EXHIBITION SD Online 2020-2021 / 展示SD・オンライン2020-2021

EXHIBITION SPACE DANCE Online 2020 – 2021 /
スペースダンス展示・オンライン 2020 – 2021

We hold the online exhibition every year, 2 times Spring and Autumn, in cooperation with our live activities, and train space dancers around the world with enough time, slowly. Then, we form “New Stage for Expression and Interchange” unaffected by the trend of the times to show the activity as an artist and develop our works for a lifetime.
 
私たちは、ライブ活動と連携してオンライン展示会を毎年2回(春・秋)開催し、時間をかけて、ゆっくりと、世界中にスペースダンサーを育成します。時代の潮流に左右されることがない、アーティストとしての能動性を発揮し生涯にわたり活動を持続できるよう、「表現と交流のための新しいステージ」を形成します。
 

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●Tetsuro Fukuhara (Tokyo, Japan)

[Video / ビデオ; youtube]

Tetsuro Fukuhara is Director of Tokyo Space Dance, Space Dance Choreographer, Writer, and Photographer. 2006,“One Day at Universe” was published by Japan Aerospace Exploration Agency(JAXA) in Tokyo. From 2009, he hold Space Dance Project in Asia, Africa, Middle East, Europe, South-Middle-North America, and in Japan. 2018, “VISION of BODY” was published in Warsaw and he presented “APAROS – AI Robot as My Alter Ego” at Kopernik Science Center.

[Contact; jv4t-fkhr@asahi-net.or.jp]

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●Ayumi Toyabe (Budapest, Hungary)

[Video / ビデオ; youtube]

Born in Tokyo (1993). After graduating from the Ballet Academy in Germany, went to Art Factory International in Italy. Her solo piece Augmented Spaces directed by Gyula Berger was performed in Japan, Korea, Romania, Estonia and Hungary. Her first dance film SATO was featured on Dance Cinema (2019). The solo piece with the drone called ABOVE directed by Nina Kov was performed at European Institute of innovation and technology (2019). Currently she is leading the international dance collective UGOIQ based in Hungary, teaching Ballet and Contemporary dance in ZeroPlus Dance program and working as an assistant director of Tokyo Space Dance.

[Contact; ayumi.toyabe05@gmail.com]

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●Pinar Sinka (Florida & Washington D.C., U.S.A.)

[Video / ビデオ; youtube]

Pınar Işık Sinka was born in Izmir, Turkey. She is a multidisciplinary artist who works in the field of Fine Arts and Performing Art in an Avant-Garde base and founder of PI Art Butoh Platform based in Izmir and Florida. Currently, Sinka is based in Washington D.C. , U.S.A. and working as a visual artist, art instructor, Butoh dancer, space dancer, curator of Tokyo Space Dance.

[Contact; sculptorpi@yahoo.com]

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●Esma Akin (Antalya, Turkey)

[Video / ビデオ; youtube]

I started dancing with rhythmic gymnastics when ı was in kindergarten. After that years, I am trying to improve my dance skills in every branch of movement styles like hip-hop, contemporary dance, bale, performing arts. Dance is a tool & communication style for me that I can express myself more comfortably. İt is a crutch that helping me to find my life path. I create stories by combining the language of dance and multimedia tools.

[Contact; esma.akin@bilgiedu.net]

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●Gizem Defne Erdemir (Izmir, Turkey)

[Video / ビデオ; youtube]

Born in Istanbul(1995). Graduate from Ege University, Department of Landscape Architecture. She is master student at the same department. She started Modern Dance in Ege University Modern Dance and Dance Theatre Group (EgeMDDT / 2013). After 5 years as a dancer, she continue as a choreographer and instructor in the group. She started Balkan Dances in Balfolk Istanbul (2017). She is dancer of Tetsuro Fukuhara’s Space Dance School. In 2018-2019 she took lessons on Contemporary Dance and Tai Chi Chuan in Folkart Academy. She is still student of Folkart Academy Modern Ballet and Theater classes in Izmir.

