Category: Dis Tanz Solo III

Research : Tanz und Tonalität des leeren Raumes
(Dance and tonality in the void space)
Mentor : Boris von Poser
Supported by Dachverband Tanz Deutschland ‚Dis-Tanz-Solo‘ program
[ Neustart Kulture, BMK (Bundesregierung für Kulture und Medien) ]

Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des Dachverband Tanz Deutschland

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.


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 


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. 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.”  – 

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
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
– 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.

Dis Tanz Solo III – Feet

Research : Movement and tonality of the void spaces – 13. July

Malnourished people reduced their wait to skin and bones, and the feet that sustained them.

Reading about the concentration camps I have seen many photos of piled upped shoes. It was very odd and painful image since I understood that  Europeans rarely take the shoes off.

And I spend few days on the theme feet.
– To lose weight is to lose volume, which means that the proportion of space occupied by a person’s body is reduced.
– As the body weight decreases, less weight is placed on the feet.
– Each foot has 26 bones, as soon as the feet placed on the floor, they bear our weight.   
– Feet as the contact points with the place we stand. 

When I think of feet in perspective of Japanese classic dance Buyoh: 
– Unlike Western costumes, where the deeply opened neckline or the arms and legs are often exposed, in the kimono the fingers and toes are the only parts of the body that are barely visible to others.
– The feet are usually wrapped in a white Tabi-socks.
– In traditional Japanese dance, the sole of the feet are kept out of sight as much as possible.
– Hence, the walking dancer is sometimes referred to as walking as if the head is being suspended from above.


Dis-Tanz-Solo III – Sachsenhausen Memorial and Museum

Research : Movement and tonality of the void spaces : 8.July


The sun light illuminate the empty spaces in vain.
A sense of calmness and a little relief, that no one there anymore.
Although no one was there anymore, I felt a pressure and fear, that made me hesitate to enter.
Overwhelmingly powerful fact, that there is nothing, no body in the place anymore.
I just kept walking there for hours.
The only person at the information center on the day told me that it was 20 times bigger.
When I said that I’m Japanese, he said “I’m glad you could experience this place”
Denkmal | Memorial
A place where you can experience the memory of someone who has no direct connection with you by visiting with your own feet. A place where allows you to think about the wait of the memories.

Dis-Tanz-Solo III – Voice and its resonance

Research : Movement and tonality of the void spaces – 21. June

In June, the Gallery Neurotitan in Haus Schwarzenberg kindly allowed to enter into the empty gallery.
It was quiet, but as I spent more time alone, I recognized many different sounds in- and around the empty room.

空間を聴く - listen to the space
– keep open your eyes and listen to the space
– what kind of sound you hear?
– where the sound comes from?
– can you recognize where the sound comes from?
– can you see the things produce the sound?
– can you measure the distance of the object(s) create the sound?

空間を見る - observe the space
– observe the light and shade in the space
– is the shadows have color?

空っぽの空間と私 I in the empty/void space
– Q : are you a part of the void?

Then I started voicing in the space, listened to the resonance.