JAPAN IS HERE! 3. PERFORMING ARTS FESTIVAL  / BUDAPEST     2013/09/23-28                                                                          HU / ENG
NEWS
FESTIVAL VENUE
    Trafó House of
    Contemporary Arts

    1094 Budapest, Liliom u. 41.
    Tel.: (1) 215-1600
    jegypenztar@trafo.hu

    www.trafo.hu
Trafó House of Contemporary Arts

2013.09.24-25. 20:00

BATIK (J): Touch | Shoku

Women on the emotional rollercoaster.

"I’ve always been curious about the idea of inside and outside that’s separated by a layer of skin, the feeling of differentiating between myself, who’s special, and the rest of the world." – Ikuyo Kuroda

Touch is an emotional roller coaster, an explosion of rage related to the frustration of Japanese women and the tension between internal (me) and the external (not me). The high energy unison movement is full of twitches and falls, punctuated by caryatid poses, while the score moves between classical and pop.

BATIK is an all-female dance company founded in 2002, by choreographer, Ikuyo Kuroda. After winning the "National Committee Award" at Yokohama Platform of "Rencontre Choreographic Internationales de Seine Saint Denis" in 2002, they officially started as a professional dance company.

Direction and Choreography by: Ikuyo KURODA
Dancers: Chiaki ISA, Haruka KAJIMOTO, Ayaka NAKATSURU,
Mamiko OE, Rie TERANISHI, Minako UEKI, Kumiko YAJIMA
Set Design: Ikuyo KURODA
Lighting Design: Satoe MORISHIMA
Sound: Kyoko YAMADA
Stage Manager: Eiji TORAKAWA
Costume Design: Kazuko GOTO
Producer: Koichiro TAKAGI
Program Manager: Ayako TSUCHIYA
Premiere: 2002@Yokohama Land Mark Hall (Japan)

21:10 Audience talk

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National Dance Theatre

2013.09.27. 19:00

BATARITA (H) & MEGURO Daiji (J): Instant Message

Unison of the straggle and the insemination.

Premier!

"- What do you think: other or another, nothing or neutral, borderless or beyond border? - Unison. Your body - my body."

Batarita and Meguro Daiji has started the work in March 2012 with a process of getting familiar with the partner’s philosophy on the artistic expression. Later they continued in Japan, where the focus was on the experimentation based on butoh, the form that possesses strong physicality and has no tolerance to conventional borders.
The premier in Budapest was preceded a work-in-progress presentation in Tottori.

Batarita graduated as a choreographer at the Hungarian Dance Academy. Her works are strongly connected to Asian culture with a special focus on butoh. Her masters, Ko Murobushi and Yoshito Ohno, are among the most acknowledged representatives of the genre.

Daiji MEGURO studied butoh under Tatsumi Hijikata’s wife Akiko Motofuji. He was a member of Ko&Edge Co., established by Ko Murobushi, from 2003 to 2010. In 2004, he established his own company "NUDE".

Daiji Meguro a butoh alapítójának, Tatsumi Hijikata-nak a feleségétől, Akiko Motofuji-tól tanult. Hét évig a Ko Murobushi által alapított Ko&Edge társulat táncosa volt. 2004-től saját társulattal is dolgozik.

Choreographer, visual design, performer: BATARITA, Daiji MEGURO
Music: KEREK István, XRC KOVÁCS Balázs
Costume: HORNYÁK Isty

21:15 Audience talk

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National Dance Theatre

2013.09.27. 19:00

Ko MUROBUSHI (J): Krypt

Absolute flux in stillness.

"Trying to die I started to dance. So today is the day I will meet the tiger. It might as well eat me. I don’t mind even if we copulate. I shall jump into empty air, hanging shreds of bite off flesh." – Ko MUROBUSHI

Last time Ko MUROBUSHI performed his solo performances "quick silver" at KINJIKI Festival in 2011. The new piece "Krypt" was premiered in July at Impulstanz Festival in Vienna.

His choreographies as well as his solo performances continue to establish Ko MUROBUSHI as one of the highest reputed representatives of butoh, and every moment he challenges to reach new possibility of butoh.

