|What about music?
There are often cases when I hear some music and am inspired to choreograph to
it. The Adagietto of Mahler’s 5th Symphony is a work that I was attracted
to the first time I heard it. Later when I saw a pieced that Béjart had
choreographed to Mahler’s Adagietto, I had reservations about it. The initial
impact of the music was still strong in my mind, so I decided to try choreographing
my own piece to it. It came together very quickly and the product was my piece
“Under the Marron Tree.”
Ryoji Ikeda is another artist I like, and I am fortunate to have been able to
use a lot of his music, including original pieces he composed for my work.
For black ice, Atsuhiko Gondai composed the music. This time, the piece he sent
me after discussing the kind of music I wanted is really a wonderful piece, and
although it was not composed originally for my work, I said I wanted very much
to use it and he agreed.
I decide on music intuitively. When I am looking for music to choreograph to I
listen to a lot of work, but really listening to music in that way can be tiring,
so I don’t usually listen to music in my free time.
With “SHIKAKU” you collaborated with an architect and with “black ice” it was a contemporary artist. Do you plan to continue such collaborations?
When I think about where contemporary dance is headed, I believe that collaboration
with artists from various fields is absolutely essential. Dance is becoming a
more comprehensive art form and for a number of years now there have been collaborative
works bringing in theater and art, and new things are happening musically as well.
What you can gain from working on a collaboration with a new artist is tremendous.
However, you have to be careful, because it will not always lead to a successful
For me, collaboration is a searching process within the creative process, and
it is in the process of discovering new possibilities and then breaking them down
that your form of expression is born. The work “SHIKAKU” was the product of a collaborative
effort with the architect Tsuyoshi Tane, and we had very interesting conversations
about how an architect perceives spaces and the human body. Even in our discussion
in areas not related to dance, the time I spent with him was very stimulating.