JOU｜ジョウ 1990年代をアメリカ、マレーシアで活動後、2000年より東京を拠点に国内外で活動中。しなやかで軽やかな動きを特徴とする踊り手であり、様々な分野の専門家との恊働、教育、地域活性などにも、積極的に取り組んでいる。2008 Seoul International Choreography Festivalにて外国人振付家特別賞受賞。公開web日記執筆中。 http://odorujou.net
'GVA Sessions 2011: OpenLab/Portes ouvertes: Vendredi 22 juillet - 17h à 20h' on GVA DANCE TRAINING
led by Christian Vogel (sound) Marlon Barrios Solano (movement)
GVA Sessions 2011: OpenLab/Portes ouvertes: Vendredi 22 juillet - 17h à 20h Time: July 22, 2011 from 5pm to 8pm Location: Stududio 44 Organized By: Christian Vogel/Marlon Barrios Solano
Vendredi 22 juillet - 17h à 20h : Portes ouvertes Après 7 jours d’explorations créatives, les Sessions 2011 ouvriront les studios 44 au public. Participants: Ashley A. Friend (USA) Aniara Rodado (France/Colombia) Fernando de Miguel (Switzerland) David Gernez (France) Hector Thami Manekhla (South Africa) Jeannette Ginslov (South Africa/Denmark) Jens Biedermann (Switzerland) JOU (Japan) Liliana Goldman Carrizo (USA/Urbana) Oscar Martin Correa (Switzerland) Melissa Ellberger (Switzerland) Mitsuaki Matsumoto (Japan) Nunzio Verdinero (Switzerland) Pablo Esbert Lilienfeld (Spain/Berlin) POL (Switzerland) Riikka Theresa Innanen (Finland) Susana Panadez Diaz (Spain) Thabiso Pule (South Africa)
GVA sessions est une initiative de GVA Dance Project/Cie Gilles Jobin Direction artistique : Gilles Jobin Direction de projet : Mélanie Rouquier, Cristian Vogel, Marlon Barrios Solano Production : GVA Dance Project/Cie Gilles Jobin - Genève Avec le soutien de : Pro Helvetia Fondation suisse pour la culture, République et Canton de Genève, Société Suisse des Auteurs, Pour-Cent Culturel Migros En collaboration avec : Pro Helvetia Cape Town, Tanzhaus Zurich, Cinéma Spoutnik Gilles Jobin bénéficie d’une convention de soutien conjoint de la Ville de Genève, de la République et Canton de Genève et de Pro Helvetia Gilles Jobin est artiste associé à Bonlieu Scène nationale, Annecy
See more details and RSVP on GVA DANCE TRAINING: http://gvadancetraining.ning.com/events/event/show?id=2631518%3AEvent%3A39204&xgi=397aA9qYrsbScH&xg_source=msg_invite_event
「dialog-sound and movement」の主旨にピッタリのシステムからのリサーチワークで、
suddenly, all participants became so busy
for their own presentation for tomorrow.
not everybody, but still many people want to do own project
according to "sound and movement"
after only one week, it seems becoming not only showing, but more like "Festival", which is great.
I had asked marlon to do improvisation session by all of us as same as we just did in the first day, but unfortunately, it never happened. because, we all became quite busy for own rehearsal. maron just could made 5 people for his improvisation, which was also nice, but what I would liked most was to do it by all of us... uhmmm.
so, anyway, I am happy to finish up my 2 video projects in which I could connect every one in this lobo.
and also me and mitsu are happy to work with christian vogel who is proposing new system include alain's table and his program for experimental "dialog- sound and movement".
what I most interesting in is, not only "what I make", but more "how I can connect to the others"
for our new future, how we are connecting each other should be changing up to new stage, I think.
since "arts" is able to be created by free mind people, it could start from our world that is called "arts"...I believe. why not?
however, trying to be organized often push us back into
our old system and traditional relationships,
I would like to try making new connective way through my work whatever I chose to do.
WS labo day2 GVAsession2011 dialog: sound and music
starting from 9:30am short presentation by each participant. it is nice to know each one's work and thoughts.
warm up led by marlon based on improvisation -as exercise and warm up. a bit cold on the floor lying down.
according to my understanding, I define "improvisation" below;
when we say"improvisation" there are 3 different types of it.
1.pure improvisation: it is totally free and open. no rule.
2.structured improvisation: based on some rules, it could be structure time, space, and/or tasks.
