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Theater/Dance

Momoko Shirakami x Yukina Sakai “A dance full of surprise and betrayal performed by two people who appear to be opposites but have something in common”

白神ももこ×酒井幸菜 「一見対照的だけれど共通項のある二人が挑む驚きと裏切りに満ちたダンス」


□Profile
Shiragami Momoko
http://www.momongacomplex.info/
Founded and led Momonga Complex in 2005. He has a reputation for his choreography and production, which actively incorporates meaninglessness and waste to create unique spaces.From April 2008 to March 2011, he performed at the Saitama Prefecture Fujimi Civic Cultural Center Kirari☆KiraLink☆, which is based in Fujimi. The company performs mainly at the same theater. He has also presented many small works at events such as Yokohama Triennale 2008 and Echigo-Tsumari Art Triennale 2009. Steep Hill Studio support artist in 2013.
 
Sakai Yukina
http://www.sakaiyukina.net/
He has a reputation for his flexible and delicate expressions, and has appeared in various works. He has been constantly presenting his own works since 2007, composing and directing unique spaces. He also engages in activities that cross the fields of music, architecture, and art, and has developed a wide range of activities such as choreographing and appearing in theater productions, music videos, and advertisements. Received the 60th Kanagawa Cultural Prize Future Award. Steep Hill Studio support artist in 2013.

 
 

A mysterious world woven by unusual and lovable people in situations that are a bit of a leap from everyday life. Momoko Shirakami, the leader of Momonga Complex, creates a stage full of humor and pathos that is both fun and full of deep human observations. On the other hand, Yukina Sakai has released solo and group works that reflect her sensitive sensibilities. He actively collaborates with musicians and artists, and has choreographed and appeared in many music videos. He is attracting attention as an up-and-coming dancer and choreographer who is active in a wide range of fields. The two are supporting artists at "Steep Hill Studio" in Oimatsu-cho, Nishi-ku, Yokohama City, and often have the opportunity to perform in Yokohama. We spoke with them before their performance of ``Stick & uS!!'' - Watatachi to Stick - in which they choreograph solo pieces for each other.
 
 
Interview & Text by Morihiko Takahashi (dance critic) / Photography by Masanobu Nishino
Cooperation: Steep Hill Studio/Nogeyama Zoo
 

- An encounter between two people -

-Please tell us your impressions of each other.
 
Shirakami : I had a glimpse of Mr. Sakai. I think it's cute (lol). If my work is on the dull side, it gives off a smart impression. I admired it. There were some near misses where we held performances in the same space one after the other, and we had the opportunity to see the works, but there was no interaction. I saw a group dance piece for the first time last year. The first half went according to the image I had in mind (for Mr. Sakai), but there was a scene in the second half that felt like a festival. There, I had a moment where it just came to me and I thought, ``I might like it,'' and ``I can talk about it!''
 
Sakai : It was ``We Are Living, Dust,'' which was performed at Noge Share (June 2012). I would like to use the 4th movement of Beethoven's ``Symphony No. 5'' and scatter the dust and vacuum it up.
 
Shirakami : I feel like we can talk, or that we have something in common, such as things we like. There's something about it that I like when I watch it move. But I don't think I can make it myself.
 
Sakai : Mr. Shirakami creates works that are heartwarming and approachable. His personality is relaxed and gives him the image of a wanderer. It has a relaxed feel.
 
Shirakami : I thought Mr. Sakai was stylish.
 
Sakai : I'm pretty clumsy. That's disgusting (lol).
 
Shirakami : That's what I thought when we started practicing together (lol). Oh? ! and!
 
Sakai : Mr. Shirakami creates works with an atmosphere that he cannot create. He has a solid foundation and is able to choreograph his dance well.
 
Momonga Complex has the catchphrase "dance performance-like", and I think they are able to choreograph with great precision.
 
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“We are alive, we are dust” @Nogeshare 2012
Photo: Ryuichiro SUZUKI

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<span style="color: #808080;" "Night in June" @ST spot 2010 photo: Kenki IIDA
 

- Interest and motivation in creation -

-What do you usually keep in mind when choreographing?
 