[Contact; gizem_erdemir@windowslive.com]

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●akito (Tokyo, Japan)

[Video / ビデオ; youtube]

Born in Tokyo and received her BA in dance from Hunter College, NY. Joined Tokyo Space Dance in 2006 and has been exploring the connection between the space and her body and searching the relationship between dance and herself in life. “Touch, feel and reach into the space. Enjoy the engagement with it and then become a part of it. Connected with myself and with the universe, I find myself in peace and fulfilled. Dance makes all possible. “ 

[Contact; cozyakito@gmail.com]

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●Chirine Karame (Yokohama, Japan)

[Video / ビデオ; youtube]

I met with Chirine Karame in Beirut, Lebanon, on 1996 at my Space Dance Project. in that time, in my workshop at several outside locations and performance on the stages, she was a very nice dancer. Then, after 20 years, suddenly she come to Japan to dance with me again. She had retired from dancing because of an injury to her leg, but she thought she could do Space Dance. Yes, in Space Dance, exact name Butoh – Space Dance, everyone can dance by taking advantage of their physical condition. Moreover, by improving the technique of dancing with the space, the dance can be deepened and “Mature Dance” can be realized over the ages.  Now, she came back to Japan and is dancing. (Tetsuro Fukuhara)

[Contact; chirine.karame@gmail.com]

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●Mark Bankin (Paris, France)

[Video / ビデオ; youtube]

“Mark Bankin is choreographer and movement notator from New York. He is currently a Fulbright Scholar at the Conservatoire National Supérieur de Danse de Paris and an artist in residence at the Fondation des États Unis. Mark studied dance at the Folkwang School in Germany, worked as a Butoh dancer in Japan with Tetsuro Fukuhara, Gekidan Kaitaisha, and Yoshito Ohno, and presented choreographies at the Queens Museum in NY, Hošek Contemporary Gallery in Berlin, and Power Station of Art in Shanghai. Mark has spent the last four years investigating the cultural genocide of Tibet and working with Tibetan refugee communities in NY and Paris to archive an endangered circle dance called Gorshay.”

[Contact; markbankin@nyu.edu]

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●Leo Bourdet (Paris, France)

[Video / ビデオ; youtube]

After studying humanities in Toulouse, France, Léo Bourdet went to Paris to study cinema. He specialized in aesthetics and the relationship between the body of the filmmaker and the space surrounding him, while studying dance improvisation, and exploring several types of dance. He then studied in Paris 8 university to study the relationship between cinema and dance, especially through movies about Butô, leading him to study with Patrick de Vos at The University of Tokyo, for 7 months. That is the moment he met Tetsuro Fukuhara and started exploring Space Dance, and video.

[Contact; leo.brdt@gmail.com]

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●Laura Andrea Vargas Bazan (Mexico City, Mexico)

[Video / ビデオ; youtube]

In the period of stillness and silence, I find pleasure in immobility, I appreciate the accompanied solitude. In that place, without apparent movement, the desire arises to dance what my eyes are looking at and what my ears hearing at. When I listen to the words of people with whom I spend time I feel like I’ve heard them before, as remote teachings from the past. These words are a reason to observe the same object from other perspectives, to accompany this body through the most familiar or the most unknown routes.

[Contact; vargas.bazan.laura@gmail.com]

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●Kristina Helena Johnstone (Pretoria, South Africa)

[Video / ビデオ; youtube]

I have been interested in the idea of affordance of late. This connects with what feels fundamental in movement, in dance to me right now. I worked with the idea of support and the feedback my body receives when pressing into another mass, human or otherwise, a wall in this case.

[Contact; kristina.helenajohnstone@gmail.com]

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●Marega Palser(Newport, WALES)

[Video / ビデオ; youtube]

Marega Palser : A player in the field of … PerformanceDanceArtMusicCollaboration and Otherness. A DeepMapper and Responder to spaces often over looked : ‘Negative Spaces’ that don’t invite lingering or loitering : Spaces that are moved through rather than stayed in. This film is a collaboration with … StevenGeorgeJones (BOSCH) : Newport based Sound and Film Artist/s who deal in : Sonic TeXtures, Materials, Found Sounds, Inter-Zones, Dissonance and Repetition – with a lo-fi aesthetic and DIY sensibility. This film is made in the spirit of Fun, Curiosity and a Freedom to roam. It is also a nod to the invisible, the over-looked and the OuTsider

[Contact; maregapalser@yahoo.co.uk]

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●Anna Juniewicz (Warsaw, Poland)

[Video / ビデオ; youtube]

Anna Juniewicz – a dancer and a performer. Dancing for Anna is both art and activism. She’s been practicing butoh since 2008 and sees as a dance of playfulness and provocation, of shadows and ‘forbidden colours’.

