traditional culture

Momoko Shiraga, Kanta Nakamori, Hideki Izumi talk about Kanagawari Classic Project 2014 "Dancing Dance at Enoshima Maude"

白神ももこ・中森貫太・泉秀樹が語る  カナガワ  リ・古典プロジェクト2014 「江の島まうで 舞をどり」

Momoko Shiraga | Momoko SHIRAGA

Choreographer. Director. Presided over by Momonga Complex. From the age of six, he learned classical ballet, but gradually began to embrace the complex of beautiful things and began to make works. At the Momonga Complex, which he presides over, he calls it a dance performance group and dances? Focus on the edge of the world through various activities. He has a good reputation for choreography and production that actively incorporates meaninglessness and waste to create a unique space. The composition and direction of the parade at the theater festival is wide-ranging.

Kanta Nakamori | Kanta NAKAMORI

Born in 1961. Graduated from Tokyo University of the Arts. Noh performer Kanze style shite. (Public interest incorporated foundation) Kamakura Nohbutai Stage Business Director. (Kosha) A member of the Kanze Kyusaikai. Studied under his late father Shozo Nakamori and Kanze Yoshiyuki. We are actively engaged in activities to promote Noh such as performances sponsored by the Kamakura Noh Stage and Noh classes for students. Designated as an important intangible cultural property, a member of the Japan Noh Theater Association. Lecturer at Keio University Shonan Fujisawa Junior and Senior High School.

* Kamakura Nohbutai Established in 1970 with the aim of promoting and popularizing the traditional Japanese culture "Nogaku" (a UNESCO world intangible cultural heritage). November 2011 Certified as a Public Interest Incorporated Foundation (Kanagawa Prefecture)

Hideki Izumi | Hideki IZUMI

Born in Kamakura. From an early age, he studied under the second generation Soke Izumi Tokuemon. Follow the path of dance. 2013 Ministry of Education, Public Interest Incorporated Association Japan Dance AssociationReceived the highest award at the joint New Year dance competitions sponsored by the association. Izumiryunihonbu's third generation Iemoto will be inherited at the performance of the shūmei show on September 6th and 7th, 2014. In addition, while studying Japanese dance, he has participated in the "21st Century Gebageba Dance Company" since 2011, and is exploring expression and body while going back and forth between Japanese dance and dance.

Interview: Masamasa Nishino

Text: Akiko Inoue

Photo: Eri Nishiyama

The second project of the "Kanagawari Classic Project", a project to "re" transmit the cultural heritage that is the "takara" of the region as a cultural art that lives in the present age, is set in Enoshima, a historical tourist destination of the sea. Will be held at. Momoko Shiraga, the president of Momonga Complex, who has a humorous choreography with a sense of humor, creates a site-specific space-time where various "dances" rooted in the prefecture gather together. This "Re-Classical Project 2014 Enoshima Maude Dance" is scheduled to be held on October 4th (Saturday), when the annual "Eno Fes" is also exciting. The richness of Kanagawa's dance and the richness of Kanagawa's dance, with the addition of the co-starring of contemporary dance and Nogaku, both of which are genres that rarely intersect in modern times, and the folk performing arts that represent the five regions of Fujisawa, Odakyu, Sagamihara, Miura, and Yokosuka. It will be a valuable opportunity to explore that possibility.

This time, Mr. Shirakami, the director, and Mr. Kanta Nakamori, a Kanze-style Noh performer who actively promotes Noh such as the management of the Kamakura Nohbutai, will also be the "21st Century Gebageba Dance Company" with the origin of being the head of Japanese dance. We interviewed three active members, Hideki Izumi, about this event, which is currently in the midst of trial and error.

What are the roots of the three people's expressions? !!

-Today's gatheringThank you for your cooperation. I'd like to talk to you about various things at once, but have you met several times with these three people?

Shirakami-san and Izumi-san have been friends since you were a student.

Shirakami: Well, I was a classmate in college. This is the second time I have met Mr. Nakamori.

Nakamori: I used to meet at the Culture Division of Kanagawa Prefecture, and I said hello at that time.

-I think that the second re-classical project "Enoshima Maude Mai Odori" is being created from scratch, so I'm really wondering what kind of event it will be. Before touching on the content, I would like to ask you to briefly introduce yourself.

Then, Mr. Shirakami, please.

Shirakami: I grew up in a normal family, but from a young age I used to go to see the works of a small theater where my father appeared, and I often went to see Takarazuka with my mother who was crazy about Takarazuka. is. When I was little, I was wondering which dance was better, Japanese dance or ballet, and I really liked ballerina's legs, so I started ballet. But when I was in college, I wanted to study production and was studying art management.

