Research Project

Space Making Workshop 11/18

Research Project

At the beginning of 2022, I started to reach out to many Japanese female dance artists in the United States. Because, over these 7 years of staying in the U.S., I realized how important to understand my upbringing in terms of refining a relationship with my cultural identity and dance-making. Therefore, I looked for someone who shares a similar background as me and is able to tell the struggles and success stories with me.

When I came to the undergraduate program in Oklahoma, I was the only international student, Asian student in the department. I was super visible and aware of my skin, body, and how I move. Regardless of the visibility of my ethnicity, I had never met anybody who immigrated from Japan and pursued a career as a dance maker. I also started to figure out that I have the ability to sense and understand the choreographer’s mind. For me, dancing to someone’s choreography is some kind of translation and also a transformation of myself to be their voice. On the other hand, dance-making is embodying my own creative voice. It was more difficult to process than translation. I felt I needed some assistance in understanding what is my creative voice, and how to polish it.

The generous artists named, Ayako Kato (Chicago IL) and Nami Yamamoto (NYC, NY) are willing to share the stories of their careers in dance-making in the United States. They are born and raised in Japan, and at some point in their life, they came to the U.S. and decided to stay here in the U.S. to pursue dance-making. Their decision itself is super brave to me but also they have been actively making work. Nami is awarded by Bessie Award in 2017 for her work, “Headless wolf” and Ayako just completed her performance series Ethos started in October 2022.

Photo: Nami Yamamoto (Left) and Ayako Kato (Right)

I communicated with them over 5 months about the idea of hosting a workshop to connect us as well as share their story in a public space. We named as “Space Making Workshop” to invite people to experience Nami and Ayako’s dance practice and have a conversation with them.

I organized the “Space Making Workshop” in November 2022 at the Ohio State University. Both artists traveled to Columbus for the first time on November 17th. The workshop was at the Barnett Theater from 3 to 5 PM. Nami started to make us move. She brings us to a circle and shifts weight from one leg to the other. Looking at each other, sensing each other’s weight. Naturally, we were smiling at each other. Nami incorporates puppetry in her work. She and I made the puppet on the site, and we offer participants to try puppetry. In Japanese puppetry, Bunraku is usually three puppeteer move one puppet. It’s coordination, communication, and storytelling. Next, following Ayako telling Japanese philosophy, Furyu (Wind and flow). Back to the circle, opened both arms, and breathe together. Found a partner and slowly improvised with music. 

After all the movement sessions, we formed the circle at the Barnett Theater. I asked them prior to the workshop, What events/What things/who did shape them. It was so interesting to hear about their upbringing; what was important and affected them being who they are. As I write above, I felt my cultural identity always come forward more than myself. I was always grappling with authenticity and cultural representation. What does it mean to be an “Asian”, “East Asian”, or “Japanese” woman? I was curious to hear about their journey to think about the intersection between cultural identity and dance-making. Ayako is externally expressive about her choreographic inspiration which is based on the Japanese philosophy, Furyu while Nami doesn’t mention “Japanese culture” in her work. However, the way Nami communicated with dancers and how she utilized the space between dancers and movement phrases are informed by her college time in Ehime, Japan. No matter how much explicit their Japanese upbringing, both said “I am proudly being a Japanese woman making a dance work in the United States.”

During these intense two days, I spent a wonderful time sharing my and their story of struggles and successes. Moved and shared the space. Even though we were born and raised in different times and places, this workshop made a space for us to gather here, in Columbus, Ohio. Currently, we were working on a solo collaboration that I am going to share at the MFA thesis project showing on February 16th-18th 2023. Each artist oversees my work and creates the solo together with me over zoom and in-person studio rehearsal. I am excited to share our work at the end of my journey in the MFA program at Ohio State University.

Stay tuned!

