Thursday, 27 January 2011
Body clocks | Wellcome Trust
Can you listen to your cells?
The time of our lives: researchers identify ancient mechanism behind our body clocks | Wellcome Trust
Tuesday, 4 January 2011
Some Great Words
' You're braver than you believe, stronger than you seem and smarter than you think. '
~ A.A. Milne (Christopher Robin to Pooh)
' I don't think of all the misery, but of the beauty that still remains. ' ~ Anne Frank
' Every calling is great when greatly pursued. ' ~ Oliver Wendell Holmes
~ A.A. Milne (Christopher Robin to Pooh)
' I don't think of all the misery, but of the beauty that still remains. ' ~ Anne Frank
' Every calling is great when greatly pursued. ' ~ Oliver Wendell Holmes
Saturday, 18 December 2010
Monday, 15 November 2010
"I'm Here" at Feedback Forum
Hello Friends,
I am showing the third version of "I'm Here" at Feedback Forum at Independent Dance.
-----
Friday 19th November 2010
7pm
Siobhan Davies Studios, 85 St. George Road, London, SE1 6ER
Feedaback Forum is FREE to attend. Places are however limited so please RSVP on
020 7091 9662/
-----
The first version was performed at Cafe OTO on 5th October.
The second version was performed at Stranger than Fiction event on 30th October.
I continue working and developing the work...
I would be great to have you there and receive some feedback.
Keep warm and stay well.
Best wishes,
Katsura
Thursday, 11 November 2010
プロフィール
プロフィールを書く機会があると、
自分の活動について考えさせられる。
プロフィールをどう書くかによって，
他の人に自分をどう見てもらいたいのか
提示していることになる。
いろいろなプロフィールを読んでみると，
日本の場合「どこどこ大学卒業，資格なになに」と経歴重視。
私自身，そうゆうプロフィールを書くだけで，
全く知らない人が信用してくれた経験があり、
複雑な心境。
イギリスの場合，
「どこどこ大学卒業」はどんどん減って来ている。
別ので「1男1女の父」と書くのは，日本の政治家的。
プライベートをかいま見せることで人の親近感を得ようとする手段か？
芸術家の場合，プロフィールのほかにartist statementというのがあって，
そちらは純粋に自分が何に興味を持っているのかという文章。
「仕草や行為、状態、動きそのもの、そして場や状況・関係性におけるからだの表現を探っている。」とか。
その方面をプロフィールに置いてももっと前面にだすということもできる。
プロフィール一つで奥深い。
文章というのも難しい。
自分の活動について考えさせられる。
プロフィールをどう書くかによって，
他の人に自分をどう見てもらいたいのか
提示していることになる。
いろいろなプロフィールを読んでみると，
日本の場合「どこどこ大学卒業，資格なになに」と経歴重視。
私自身，そうゆうプロフィールを書くだけで，
全く知らない人が信用してくれた経験があり、
複雑な心境。
イギリスの場合，
「どこどこ大学卒業」はどんどん減って来ている。
別ので「1男1女の父」と書くのは，日本の政治家的。
プライベートをかいま見せることで人の親近感を得ようとする手段か？
芸術家の場合，プロフィールのほかにartist statementというのがあって，
そちらは純粋に自分が何に興味を持っているのかという文章。
「仕草や行為、状態、動きそのもの、そして場や状況・関係性におけるからだの表現を探っている。」とか。
その方面をプロフィールに置いてももっと前面にだすということもできる。
プロフィール一つで奥深い。
文章というのも難しい。
コラボレーション: collaboration
日本で活動する舞踏家のびよさんとのやり取りから「コラボレーション」について考えたこと。
日本でいう「コラボレーション」というのは，双方が対等の場合なのでしょうか？
イギリスでいう"collaboration"はちょっとあいまい。
例えば，振付家の指示のもと振りを創ったり，インプロした場合− collaborationという。
振付家がステップを創ってダンサーに振り写しをした場合− collaborationとはいわない。
