JaDaFoダンスシンポジウム2021「コンテンポラリーダンスを巡って」JaDaFo Dance Symposium 2021 “Beyond Contemporary Dance”

Panelists: Kazuyuki Kajiya (Facilitator), Akiko Kitamura (Guest), Sae Okami and Shinji Ono

We will discuss how performing arts have evolved over the last quarter century from 1990, and the time of bubble economy and the post-collapsed period, and the “lost 20 years” addressing topics such as the launch of financial assistance programs via cultural policies and mécénat activities, creative public theaters that will be built in major cities and thus will be responsible for local cultural activities, and the achievements and challenges of improving the environment for contemporary dance including Act on the Vitalization of Theaters and Halls and Basic Act for the Promotion of Culture and the Arts. What are the relationships between creation activities and critics or the media? Can diverse forms of media contribute to support creators? How has the contemporary dance environment been changed? We will reflect on this from the viewpoints of creators, media and producers and explore their respective prospects for the future.

Dancer, choreographer, associate professor of the Faculty of Arts in Shinshu University. She founded dance company Leni-Basso in 1994 while studied in Berlin as an overseas trainee of the Agency for Cultural Affairs in 1995. In 2010, she started field research for international collaboration as well as exploring activities as a choreographer and performer for creation, theater, opera, movie, TV commercial, etc. Her theme of the research and education in Shinshu University is “human body as media” in the field of body theory, directing theory and dance theory. She has been a 2020–2021 Japan Cultural Envoys of The Agency for Cultural Affairs appointed in October 2020. She won the 7th JaDaFo Award (2012) and the 13th JaDaFo Award Grand Prix (2018).

Department manager and director of the performing arts in City of Yokohama Culture and Tourism Bureau in Kanagawa Prefectural Government, also serves as the counselor of Kanagawa Prefectural Youth Center. He started theater in mid 1970s and was a producer of theater company NOISE, theater playwright, director and leader of Koharu Kisaragi, to create videos, computer and technology used theater and performances, workshops at theaters, museums, etc. He worked at Setagaya Public Theater since 1997 as a producer of contemporary theater and contemporary dance and directed for five years from 2010 as theater department manager. Vice president of The Liaison Council of Theaters and Halls in Japan.

Dance critic, associate professor of Faculty of Arts and Letters of French Language and Literature Course of the Kyoritsu Women’s University. She has contributed dance reviews to Dance Magazine (Shinshokan), The Sankei Shimbun, The Asahi Shimbun and The Yomiuri Shimbun, etc., since 2003. She has been one of the judges of the Yokohama Dance Collection Competition I since 2017.

Director of Yokohama Red Brick Warehouse Number 1, Director and Chief Producer of Yokohama Arts Foundation. He produces the 26th Yokohama Dance Collection in February 2021 and the HOTPOT East Asia Dance Platform collaborating with national/international artists and producers, festivals and theatres. Secretary General of the Dance Dance Dance@Yokohama 2015/2018, a triennial dance festival that uses the venues located whole city of Yokohama. Member of the board of directors of Dance Nippon Associates and a core member of AND+ (Asia Network for Dance).

Panelists: Akira Amagasaki (Facilitator), Yuasa Ema (Guest), Maimi Sato and Shigeto Nuki

What is “contemporary dance”? Is it the name of one genre such as “postmodern dance” (USA) or “nouvelle danse” (France)? Or is it a convenient term used to refer to various forms that have tried after 1990? Do we share the same general idea of what it encompasses? Or is it just the expression of a particular sensibility these days? Is the meaning any different in Japan versus overseas? Representing a variety of standpoints, the panelists will outline their views on what “contemporary dance” is really about.

Dancer, choreographer. Became independent after being a member of the Nederlands Dans Theater (NDT) for eleven years. She has contributed to work internationally with Mats Ek, Sasha Waltz, Tomoko Mukaiyama, etc. She has been active as a member of Opto with Rei Watanabe and Kenta Kojiri while being the member of EASTMAN led by Sidi Larbi Cherkaoui. She started XHIASMA project in 2018. As a choreographer, she has collaborated with the fashion designer Tamae Hirokawa, architect Tsuyoshi Tane, Noh performer Noboru Yasuda, composer of world’s end girlfriend, etc., across various genres. She is also active as an actor, creator and performer. She won the 13th JaDaFo Award (2018).

