Posts By Yuko Matsuyama

Dis Tanz Solo III – ASHES INTO THE SOUL

On 7.October, I went to the Auschwitz-Birkenau Museum.
I took the 6 hours study tour in English, our (we were group of around 10 people from USA and other part of the world) tour guide/lecturer was Polish.
ASHES INTO THE SOUL
At the Auschwitz-Birkenau State Museum, also at the Sachsenhausen Memorial and Museum, what impressed me the most were, the huge, empty and green grass field and the forests behind. If I hadn’t known the history, I’d imagined completely different story.
Our guide said that she comes from the local town Oswiecim (Auschwitz).
I wonder it must be extremely sad that their beautiful old town became known not by the beauty but the brutal history.

In surprise, it wasn’t huge walls separated the forests of the town and the the camps, but the camps ware surrounded by fences.
The camps ware visible from the outside, the brutality must have been witnessed by the local people.
The guide said “ Yes of course it is very sad for us, and yet it is important for us to keep the historic locations, because it had happened at our soil.”
I questioned the word “soil”, and it was more than just a metaphor.
Later at crematorium she explained that the NS-Germany spread the ashes of their victims into the field used as a fertilizer.

 „Listen, “ I told her. „Just listen for a second. Do you hear anything? Wind and birds. Now travel back in time.
  A Little more, further back. The bards are still singing, the wind is still blowing, you’re in the same place, and it’s full of people.
They arrived by train and within an hour or two they’re just dead animals, burned to ashes. Focus, feel it.  They are here around us, a part of nature.

– The Memory Monster by Yishai Sarid –

October

⭐︎Due to the current situation, we ask you to make a reservation.
⭐︎For the presence studio classes, we follow the COVID19 “3G -getestet, geimpft, genesen.”
(You are: 1. tested negative within 24hours, 2. vaccinated, or 3. recovered from corona.)
⭐︎Please keep the distance with others and wear your mask on, until you reach to your mat.
———————————————-
🌺Open class in October🌺

🌟 MARAMEO🌟 Saturdays 9:30-10:30 with Small-Ball
⭐︎currently sign-up only through online.

Level III(upper interm.-advanced)
Sat.2., 9., 16., 23., and 30. yuko




🌟 TANZFABRIK🌟 Mondays 9:30-11:00
Level : II with Theraband  ⭐︎currently sign-up only through online.

Mon. 4. Oct. Rossella Canciello 💃
Mon. 11., 18. and 25.Oct. Yuko

Tanzfabrik : https://www.tanzfabrik-berlin.de/de/kursplan

🌟 YOGAdelta Berlin⭐ Mondays + Fridays Studio🧘+Online 💻

Level II | Mon.4., 11., 18. and 25.Oct. 20:15
(Fri.8.Oct. 8:30 – )
Level II-III|Fri. 15., 22. + 29. Oct. 8:30
 
 
 

Direction of movement: improvisation and context

The impact of words
This research focuses on the memorials of the Culture of Remembrance (Erinnerungskulture) in Germany and the impact on the body of the void of the abandoned spaces.
The memorials of mainly after the Second World War, where the original spaces are exhibit as the direct evidences of what had happened.  Those places have distant with the history of my own country both geographically and the circumstances.

But in the same time, since I live in Berlin, it is the history that had happened very close to my own living space.
And since it had happened contemporary with the Japanese history of course, my research have been giving me another perspective on Japan in the WWII.
For this research I planed my creative process: that I visit those abandoned spaces, investigate the history and then search the movement and sound based on the experience that remains in my body.  I thought it would be a rational process, but in reality it caused stagnant of movement.
After couple of month, I had to admit, that for me, in the process of creating sound, it is necessary to be alone as much as possible, but for this research theme, I need dialogue with the other(s‘) body in the space.

In August, as I expanded my direction from making solos to collaborating, I looked at how the process could expand my perception of space and create and maintain the Atmosphere of trust (as Carlos and Fernando call it) necessary for improvisation.

I believe that in order to visualize the subjectivity of spatial perception through movement and sound, it is essential to utilize improvisation in the work.

