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Showing posts with label dance. Show all posts
Showing posts with label dance. Show all posts

Thursday, April 25, 2013

Noh Workshop @ HUB Kyoto, where things appear and disappear


"Is it comfortable? Good, it shouldn't be!"
Noh means skill, noh means talent.humorous Dr. Diego Pellecchia reminded us of an often overlooked definition- possibility! Last Sunday, Diego led a workshop at  Kyohakuin, the venue for the HUB Kyoto initiative to bring change makers together in one place. Indeed, in a gorgeous venue with such a rich history, the possibilites truely are endless.

Originally the residence of a Nanga (Chinese literati style) painter in the Meiji era, HUB founding member Lucinda Cowing explained that following the Second World War, Kyohakuin became a finishing school for girls. Here, they were trained in the traditional arts, including tea ceremony and calligraphy, but also Noh theatre. Hence it is believed that the recently-restored Noh stage was built during this period.

Diego started the session by describing how he first began exploring his possibilities with Noh when he met Monique Arnaud in his home of Italy in 2006. After taking Noh classes from her there, he decided to pursue a PhD focusing on the reception of Noh theatre in Europe at the Royal Holloway University of London,  Drama, and Theatre Department.

Currently he is a student of Kongo school of Noh at the International Noh Institute in Kyoto. He also is a researcher at Ritsumeikan University and gives Noh workshops internationally. This workshop was his first in Japan.

For some of the participants, it was their first experience with Noh.  Others like former dancer Julien de Vries, used to watch Noh every Sunday at midnight on NHK. Another participant/observer was photographer Stéphane Barbery who took some stunning photos of the workshop that are available here.

Before moving on to Noh chanting and Noh movements, Diego explained how Noh represents the potential for things to happen. Noh starts with an empty stage. Things appear- the music, the masks, the costumes, the dances, the chants. When the performance is over- they disappear. Diego reminded the workshop participants to keep this in mind as they tested themselves at becoming one with the Noh chanting and movements.

"Noh is like a mirror- it is honest, it reflects."
The workshop focused on a shimai, a self-contained unit of a full Noh performance, entitled Oi Matsu, the Ancient Pine.  Oimatsu is the first shimai that Diego ever learned. It depicts how the protagonist Sugawara Michizane, after being expelled to Chikuzen, Kyushu from Kyoto, would long for days of old.  He reminisces on the plum and ancient pine trees that used to adorn his courtyard in the capital when the next day they appear to him in his Kyushu residence.  Click here for a synopsis of the entire play.

According to the Samurai Archives:
Oimatsu, literally "old pine tree," is an auspicious Noh play depicting, symbolically, an old pine tree. In this play, as throughout Noh and other theatrical and artistic traditions, the pine represents longevity and strength, especially through difficulties, as the pine is evergreen through the winter.
The participants would become the traveling ancient pine tree.

After leading the participants through the chants for the shimai, Diego explained how the performers, no matter what their size, would form a strong skeleton for the large and heavy Noh costumes that they would wear should they perform. The masks would block a large part of their vision— it's normal to be restricted to one eyehole, and not be able to see one's toes —they  so Noh performers must know the stage like the back of their hand. This also is why Noh performers seem to move as if they are sliding across the stage. Diego guided the workshop participants through the movements in their new skeletons.


"Focus on reproducing a beautiful shaper. You are now an old pine visiting from Tokyo to Kyushu."
All of the participants, experiencing Noh as performers for the first time, took a while to feel comfortable with the movements and chanting, which although steming back from 650 years ago, were very new to them.  It is no wonder that Noh performances take years of dedicated training to perfect the simple yet very technical movements.

Diego ended the workshop saying, " When you see a Noh performance, I am sure that you will think of it differently."
  
For those who missed this workshop, there will be more to come and Diego will be appearing for the first time as the shite lead role in a full production of a Noh play at the bi-annual International Noh Institute performance on June 29th, 2013. 


-Posted by Jen Teeter

Sunday, December 23, 2012

"They Don't Want You to Know What is Going On": Performance Artists Noora Baker and Yoshiko Chuma Bring Pain of Palestinian Reality onto Tokyo Stage


Japan-born, New-York based performance artist Yoshiko Chuma, founder of the School of Hard Knocks, and Noora Baker, a dancer with the El Funoun company in Ramallah, Palestinian territories, teamed up this week to bring a powerful message to a Tokyo audience in a small theater in Sangenjaya. 

Titled "Love Story, Palestine", the multi-media show featured Chuma and Baker performing to the backdrop of imagery from 6 Seconds in Ramallah, the show performed during Chuma's recent visit to Palestine with a team of other Japanese musicians and artists, including genre-bending violinist Aska Kaneko and singer Sizzle OhtakaInterspersing the performance were hauntingly gorgeous vocals from Ohtaka, who was live in the house, as well as a frank conversation between Chuma and Baker about a reality that few outsiders know.

