“SPACE DANCE WORKSHOP & PERFORMANCE”
At first, we hold “SPACE DANCE WORKSHOP”, then, as its fruit, we hold “SPACE DANCE WORKSHOP“. Thrugh these works we will cultivate space dancers.
Through “Space Dance Workshop & Performance” we will bring up “International Space Dancers” for the space dance project and for SPACE MUSEUM in the world.
At first, we have a question, “What is Butoh?” Then, we have a second question, “What is Space Dance?“.
Butoh is still one of major art forms at the cultural scenes not only in Europe and America but also in Asia, Africa, and Latin America. We can find many Butoh Dancers and Choreographers in the world.
Butoh has two styles, one is “Butoh with Darkness“, other is “Improvisation Butoh“. Tetsuro Fukuhara, delegate of Tokyo Space Dance, he belongs to “Improvisation Butoh” as the second generation. He carries on Butoh, then he created “Space Dance” to socialize a dance and the “Tacit Knowledge” as a value for the general public by the collaboration of “Dance + Architecture + Information + Design“.
■What is Butoh?
In the second half of 1960, in Japan, Tatsumi Hijikata and Kazuo Ohno created “Butoh with Darkness” to unify the difference as a big problem between the traditional dance & its culture before Edo-era as Japanse original and the modern dance & its culture after Meiji-era from Europe and America. Then, Akira Kasai created “Improvisation Butoh” through “Butoh with Darkness”.
The definition of Butoh by Tetsuro Fukuhara is like the below;
Butoh is “step from within“.
Butoh is “self-realization” though the body of the individual, direct, original dance technique.
Butoh is “recovery of the wild in mankind and a rebirth of the body” intoxicated somehow lost in the contemporary world.
Butoh is an art which promotes us growth, and keeps “the age-worthy flower” blossoming continuously.
Everybody can make their own Butoh as much as they receive their own body.
What is a pleasure of a dance? Sure, it is a pleasure to change our feelings about our world at the moment. In this dance feelings we can’t find any differences between ourselves and between our humans and other all existence, we feel we are connected to everyone and everywhere. So a dancer dance eternally to get this feelings exactly.
Also, as 21st dance history, we have a big theme to develop “a mature dance together with our age” using new dance technique. If we should retire after a definite age, we should say its dance belongs to the old system. In Butoh the maturity is important, for us “the tacit knowledge” which we keep in our body is most important treasure. We can increase the tacit knowledge with our age year by year and we can create our dances on the basis of this Knowledge. For this dance we don’t need the so-called strong muscles
So, we teach several ways for the participants and our students to receive their own body, to away a model for the imitation, to decide the things by themselves, to find their own feelings and techniques, and to make their own dance story.
“Our Day with a Crisis”
Shigeo Ohyama, Research of Asahi-Newspapers investigation center, Tokyo
My attraction to Butoh is based on the world of technology. As a journalist I have been dealing with information technology and computers for more than ten years. Doing such work I became aware, through my all senses, of all what is happening in our day life, and this made me aware of a strong sense of crisis in the future of the human mind’s image.
As far as I understand Butoh is not a dance merely trying to express some ideas or feelings through the body, but is trying to express the body itself, the root of the body. Of course, as a form of art Butoh has diversity, but I think that as excellent Butoh dancer should feel the crisis of our time. So, I had entered the Butoh’s world and I met Tetsuro Fukuhara there.
When I saw his dance for the first time he was dancing in the center of the stage. As a tree growing he held both arms straight up in the air. The highly raised right hand was moving slowly, and even more slowly did his fingers do so, but nevertheless his body was advancing. At that instant, as if in a spark, I remembered something deep down. It was nonverbal, a sense appearing like a wave – motion way ? down my own body. This movement happened simultaneously with the movement of Fukuhara’s dance, which was cutting the space in a minimal but intense way. The intensity locking me down. I was surprised that his dance could express the original sense of the body for a movement.
