Hiroichi Tategata's Danceable LIFE Vol.6

The work of ``choreography'' allows you to see a world different from your own.
Hiroichi Tategata (actor, dancer, choreographer)

At some point, I started getting more involved in choreography as part of my job. Starting with staging reading plays, he has also taken on the challenge of musicals. Last year, I was also in charge of the choreography for "Kiki's Delivery Service."
When you provide choreography to others, you may see a world that is different from what you had in mind. By giving shape to the world I imagined with a body different from mine, landscapes I never imagined were born. It's a very interesting experience.
On the other hand, it's quite difficult to choreograph for yourself. Because you know your limits, everything falls within the expected range and becomes boring. I find it fun to think about how to arrange the choreography given to me by others and dance in my own way. That's why I often ask someone I trust to choreograph the choreography for me, even if it's a small scene.

I have been participating in artistic swimming (formerly known as synchronized swimming) choreography for about four years now. Of course, it's not like I'm going to go into the water and give instructions. I think about the overall structure and theme, choose the songs, and choreograph the movements on land and upper body in the water. Head coach Masayo Imura thinks about the movement of the legs, so it's a collaborative effort.
You might feel like they have something in common, ``dancing,'' but I was confused when they first approached me because they work in completely different industries. However, Mr. Imura said, ``It's interesting because I'm not from the industry and have no knowledge at all.'' If you get caught up in common sense, you won't be able to come up with anything that stands out, so I said, ``Please say something crazy.'' I felt that it was a great idea.

Artistic swimming, as the name suggests, is a sport that requires a high level of artistry. What was expected of me was mainly to teach them ``smart expressiveness.'' Foreign players have a strong appeal, and from the moment they appear, they give off an aura of ``I'm the best in the world.'' I was asked to teach Japanese athletes about such expressiveness and ``smartness''. I'm not a skilled dancer, but I'm proud of the fact that I've honed my passion for the work, how I get involved, and my ability to concentrate. I think Mr. Imura had his eye on that.

I think the important thing in choreography is to bring out the best in the person. Since I was asked to do so, I can develop the “Tategata World,” but what I am actually expressing is a body that is different from mine. I think it's important to imagine what it would be like if that person embodies my world, rather than imposing it unilaterally.
Having said that, I think it was difficult for both of us at first because we didn't have a common language with the players. In order for people to understand my idea of ``expression,'' I tried changing my hands, changing my items, and choosing various words to convey my message. There are many abstract expressions, so a wide range of experience is required to understand each other. Mr. Imura recommends the players to watch a variety of things, including dance, theatrical performances, kabuki, music, and art. In fact, Mr. Imura has a wide range of experience in art, so it was a wonderful experience for me to exchange opinions while choreographing.
Four years later, it seems that the players have become interested in various parts of the world and are going to see many different things. I feel that we are now able to have a common language.
At the French Open held in March of this year, Yukiko Inui, for whom I was in charge of choreography, won the solo FR. I feel that we are on a good path heading into the 2020 Tokyo Games.