Performance information is here -> https://dance.osu.edu/events/mfa-concert-0

Being analog -Documentation in Film Photography-

Archiving, Life logging, Research Project

I am always fascinated by black and white photography. The simplicity of color yet provokes the imagination of what scenery looks and feels. I cannot deny my mother’s influence. In our living room, wherever we move to, she always hangs two black and white photographs on the wall. I am always fascinated by black and white photography. The simplicity of color yet provokes the imagination of what scenery looks and feels. I cannot deny my mother’s influence. In our living room, wherever we move to, she always hangs two black and white photographs on the wall. These photographs are taken by Ansel Adams. Very detailed, slow-shatter speed, high contrast photographs show the beauty of nature.

Oak Tree in Snow
Moonrise, Hernandez

In our world lives in, we prioritize speed. How quickly we can get to the goal, or achieve the results, find the fastest way to be successful… This semester, one of my favorite courses I am taking is the Darkroom photography course. The process of developing film photography in the darkroom teaches me how slow and delicate the process will assist in making the best result.

To see what you take in a film camera, start with developing the film roll to the negatives. Usually, the process takes 20-30 minutes. It required constant agitating with chemicals, almost like soothing the baby. The delicateness and slow porcess make a magic.
There is one time, when I tried to develop the negatives by class time, I rushed the process and destroyed them… If negatives don’t develop well, all data turned out all black and will not restore the image. Also, it is impossible to recreate the moment you snap a photo. It gives you not only the sallow but the sense of loss. Same as human memories. We forget and lose someone, something, or some events in our life if we do not imprint them in our brains or recall them. These memories will vanish in the dark.

Correctly developed negatives
My damaged negative… so sad

After finishing making negatives, it’s time to make the prints. In the darkroom, use an enlarger to light up one negative on a printing paper. It requires experimenting with the duration of exposure time to get the preferred tone of color. The longer exposure to the light, the darker the color gets. Similar to human skin.
After lighting up the negative on the paper, the print goes through 3 chemicals; developers, stop-bath, and fix. Sink it in each chemical tray for a couple of minutes with constant agitation. Finally, after all the processes, you are out of the darkroom and able to see the result.

Rehearsal process on film photography

The pictures above are the moments from my rehearsal. I documented when dancers talked about their stories about their memorable objects. Looking at the prints, no matter how much movement inside the frame, they exist at the exact moment when I snap the camera. It’s almost like the camera froze the time. The sense of time is totally different in film photography compared to photos on the digital camera or on the phone. I see this difference as the magic of being analog. This analog technology makes time tangible. It is interesting how humans create film photography to capture the fragment of time. We have a desire to conserve the time slipping through us. And for me, using analog technology such as film photography gives me an opportunity to re-think the definition of time and understand the meaning of documentation. Going through all the processes with many hours to print one frame of negative is more meaningful than an instant snap by the phone.

Reflection of Transcendence -時を超えて- 4/16/2022

Performance, Research Project

I have been searching for who I am as an artist. And getting into the beginning stage of my thesis, I pondered the experience of being a Japanese female contemporary artist in the United States. I have my own unique experience of how did I arrive at this point in my life. However, I was curious to hear the story of precedents.

Over this spring semester, I have researched one Japanese female contemporary artist, Saeko Ichinohe. Saeko Ichinohe came to the U.S. in 1968 and since then she performed/choreographed/taught dance as a cultural exchange experience. She was inspired by Japanese culture, philosophy, poems, and literature. She was well-known for bridging Western concert dance and Nihon Buyoh (Japanese traditional dance). She passed away in 2021 though I was fortunate to access her choreography through Labanotation. I chose “Chidori” because she notated the choreography by herself in 1972. I wanted to know her movement pattern through how she notates.

I asked for help with reading scores from Dr. Williams and my cohort, Forrest Hershey. We met two times a week to read and move our bodies to connect with Ms.Ichinohe kinesthetically. She emphasized the location and direction of the weight. Weight drives the movement the most and clearly draws the space between two dancers. “Chidori” is a love story between a fisherman and a bird, so I imagined that she has a specific instruction to deliver this story.