-There you met Mr. Izumi, didn't you?


Momoko Shiraga

-Mr. Izumi, did you wear Japanese dance at home and dance contemporary dance with Shirakami-san at university?

Izumi: That's right. Rather than wearing a jersey and dancing, I used to cut veneer boards used for art (laughs) I was born in Kamakura, and my house is doing Japanese dance, so I don't like or dislike it. I grew up touching it. On the way, I was disgusted, but since I was born in this house, I decided to study dancing properly, and then I started studying. Later, when I entered university and interacted with various people including Mr. Shirakami, I became keenly aware that I should become a person who can properly express Japanese dance, and I have continued to this day. It's been 10 years since I graduated from university, but from now on, I'm thinking of letting my art, Nihon-buyo, soak into my body and understanding it with my heart. Inheriting the style of Iemoto at Enoshima ShrineI was allowed to worship. Also, I am indebted to the people of Kanagawa prefecture on a daily basis, so when I heard this story, I thought that I could do something interesting. I am participating in this project with the hope that it will be an opportunity for people of various genres to come together and meet the entertainment of Kanagawa Prefecture.

-Thank you. Finally, Mr. Nakamori, please.

Nakamori: The world of Noh has been around for a long time, but we are a very new house that started this job from my father's generation. Since I was an only child, I have been playing Noh for 50 years since I was 3 years old as a successor. My dad hated the idea that Noh is something that people who know it see, and our organization has to keep the seeds in the public eye and for that. With that in mind, I chose a path that was specialized in popularization.

While receiving evacuation from people who think that Noh is a noble thing, we have been performing at schools since the 1965s. But now that is recognized, thanks to you, I have been certified as a public interest incorporated foundation, and my father himself has also received the National Person of Cultural Merit Award.

Taking over the stance of popularization, I have continued my activities so far.

I also play the leading role in more than 30 songs a year, and I am also designated as an intangible cultural property, and thankfully I have received a certain evaluation.

I have been participating in this "Re-Classical Project" since the first time, but I have been indebted to Kanagawa Prefecture for a long time, so I would like to give back.

-Thank you.

Kanta Nakamori

Classical performing arts x contemporary dance

-Then, I would like to hear from you about this project. This time, the Culture Division of Kanagawa Prefecture first approached Mr. Izumi, and I heard that Mr. Shirakami's name was raised by Mr. Izumi's introduction. Mr. Izumi is active in both Japanese dance and contemporary dance, but did you always have the consciousness of wanting to combine traditional performing arts with contemporary dance like this time?

Izumi: To put it roughly, I think that entertainment probably has no barriers, and that there is something in common at the root, so there are things that can be drawn out from each other by combining each other's expressions. I was always thinking about that.

When you hear this story, in order to bring together various entertainments, for example, if it is in the form of being announced by each group, it will not be received very much by the customers. I thought it would be, and I introduced that Mr. Shirakami, who can produce the whole thing properly, is the right person.

-Do you want to have a proper concept, not just something that is interesting?

Izumi: Or rather, I think it has to be interesting.

In other words, I think it would be difficult to present to each of the customers, those who watch Noh, those who watch dance, and those who watch folk entertainment, not just side by side, but just to chew. We are here. It's a better project if you can see not only the entertainment you are looking for but also various entertainments and make them think that it is "interesting", and if the performers also return to their pride in the entertainment they are involved in. I think it will be.

Hideki Izumi

-I see. As you said, this time it's a big family with dancers, musicians, local entertainers, and Noh performers. By the way, was it decided from the beginning that people who are doing folk entertainment from all over Kanagawa Prefecture will participate this time?

Shirakami: Well, that's the foundation, or the protagonist. At the stage of hearing the story, the Culture Division enthusiastically talked about, for example, "Yokosuka Tiger Dance", Miura's "Chakkirako", and wanting to collect a lot of local dances and entertainment. Please.

In that case, I thought that I could somehow show it as a story when such people gathered, and in the form of a national pride, "People from all over Kanagawa come to Enoshima to perform the dance of each place." I came up with a framework. And EnoshimaI thought it would be great if the customers who came to sightseeing could see the dance as they came to visit and finally dance and go home.

