Posts By Yuko Matsuyama

Gedenkstätte BergenBelsen

28.10.1944 Anne & Margot Frank sent to Bergen Belsen, where they lost their lives in the early 1945.

-1945 to 1945 : the camp was served as POW (prisoners of war) camp, where a total of 50,000 soldiers lost their lives.
-1943 to 1945 : part of the POW camp was used as the Nazi concentration camp, in which at least 52,000 of the total of around 120,000 prisoners lost their lives.
-1945 to 1950 : on 15.April 1945 the camp was liberated by British army.
Bergen-Belsen was used as the DPs (displaced person’s) camp until the September 1950.
Tuesday Nov.9. I took a train at 6:45am. from the Berlin central station.
The station Celle to the memorial was 1hour by two buss. Trees, fields, cows and horses, I adored the calming autumn nature in the area and arrived to the memorial,  Gedenkstätte Bergen-Belsen at 10:30am.
The first two hours I walked around the memorial field and POW cemetery. The post barracks, crematorium and cemetery area, except the silent prayer room there are no buildings, only some grave stones and memorial objects stand on the huge field.

In the end of the video, you could hear the firearm. It was very sunny and empty, I only saw one tourist and two soldiers in the field.
But during ca.1.5 hours in the memorial fields,  I was confused by kept hearing enomous firearm shots from afar, and I soon found the military security area notice board. Only ca.2km away from the memorial and the POW cemetery is now British military base.

The modern documentation center have very detailed history about the POW camp, the concentration camp and DPs camp.
Numerous displays I you can hear the original interviews of the survivors; soldiers and imprisoned civilians, also some interviews of the local children at that time.

At the camp Bergen-Belsen, it wasn’t clear what was exactly done with the ashes.

The book „The Memory Monster“ by Yishai Sario and my physical visits of KZs have steadily influenced on my perception.
Every memorials I went have the gray, the color of the ashes.

At the camp Auschwitz-Birkenau the ashes had used as fertilizer.
My Polish tour said that cremation wasn’t common way for Jews.  And the guide repeatedly said „it was happened on our earth“, as if she mentioned saying „the nature of all those area have absorbed the ashes of the victims.“
In the contrast to the gray, the nature in the empty fields now reminds me of the breath of the ashes.

“ Anne Frank, das kleine Mädchen, das zum Widerstand nicht geschaffen war, ist Opfer und Symbol aller Millionen und Abermillionen von Menschen […], die als Opfer der Gewalt starben. “

EN: „Anne Frank, the little girl who didn’t managed to resist, is the victim and symbol of all the millions and millions of people […] who died as victims of violence.“

Fritz Bauer  „Fritz Bauer-Der Staats-Anwalt“ P.261.

I took a bus at 3:30pm, returned to Berlin at ca. 8pm.


Update 14.Nov.

Thank you for visiting my Pilates at my favorite Studios & Online classes. 
From the Monday 15.Nov. on, all the studio classes must follow the 2G regulation in Germany. We might ask you to show one of the 2G certifications (full vaccinated or healed).
I’m sorry for the inconvenience, specially if you have not vaccinated.

🌟Schöneberg | TANZFABRIK 🌟
Monday 9:30-11:00 – 15.+ 22.Nov.(yuko) + 29.Nov.(Rossella)
Level II-III (Theraband, Small-ball or Big-ball)
⭐︎currently sign-up only through online.
🌟Prenzlauer Berg & Stream 💻 | YOGAdelta Berlin⭐
Monday 20:15 – 21:15 Level II (15.+ 22.Nov.)
Friday 8:30 – 9:30 Level II-III – 19.Nov.(yuko) + 26.Nov. (Jolanda)
🌟 Kreuzberg | MARAMEO🌟
Saturday 9:30-10:30 – 20.Nov.(yuko) + 27.Nov.(Rossella)
Level III ( with Small-Ball )
UrbanSportsClub :

⭐︎The studios provide Yoga-mat and disinfection-spray. However, due to the current situation, if you have your own, please feel free to carry with you!


