「Blog A-Dance Research/ブログA~ダンスの研究」カテゴリーアーカイブ

New Start of Dance / ダンスの新しい出発


Now we know that a new generation of circus like “Modern Circus” by Camille Boitel in France is making a dashing appearance. It gives an image of “Opera of New Era” to us and it aims the integration of several fields. And, on the Interne a virtual idol like Miku Hatsune  is making a dashing appearance too and she is pioneering the new interests of the people who want to express themselves through more new way. Also, like Bjork, a famous singer in Iceland, we know several earnest trials to expand the arts. Also, we can find a new possibility and a new start in “Dance” too if we give a different reading of the function of the dance.



If we re-understand a “Dance” as “Creation of Posture”, “Dance” goes to what everyone in the world does “Creation and Adjustment of Posture” as their behaviors unconsciously every day. And, as Space Tube keeps an ability to change the general public including the kids to an improvised dancer, so we can find a way for us to bring Space Tube to 7.5 billion people worldwide. Shoes and socks are the daily necessities of people all over the world. Everyone wants to take a bath preferably every day. Can Space Tube be like shoes, socks or baths? I want to invent magic for that.

ダンスを「姿勢の創造」と読み解けば、ダンスは世界中のあらゆる人びとが毎日無意識にやっていること、「姿勢の創造と調整」に行き当たる。スペースチューブがふつうの人びとを即席のダンサーにする力をもつことから、世界の75億人にスペースチューブを届ける方法が出てくる。くつやくつ下は世界中の人びとの毎日の必需品である。誰でもお風呂にも、できれば毎日入りたい。スペースチューブも、くつやくつ下やお風呂のようにできないか? そのための魔法を発明したい。


It is common to both the poor and the rich that “Body is a Daily Concern of People in the world”. The pain of one and the same body gives “Distortion” common to both, and its recovery creates a common “Smile”. As such a body is “Remodeled” to the extent that he or she can’t be aware of, “Ambiguous” and “Sense of Confusion” progresses, a new device that realizes its recovery appears and a new body care method needs to be established. Because if our body shake, all our life will be unsettled.



I am conceived about “SPACE MUSEUM” as a place to respond to such the requests as follows;


SPACE MUSEUM ” is a place of experience, a place of design, a place of informing that presents the results of those to the world. And it is a place of education to train the pillars.



For the above purpose, I adopt a collaboration based on “Dance + Architecture + Design + Information”. Our modern era will become an era where collaboration by other fields is required. That is because we deal with “New Problem Groups” that can’t be solved by the previous methods. For that reason, the experts who deal with that need to be updated their expertise. Finally, our world has also come into an era where free collaboration is possible through collaboration of senses. Conceptually, the artists and scientists live in different worlds, but in the world of sensations the two are surprisingly close, and it is no contradiction that one person doubles as both. Those who had been forced to walk separately in various circumstances, but now they are asked to walk together for the first time, so they are very surprised to this big change. Such a new era is coming.



And, it is the space dancer that plays an important role in “Space Museum”. This is because space dancers are evaluated socially as one of “Body Experts”, they are the persons who precede “Tacit Knowledge”, and stand at the closest position to express “Tacit Knowledge” as the information. The space dancers train their body skills day by day and study to float a body a bit, they are doing “Creation of Posture ~ Formation of Form” which people can’t do in the everyday life. Today, we have special value to “Tacit Knowledge” cultivated in floating the body a bit, in the information society, in the aged society, and in the space age. However, this value has never been socialized, it has been left secret in the narrow world of performing arts of dance.



As long as the dancers have the intention of informing “Tacit Knowledge” that they have cultivated, they can open a “New Function” suitable for the 21st century and can be active as a social entity as well as the Bauhaus architects in the first half of the 20th century. Because the importance of the dancers who shoulder “Tacit Knowledge” increase dramatically in the information society. If the creation and adjustment of “Posture” becomes a daily theme for people all over the world, the dancers who are doing it every day will be tied in a new way to the people, and the utility of dance will draw attention in their lives.