On the one hand he continues to open his dance and the butoh to the worldwide influences; on the other hand he tries to research his work much deeper into its Japanese roots and in roots without root.

"It is returning to my original inspiration. Butoh is not something to be danced for the gods or for the Japanese. It began from things that didn’t belong to any of the traditional forms of artistic beauty and things that could never become part of those forms. In a way, I began dance because I couldn’t dance and I didn’t want to dance. Something that I wrote long ago was that «I began dance in order to die.». I didn’t just say that simply as a metaphor, I believe. I want to go back to my original inspiration and find why I began with dancing as a mummified body. The bodies of the drowned that I saw on the beach as a child may be my original point of departure. The physical movement of dance is not simply a matter of moving around. There is also physicality folded into a state of immobile stillness, and I believe that getting to the source of that involves a process of constant and ongoing experimentation. And that is not simply a matter of continuing to dance. I believe it may also be done by going on to the next world without ever dancing. As for whether I have left things undone or not, it may be leaving things undone endlessly. In other words, dance has no beginning and it has no end."

Production: k-kunst

21:15 Audience talk

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National Dance Theatre

2013.09.28. 19:00

Tohru KOMATSU (J): Sister Morphine

Shiny pearls popping up from the fecal.

The artist, who is continuing and researching the heritage of Hijikata’s butoh school, this time, under the supervision of the great butoh master, Ko MUROBUSHI, goes to the deepest of female archetypes. "There are depths I do not understand at all. But I go as I have to go" – Tohro KOMATSU

Born is 1960 Thoru Komatsu has started to learn butoh at Min Tanaka’s Laboratory "Mai Jyuku" at the age of 21. Two years later she met Tatsumi Hijikata and Yoko Ashikawa with big sensation then she started to study by them in their studio.
The significant moment of her artistic career was a successful participation at Terpsichore Butho Newcomer Series as a solo dancer. It was followed by creating several solo productions.
She is well known as a dancer from Hijikata’s Laboratory and she continues to research about Hijikta’s butoh. Also same time she is trying to get own way as a butoh dancer. Recently she has started to teach choreographs to young students and to collaborate with many butoh dancers such as Ko Murobushi.

Concept, choreographer, director: Ko MUROBUSHI
Performer: Tohru KOMATSU
Production: k-kunst

21:15 Audience talk

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National Dance Theatre

2013.09.28. 19:00

Lola LINCE (MEX): Studies and Fragments of Dreams

Strange fascination for nocturnal dimensions of existence.

Natsu NAKAJIMA:
Fragment I.: Pilgrimage with Bells

Lola LINCE:
ragment II.: The Rainmaker
Fragment III.: The Flight

"My initiation as a dancer is linked to snippets of powerful dreams, analogies and symbols that found their correspondence in mysterious ways just when I undertook dancing as a form of salvation." – Lola LINCE

Light and shadow, night and day, northern and southern hemispheres, wakefulness and sleep... It is in dreams, that the life of man appears in the privation of time; the spirit of the dreamer resembles a system in which outside forces are powerless or cancelled, and as consciousness sinks thus into the abysmal the psyche moves freely, abolishes time and takes us back to the primary manifestation of human life: dreaming

Studies and Fragments on Dreams is therefore a project for reflection, investigation and creation, encompassing themes that are related to the motive of dreaming.

Lola Lince's Experimental Dance Company was created in Guadalajara, Jalisco in 1992. From then on it has given priority to experimentation as the trigger for its creative process and the search for a unique voice of its own. The company has always sought to enhance the creative development of its members within a space of reflection and experimentation.
The company refuses to examine the body as an entity caught up in fixed technical patterns, for in principle the human body is continuously and indefinitely transformed under the influence of its environment, itself in perpetual motion. Lola Lince's Experimental Dance Company's work is based on the search for inner freedom and spirituality, linked to a deep commitment and absolute rigor.

21:15 Audience talk

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"The realisation of the project was supported by the European Union. La Compañía de Danza Experimental de Lola Lince is responsible solely and exclusively for the content of the production, thus it is not reflecting the position of the European Union."

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