Direction of movement: improvisation and context II

Those questions have arisen in proceedings in September:
– At an improvisation in context of the void spaces connected to the German culture of remembrance, can words be an anchor for the improvisation?
– What is the necessary agreement or choreographic direction use words & text in the improvisation?
– What is the role of the words and text in the improvisation?
The first weekend in October, I rent the gallery Neurotitan from Haus Schwarzenberg.
The third day on Sunday, I invited my mentor and other artists to go further research of the above.
Date :  3.Oct.2021
at: Neurotitan Gallery
Joshua Tennent : sound improvisation
Carlos Osatinsky : movement Improvisation
Fernando Pelliccioli : movement Improvisation
Boris von Poser : mentoring and Improvisation with pre-wrote text
Procedure :
a, Body work initiated by Carlos and Fernando
b, continued to View-Point based exercise
c, when our perception in the room opened and the chemistry between us got in flow,
Boris took over the situation started giving us the text he previously prepared for the day.
d, pose and discussion
e, from then, we tried various different settings of improvisations and discussed together.
Results :
The words and text is definitively work as an anchor for the improvisation.
The more performer grasp the meaning and the rhythm of the words/text, the more intuitive moments happens without but imitation the meaning.
The necessary agreement and choreographic direction depends on the individual group dynamics.
*group dynamics = system of behaviours and psychological processes occurring within a social group (wikipedia)
There was an another important question “why we need to dance?”.
I believe, as same as an experience at an historical place effects our memory, there are memories and thought we could only able to touch through our physical movements.
So for me it is very important to bring us in flow of movement (and sound) during the improvisation.
For the third question; what is the role of the words and text in the improvisation?

Every words have the rhythms itself, as a foreigner facing to the languages not my mother tongue every day, I became to listen more carefully the rhythms and tonalities of words and sentences.
Since any foreign language forced us to have more efforts for communication, it reminds me of the Japanese old belief Kototama.
In Japanese cultural belief KOTOTAMA, we believe the power of the words.
In the belief, when words are sent out, even without knowing the meaning of the words, one’s environment and personal circumstances could be influenced by the words.
Use Kototama for improvisation is far esoteric and not my purpose.
This collaboration research but confirmed me of the strong influence of words‘ not only the meanings but also the rhythms and tonalities.
I’d like to take time with my mentor Boris to discus about the rhythm, tonality and meaning of words and sentences.

Photos: ©Henryk Weiffenbach

Die Abwesenheit der Klänge

Diskurs Serie : Ein Objekt, Viel Fragen at Humboldt Forum
In October 13. I perform at the listening room of the Music-Ethnology at the Ethnological Museum of Berlin (German: Ethnologisches Museum Berlin) at the Humboldt Forum.
The ethnological museum has a large collection of the African, Pacific and Asian arts and besides the exhibition the museum introduce the German colonial time in Africa.

Refer to my theme of this research (the sound and movement of the void spaces), the curator of the discurs series „Ein Objekt, viele Fragen /One Object, Many Questions“ , Valerie von Stillfried gave me a further question.
The sound of emptiness, but not about the sound in a void room but of a silenced instrument in museum.

The instruments in the museum had been taken apart from its original location and the people who’d played the instruments.
Valerie and I chose an African instrument Likembe/Mbira/Kalimba (E39040 (HUF / O2.019.P3, Die Sammlung Köhler-Osbahr) at the ethnological music department.

Since my Dis Tanz Solo research started, I became more aware of the importance of experience the real objects and places, which carry the history of humankind. For me, those all original places and objects are the gateways to the history and culture I haven’t experienced, and the gateways to think of the present world.
Being a performer I have my privilege to experience other culture through the music and dance.
When I imagenaly put the music and dance on the world map, the world map start showing the interweaving history of mankind.
Music and dance can tell the things far beyond important than the borders.

Holding an instrument is a real encounter with the hands the instrument had once belonged of.  Then, as soon as I play the instrument it brings me into an another level of personal encounter with the time and/or culture that does not belongs to myself.
⭐︎Thank you for the Photo: by Humboldt Forum.


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.
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 –

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.

Those questions have arisen in proceedings:
– At an improvisation in context of the void spaces connected to the German culture of remembrance, can words be an anchor for the improvisation?
– What is the necessary agreement or choreographic direction use words & text in the improvisation?
– What is the role of the words and text in the 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

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.


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.