My ROAD / 私の道

My Road” from debut as a Butoh dancer to conception of “SPACE DANCE & DESIGN MUSEUM”. There were many “Unexpected Encounters“.



[My Road / 私の道
“SD2 GALLERY / Space Dance & Space Design GALLERY”

I will start SD2 GALLEY on 2024 June 7 to open “SPACE DANCE & DESIGN MUSEM”. The museum opening members come together in this studio, get the budget, design the museum, and create all contents that compose the museum.

『スペースダンス&デザインミュージアム』を開館する為に、SD2 GALLERYを2024年6月7日よりスタートする。このスタジオに、ミュージアム開館メンバーが集い、予算を獲得し、ミュージアムを設計し、ミュージアムを構成する全コンテンツを制作する。


[My Road / 私の道
“New Challenge & New Vision / 新しい挑戦・新しい展望”

My work is to complete the development of “Aparos & Design” based on the “Body-Space Model” and to realize various designs using it. And, with its results, it is to open and operate SPACE DANCE & DESIGN MUSEUM with my members.

私の仕事は、「身体-空間モデル」をベースにした「アパロス & デザイン」の開発をメンバーと共に完成させ、それを使用した諸々のデザインを実現する事。そして、その成果をもってスペースダンス&デザインミュージアムを開館し運営する事。

Personally, I will start full-scale writer’s activity and create Elena who lives in surplus dimensions as an avatar and make her appear in my life, and call real Elena through this avatar, then start “New Life with Elena & Big Family“. Just now, I am preparing it. I have enough time for this work. 



[My Road / 私の道
“With Multiple Lives / 複数の人生を”

Jacques Attali, a philosopher who pushed Macron to become president of France said that “in order to live a meaningful life from now, we need to live multiple lives simultaneously and continuously.” I live with the same feeling. It is not a recommendation for division, but a guideline for living in the most luxurious world of the present age when the average life expectancy is 120 years old. Instead of choosing some of our possibilities and giving up on others, realize all of our possibilities. It’s unreasonable, so it deserves the name “Challenge.



[My Road / 私の道
“Eckhart Garden / エックハルトの庭”

Meister Eckhart, a German medieval mystic and minister, was executed as a maverick, preaching that “God is created by humans. Without humans, God remains empty.” How radical this idea was in the Christian world at that time. I can imagine it enough. Two teachings learned from Eckhart. “We need to keep ourselves secret from any event, to anyone.” And, “If it works well, we need to forget it. If it fails, we need to behave as when it works well.”


With Eckhart as my “Teacher“, I named the new method of expression by an individual “A Sensual Jump“, and started the transmission of “Eckhart Garden” by integrating “poetry + design + space dance + story.

私はエックハルトを「先生」として、個人による新しい表現の方法を「A感覚的跳躍」と名づけ、「詩 + デザイン + スペースダンス + 物語」の総合による「エックハルトの庭」の発信を開始した。


[My Road / 私の道 <71>]

/ スペースダンス&デザインミュージアム計画”

At SPACE DANCE & DESIGN MUSEUM, SPACE DANCE SCHOOL and SPACE DESIGN SCHOOL will operate as two wheels, and an educational project for children and a cultural development project for the elderly with the new ideas will be added. SPACE DANCE & DESIGN MUSEUM aims to find a new way of our life and is positioned as a “place for education necessary for humans to advance into space in the not too distant future.” I think the demand for this museum will increase more and more due to the development of the information society and the arrival of the space age.



[My Road / 私の道 <70>]
“SPACE DESIGN SCHOOL / スペースデザインスクール”

SPACE DESIGN SCHOOL” takes on the role of the engine that operates SPACE DANCE & DESIGN MUSEUM together with the “SPACE DANCE SCHOOL.” This school realizes the important concept of Space Dance called “Dance and Design.” The students of this school will train the power of imagination and creation, and try to design several objects, spaces, and images for Space Dance.

スペースダンススクールと共に、スペースダンス&デザインミュージアムを推進するエンジンの役割を務めるスペースデザインスクール。「ダンス & デザイン」というスペースダンスの重要なコンセプトを実現する。ここに参加する生徒たちは、想像力と創造力を鍛え、様々な新しいモノ・空間・イメージのデザインに挑戦することになる。


[My Road / 私の道 <69>]

“Sato by Aymumi Toyabe and SPACE DANCE SCHOOL
/ 鳥谷部歩美の「郷(Sato)」とスペースダンススクール”

When I watched Ayumi Toyabe’s promotional video “Sato“, I was very surprised at the transparency that overflowed there. But I felt her presence special. Her transparency hinted at me “World of Tomorrow“, and through this encounter with her, I started “SPACE DANCE SCHOOL” with her as an assistant director.

鳥谷部歩美のプロモーションビデオ『郷(Sato)』を見た時、そこに溢れる透明感に驚いた。彼女のようなダンサーは世界中に沢山いるのかも知れない。しかし、私は彼女の存在を特別に感じた。彼女が持つ透明感が私に「明日の世界」を暗示する。彼女との出会いを通じ、彼女をアシスタントディレクターとして迎えて「SPACE DANCE SCHOOL」が始まった。

To grow a dance by becoming one with the space. And to develop artists who will be active throughout their lives without being influenced by the trends of the times. These two are the purposes of SPACE DANCE SCHOOL. There are many artists in the world. However, most of them are uneasy people who cannot be said to be active, always they care about people’s reputation, number of the audience, money, and never know when and who will let them go. The power of art is not that weak. Whether to continue or stop, it is important to be able to decide on our work at our own discretion. And since even one is enough, it is possible to create “New Fruit” that did not exist in history. That will be the proof of the artist.



[My Road / 私の道 <68>]

“New Innovation is needed / 新しい改革が求められている”

In 1992, when Butoh critic Yvonne Tenenbaum came to Tokyo from Paris, she predicted that Japanese contemporary dancers would not be attracted to her, so it would decline soon. The reason is that Butoh and Western contemporary dance, the concepts are completely different, live together vaguely and are not fresh. Now, as she predicted, contemporary dance is dying in Japan. The biggest reason is that it is not evaluated overseas. If we lose the world where the excellent work is valued and admired, we lose the competition. Even if we praise each other in the domestic circle, it will not last long. The responsibility exists with the helpless dance critics. They have not investigated the cause of the decline of Butoh in Japan, have vaguely loved Butoh, and vaguely praised young contemporary dancers. Also, even the dancers who have turned inward lack the vitality to jump out of Japan.


And even in Europe and the United States, the innovation of contemporary dance is essential. Pina Bausch brought a theatrical element to dance and expands it to establish an “Individual Rise“, and William Forsythe achieved a “Dance Reconstruction” by gathering talented dancers from all over the world and destroying the essence of dance techniques on the stage, but the wave of innovation remains interrupted there. Laban in London, one of the meccas of contemporary dance, used to have produced excellent dancers, things were enough, but now it doesn’t. After graduation, the students started to complain that there was no place to work, and Laban’s prestige began to fluctuate. There is a need for new dance innovation around the world, both in Japan, in Europe, and in the United States.



[My Road / 私の道 <67>]

“KIDS SPACE DANCE in Kyoto / こども宇宙ダンス in 京都”

2019, I joined “KIDS SCIENCE EXPOSITION – SPACE TUNNEL” in Kyoto, Japan supported by INAMORI FOUNDATION and produced by NHK Educational and it was a great success to get 7,500 kids & parents in 2 days. I could receive a critique from the supervisor of this event Terufumi Ono, director of Mie Prefectural Museum, that “the physical experience will be important enough to become an information society and Space Tube Experience has become a valuable opportunity for it.” Due to the rapid progress of the information society, this trend that physical experience is required will be accelerated.



My Road / 私の道
“APAROS – AI Robot as My Alter Ego
/ アパロス – 私の分身としてのAIロボット”

By Anita’s organization, I held “SPACE DANCE PERFORMANCE” and gave a lecture “APAROS – AI Robot as My Alter Ego” to commemorate the publication of “VISION of BODY” at the Copernicus Science Center in Warsaw.

