SPACE DANCE in the ROBOTIC UNIVERSE

 New Entertainment in information Society and Space Age

“SPACE DANCE in the ROBOTIC UNIVERSE”
Space Dance Performance by Tetsuro Fukuhara

Tetsuro Fukuhara

■Criticism
Masato Sasaki  “Dance is…”
 
Professor of The University of Tokyo, Faculty of Education in Tokyo, Japan

Dance is an exploration of expressions connecting the universe and the ground. Tatsumi Hijikata finished the first step, Tetsuro Fukuhara is doing the second step.”

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■Mission

We produce and hold “SPACE DANCE in the ROBOTIC UNIVERSE“(Space Dance Performance by Tetsuro Fukuhara) as a New Entertainment in Information Society and Space Age.

[“Pilot Performance” for “FLOWER SECRET”]
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■What is Art? What is Design?

From a position as a Japanese I ask the themes “What is Art? What is Design?“, and I wish for the possible “New Entertainment in Information Society and Space Age” in our modern times.

As Japanese arts which are attracted in the world, we have traditional Noh, KABUKI, and UKIYOE in the Edo period, and we have Fashion and Butoh in the 1970’s, and now we have MANGA, Animation, Game, and Cosplay. But always the persons who received these cultures with the international high values are the foreigners in the world, not by our Japanese. Japan has struggled in the past and now to secure the circulation for Japanese cultures in the world market, and has a cultural contradiction to rely on “Reverse Import from Overseas“.

Japanese creativities are strong even now, but its presentations are poor. Although the interest in art management has increased recently, but its main concern is only for the art managers to improve the social status and their earning income. Their efforts have nothing to do with improving the status of artists and restructuring the art itself at all. Also many artists can’t understand what to do, then they stop the artist in their 30s or 40s.

Also in Japan we have a big distressed seperation between young cultures and adult cultures. A Japanese society, that is the big afraids of getting older and dying. There is no fact to prove the poverty of Japanese culture as a whole as much. In young cultures, the youth excludes the elderly people and when they touch 20 years old they feel “I am not young any more”, and they start the countdown to the elderly by themselves. The elderly are also afraid of the youth and shut up themselves in their small weak world. And they can’t deal with the “Super Aged Society of 120 Years Old” visited, they stop their jobs halfway and can’t develop their career, finally they are panting for the loneliness in the nursing homes.

What should we do to overcome such cultural contradictions and build an unique cultureal strategy in Japan? For this purpose, how to overcome the fear towards the age and the death? What kind of technique should we develop? And how to create the original work and how to manage its criticism and its circulation?

I catch up these themses through the production and the presentation of “SPACE DANCE in the ROBOTIC UNIVERSE” as Space Dance Performance by Tetsuro Fukuhara.  I reconsider Animism and Zen that forms the core of Japanese sensibility still today, and I reconsider about the Body and Space, reconsider about Dramaturgy, also reconsider the Necessary Technology.

I think we don’t need the distinction between the artist and the scientist in our place to creat the new expressions. Also, I think the artists who are always following the technology are not suitable for our 21st century as much as the scientists who apologize as “I am sorry. But, that accident is not my responsibility” when their developed advance technologies was exploited by the politics. In my work, I aim the birth of “Artist who is also a Scientist” and “Scientist who is also an Artist” who can cooperate arts and science, and who can take responsibility by themselves for all technologies, goods and information which they created.

And, as my new expression will be not a demonstration of the nationalism, and at the same time as it will be a cultural creation for the muliticultural society, for example, like a JUDO which could appeare as “International JUDO” from a certain time, I seek a new form for the creation named “SPACE DANCE” with the participants from abroad.

Once a Turkish writer, Orhan Pamuk, who was awarded the Nobel Prize for literature, in his book “My Name is Red“, he expressed the vivid conflict between Western paintings and Turkish traditional miniature paintings, and in the preface of this book for Japanese readers, he pointed out that there were the strong painting traditions that could be opposed to Western painting in China and Japan, and in addition, he praised that Japan could create the new original modern paintings under the influence of Western painting. But. already our Japan finished to accept the Chinese cultures and Western cultures, then where our Japanese cultures should go, what kind of power it should get, and what kind of role it should fullfil in the world?

On the other hand, in Japan, the economically disastrous condition has not been improved at all such as “most artistis, even though they have the talents, can’t stand on their life as the artists, they can’t eat, the bank don’t lend the money.” The self-support as the artists and the business by the artists are almost impossible. Although it is said that Japan is a “Cultural State“, what is the “Cultural State” that can’t guarantee the social status of the artists forever?

I could start Space Dance with the attention to the loneliness and the conflict just before the death of Tatsumi Hijikata, one of Butoh founders. I left from a Butoh-style and I saved only the essense of Butoh, then I could be growning up the multinational space dancers in the world. Also, meanwhile, inspired by a mysterious word of artist Shusaku Arakawa as “If you can’t produce something after your dance, maybe you feel the emptiness?“, I am trying to create a new art in a new format with the concept of “Dance & Design” and I am aiming for its socialization.

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■Concept

A Way of Design after Dance
“We create a Design after a Dance”

At first, we try to do “Creation of Postures“. 

As many animal’s postures have experienced the big changes in their historical life into the water and on the ground, then as the humans could been born by “Miracle of Biped Walking“, the human’s posture is a parameter which will change by the change of the environments.

