Hiroichi Tatekata's Danceable LIFE Vol.3
For dancers, their body is their most valuable asset!
Hirokazu Tatekata (Dancer/Choreographer)
"Hoshikuzu Pump," which began in September, has unfortunately had to be discontinued due to injury. I sincerely apologize for the worry and inconvenience this has caused everyone.
Thanks to my dedicated rehabilitation, my injury is recovering well. I'm working hard to be in good health for THE CONVOY SHOW in December, so please look forward to it!
I took this opportunity to reflect on my approach to developing my body as a dancer.
I currently train twice a week with a personal trainer. However, this is a habit I only developed in my late 30s; I didn't put in much effort when I was younger. I was very skinny, and even though it was a source of insecurity for me, I convinced myself that "it's just my body type and I can't build muscle, so there's nothing I can do about it." I had a lot of muscle mass for my height, so I suffered a lot of injuries, but in my 20s, even if I was tired, I would recover after a good night's sleep, and my injuries healed quickly. It's a shame, considering that a dancer's body is their most valuable asset.
I met my current trainer when I was 37 years old.
"In its current state, the engine is too small; in other words, there isn't enough working muscle mass, so it won't be able to perform well if things continue like this."
I remember being told that. Just like with a car, if you have a bigger engine and more power to spare, you can perform more refined and precise movements. I was convinced by that idea, so I immediately had a training program created and started training.
However, it was tough at first. Just doing the same monotonous training repeatedly didn't produce any visible results or changes. That situation started to change after about three months. When my physique started to change visibly, I started to enjoy it, and I was freed from the lower back pain and numbness in my fingers that had been bothering me on a daily basis, so my life became easier.
And most importantly, I stopped getting injured. I truly realized what it means to train your body.
Since then, I've always considered the muscle strength and physical fitness required for the next production and followed a detailed training regimen. What's required differs depending on whether it's a hard dance performance or a more acting-focused one.
Furthermore, when injuries like this occur, it's crucial to approach the situation with a recovery schedule in mind. Surprisingly, in this case, rehabilitation began the day after the surgery. Of course, the injured right leg isn't moved immediately, but stimulating the muscles in the left leg helps to prevent some degree of muscle atrophy in the right leg. This is because the body instinctively tries to maintain balance between both legs, which is quite amazing how the human body works.
Meeting a trainer who understands my body and whom I can trust has given me more confidence on stage, and my performance has improved. I often hear that the mind and body are connected, and that's absolutely true. For example, when I sprained my ankle, my trainer told me, "I'll tape it up properly, so it'll be fine," which allowed me to relax and concentrate on dancing.
My goal is to continue standing on stage as a powerful performer, maintaining a body and mind brimming with energy and presence, no matter my age. To achieve this, I believe I must not neglect maintenance and must seriously consider my own physical condition.
Filming assistance: Don Giovanni
https://tabelog.com/tokyo/A1317/A131705/13154500/