身体の夢』出版記念として、アニタの制作により、ワルシャワのコペルニクス科学館でアンナとスペースダンス公演を実施し、さらに「アパロス – 私の分身としてのAIロボット」と題する講演を実現できた。

I have finally entered the world of “AI robots“. The debate that “it is possible to create a robot with a heart” is becoming more and more popular in the world, and the cases are beginning to appear, but they are all just “fictions that the human side is forcing robots“. No one on earth has yet created a “Robot as an Alter Ego with a mind” in my sense.



[My Road / 私の道 <65>]

“VISION of BODY / 身体の夢”

2018, by Anita who has been indebted to me, my book “VISION of BODY” was published as English & Polish version in Warsaw, Poland. It’s very important and a great honor for me. But this book is still incomplete. I have started to write “VISION of BODY on Earth and in Space” as English & Japanese version as a significant augmentation of this book.



[My Road / 私の道 <64>]

“KIDS SPACE DANCE / こども宇宙ダンス”

Space Tube Experience” will be a very educational chance for the kids. Sure, if the kids will start to enjoy Space Tube from young age they can develop several interesting acute senses and abilities for their life.


Above all, through this experience the kids can get back the physical sensation, so we help to solve the “Social Problem of the Loss of Physicality in Information Society“. In other words, the kids can learn naturally about the “Distinction between Real and Virtual” which becomes difficult to understand for anyone where the virtualization by the technology such as Virtual Reality, Augmented Reality, AI, and Robotics rapidly progresses.



[My Road / 私の道 <63>]

“SPACE DANCE in the Tube / スペースダンス・イン・ザ・チューブ”

Space Dance in Space Tube” is a media to realize our concept of “Design after Dance“ and is the decisive driving force for the Plan of Space Dance & Design Museum. In Space Tube we can experience a very amicable relationship between the body and the space. So, we can feel the nostalgia as if we return back to the mother’s womb and we can get back several our lost memories. Then, we can create new dances that we have never experienced before supported by new visions with more big energies from the space.

スペースダンス in スペースチューブ」は、「ダンスの後にデザインが生まれる」というコンセプトを実現できるダンスであり、スペースダンス&デザインミュージアム計画の為の決定的な動力になった。スペースチューブの中では、身体と空間の間の親密な関係を体験でき、まるで母の胎内に帰ったような郷愁を感じ、失った多くの記憶を回復できる。そのため、私たちは空間からエネルギーを吸収し、これまで経験したことがない新しいダンスを創造できる。


[My Road / 私の道 <62>]

“SPACE DANCE, Outside / スペースダンス、外で”

We can develop each dances as Space Dancers more easy at outside location with their hidden charms. Because in our today’s world, the theaters, the museums, the studios and so on have almost same environments and same information. But, sure, we need different environments and different information based on each dancers to develop each dancer’s characteristic dances.

私は、個々のダンサーが自分にも隠されている魅力を発揮するスペースダンサーとして育つためには、室内よりも屋外のロケーションがより容易になると考えた。それは、個々のダンサーの個性が開花すためには、 個々のダンサー に根差した異なった環境と情報が必要であるにもかかわらず、今日では世界中の劇場も、美術館も、スタジオも、ほぼ同様な環境と情報に満たされてしまっているからである。


[My Road / 私の道 <61>]
“SPACE DANCE Catalog / スペースダンス・カタログ”

Pinar Sinka made a Space Dance catalog as a curator of Tokyo Space Dance. She introduced “SPACE DANCE, Outside” “SPACE DANCE in the Tube” “KIDS SPACE DANCE” in detail that these three cases are important achievements of the Tokyo space dance activities. And our goal is to open SPACE DANCE & DESIGN MUSEUM which is based on these achievements.



[My Road / 私の道 <60>]

“SPACE DANCE of Angharad Matthews
/ Angharad Matthewsのスペースダンス”

Angharad Matthews(nickname: Angus) was a participant when my best friend Eeva produced my workshop in a studio in the beautiful mountains of Wales. After that, Angus came to Japan and danced with me in Tokyo, Manazuru Sea, Yahiko Shrine (Niigata) and Kyoto, and I took the pictures of her. She is also an actress, delicate but powerful, a divine dancer who enters the trance state and is a beautiful dancer, she appears to have multiple personalities from my view. I am looking forward to seeing how she will grow in the future as she gains Space Dance as a lifelong treasure.

Angharad Matthews(綽名・アングス)は、親友・エヴァがウェールズの美しい山間にあるスタジオで私のワークショップを制作してくれた時の参加者。アングスはその後日本に来て、東京・真鶴海岸・弥彦神社(新潟)・京都で私とダンスし、私は彼女の写真を撮った。彼女は、女優でもあり、清楚な反面、力強く、神がかったダンスによりトランス状態にも入り、私には複数の人格を持つようにも見える美しいダンサーである。スペースダンスという生涯の宝を得た彼女が今後どのように成長していくか、私は楽しみにしている。


[My Road / 私の道 <59>]
“SPACE DANCE of Najeri / ナジェリのスペースダンス”

Nageri, who came to participate in my workshop in Mexico City in a separate relationship with Laura. Like Laura, she is also open to nudity, and her dance is also wonderful as a way to release the passion hidden inside her. When she stops dancing, she returns to being a normal, quiet woman, but where does her strength come from? It seems to me that she have a deep well of expression that I cannot imagine as Japanese.



[My Road / 私の道 <58>]

“SPACE DANCE of Anjah Ki-hai / Anjah Ki-haiのスペースダンス”

Photos of Anjah Ki-hai I took in the suburbs of Mexico City. She is a Colombian-based dancer, I met her first time when she attended my workshop in Havana, Cuba in 2013, and also attended my workshop in Mexico City. A dancer who combines sophisticated dance techniques with wildness and open sexuality. This is the first time she has danced outdoors in earnest, and she has continued to perform with wonderful activities year by year.

メキシコシティ郊外で私が撮影したAnjah Ki-haiの写真。彼女はコロンビアを拠点に活動するダンサーで、2013年にキューバ・ハバナで私のワークショップに参加した時に初めて会い、メキシコシティでのワークショップにも参加した。洗練されたダンステクニックと、野生と、開放的なセクシュアリティを併せ持つダンサー。本格的に屋外でダンスしたのはこの時が初めてとの事で、その後も年々と素晴らしい活動を続けている。


[My Road / 私の道 <57>]

“SPACE DANCE at National Arts Center in Mexico City
/ スペースダンス at 国立アートセンター in メキシコシティ”

Mexico City has become my favorite city like Istanbul, and I’ve been coming every year since 2013. Western culture, including Japan, has reached one peak, so it will be difficult to create a new peak more. However, neither Mexico nor Turkey chased Western culture, and it seemed to me that at least the young people in Mexico City and Istanbul who attended my workshop had the “Chaos needed to create Culture.” Therefore, they have no dark shadows in their minds and are insanely energetic compared to young people in Japan and the West. I, who also need “Chaos”, naturally feel better when mixed with them.


In Mexico City, Laura, Angel, Anna, and Mets, who made me feel the high potential as a space dancer. I have had a long relationship with Laura, who works as my assistant every year. Angel, who dances like a pop. Anna, who looks at people with incredibly beautiful and strong eyes. Mets, who has a model sense and likes Japanese culture. But, I got a sad news from Mets that Anna died after my leaving to Japan. I still can’t believe it, she was so young and so fine. The dead Anna has become a member of the same surplus dimension that Elena lives in, so she appears in my work many times.



[My Road / 私の道 <56>]

“SPACE DANCE at Tama-Rokuto Scinece Center
/ スペースダンス at 多摩六都科学館”

In 2017, I held “SPACE DANCE PERFORMANCE”, “KIDS SPACE DANCE”, and lecture at Tama-Rokuto Science Center with a title “SPACE DANCE – when we look at the earth from a space perspective.” Shiro Mitsumori and Yohei Yagi participated from JAXA, and Yagi in particular gave a lecture of his impressions of his Space Tube experience from the standpoint of a blind researcher.


