Pinar Sinka organized “EXHIBITION of Tetsuro Fukuhara’s SPACE DANCE & GLORIFICATION of ELENA” at ArtServe Gallery in Florida, U.S.A. on August 14 – September 5 2021.


 [Space Dance Tetsuro]
[SPACE DANCE at Outside Location]



 Ayumi Toyabe (Budapest, Hungary)
Pinar Sinka (Florida & Washington D.C., U.S.A.)
Mark Bankin (Paris, France)
Esma Akin (Antalya, Turkey)
Gizem Defne Erdemir (Izmir, Turkey)
akito (Tokyo, Japan)
Chirine Karame (Yokohama, Japan)
Laura Andrea Vargas Bazan (Mexico City, Mexico) 
Leo Bourdet (Paris, France)
Mária Roskó (Budapest, Hungary)
Nico Athene (Cape Town, South Africa)
Kristina Helena Johnstone (Pretoria, South Africa)(guest)
Marega Palser(Newport, WALES)(guest)
Anna Juniewicz(Warsaw, Poland)(guest)
Caterina Genta (Roma, Italy)(guest)
Cristina Elias (Sao Paulo, Brazil)(guest)
Anjah Ki-hai (San Augustin, Colombia)(guest)
Eeva-Maria Mutka (Penpynfarch, Wales, UK)(guest)
Metz Salazar (Mexico City, Mexico)(guest)

 [Photographic Collection “Glorification of Elena”]

 [SPACE DANCE in the ROBOTIC UNIVERSE – Omnibus Editing]
Tetsuro Fukuhara (Tokyo, Japan)

MY SPACE DANCE 4 / 私のスペースダンス4

MY SPACE DANCE 4 / 私のスペースダンス4

Tetsuro Fukuhara / 福原哲郎

I uploaded “My SPACE DANCE 4”. Its theme is “Sense of Distance in Space”. This a record when I danced with Leo at a campus of University of Tokyo. He is one of my students and studies there. In that time I could find a very interesting structure that connects the rooftops of 2 buildings, so we danced at a step of the structure. I edited this record together with past photos of Space Dancers that fit into this theme.


[Dance Video / ダンスビデオ]

[My Dance Philosophy / 私のダンス哲学]

Around 1990. Since I started to perform in various cities in Japan and overseas, I felt that the theaters in every city had the same coditions inside, so they were boring for me. If I go outside of the theater I can find a lot of different information and various unique scenery in the city, but inside of the theater is homogenized, so I see almost same little information. In order to form my dance, I need my own “Story” essentially. However, its story will be able to update when I breathe the current surrounding information that fills my body. If the information lacks freshness, my “Story” will not be updated. On 1996, when I performed at a big theater in Beirut, Levanon, it has just ended the civil war, I was supprised to the disparity of information between inside and outside of a theater, and suddenly I woke up. About a reason of “Boredom”. About a fact that my “Story” becomes thin as I dance every time.

Such me, when I returned to Japan I could meet with Jun Aoki, architect, who proposed “Slanted Floor” and Shusaku Arakawa, artist who said furiously that he will make an architectural revolution by constructing all floors in the world with “Curved Surfaces”. Same time I could meet with Masako Sasaki who intruduced a theory of “Affordance” to Japan. Even though it was a short time, I could learn from the exchange with them that they were looking the same theme from different angles, and I knew that there a big wave of change inside the world and I knew I was one of those people who were swept away by its wave. Through these experiences I could start my “SPACE DANCE”.

SPACE DANCE is a “Method” for dancers to update their “Story” every day by breathing the fresh information. The core of SPACE DANCE is “Dance with Affordance” which treats the body as an object, and a dance with a concept of “Dance & Design”. And the fresh information can provide the necessary environment for this work.

Only after having a “Story” that is updated and enriched, dancers can also enjoy and can dance from inside with a big “Rapture”. The decline in age and physical function is not an obstacle. Because, “Rapture” reorganizes the body necessary for dancing, and “Maturity of Fruit” increases with the age. Why we leave the theater and dance in the city and nature? Its reason is symple because it is just easy to get the fresh information. SPACE DANCE is not aimed at “Natural Regression”. Because a final station of SPACE DANCE is the building a “New Theare” which guarantees “Reserving Fresh Information” on the knowledge through these experiences.



スペースダンスは、ダンサーが自分の「物語」を新鮮な情報を呼吸することで日々更新していく為の「方法」である。スペースダンスの核心は、身体を客体として扱う「アフォーダンス的ダンス」と「ダンス & デザイン」のコンセプトにあるが、それに必要な環境も周囲の新鮮な情報が提供してくれる。


My Space Design 1 / 私のスペースデザイン1

My SPACE DESIGN 1 / 私のスペースデザイン1

I uploaded “APAROS & DESIGN, production note by image“.  I could start to develop “APAROS – AI Robot as My Alter Ego” together with Merve Akdogan.