I wanted to know more about her artistic journey outside of notation score. I have researched her online yet there were only a few materials available. Then I found out that there are a couple of her personal archives are stored at New York Public Library. So, I decided to go to New York City in March to trace her footsteps. At the library, I watched many video recordings and read her artistic statements, CV, company record, and choreography notes. All the materials help me to understand her deeper than it used to be. Also, I visited all the locations she filed as her company locations and performance venues. Even though our paths did not cross, through her archives I could know her and her passion deeply. Sharing the same space where she practiced, performed, and choreographed was meaningful to me. I summarize my research journey on Saeko Ichinohe in a short documentary film.

Tracing her footsteps made me think about how I want to proceed with my career as a contemporary performing artist. Ms.Ichinohe made the most of her Japanese upbringing and integrated it with her primary dance training; ballet, and modern dance. I have a similar background in former movement practice as her. Although, I have a huge resistance to being perceived to be unique because of my cultural heritage. I was born and raised in Tokyo, Japan where I can encounter many people visit from around the world. And since I came to the United States in 2016, I have absorbed multiple cultures into my body. However, I cannot get rid of the labels such as “female”, “East Asian,” and “Japanese” from my body. When I stand on the stage my body speaks out louder than who I am. Therefore, dancing serves me how to free myself from the labels. How I can challenge my audience to see my authenticity that is coded in the movements that I create. This question was the start of my solo practice.

The research journey concluded on 4/16 performance “Transcendence -時を超えて-” with amazing collaborators, Columbus Koto Ensemble/ Forrest Hershey/ Yujie Chen. I also have huge thanks to Dr. Williams, the Institute of Japanese Studies, and the Center for Ethnic Studies to make this performance happen.

What’s next?

Archiving Black Performance Part 1 -Pearl Primus “Bushasche Etude”-

Archiving, Performance, Research Project

I had an amazing opportunity to learn Bushasche Etude, choreographed by Pearl Primus over the first 7 weeks of this semester. Dr. Ursla Payne, who was the prior assistant of Peral Primus came to visit OSU and directly taught us the choreography. The learning process with her taught me so many things!

Bushasche Etude is choreographed in 1948. It was based on a traditional dance from the Democratic Republic of the Congo. Dr. Primus was inspired by Bushasche, War Dance, A Dance for Peace in which the participants call up the gods of war and defeat them.

Cast members and Dr.Payne, our professor Prof.Perkins and Dr.Williams

First, the transmission of the movement through different bodies was interesting. On the first day of the rehearsal, we learned the motivation and passion of Dr.Primus’s artmaking. We read and watched her artistic statement and performance brochures. She wanted to bring African aesthetics to the United States population. However, it made me also think that “am I allowed to dance this choreography?” I was worried about embodying the choreography might offend Dr. Primus’s initial intention. I asked Dr. Payne my fear. Her answer was simple, “You can be a translator.” She said there is no need to be afraid. Embodying the choreography is meaningful for more people to invite and shed light on Dr.Primus’s work. Filling the gap between the choreography and my own aesthetic and living experience. It was a huge relief for me to embrace this learning process.

The philosophy of embodying the choreography, we often get out of the dance studio and feel the presence of people, sky, trees, the ground…all surroundings that we don’t see inside of the building. Using all five senses to fully engage and imagine ourselves in the land of Africa is crucial to this piece. Dr. Payne always shouts to us “feel the earth, listen to our breath, dance together.”

It was a beautiful 7 weeks and 3 performances at African American and African Studies Community Extension Center and Bernett Theater. Very fortunate to trace back the history and showcase it in the present day.

Performance at African American and African Studies Community Extension Cente

1/3 of the Fall 2021 -Beginning of the 2nd year-

Research Project

Time flies so fast. I started the 2nd year of my MFA program. It’s been like a jet coaster ride: running around, ups and downs with full speed.

There are many ”new” things happening this fall semester. 1) I am teaching two movement classes jazz and ballet for non-major students, 2) fully in-person classes, 3) living with one of my cohorts…. so many ”first time”!! It is exciting but exhausting at the same time.

My challenge for this semester is to ground myself and preparing for the fruits of this MFA journey. The starting of my 2nd year feels fresh like my 1st year since we are shifting to fully in-person class. COVID is still a thing however I definitely have a strong community that I can rely on and deeper creative thoughts.