Also, tombo, aikito, Masako, Kaori Ishiguro, Pinar Sinka, and Joana Chicau joined Space Dance Performance. Joana collaborated with me as a media artist to try to express the movements in Space Tube and dancers using Kinect as a “Body-Space Model.” The following is a recommendation for the Space Tube experience by Director Takayanagi.


  ”GPS, meteorological satellite, broadcasting satellite · · ·. For us who live in the ocean of countless information, opportunities to conscious of the workings of sensibility directly knowing the environment in the body are rapidly decreasing, and opportunities to feel conscious of the work of sensitivity to human beings becomes precious as much There. The experience of self-awareness of the world with Space Tube and the attempt to express it through the whole body must be an adventure to revive the sensitivity that is buried under consciousness and to know the new world that can be shared by the group. I would like to encourage many of you to experience Space Tube.”



[My Road / 私の道 <55>]

“KIDS SPACE DANCE at Museum of Contemporary Art Tokyo
/ こども宇宙ダンス at 東京都現代美術館”

In the summer of 2016, “KIDS SPACE DANCE” at Museum of Contemporary Art Tokyo was realized by the invitation of Motoko Uchitomi, who cared me during my last joint research with JAXA. In the three months from July to September, so many 60,000 people, mainly parents and children, enjoyed the Space Tube experience.

2016年・夏、JAXAとの共同研究の時にお世話になった内富素子さんの誘いで、「こども宇宙ダンス at 東京都現代美術館」が実現した。7月~9月の3ヶ月で6万人という、親子を中心とした多くの参加者がスペースチューブ体験を楽しんだ。

What was interesting here was that in front of the Space Tube experience booth, the most recommended video work of the museum with a large budget by Team Lab was exhibited, but the audiences were passed it easily, and there was a long line at our booth, which became a hot topic. This reaction of the audience seemed to be surprising even for the museum, and it was a meaningful experience for us. How are the two needed now in our world? What is the difference between video experience and physical experience? It will be an important question day by day.

ここで面白い現象だったのは、スペースチューブ体験ブースの手前には今を時めくチームラボによる大予算をかけた館の一番のお勧めの映像作品が展示されていたが、観客はその前はあっさりと通り過ぎ、私たちのブースに長い行列が出来て話題になった事。館としても観客のこの反応は意外だった様子で、私たちには意味深い経験になった。映像体験と身体的体験。その二つは今私たちの世界でどのように必要とされているのか? その差は何か? 日に日に重要な問いになっていくだろう。


[My Road / 私の道 <54>]

“SPACE DANCE of Anna Juniewicz
/ Anna Juniewiczのスペースダンス”

I became friends with Anna Juniewicz, one of the workshop participants in Warsaw, in the same way as Masako. Anna is active as a performer as well as an E-learning coordinator. With a beautiful and sharp look and an intellectual sense reminiscent of a mathematician, I was surprised with her. I invited her to Tokyo and filmed her dance in various locations, just like Masako. Her dance was delicate, sharp, like alien in another world and same time very sexual woman, and she reminded me that there aren’t many dancers in the world with such beauty. She also became a Space Dancer I took the most pictures.



[My Road / 私の道 <53>]

“SPACE DANCE in Warsaw / スペースダンス in ワルシャワ”

In 2015, I met Anita Zdrojewska, who was one of the audiences when I performed in Warsaw, and she was a Japanofile and took a Japanese studies at the Warsaw University, and also she was a big fan of Butoh and published a book of Kazuo Ohno, then I could become friends with her. In 2016, Anita produced “SPACE DANCE WORKSHOP & PERFORMANCE” and “KIDS SPACE DANCE” in Warsaw.



[My Road / 私の道 <52>]

“SPACE DANCE at CER Museum in Ankara, Turkey
/ スペースダンス at CER現代美術館、アンカラ・トルコ”

2016, produced by Gulsha, young excelent architect, I held “SPACE DANCE WORKSHOP & PERFORMANCE“, “KIDS SPACE DANCE“, and “Exhibition” at her university and CER Museum in Ankara, capital of Turkey. Gulsha, like Filiz, graduated also the architectural department of Istanbul University. It was an event that reaffirmed the need for multi-talented human resources who like dance and architecture for Space Dance.



[My Road / 私の道 <51>]

“SPACE DANCE at Eskisehir Science Center
/ スペースダンス at エスキシェヒール科学センター”

2015, I held “SPACE DANCE WORKSHOP & PERFORMACE“, “KIDS SPACE DANCE“, and “Exhibition” as an event with a complete set of space dance projects produced by my dear friend Filiz Sizanli at her university and the Science Museum in Eskisehir, cultural city of central Turkey where she lives. Filitz is a well-known contemporary dancer in Turkey who graduated from the faculty of architecture of Istanbul University, and has a deep understanding of Space Tube. So,I asked her to challenge to make a collaboration called “Multiform Posture Formation” with her dance and a chair in Space Tube. Even in “KIDS SPACE DANCE”, there were many repeaters and the number of participants increased day by day due to word of mouth.


[My Road / 私の道 <50>]
“SPACE DANCE of Masako
Takeda Gray
/ Masako Takeda Grayのスペースダンス”

Masako Takeda. She was one of participants when I held a Space Dance Workshop on a road in London with the students of Laban. Her father is Englishman and her mother is Japanese. I was impressed not only by her wonderful dance, but also by her unique look and eyes, so I nicknamed her “The Princess of the White Wolf Country“. Since then, she has come to Tokyo every summer and has continued to shoot her dance in various locations. Along with Anna in Warsaw, she is a Space Dancer who I took the most pictures.



[My Road / 私の道
“SPACE DANCE at SESC Modern Museum in Sao Paulo, Brazil
/ スペースダンス at SESC現代美術館、サンパウロ・ブラジル”

2014, I held “SPACE DANCE WORKSHOP & PERFORMANCE” and “KIDS SPACE DANCE” at SESC Modern Museum in Sao Paulo, Brazil produced by Cristina Elias and her husband Cesar. Christina is a popular assistant professor who is pioneering a new field of physical expression at her university, and many of her students attended my workshop. Cesar is a media artist who is also active in Europe and has coordinated this event.



[My Road / 私の道 <48>]

“KIDS SPACE DANCE at Yamananshi Science Museum
/ こども宇宙ダンス at 山梨県立科学館”

In 2012, “KIDS SPACE DANCE” was held as part of the event at Yamanashi Science Museum, but in 2013, it was held independently because “there are many requests for Space Tube”. During the summer vacation, about 1,000 parents and children a day enjoyed Space Tube Experience. The curator in charge, Megumi Sugiyama, had a wonderful understanding, and the following newspaper article was published by her.


  ”Space Tube that has become a hot topic in the world. If we look inside, we will see a mysterious white space that we have never seen, and it is like a world of a different dimension. When we touch the material, it is elastic and soft, and we can feel the warmth. It’s unstable, we can’t go straight, and it’s like we are experiencing weightlessness. Sometimes we can feel like we are flying in the sky.”



My Road / 私の道[ <47>]

“SPACE DANCE in Bangkok / スペースダンス in バンコク”

In 2013, I held “SPACE DANCE Performance” and “KIDS SPACE DANCE” at National Theater and several primary schools in Bangkok supported by the Japan Foundation, Ministry of Foreign Affairs Asian and Oceanian Affairs Bureau, and Japanese Embassy. Through this relations I could hold it in Singapore and Kuala Lumpur, Malaysia. The following article entitled “Rediscovering the Body” was published in the Bangkok Post.


  ”Space Dance Workshops and Performances are the steps to reconnect human needs in the information society to the body, and above all, to secure the reality that humans need without being confused by the virtual world. It taught that we need to Return to the Body.”