Sakai : Even though I call it choreography, I have no interest or particularity in creating the form of movement. I create stage works that are conscious of the space in which they are performed, and works that are conscious of space, not out of an interest in the body itself. I create works with an interest in how people look and how bodies and things are arranged spatially. I'm interested in the moment when a story or emotion emerges. Rather than converting the movement of the body and the energy from within into choreography, it feels more like creating a landscape painting with drawings.
My own aesthetic is how to arrange the body, light, and sound to fit the atmosphere of the space and bring out its potential. Rather than trying to convey a big message, I create beautiful pictures that I hope will create a moment that will resonate with the viewer.
I create stage works that are conscious of the space in which they are performed, and works that are conscious of space, not out of an interest in the body itself. I create works with an interest in how people look and how bodies and things are arranged spatially.
 
―Certainly, even though it is called a choreograph, there are aspects of it that go beyond just ``choreographing.''
 
Sakai : In my mind, arranging people, even if there are no people, just arranging the cups is choreography and dance. I don't think many people would say this, but...
 
-What about you, Shirakami-san?
 
Shirakami : I can't dance...or rather, I'm not the type of person who can dance when music comes on, or when someone says, "Dance!" When people say, "You're dancing, aren't you? Dance!", you're like, "No, I don't dance..." (lol). That's why I pay close attention to the motivation and trigger for starting to dance. There may be times when the performance requires the dancer to suddenly dance, but even in that case, create something like a prelude. I'm thinking of something to start dancing.
Also, it creates an opening for people, or rather it removes something like armor. Be consistent. I want to be in a state where there is nothing to protect me. I'm very particular about how I dance from the moment I finally get on stage and realize I'm not wearing armor, or I'm trying to look cool but I realize I'm not wearing pants.
 
Sakai : It may seem gloomy at first glance, but it's shockingly serious.
 
Shirakami : It's like he's willing to become a duck (lol). It's like I'm about to die.
 
Sakai : I want to become an arrow duck too!
 
Shirakami : (Rehearsal begins) It's already starting to hit me (lol).
 
SIRAGA_SAKAI_6

- Choreography and being choreographed -

―This time we will be choreographing solos for each other, but are you different as a choreographer and as a dancer?
 
Shirakami : The desires of a dancer and the desires of a director are completely different. I appear in my own works, but I have the dilemma that if I were an outside dancer, I might not want to appear.
Lately, I've been feeling more and more like, ``If I want to dance, I should be able to dance.'' Until recently, I didn't use ballet choreography. I like ballet, but from a director's perspective, I don't want to see a dancer perform ballet-like movements. It was considered taboo. When I appear in someone else's work, I take on the challenge stoically (I have appeared in Maki Tabata's ``Tabama Project'', Yuta Ishikawa's ``egMILK'', etc.).
 
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Momonga Complex “Secrets, vague memories.” @ Yamate Goethe Theater 2013 Photo: Kitagawa Sisters
 
Sakai : I'm totally different too. There's a difference between when I'm given a project and I have to think about the choreography and when I create my own work. There's a difference between dancing my own solo and dancing choreographed by a choreographer. When I dance my own solo, I don't do detailed choreography because it's often a live performance where I improvise with the music. We discuss the general flow and structure of the dance, and in my case, I decide on a rule that I won't do this. I start dancing by feeling something from the environment, such as the sound at that moment or the distance from the audience. It's a feeling of doing it with the determination to compete and stand up with your body, which comes out when you tune into the situation from the inside to the outside.
It's fun to receive choreography from a choreographer and dance. It's interesting to break down the choreography in your own way and say something like, ``That's what happens because Yukina Sakai dances!'' As long as I'm a choreographer who appreciates ``something'' that only I can create, I can have fun doing it.
 
SIRAGA_SAKAI_2
 
-Please tell us how you felt after rehearsals started.
 
Shirakami : (both choreographing and being choreographed) by myself. It's like a mirror. I talk to Mr. Sakai every time. I have time to reevaluate myself, input what I'm good at, the choices I usually make, and output more.
Choreographers are pouring out all the things that go into their hobbies. When I make it myself, I worry about the quantity, but I don't worry about that and just give it my all and have the dancers perform.
 
Sakai : When I received the offer, I thought, ``I want to choreograph Shirakami-san who doesn't feel relieved!'' (lol). At first, I was just thinking about attracting people to my strengths. However, as I tried various things while watching Shirakami-san's body in the rehearsal room, I realized that it would be a good idea to create the kind of choreography and tone that could be achieved by having Shirakami-san dance.
I feel like choreographer Sakai will be able to show a different side of himself, saying, ``I can do choreography like this!'' As a dancer, I hope Shirakami-san can bring out a new side of me.
 