In Japan, there is a quote from Zeami,

“初心忘るべからず。=Don’t forget your first resolution. Always keep your mind open and evolvIng.”

Zeami established Noh, which is the oldest traditional performing arts in Japan. He mentioned in his book saying obtain one art form takes a lifetime. As a movement practitioner, this word hits me hard. It tells me the importance of rooting myself and reminding where and why I started this journey with dance.

My hope this semester is to deepen my understanding of the relationship between me and dance. I have been dancing for almost 22 years yet there are many things I need to learn to expand. However, if I keep looking up and forget the root, I will lose my growth and eventually fall.

Reminder: Pause and look down where you arrive at. Finding the connection to the ground and feel the root/the heart where everything starts from.

What leads us to here? -seeking connection from the past-

Composition, Research Project

In Composition class with Professor Crystal Perkins, I had a chance to read the book, “Emergent strategy: Shaping Change, Changing Worlds” by Adrienne Maree Brown. From her Spell and Practice section, Visionary Fiction is stood out to me and decided to try out for myself.

The definition of Visionary Fiction is “a way of to practice the future in our minds, alone, and together” and enable us to connect the past and the future. In my opinion, the past gives a great lesson either sweet or bitter, so applying the lessons to the future-self will be helpful to lead the direction. The best practice of Visionary Fiction is writing.

Photo by Lum3n on Pexels.com

So I would like to introduce about the workshop for practicing Visionary Fiction. The author of the book, Adrienne Maree Brown organized the workshop in May 2020 to cope with COVID-19 pandemic. According to her blog (Link in below), she described this workshop for activate the imagination. She invited people to work on prompts for 30 days to get to writing. It was worth reading through all the texts to see how she navigate to write the story. For example, her Day 1 prompt:Write a conversation between the virus and the crisis, which is quite unique way to animate the situation.

So what I would like to do is using her day1 prompt with a little bit twist. I wrote the conversation between my past self (A) and the future self (B). This is what I gathered so far.

A: Hey, where are you going?

B: I don’t know. Why?

A: Because that’s not where you usually go?

B: Excuse me? How do you know my “usual” pattern?

A: That’s not the point. I want to ask you why you are going there?

B: There? You mean here?

A: Here? I lead you to there.

Very simple, but it’s surprisingly deep. Please let me know on the comments if anyone tried this exercise to see what the past tells you.

＜Reference＞

Book: “Emergent strategy: Shaping Change, Changing Worlds” by Adrienne Maree Brown.

https://www.akpress.org/emergentstrategy.html

Adrienne Maree Brown Blog “Pandowrimo”

http://adriennemareebrown.net/tag/visionary-fiction/

What is my significance in dance?

Research Project

In Dance Film 1, Professor Mitchell Rose said “there is nothing new in this world.” I was shocked! But it is so true that something human has been expressing either by films or music or dance is the same theme over and over again. We as humans are facing the same theme of life, but experience it in our own way. Also, he said, “but there is only you in this world” which means I can have the original viewpoint which no one can have. This encourages me to find uniqueness within me instead of looking outside and comparing what I am lacking. Since the beginning of this semester, I have been thinking about what I can bring to the dance community at Ohio State University. So, my interest is I would like to comprehend my artistry deeper and it is evolved into my first research topic, understanding self-identity.


I am hoping to learn self-identity by investigating Japanese heritage and the life experiences that I earned through the travels. First, I would like to reveal the relationship between dance and Japanese culture by seeking the answers to so many questions that I have not solved yet. Such as how Japanese people embody their culture through dancing, what movement is defined as “Japanese-ness,” and what makes me push to study contemporary dance abroad. Also, I am very curious about foreign experiences in the body, locations, relationships, and lifespan and what makes people decide to stay or leave from there. Foreign experience is always part of me where I go and I have been wanting to unpack my emotion and thoughts through migration from Japan to the U.S. And I am focusing on Issei, who born in Japan and immigrated to different countries, performing artists specifically. It is because one, I might be a possibility to become one of them, but two, it would be great to bring objectivity in my research. I would like to investigate the artists’ hybridity of cultural identity as in how they have been creating their “home” at the new place, people, culture while keeping their roots, customs, and tradition at the same time.