Her collaboration with Tetsuro Fukuhara began in 2016. In 2017 it continued with “Spiritual journey” project in Tokyo. Ever since it’s been an extremely inspiring artistic, intellectual and human-technological encounter.

[Contact; butoh@annajuniewicz.com]

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●Cristina Elias (Sao Paulo, Brazil)

[Video / ビデオ; youtube]

I first met Tetsuro Fukuhara in Rome in 2013 when I participated in his workshop. Since then, I have been training my body-mind to be creative based on his four chapters method of Butoh. In this process, I discovered an open method of body-mind training, which prepares the artist for focused and structured creation, in a context, where freedom, chance and improvisation build the basic structure of this process. In the video that follows, I try to give expression to how I incorporated Fukuhara’s principles and practices into my artistic process.

[Contact; cristinaelias09@gmail.com]

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●Caterina Genta (Roma, Italy)

[Video / ビデオ; youtube]

My name is Caterina Genta, born in Rome, and since I was five years old I started with dance. My mother was a dance teacher. In the nine ties I was in Germany to take my bachelor in dance and choreography in the Folkwang University of Arts directed by Pina Bausch. I met and worked with Tetsuro Fukuhara in 1998. Since than Tanztheater and the Butoh Spaceance are the basics of my expression. My dance, even if I studied a lot of techniques, is free from codex. I live my body and the relationship with the environment

[Contact; caterina.genta@libero.it]

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●Anjah Ki-hai (San Augustin, Colombia)

[Video / ビデオ; youtube]

Currently Anjah directs herbody education project “Danza Ki-hai” together with “Corazon de Agua” collective Arts, where vision and action come from a fundamental motivation, rooted in the awareness of exercising atransforming trunk and structure art that acts on people as a flowering of their best possibilities of Being, through an encounter and sharing with theaesthetic experience, as light, water and earth to generate seeds of social transformation.

[Contact; danzakihai@gmail.com]

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●Eeva-Maria Mutka (Penpynfarch, Wales, UK)

[Video / ビデオ; youtube]

Since the 1990’s I have been performing internationally in dance theatre & film, site specific works, cross art form improvisations, cinema and TV in the UK and Europe – most recently with Miranda Tufnell, Gaby Agis, Sally E Dean. I work with people of all ages and abilities, including Creative Dance with children, parent & child Movement Play, young people with disabilities, adults with learning disabilities, and the elderly in care home settings.

I live on an old farm at the edge of the wild in Wales, where I run a run a rural Studio/retreat Penpynfarch and an education programme ‘this is somatic”.

[Contact; eevamaria@penpynfarch.co.uk]

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●Mária Roskó (Budapest, Hungary)

[Video / ビデオ; youtube]

Mária Roskó after graduating in human sciences, studied jewelry making and design in Japan, Germany and Hungary. She participated at various exhibitions in Japan, Hongkong and Europe. Her jewelry goes beyond the traditional approach of the genre and her hybrid objects often carry social and cultural references. In 2019 she won the Athens Jewelry Week Award at the Art Jewelry Night of Budapest. Currently she is a freelance jewelry artist and works as an art consultant at the Hungarian Creative Arts Nonprofit company. During a collaboration involving jewelry and performance, she met Ayumi Toyabe, assistant director of Tokyo Space Dance who introduced her to Tetsuro Fukuhara’s approach and Tokyo Space Dance.

[Contact;maria.rosko@yahoo.com ]

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●Nico Athene (Cape Town, South Africa)

[Video / ビデオ; youtube]

Nico is a body of colliding personas – ex-stripper, multidisciplinary artist, family constellator, and birth doula. She is interested in embodying landscapes as a way of understanding the potentials for life, relationship, and identity beyond the tradable in the wastelands of capitalism. Athene is currently completing her MAFA at the University of Witwatersrand. She has been an artist in residence at Vermont Studio Centre USA, Arteles in Finland, and the Santa Fe Art Institute, USA.