[My Road / 私の道 <46>]

“KIDS SPACE DANCE in the World and in Japan
/ こども宇宙ダンス~世界と日本で”

2009-2013, I held “KIDS SPACE DANCE” in overseas, in Brussels, Monako, New York, Kampala, Nairobi, London, Santiago, Havana, Mexico City, Rio de Janeiro, and Roma at several primary schools and galleries. Also in Japan, I held it at Sendai Kids Space Museum, Space World, Kids Theater in Mie, Asahi Art Square, National Graduate Institute for Policy Studies, Aeon Mall in Japan, Mitaka Tenmei Hanten-chi, Earth Expo Memorial Park, Arts Gallery in Kawaguchi, Niigata Science Museum, Fukui Children’s Science Museum, and Nagoya Dome. No matter where I went, there were many repeaters who once experienced a Space Tube and then came back again, and there was a long line of children in front of a Space Tube.



My Road / 私の道[ <45>]

“SPACE DANCE – Create a New Body
/ 『宇宙ダンス~新しい身体をつくる』”

2008, My book “SPACE DANCE – Create a New Body” was published by Shunjusha publishing company in Tokyo. The idea that I have cultivated so far is accumulated in the content that “New Thought” that emphasizes physicality is useful not only for space development but also for solving problems that occur in the information society and problems related to body modification. It became a memorable book. Also. as a Space Dance artist, it was a time when I was able to jump out into a new world that I had never experienced before by analyzing closely dance as “Creating a Posture.”



[My Road / 私の道 <44>]

“Pleasure of DANCE / ダンスの喜び”

The power of African dancers was just as great as I had heard in rumors. Men and women, they were just connected to the earth, and no matter how much they danced, they pumped energy from the earth and seemed tireless. I especially made friends with Kibe and he took care of me every year when I came to Kampala.


And, African children were enjoyed Space Tube experience so much. There was a mountain of people in front of Space Tube, and the power they radiated was amazing. They were so energetic that somehow my tears came out while watching them, they were so engrossed and enjoyed.



[My Road / 私の道 <43>]

“At the ground of Africa / アフリカの地で”

In 2007, I held “SPACE DANCE Performance” and “KIDS SPACE DANCE” at National Theater and several primary schools in Kampala, capital of Uganda supported by United Nations Uganda Office, Japanese Embassy, and JICA. I also held “KIDS SPACE DANCE” in Nairobi, Kenya. My first experience of Africa. I got up early every morning and enjoyed the beautiful “African Morning” atmosphere. The temperature is high, but the wet is low, so a wonderful and refreshing wind blows. I could get the following comment from United Nations Uganda Office;


  ”Space Dance in the Tube” was a truly unique project. It also served as a healing tool for the various “Hurts” found in conflict areas in some schools. It could provide new opportunities for children in need of rehabilitation threatened by armed soldiers and vulnerable young people who became orphans in the war to rebuild their “heart”.



[My Road / 私の道 <42>]

“SPACE DANCE, Someday in the Universe / 或る日、宇宙で”

In 2006, two and a half years of joint research with the Japan Aerospace Exploration Agency (JAXA) was completed, and I presented its results at the Tokyo Design Center in Tokyo. Also, “Space Dance – Someday in the Universe” was published by JAXA. My proposal to JAXA is as follows, and I believe that it will be an essential method when the current preparatory space development by trained astronauts has passed and full-scale space development for ordinary people begins.


  ”Humans are expected to face the new evolutionary possibilities in the space environment, then “Posture-Supporting Robot” that can customize the artificial gravity can influence the state of its evolution. Because, Posture is the Mother’s Womb for Cultural Creation.”



My Road / 私の道[ <41>]

“SPACE DANCE at the National Museum of Emerging Science and Innovation / スペースダンス at 日本科学未来館”

With the help from Hiroyuki Iwamoto and Shiro Mitsumori in Aerospace Exploration Agency (JAXA), the joint research began in 2004, and the first results were announced at the National Museum of Emerging Science and Innovation in Tokyo. It was also the official debut of Space Tube in Japan. It was a very important opportunity for me to recognize that “Body-Based Thinking is needed” in space development. I could know many interesting researchers and business people there, but it was my greatest asset to meet the ideas of brain scientists Jun Tani and Atsushi Iriki. I got the following comment from JAXA.


  ”An interesting feature of Tetsuro Fukuhara and Tokyo Space Dance activities is that they go beyond the boundaries of art and dance. Since the theme is to examine the lifestyle of humankind in space, we expect that it will develop into a wide range of activities such as the fusion of research in different genres and the birth of new lifestyles.”(JAXA – Space Environment Utilization Center & Tsukuba Space Center)

  「芸術、舞踊という枠を超えているところが東京スペースダンス(福原哲郎)の活動の興味深い特徴です。人類の宇宙での生活様式を検討することもテーマとして挙げていることから、異なるジャンルの研究の融合や新しい生活習慣などの誕生といった幅広い活動に発展することも期待しています。 」(JAXA宇宙環境利用センター・つくば宇宙センター)


[My Road / 私の道 <40>]
“SPACE DANCE of Laura / ラウラのスペースダンス”

The perception of nudity varies greatly from country to country. Even in the same country, it is different depending on the times. One morning in Mexico City, a newspaper was placed on the table at a friend’s house, and when I casually saw it, there was a full-page advertisement using the naked body of a beautiful woman. I was honestly pretty surprised. This is because it is a public newspaper that is similar to Asahi Shimbun in Japan, so it is not possible in Japan. When I asked my assistant woman who came to pick me up, it wasn’t a big deal. Around the time she was born in Mexico, the country was poor, there were no regular movies in the cinema, and instead cheap pornographic movies were flooding, and children and adults watched it on a daily basis. In other words, she explained that the naked body is still familiar to the people and is not a rare object with special value.


Was there such a relationship? Laura showed no resistance to getting naked in my workshop. Her naked dance, which helped her to be a delicate beautiful girl in Japanese terms, had a strange unbalance and showed a unique charm. In Japan, if the secret to improving sexuality lies in how to take off clothes and direct shame, Laura doesn’t have that, and suddenly it feels like a straight ball game, and I felt she enjoyed the beauty of her naked body by herself.



[My Road / 私の道
“SPACE DANCE in Mexico City / スペースダンス in メキシコシティ”

I also had a culture shock in Mexico City. Especially, the strength of the impact of the design seen in the cityscape. Mexican designers have a great sense of color, and many of the forms they choose are cool. And the openness of the workshop participants to the naked body. There were scenes of using naked bodies in my workshop, and it was a free choice, but dancers showed resistance were few. Creating a scene with a small number of dancers for Space Dance Performance has become a staple I try in any city, but when I ask the dancers “is it okay to be naked?“, there were many opportunities to have a suspicious look, “what? why?” They said that no special decision required to be naked . These reactions are completely different from country to country.

私は、メキシコシティでも大きなカルチャーショックを受けた。特に、街並みに見られるデザインのインパクトの強さ。メキシコのデザイナーたちの色彩感覚は素晴らしく、選ばれるフォルムもクールなものが多い。そして、ワークショップ参加者たちが持つ、裸体に対する開放性。ワークショップには裸体使用の場面もあり自由選択になっているが、抵抗を示したダンサーはいなかった。少数のダンサーと公演用に裸体シーンを制作することは私がどの都市に行っても試みる定番になっていたが、私がダンサーに「裸も大丈夫?」と聞くと、「えっ? なぜ?」と怪訝な顔をされる機会が多かった。裸になるのに特別の決断は要らないとの返事で、国によりこれらの対応は全く違うのだ。


[My Road / 私の道 <38>]

“SPACE DANCE in Monterrey / スペースダンス in モンテレー”

Performance in Mexico sponsored by the Japan Foundation in the cultural city, Monterey. Seeing is believing, it’s the same as the Beirut experience, I had a culture shock in Monterrey. The level of participants was high in the design and Space Dance workshops, I was honestly surprised. And, there was a lot of interest in Space Tube. One young designer took the lead to find a new cloth that was thinner, stronger, and softer than the cloth we used, and they made a new Space Tube. Also, in dance, I met wonderful dancers Vanessa and Sachi.