―What exactly do you mean when you say, “I feel like I can bring out a new side as a choreographer”?
 
Sakai : Mr. Shirakami has an exquisite sense of pause, so if you give him even the slightest chance, he'll end up with a ``Shirakami style.'' I want to be careful about how to give direction, how to create gaps, while trying not to leave any gaps. Usually, it's more fun to style something that suits the person, but if I did that this time, I would be drawn to the dancer because she has such a strong personality and appearance.
In the end, I ended up saying, ``That was the usual Shirakami-san, right?'' Even though it was interesting, as a choreographer, it was a little frustrating. Our goal is to say, ``It was Shirakami-san that I had never seen before, and it was also an interesting piece of work.''
 
SIRAGA_SAKAI_4
 
-How do you feel about Mr. Shirakami?
 
Shirakami : I hope I can bring out new sides as both a choreographer and a dancer. When we were talking about it while making it, we found ourselves saying, ``I've never done this before...'' I'm trying. Mr. Sakai's armor was largely removed (lol). I'm the type of person who will fall to hell, so I have to fall to the very bottom (lol).
As for Mr. Sakai, I want him to be in a state where he doesn't even realize he's already fallen into hell. I'm a smart person, so I can sense the hell state and make it happen, so I think, ``Maybe I'm pretty good!'' But in reality, I bring it to the point where I think ``I'm at rock bottom.'' ( lol).
 
Sakai : I think I'm cool because I'm quite misinformed (lol).
 

― What is the meaning behind the “stick”? -

―Where does the name of the performance “Stick & uS!!” come from?
 
Shirakami : I wanted something like Stick & uS!! (in a fast and energetic tone). rod! Something like that (lol). I feel like I want some spirit and spirit. good! That's what it feels like (lol).
 
Sakai : It was decided at a meeting between the two of us and we reported after the fact (lol).
 
-You actually use a stick, right?
 
Sakai : Yes. Also, as Mr. (Katsuhiro) Ohira of ST Spot Yokohama wrote on the flyer, the theme is "to seek motivation from outside." Weave a story using not only what comes from within, but also something from outside. Being choreographed is also an external stimulus. Although I think the characters are different from Shirakami-san, we do have a lot in common, such as using a lot of props.
There was a scene in a piece Shirakami performed at the Yamate Goethe Theater (``Secrets, too, vague memories'', March 2013) in which dancers run with sticks in hand. I also have a work that includes a scene where a stick is dragged (``Pearl of Deafness/Night in June'', June 2010, Yokohama Creative City Center). I think they both used sticks (lol). (Through the use of sticks), I think it will be interesting for the audience to see the different interpretations I have as a choreographer.
 
chiri02 “Pearl of Hearing Loss” @YCC 2010 photo: Kenki IIDA

-Be conscious of space-

-This performance is sponsored by ST Spot Yokohama Steep Slope Studio and co-sponsored by Yokohama City, and is part of a project called "SS Simple Stories." The premise is that it will be performed again with minimal (simple) technical work. In October, it will be performed at the Naka Studio of the partner KAAT Kanagawa Arts Theater, and a repeat performance is scheduled for February next year at ST Spot Yokohama.
 
Sakai : The scale of the venue is different.
 
Shirakami : It can no longer fit into ST...
 
Sakai : We're both conscious of that when we're making it. I was somehow predicting that I would start in a large place and move on to a small place.
 
-Although the styles of both of you are different, I get the impression that you are always aware of the concept of space when creating your works. I think they are creating it with a clear image in mind.
 
Sakai : I can't create unless I have a concrete image of the space.
 
Shirakami : I have an image of something like, ``It would be like this if it were there,'' ``I want it to be here,'' or ``This song would be similar.''
 
Sakai : That's right. The way the music resonates depends on the size of the space, and in this size the song may come out too bright. It's a balance.
 
You can use this on KAAT, but on ST it's a little... There is also a reverse pattern.
 
SIRAGA_SAKAI_7
 

- The scariest place is the theater -

-Kanagawa has many art spots such as wonderful museums. I often work in such spaces. I don't know if this work can be performed outside of theaters and halls, but is there a big difference between dancing and creating in a theater and not?
 