The second is the nature of communication. I have noticed that word selection is very sensitive especially in an academic setting. Verbalizing is a huge influence on creating meaning, culture, mannerism. Even though dance is called non-verbal communication, it has different movement vocabularies in different dance genres. Over the quarantine, I started tutoring Japanese to kids to the graduate students. And I have noticed the similarities between teaching language and teaching dance. In dance class, everyone brings a different language through their bodies. It is like everybody speaks a different language. So, I am interested in how I as a teacher can strip off the specificity of terminology and able to communicate on a visceral level. My goal is generating a way to hybrid the cultures brought by everyone in the classroom and to create one dance language to speak as a whole class. In order to reach this goal, I would like to synchronize my study in Japanese (as language) and dance pedagogy. By establishing the common dance language will help to unite the people beyond the borders in the future education setting.

I am still on the stage of brainstorming yet, getting clear each day. I am very excited to work on my research project! Please let me know if you know about the resources related to the research topics on comment below. I appreciated any comments, suggestions, and ideas:) Thank you!

Goodbye September, Hello October

Choreography Workshop, Research Project

The tree leaves are changing to vivid red, orange, yellow, and getting colder in Columbus. It’s been already 6 weeks since I have started my graduate program! I cannot believe how fast the time past. Compared to the quarantine time, I appreciated that I could spend time at a new place and be exposed to new perspectives every day. I learn so much these past weeks.

Looking back these 6 weeks, this feeling of Homesickness keeps washing over me every so often. Compared to the experiences between leaving parents to come to the U.S. and leaving Oklahoma to start school in Ohio, I felt more difficult adjusting in the latter. It might be affected by this current weirdness under the pandemic, though homesickness is not determined by the physical distance. It surprised me. I have been more sensitive to the detail surrounding me such as weather, the sound of the wind, beer cans on the street, people’s laugh outside of my apartment. And re-examining what I miss, like, dislike, and where I feel the most comfortable.

This adjusting to a new place made me think “where is my home?” In my definition of home is a safe, comfortable, vulnerable place. However, is its physical location like the house where I grew up? the intimacy that I have with my husband? the passion or something I love to do in my life?…. There are so many questions I have and this is what I will investigate in my research.

2weeks ago, I completed my first project of the Choreography Workshop Course (Woo-hooooo!!) Next, we will take a look behind the scene of this project, so if you have not seen it, please checked it out at the link below. https://vimeo.com/460652109

I titled this piece, “Living inside the grid” which was inspired by the zoom screen. Since I am taking many classes on zoom, I noticed that in this grid system, it is hard to concentrate and connect with my classmates. I wanted to shape this unnatural rectangle-shaped world. Me trying to be creative, I started looking around rectangle shapes other than my laptop screen. I had many photo frames in different sizes (initially, I bought a bunch of them for my living room decoration) and a wired coffee table that has a square hole in the middle.

At first, I started to play around with photo frames. I set up all my frames standing up on the floor with different distances from the camera to create the depth and space to move around. Ended up knocking down the frames while I was dancing so, I changed the plan to hang them from the ceiling which I have more freedom in between the frames. In a zoom class, there is a weird private territory due to the lack of physical constraint. The only place you have to be presentable is inside of the frame. This idea is connected to my movement and the costume choice. As for the movement, I generate the materials from improvisation. Portraying the flatness, linear, stifling space with and within the frames. And I married some recurring motifs, trying to go away from the frame to breathe in the air, making a frame with my hand. Then, I added on the coffee table to make another layer of this piece. I taped the black blank paper on the hole and tried to rip it and break through it. (which it required so much power haha) It took me to do some practices before I shoot since the paper was super strong! Indeed, I had to stab a pencil to make a hole to put my finger through.

The process of making this piece was crafty and fun exploring the possibility of the daily object in my apartment into the creation. One time, I heard that the limitation stimulates creativity and it was true. I experienced through my first project. The new month is coming. I will keep investigating, exploring, challenging, and creating. The next goal is to make durational work.