3.real time composition: when improvisation led by someone is not pure real improvisation, I could say that it is "real time live choreography" or "real time live composition". I think that it is good value as an exercise for people who have not use to do it.
for people who have less confidence of improvisation work, "real time composition" is very useful and fun.
for advance people, "pure improvisation" is the most fun, and it often becoming very open and deep at the same time.
Research work 2011 Rotterdam - Linking movement, sound and word to "architectural body"-
The research started as a Skype talk session between Sato Endo and JOU in the first memorial event of the late Shusaku Arakawa, Mitaka Reverse Destiny to be continued..., which took place in Tokyo, May 2011. The talk session was open to the public, in which Sato and JOU archived Arakawa’s texts from "Architectural body". The book was co-authored by Arakawa and Madeline Gins.
The research is now continued in Rotterdam. Mitsuaki Matsumoto is invited to join the work.
This time, JOU, Mitsuaki and Sato chose short paragraphs from “Architectural Body” and researched them using body movement and sound in space. Prior to / As a result of the work, they linked key words and word phrases to the original paragraphs.
13th July (Wed) 15:00-16:00 open research work @Dansateliers /studio1
4.JOU：鼻と背骨。nose and spine 5.SATO：固定された点と動く点 fixed point and moving point 6.MITSU： インプロミュージック improvisation music 7.動きを再生する→ずれ replay the movement of making sounds → gap
8.SATO：遠くと近く far and near 9.身体が踊る / 建築が踊る body dance / architecture dance 10.JOU：あるはずのものとあるつもりのもの something supposed to be, and/or something 11.MITSU：リピートされた動きは、不可能。それが遠くへ行く。it is impossible to repeat a movement. And the gap grows.
12.JOU：再生されるキャンバスは、変わり続ける a canvas as a environment keeps changing when being replayed 13.変わり続けるキャンバスは再生要素になる the change become a part of the cause for replay 14.時間を再生する→ずれ replay the time → gap 15.SATO：繰り返す意識を表象することはできない it is impossible to represent the consciousness that repeats something 16.時間の流れを逆行させる→あたかも前からそこに居たかのごとく、そこにいる reversing the flow of time→ to occupy a space as if one has been there long since 17.繰り返し始めると、どこでやめていいか、わからなくなる in the midst of repeating, I don’t know any more when to stop
18.MITSU：空間を主体としたフォーマットされないリピートは、主従が代わり、変容する repetition is unformatted as long as resonance determines the rhythm. the transformation happens through reversal of the agents: space is the subject / the active agent and the player is the object / the receptive agent.
19.音が途切れるタイミングでリピートし、間の手を入れる i repeat the sound at the moment the resonance dies. i accompany the resonance. 20.聞こえるものからリズムを作る rhythm came from what i hear 21.リピートの意識（主体）がずれてゆく main conscious shifts into minor conscious
28.MITSU：空間としてのパースペクティヴ？それとも思想（思考）としての？ perspective of space? or of thinking? 29.JOU：役割をシフトする。shifting positions/roles 30.酒と女が好きな人もいる。some people like alcohol and women 31.人は変化を自分でしか望まない。 human wants to change out of himself, not by being forced 32.SATO:基本的に、NOはない basically, there’s no "NO"
33.JOU:変化するサイズを図り続けること keep aiming for the sizes that keep transforming 34.SATO：サイズを測る人は誰？ who measures the size? 35.MITSU：結果がない。There’s no result. 36.あるいは、結果は移動中のひとつの状態。 Or result is a state during a shift
38.MITSU：生活 life 39.JOU：記憶のオーラ aura which is radiated from memory 40.SATO：ハンガー片付けようかな shall i clean up the hangers?出発じゃなくて発出
41.MITSU：楽器演奏 playing instrument 42.SATO：解釈しない。no interpretation 人間を超えいとだめでしょう。we are supposed to go beyond human (according to Arakawa) 43.JOU：空のカモメを窓の中に飛ばす let the sea gull in sky fly inside of window
45.sato:容れ物と中身が同じ container and filling is same 46.～過去にあるものの蓄積でできたものを、含みつつ、今満たしている now is full filled include what you have accumulated in past. 47.mitsu：人を主体とした時に、外的要因（人に寄って作られた）と内的要因が、１つの流れになる。 48.JOU：第３の目が満たすものを変容させる
49.Thomas:: habits & habits 50.dancer's habit / performance habit "I am dancing / performing now" (successfully)
51.daily habit - everyday stream / zone 52.what is so strong that it emerges within this zone as an expression / performance of art?