Therefore, even in such a case, if there is no reflection on the 20th century art system, and if we interpret about dance only like “Dancers are the persons who create the beautiful movements that can’t be realized by ordinary people on the stage” it is boring just by comparing the superiorities between the humans, we see only the differentiation between a dancer and ordinary people. So, more than that, if we interpret about dance like “Dancers are the persons who recollect a history of the evolution of the life, and depend on its recollection they challenge the creation of the new postures through dance movements. They are pioneers who develop the vision of the body for the tomorrow”, it will be useful for ordinary people and it will show a new spread. From now, limiting the use of dance will make dance a boring one.



If it is true that space development, biometric remodeling, robot development, virtual space development, elderly people’s culture development are all difficult to understand for the general public, the dancers have a lot of opportunities. Then, if they realize collaboration, they will catch the opportunity to create “New Dance”. Even in Laban’s school in London, which is famous for its high level of dance education, only a few graduates can enter the world famous dance troupe, and other graduates can’t get jobs. Even if they get a job at such a troupe, the timing of their retirement is incredibly early. The circumstances are the same also at the university’s dance faculties around the world, and there is no witness to boldly show contradiction of contemporary dance education so much. The time is coming to address new demands.


Residents in Surplus Dimension / 異界の住人たち

Residents in Surplus Dimension
/ 異界の住人たち


One day, while I was playing in Space Tunnel, I noticed that Space Tunnel would deform depending on the postures I took. It was a subtle deformation, so I didn’t pay attention to it at first. But, when I saw it closely I also noticed that in Space Tunnel, like the convex and the concave, the “Boundary” where two contradictory curved surfaces were connected was created or disappeared. This “Boundary” is the gateway to another world? In other words, when the residents in Surplus Dimension appear they form the unique warped spaces, so they distort Space Tunnel subtly. Its distortion is just the “Boundary”. What an unique way for the residents in Surplus Dimension to appear through the “Boundary”!

ある日、がスペーストンネルの中で遊んでいたら、私がとる姿勢に応じてスペーストンネルが変形することに気がついた。とても微妙な変形なので、最初は気に留めていなかった。しかし、よく見ていると、スペーストンネルの中には、凸と凹のように、たがいに矛盾する二つの曲面が接続されている「境界」が生まれたり消滅したりしていることにも気がついた。この「境界」が異界への出入り口になるのではないか? つまり、異界の住人たちがスペーストンネルに姿を現わす時は、それぞれ独特なワープする空間を形成するために、スペーストンネルの形状を微妙に歪めるのだ。その歪みが「境界」なのだ。「境界」を介して異界の住人たちが出現するとは、何とユニークな方法だろう。


I could meet Kibe, a clone monkey, when I took a “Monkey’s Posture” and entered a “Monkey’s World” in Space Tunnel. Kibe was 17 years old. His hands were the same as the humans, but when I saw his feet I knew his big toes were the same as the humans. Kibe was born by inserting a genetically modified human male’s sperm into the womb of his mother monkey. He is one of the most noticeable artificial animals in the medical world. But, he suddenly left home last year and he was a hot topic in the world. According his speaking, after he was educated as a “Family Member” on a trial basis at one researcher’s house who had a direct relationship with his birth, Kibe escaped, then he started to live alone in Space Tunnel. He was grateful for the education, but he said it was the imposition of values in the humans world to him, so he couldn’t stand it.



Kibe cried and spoke to me. “I know my birth was meant to tell people the direction of humans evolution. The humans want to know what new things I would invent with a tool by four hands when my legs became hands completely. I lived in a room with lots of tools every day. It was my daily routine to play around with it. But I was not interested in its play. It was good for the humans, but not for me. Why the humans do such selfish things to make me half human and half monkey? I want to return to my monkey’s world.”

