Space Making Workshop 11/18

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.

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.

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.

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.

START -The last year of my MFA journey-

Archiving, Life logging

The last year of my MFA journey started this Monday. Time flies so fast. I cannot believe that it has been already 2 years studying at Ohio State University.

What has changed?

There has been a huge shift in my dance career. I injured my knee over the summer and I cannot fully capable of dancing by end of this year. The first thing I learned was how to rest by sensing and managing the pain. The second thing I re-learned was how to walk. Walking is like breathing in daily life so I have never paid attention to my bones and muscle that are utilized in walking. This injury made me feel like I was aging back to be a baby, which is very refreshing and I appreciate more about the human body more. It also drew my attention to somatic movement practice such as Bartenieff Fundamentals (which I am excited to teach this Fall 2022). The surgery was successful and after 9 weeks of surgery, I can walk without crutches and climb stairs without pain.

Through this recovery journey, I had to ask myself,

“Why do I want to keep dancing?

First of all, I came too far to stop my dance journey. If I may speak bluntly, I am very stubborn so I don’t want to quit. I came to the U.S., finished my B.F.A. in Dance Performance, and I am here in Columbus to wrap up my Master’s degree in DANCE! Dance has always been in my life and no matter what I decided to live a life with dance. Dance is my priority, love, passion, and something I see myself can contribute to the world.

Dance is an underestimated subject if you are in school, underestimated career if you work as a dancer, and underestimated research topic if you are in academia. Not many people understand how much we dedicate our effort, labor, and time to use dance to challenge the world.

Even though the dance population is huge, the people who use dance as a lifestyle are very few. I am fortunate to be surrounded by people who dance with their life. In my last year as a dance student as OSU, I will prepare to go out to the world and make a community of dancers who create change beyond borders and cultures.

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?

My Dance Film Journey

Dance film

< 22 shots >

It was a great practice for understanding the camera operation. The all angles are capturing exact the same movements yet, since I shot Ishy outside at the South Oval, I also noticed that how much lighting affected to the shots. Especially I enjoyed the editing aspect to create the whole choreography with only 2 movements. The limitation gave me a power of making something really pleasing. I had a clear understanding of the goal of this assignment and I felt succesful making 22 shots.

< Art Project>

This practice I really enjoyed it and I could say the film was successful to display my intention. The idea of 2D image into 3D creation is really captivating to me. The image I chose was black and white photograph taken by Ansel Adams, but it also connected to my childhood memories. So, the image itself was still, no movement inspiration whatsoever, yet I had the words, nostalgia and tracing to my home is in my mind to create the film. I chose Katie O’Loughlin as a performer since she is amazing mover as well as bold to try new thing with me. In editing, I noticed that I tend to overuse the layers, though in this film, it really worked well to tell the doubles or past self in the frame.

<Final: Fish out of the water>

My initial plan was to portrait my personal experience as an outsider from own culture. I wanted to keep the term “Fish out of the water” as a metaphor. Yet, I had a challenging time finding the performer who can display the struggle within their own heritage and now. So, I changed my direction to go along with the term, “fish out of the water” and created the narrative with Jackie that she had a daydream at the aquarium AKA fish shop. In this film, I used all elements that I learned in this class such as angles, musicality, key frames to make smooth transitions. The thing I regret is the dancing part. I had Jackie against the wall with the projection, and I shot her with many angles in different level. However, it turned out the lines of the wall creates the frame inside the frame. The film itself was successful to the audience to have a clear storyline as well as I could use all the skills I learned in this class.

Dance Film I is one of the class I was excited to take in this semester. I was ready to dive in this class. At first, it was challenging due to all instruction and class time was online. I have only used iMovie so learning all the function that DaVinci Resolve have took time and many practices and fails. Although the speed of the class and video recordings helped me a lot to catch up. I watched couple times to fully understand the editing software. In terms of filming, I enjoyed a lot to find more perspectives by applying the angles, levels, the physical distance with the objects. I only used front view to record my dance work, but to allow myself to have cinematic approach, I saw more possibilities in film. Overall, I gain a confidence to say I have a fundamental knowledge of making film.

What does it sound to you? -Japanese project-

Choreography Workshop

Over the quarantine, I have started teaching Japanese online. And it was so interesting that while I am teaching the language, I relearned how to speak my mother tongue and realized the significance of the language. This experience inspired me to corporate my mother tongue and dance.

