Activity Report #5 of “Danstereportation

Interview with Moeka Kihara
(Interviewer: Kota Yamazaki)

Kota Yamazaki’s new project “Dance Teleportation,” based on the concept of “dialogue,” is underway.
Ms. Yamazaki and 11 performers are literally groping their way through the creative process under the new coronavirus epidemic.

Basically, a choreographer and a dancer create a work by sharing a place and time. Now that this is no longer possible, how can a choreographer establish a relationship with a dancer to create a work? We have named this challenge “Dance Teleportation” in the sense of exploring a way of dancing that transcends place and time.”
(Excerpted from Kota Yamazaki’s “Dance Teleportation” statement)

The creation process begins with Ms. Yamazaki interviewing each performer via video call. Next, Ms. Yamazaki sends the performers words inspired by the interviews. The performers then respond to Ms. Yamazaki by using the words as a starting point for their own creations.

In this issue, we present an interview with Moeka Kihara.
It was a lively dialogue about what we are thinking under the new coronavirus epidemic and the use of language in dance creation.
(Text and editing by Taku Yoshida)

standing form of “mountain” character

How did you come to dance, Mr. Kihara?

woodlands

I started ballet at the age of 7. After graduating from high school, I joined the Star Dancers Ballet Company and left in 2016. As I was exposed to foreign choreographers in the ballet company, I began to find it interesting to see the different points of view and perspectives that each choreographer had. I wanted to see and dance more works by different choreographers. With this in mind, I went to Europe after leaving the company. After returning to Japan, I performed in works by various choreographers and am currently a member of Naoya Aoki’s group “zer○.

standing form of “mountain” character

I see. What differences do you see between Japanese and European choreographers?

woodlands

I have the impression that Japanese choreographers are good at arranging their works. In contrast, European choreographers are highly polarized, for better or worse, and some of the works presented in theaters have received mixed reviews. The fact that such works can be presented is probably due to the fact that society has nurtured a rich soil for the performing arts. In Japan, there are still some difficulties, but I think it is possible to present a greater variety of performing arts if we think about how to do it.
How about the situation in New York where Kota-san was active?

standing form of “mountain” character

The dance scene in New York City differs depending on the area. Uptown, ballet and modern dance are practiced, while downtown is more experimental, and I belonged to the latter. I belonged to the latter group. Each group had different values, and I got the impression that the former group’s activities were based on society, while the latter group’s activities were based on community ties.
Mr. Kihara, are you interested in choreography or other creative activities?

woodlands

The year before last, I participated in the choreographer training course of OrganWorks, a dance company run by Shintaro Hirahara, and experienced creative work for the first time. My creative process begins with an image of a certain scene that comes to mind, and from there I use words to expand it. I try to put my image into words and receive words from my co-stars, but I realize that it is difficult to handle words.

standing form of “mountain” character

Yes, I do. As for myself, I think I am a choreographer who uses language in a divisive way, giving the dancers one word and then a completely different word the next.

woodlands

For example, if Kota says “A” to a dancer and then says the seemingly unconnected word “B,” is there a connection between the two words?

standing form of “mountain” character

I have one of my own, but explaining the connection between the two is quite complicated. Generally speaking, I think it is important for successive words to be related, even if they are poetic words. But I don’t (laughs). However, Tatsumi Hijikata, for example, keeps coming up with unrelated words, so I think that is fine. I am trying my best to relate them in my own way.

woodlands

As a dancer, I find it fun to accept those words and try to move. Dancers and actors will attempt things that are generally considered embarrassing, such as suddenly crying, if it is necessary as an expression, and I like to express myself in that way. However, when I am on the choreographer’s side, I feel that a relationship of trust is essential in giving instructions to the dancers.

standing form of “mountain” character

Even when challenging adventurous expression, the relationship must be valued. I think it is the role of the choreographer to care for the dancers while deepening their expression, and to elicit expression from the dancers.

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I did some research on Yoko Ono’s “Grapefruit” (*1), which Kota mentioned in the videoconference and elsewhere, and found it interesting that she would attempt actions she would not normally take due to the instructions in the book.