私がダンサーとして誰か振付家と作業した場合，基本的に，創ったものに対して私自身の署名が入っている，私ならではの何かが投入されていると思えば，collaborationと呼びたい。
でも，同じ場で，振付家はcollaborationと思っていないかもしれない。ダンサーはあくまで，振付家の指示することをやっているだけ。
そうゆう場合，問題が生じるんです。それで，ロンドンの著名振付家と著名ダンサーは絶交したという話があります。
近年，ダンサーの役割，ダンサー自体の創作性がどう作品作りに反映されるか，という議論は多く，徐々にダンサーの創作性が認識されつつあります。
Collaborationというのはお互いの関係に対する意識を反映する言葉でしょう。
Collaborationという言葉は，双方の関係が上下関係のある縦関係でなく，対等な横関係の場合に使われるのでしょう。それぞれの専門分野での経験や知識を尊重しあい，かつ自分の立場から意見を交換する。
私自身も最近"Fragments"と"I'm Here"という二つのcollaborationの作品を創りました。"Fragments"は版画家と。"I'm Here"はサウンド・アーティストと。コラボレーターとの関係はそれぞれ全く違うものになりました。
例えば，サウンド・アーティストとコラボレーションした場合，ダンサー振付家が音楽家に頼んでオリジナルの音を創ってもらうような，かつての一方向性の依頼ー納品という関係とは違う関係が求められているでしょう。コラボレーションの場合，お互いの対話の中で質問，提案，確認，却下しあいながら，お互いに影響を与えつつ，作品をつくって行くことになります。
私はこれをするから，あなたはあれをする，ということではなく，「一緒に」絡み合いながら作業するイメージがあります。
結局は意識の問題なのでしょう。
意識の上で横関係，対等ならば，collaborationと呼ぶ，というのが私の現在の定義です。
日本でいう「コラボレーション」というのは，双方が対等の場合なのでしょうか？
イギリスでいう"collaboration"はちょっとあいまい。
例えば，振付家の指示のもと振りを創ったり，インプロした場合− collaborationという。
振付家がステップを創ってダンサーに振り写しをした場合− collaborationとはいわない。
私がダンサーとして誰か振付家と作業した場合，基本的に，創ったものに対して私自身の署名が入っている，私ならではの何かが投入されていると思えば，collaborationと呼びたい。
でも，同じ場で，振付家はcollaborationと思っていないかもしれない。ダンサーはあくまで，振付家の指示することをやっているだけ。
そうゆう場合，問題が生じるんです。それで，ロンドンの著名振付家と著名ダンサーは絶交したという話があります。
近年，ダンサーの役割，ダンサー自体の創作性がどう作品作りに反映されるか，という議論は多く，徐々にダンサーの創作性が認識されつつあります。
Collaborationというのはお互いの関係に対する意識を反映する言葉でしょう。
Collaborationという言葉は，双方の関係が上下関係のある縦関係でなく，対等な横関係の場合に使われるのでしょう。それぞれの専門分野での経験や知識を尊重しあい，かつ自分の立場から意見を交換する。
私自身も最近"Fragments"と"I'm Here"という二つのcollaborationの作品を創りました。"Fragments"は版画家と。"I'm Here"はサウンド・アーティストと。コラボレーターとの関係はそれぞれ全く違うものになりました。
例えば，サウンド・アーティストとコラボレーションした場合，ダンサー振付家が音楽家に頼んでオリジナルの音を創ってもらうような，かつての一方向性の依頼ー納品という関係とは違う関係が求められているでしょう。コラボレーションの場合，お互いの対話の中で質問，提案，確認，却下しあいながら，お互いに影響を与えつつ，作品をつくって行くことになります。
私はこれをするから，あなたはあれをする，ということではなく，「一緒に」絡み合いながら作業するイメージがあります。
結局は意識の問題なのでしょう。
意識の上で横関係，対等ならば，collaborationと呼ぶ，というのが私の現在の定義です。
論語
Rubyさん，すばらしいお言葉をどうもありがとうございました。
論語、雍也第六
「知之者不如好之者、好之者不如樂之者」
「これを知る者はこれを好む者に如（し）かず。これを好む者はこれを楽しむ者に如かず。」
知っているだけの人より、好きになった人のほうが優れている。
好きになった人より、それを楽しんでいる人の方がもっと優れている。
呪文のように唱えたい感じです。
「楽しんでいるかどうか」という基準で，もう一度，身の回りのものを見直してみたいです。
論語、雍也第六
「知之者不如好之者、好之者不如樂之者」
「これを知る者はこれを好む者に如（し）かず。これを好む者はこれを楽しむ者に如かず。」
知っているだけの人より、好きになった人のほうが優れている。
好きになった人より、それを楽しんでいる人の方がもっと優れている。
呪文のように唱えたい感じです。
「楽しんでいるかどうか」という基準で，もう一度，身の回りのものを見直してみたいです。
Tuesday, 9 November 2010
To practise dance practice
Chrysa Parkinson self interview
I'm always wondering that there is no much knowledge of performers discussed and talked in dance. There are lots of talks by choreographers but not performers. I believe that performers have very unique knowledge on creativity and strategy, apart from how to prevent injuries and keep fit.
