Dear Ms. Yuko Nishikawa,
Recently, at a friend’s invitation, I had the pleasure of visiting Kamakura, where we delved into the city’s historical allure and observed the red banner of the Taira clan at a temple. Legend has it that this banner belonged to the last general of the Taira clan, who was brought to Kamakura following their defeat in the Genpei War. Unlike the vivid red commonly seen in Kabuki performances, this ancient fabric has withstood the test of time, leaving only faint remnants of red on a cloth that has turned gray.
It is said that Yoritomo, the leader of the victorious Minamoto clan, met with the last remaining Taira general at his residence. However, Yoritomo kept his distance, remaining concealed behind a bamboo screen, rendering himself unseen by the Taira general. For those interested, the site of Yoritomo’s former residence is now the location of Seisen Elementary School. Despite Yoritomo’s prominence as the foremost leader of his era, the vastness of his estate remains awe-inspiring.
Guided by my friend, who grew up in Kamakura, I was treated to a wealth of insights during our stroll. For instance, I learned that one of the houses we passed was once home to the younger brother of Puyi, the last emperor of China. Exploring Kamakura, where the unchanging townscape intertwines with layers of history, was a truly enriching experience.
Returning to the main topic, this autumn, you, Yuko Sensei, will be launching a new Japanese dance performance titled “Yuu no Kai,” which will feature a tea ceremony and readings. I am honored to be entrusted with the planning and production of this event. While I have previously worked on projects combining Nihon Buyo with readings, this will be my first experience incorporating a tea ceremony. With this in mind, I am committed to undertaking this task with the utmost respect and gratitude, reflecting on the profound connections that have brought us together and taking joy in the process.
Guests will have the opportunity to enjoy Nihon Buyo performed by Yuko Sensei in a traditional tatami room, a reading and discussion by Eisuke Sasai on The Book of Tea, music by Kiyohito Tomiyama, and a beginner-friendly tea ceremony. Our goal is to create a multifaceted program that immerses participants in the richness of Japanese culture from various perspectives.
The event will be held in a secluded tea house in Tokyo, a space that is typically inaccessible to the public. As we move forward with this project, I hope that “Yuu no Kai” will serve as a cultural bridge between the past and the future, offering participants a moment of spiritual transcendence through art. I am wholeheartedly committed to this endeavor, aiming to create a program that honors the timeless traditions we observed during our walk in Kamakura while embracing the idea that change is essential for preservation.
I am genuinely excited to collaborate with Yuko Sensei and everyone involved in bringing this new and unique experimental space, “Yuu no Kai,” to life!
Mitsuru Tamatsuka (Tama Pro)
Dear Mr. Mitsuru Tamatsuka,
Thank you for your letter. I hope that “Yuu no Kai”, which I promised to hold at least six times, will serve as a stepping stone for the future of Nihon Buyo. As you pointed out, it is crucial to thoughtfully determine which aspects of traditional culture should be preserved and which should evolve to keep pace with the changing times. To strike this balance and effectively implement it, new initiatives are indeed necessary.
I was once asked a thought-provoking question by Mr. Imai of media CHAPA: “Why is art necessary only for humans?” This profound inquiry invites exploration across fields from biology to philosophy. I believe the question was directed at someone like me, who advocates and practices art, to reflect on my own raison d’être.
In the context of dance, a performer’s ability—or inability—to express themselves physically is something most people can perceive, regardless of their familiarity with the art form. Perhaps there exists a universal value system that appreciates beauty or grace in movement and gestures. Building on this foundation, the real challenge lies in how to communicate with the audience. I strive to be a medium of expression, aiming to create a stage where each spectator can immerse themselves in a momentary world of fiction, evoking direct empathy and extending stories that resonate within their hearts.
As you may already know, a Nihon Buyo performance is a form of total art, with the stage itself serving as one of its critical elements. However, theaters familiar to Nihon Buyo audiences—such as The National Theatre of Japan, The Nihonbashi Theater, and Kioi Hall—are either closing one after another or undergoing renovations. As these venues diminish, there will inevitably be a temporary reduction in performance opportunities. Yet, turning this challenge into an opportunity, we launched “Yuu no Kai” during this period, aiming to reevaluate and explore the performance space, program content, and the sense of distance with the audience through a more hands-on approach. This project could only come to fruition with the strong support of people like Mr. Takahashi, Mr. Shimizu, Ms. Ito, and you, Mr. Tamatsuka. I extend my deepest gratitude to all of you.
With the hope that the venue of our event will inspire contemplation, much like Kamakura does for its visitors, I humbly conclude this note.
Yuko Nishikawa