuur residency at Ghent’s De Bijloke Muziekcentrum. She cooperates worldwide (in Europe, Japan, and the United States) with numerous new music ensembles such as Passepartout Duo, Ensemble Kompopolex, Down the Rabbit Hole, Nemø ensemble, The Third Guy, Erämaa Trio, and Pique Collective. 

Fukuoka has taken active part in many courses dedicated to contemporary music, including the Graz Impuls Academy, Synthetis in Radziejowice, Darmstadt International Summer Courses for New Music, Young Composers’ Meetings in Apeldoorn, and Champdaction LAbO in Antwerp (2018). She has also developed her abilities with ICTUS ensemble and P.A.R.T.S. international school for contemporary dance in Brussels.

Her interests focus around multilingualism, science fiction writing, and the internet reality; for this reason, she frequently uses objets trouvés and elements of mass culture in her works. She prefers to communicate with her audience not only by means of music, but also video and performance art. Interdisciplinary projects, on which she collaborates with visual artists and choreographers, are an important aspect of her work. 

Selected works: Quatuor for clarinet, violin, cello and piano (2012), Musique est que des nuages for 14 winds (2013), Efflux for symphony orchestra (2013), Mångata for mezzo-soprano, cello and piano (2014), 13<x&x<11 for clarinet (2014), Belgian Rare Groove & Breakbeat for marimba and electronics (2015), De Tempelberg, opera in one act for soprano, baritone, two choirs and Baroque orchestra (2016), SINGLE PLAYER, video score for six improvisers (2016), Almost.EVERYTHINGHAPPENS for flute, clarinet, violin, cello, piano and five dancers with choreographer KlaasFreek Devos (2016), And Elsewhere for soprano and 14 performers (2017), SINGLE PLAYER v.2 co-op for drums, synthesiser and video (2017), The Final Girl for harpist with video and electronics (2018), uncanny valley for flute, accordion, drum, video electronics (2018), Horror Project: Yuggoth for electronics, live video and three performers (version for clarinet, cello and percussion; 2018), 5 Secrets to Making New Music for violin, flutes, saxophones, Hammond organ, video and electronics (2019), The Garden of Mindfulness for speaker, violin, clarinet, piano, electronics and objects (2019), SINGLE PLAYER v.3 Three for All for electric guitar, snare drum and electronics (2019), Still Life #3 for flute, clarinet, harp, percussion, electronics and objects (2019), howto jouïssance for video, electronics and harpsichord (2019), Sugar, Spice & All Things Nice for two violins, accordion, piano, percussion and electronics (2020).