Here, at the link above, Chrysa Parkinson digs a discussion about what performance means to her.
This gives me enormous energy to keep going. Rather than where I get to in future, the important thing is to practise practise practise every moment. Even I am not dancing physically, even I am teaching Pilates for six hours in a studio, let me think that I am practising.
Writing is very important part of practice, and I wish I can develop the skill better.
I'm always wondering that there is no much knowledge of performers discussed and talked in dance. There are lots of talks by choreographers but not performers. I believe that performers have very unique knowledge on creativity and strategy, apart from how to prevent injuries and keep fit.
Here, at the link above, Chrysa Parkinson digs a discussion about what performance means to her.
This gives me enormous energy to keep going. Rather than where I get to in future, the important thing is to practise practise practise every moment. Even I am not dancing physically, even I am teaching Pilates for six hours in a studio, let me think that I am practising.
Writing is very important part of practice, and I wish I can develop the skill better.
Monday, 8 November 2010
Ukiyo 2 Creation Scene Short Version
The Creation Scene (slim down version), a small abstract from Ukiyo 2.
UKIYO 2 - A mixed reality installation fusing dance, sound, design and digital projections.
European premiere: Friday, June 8, 2o:oo
KIBLA Media Art Center / Maribor, Slovenia
www.kibla.org
presenting dap-lab / dans sans joux.
Conceived and directed by Johannes Birringer.
Performance by : Katsura Isobe
Costume Design : Michèle Danjoux
Real time 3d Graphics by : Doros Polydorou
In this scene the dancer, by using physical movements, is navigating and changing the virtual 3d environment in real time.
UKIYO 26th November 2010 at Lilian Baylis Studio, Sadler's Wells
We have been working on UKIYO since 2008. Premiere at Brunel University in June 2009, then a performance in Kibla Art Centre, Slovenia in June 2010. It is a collaborative project beyond art disciplines and also countries. Needless to say, UK team consists of many nationalities (including me), but also we worked with artists in Japan. For this performance, three Japanese Butoh dancers will join us.
So many people have been involved and so many things are happening there. But for me it seems "ephemeral" is the key...
Well that's what UKIYO 浮き世 means anyway...
----
p r e s s r e l e a s e 27/ 10/ 2010
Ukiyo
[Moveable World]
a choreographic installation fusing dance, sound, design and digital projections
by DAP LAB
directed by Johannes Birringer & Michèle Danjoux
Friday, November 26, 2010
8:oo pm
Lilian Baylis Studio
Sadlers Wells, Rosebery Ave, London, EC1R 4TN
Ticket office: 0844 412 4300
Tickets: £ 12.00 / £ 10.00 (concession)
"Ukiyo" explores the layers of perceptions in an audiovisual world that constantly shifts and fragments. The audience is invited to move in and around the space which features five hanamichi (runways) and several projection screens for the virtual world graphics and animated photography. The dancers and musicians perform simultaneously with digital objects that mutate. Live sound, music and visual choreography for "Ukiyo" are designed for real-time gestural interaction to animate feedback and generative processes through which virtual space and physical performer movements are intertwined.
A European-Japanese collaboration directed by Johannes Birringer, “Ukiyo” is a choreographic installation featuring audiophonic design concepts and wearables by Michèle Danjoux, and choreography by Katsura Isobe, Helenna Ren, Anne-Laure Misme, Yiorgos Bakalos, and Olu Taiwo; choreography on screen by Biyo Kikuchi, Yumi Sagara, Jun Makime, Ruby Rumiko Bessho and Mamen Rivera; photography, video and 3D digital designs by Paul Verity Smith, Doros Polydorou and Johannes Birringer; original music composed by Oded Ben-Tal, with live digital sound and sensor processing by Sandy Finlayson. Live music composed and performed by Caroline Wilkins. Scenography & lighting by Johannes Birringer. The Second Life graphical interface is designed by Takeshi Kabata and Yukihito Obara. Additional engineering by Eng Tat Khoo (Keio-NUS CUTE Mixed Reality Lab).