Now I think that in our world the humans are faced in the new unknown change of environments influenced from the outside of the informational space and the outer space, and the problem of environmental pollution, and from the inside of the body, with the artificial bodies by robotics and bio-technology. So our humans should seek to realize “Jump to New Step” through the new “Creation of Postures” for adjusting its changes.

The theme is “Body of the Future“. For this theme I adopted the following hypothesis;

The humans created a new posture called <Sitting> as well as establishing the biped walking,  then after a while the humans invented <Chair>. Full-fledged flowering of the earth culture could start with the appearance of <Chair>. The humans is an existense who reminisce and hope to jump to the future based on the reminiscence. What today’s the humans want and what kind of postures they create, then for its purpose what kind of designs they invent in the inforamtion society and in the space age? This invention produce the human’s next evolution“.

Based on this hypothesis, I re-understand a “Making Form in Dance” as a “Creating Postures” and I focus on a fact that “Posture” occurs closely related to the state of the gravity and the space, then I will develop “BODY-SPACE MODEL“.

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Visualization of History of Posture’s Evolution, Fluid Furniture, and Robot Suit

DANCE; Mine Soyler / MASK; Joanna

At first we forcus on the movements of dancer that promote the recovery of the memories in Space Tube and I make a visualization of “History of Posture’s Evolution of Fish, Amphibian, Quadruped Animal, Bird, Monkey, and Humans” using “Body-Space Model”.

As a next step, We design “Fluid Furniture” using “Body-Space Modeal” through a collaboration between the dancer and the chair in Space Tube. “Fluid Furniture” is expressed as an image in which the humans and furniture are integrated by an excessive increase of A(affinity). And, it is designed as a “New Furniture” that has the function of forming the several new postures “between standing and sitting” and “between sitting and lie down“. Also, it is designed as a chair and same time as a bed.

Also, we robotize Space Cube(personal Space Tube) and develop it as “Robot Suit” which support people’s dairy “Creating Posture”. And we introduce the AI program to “Robot Suit”, then we let “Robot Suit” remember the user’s all postures, and let reproduce it, and let develop the user’s unknown postures.

Through these efforts of Memorize, Reproduce, and Development, we grow up “Robot Suit” as “Object with Life which support the humans – Alter Ego” and we will let have “Heart.”

We charge the above series of works as “Space Dance in the Robotic Universe” with “8 Story” and perform it. As its result, the design is born after the dance.

In this way, through these works, I can get a new position that Space Dance Performance is not only a dance work to perform a specific “Story of the Body” for our time  but also a “Bauhaus Work” to create several necessary designs for the human’s evolution.

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■8 Stories
of
SPACE DANCE in the ROBOTIC UNIVERSE 
(2019 Edition)

Dancer wears a headset charged with “BODY – SPACE MODEL” on the head.
And
, dancer takes “Glass Screen A” to right eye and “Glass Screen B” to left eye, then dancer perform “8 Stories” while viewing “Dance’s danse image from outside looking” and “Images outputed by AI Program” according to the nessary. Also, the images on “Glass Screen B” is projected on the big screen on the stage for the audiences.

Story 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. “BODY-SPACE MODEL” express a “Process that dancers are intergrated with the space” and a “Actvating brain map“. 

Story 2 “WALKING DANCE”

Dancers make a “Most gentle walking in the world” forming the amicable relationship between the feet and the gound. 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. “BODY-SPACE MODEL” express a “Dancer’s amicable relationship between the feet and the gound” and a “Moment when the humans success the bipedalism“.

Story 3 “PARADISE in the LITTLE MOVING”

Dancers don’t consume the all energy which flow in the body and dare to select “Little Moving” controled 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, freedam 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 theri life. “BODY-SPACE MODEL” express “Expanding Energy like Snowball“.

Story 4-1 “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. “BODY-SPACE MODEL” express “Appearance of excitation of Surplus Dimension“.

Story 4-2 “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“BODY-SPACE MODEL” express “Visualization of History of Posture’s Evolutioin”.

Story 4-3 “FLUID FURNITURE”

Using variouse posture’s formation such as Fish, Amphibian, Quadrupted 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“. “BODY-SPACE MODEL” express “Process created by Fluid Furniture“.

Story 4-4 “AFFINITY”

Dancers confort in Space Tube and 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 familar animals accumulated in their brains. In the head of dancers, old memories and new memories interwine, and the devistions pass through the neurons and hear it as “Unknown micrcurrent change = Music“. “BODY-SPACE MODEL” express “Process created by Music“.

Story 5 “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 seeked for is waiting for you“. Dancer stand up very slowly to activate their sense. Through this stad up dancers feel as if their feet just now grouth entirely. “BODY-SPACE MODEL” express “Dance as a Standing Zen“.

Story 6 “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 tranform 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.. “BODY-SPACE MODEL” express “Process of Strange Walking“. 

Story 7 “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 chams, and they cultivate their new individualities as if they become to the multiple personality, finally they come to “Ctharsis” beyond “Paradise” as a final station of dance movement with their own forms. “BODY-SPACE MODEL” express “Process creatied by new individuality“.

Story 8 “FLOWER”

Dancers squat down slowly. In their mind dancers have a reuion 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 Chasarsis. 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. “BODY-SPACE MODEL” express “Design Resurt of Today’s Dance“.

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