キベが泣きながら話してくれた。「僕の誕生は人間の進化の方向を占うためのもので、僕の足が完全に手になったら四つの手で道具を使い僕がどんな新しいものを発明するのか、知りたかったらしい。僕はたくさんの道具がある部屋で毎日生活していた。それをいじって遊ぶのが僕の日課だった。でも僕はそんなことに興味がない。それは人間のためにはなっても、僕のためじゃない。半分が人間で半分がサルの僕をつくるなんて、どうして人間はそんな勝手なことをするの? 僕はサルの世界に戻りたい」。

Pleasure of Dancing / ダンスの楽しみ

Pleasure of Dancing / ダンスの楽しみ



We have one hypothesis that humans could free the front feet through the bipedalism and they could hold the objects by the front feet. And they could change the structure of a “Thumb” to improve its efficiency, so they could hold the objects perfectly. At last, they could develop the front feet as a “Perfect Hand”. Yes, sure, if humans couldn’t develop such a “Skillful Thumb”, probably they couldn’t design a high-degree “Chair for the Sitting”.


And, It seems that human’s movement includes not only the necessity of survival such as food security and danger avoidance but also a certain kind of unique “Over-Expectation” different from other animals influenced by the ability of “Looking Objectively”. This “Over-Expectation” will eventually go beyond living according to human’s instincts and create a diverse “Culture of Movement” in the human’s world, including sports and arts.



Why humans enjoy “Movements”? Its reason is simple, because “the movement itself is interesting” for us. It is clear when we see the daily human’s behaviors including several sports and dances in the world. Like a short-distance race, why humans would like to run as much as fast? Why we will be proud of its record to other people? Or, conversely, we will try to walk with a super-slow. Or, we will give points to a beauty of the movement and compete with it each other. Or, we will compete with a craftsmanship. Or, we will loose a balance purposely and enjoy it. In deed, both adult and child, our humans could create a lot of various forms of the movements and enjoy it with several reasons.


しかし、なぜ動くことがそんなに面白いのか? あらためて考えてみると少しもわからない。平凡な脳科学者なら、この問いに「それは、動くと脳にドーパミンという快楽をもたらす神経伝達物質が沢山分泌されるから」と答えるだろう。しかし、この答えは問いをずらしているだけだ。「動くと、脳にドーパミンが分泌されるのはなぜか?」と問う必要があるからだ。私は舞踏家として次のように見当をつけてみた。

But, why the movement is so interesting? If we think about its reason again we understand that we don’t know its reason exactly. I wonder maybe some today’s brain scientist will give the answer to us like “I know its reason, because a lot of dopamine will be secreted in the brain through the movement”. But this answer is not fine, this brain scientist avoids giving a clear answer by changing the point slightly. Because we should ask like “Why a lot of dopamine will be secreted through the movement?” So, I tried to imagine about its reason as a Butoh-Space Dance Choreographer.


  I think about its reason like that one movement invites other movements naturally as I found in my dance. I feel that a pleasure which I can find in one movement don’t close into this movement, the movement seeks other movements just like one invisible rule works there.


Its chain of the movements keeps the endless options. And over one memory corresponds to one movement. So, we can reproduce various memorial worlds by the combination of the various movements.



I think this is its essential reason why the movements are so interesting for our humans. Because “Follow-up Memories” is one of the universal desires of us. If we can seek “Follow-up Memories” through the movements with a whole body, not only into the brain, more amicably, and more vastly, sure everybody will devote to the movement world. Also, children too, if they can try to do such an experience as a game, sure they will devote it.


And, at the moment when we find one event like “Movements which we can’t recognize it as Human’s Movements” are mixed together into our usual movements, everybody will be stricken with a “Nostalgia” that we can’t express it through a language. Then, we will be surprised at its secret and we recognize that “Unknown Stage” exists behind our usual human movements. Me too, several time I experience the moment that I feel this my movement will be not by humans. In that time I am so happy specially. Why? I don’t know its reason exactly, but sure.



Our humans keep all memories of animal’s movements depend on the structure of the skeleton and our brain preserves the memories. Human’s brain is organized with 3 layers of a brain of the Reptiles, a brain of Old-Mammalia, and a brain of New-Mammalia. So, humans can judge the difference between human’s movement by the bipedalism and other animal’s movements.