This performance by an international ensemble of artists from the DAP-Lab was developed in collaboration with butoh dancers and digital artists in Tokyo, Japan, as part of cross-cultural research into virtual environments directed by Birringer (director of DAP-Lab, and Center for Digital Performance, Brunel University, School of Arts) and coordinated in Japan by Yukihiko Yoshida (Keio University Tokyo).
Website: http://people.brunel.ac.uk/dap/Ukiyo_Sadlerswells.html
For further information or photos, call +44 (0)1895 267 343
The European première of UKIYO took place in June 2010 at KIBLA Media Art Center, Maribor, Slovenia. This project is supported by a grant from The Japan Foundation and The Centre for Contemporary and Digital Performance at Brunel University, West London.
Small feedbacks around "I'm Here"
On 5th October 2010, at Cafe OTO
Ms.J: "So did you enjoy the evening?"
Me: Ah yeah...? (I want YOU to enojy the evening!)
Mr.D: "I want to see more!"
Me: :) :) :)
Mr.J: "You looked exhausted when you were running."
Me: ... (shit I don't want people to see me that way).
Mr.B: "How did you meet Manabu? He's really good!".
Me: I know.
On 30th October 2010 at Stranger than Fiction
Ms.R: I love the awl!
Me: It's made by my granma:)
Mr.G: They should have bow with you at the curtain call.
Me: (Oh I never had the idea they were my co-performers, wicked!).
Ms.X: I thought a toy was speaking everytime when you took out a figure from the bag, but they were not!
Me: (Thank god! I wanted that illusion to happen!).
Ms.J: "So did you enjoy the evening?"
Me: Ah yeah...? (I want YOU to enojy the evening!)
Mr.D: "I want to see more!"
Me: :) :) :)
Mr.J: "You looked exhausted when you were running."
Me: ... (shit I don't want people to see me that way).
Mr.B: "How did you meet Manabu? He's really good!".
Me: I know.
On 30th October 2010 at Stranger than Fiction
Ms.R: I love the awl!
Me: It's made by my granma:)
Mr.G: They should have bow with you at the curtain call.
Me: (Oh I never had the idea they were my co-performers, wicked!).
Ms.X: I thought a toy was speaking everytime when you took out a figure from the bag, but they were not!
Me: (Thank god! I wanted that illusion to happen!).
I'm Here, evolution. 進化中
夏以降「I'm Here」というタイトルの作品に取り組んでいて，２回の全く違った公演の機会に恵まれました。一つ目は10月5日にあったCafe OTOでのパフォーマンス。10月末だろうと勝手に思っていた日程が早まり，あわててサウンド・アーティストの島田学さんとご対面し，話し合い，メールを送り合い，スタジオでの作業を重ね，やっとの本番では多くの人たちに来ていただいて，好評のまま終えることができて、やれやれでした。
このときにやったのは，振りや音との関係が90％決まっている，I'm Here，バージョン1。
その後，たまたまStranger than Fictionという即興のパフォーマンスをやっているグループの定期公演に招いていただき，折角この2ヶ月I'm Hereのテーマでいろいろ考えて来たので，その同じテーマで即興のパフォーマンスをすることにしました。Cafe OTOでのパフォーマンスの後，見に来てくださった高校の大先輩，原由美さんとお話してて，私が考えていることが作品に反映されていないということが課題に残ったので，その点をとくに改善すべく。それからOTOの時の振付けが，私らしくなく，ガチガチに決まったもので，音との関係も「この動きでこの音」ときつかったので，その決まり事から解放されて，その場の素直な身体と頭脳でパフォーマンスしたら，一体どうなるのだろうという好奇心もありました。
これが2つ目のバージョン，I'm Here- improvisation version。
1つ目のバージョンの方がハイ・エネルギーで圧倒されるかもしれないけど，2つ目の即興の方がお客さんとコミュニケーションがとれている感じがした。そして，パフォーマンスしている本人としては即興の方が楽しい。
作品の創作のきっかけとなったのは，自分が旅をするときの体験。例えば，10年ロンドンに住んでいる私が，2年ぶりに東京に帰る時。飛行機に12時間乗って，身体は東京にうつっても，頭の中ではそれに追いついていけなかったりする。まだロンドンでのあれこれを考えていたりして。そうゆう実際の身体の居所と，頭の中での自分の居所とのギャップって面白いなと思った。抽象的だけれども，違ったタイプの空間を同時に感知するとき，私は痛くシビレるのである。数学的、物理的な話。
身体存在と，頭脳内存在の違いを考えたときに，音楽を聴くということを思った。音楽を聴くと，身体はここに居るまま，頭の中の自分は一定の場所や時間にぶっ飛ぶ。飛行機で旅する私とは逆の現象。
という，ことで，じゃあ，サウンド・アーティストさんと一緒に作品を創ろう！と思い立った経過なわけです。
2つのパフォーマンスをやったあとで，さらに自分の尻をたたき，前進するために，来週の金曜日，19日にIndependent Danceの主催するFeedback Forumというものに参加することにしました。文字通り，創作中の作品に対して意見感想をもらえるというものです。ここでの，私の課題は，第1と第2のバージョンをどううまく合体させるかということです。
どうしよう，どうしようと考えつつ，風邪でばてていたこともあり，残る所1週間余りになってしまいました。
どうしよう。
なにか，個人的な経験など思い当たることがあったら，ぜひお知らせください。
見ている人の記憶や感覚を呼び起こせるような作品を創りたいので，第3の見方でまたアプローチすることも必要かもしれません。
---
For non Japanese readers, this is the summary of the this post.