Yvonne Tenenbaum, Art Critic, Paris
In Tetsuro Fukuhara’s dance, we see a Butoh even more extreme than it was till now; no figurative image, no representation in any way, no history, no myth, no recognizable forms from any where, even from previous Butoh. And his dance in not confined either in slow motion nor in attitudes of retirement within oneself. We just see bodies listening and leaving way to the every strange force that makes them and human people dance. Like a tree’s leaves and branches, they show us every movement and stage of this force, sometimes wild, sometimes subtle and almost imperceptible.
Nadine Meisner, the Sunday Times, London
Britain’s first festival of new Butoh was in full celebration in London’s East End. Butoh performers often seem like living sculptures, merged with the surrounding space, hardly disturbing the air. Sometimes they move so slowly you scarcely notice, as happened with Tetsuro Fukuhara’s piece. I confess to an occasional restlessness as great chunks of time passed with little perceptible difference to the stage picture. Even so, the performance was compelling, Fukuhara creating a spare and mysterious beauty.
■What is Space Dance?
Space Dance is a dance with a concept of “Dance & Design” which recover the amicable relationship between the body and the space. The purpose of Space Dance is creating several designs after the dances.
Tetsuro Fukuhara created Space Dance on 2001 when he performed at the United Nations in New York supported by the Ministry of Foreign Affairs of Japan through his epochal experiences by the meeting with Shusaku Arakawa and the “Theory of Affordance” from 1994.
The essence of Space Dance is “How to recover the memory beyond humans?” and “How to express the tacit knowledge?“. In Space Dance we are aware of the brain whichs keep all memories of all living thing in our earth history.
The definition of Space Dance by Tetsuro Fukuhara is like the below;
The body is not a tool for expressing a story, the body is a story.
In any time the excellent dancer in the world keeps the ability to dance with a special dance technique to organize the body as the object, not as the subject. In Space Dance we study this dance technique. Then we try to recover the memory beyond humans through our dance and we accumulate its result as the tacit knowledge about the body.
Our feet always are connected to the ground with one gravity. Our human in our daily life forget this fact. But when we dance with a dance technique to organize our body as the object, the relationship between our feet and the grand will be clear and we can get back a familiar feeling between the body and the earth.
In this time when we dance together with the earth we can recognize some strange new feeling happen around the temporal lobe of our brain. Why? Because it is a first experience for our brain to move our body with such a strange new way.
Our brain keeps all memories about all life on our earth. Because our brain into the Mother’s womb during 10 months grow up through the process of evolution of the brain from the beginning to today’s human brain. So, in our dance movements too, sometime we can find other strange movements of all life through these memories.
So in Space Dance when we try to dance to organize our body as the object we can touch several “Forgotten Memories” sometimes with a wave motion of the internal organs, sometimes with a sound of the bone, and sometimes with an excitement of the nerve. In that time we can feel a new feeling in our brain, then under this influence we can find the unexperienced movements by chance. In short we can stimulate several “Forgotten Memories“.
“Forgotten Memories” wake up a strong nostalgia in our mind. And this nostalgia gives new energy to us. Then we understand “New unknown movement’s world” exists behind our usual human’s movements.
This energy continue without the end. When we dig up “Forgotten Memories” we can organize the unexpected movements based on each memories. We shake with its freshness and we are amazed by ourselves. Then we start to talk a new story for our dance beyond the humans drama.
Usually, very soon, our human feel tired in our movements without this energy. But when we house this energy we get the lasting energy from the circulation between the body and the ground, then it arise like the growth of a snowball. We never feel tired.
Like that in Space Dance we dig up “Forgotten Memories” and we expand “New unknown movement’s world”, then we try to express “New unknown movement’s world” as “History of Postures Evolution with Fish, Amphibia, Quadruped Animal, Bird, Monkey, and Human“. We can describe that “History of Postures Evolution” had started from a ameba without hands and feet. Then now “History of Postures Evolution” meets one peak by human with a bipedal walker.
Why “History of Postures Evolution” is important for Space Dance? Because the purpose of Space Dance is the looking back on the past of all life, and the creation for “Future of Humans Body” as a return from its retrospection.