Sakai : The sense of distance is different. If it's a stage show, it depends on how it's used, but basically it's a face-to-face ceremony. At events, I suddenly find myself dancing in front of a crowd or in a situation where everyone can see me. I feel eyes on me from various places. I have many opportunities to dance other than on stage, so I'm good at it, or rather I'm pretty good at it. However, when it comes to choreography, it's a different story.
 
Shirakami : As a director, I don't have a rebellious spirit when it comes to spaces that are not theaters, but I'm the type of person who takes advantage of them. The walls are green, there are pillars, and there are mosquitoes outside...and things like that are burning. But when it comes to actually dancing, I'm scared of theaters.
 
Sakai : There's no escape...
 
Shirakami : Face-to-face theater is the scariest. You can get lost outside. On the other hand, I'm good at the scariest places.
 
- KAAT's middle studio is a large space, so whether you're choreographing a solo or being choreographed, you have to face that space. You might be cornered.
 
Shirakami : I can get chased quite a bit.
 
Sakai : I'm not worried about the dance pieces because I'm entrusting myself to Mr. Shirakami's direction. As a choreographer, how do you create something with just your body? It looks like it will be a simple and original creation that takes care of the person wearing it, the lighting, and the music. body! It's not just a question of how to create a space that is fragrant.
 
 

-A work full of fresh surprises that reveals the personalities of these two people-

-Finally, please give us a message and aspirations for our customers.
 
Sakai : I hope you enjoy the differences between the two works.
 
Shirakami : Even if people don't know the two of them, I want them to feel like, ``Oh, I can understand their personalities'' and ``I can understand their personalities.'' I also hope that people find it genuinely interesting. We are doing everything we can to make this happen, so please come and see us!
 
Sakai : It would be great if we could show people who have seen the two of them work or dance in a way that would be a fresh surprise and betrayal. We are more conscious than ever to make sure that even those who are watching it for the first time can enjoy it. I will do my best to make sure that those who came along because they were attracted to the project leave with the impression that it was interesting! !
 
SIRAGA_SAKAI_1

 
We went to a place recommended by both of us! Editor's note
After the interview, Magcal asked them about their favorite places in Kanagawa Prefecture and their recommended shops. The first thing that the two of us have in common is ``nature.'' Mr. Sakai loves Chigasaki, and Mr. Shirakami loves the Miura coast. Mr. Sakai is from Chigasaki, and he recommended Chigasaki, which has a lot of nature such as Satoyama Park.
Satoyama Park is a park that was created to protect the landscape called Satoyama, where trees surround Yatoda and people's lives coexist with nature.Many people visit the park to enjoy nature, which makes use of the natural scenery. I did. Just taking a walk and enjoying nature is a great way to refresh yourself.
Personally, I was interested in the 70m "wind slide", but since it was very popular with children, the good adult Magcal staff members refrained from going there...
 
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The park, which is full of nature, was really relaxing.
□Chigasaki Satoyama Park
http://www.kanagawa-park.or.jp/satoyama/guide.html
 
 
Mr. Shirakami recommended ``Kappo Ryokan Tachibana'', a restaurant specializing in tuna, which is located near Misakiko Station, where I stopped by when I went to see the sea on the Miura coast.
Shirakami-san's recommendation is the "Kama no Tatsuta-age (840 yen including tax)." The moment you put the generous amount of fat in your mouth, the rich flavor of the meat fills your mouth.It's a great dish with no odor and just the right amount of seasoning! Then, with the kindness of the company president, I received the fried tuna with skin (577 yen including tax), and even though it's called tuna skin, it's the skin on the inside, not the outside, so it's chewy and edible. The feeling is no longer skin, but meat! It was something I had never eaten before! The people at the store are also very friendly.
Be sure to stop by when you visit Misaki Port.
 
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From the left in the photo: "Fried Kama Tatsuta" and "Fried Fried Chicken with Skin"
 
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The building has five floors!
 
□Tuna specialty restaurant “Kappo Ryokan Tachibana”
http://www7.ocn.ne.jp/~tacibana/
5-1-16 Misaki, Miura City, Kanagawa Prefecture 238-0243
TEL: 046-881-2158
FAX: 046-881-2159

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