When we can install APAROS in “Space Dance School“, the effectiveness of this school as an online version will chage drastically. Because APAROS will be developed as a single unit for personal use, and starts to “Remember” the space dancer’s movements, “Reproduce” it, and “Develop” the new movements as if it express the human potential desires. When such a virtual idol begins to play an active role as the Virtual Reality or the Mixed Reality, what will happen? I am looking forward to it.

The major different point between APAROS and many other virtual idols is that APAROS is developed based on Space Tube Experience. Therefore, APAROS is “Physical” as a digital existence that is inseparable from the space, and can always grow up as “Aleter Ego” of each space dancers, finally APAROS can contribute to “Evolution of Body“. Since the developments of other virtual idols don’t start with the humans physical desires, simply satisfying the people’s ideal desires, then the body should be deserted behind. So, we need to start it with the physical desires. When we take “Evolution of Body” as our theme we should consider carefully about this difference.

アパロス&デザイン、イメージによる制作ノート」をアップしました。私は、Merve Akdoganと、「アパロス- 私の<分身>としてのAIロボット」の開発を開始しています。

APAROSを「SD-School」に搭載できると、online版としての「SD-School」の有効性は激変するだろう。それは、APAROSが、個人用として一体づつ開発され、スペースダンサーの動きを「記憶」し、「再現」し、人間の潜在的願望を表現したかのような新しい動きの「開発」を始めるからである。こんなバーチャルアイドルがVRやMRとして活躍を始めると、一体どうなるだろう? 私にはそれが楽しみだ。


MY SPACE DANCE 3 / 私のスペースダンス3

MY SPACE DANCE 3 / 私のスペースダンス3

This video is a record when I danced in Byobugaura and Istanbul. Like an architect who has received an order for a new architecture, I go sometimes in the nature, sometimes in the people with a big joy. 


[Dance Video / ダンスビデオ]

[My Dance Philosophy / 私のダンス哲学]

J.J.Gibson, a founder of the concept of “Affordance“, said “Humans are in contact with the earth through a Bone Space in which almost 100 bones and muscles are linked and act as a system. How we touch the ground and the floor well? Humans are always looking for its good and comfortable way as the behavior of Bone Space.”

In dance, when we can organize our body as a “Object” we can get conscious of this Bone Space well. And when we can get the energy for the dance through a collaboration between the body and the environment, not by ourselves, our Bone Space can get touch the ground and the floor very well. Also, its energy arise like the growth of a snowball depend on the condition as we use it more, it increas more. When I can dance well, when I am in this state, in this time my body is like a “Fluid Body“. No matter how much I dance, I am not tired basically, because I don’t force a dance to me. Sometimes I can get the unexpected strong power, and I can continue my dance beyond the age. Now my real age is 71, but I feel I am so young in my dance. So, I can say  that I have the “Universal Age 17” to people.

アフォーダンス」という概念をつくったギブソンは、「人間は、 ほぼ100個ある全ての骨と筋がリンクし一つのシステムとして働くボーンスペースによって大地と接触している。大地や床にいかにうまく接地するか? 人間は、それをこのボーンスペースの動作として常に探っている」と言っている。


MY SPACE DANCE 2 / 私のスペースダンス2

MY SPACE DANCE 2 / 私のスペースダンス2

Tetsuro Fukuhara / 福原哲郎

I danced in Byoubugaura, Choshi again and under the Togetsu-kyou in Arashiyama, Kyoto, Japan.  In Byoubugaura a strong wind, like a storm, was blowing. But, why?, I feel calm when I come to the sea. In under Togetsur-kyo I come for dancing every year from 2014. And, on the way back, my standard course is to greet Mayto-raya at nearby Uzumasa Koryuji Temple.


[Dance Video / ダンスビデオ]

[My Dance Pilosophy / 私のダンス哲学]

Why I contine to dance? That is because I have the same passion as Hokusai Katsushika, Ukiyo-e artist in the Edo period, said “I want to live and draw for more five years” just before death. Trough dance, I have learned the “Sense of refresing the world in the moment” and the “Sense that only one dance movement exists in the infinite chain of other all movements beyond the human’s world.” These senses are so nice and intersting, so I can’t stop to dance. Moreover, in the case of dance, we can get the “Ability to distinguish the differnce between Real and Virtual” necessary in today’s information society and the “Physical Experience” that serves as a resours for designing a benefical fusion of Real and Virtual. 

私は、なぜダンスし続けるのか? それは、江戸時代の浮世絵師・葛飾北斎が死の間際に「あと5年は生きて、描きたい」と言ったように、私にもそれと同じような情熱が存在するから。私は、ダンスを通して、「世界を一瞬にして新鮮にする感覚」や「たった一つのダンスの動きも、人間界をこえた動きの無限の連鎖の中に存在しているという感覚」を覚えてしまった。それが楽しくて止められない。しかも、ダンスの場合、現在の情報社会で必須な「リアルと仮想を区別する能力」と、両者の有益な融合をデザインするための原資となる「身体的体験」が手に入るのだ。