[My Road / 私の道 <37>]

“With Young Architects in Tokyo / 東京、若手建築家たちと”

Space Tube was set up at a park of Odaiba, Tokyo, and “Memory Scene” was held with young architects such as Ryue Nishizawa and Soji Fujimoto who started to play an active role. Even in Japan, which entered the 21st century, collaboration between different fields was active, especially for architects.



[My Road / 私の道 <36>]

“New Discovery / 新しい発見”

I have been able to establish a style for the workshop while coming Istanbul every year since 2001. To me, dancing only in the classroom or in the studio was boring. I don’t think a person with good dance technique is a good dancer. This is because many of them have just been taught and become excellent students. More important than that is individuality. Excellent dance forms in individuality. However, dancers who had no choice but to compete for superiority or inferiority in dance techniques in the classroom or studio will change completely when they go out. Now, wherever we go to any city in the world, classrooms and studios are in place and the interior is full of similar information. But outside is completely different. The dancers breathe the various and different information and begin to show their individuality. Dances that fully show their individuality cannot be compared. Because they are all unique and interesting. Outside, new techniques are needed on how to bring out one’s individuality in space.


In Istanbul, after dancing in the classroom or studio, invite the willing students and participants to dance at the KARAKOY port at first, next, dance on a boat across the BOSPORUS, and finally, dance at the KADIKOY port. This has become a standard course. For years on this course, I’ve seen so many people be born as nice space dancers.



[My Road / 私の道 <35>]

“Aydin Teker / アイデン・テケル”

As far as I know, Aydin Teker is one of the most avant-garde choreographers in the world. She danced in a “costume-like object” made of vinyl pipes by us at my workshop.

私が知る限り、Aydin Tekerは世界で最もアバンギャルドな振付家の一人である。彼女は私のワークショップで、私たちがビニールパイプで作った「衣装のようなオブジェクト」を着てダンスしてくれた。

At one point I was surprised to see Aydin’s work. It was a performance by her students, at the start of the performance the students started dancing in the stepped aisle of the theater. The students were probably the first to experience it, and everyone I saw had their feet shaking. No one could go up and down the steps smoothly. Th e dance was strange because their legs and loins were unstable. This doesn’t happen on the stage. Everyone dances wonderfully because they are practicing. That’s not the case with unfamiliar experiences. However, in this “shaking” of the students, I could see the “individuality” of the students. This is because everyone has different ways of dealing with it. In the end, what impressed me was not the work on the stage, but the steps that made the students uneasy and the “individuality” they unintentionally showed. I thought Aydin’s interest must be in the relationship between space and body.



[My Road / 私の道 <34>]

“My Istanbul / 私のイスタンブール”

In 2001, I met Professor Ayden Teker at my performance at Mimar Sinan University in Istanbul produced by Japanese Embassy in Ankara. She was a well-known avant-garde choreographer in Turkey and soon I became friends with her. My best friend Yvonne said that cities that give a strong culture shock like Istanbul are rare and should go to me as well. When I came, I understood that it was true. From ancient times to the present, Istanbul has maintained its position as a big city with a mixture of East and West cultures. For the first time, when I was walking alone in the evening on the intricately complicated streets of so many slopes and stairs like a labyrinth, I was assailed by illusions that it was difficult to distinguish between ancient and medieval times and modern times. It was a mysterious feeling, for example, when I met an ancient ghost and a medieval ghost at the same time.


Since then, Istanbul has become my favorite city,I have come to go there every year as a base with my special classes and workshops at Mimar Sinan University by Ayden, Yldiz Technical University by Professor Gaywan introduced by Ayden, and a dance studio called CATI. And, I was surprised at many things, one of them was the beauty that the female dance students keep. I forgot what book I read, but I learned that today’s young women in Istanbul have four types of beauty, Arab, European, Russian, and Asian, as an ancient culturally mixed blood heritage. I also attached some of the pictures of the dancers who became my space dance workshop, and I actually felt that was exactly the case.


The following are comments from Mr. Akio Wada, Consul General of the Consulate General in Istanbul, I could get the support from him in Istanbul.


  ”Space dance has the infinite potential of art to open up and develop new fields. I think that it has helped for Turkish people to break down the stereotypes knowledge about the Japanese people and understand that the modern Japanese are dynamic and cannot be grasped in a narrow and fixed way.”



[My Road / 私の道 <33>]

“Space Dance in Headquarters United Nations in New York
/ スペースダンス in ニューヨーク国連本部”

In 2001, Space Tube debuted overseas. I could get the opportunity to present the concept of Space Tube at the MIT Media Lab in Boston the previous year, and Space Dance performance using Space Tube was realized at the United Nations Headquarters in New York. After the performance, we also could hold “Kids Space Dance” with children who were interested in Space Tube among the visitors from all over the world. One great person from the United Nations told me that “this event would be one of the top five events held at the United Nations in history“, and I received the following comments.


  ”I would like to take this opportunity to thank you for a beautiful performance that you presented at the United Nations on 25 April. Space Dance was a fascinating collaboration of Japanese Butoh dance, architectural design and media technology.”



[My Road / 私の道 <32>]

“Design after Dance in Cranbrook College
/ ダンスの後にデザインが生まれる in クランブルック大学”

In 1999, I was invited to Cranbrook College in Detroit by the later Prix de Rome architect Professor Peter. Peter and his students created multiple architectural sites on campus for Space Dance Performance, costumes made by ceramics, and media students made music and video. It was a performance where I and tombo entered as Space dancer and danced while moving through the architectural sites. It was a practice of the concept that “prototype of various chairs” was born as a result of the performance, and “Design was born after Dance“.



[My Road / 私の道<31>]

“SPACE DANCE – Body of Future / スペースダンス~身体の未来”

In 1998, I held a Space Dance and architecture workshop inspired by Space Tube together with stage artist and architect Pillip Baldwin at a big gallery in New York. Then, after a workshop, his friend media artist joined and I performed “SPACE DANCE – Body of Future” with them.



[My Road / 私の道 <30>]

“Birth of Space Tube / スペースチューブ誕生”

In 1998, when I was a part-time lecturer at Musashino Art University, Faculty of Architecture in Tokyo, the prototype of Space Tube was born from a special class called “Body and Architecture“. And while we are using it in our performances, the open space changed to a closed space, floating about 1 meter from the ground, and the material changed from a hard cloth to a special cloth that has the strength and softness to allow one person to hang in the air, and it was finally completed to transform as a space tube in its current form. It is a first memorable design achievement that fulfills the “Art-Industry Body Concept” owned by Tokyo Space Dance.



[My Road / 私の道 <29>]

“Citta della Scienza in Napoli / ナポリ科学館”

In 1998,Butoh was all the rage in Rome, and my workshop had 50 participants. I was so numerous that I couldn’t even remember their names. I became friends with Katerina Genta who graduated from a college class taught by Pina Bausch and Elena Rapka at the University of Rome, and I asked Elena and Katerina to work as my assistants. I have a memory that I managed to survive. The performance, which was held with tombo and two of them, and by selecting a few of the participants, was also a great success.


In Napoli, together with tombo, Katerina, and Elena, I performed at a large science museum called “Citta della Scienza” using a device that can make music with dance moves. Then, after hearing from a friend that Elena was unknown after this event, I wanted her to continue to play an active role as an assistant, so I asked my friends and related sources. However, several years have passed without me knowing Elena’s whereabouts. At that time, I had a personal incident in which I had a strong trauma due to the death of my first love partner at the age of 17, which hindered my daily life, and Elena, who disappeared like a spirited away by a supernatural being, became a myth in me. Then, the images of Elena and my first love partner overlapped, and it became a symbol of my “Search for a Lost Lover” after that.