How can I make the 3rd version of "I'm Here" as the result of the 1st version, a set choreography at Cafe OTO and the 2nd version, an improvisation at Stranger than Fiction?
このときにやったのは，振りや音との関係が90％決まっている，I'm Here，バージョン1。
その後，たまたまStranger than Fictionという即興のパフォーマンスをやっているグループの定期公演に招いていただき，折角この2ヶ月I'm Hereのテーマでいろいろ考えて来たので，その同じテーマで即興のパフォーマンスをすることにしました。Cafe OTOでのパフォーマンスの後，見に来てくださった高校の大先輩，原由美さんとお話してて，私が考えていることが作品に反映されていないということが課題に残ったので，その点をとくに改善すべく。それからOTOの時の振付けが，私らしくなく，ガチガチに決まったもので，音との関係も「この動きでこの音」ときつかったので，その決まり事から解放されて，その場の素直な身体と頭脳でパフォーマンスしたら，一体どうなるのだろうという好奇心もありました。
これが2つ目のバージョン，I'm Here- improvisation version。
1つ目のバージョンの方がハイ・エネルギーで圧倒されるかもしれないけど，2つ目の即興の方がお客さんとコミュニケーションがとれている感じがした。そして，パフォーマンスしている本人としては即興の方が楽しい。
作品の創作のきっかけとなったのは，自分が旅をするときの体験。例えば，10年ロンドンに住んでいる私が，2年ぶりに東京に帰る時。飛行機に12時間乗って，身体は東京にうつっても，頭の中ではそれに追いついていけなかったりする。まだロンドンでのあれこれを考えていたりして。そうゆう実際の身体の居所と，頭の中での自分の居所とのギャップって面白いなと思った。抽象的だけれども，違ったタイプの空間を同時に感知するとき，私は痛くシビレるのである。数学的、物理的な話。
身体存在と，頭脳内存在の違いを考えたときに，音楽を聴くということを思った。音楽を聴くと，身体はここに居るまま，頭の中の自分は一定の場所や時間にぶっ飛ぶ。飛行機で旅する私とは逆の現象。
という，ことで，じゃあ，サウンド・アーティストさんと一緒に作品を創ろう！と思い立った経過なわけです。
2つのパフォーマンスをやったあとで，さらに自分の尻をたたき，前進するために，来週の金曜日，19日にIndependent Danceの主催するFeedback Forumというものに参加することにしました。文字通り，創作中の作品に対して意見感想をもらえるというものです。ここでの，私の課題は，第1と第2のバージョンをどううまく合体させるかということです。
どうしよう，どうしようと考えつつ，風邪でばてていたこともあり，残る所1週間余りになってしまいました。
どうしよう。
なにか，個人的な経験など思い当たることがあったら，ぜひお知らせください。
見ている人の記憶や感覚を呼び起こせるような作品を創りたいので，第3の見方でまたアプローチすることも必要かもしれません。
---
For non Japanese readers, this is the summary of the this post.
How can I make the 3rd version of "I'm Here" as the result of the 1st version, a set choreography at Cafe OTO and the 2nd version, an improvisation at Stranger than Fiction?
