Dear Yuko Nishikawa Sensei,
Leaping out of a traditional theater with a Hana-michi (花道), and performing at a music venue in Minami-Aoyama…It was your ‘unconventional’ style that first introduced me to you. The initial time I witnessed your dance was when I was tasked with the promotional artwork for the “Experimental Performance Vol.7: Dancing Bach and Cage” at the Minami-Aoyama MANDALA back in 2017. My exposure to Japanese traditional dance was minimal, just a few occasions really. I was pretty much a beginner, hardly able to recall when I had last watched it, and my overall understanding was quite shaky. However, I found myself deeply intrigued by the juxtaposition of avant-garde contemporary music with the traditional performing arts. While the production and direction by Mr. Mitsuru Tamatsuka were noteworthy, it was your dance itself that left a lasting impression.
One aspect that particularly struck me (though it only dawned on me recently) is your captivating ability to convey emotions without facial expressions. Your dance speaks volumes (even more eloquently than words ever could). This depth of expression (perhaps resonating with my own tendency to daydream) was a unique and refreshing experience.
Subsequently, at your dance recital “Yuko no kai,” I witnessed your mastery of the traditional stage presence in Nihon Buyo. I found myself drawn to the mysterious aura emitted by Nihon Buyo, a performing art that captivates solely through bodily movements, devoid of facial expressions or superficial gestures.
Your performances, embodying refinement and virtues such as courtesy, humility, and gratitude, truly resemble a ‘serene powerhouse.’ This elegant strength forms a striking contrast with my own artistic imagination, which often revels in stimulation and chaos. Yet, every time I witness your stage presence, I find myself savoring a rich cocktail of sensibilities, like enjoying a diverse array of liqueurs.
Yuko Sensei, while you’ve been perfecting your own art form, you’ve also worked with artists from different genres to produce new pieces and share the stage. Have these collaborations sparked new inspirations or perhaps even something like a cultural jolt? I’m keen to hear about your experiences with these artistic partnerships.
Although it might seem like we’re far apart in our artistic disciplines, maybe we’re actually closer than we think. We might find ourselves standing back-to-back, and sometimes even face-to-face, as evidenced by our recent collaboration in “Kiyo-hime Confidential” last March.
I look forward to the next time we can create something together, perhaps another ‘unconventional’ piece. By then, hopefully, my slouching will have improved at least a bit.
Yuki Hikawa (Art Director, Artist)
Dear Ms. Yuki Hikawa,
“Exquisite!”
That was my initial impression upon laying eyes on the flyer you designed for our “Dancing Bach and Cage” collaboration. It struck a remarkable balance, effectively conveying information while exuding a profound sense of artistry without being overwhelming. The design stood out as unique and truly unprecedented in the field of Nihon Buyo. Given the fusion of Bach’s timeless compositions with Cage’s avant-garde experimentation, I couldn’t help but admire the sheer talent and dedication evident in your creation.
This initial impression sparked a deep curiosity about you as an artist. When I later had the opportunity to view some of your other works as reference material, each piece captured a quintessential “This is it!” moment in its ‘thing’ and ‘event.’ More importantly, your work goes beyond still images; it evokes the entire essence of the ‘things’ and ‘events’ it depicts. In the case of flyers, they seem to act as a gateway, connecting the theme of the performance with the sensibilities of the viewers.
In response to your question about “engaging with individuals from different fields,” I’ve had similar queries from professionals in various sectors, and I certainly acknowledge the value of such interactions for an artist. Each interaction brings a wealth of stimulation. For instance, in our collaboration on the “Dancing Bach and Cage” piece, a singular theme was expressed through the diverse mediums of visual art and dance. Although I’m far from an expert in the methods and techniques of visual art, I can still appreciate the way the theme was expressed with such depth and clarity.
What particularly inspires me is your profound sense of autonomy in conveying messages to contemporary audiences. You rely solely on your own insight and expertise, a trait I find truly admirable.
When one becomes immersed in the world of Japanese traditional arts for a long period, there’s a tendency to rely on the enduring vitality of established forms. This can lead to complacency, with artists merely skimming the surface and imitating past works. Such an approach overlooks the effort and creativity required to resonate with contemporary viewers and elicit an emotional response.
The question I keep asking myself is: What should Nihon Buyo look like to meet the demands of contemporary society?
Frankly, I don’t want to see Japanese dance simply endure as a historical relic.
As you grapple with the challenge of communicating within the limitations of two-dimensional space to evoke emotions and spark creativity, it becomes clear that you and I share parallel objectives. Our goals, I realized, were closer than I initially anticipated.
Witnessing your constant engagement with contemporary society inspires me to do the same. However, as you put it so aptly, when I’m deeply immersed in traditional performing arts, it might seem like we’re “back-to-back” on the timeline.
I have no doubt that there will be many more opportunities for collaboration in the future.
Yuko Nishikawa