Among them, Mr. Nakamori was asked to play the Noh play "Enoshima" at the end, but I was forced to make a masterpiece of about 2 hours into 15 minutes …

Nakamori: Noh is basically something that can't be changed, so it's not really suitable for collaboration. For example, it wouldn't be so difficult if you cut the gap once and put something in it to divide it into the first half and the second half, but it became a rule that you can not go on the stage at the same time as something else. Therefore, it can be said that the play is completely contrary to the concept of this project. However, there is a song called "Enoshima" and the venue is also Enoshima, so this time I'm going to make it like a congratulatory message as a celebration of the final payment.

-Is there anything that is usually shortened to this extent?

Nakamori: In "Enoshima," there is a scene that tells the story of Enoshima in the first half for almost an hour. I'm going to omit that this time and only do the second half, so I think it's a little different from shortening. I happened to play it before, so I was able to take it easy, but the song "Enoshima" itself is a song that I rarely see. By the way, due to problems with the space of the stage and the level adjustment of the microphone, Hayashi will be recording this time. However, if the sound source is properly recorded in the studio like this time, I think it will be easier for customers to listen to. Normally, it is rare to dance Noh by recording, but in the future, Noh itself needs to change, soI think it will be an appeal for a new method.

-I hear that Mr. Nakamori's school has been flexible since his father's generation as a means of spreading Noh to many people. I imagine that the attempt to use this recording also has a consciousness inherited from the predecessor.

Nakamori: Actually, I have some experience before. But using a recording is based on the innate goodness of not reusing it. Basically, you don't reuse it.

Kanta Nakamori

-I see. I had a strict image of Noh, so I was surprised to hear that this recording has been devised in various ways since my father's time, such as incorporating a laser beam and using a transparent stage. rice field. He also has experience of co-starring with the Kanagawa Philharmonic Orchestra.

Do you have any image of co-starring with people in the genre called contemporary dance, including Mr. Shirakami?

Nakamori: At the time you talked to me, there was a story that it would only fit into a play within a play. For example, when it comes to exchanging lines at the same time, it's called "a play performed by a Noh actor."I can't live up to the expectations of customers who come to see Noh. But, of course, I think it's not a bad thing to do what is neat and what is arranged as a different genre. By doing so, I hope that some people will want to see full-fledged Noh. However, it will take a lot of time to do so, so if you have the opportunity to create a proper script with Mr. Shirakami over the next year or two, of course we will be happy to cooperate.

-It would be great if such a thing was born as a result of the "Re-Classical Project".

Shirakami: That's right. I wish I had the opportunity to spend more time.

Nakamori: It's not good to play with the current song, so if you can do it like a new work.

Of course, doing so may be criticized, but in the future I would like to do something that makes me happy.

-That's how it's changing with the times. By the way, Izumi-san is also teaching Japanese dance this time.

Izumi: That's right. I will also appear.

Shirakami: This time, I thought of a character called "Shirasu Five Men." Shirasu, a specialty of Enoshima, is "Shiranami Five Men"808080 "> (Note: A popular name for Kabuki performances that depict the activities of one of Japan's leading thieves), I came up with the name, but Izumi-san was one of them, and the five of them. By the way, the number "5" is also an image from Gozuryu (Note: the dragon that lived in the lake that was in Fukasawa, Kamakura City, Kanagawa Prefecture at that time) .

Izumi: When it comes to Japanese dance, you must wear a kimono. That's why costumes and floors are usually closely related. That is the same with Noh.

Nakamori: It's the same. First of all, the floor must be flat.

Izumi: But if you have a new character setting called "Shirasu Five Men" like this time, or if you have an irregular outdoor venue, you can try to make use of what you have cultivated in Japanese dance in such a situation. I would like to challenge as.

-I'm wondering what kind of movement it will be. How are the elements of Japanese dance and contemporary dance incorporated into the movement?

Izumi: I think that the movement that emerges as a metaphor, rather than as a Japanese dance, feels like a Japanese movement when the audience sees it, is more of a character. Instead of saying that the traditional movement is like this, people from various fields are gathering together, so what can be expressed with each body?I hope I can find out about that.

Following Enoshima-a sensation evoked through physical experience

-Are there any overall images of this time, or scenes that you want to push here?

Shirakami: This project is a customer's experience of visiting Enoshima and finally watching a performance at Samuel Cocking Garden, but instead of just going, watching, and returning, I went around Enoshima. I hope that the thing itself will be a memory of each person who was there. The performers will also move toward Samuel Cocking Garden, so I would like to make sure that their performance remains as a "picture" for those who see the scene.

Specifically, when customers visit the shrine from bottom to top, they learn to dance from the performers on the way, but on the final stage, they dance the Bon Odori with the parts of the dance. I can do it. That's why I hope everyone can enjoy it with the production that the customers themselves have come to dance.