Humans of a time who lived in a cave, at very wide fields on the earth, they could develop to draw many pictures of “Humans with an Animal Face” at the walls of the caves. Because humans could keep a special familiarity with the animals, so the behavior of the drawing picture of “Human with an Animal Face” must have been like some important cultural ceremony.



In my body movements and into my brain, I feel, sure, various animal’s memories should be left. When I get it I am so happy with a feeling of strong nostalgia. I will make my efforts to create several new dance movements sifting by the joints of the body for seeking its pleasure more. Why the dancers will try to make a “Strange Movements”? I think they have a same aim. Their judgments will be focused on one point, how to spread their seeking sensations by their movements? In that time they will get what kind of emotions? I know these works should be their one of secret pleasures.


It will be very interesting for the dancers to try to recall the history of the evolutions of Fish, Amphibian, Quadruped Animal, Bird, and Monkey through the combinations of the movements, not only to recall the history of human beings. With a well-keened sense, we can reconstruct the movements of Fish, Amphibian, Quadruped Animal, Bird, and Monkey by remembering its memory from “Pool of the Movements” in our brains.


しかし、何のために? そんな進化史を辿ることに何の意味があるのか? 私がそう問うたびに、私の内部の動物が私に「何か」を囁きかけてくる。私は、その囁きを聞いている内に、その理由を、「生命の進化史にうまく所属しないと、人間の進化もうまく行かないから」と考えるようになった。それは、進化史をうまく辿れた時ほど、過去からのリターンとして、より新鮮な「人間の次の動き」を与えられる気がするからだ。

But, why we try to do it? What kind of meanings we can find out through such a recalling the history of the evolution? Each time I put a question to me, one my internal animal whisper something to me. During I have heard its whispers long time, I could understand about its reason like that “If we can’t belong to the life history of the evolution well, we can’t develop our evolution well”. Because I feel that we can get more flesh “Next Humans Movement” as much as we can recall the history of the evolution well as a return from the past.


したがって、すぐれたダンサーという存在も、 このリターンの振幅の大きいダンサーであるに違いない。「すぐれたダンサー」は、ひどく懐かしい存在であると観客に感じさせると同時に、誰も見たことがない動きの世界を美の世界としてつくり出す。そうだとすれば、観客がダンサーに求めるものも、単なるダンス技術の優劣ではないこともよく理解できる。リターンの振幅の大きいダンサーとは、観客を思いがけない動きの世界に誘う者であり、その動きによって動物たちの姿も再現させ、つよい郷愁に誘う者である。

Therefore, such an “Excellent Dancer” should be a dancer who can realize this return with wide amplitude of vibration. “Excellent Dancer”, they create the unknown beautiful movement’s world which anybody don’t see before, and same time they will be a very familiar existence in front of the audiences. So, we can understand well that something the audiences want towards them will be not only the superiority or inferiority of their dance techniques. What is “Excellent Dancer” with wide amplitude of vibration? Sure, they invite the audiences to the unexpected movement’s world and they recall other animal’s figures through their dances, finally they wake up a strong nostalgia in the audience’s minds.

“Movement with Nostalgy” and “New Movement” / 「懐かしい動き」と「新しい動き」

The movement I want to pursue in my dance is a “Movement with Nostalgy” that makes me think that I have experienced it sometime, and same time a “New Movement” that I have never experienced before.


What is Expected New Dance Generation? / 期待される新世代ダンスとは?

What is Expected New Dance Generation? – For 2020’s /期待される新世代ダンスとは? – 2020年代のために


It is amazing to the reality that “Butoh Dancers” are surprisingly increasing all over the world. That is a witness in the today’s dance world that “Freedom” is craving for it. However, simply enjoying “Freedom” can not reach “Expected Social Value = Cultural Commodity” as expected by Hijikata Tatsumi, and “Expected New Dace Generation” which is required to us now.



