​

I imagine, many people feel that they cannot casually speak out against discriminatory or judgmental behavior.
When confronting such topics, the first step is to shed off a self-objectifying attitude and ground our positionalities in order to have a voice. This is a traditional approach that we adopt when engaging with various problems. And what we have done here is no exception. We asked each dancer to define their point of reference. In other words, it had to be that person.

At the same time, dancers are replaceable since it is a work of dance. “Masterpieces” have been handed down from generation to generation based on the premise that they are interchangeable. They are built on the premise that “choreography” that is specific to dance is a memory device. In contrast to the previous point, we have to admit that dancers are interchangeable.

When the dance confronts a subject through the asymmetrical act of “choreographing,” can we not move toward a “mode of communication in an asymmetrical relationship” by remembering via the dancer’s body?

This is not a work of protest. I believe we are at a point where we cannot innocently celebrate how protesting can bring positive consequences to society

Remembering our own memories. I am trying to think about this in relation to “choreography” that is specific to dance as I approach the creative process.

Haruto Niwa (Dramaturge)

​

​