ナポリでは「Citta della Scienza」という大きな科学館で、tombo・カテリーナ・エレナと共に、ダンスの動きで音楽をつくる装置も使用して公演した。そして、このイベント後にエレナが消息不明になったと友人から聞き、その後も助手として活躍して欲しいと思っていたので、友人や関係筋に聞きまわった。しかし、エレナの消息が掴めないままに数年が過ぎた。当時、私には、17才の時の初恋の相手の死でトラウマを抱え日常生活に支障をきたすという個人的事件があり、神隠しのように消えてしまったエレナが私の中で神話化され、エレナと初恋の相手のイメージが重なった。エレナは、その後の私の「失われた恋人探し」のシンボルになった。


[My Road / 私の道 <28>]

“Behavior in Virtual Space / 仮想空間における身ぶり”

As a research fund project by the Ministry of Education, Culture, Sports, Science and Technology of Japan, in collaboration with media art curator Machiko Kusahara, “Behavior in Virtual Space” was held as a space dance performance at a large art gallery in New York in 1996. I used the latest technology to create a virtual space, but instead of using the dancer’s movements for the directing purpose of media artist, how do dancers want to use technology for their own dance? It attracted attention as a project that uses technology for dancer’s development.



[My Road / 私の道 <27>]

“Shusaku Arakawa × Masato Sasaki × Tetsuro Fukuhara
/ 荒川修作 × 佐々木正人 × 福原哲郎”

On Shusaku Arakawa special feature in the magazine of “Contemporary Thought“, a dialogue between Shusaku Arakawa, Masato Sasaki, and Tetsuro Fukuhara was realized. The theme that Arakawa pursues was “Immortality” and he asked me “in order to be immortal, we need to lose our body. what do you think?“, then I answered to him “No, it is not good idea because we need a body always when we are, when we die, and in the next word. The way for the immortality will open when we lift our body a little.” Our claims, such as Zen questions and answers, followed parallel lines, then Sasaki filled the gap from an affordance perspective.


Masato Sasaki is a cognitive psychologist, he has been paying attention to “Posture“. He wrote in his book “Where is the intelligence born?” by Kodansha publishing company in Tokyo that the posture is a network of relationships that incorporate multiple perceptual organs that are linked to the environment through the body. His thought is completely “physical“, so one day I asked to him its reason. He told me that he was a thread-manipulating puppeteer when he was young, so it was influenced by this experience. I was convinced, “I see!” The physical experience was directly linked to his research.



[My Road / 私の道 <26>]

“Body-Space Model with Affordance
/ アフォーダンスによる「身体-空間モデル」”

Around the same time, I met Masato Sasaki, a professor at the University of Tokyo who introduced “Affordance.” With him, at Tokyo University and the underground shopping center of Ikebukuro Station, his important blind assistant also participated in a workshop to experience how physical movements are generated depending on the environment, and this experience became another big factor for the birth of Space Dance.


Affordance is a theory that has proved to me the correctness of Improvisation Butoh from an “Environmental” perspective. And above all, it gave me a lot of valuable hints for developing a “Body-Space Model“. “Body-Space Model” is still incomplete, but according to this model, it is easy to understand its all reasons, why is the current architectural space and industrial design inconvenient for the ever-changing human body?, why isn’t a robot really intimate with humans born?, why human remodeling by genome editing fails?, why is it a fundamental flaw in space development in the current world? Therefore, at the same time, I have to recognize that the “Body-Space Model” has a great role to play in the world.



[My Road / 私の道 <25>]

“Space Dance in Shusaku Arakawa’s Ryoanji Temple in Nagi
/ スペースダンス in 荒川修作の奈義の龍安寺”

In 1996, after from Beirut, I met Shusaku Arakawa. I and newly my partner tombo danced at “Ryoanji Temple in Nagi” in Okayama, Japan, and this experience became one of the major reasons for the “Birth of Space Dance.”


Shusaku Arakawa started as a contemporary artist living in New York, and eventually came to call himself a new generation architect. He was a heretic who aimed for a revolution from architecture by proposing “architectural space formed from curved surfaces” to the world’s architectural world, which continues to be sluggish for a long time while seeking a leap from modern architecture. I couldn’t agree with his idea to the body, but I thought his gaze on the relationship between body and space was wonderful. And above all, I was greatly inspired by his question, “If nothing is born after the dance, maybe we feel the emptiness?



[My Road / 私の道 <24>]

“I was a Star / 私はスターだった”

The performances and workshops in Beirut were initially only scheduled for and college produced by Ru-eida Gari. That was Japanese embassy staff who took care of me, so in a good meaning I was used by him, performing at American University and Islamic Memorial, and every day I was planning to stay for 10 days became a job. It was widely introduced on TV and newspapers, and I was treated as a star, and many audiences, including government officials, rushed in. That’s because the civil war has just ended in Lebanon, many abandoned buildings remain in Beirut, and many countries from Europe are already in support, but from Asia, there was none. So he took me to many places and made me the first visitor from Japan. I’ve heard that Japanese diplomats are excellent abroad, and he seems to have been one of them.


Lu-eida was a participant in a workshop I held in Paris and not only had a beautiful dance, but also had a kind of strong emotion that I didn’t know, maybe it was unique to the Middle East. In 1994 I invited her to Japan and in return she invited me to Beirut. I also met excellent dancer, Chirine Karame at her university. Chirine, like a miracle, suddenly came to Japan 20 years later and danced with me. Now she lives in Yokohama.



[My Road / 私の道 <23>]

“Beirut-Wake up to “What is information?”
/ ベイルート~「情報とは何か?」に目覚める”

In my case, it was through the 1996 Beirut experience that I felt truly awakened to “information.” There, I got the information, “There are 10,000 jobs in Beirut. Does anyone come?” Of course, such information was not available in Japan. Usually, symbolically, 1,000 artists rush to the world’s cultural cities of Paris, London, Berlin and New York every year, and only about 10 pass. 990 people are disappointed and return home. However, as Beirut is called “Little Paris,” many young people speak French and English, have a high level of culture, are active in art, and have a strong criticism. If the purpose is not to become famous, but to do the work we want to do, 10,000 employment will be a big charm.


In Beirut, I learned that even though the internet is full of almost infinite information, it is almost same information that comes from a limited perspective. Regarding Beirut, only one aspect of being a politically and economically confused city is emphasized, and the actual situation is unknown. And what if there are more and more such cities around the world now?



[My Road / 私の道 <22>]

“east winds festival of new butoh”

In London. I joined “east winds festival of new butoh.” The Sunday Times was criticized as a “Moving Sculpture” because my dance movements were too slow. I could enjoy this slow time to the fullest. Because, at that time I was seeing that my movement was slow from the outside and same time one world was suddenly occurring inside me while spinning rapidly, then I was surprised at the difference itself between outside and inside.

ロンドンで。「east winds festival of new butoh」に参加した。The Sunday Timesには、私のダンスの動きがあまりにもスローだったので「動く彫刻」と批評された。私はこのスローな時間を存分に楽しんだ。というのも、その時私は外部から見ると私の動きはスローなのに私の内部では一つの世界が急回転しつつ新しく発生している光景を見ており、外部と内部の差があまりにも大きい事自体に驚いていたからである。


[My Road / 私の道 <21>]

“Passage Festival 94 at Kiyomizu Temple – Joujuin
/ パサージュフェスティバル94 清水寺・成就院”

50 panels borrowed from Sekisui House by Keiichi Irie(architect) to create a large-scale “Bridge” inside and outside of Kiyomizu Temple – Joujuin in Kyoto, and 26 TV monitors borrowed from SONY by Andrea Schneider(media artist) to create “Light“. A total of 20 dancers, including me and participants from overseas, danced there.