Friday, 5 November 2010
I'm Here- improvisation version @ Stranger than Fiction
"I'm Here" an improvisation performance was performed as part of Stranger than Fiction event at Church on the Corner, Islington on 30th October 2010. This work shares the same concept as the original choreography "I'm Here" that premiered on 5th October 2010 at Cafe OTO. It deals with the gap between one's actual physical existence and one's imagined existence in mind. Filmed by Gigi Giannella.
Picture by Eleanor Sikorski
Improvisation performance event "Stranger than Fiction"
Dear friends,
I am excited to be involved in 'Stranger than Fiction' event for the first time. The evening will be all improvised performance from several artists. It would be great to share the moments with you there!
Best wishes,
Katsura
---
I am excited to be involved in 'Stranger than Fiction' event for the first time. The evening will be all improvised performance from several artists. It would be great to share the moments with you there!
Best wishes,
Katsura
---
A Monthly Celebration of Improvisation in Performance
Last Saturday of the Month
"Stranger than Fiction..."
Saturday 30th October at 7.30pm
Church on the Corner
64 Barnsbury Road, London, N1 0ES
£5 (including refreshments)
Katsura Isobe
dig, delve, sift, touch,
an international dance artist traverses the world
through improvisation
Mary Pearson
creep, sneak, explode, leap
a woman explores wild truths, characters and songs
that emerge from the moment
and
The Stranger than Fiction Collective
climb, flip, count, snip
Kate Hilder
Seke Chimutengwende & Alex Crowe
reverse the fiscal deficit in a series of free flowing maneuvers
--------------
Doors open 7.15pm.
Please note - we may be unable to admit latecomers.
Further information and directions at
http://strangerthanfictionlondon.blogspot.com/
Last Saturday of the Month
"Stranger than Fiction..."
Saturday 30th October at 7.30pm
Church on the Corner
64 Barnsbury Road, London, N1 0ES
£5 (including refreshments)
Katsura Isobe
dig, delve, sift, touch,
an international dance artist traverses the world
through improvisation
Mary Pearson
creep, sneak, explode, leap
a woman explores wild truths, characters and songs
that emerge from the moment
and
The Stranger than Fiction Collective
climb, flip, count, snip
Kate Hilder
Seke Chimutengwende & Alex Crowe
reverse the fiscal deficit in a series of free flowing maneuvers
--------------
Doors open 7.15pm.
Please note - we may be unable to admit latecomers.
Further information and directions at
http://strangerthanfictionlondon.blogspot.com/
'I'm Here' at Cafe OTO- video
I'm Here
Premiere at Cafe OTO, 5th October 2010
Dance: Katsura Isobe
Sound: Manabu Shimada
"I'm Here" deals with the gap between one's actual physical existence and one's imagined existence in mind.
Filmed by Gigi Giannella.
Premiere at Cafe OTO, 5th October 2010
Dance: Katsura Isobe
Sound: Manabu Shimada
"I'm Here" deals with the gap between one's actual physical existence and one's imagined existence in mind.
Filmed by Gigi Giannella.
Sunday, 10 October 2010
'I'm Here'- what people saw
I had the premiere of I'm Here on 5th October at Cafe OTO. It is a collaborative work between a sound artist, Manabu Shimada and myself.
What I intend in a work and what the audience receives are not same.
And what I felt in the performance and what the audience felt would not be same.
Thanks to Yumi Hara, who is a musician and my senior from the highschool, and Johannes Birringer, who is a scholar in technology and performnace and the leader of UKIYO project I'm involved, I have received some feedbacks from the outside eyes.
First, pictures by Yumi.
What I intend in a work and what the audience receives are not same.
And what I felt in the performance and what the audience felt would not be same.
Thanks to Yumi Hara, who is a musician and my senior from the highschool, and Johannes Birringer, who is a scholar in technology and performnace and the leader of UKIYO project I'm involved, I have received some feedbacks from the outside eyes.
First, pictures by Yumi.
Then a note by Johannes Birringer.
----
I AM HERE
Cafe Oto, East London, a comfortable spacious hang out, the kind of writers-or-musicians-cafe where you go with your book and laptop and read or meet other artists, a cool crowd showed up, late of course, the space just tables and chairs, a bit f junk, a grand piano, sofas on the side (where I sat), bar, etc. about 50 people eventually hung out there, now candle lights burning on all tables, ,and 45 minutes late, the show starts: 3 pieces first Katsura & Manabu, then break, during which they played Je t'aime moi non plus, then a sonic DJ artist doing a heavy ambient metallica set, and then a dancer with a pot on her head that was made of clay filled with water, and it melted into her.