Born in 1947. Voluntarily withdrawal of the doctoral program of the Graduate School of Humanities of the University of Tokyo. Professor emeritus at the Gakushuin Women’s College. Dance critic. Author of Dance Critic — Dance of Now, Body of Dance and editor of Body as Art — Frontal of Dance Aesthetic (both published by Keiso Shobo). Most of his critical writings are available on his website “Flying Cabinet — Cabinet of Amagasaki Akira.” (http://amagasaki.no.coocan.jp/)

Saitama Arts Theatre’s Head Producer of Dance since 2005. Director of Dance Dance Dance@YOKOHAMA 2012/2015. Producer of Contemporary Arts Series of the International Arts Festival in Kanagawa from 1993 to 2006. Artistic Director of international performing arts festival “Yokohama Art Wave ‘89” in 1989.

Professor of the Department of Philosophy in School of Letters of the Senshu University, Dance critic. Vice President of the Japanese Society for Dance Research. Graduated department of philosophy in Faculty of Letters of the University of Tokyo, Doctor of Philosophy of the University of Tokyo and former assistant professor of Faculty of Liberal Arts of the Saitama University. His books include Structure of the Experience: New Overview of Husserl Phenomenological Reduction (Keiso Shobo). He is a co-author of History of the Ballet and Dance: Euro-American Theater Dance History (with Sho Suzuki, Heibonsha）and others. He has contributed dance review to magazines such as “Dance Magazine” and “The Journal of the Japan Association of Lighting Engineers & Designers.” He was a judge of the Kyoto Prize in 2018, etc., and a member of the board of directors of Dance Nippon Associates.

Panelists: Ryoichi Enomoto (Facilitator), Mikuni Yanaihara (Guest), Eri Karatsu and Naoko Haga

Over 30 years has passed since the 1970s development of postmodern dance in the US, the 1980s rise of nouvelle danse in Europe, and the current age of contemporary dance. There is an inevitable need to study other genres to analyze what is happening now in contemporary dance. For example, Japanese contemporary art has changed its primary exhibition forum from the gallery to the biennials or triennials. Moreover, due to innovative changes in the art market outside of Japan, the Japanese art market still remains stagnant. The panelists will reexamine the world of dance creation to find out how the production of this art form can continue to survive.

She founded the theater company Mikuni Yanaihara Project in 2005 as a playwright and director of the company and won the 56th Kishida Kunio Drama Award. She also won the Rencontres chorégraphiques de Seine-Saint-Denis National Award in 2002 and the 3rd JaDaFo Award Grand Prix in 2008.

Creative Director, Producer. Director of Faculty of Communication and Culture of the Taisho University, Visiting Professor of the Kyoto University of the Arts. Writer, director and art director of dance production since 1960s and also scenographer for Experimental Theater Group Tenjo Sajiki and others. Editor and designer of monthly magazine “Bikkuri House” since 1974. Producer of “Nippon Graphic Exhibition,” “URBANART,” art competitions, corporate pavilions and others since 1980. He has contributed PR designs to artists including Saburo Teshigawara, Jan Fabre and Rosas.

Senior producer of the Aichi Arts Center. Artistic Director of Dance Base Yokohama (DaBY). Completed graduate courses of Human Developmental Sciences of the Ochanomizu University. She has worked for the Aichi Arts Center as the first curator specialized in dance in Japan. She was a curator of Aichi Triennale from 2010 to 2016 and produces many projects from small experimental performance to the large-scale international coproduction. She was a member of the Cultural Policy Department in the Council for Cultural Affairs of the Agency for Cultural Affairs as well as judge, board member and committee member of corporate art and culture foundations. Her other works include adjunct professor of the universities and various activities to enhance dance environment in Japan such as DaBY that opened in 2020.

Dance history researcher specialized in Ballets Russes and Ballets suédois. Writer, lecturer and director of exhibitions since 1998 after working for the exhibition “DIAGHILEV'S BALLETS RUSSES 1909–1929” at Saison Museum of Modern Art. She is a popular lecturer of her elegant yet aggressive elocution. She was the curator of Kenji Usui Ballet Collection from its foundation in 2005 to 2014. Her literary works include Ballets Russes — All the Attractivities of Them and Ballet History. She is an associate professor of the Taisho University, teacher of the New National Theater Ballet School and ballet history teacher in K Ballet School TTC course.

The Japan Dance Forum (JaDaFo) was established in 2003 as an organization to support contemporary dance and its activities in Japan, and comprises producers, dance researchers, critics and others. While their early activities focused on symposia and lectures, in 2006 they also founded the “Japan Dance Forum Award (JaDaFo Award)” to recognize creators and artists of outstanding productions. This year they are commemorating the 15th anniversary of the award and they will announce the winners at the ceremony. This will be presented as a program after the symposium and messages from the winners will be delivered at that time.