Hijikata Tatsumi aimed to position Butoh as traditional arts like Noh and Kabuki in Japan. His “Butoh with Darkness” is said to be “Beauty of Form“, 80 percent of which was completed. After the death of Hijikata, in order to complete the remaining 20 percent, it was needed a disciple, Yoko Ashikawa, but unfortunately its road was cut off for another reason.



As Akira Kasai’s “Butoh Improvisation” that I studied did not have the possibility of “Social Value = Cultural Commodity” like “Beauty of Form” that Hijikata aimed for, it only says “Freedom” and instantaneously flashes just letting it go was ruined. Although it was a short period, Kasai was loved by Yukio Mishima, and there were activities like Kira by young improvising Butoh dancers. However, its record is not correctly preserved in Butoh history.



The specificity of Kazuo Ohno was that, as one of Butoh founders, he was able to inherit the “Beauty of form” of Hijikata despite being basically an improviser. And, he got on the trend of the era of running the forerunner of the expected elderly culture. In these two points the secret of its success is summarized. It is a miraculous case. Therefore, no matter how much overseas butoh drunken in Ohno, it is not easy to get “Beauty of Form” for them, and much less anyone can manipulate the trend of the times.



“Expected New Dance Generation” will be not born from the “Extensions” of “Butoh” and “Contemporary Dance”. New Placement” for the dance is essential.



In my case, I took distance from “Butoh with Darkness” and also recognized the limits of “Butoh Improvisation”. Only one thing, my attention was paid to “Affinity Relationship between Body and Space” realized by “Butoh Improvisation”, and this was brought to the birth of Space Dance to create various designs with the theme of “Informationization of Tacit Knowledge“. Space dance can be said to be one of the candidates of “Expected New Dance Geration” in the sense that dance has been read from the viewpoint of “Creation of Posture“.

私の場合は、暗黒舞踏からも距離を取り、即興舞踏の限界も認識した。ただ一つ、即興舞踏が実現する「身体と空間の親和的関係」に注目し、これを「身体知の情報化」をテーマとして「ダンス & デザイン」をコンセプトとして掲げ、諸々のデザインを誕生させるスペースダンスの誕生に漕ぎつけた。スペースダンスは、「姿勢の創造」という観点からダンスを読み替えたという意味において、「期待される新世代ダンス」の一つであると言えるだろう。


To the best of my knowledge, there are foreign dancers who pursue “Beauty of Form” in young generations, but I feel they can’t get the success yet. “Beauty of Form” is unique to Japan, so, still now is it difficult for foreigners to learn? The tradition of Japanese Flowers, Tea Ceremony, Calligraphy, Kendo, Bow, etc., as well as the current overseas fashion of Japanese Food and Bonsai are by the techniques of “Beauty of Form”.

私の知る限り、若手世代にも「形式の美」を追及する外国人舞踏家たちが存在する。しかし、いまだ成功していないように思われる。「形式の美」は、日本独自なもので、外国人には習得が困難なのか? 生け花・茶道・書道・剣道・弓などの伝統をはじめ、日本料理や盆栽の現在の海外での流行も、「形式の美」の成せる技である。


Japanese dancers who don’t carry Butoh are also weak. In the case of young and talented contemporary dancers, even if they go abroad, they are not attracted, even if they succeed its success are temporary and there is no major development in their works.Parents” of Contemporary Dance are Western countries, so it is no use for them. Therefore, apart from those who don’t expect “Prominence” or those who hide themselves in the Western Dance Troupes, it is difficult to seek a good place in abroad, trapped in Japan and eventually get exhausted. In order to be active as a dancer with originality overseas, there is no way but to realize “Expected New Dance Generation”.



Young Talented who bear Space Dance” that I should find out are not members of Butoh nor Contemporary Dance, tired of being wasting talents, they are the species who are struggling for “Undiscovered Dance“. Where are they? They must be hiding in the unexpected places.

私が探し出すべき「スペースダンスの担い手」も、舞踏にもコンテンポラリーダンスにも属さず、才能の浪費に疲れ果て、「まだ見ぬダンス」を求めてもがいている種族である。彼らはどこにいるのか? 思いがけない場所に潜んでいるに違いない。