Female dancers from overseas are particularly interested in Joujuin’s high-ceiling kitchen that has become a colonnade. And, the wife of President Kiyomizu Temple has the same open mind as him, and usually the mother will hide the scene when female dancers dance with naked body to an elementary school student, but she said to her son that it is a “good opportunity to take a closer look at the naked woman, see it’s details carefully.” Kyoto is a special city with a subtimle mix of conservative and innovative spirits.



[My Road / 私の道 <20>]

“Passage Festival 94 / パサージュフェスティバル94”

In the summer of 1994, I held “Passage Festival 94” in Tokyo, Kiryu, Kyoto, Paris, and Cardiff with the participation of 14 dancers from overseas, and in Japan, Yasuo Ito, Hajime Yatsuka, Seiichi Washida(mode criticism), Junichi Arai(textile planner), Masaaki Sakaguchi(fashion designer), Keiichi Irie(architect), and Andrea Schneider(media artist) and others.In Kiryu I tried to embody the “Art-Industry Body Concept” in collaboration with the local industry “Cloth“. Every day, the articles by Kiryu Times was published.


With the support, sponsorship and cooperation of the Japan Foundation, British Council, French Embassy, NHK, Asahi Beer, Shiseido, Sekisui House, Mainichi Newspapers, Wacoal, Sony, Kiyomizu Temple, Kyoto College of Art, Paris 8th University, it was a valuable and large-scale event that presented the development process of Tokyo Space Dance.

国際交流基金・ブリティッシュ カウンシル・フランス大使館・NHK・アサヒビール・資生堂・積水ハウス・毎日新聞社・ワコール・ソニー・清水寺・京都芸術短期大学・パリ第8大学などの後援・協賛・協力を得た、東京スペースダンスの発展過程を提示する、予算も大きく、とても大掛かりなイベントになった。


[My Road / 私の道 <19>]

“Future of Wild Nature 4 – What Tatsumi Hijikata couldn’t leave
/ 野生の未来4~土方巽が残せなかったもの”

In 2004, I held “Future of Wild Nature 4 – What Tatsumi Hijikata couldn’t leave” in Tokyo and the following criticism was posted by Shou Kuriyama, Japanese critic in New York, in the evening edition of Yomiuri Newspaper.


   ”Beyond Tatsumi Hijikata. Tetsuro Fukuhara of improvisational Butoh plans a heated debate on the theme of “What Tatsumi Hijikata couldn’t leave” with young talents in various fields such as theatrical performer Satoshi Miyagi, Papatara Fumara Hiroshi Koike, and Sankai Juku Toru Iwashita. In the field of Butoh, the only cutting-edge entertainment that happened in Japan after the war, there is finally to start the rasing problem that is under a taboo, toward a new development that cuts off the retreat”.



[My Road / 私の道 <18>]

“Wind from the Future 4 – Standing ZEN
/ 未来からの風4~立ち上がる禅”

In 1992, “Wind from the Future 4” was held supported by Asahi Newspaper, with Kazuo Ohno as a special guest, Yvonne Tenenbaum who says “Butoh is a Standing ZEN” from Paris, and young talented people such as Toru Iwashita, Satoshi Miyagi and Kaho Kanzo in Japan. The following newspaper article by Kyodo News was published as a critique of the previous “Wind from the Future 3”.


   ”It was Tetsuro Fukuhara who became the subject of this event. He is known as one of the few dancers who can physically submit the sharpest awareness of the problem. It was five days when Kazuo Ohno and Takaaki Yoshimoto appeared, and the Butoh dancer Fukuhara struggled to have words (philosophy) independent of Butoh”.


I was taken care of by Yvonne in Paris, but the philosopher and butoh critic she was also a contemporary dancer and was interrupted due to a hip injury. Through the encounter with me, she found that she could continue her dance according to Improvisation Butoh, so she not only talked to Kazuo Ohno at this event, but also revived her dream as a dancer.



[My Road / 私の道<17>]

“Wind from the Future 3 – Art-Industrial Body Concept
/ 未来からの風3~芸術-産業体構想”

In 1991, “Wind from the Future 3” was held with the support of Asahi Shimbun in Tokyo, with Kazuo Ohno and Takaaki Yoshimoto as special guests, and a five-day performance and symposium was held. On the final day, together with Yasuo Ito and Shigeo Oyama, we discussed about “Art-Industrial Body Concept“.


Regarding my relationship with Dentsu Institute’s producer,Yasuo Ito, who was the secretary general of the Association for Corporate Support of the Mesena, said at the symposium at the time of its launch “I was skeptical about the ideal form of art that requires support from companies.” I was attracted to his this remarks and went to see him. From there the relationship began. Also,Shigeo Oyama of the Asahi News Paper Research Laboratory took great care of me and provided support during the event for the past few years.


I talked with Yasuo Ito, and with the participation of architect Hajime Yatsuka, we launched the “Art-Industry Body Concept”. This is an attempt to improve the status of art with the fundamental reform, which is still regarded as a “Shady Business” in Japan, by creating “Tomorrow’s Industry” through the collaboration between art and industry.



[My Road / 私の道 <16>]

“Wind from the Future 2 – with Takaaki Yoshimoto
/ 未来からの風2~吉本隆明と”

In 1989, at “Wind from the Future 2” held with the support of Asahi Newspaper in Tokyo, I talked with Takaaki Yoshimoto on the theme of “Physical Theory” and discussed about Tatsumi Hijikata’s Butoh.


What is the reason Butoh has declined in Japan? After this time I had been in the very sarcastic cultural phenomenon, nor other Japanese Butoh Choreographers. Because, although I could get a high valuation in foreign cities, but I should lost my name year by year in Japan. Why? Butoh was born in Japan and I am Japanese.

土方巽の死以降、舞踏は海外で生き延びたが、国内で舞踏が衰退した理由は何だったのか? 私は、海外で活躍する他の舞踏家たちと同様に、海外では評価されても、舞踏を生み出した日本では無名になっていくという皮肉な文化現象を生きることになった。なぜなのか? 舞踏は日本で生まれ、私は日本人なのに。

I thought I should find out its reason exactly to develop Butoh and to continue my career as a Butoh Choreographer. So, at first I left the colleagues who didn’t want to recognize “Atrophy of Butoh” in Japan. Then, I asked to Takaaki Yoshimoto, very excellent critic at that time, and I could discuss with him about its reason at a symposium in Tokyo. Yoshimoto, very clearly, explained its reason as “Hijikata’s Body-Model was not a model which could reach to a Japanese Original Body in the era of KOJIKI, records of ancient matters.” I could understand his explanation and I had the scales fall from my eyes, because I had a big question to Hijikata’s “Butoh Notation.”


In other words, Hijikata’s body-model was an “Artificial Model” at his time, not “Universal Model” that will be familiar to all Japanese beyond the generation. Young Butoh dancers were ungraceful on the stage in his last performance “Plan of Tohoku-Kabuki“, but it was not their responsibility. Just Hijikata’s body-model was a limited model that was familiar to only his generation.



My Road / 私の道[ <15>]

“Tree of Tarkovsky in Paris / タルコフスキーの木 in パリ”

At the time of my first Butoh Performance in Paris on 1990, at the interview in radio broadcasting station, I was showered a carping question like a leadoff punch from a bitter woman announcer like the below;


  ”We know already Butoh was consumed, then Butoh died. In our Paris, can you present something new as a Butoh Choreographer?


I knew the background of the introduction of Butoh in overseas including Paris, so I replied that it was “Butoh with Darkness” being consumed and still “Improvisation Butoh” remained. In truth, “Improvisation Butoh” was not introduced on a full scale. So I presented my thinking about “Improvisation Butoh” and explained that it keeps the possibility to open a new dance world that can not be caught up in Japanese Butoh to her. I felt easy because I could confirmed that she was listening my talk with her admirable face as her first experience. At that day, if I couldn’t answer to her with a confidence, sure I will be crushed. Then, night of the day, I could meet with Yvonne Tenembaum who heard my speeking in radio. She also had been pursuing “Butoh with Darkness” as a Butoh critic, but after seeing my Butoh she told me that she actually felt that “Butoh is still alive” as a late date.