Further question have arisen;
– In this theme, can words be an anchor for improvisation?
– What kind of direction is necessary to use text in improvisation?
– what is the role of words and text in improvisation?

Dis Tanz Solo III – a moving home

Research : Movement and tonality of the void spaces – 29.August

Draft score :
A moving home – and what had happened and have happened for those families are all beyond my imagination.

– an empty room and its wallpaper
– the layers of wallpaper on the wall are the only witnesses remind in the room.
– the blind and the deaf workers at the factory, how they’d remembered the place they’d once worked together?
– a small room was probably the last place where the family could spend the time together.

The only hide-out I know had long been empty. But the contrast to the silence in the small room, since a week we’ve been listening the news of that people have been flooding at the Kabul airport and forced to hiding in deep concern of reprisals.

Dis Tanz Solo III – The air and the Japanese folding fan

Research : Movement and tonality of the void spaces – 23.August

空間を感じる Experience the space Kuh-Kan
「空 / void, empty, sky」「間 / space, in between, a moment」

Their is the air in a space

How to touch the air through movement?
How to move the air and move through the air in a space?

Japanese Folding Fan / Mai Ohgi  

– It has 6 – 12 shafts.
– it is paper fan with 2 small iron weights attatched to the last shafts.
– the 2 weights on the shafts allow the dancer’s hands to precisely perceive the air resistance on the surface of the fan.
– dancer is asked to control the movement of the fan and own body using the air resistance and the force of the gravity.
– it is observed as an extension of the dancer’s body.

Dis Tanz Solo III – Improvisation Void

Research : Movement and tonality of the void spaces – 18.August

Topic : How improvisation can direct towards a theme, and what we need for?

In the end of July I had 1 week break to join a pre-production research at fabrik Potsdam.
The local jazz musician Nicoas Schulze invited three of us, choreographer Michal Hirsch (Tel-Aviv), saxophonist Alexander Beierbach (Berlin) and me to take the opportunity, 6 hours x 7 days improvisation research.

During the research in Potsdam, I became clear about my necessity of collaboration research beside already planned solo sketches for this research. So I invited my long year collaborators, dance artists Fernando Pelliccioli and Carlos Osatinsky, also the guitarist Joshua Tennent.

At first I asked Carlos and Fernando to give us warmup, to let us ready for the non-verbal, intuitive communication of improvisation in the space. Then we discussed about the theme Void and we had three improvisation on the day.

The words we had on the day.

– I don’t know what empty is
– what do you project into the void space?
– the space between
– absense
– I don’t see you
– ignore
– no one see you
– Anui = emptiness, cancel

Those words ware there to help us to be in a space together, not for confrontal.

Improvisation is a real-time, pure communication with what we offer in the space.
The color, light and shadows or any little sound, all what we hear and see in the room will interweave with our imagination and influence on our performance.
And as you can’t control how I listen and see the atmosphere around us, we can’t predict how others would react to what you do.
What then we need to be able to create an common ground, as Carlos & Fernando call ‘atmosphere of trust’ between us, where we could explore the theme we have?
Since the chemistry between people are all individual, we have to spend more time together to find this out.

In September I’d like to discuss with my mentor Boris for the topic.

Improvisation : Void

Dis Tanz Solo III – Eyes in between dark and light

Research : Movement and tonality of the void spaces – 16. August

そこで人々は、何を見ていたんだろう?
What had the people looked at there?

When I’m in the memorial Museum Otto Weidt, although I already know it is nothing in the tiny hide-out, my eyes start searching in the dimmed lighted space, as if my eyes would find some object. In the void room at the Jewish Museum Berlin, my eyes had again moved in vain searching for something invisible, again at the memorial and museum Sachsenhausen, and again at the Gleis 17 at the Glünewald station.
I open the Farbenlehre from Gorthe again.