Katsura performed a very well structured/choreographed piece; it had a definite compositional structure, probably leaving tiny spaces for improvisation, open-nesses within the loopular structure. The "stage" is the cafe, and not just the small 3 x 3 meter area lit in front of one wall with the bedroom curtain. (oddest space this OTO).
Katsura’s dance has numerous sections, the first is running a circle like a flip flop wing bird, arms up and down in circles, feet tap tap, then she arrives back up front. we heard her run in the silence, tap tap, arms spread, a quizzical blank expression in her face, but then suddenly there she is standing in front of us after stopping abruptly, "Here I am" (or was it "I am here!") and as if being cut off from explaining further, the sonic music starts, loud and powerful, but only for, maybe, 10 or 20 seconds, then Katsura is now doing something else, so this system is being establish, as series of different movement patterns, "I am here:", sound, and the sound montage/collaged, acousmatic musique concrète (Japanese-inflected), sometimes harsh and strong, Ikeda-like "cracked" media, almost filmic sound, as Katsura is making a strange sequence of repeated arm movements, then foot movements, then shoulder over head downturns, later stomps, then (as a perverse shift) a soft ballet like arm swivel, well, the music also has fragments that repeat or seem modified (foot steps, seagulls, drops, ice breaking, electronic crashes, clicks, crackles, muddles, silence, and on one of Katsura's gentle flow arm movements I thought i heard a 2 second piano concerto broken to industrial sound, silence: a wonderful cubist sound collage) Katsura always goes back, now and then, to the flapping bird circling the room, tap tap, tap, then she is suddenly on the floor, side push up, side push up, then she (quizzically) shouts, "I am here!"?, as if a question, and then music becomes (near the end of the approximately 20 or 25 minute long piece ) denser, more layered, continuant, as Katsura is in her final section, performing very hard, strong effort shapes, repetitive motions that are exerting, exhausting and energizing and paff, it has ended, silence.
Thus, like the DAP experimentations with some of our scenes between dancers and musicians, I AM HERE is a concise, well composed live interaction, with brilliant accent shifts in Katsura's last sections, small dynamic changes in the rhythmicized repetitions, and most movements at the same time not "danced" but seem real, gestures coming in that moment, from a living person who is there right there, the fingers itching, the arms rotate a little, now she's got to run off, it is quite humorous , seconds, moments of memories flashing in, what is she thinking of, well, here we heard the door of a car, how strange, we are in some movie too?
Cafe Oto, East London, a comfortable spacious hang out, the kind of writers-or-musicians-cafe where you go with your book and laptop and read or meet other artists, a cool crowd showed up, late of course, the space just tables and chairs, a bit f junk, a grand piano, sofas on the side (where I sat), bar, etc. about 50 people eventually hung out there, now candle lights burning on all tables, ,and 45 minutes late, the show starts: 3 pieces first Katsura & Manabu, then break, during which they played Je t'aime moi non plus, then a sonic DJ artist doing a heavy ambient metallica set, and then a dancer with a pot on her head that was made of clay filled with water, and it melted into her.
Katsura performed a very well structured/choreographed piece; it had a definite compositional structure, probably leaving tiny spaces for improvisation, open-nesses within the loopular structure. The "stage" is the cafe, and not just the small 3 x 3 meter area lit in front of one wall with the bedroom curtain. (oddest space this OTO).
Katsura’s dance has numerous sections, the first is running a circle like a flip flop wing bird, arms up and down in circles, feet tap tap, then she arrives back up front. we heard her run in the silence, tap tap, arms spread, a quizzical blank expression in her face, but then suddenly there she is standing in front of us after stopping abruptly, "Here I am" (or was it "I am here!") and as if being cut off from explaining further, the sonic music starts, loud and powerful, but only for, maybe, 10 or 20 seconds, then Katsura is now doing something else, so this system is being establish, as series of different movement patterns, "I am here:", sound, and the sound montage/collaged, acousmatic musique concrète (Japanese-inflected), sometimes harsh and strong, Ikeda-like "cracked" media, almost filmic sound, as Katsura is making a strange sequence of repeated arm movements, then foot movements, then shoulder over head downturns, later stomps, then (as a perverse shift) a soft ballet like arm swivel, well, the music also has fragments that repeat or seem modified (foot steps, seagulls, drops, ice breaking, electronic crashes, clicks, crackles, muddles, silence, and on one of Katsura's gentle flow arm movements I thought i heard a 2 second piano concerto broken to industrial sound, silence: a wonderful cubist sound collage) Katsura always goes back, now and then, to the flapping bird circling the room, tap tap, tap, then she is suddenly on the floor, side push up, side push up, then she (quizzically) shouts, "I am here!"?, as if a question, and then music becomes (near the end of the approximately 20 or 25 minute long piece ) denser, more layered, continuant, as Katsura is in her final section, performing very hard, strong effort shapes, repetitive motions that are exerting, exhausting and energizing and paff, it has ended, silence.