Then we develop “Body-Space Model” which is necessary for the informatization of the tacid knowledge. And using this model we create a visualization of “History of Postures Evolution” as the image. And we make an information of “New unknown movement’s world”. Finally we try to create various designs through the tacid knowledge for the new body, the new object, and the new space.
Like that, in Space Dance we can create the new designs after our dance. For these works we adopt the collaboration by “Dance + Architecture + Information + Design” and we use “Space Tube” as our needed installation.
“Space Tube” is a closed soft space using by special cloth, not an opened hard space like our modern architecture. So, in “Space Tube” the dancer’s body movements can cope to the shape of the space as the very familiar relationship. Then, in “Space Tube” we can express dancer’s “the tacit knowledge” as the information very easy.
Then, Space Dance will be very different from usual dances, Space Dance will be just a work of “Design after Dance“.
■6 Chapters of Space Dance Workshop
We hold “Space Dance Workshop” with 6 chapters of “Body Foundation + Affordance + Beginning + Development + Change + Ending“.
Chapter 1 “Body Foundation”
We make the waist soft and all joints of our body soft to keep the center of the body, and we increase efficiency of energy circulation between the body and the space.
Chapter 2 “Affordance”
We organize our body as the object, not as the subject. Also we try to get back a familiar relationship between our body and space, or some object near our body, for example a pillar, a handrail, and so on. Through these efforts we can get a feeling of “Animism” which realize the unity with others and we can start our dance by reliance upon others, not by our own exertions. And we can construct a dance with an idea or a technic called Affordance, in this dance we can feel that we don’t dance, the space or the object dance together with us.
Chapter 3 “Beginning / 起(ki)〜Birth of Foot“
At first, we sit upright and calm down. Next step, we stand up very slowly to activate our sense and to revive some memory with a strange feeling. Through this standup we can feel as if our foot just now growth entirely. Still more, we dance slowly and find the suitable movements as if we wonder in the darkness to become acute all senses and to increase various memories.
Chapter 4 “Development / 承(shoo)〜Creation of Postures”
In succession of “Beginning / 起(ki)“, at first we recognize that when we start something, sure, it should come to an end. And we try to develop dance movements as “Creation of Postures” which we want naturally. Also same time we try to choice our favorite memory through other many sundry memories and we try to take a focus with it. Then, finally we can aim to reach the “Climax” of dance movements. In this “Climax” we can renew our feelings to the world, and we can behave freely in all directions, and we can feel that just now we get most active life.
Chapter 5 “Change / 転(ten)〜Catharsis”
In succession of “Development / 承(shou)“, at first we change a dance stage, then we try to make a same dance of Chapter 4. However, on chapter 5 we aim to reach “Catharsis” beyond “Climax“. We can find “Catharsis” as a final station of our dance when we go through “Climax”. We try to make our dance until when we can think this my dance will be a best “Creation of Postures”, then as a result we get the finest happiness.
Chapter 6 “Ending / 結(ketsu)〜End of Foot”
In succession of “Change / 転(ten)“, we squat down very slowly, and we sit down, next lie down, finally we rest with our closed eyes, then we accomplish “Catharsis”. In this scene we organize the best several feelings as if we finish our foots, and as if we start our preparation to step up our life as a “Post Human“. Finally we enjoy a last feeling to wait a new sunrise of a new world.
■9 Chapters of Space Dance Performance
We hold “Space Dance Performance” with 9.
Chapter 1 “MEMORY”
Dancers stand up on a stage and dance with a relaxed way by “technique for handling the body objectively“, and they circulate the energy between the body and the space. Then, dancers experience that “Lost Memories” accumulated in the brain revive together with the dance movements. And, dancers stand still and internalize more, then amplify the memories, finally fill with the memories just overflowing the body.
Chapter 2 “WALKING DANCE”
Dancers make a “Most gentle walking in the world” forming the amicable relationship between the feet and the ground. Dancers move the attention back to the memory of the far past and reminisce the moment when the humans realized the “Miracle of the Bipedalism” by two legs, and experience the “Feeling as starting the humans again“. In order to deepen its experience, dancers try to make a more unique way of walking.