(*1) “Grapefruit”…Written by Yoko Ono, this book was published in Tokyo in 1964 in a limited edition of 500 copies, and an English edition with additions was released worldwide in 1970. It is said that John Lennon was inspired by this book to write his famous song “Imagine”. Easily available today is “Grapefruit Juice” (Kodansha Bunko), which was reorganized from the English edition and translated into Japanese in 1993.

standing form of “mountain” character

In the “Becoming an Invisible City Performance Project” (*2) that we have been conducting for several years, one of our members once performed a task like “raising one hand toward a stranger” in the city. It is an action he would not do in his daily life, and he got all kinds of reactions. It was very interesting to hear about the experience at our weekly meetings.
Returning to “Grapefruit,” I think it is important how imaginative we can be when we are required to stay at home as we are now. For example, “Go to the front of Hachiko in Shibuya. Look up and let the sun shine into your mouth. Then squat down and look at your hands.” Imagine something like this.

(*2) “Becoming an Invisible City Performance Project”…A citywide performance project that aims to connect public spaces and theaters in the future. A community-based, audience-participation version of the project is envisioned. The Corona Disaster is currently experimenting with finding new possibilities, such as exchanging private and public spaces.

woodlands

Does that mean you are actually going to try it?

standing form of “mountain” character

It’s not about that, it’s about imagining. And I think that in itself is choreography. I think that choreography has many elements besides giving movement to the dancers in rehearsal. That is why, in this “Dance Teleportation,” I decided to interview everyone, spell out my words, send them to you, and get your reactions.

woodlands

I see. As I continue to stay at home, I find it more interesting to change my behavior than to think about dance movements. I try spending time blindfolded or eating with my hands.

standing form of “mountain” character

I think such things are important, and that is where new discoveries are made.

woodlands

Kota, have you been dancing since you were a child?

standing form of “mountain” character

I was a brass band conductor throughout junior high and high school. At that time, I thought that I might be able to perform unique movements because different conductors conduct in different ways. In this way, I gradually approached dance.

woodlands

This is the first time I have heard of a conductor going on to dance.

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Also, I wasn’t very good at talking to people. I didn’t like the logic of words. Dance and music can be expressed immediately without passing through logic. It also had something to do with the fact that in my hometown there is a mixture of dialect and standard Japanese, and I was puzzled as to which language I should speak. While trying to talk to people and being puzzled, I would observe the other person itself. Then, I gradually became able to read their thoughts and feelings from their facial expressions and gestures.

woodlands

Interesting story.

standing form of “mountain” character

Let me return to Mr. Kihara’s story. An acquaintance of mine went to see various dance performances at a time when events were on the brink of being canceled due to the new coronavirus. There he said that he noticed that the psychology of the audience had changed due to the virus outbreak, and that he could not sense any reality in the works. Could you tell us what you feel about the current situation, Mr. Kihara?

woodlands

What is it to dance? I sometimes think about it. When I am dancing, my senses, both physical and mental, become acute. For example, I can feel even my co-star’s body as if it were an extension of my own, and I can perceive the mental state of my co-star. I like that kind of sensory expansion. I think I can create such a state without putting myself in a studio or theater. I am continuing my physical training, though, in case the situation returns to the way it was before.
After this event, I think the world will change in such a way that a small community will be formed rather than the majority viewing the same art and entertainment. It is becoming that way now, but even more so. If that is the case, it seems to me that what you do with people who have a similar direction to you will become important.

standing form of “mountain” character

I see, I understand.
Let me do a little research. Can you touch yourself with your fingers and tell us what words you imagine from the feel of your body? Anywhere you touch is fine.

woodlands

(Touching the rim of the lips and thinking) The words imagined are “sand,” “sleepless,” and “blanket.”

standing form of “mountain” character

I understand. The image that came to mind for me was “the wind blew and the petals of the cherry blossoms moved.
What is your favorite color?

woodlands

Green. I also like yellowish green like persimmon sprouts and bluish turquoise blue.

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That’s all the questions I have. Thank you for many interesting conversations. I will send you a spelling out of words that will lead to the next step in the process.

woodlands

Thank you very much.

How was the interview?
What kind of words and reactions to them will emerge from this?
Our next report will be an interview with Ayaka Wabata.
Please continue to enjoy the dialogue between the dancers.

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