Thus, like the DAP experimentations with some of our scenes between dancers and musicians, I AM HERE is a concise, well composed live interaction, with brilliant accent shifts in Katsura's last sections, small dynamic changes in the rhythmicized repetitions, and most movements at the same time not "danced" but seem real, gestures coming in that moment, from a living person who is there right there, the fingers itching, the arms rotate a little, now she's got to run off, it is quite humorous , seconds, moments of memories flashing in, what is she thinking of, well, here we heard the door of a car, how strange, we are in some movie too?
well done, katsura !!
---
---
My collaborator Manabu also has left some record on his blog. It contains the sound recording from the performance too.
http://web.me.com/manabu.shimada/audio_diary/top/Entries/2010/10/6_new_song_out!.html
---
There are more of nice pitures by Gigi Giannella.
http://www.flickr.com/photos/katsurabbit/sets/72157625135919198/
---
There are more of nice pitures by Gigi Giannella.
http://www.flickr.com/photos/katsurabbit/sets/72157625135919198/
Monday, 4 October 2010
'I'm Here' premiere at Cafe OTO, 5th October 2010
Dear everyone,
I am showing my new work "I'm Here" made in collaboration with a sound artist, Manabu Shimada. It would be great if you could come and support us!
-----
Elliott Dodd / Katsura Isobe / Manabu Shimada / Mildred Rambaud
An evening of dance, electronic music and visual performance.
TUESDAY 5th October 2010
Door Times : 8pm
Tickets : £4 adv/£5 on the door (For advanced ticket, please find a link on the website below)
The Venue: Cafe OTO
18 - 22 Ashwin street, Dalston, E8 3DL
London, United Kingdom
The details: http://www.cafeoto.co.uk/mildred-rambaud.shtm
-----
I look forward to seeing you there.
Best regards,
Katsura Isobe
I am showing my new work "I'm Here" made in collaboration with a sound artist, Manabu Shimada. It would be great if you could come and support us!
-----
Elliott Dodd / Katsura Isobe / Manabu Shimada / Mildred Rambaud
An evening of dance, electronic music and visual performance.
TUESDAY 5th October 2010
Door Times : 8pm
Tickets : £4 adv/£5 on the door (For advanced ticket, please find a link on the website below)
The Venue: Cafe OTO
18 - 22 Ashwin street, Dalston, E8 3DL
London, United Kingdom
The details: http://www.cafeoto.co.uk/mildred-rambaud.shtm
-----
I look forward to seeing you there.
Best regards,
Katsura Isobe
Thursday, 9 September 2010
Boldness
' Whatever you can do, or dream you can do, begin it. Boldness has genius, power and magic in it. ' ~ Goethe
Wednesday, 25 August 2010
I'm Here, my new work
Last week from 16th- 22nd August, I was doing a summer residency at Space@ Clarence Mews. I was in the studio 3-4 hours a day to develop my new work I'm Here (working titile). It is a solo work at the moment with no sound. I am hoping to collaborate with a sound artist to put another layer on top of what I'm doing. It is about places and about a person.
Here I put a video from the sharing on 22nd Aug. It's 10 minutes long at the moment and I feel I just finished the introduction part (though I'm out of breath already). Eventually it will be 30 minutes long.
It was such precious experience to have the intensive period of creation, which does not happen very often. I have found so many small things about myself, dance and other things in life. I have learnt how I can be strong to work productively alone in a studio. I have started to distinguish how I can experience the work as performer and how I can watch the same work as choreographer. I feel this is the first work I am actually 'choreographing'.
My creation still goes on...
I wish I have more of this kind of opportunities soon.Tuesday, 24 August 2010
Challenge
'Life keeps challenging us in ways that, if we just stay with it, will lead to our freedom.' ~ Cheri Huber
Subscribe to:
Posts (Atom)