View from the venue (Samuel Cocking Garden)

View from the venue (Samuel Cocking Garden)

Shirakami: Mr. Nakamori and Mr. IzumiSome people say that Japanese culture lives in every corner of their lives and is cultivated every day, but like me, even everyday Japanese culture such as bran and kimono is far from life. For those who have already done so, I wonder how much Japanese "movement" and the feelings that have been passed down from old people still remain. However, this time, the climbing road leading to Samuel Cocking Garden is the same as the road that the ancestors once walked and climbed, and following the same road as the old people is to experience the physical sensation. I thought it might lead to. Just as traditional performing arts follow the physical path of choreography that was passed down by their predecessors every day. That's why it's very important to climb the stone pavement of Enoshima, and I think it's linked to the theme of this time, "traditional performing arts." For that reason, I don't really want you to ride an esker (note: escalator) (laughs).

Also, there are still some really interesting traditional performing arts in Kanagawa prefecture, so please take a look.

Izumi: In Japan, everything from lifestyle to culture has been cut off once. However, Noh, Japanese dance, and entertainment that has been handed down to the community have been nurtured by being directly conveyed by parents and seniors in the community. If this is interrupted once, it may be possible to leave it in the video, but you can not receive it 100%. Therefore, it is precious that there is something that is transmitted from person to person, and I want you to be proud of being involved in it.

As Mr. Shirakami said, Enoshima has a long history of having a shrine, where people visit and become familiar with it. First of all, it makes sense to have Enoshima in this place all the time, and I think there is something you can feel by following it.

<strong> Nakamori: People in the old days walked here in the same way, saw the same scenery, and said that they came here.

-By the way, is there a course or schedule for this event?

Shirakami: I don't have any time restrictions, so I want you to go around freely at your own timing.

For example, when I saw the Sasara dancers wearing yukata, they asked me, "Oh, is there something today?", And the performers blended into the scenery of Enoshima. I hope you can see it as a part of the scenery.

-I hope you can experience the colorful Enoshima for one day. Then, at the end, I would like to conclude with a comment one by one.

Shirakami: This time, I learned about traditional performing arts that I didn't know at all by being involved in this project, and actually visited a rehearsal hall, etc., and there are still so many traditional performing arts left in people's lives in Kanagawa Prefecture. , I can see how it is being transmitted to young people, and I want customers to experience the same experience that surprised me. Also, because the stage is Enoshima, I think there are people who come and experience things that you can't usually see unless you go to the theater. I hope it will be a good opportunity to get to know traditional performing arts through each of these experiences.

Nakamori:I hope that this kind of opportunity will give you an opportunity to get interested in the classical culture of your own country. Also, at our individual level, there is no horizontal connection, and as if we had the opportunity to meet people like Mr. Shirakami and Mr. Izumi, we could create various communities by continuing several times. , I think that it will spread more and more and more and more possibilities will be born. And I hope that this event will be like a detonator for such movements to spread nationwide.

Izumi: I also have high expectations for the horizontal connections that Mr. Nakamori said, and the stimulus that will be returned to individuals through the involvement of multiple genres, and I hope it will be a project that can be developed in the future. I think it is. Also, I think that Kanagawa Prefecture will become a more enjoyable area if a project that introduces various cultural assets in this way becomes more visible to customers. I would like to make this Enoshima a fun project as well.

-I'm most worried about the weather, but I'm looking forward to seeing how this Enoshima will be colored because of the blessed sunny weather.

Kanta Nakamori, Momoko Shiraga, Hideki Izumi

The following events have ended.

< overview >

//magcul.net/event/kanagawa-re-traditional-entertainment-2014/ "> Kanagawa Classic Project 2014 Enoshima Enoshima Maude Dance

October 4th (Sat) Open 16:00 Start 16:30 (Scheduled to end 18:00)

Free viewing

* However, the Enoshima Samuel Cocking Garden entrance fee (200 yen for adults and 100 yen for children) is required separately.

* If the program is canceled due to stormy weather, a rainy weather program will be available at the Kanagawa Women's Center on the 5th (13:30 opening 14:00 start).

<Related project>

○ Explore the charm of Enoshima from the scenery and people depicted in Ukiyo-e!

Lecture & Workshop Enoshima Road Sketch Walk

September 20th (Sat) 13: 00-16: 30

* Postponed to 21st (Sun) in stormy weather

○ Explore the circumstances and clothes of the trip during the Edo period!

History Guided Tour Enoshima Road Time Slip

Saturday, September 27, 13: 00-16: 30

* Postponed to 28th (Sun) in stormy weather

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