Deleted figures, continuing forms
NYDC Trans-Space- Explosion of emotion & transformation of the world-  
Written by Tetsuya Miyata
2011 NYDC at Move Machiya in Tokyo.     Dancers:  Jurandi Silva   Misuzu Hara    
                                                                             Kasei Inoue   Wakako Ishida
                                                                                                             Photo by Youichi Tsukata
ⓒNYDC/New York Dance Creators             
Deleted figures, continuing forms
-NYDC Trans-Space- Explosion of emotion & transformation of the world-  
Written by Tetsuya Miyata
  New York Dance Creators (NYDC), active in the forefront of the dance scene in NY, has been developing the original visual dance world seeking unique physical expressions based on ballet techniques. The original scores are more like ‘visual poems’ than something just to tell a story as it pursues approaches to space and the deep psyche. The audience may possibly enter their own imaginary world by confronting the dance being performed right in front of them. They were directed and choreographed by Wakako Ishida and Kasei Inoue who studied modern dance under Merce Cunningham, classical ballet under Greg King and Ilya Gaft. (See the brochure.)

  This time, they performed 4 pieces of their art works: ‘Trans-Space Explosion of emotion & transformation of the world’ (the first performance), ‘Stars & Lakes’ (2006), ‘Fallen Angel’ (2007),  ‘In-Formation’  (2009, the first performance in NY) Here, let me talk about ‘Trans-Space’.

  The hungers covered with transparent plastic sheets were hung from 3 points of the ceiling. White linoleum on the floor and bright red curtains on the wall behind. Arpeggio of the guitar resounded and the stage was lit up all over. It continued for about 5 minutes, and then a dark change. While electronic sound ringing through the hall, Inoue appeared on the stage crawling and started shaking his body. He lay on his back. His hands and feet swung in the air. Then he stood up and started moving around the stage. During his 3rd round, Ishida joined and showed stiff posing. They repeated having contacts and left the stage. Silva, who put on stockings on the upper half of the body, kept doing dance steps. Inoue and Ishida appeared again. Silva went up and down the stairs among the audience.  The curtains were opened and Silva found a stepladder on the stage and climbed it up. Then, a dark change. It was 40- minutes performance.

  The motions were slow and heavy, and they gave an impression of distress. ‘In this work, movements will show not only passions in our inner hearts which cannot be expressed with words, but also the world which is changing continuously.’ (Quoted from the brochure.) They created a beauty of transfiguration in real time as well as expressed emotions in dance.

  The characteristic of NYDC is that everything is natural and thorough in their works. It must be said that their brilliant techniques make it possible for them to perform smooth movements. It was truly ‘a visual poem.’ Only the forms continued and figures did not show up at all.  In order to entrust everything to the audience, performers delete themselves. 

  However, NYDC does expose emotions. The most unique & strong point of NYDC is that it doesn’t cause estrangement.

  ‘Visual forms are continuously changing without any pause and the world is colored again with the memories of souls engraved in the passage of time.’ (from the choreography note) It is pretty unique that NYDC does not loose their oriental character though their work base is placed in NY. Let’s keep our eyes on them.
New York Dance Creatorsの今ー
A king who abdicated his authority ? The King's Castle
New York Dance Creators of today
New York Dance Creators is a dance company established in 1999. Its principle members were Wakako Ishida and Kasei Inoue who both had been playing active roles in NY dance scenes. Based on their classic ballet techniques, seeking a variety of possibilities in body movement, they have created the visual dance world of their own as collaborations with up-and-coming dance artists in NY from all over the world.
Their performances were played at some unusual spaces such as live houses, museums, closed-down school buildings, outside, etc as well as at theaters in NY. Also, in ancient cities like Paris and Rome, their original works considering the aesthetic sceneries were performed at historic buildings and remains. These days, they work as a duo in Japan, as well.
Dancers in NY are well versed in stage arts, too. Their movements, intelligence, everything is sophisticated and ordinary stage settings or costumes are not to be seen. And their 3 pieces of works for this performance clearly reflect them.
In "Sky, fine and clear", they showed broad distinction of who goes up to the sky and who flies on the ground by moving around 10 flatbeds. In "NAMES", on the vacant stage, 3 of them freely fly sideways only with the sound of their clapping hands or clicking their fingers. Simplicity and complexity are clearly differentiated.
Here, I would like to give a special note to "The King's Castle". On the stage, 3 big frames and 7 spheres of different sizes were hung. On the floor, a phrase 'Volume = length × height' is written in a circular pattern. 2 chairs, 1 table and 2 balls are placed at random. The quality of this installation is very high. It is like an ordinary room, not sublime like an art. However, all the fantasies you would find in Disney Land were totally eliminated. Smoke hovering on the stage tells the beginning of the performance.  
When a dark change is over, here's Jurandi Da Silva sitting on the chair showing his back. Kasei and Wakako keep dancing the same choreography in different tempos as if putting on a dance to the electronic music.
They three dance so smoothly like the gap between singing and recitation. But there are incredible techniques hidden behind the natural transitions.  Actions such as to put a sphere on a chair and put them down or to sit on a chair were frequently performed. Traditionally it has been considered that performances occur after leaving methods behind. However, the unique world-view of NYDC is supported by their idea and methodology 'Methods lead actions' which is completely different from typical contemporary dance.
Dark changes and clears are repeated. India's old palaces, plaster figures, portraits and symbolic photos are projected. Suddenly Kasei appears drawing on a cloak and starts playing the electric guitar.
Totally unpredictable story lines, Wakako's symbolic posing and Silva's continuous dancing, they all seem to be telling us 'the way of being' of this piece, not a 'meaning'.
So many artists have challenged the intermediate feeling of the East and the West in the past. The experience of deja vu arising from their performance might be the evidence that NYDC doesn't have opposing concept of the East vs the West and it understands but still keeps searching empirical, not universal, possibilities of human.
The performance ends suddenly when Silva cuts off the hung sphere. It symbolizes that the performance is still in the middle of the journey.
Looking forward to another stage of "The King's Castle".
Sep 14, 2014.
Sai-no-Kuni Saitama Arts Theater
今回上演された三つの作品は、それを明らかにしている。「Sky, fine and clear」は 10台の平台を二人が行き来し、天に登る者と地を飛ぶ者の明らかな差異を示した。「NAMES」においては更地の舞台に三者が発するクラッピング音のみで横跳びする。簡素と複雑が明確に分離される。
 ここで記したいのは、「The King's Castle」である。舞台には大きな三つの木枠、大小さまざまな7つの球体が吊るされ、床にはVolume=length × height」の文字が円状に描かれ、椅子が2脚、机が1台、ボールが2つ無造作に置かれている。このインスタレーションのレベルが非常に高い。美術という崇高な意味でもなく、日常的な部屋でありながらも、ディズニーランドのような夢は排除している。スモークが焚かれると開演する。
三者のダンスは歌と朗読の間のように滞りなく行われるのだが、その自然な流れに途轍もないテクニックが込められている。球体を椅子に乗せて下ろす、椅子に座るという行為も多く含まれる。従来、パフォーマンスはメソッドを捨てた所から立ち上がってくるのだが、メソッドから行為が行われるという、コンテンポラリーダンスとは全く異なる意識と方法論がNYDC 独自の世界観を支える。
吊るされた球体の糸がシルヴァによって断ち切られると、公演は突如、終了する。それは公演がまだ旅の道中であることを示している。「The King's Castle」の更なる再演が待ち遠しい。
2014年9月14日 彩の国さいたま芸術劇場小ホール