So I have a concept in my mind that “what if the dancers heard their own story in a foreign language, what movement comes out?.” It was on Friday, after the Choreography Workshop, walking the aisle with John Cartwright, Ishmael Konney, and Quianna Simpson. I asked them if they were interested in working with my concept. Fortunately, they said YES! So we started meeting on Thursday afternoon to rehearse.

At first, I asked all of them to write a paragraph of their self-introduction. I translated the texts into Japanese and recorded them. Dancers danced with their own biography, which they could guess what I was talking about, yet it was hard for them to fully understand. Quianna shared that she recognized some words such as”African dance” but she was influenced mostly by the rhythm of speaking. Also, John mentioned that it was dancing in between familiar from and unfamiliar. Next step, I asked them to dance with other’s bio which they have no clue what I was talking about. Ishmael shared that he was inspired by the speed of my speaking and almost echoing with his body. Dancers were definitely hard to react to speaking voice with unknown topics since no connection nor inspiration to their movement. What they react was the sound, rhythm, tone, speed I made. It was a great discovery to me since I was seeking an authentic reaction from dancers to the foreign language.

So we ended up using their biography with my speaking to generate the basic phrase. In the first version of this project, I was a narrator and started speaking Quianna’s story, then John’s and Ishmael’s at the end. The person who was spoken one’s bio leads the movement and others echoing. It was a clear structure of displaying how dancers embody the sound of Japanese.

Although, we received feedback about I and dancers’ relationship as well as an objective of this project. We discussed one more time to clarified the intention of this project and landed on offering a foreign experience to the audience but also showing the visceral level of communication. Also, we decided to not separating me from their narrative. I added on my story to move together as well as bringing back idea, authentic reaction; dancers react to what I spoke without knowing the content. We revised the movements, and space usage as well.

Over this process, we re-defined the fundamental of communication by using verbal and non-verbal tools able to understand, interact, respond to each other. Once Quianna shared that we seemed like creating harmony by bodies, which was a beautiful way to describe our creative journey and indeed it was a deep and interesting process. I would like to continue experimenting to combine my mother tongue in my work.

Reflection of the performance -adjacent, possible-

Performance

Last weekend, I was fortunate to be part of the performance, Tethering Iteration 1. Laura Neese, 3rd year MFA student was showcasing her thesis process and I was one of her performers. From my understanding of her research is an investigation of durational change in movements, human relationships, and the environment with an anatomical perspective.

My process with her started back in early September. I met the other dancers, Tori, Teddy, and Madison through zoom for the first time. In the first session, she told her process and introduced breathing exercise, which I really loved. The exercise was to open the space in the lung to release muscle tension. It helped to breathe deeply by focusing on lobes (There are 5 lobes, 3 on the right side and 2 on the left side). We put the hand on the closest place of the lobe to feel expanding and shrinking. And just breathe a couple of minutes. Breathing is an essential part of human being, but we tend to forget how important is. Her process was, at least for me, centering my mind to the body and having a conversation with. Because I realized how much I overuse my body to live in this high-technology society.

we wrote down 5 things what we learned over the practices and kept as a reminder

After the first session, we met two days a week in person. Fridays at the studio and Sundays at the Chadwick Arboretum North. On Friday mornings, we started with solo improvisation to listen to the body. Then, she introduced couple of exercises, corporate nerve system and the body movements, the washing (improvisation game; one person keep walking as a washer and others can stop, dance, or walk with washer with their own choice.), non-associated words game, mirroring, walk or pause. All exercises were connected to research on how we move as individual but also as collectives. We improvised most of the time. In the end, we did free writing 2, 3 minutes to pin down our running thoughts and we shared. This morning ritual every Friday helped me to cope with the exhaustion of the week and translated into refreshing dance investigation. On Sundays, we started walking around the lake to ”notice” what you notice. It was a brief 15 minutes walk, but it was enough to sharpen and tune my senses to my surroundings. Every walk I encountered, saw, and heard different things such as color-changing on the leaves, people who came to fish at the lake, or the sound of cars running by the park. We created the base phrase out of our walks as collective and we used and manipulate it in the environment. Laura chose a space where on the right side of the Encore house with many trees. I have never done site-specific practice so these Sunday practices were interesting to me. Because our improvisations were never the same, it kept growing and changing. Even though we were familiar with the phrases, exercises, or the surroundings, we made choices and moved differently. What most strikes me over the practices was Laura allowed us to change, influence, and be affected instead of clinging to recreate the beauty of making.