Baker recounted stories of relatives and friends arrested on a constant basis by Israeli occupation officers--often with little or no justification. "In addition to the regular checkpoints that we all must pass through, they suddenly also sometimes erect barriers so that you cannot pass,"Baker recounted. "They do not care even if they are separating families." She relayed a story of being detained at age seven with a group of other children and having tear gas thrown at her by authorities simply because she happened to be at the wrong place at the wrong time.

In response to Chuma's question whether her troupe could possibly face arrest if their visits to Palestine continued, Baker responded, "Yes, the action of simply visiting Palestine on multiple occasions is enough to draw yourself into the spotlight and possibly face detention by Israeli authorities. They don't want you to know what is going on."

Chuma then went on to point out the similarities existing between Palestine and Fukushima following last year's nuclear accident, wherein people truly have no idea what is actually going on. "Both places appear normal from the outside, but in reality, they are not."

                                    Yoshiko Chuma (center) with audience members in Tokyo

The latest news about Yoshiko Chuma and the School of Hard Knocks may be read on her blog.

An interesting review of "Love Story, Palestine" may also be read in Dance Magazine here.

--Kimberly Hughes

Related posts on this blog:

Speakers contemplate Palestinian human rights, urge action at Tokyo event

Live theater performers from Iraq and Tunisia bring deep emotion, human connection to Tokyo stage

"War Makes People Insane": Dramatic work by performance artist Tari Ito lays bare the realities of military sexual violence

Tuesday, April 5, 2011

Tokyo art and music event mourns disaster victims, raises seriousness of nuclear power and radiation issues


Spring Love Harukaze, a much-loved outdoor event in Tokyo’s Yoyogi Park, turned three-years-old this past weekend. While again featuring some of Tokyo’s top musicians and DJ talents, as well as the blooming sakura (cherry trees), the weekend’s event was considerably more muted in tone compared to the past two years due to the recent Eastern Japan Great Earthquake.

One of the major aims of Spring Love Harukaze 2011 was to raise money for survivors of the devastating earthquake and tsunami. Collection boxes placed around the event grounds brought in a total of just under 226,000 yen (around $2650 USD), which will be distributed to NGOs involved in on-the-ground disaster relief.

Throughout the day, festival-goers decorated small posters with drawings and messages that were displayed during a candlelight ceremony held at sundown on Saturday to mourn victims who lost their lives in the tragedy. Gospel singer (and event chairperson) Yuka Kamebuchi and her ensemble VOJA (Voices of Japan) also sang a moving requiem for the victims, encouraging audience members to sing along to classics including Amazing Grace and You’ll Never Walk Alone.

In order to address worries regarding the ongoing crisis at the Fukushima nuclear power plant, several speakers were also invited to participate in panel discussions regarding issues of nuclear power and radiation exposure. Filmmaker Hitomi Kamanaka, whose trilogy of documentaries to date (Hibakusha: At the End of the World, Rokkasho-mura Rhapsody, and From Ashes to Honey) all address these issues from various perspectives, gave an impassioned talk whereby she accused TEPCO (Tokyo Electric Power Company) and Japanese government officials of deliberately covering up information regarding the accident.

“The industry has long been releasing propaganda saying that nuclear power is safe, and now, following the accident, they have continued with the same lies by declaring that the radiation being released is also nothing to worry about,” she said. “People prefer to believe the propaganda because it’s easier, but unless they face reality, they won’t be able to protect themselves.

“Here in Japan, we have been led to believe that the matter of electricity simply involves flipping on a switch, and people do not think about where it comes from,” she explained. My latest film takes up the issue of the radiation emitted from nuclear power plants on a regular basis—as well as during accidents like the one we are now experiencing—which is something that people here have not been educated about whatsoever.”

Kamanaka’s latest documentary, From Ashes to Honey, takes an in-depth look at the decades-long struggle on Iwaishima island to stop construction of the proposed Kaminoseki nuclear power plant along Japan’s gorgeous Seto Island Sea coast. “Although the Chugoku Electric Power Company promised to stop construction following the accident at the Fukushima nuclear power plant, they didn’t even wait a full day before resuming dynamite explosions at the plant site,” she lamented.

She went on to mention that nuclear radiation released into the ocean is not safe as we are led to believe by industry officials, since it makes its way back up the food chain—a particularly disturbing fact in light of today’s news regarding TEPCO’s dumping 10,000 tons of radioactive water into the Pacific Ocean. The full discussion (in Japanese) may be watched via the Spring Love Harukaze UStream channel (click here for part one and here for part two). An excellent interview with the filmmaker following the recent disaster, where she expresses the complex feelings of sadness of anger shared by many in Japan's longstanding anti-nuclear movement who have long been predicting that a disaster similar to the Fukushima one would occur, may be read here.

Adding a more spiritual element to the event, Hawaiian hula master (and former rock star) Sandii—an artist with a stunning stage presence who appeared with her band and her hula dancers as the final act at last year’s Spring Love Harukaze event—appeared onstage for a brief and yet powerful performance.