Chapter 3 “PARADISE in the LITTLE MOVING”
Dancers don’t consume the all energy which flow in the body and dare to select “Little Moving” controlled the dance, then they experience the world of the energy which expand like a snowball, so they never feel tired. And, dancers know the “Hidden Movement’s World” in dance movements, then they touch the top of dance by the continuation of “Little Moving” and realize “PARADISE, freedom possible all movements in all directions.” In this dance climax dancers renew all feelings to the world completely with a big joy and get back the “Wildness” lost in their life.
Chapter 4 “OPEN a BODY in the SKY”
Dancers take off a jacket and play a “Suppressed Beauty Scene” as a ceremony to be born again as a “New Life Form“. The audiences see the sight that dancer’s naked back will be visible very slowly like the big moon is climbing from the edge of the mountain. Dancers release their bodies in the sky and store the necessary wisdom for a “New Journey“.
Chapter 5-1 “DIMENSION”
Dancers come into Space Tube and push their faces against the cloth of Space Tube at an angle of 45 degrees. For the audiences, they see this scene as one face with “Three-dimensional face of dancers that can be seen through” and “Two-dimentional face of dancers as a shadow”. This scene is an indication to the existence of “Surplus Dimension” in Space Tube. Dancers know there are many things that have disappered from our world in Surplus Dimension, also “Four-dimensional existence” and “Five-dimensional existence” live together there.
Chapter 5-2 “STRANGE FRUIT”
Dancers entrust themselves to Space Tube and feel that Space Tube is expanded as their “Second Body“, and they know that “Floating” can be easy with this sense. So, dancers float and get back various lost their memories, then according to the memories revived their bodies repeat the transformation like the fluid body, they become to Fish, to Amphibian, to Quadrupted Animal, and to Bird.
Chapter 5-3 “FLUID FURNITURE”
Using various posture’s formation such as Fish, Amphibian, Quadruped Animal and Bird, dancers make a collaboration together with a chair in Space Tube and grow up a chair as “Fluid Furniture“. “Fluid Furniture” is a new kind of objects such as a chair and same time a bed, when dancers sit down this chair they can make the new postures “Between standing and sitting” and “Between sitting and lie down“.
Chapter 5-4 “AFFINITY”
Dancers repeat one favorite dance endlessly. Then dancers can hear one “Music” which they loved it when in the long time ago. It is a shout of distant familiar animals accumulated in their brains. In the head of dancers, old memories and new memories compete, and the gaps pass through the neurons and hear it as “Unknown micro current change = Music“.
Chapter 6 “STANDING ZEN”
Dancers leave Space Tube and sit down quietly and calm down the body and the mind. Why I stay here? Where I should go? When dancers close the eyes they hear a voice from somewhere such as “Well, the time come. There is a world you want to know and the works you seek for is waiting for you“. Dancer stand up very slowly to activate their sense. Through this stand up dancers feel as if their feet just now grow entirely.
Chapter 7 “WALKING DANCE 2”
Dancers try again Walking Dance. Through this Walking Dance dancers notice one strange thing that not only their feet be activated but also “One more leg” just now growing from their waists and be activated next to their two legs. Also their two hands transform as 2 “Wings“. Then, dancers begin to get a new way of walking by “Half Floating” and “Half Turning” with three legs and two wings in order for dancers to become a new life form and to create a new condition for the next humans.
Chapter 8 “CATHARSIS”
Dancers repeat to form “Postures for Next Human” as a return from the reminisce to the part. Through this way dancers discover their hidden characters and charms, and they cultivate their new individualities as if they become to the multiple personality, finally they come to “Catharsis” beyond “Paradise” as a final station of dance movement with their own forms.
Chapter 9 “FLOWER”
Dancers squat down slowly. In their mind dancers have a reunion with “People they missed” and they experience themselves as “Flower with a joy“. Dancers meditate the day that they awake up on the unknown planet, and they let down the flowers and finish Catharsis. In this way, dancers finish “One Journey” and greet to the behind the audiences with a full smile and a deep bow, finally they return back to the ground to ressolve out.
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