I know an “Encounter” is such a thing. The meeting with Yvonne decided my way. I still remember clearly, including the details of my movements, what kind of magical dance happened at that night when Yvonne saw as the audience. Also at that time I could study that we can trust the European critique including a last radio announcer, because sometimes it is too hard with a bitter taste but it don’t have the lies. In Paris I could gain a confidence as a Butoh choreographer and my way was created.



[My Road / 私の道 <14>]

“Butoh with Darkness and Improvisation Butoh / 暗黒舞踏と即興舞踏”

Turkish writer Orhan Pamuk who received the Nobel Prize for literature in 2006, wrote an interesting critic about a special possibility of Japanese Culture at a preface of Japanese version of his book “My Name is Red” such as “In China and in Japan they could keep the strong traditions of painting towards European painting. Moreover, under the influence of European painting, Japan could produce a very characteristic new art named Modern Painting.”


Butoh have same history like Japanese Modern Painting which Orhan appreciated its value. In the second half of 1950 in Japan, Tatsumi Hijikata and Kazuo Ohno could create “Butoh with Darkness” to unify Japanese traditional physical behavior before Edo-era and Modern Dance by Rudolf Lavin also Melii Wigman that Japan imported from German, Then, Akira Kasai could create “Improvisation Butoh” through “Butoh with Darkness.” In short, Butoh was not an original art, it was recreated by the Japanese taste on the imports from abroad.



[My Road / 私の道 <13>]
“I am Thinking / 私は考えている”

I started to think a lot. What is dance? Why do humans dance? Why did I also dance? Why dance is essential for me still now? The question closely related to life is why I can’t eat in dance?

私はいろいろ考えるようになった。ダンスとは何か? 人間はなぜダンスするのか? なぜ私もダンスするようになったのか? なぜダンスは今も私に必須なのか? 生活に密接する問いとしては、なぜダンスでは食べられないのか? 特に日本では?


[My Road / 私の道 <12>]
Summer-Winds from the Future / 夏-未来からの風”

In 1988, I embarked on a Butoh trip. Fukuoka → Yamaguchi → Okayama → Kobe → Osaka, and Kyoto. Butoh was popular all over Japan, so many audiences come in the venues. A reporter from The Japan Times accompanied me to an article about the situation. This article made my activity known to the society.

私は舞踏の旅に出た、福岡→山口→岡山→神戸→大阪、そして京都へ。舞踏は日本中で流行していたので、多くの観客が会場に詰めかけた。その様子を、Japan Timesの記者が同行し記事にしてくれた。この記事により私の活動が世間でも知られるようになった。


[My Road / 私の道 <11>]
Dropping Out as Transparent Body / 透体脱落

In 1987, I met famous Toru Terada, a literary critic and researcher of Kukai. He wrote that “I was impressed. I thought that your Butoh was a primordial movement in the shape of a bird” on the pamphlet of my performance. He also taught me the wonderful word “dropping out as transparent body“. At that time, philosophers and writers were still influential in society, and he also had an unique feeling, so his words made a deep impression on me.



[My Road / 私の道 <10>]
“Seven Plants Story / 七草物語”

In 1984, I participated in “Seven Plants Story” supervised by Tatsumi Hijikata. This was an event attended by male dancers of the 2nd and 3rd generation of Butoh. I still remember how painful it was as a performance that I couldn’t get into my dance. The more I struggled on the stage, the more I felt like I was stuck in a swamp, and my body turned to stone and I couldn’t move. However, I was surprised to hear that my dance was highly evaluated at a critic meeting in which overseas critics including Hijikata participated. Certainly, in Butoh, the appearance of suffering decently can be touching in heart, so it may have been an example.



[My Road / 私の道 <9>]
“Water Wing / 水の翼”

From some time ago, I started writing long poems on performance pamphlets. I was also influenced by Hölderlin and Nijinsky’s books. Why do I need such a thing in the Butoh performance pamphlet? I knew it was unnecessary, but I couldn’t stop writing. Later, when I visited Tatsumi Hijikata in his later years, Hijikata took out a bunch of pamphlets from his study and showed them to me, and asking, “This is all you, right?” “To Water Wing” was one of them. When I looked at it, there were red lines here and there by him. Then he asked, “Why do you need words as a Butoh dancer?” This is what I wanted people to ask the most.

私はいつの頃からか、公演のパンフレットに長文の詩を書くようになっていた。ヘルダーリンやニジンスキーの本にも影響された。舞踏公演のパンフレットになぜそんなものが必要なのか。不必要とわかっていたが、書かずにはいられなかった。後日、晩年の土方巽を訪ねた時、土方は一束のパンフレットを書斎から持ち出して私に見せ、「これ、全部あなたのですよね?」と聞いた。土方が私の文を保存していたのだ。なぜ? 「水の翼に」はその中の一つ。見ると、あちこちに赤線が引いてあった。そして「なぜ、舞踏家に言葉が必要なのか?」と聞かれた。それは私が人に一番質問して欲しいものだった。


[My Road / 私の道 <8>]

“Spirit / 心意気”

This is one of my favorite photos. I feel the “Spirit.” In November 1970, at the time of the university struggle, I was staying in a classroom of my university occupied by our team in a local city for the sixth year of my enrollment. At midnight, news of Yukio Mishima’s seppuku suicide was broadcast on TV. I suddenly thought that I needed to go to Tokyo and study Butoh. At that time, I was also doing theater, but I intuitively felt that this road was “It.”



[My Road / 私の道 <7>]

“Mind and Form / 心と形”

In Butoh, I became a woman, a man, an animal, and an alien. I learned that the world of the humans mind is vast and its depth is mysterious. Around this time, I saw a wonderful catch copy at a subway station, which said, “Mind seeks Form, Form forwards Mind,” which Heidegger would probably have been surprised to know. I think this Zen word explains in one word why humans are so passionate about creative activities.



[My Road / 私の道 <6>]

“Entrance / 入口”

Until the time I was around 30 years old, becoming a woman in Butoh at first was a entrance to go down to the depth of the world in the mind.



[My Road / 私の道 <5>]

“Tear / 涙”

There was a time when I could dance if I could cry. At that time, crying was  dancing to me. And the more I cried, the more sadness overflowed from the bottom of my heart, and sometimes I couldn’t tell who I was. Because I felt that it included something that wasn’t my sadness.



[My Road / 私の道<4>]

“Throwing Myself into Space / 空間に身を投げる”

I learned a lot through Butoh. I just didn’t know until then. One of them is “throwing myself into space”. It’s more like I am moving as space, rather than putting my body in space.



[My Road / 私の道 <3>]

“New Person / 新しいヒト”

I liked Jung’s theory of Anima and Animus, so I had no opposition to the androgynous expressions that were popular in Butoh. I also learned that it is not so difficult for a man to imitate a woman’s movement by how to move the joints. And makeup. There was a member doing Japanese dance and she helped my make up. Makeup really makes people “metamorphose“. There was a “new person” in the mirror that I had never seen. This is also one of me. How interesting the world is!



[My Road / 私の道 <2>]

“Creature that moves in a completely Unexpected Way
/ 思いがけない動きをする生物”

First performance. The so-called virgin recital. April 25, 1975, Asahiseimei Hall, Tokyo. I was a student in the engineering department of university and had no connection with dance, but I became a Butoh dancer. My biggest impression as a Butoh dancer was “I am a creature that moves in a completely unexpected way.” I was just surprised at my dance movements.



[My Road / 私の道 <1>]

“Power of Butoh / 舞踏の力”

My first dance photo I could keep. 23 years old at Waseda University in Tokyo. I was dancing with excitement, jumping from the second floor to the concrete ground on the first floor, but I continued my dance, I didn’t know that I had a broken toe. It was a night when I studied Butoh has such power.


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