Zur Farbenlehre (Theory of color)| Goethe

12. Wer einen völlig dunkeln Ort mit einem, den die Sonnt bescheint, verwechselt, wird geblendet. Wer aus der Dämmrung ins nicht blendende Helle kommt, bemerkt alle Gegenstände frischer und besser; daher ein ausgeruhtes Auge durchaus für mäßige Erscheinungen empfänglicher ist. Bei Gefangenen, welche lange im Finstern gesessen, ist die Empfänglichkeit der Retina so groß, daß sie im Finstern (wahrscheinlich in einem wenig erhellten Dunkel) schon Gegenstände unterscheiden.

Goethe, Johann Wolfgang von. Zur Farbenlehre (German Edition) (p.33). Jazzybee Verlag. Kindle version.

12 真暗 な 場所 を 太陽 の 照りつける 場所 と 取り替える と 目 が くらまさ れる。 薄暗い ところ から 眩し すぎ ない 明る さの ところ へ 来る 人 は、 すべて の 対象 を いっそう くっきり と よく 見る こと が できる。 休息 し た 眼 は、 適度 の 現象 に対して 全般 的 に 感じ やすく なっ て いる ので ある。   永い あいだ 薄暗い ところ で 生活 し て き た 囚人 の 場合、 網膜 の 感受性 は ひじょうに 鋭敏 なので、 彼ら は 暗闇 の 中( おそらく ほとんど 光線 の 入っ て こ ない 闇 の 中) でも 種々 の 対象 を 識別 する こと が できる。
ゲーテ. 色彩論 (ちくま学芸文庫) (Kindle の位置No.1355-1359). . Kindle.

6. Wenn wir die Augen innerhalb eines ganz finstern Raums offen halten, so wird uns ein gewisser Mangel empfindbar. Das Organ ist sich selbst überlassen, es zieht sich in sich selbst zurück, ihm fehlt jene reizende befriedigende Berührung, durch die es mit der äußern Welt verbunden und zum Ganzen wird.

-Goethe, Johann Wolfgang von. Zur Farbenlehre (German Edition) (pp.32-33). Jazzybee Verlag. Kindle 版.

真っ暗な空間の中で目を開けたままにしていると、我々はある種の欠乏を感ずるようになる。視覚器官は自分だけにされてしまい、自分自身の中へ後退してしまう。眼がそれによって下界と結ばれ全体となる、あの充足した刺激の接触が欠けているためである。

7. Wenden wir das Auge gegen eine stark beleuchtete weiße Fläche, so wird es geblendet und für eine Zeit lang unfähig, mäßig beleuchtete Gegenstände zu unterscheiden.
-Goethe, Johann Wolfgang von. Zur Farbenlehre (German Edition) (p.33). Jazzybee Verlag. Kindle 版.


我々が強く証明された白い面に目を向けると、目はくらんで、しばらくは適度に照らされた対象を識別することができない。

Dis Tanz Solo III : Grayish places

Research : Movement and tonality of the void spaces – 15.August

Gray of the Culture of Remembrance


My eyes remember the light gray concrete at those places.
Grau = gray
Grausam = cruel
And the void spaces are often dimmed lighted.
What is the effect on the color gray and the darkness?

Zur Farbenlehre (Theory of Colors) | Goethe

Farbe ins farbigen licht //Graue boden 

第3章
35
色彩学的実験の大部分は、適度の光を必要とする。この光を我々は多かれ少なかれ灰色の面によって直ちに引き起こすことができ、それゆえ、灰色のこともあらかじめ知っておかなければならない。多くの場合、陰影の中あるいは薄明かりの中にある白い面が灰色の面とみなされうることは、あえて言うまでもない。

35. Ein großer Teil chromatischer Versuche verlangt ein mäßiges Licht. Dieses können wir sogleich durch mehr oder minder graue Flächen bewirken, und wir haben uns daher mit dem Grauen zeitig bekannt zu machen, wobei wir kaum zu bemerken brauchen, daß in manchen Fällen eine im Schatten oder in der Dämmerung stehende weiße Fläche für eine graue gelten kann.

36
灰色の面というものは明と暗の中間に位置していうので、我々が先に(29)現象として述べたことは、容易に実験へと高められることができる。

36. Da eine graue Fläche zwischen Hell und Dunkel innen steht, so läßt sich das, was wir oben (29) als Phänomen vorgetragen, zum bequemen Versuch erheben.