53.tanaka min* improvisation > asking questions with entire body/mind
54. JOU ：「ヘレンケラー」ということ 55. mitsu：人を主体とした時に、外的要因（人に寄って作られた）と内的要因が、１つの流れになる。 56. sato：伴奏する。 57. 伴走する。 58. 地と図は逆転するのか？ 59. Bas: I started videorecording after the start, so I have a start without the start. Looking back at the recordings questions pop up in my mind; What connects the performers? The chairs? The space and its chairs look like a third performer. But the performers are so much living their own world, that the space almost seems `duplicated`; it looks like the same space at the same time, but it might be the same space at different times, or maybe it is not the same space? Then the performance suddenly ended. I will have to look at it again, without the start…
SUKIMABITO residency resrach creation 2011 "Training Session for Exchange and Research" project by Odorujou
at charleroidanses studio
studio showing open rehearsal 2011/07/01(fri) 15:00-16:00 studio showing 2011/07/08(fri) 15:00-16:00
after the showing, there will be some "after talk" time.
project leader/ choreographer: JOU
dancers from Japan: Ayako Usui, Maiko Yamazaki
warm up yoga leader: Saori Miyazawa
guest dancers: Yoann Boyar, Domenico Giustino, Aude Cartoux, Ana iommi,Yumi and more
The idea for "SUKIMABITO residency research creation” is not residence for creation of Odorujou for the piece itself in general means. It is more social educational program through using dance langages, as "Training Session for Exchange and Research" project. It is project in which is trying to create connection of human being in our society, and at the same time, researching for multiple-perspective in movements for exploring possibilities of our future in life as dancers, as well as human being.
It will be continued for years, as keep going project as "act for japan" by Odorujou my own way.because; How we could find out our future in Japan after 3.11 will be depend on how each of us could change ways of thinking and start making own choice for life. The training exercises and new relationships in this project will help getting some ideas of it.
Especially since the Japan disaster, we realized the whole world had totally changed. I think that discovering our new attitude~ “How we see this world many different ways at the same time”, and “how we connect each other personally”, will becoming more important for our future. And the training will help us to get it.
The program is below;
1. Providing simulated experience as "professional dancer" in overseas for Japanese young dancers: since Japanese dancers have to work really bad condition in Japan, in which most of the time artist has no support for creation at all, Japanese has totally different commonsense for artsts' life. Odorujou provide the "residence and creation time" as simulated experience as "professional dancer" in Europe for Japanese dancers who never had that kind of experience. It would be able to give them different idea of life and work.
2. Shared WS: what the common sense of Workshop is that the leader in in charge of everything, as conducting, navigating, or teaching. In the Odorujou shared WS, everyone is in charge of carrying what is going on, towards to " make our body warm and be ready to move" So, the whole the time, everyone is lead by rotation. It is also one exercise for different perspective for our life.
3. Research and Study Training: by going through some training exercises, we are trying to explor another sense in movement, which senses are also able to transfer to use our life as dancers, as well as human being.
4. Showing(Performance): as a result of the training on the way of research and study, we do performance with the training methods by each end of term.
5. Discover real Japan: the guest professional local artists will discover japan by going thorough a part of the programs to share experiences with japanese dancers, that information could never get from any books or media, but by face to face,or body to body.
6. Meeting by free gig:"welcome to be free" is time for gig（improvisation live sesshon） by people whoever would like to join. It is good for meeting each other in movements = dancer's language.
special thanks for charleroidanses.to let us make it happen in 2011, as the first time of being the out of Japan.
concept: “Sukima”means “between A and B, and “Bito”means “ human” or “falks”in Japanese. This program is focus on researching and training“how we could be as human who is in between?” there are 2 point of views of what in between . As a human live in arts, we all have to survive between A and B, in which always exist a huge gap in between, often time, with no bridge. For examples, dancers and non dancers, consume and share, capitalism and arts, and Europe and Japan...we often go beyond A or B where we belong to, then it makes us lost, because when we go out of A or B, we never be able to be back to be fit 100% to A or B. Then a question is appeared ~how we could exist in “SUKIMA”?
As just human, every one lives between 20th century and 21st century by this time in which philosophy and velues are shifting somewhere else. It seems all our systems from 20th century are not working well now, the bridge from past and future is not clear for us at all. What we can do by self is to share the questions, and research it to create our ideal life and future by each one’s own ways. It is why this project started. I believe that we never be able to change the other one, but we could change our own conscious and life by self awareness and decision, that could be open for possibilities to make the world change.