While we practicing, we as 4 dancers were paying attention to our distance due to the COVID-19. So the question was “how can we dance together or connect each other while we distanced?” This question is common among dance artists under this pandemic. However, Laura Neese solved it beautifully. As I danced more with dancers, we built trust and recognize each others’ character deeply. Gradually we understand our own movement patterns and inspiration source built the network to communicate without contacting physically. One time Laura told us that “we are building an invisible chain connection to communicate like a root of the tree or human DNA.” We all were already open-minded and ready to dive into her process, although how we built an invisible bond over the time of practicing improvisations together were stronger and more intimate than we started.

It was satisfying but also very sad to admit that the journey with Laura and 3 dancers was concluded, though what I experienced through the process was a gift to me. I appreciated being able to participate in her process as well as the performance opportunity.

If anybody would like to know more about Laura’s research project, please click the button below.

Find out more about Laura Neese’s research

Laura Neese

Dance Artist & Educator

https://www.lauraneese.com/

Sitting at the riverside -12 hours into 2 minutes-

Choreography Workshop

Time is an interesting element of life. Everyone has 24 hours a day, but depends on your situation, you feel and experience it at a totally different time speed.

I thought a lot about time during the quarantine. Society seemed to stop or slow down when the pandemic hit. Each day felt dragged out and tried to fill the emptiness at first. However each day my schedule was fluid. I could do whatever I wanted to with no time limitations. With this freedom, I was able to try new things and explore many possibilities.

Now I am in a graduate program, and my daily schedule looks completely different. From morning until night, my schedule revolves around my classes, appointments, meetings, get resources at the library, and teaching Japanese in the breaks between everything. Now more than ever, I realize the importance of time management and the effect it has on one’s future.

Speaking of time, I recently committed to stay and film myself for 12 hours at the riverside. It was for one of the assigned prompt “durational work” for the Choreography Workshop course. I would like everyone to check my video before reading my story at the riverside. –> https://vimeo.com/463212300
The process was almost like therapy to me. My initial idea for this piece was that I commit to being somewhere for 12 hours from sunrise to sunset and I move the exact same way and shoot myself every 30 minutes. The piece is not about me, about the time passing around me. I am part of the narrative.

I woke up at 6:30 am and biked to the riverside. I found the perfect place on my way to Laura’s rehearsal at the Chadwick Arboretum (I will write about her project later. It has been an amazing journey!) Set up the tripod, check the time constantly, and the angle of the camera. Started film when the clock hits 7:30 am. Every 30 minutes, I get up, move, and film. It was very simple. The same simpleness that I had during the quarantine.

In the morning, the sun had not yet and it was cold. The only I could hear was the wave of the water. Everything around me felt as if it were still asleep. I felt all my senses were awakened. I could hear the birds swimming, feel the brisk morning air coming off the river, see the sky brighten up from blue to purple to orange. All the changes I witnessed were beautiful. The higher the sun was up, the more people and birds visited the river, cars, and airplanes passed by, and the bugs flew around. I could tell the town woke up from sleep.

Sitting at the riverside for this long period, I was expected to be exhausting. However, surprisingly, I was not. This 30 minutes check-in was helping me to keep my time tracking and it was a consistent indicator of my time at the river. Some of the 30 minutes slots, I was very productive and able to finished some of my assignments from dance film class, research class, and composition class even though I did not have access to the internet, and some of them I just observed birds. There were ducks, geese, great egrets living at the river. As time passed, they swam super close to me and looked at me like “what is this human doing for so long at our territory?” Especially ducks were friendly and their curiosity and my curiosity seemed matched. Super fun imitating their neck movement and made eye contact.

I finished at 7:30 pm. Overall, I shot 25 clips of me moving for 12 hours. The sun is completely out and just the sound of the crickets echoing at the river. The night wind blew to my face and I was satisfied with the accomplishment of being at the riverside for 12 hours.

I went back home and started editing and I noticed that my labor at the riverside and the final product does not have equal quality. It looked choppy when I put together all the clips. I was disappointed. It was my fault not to study enough of filming to capture the progress of time, but I did not want to shoot in timelapse which I thought ruined my movement. I learned that it is great to do all the options first then choose what is the most appropriate to use in the piece. I could not quite express how much I put my effort to be at the riverside for 12 hours in the film, yet sum up my 12 hours into 2 minutes was meaningful and worthwhile to record as my creative process.

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.

Yukina Sato

A mosaic of Japanese female contemporary dance artist's life

Dance