– Goethe, Johann Wolfgang von. Zur Farbenlehre (German Edition) (p.37). Jazzybee Verlag. Kindle 版.

 

Dis-Tanz-Solo III – Gleis 17.

Research : Movement and tonality of the void spaces – 28. July

On my way back from Potsdam, I step out at the station Gruenewald, to visit the platform 17 /Mahnmal Gleis 17

„From the platform 17, between in the fall 1941 to the spring 1942, about 10,000 German Jews were deported to concentration- and labour camps and mostly murdered. Besides Riga (Latvia) and Warsaw (Poland), the destination camps were the Auschwitz-Berkenau (Poland) and Theresienstadt (Czech). Of the total of over 10,000 Berlin Jews, over 30,000 were deported from the Güterbahnhof Moabit and just under 10,000 from the Anhalter Bahnhof.“  – www.berlin.de 

The Deutsche Bahn AG established the memorial with the architect Nikolaus Hirsch, Wolfgang Lorch, Andrea Wandel and open on the national Remembrance Day [Tag des Gedenkens an die Opfer des Nationalsozialismus] on 27.January 1998. 

There is only the date of the train’s departure, the number of people on board and the destination – the only facts that really need to be remembered – on an iron plate stuck to the platform. But as I walked the platform reading through the plates, that unimaginable amount of numbers, in contrast to the emptiness at the end of the empty track, overwhelmed me. 

There I met a family, father and daughter. The father said that he used to visit my colleague’s Improvisation class at Tanzfabrik, so we talked a little.
He said, although as a child, he remember that he used to board repeatedly taught about the Holocaust, but now as a father he concern that more and more people lost their interest on the history. They ware on their way to a forest hike, but then she said she haven’t been the platform, so he decided to bring her shortly. 

As we talked the daughter was sat on the platform and started collecting the broken ceramic plates written ‚Never again‘ in many language. 

 

記憶の文化 / Erinnerungskultur, The Culture of Remembrance
= 
償い / Versöhnung, reconciliation, 
祈り / Gebet, Player
願い / Wünsch, Wish 
次世代への行動 / action for the future generation
and
希望 / Hoffnung, Hope

Dis Tanz Solo III : The Culture of Remenbrance as an environment?

Research : Movement and tonality of the void spaces – 14. July
From the list of the memorials and museums of the culture of remembrance in Berlin written in the book ‚Orte erinnern (Places remember )‘ by Johannes Heesch and Ulrile Braun, I picked up the places I already went.

– Denkmal zur Erinnerung an die Bücherverbrennung
– Die Bernhard Lichtenberg Kapelle in der St.-Hedwigs Kathedrale
– Neue Wache
– Museum Blindenwerkstatt Otto Weidt
– Sammellager Großer Hamburger Straße
– Der verlassene Raum
– The Missing House
– Neue Synagoge
– Gedenkstätte Plätzensee
– Bahnhof Grünewald, Gleis 17
– Jüdisches Museum Berlin
and
– Stolpersteine

As a Japanese, moving to Berlin I have quite surprised by the huge amount of the memorials and objects in town which are commemorate the Holocaust in the time of the Nazi-Germany. If I weren’t in Berlin, I had’t had so much attention over the history of WWII.

My studio is located in the historic district Spandauer Vorstadt / Spandauer Quarter, the neighborhood carry many histories of Berliner Jews.
One day as I walked around my studio I took some photo of few memorials. All those places are no more than 800m away from my studio. As I started my master study at HZT Berlin, I first time realized how all those places became a part of my daily life.

– Große Hamburger Straße –
You’ll see the golden dome of the Synagogue.

The Missing House

Memorial for the collection point and the Jewish old cemetery.
 
The Sophien Church and the traces of bullets.

I never knew before, there were another Synagogue in Auguststraße 10.

Memorial, The abandoned room at the Koppemplatz
You can see how the table and chair made in a slightly bigger scale.