“There is a reason why each one of us was here in Japan when this tragedy occurred, and it is now up to each one of us who has survived to learn the lessons of our soul while thinking deeply about what is really important,” she said. “Our thinking truly does create the future, and so it is extremely important that we cultivate positive thoughts.” She went on to describe the existence of an energy source in the universe from which we can draw inspiration and healing, before singing a gorgeous chant which she explained connected this universal energy together with that of the earth.


Sandii

The theme of positivity was one that was echoed by the 100% Love and Peace Parade, an event originating in France that took place on Sunday morning in conjunction with Spring Love Harukaze. Dressed in colorful costumes and exuding lively energy, the parade-goers finished their route through the streets of Harajuku and Shibuya to end up in Yoyogi park stage, dancing first on the main stage and then moving through the event grounds in order to collect more donations for disaster relief.


100% Love and Peace Parade-goers

The event finished with words from organizers, as well as the following powerful messages from support that were received from overseas:
My heart has been broken over and over by the recent devastation in northern Japan. But it's also been busted wide open by the *grace* and collective generosity you modeled to the world. Many of us in the US have been deeply humbled, inspired and our hearts made tender because of this. And yes, this is why Japan will rise again - cleaner (energy), stronger, wiser and brighter than ever before! Japan, we are holding the light for you from this shore to yours.

Aho Mitakuye Oyasin (Lakota translation "to all my relations"),
Marie Kyoko Morohoshi
RealGreen Power, San Francisco

To the People of Japan,

I am writing to you from San Francisco, California. You are far away but you are very close. You are my relations, my family of humanity. The air you breathe becomes the air I breathe; the waters of your oceans ebb and flow on the shores of our beaches. You are not alone. This time for all of humanity and our planet is a huge time of transformation. I feel sorrow for your loss and suffering, and gratitude for all you are giving as our Mother Earth speaks from her heart. We are all in this together; let us bring healing to our planet and the human race.

We are over here sending you love, blessings, and healing. Saturday April 16th we will be playing taiko in an amazing benefit concert for Japan, May 5th again a different benefit for Japan...they are happening all over. We send you that heartbeat. One heart. Let us come together! Stay strong in Spirit, my friends.


Love and Blessings, All My Relations,

Debbie Taylor

Our deepest condolences to all people in Japan affected by the disaster. Berlin Soundstrike is an initiative of international artists against racism, wars and environmental destruction that was formed in 2010 in the USA by the rock band Rage Against the Machine, and is backed by civil rights organizations and individuals. We would like to express our solidarity with the people in Japan.

As human beings we sometimes have to endure the most terrible of natural disasters--but we must never tolerate the most inhumane technology ever developed and forced upon us. We need to realize the existence of an extremely powerful international military industrial complex, which is directly responsible for the proliferation of nuclear power around the globe, as well as nuclear weapons and the ongoing wars in which even cancer-causing depleted uranium munitions are being used.

This all is posing a terrible and imminent threat to the planet and to humankind. After Hiroshima and Nagasaki the majority of the population in both Japan and Germany were strongly against any nuclear arms. But against our will and our relentless protests, many nuclear arms are now stationed in both countries and many nuclear power plants have been built.

At this important crossroads in history, we as members of the international art community need to all stand in solidarity and raise our voices to demand fundamental change and an immediate end to this nuclear madness. In solidarity we stand with Japan!

Disaster relief collection boxes at Spring Love Harukaze, 
decorated with sakura-adorned official event postcards



Festival-goers decorate banner with anti-nuclear power message

Watch this site for more coverage on the nuclear crisis — and the response of citizen activists — as it continues to unfold.

- Kimberly Hughes

Saturday, November 12, 2005

Minoru Miki's ORA-J performs Hagoromo ( an angel of many cultures) in Tokyo


(Noh performer performing in Hagoroma. (Photo: sacred-texts.com (site has the full text of the play)

Composer Minoru Miki's Orchestra Asia, ORA-J, will be performing Hagoromo in Tokyo:
The 17th regular concert of ORA-J will be held on November 8 &10 in Tokyo and Chiba under my producing. I am planning to premiere a theatre piece Hagoromo which story is very famous in Japan and in 1995 it premiered as a music drama in Moscow as Japanese-Russian cooperation. This time I will use its 12 song melodies and ORA-J members including me will add instrumental sections for the drama with two singers.
This is an ancient story about a human who stole an angel's cloak, preventing the angel's return to heaven. This story probably goes back to Central Asian as variations of it exist in India, Persia, China, Japan, the Liu Chiu Islands and Sweden. The story of Hasan in The Arabian Nights is based on same theme.

According to Arthur Waley, the Noh version of Hagoromo was written by Seami, who begins by quoting a couplet from the Shih jen Yu Hsieh (Jadedust of the Poets), a Sung Dynasty poetry text popular in medieval Japan:
On a thousand leagues of lovely hill clouds suddenly close;
But by one tower the bright moon shines in a clear sky.
-JD