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 – 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 – 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.

Dis Tanz Solo III – 1929

Research : Movement and tonality of the void spaces – 14. June


Anne Frank (Anneliese Marie Frank)
12.June 1929 Frankfurt am Main – † early 1945 KZ Bergen-Belsen

The Anne Frank Center Berlin is a partner organisation of the Anne Frank House in Amsterdam. The center commemorates the German Jewish family’s story with the exhibition and offering various educational programs all year around.

The center is located in the Haus Schwarzenberg, where I have my studio.
On the wall of the staircase there are Anne Frank’s smiling photos posted chronologically and I used to hear the audio book on the staircase.
So over years I became feeling very familiar with the world famous author.

Few years ago, I got to know that Anne Frank born in the same year with the actress Audrey Hepburn, and it was the same year with my father.
Anne Frank went to the hide-out at 1942 in her age of 13 and lost her life at 15. My father born in Kyoto in September 1929, had three children and left the earth in 2007. Associate her to my father through the year they born, led me think of her life she might have had if there wasn’t ever the Holocaust.
This 12.June 2021 would be her 92th Birthday and I went to the center.

When I first heard about Anne Frank’s diary I was young, it was heartbreaking to imagine that she eventually lost her life right after her sister Margot’s death, yet it wasn’t realistic for me because her appearance  was quite different with us Asian.
Listening and reading through the photos and interviews this time however, I found myself seeing the story not from Anne’s side, but rather her parents‘ side, and I felt more sympathy because she and her family just looked as same as my friends and their family here in Berlin.

The father Otto, who lost his wife and two daughters, hoped that the diary would be universally acknowledged across times and races, rather than being treated as a war literature or story of a Jew.

Het Achterhuis (The Annex), the original first edition published in 1947.

DisTanzSolo III : Research : Movement and tonality of the void spaces

The purpose of this research is collecting the information related to the Erinnerungskulture / the Culture of Remembrance, visiting the historic sites and investigate the roll of void/emptiness in the spaces, to prepare for my future project A Silent Room.    

During the first Lock-down in 2020, I kept practiced alone in my studio. 
I have my studio in the Art complex Haus-Schwarzenberg, Rosenthalerstr.39, Berlin Mitte.

The museum Otto Weidt’s Workshop for the Blind is located in the side wing of the same building. As same as Berliner Anne Frank Zentrum (is also located in Haus Schwarzenberg), over years the presence of the museum became a part of my daily life.

Otto Weidt was German factory owner who’d tried to save many Jews, deaf and blind people during the NS regime in Germany. Since the discovery of the history in 1999 by the students of the Museologie / Museumskunde an der HTW Berlin (Prof. Hans Wilderotter), the workshop and the hide-out has been exhibited.

In 2018, supported by the Heinrich Böll Foundation I had an artistic research about the hide-out. The hide-out, the small, windowless dark room of the museum was the first place, which introduced me the Erinnerungskultur, the Culture of Remembrance.

Knowing this word made me realize that the seemingly disparate things I’ve been interested are probably all on one line. With my German writing teacher Dr.Vera Fischer I set my first question ‚How can the experience of the memorials as a stimulus for artistic expression?‘.

However, as a Japanese with no connection to any of the parties involved, I’ve hesitated to touch this subject. But then when my mentor Boris von Poser pointed me out the possibility of creating a performance through observing the subject and collecting the experiences from my Japanese perspective, I decided to do this research. Having a mentor in research mean not only about getting practical information and suggestions, but I think it is also about getting ethical guidance for my work.    

The theater director Boris von Poser as my research mentor, I’ll visit the following three memorials and further sites of the Culture of Remembrance. I’ll collect the stories of the lives of the survived people and their families today, create movement and vocal sketches.

Intended place to visit
– The concentration camp memorial Auschwitz-Birkenau (PL)
– The Herzogenbusch Concentration Camp (NL) 
Terezín Memorial (CZ) – changed to ↓
– The memorial and museum Sachsenhausen
– – The memorial Bergen-Belsen

* The plan has been changed due to the current pandemic situation and the effect of the performance and project schedules postponed from 2020.

Visiting a place is a subjective experience – in other words, an experience that feels differently depending on the person-  that goes through its physical and sensory qualities.

Whether music or movement, the process of transferring a personal experience into an artistic expression let me recognizing my own sight towards the object I have, and give me a new perspective. 

The silence of those void spaces gives us the space to imagine a time we haven’t experienced, and consider the time in which we live. 
And in this research I hope to find my way to listen to the spaces.  

updated on 25.August.