[Contact; nicoathene@gmail.com]

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●Metz Salazar (Mexico City, Mexico)

[Video / ビデオ; youtube]

Metztli is a Mexican dancer, with Japanese soul. She studied Ballet, contemporary dance and Butoh in Mexican professional school. She found in Butoh the most sincere movement, always following from the simplicity of the elements mixed with sensuality. Meeting Tetsuro the dance match in a organic way, almost perfect. I thank my friend Ana for introduce me Tetsuro, a wonderful creator. She permeate her dance to my body. I will dance for you always…

[Contact; metzsalazar@gmail.com]

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“What we need for active creation / 能動的な創造の為に必要なもの”
Tetsuro Fukuhara / 福原哲郎

“Sato / 郷”
Ayumi Toyabe / 鳥谷部歩美

[Video / ビデオ; youtube]

When thinking about “What we need for active creation”, I posted “Sato” by Ayumi Toriyabe as a reference work.

When I saw this work for the first time I felt the transparency that overflowed was wonderful, and I was deeply affected by her artist’s sense.

In the 1970s, during the time Laulie Anderson was lionized as a “Bearer for Technology”, on the other side, she said “basically my work is story telling, the world’s most ancient art form” and she was one step away from media and criticisms that emphasized only her technology used. Because she couldn’t find the technology that she needed to express her “Story” arround her, so she just created it by herself. It is just like, for example, “Carpenter who could built a very unique beautiful house using the treasured saws and canna” doesn’t say much about “Saws and Canna”. Because the thing to display is the “Work” of the house, not the “Tools” needed for it. The fact that only “Saws and Canna” are talked about is unwilling to the carpenter.

In the same, for the people whose expression of their “Story” is important, there is no need to use “One Tool” if it doesn’t help well to express their “Story”, even if it is a big trend now. There is no reason to be criticized as outdated. It is important to create their own technology if they need the technology, rather than being swayed by new technologies that are born one after another.

Also, in the case of “Sato”, as well it is just my imagination, but in fact, I wonder that it uses the latest technologies in this video, like “Headset” is hidden in “Hat”, “Artificial Body” is hidden in “Small Branch”, “Magic Stone” is hidden in “Pebble”, and “Flying Shoes” is hidden in “Shoes”. But, as a “Theme of Sense”, the author hundles a situation so that we can see only “Hat, Small Branch, Pebble, and Shoes” on the surface? “Sato” is a very nice work that makes me imagine its scenes.

I believe that for the artists living in the era of over-technology, this sense will be an essencial talent that promises the creativity and evolution as an artist.

「能動的な創造の為に必要なもの」について考える時、その参考になった作品として鳥谷部歩美さんの『郷(Sato)』を掲載しました。

この作品を最初に見た時、そこに溢れる透明感が素晴らしいと思い、作者のセンスに感動しました。

ローリー・アンダーソンは、1970年代に「テクノロジーの旗手」としてもてはやされていた時、一方で、「私の仕事は物語をすることです。社会で最も古い芸術の形式です」と言い、使用したテクノロジーについてのみ強調するマスコミや批評からは一歩距離を置いていました。彼女は自分の「物語」を表現するのに必要なテクノロジーが周囲になく、仕方なく自分で作っただけだったので。それは、例えば「秘蔵のノコギリとカンナを使って他に類例のない美しい家を建てた大工」が「ノコギリやカンナ」については多くを語らないのと同じでは。展示すべきは家という「作品」で、それに必要だった「道具」ではないので。「ノコギリやカンナ」ばかりが話題にされるのは、当人には不本意なわけです。

同様ですが、自分の「物語」の表現が重要な者には、いま「或る道具」が流行っているからといって、自分の「物語」の表現に役立たないならそれを使用する必要は全くありません。時代遅れと言われる理由もありません。次々に誕生する新しいテクノロジーに振り回されるのではなく、必要なテクノロジーがあれば、自分で作ること。

『郷(Sato)』の場合も、私の勝手な想像ですが、実は最先端のテクノロジーが使用されていて、この映像に登場する「帽子」の中には「ヘッドセット」が、「小枝」の中には「人工身体」が、「小石」の中には「魔法の原石」が、「くつ」の中には「Flyingシューズ」が、最新テクノロジーとして隠されているのではないか? しかし「センスの問題」として、表向きには「帽子・小枝・小石・くつ」だけが見えるように作者により工夫されているのではないか? 『郷(Sato)』は、私にはそんな想像をさせてくれるとても優れた作品なのです。

テクノロジー過剰の現代を生きるアーティストには、このようなセンスこそ、アーティストとしての独創性と進化を約束してくれる必須の才能であると思います。

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[all rights reserved copyright @ tokyo space dance 2021]