Currently we are in the rehearsals and
creation of the rite of spring. This is a very interesting and complicated
piece of music.
Actually I previously danced a version of Rite of Spring by Mark Baldwin. This happen to be with Yuka-san(ex noism dancer), many years ago.
It is very interesting to then come back to
the music and feel the different interpretations.
It is fun to be working intensely with the
music. At the moment I am but a small
part in the big picture. I am curious as to how that picture will be. I am also
curious about what the audience will get from the piece. I really have no idea
at the moment from my perspective. Being so inside a piece can create this
Also we will do Frates III, which I have
some sense of as we have begun learning some material but it will also be new.
Whilst others were in Frates I before, I was not. I hope for the best.
Ultimately this is a strange time in the
world. Being from the UK, seeing people, friends, family and colleagues in
lockdown whilst I am on the other side of the world still working has been
melancholic. It has made me question a lot about the arts but seeing so much
being shared online so generously has warmed my heart.
Now during this time, it is more important than ever to support the arts. A county’s culture, both past and future is heavily shaped by art and performance that its people create. So if the work of Noism is to continue it needs the support of its county and its fellow countrymen. As dancers, performers and artists our goal is to bring our creations to the community and to share our passion with the public. The arts are like a family that welcomes everyone and I hope Noism will some day be the company that can bring dance and the community together. When the COVID-19 pandemic passes it will be the arts that will reunite everyone, so to everyone please support the arts, and don’t let it die now. Kindest Regards
I believe that everyone in world now is
very exhausted recently. Because of coronavirus, everything was cancelled or
suspended suddenly. Just being worried about our life or future. Hope
everything will get better as soon as possible. I’m looking forward to everyone
can come to watch our show.
From the start of the year of 2020, we at Noism have been focused on the creation of our new performance, ‘the rite of spring’. There have been many versions and variations of this piece created and danced by many companies all over the world, and I have enjoyed my experience thus far of this iconic score of music. Last season I performed in “La bayadere” and “Carmen”, both of which are full Length narrative works that were created previously involving the whole of the Noism family, dancers from Noism1 and Noism2. It has been an enjoyable experience being part of a new creation process together with Noism1 and the newly formed Noism0. While not necessarily a straightforward narrative work like the previously mentioned works, ‘the rite of spring’ strikes an intriguing balance between an abstract narrative and an interpretation of the music by Stravinsky. We as a company are privileged to have this long period of time to create this work, and in this period of uncertainty the whole world is experiencing right now due to the coronavirus, we are very privileged to be able to continue dancing, crafting and creating as we are now.
次の『夏の名残のバラ』では、「庭の千草（Last Rose of Summer）」のメロディーが聞こえはじめると、井関佐和子がメークする映像がスクリーンいっぱいに広がる。髪を整え、衣裳を身につけ、からだをほぐしてから、彼女は照明のきらめく場面へと進む。そこで幕が上がると、舞台にはスクリーンの中とまったく同じ情景が広がっていた。井関を撮影するカメラマン（山田勇気）の姿があり、舞台上のスクリーンに彼が撮る彼女の踊りが映った。とつぜん山田がカメラを置いて井関をサポートする。その瞬間に映像がどのように変わって行くかを気にしている自分に気が付いた。井関の姿がいっそう身近に感じられた。
第２部の「ASU」は一転して暗い舞台だった。灯火を掲げたダンサー９人が登場した。黒を基調とした、個々別々の衣裳をまとい、前半のはなやいだ雰囲気と一線を画した。舞台奥には木材を加工して作った大きな樹木のようなもの（木工美術＝近藤正樹）が寝かされていた。舞台には、Bolot Bairyshevの「Kai of Altai/Alas」が鳴っていた。これはアルタイ共和国に伝わるカイ（喉歌）という種類の音楽だそうだが、私には太棹の三味線を伴奏に太夫が語る、日本の義太夫のようにも聞こえた。
My first memory of dancing was as a small
child dancing to the music at during the end credits of films. It would always
happen and people would be so surprised.
My mother then decided to enroll me in
local street dance classes because even though I was dancing, I had no rhythm.
When I was in secondary school I joined a
group of students who had their own dance group and we used to make
performances for the school. We taught ourselves after school and had a mentor
who guided us. Out of the 4 of us, 3 became professional dancers. For me what
is amazing is seeing that we were simply passionate first and that allowed us
to achieve dreams. I do not think any of us were thinking about being
professionals at the time, we did not know that it was an option.
After that I began ballet, when was I 15
years old. This is very late to begin so I found it very difficult but I
studied a lot and worked hard.
I did not really think about becoming
professional until I first got into the BRIT School, which is a free performing
arts school in London. Previous alumni included Adele, Amy Winehouse and Jessie
J. It was almost like the film ‘Fame’.
After that I managed to get in to the
Rambert School of Ballet and Contemporary Dance, also in London, and the rest
is history as they say.
Since becoming a professional dance artist, I have had many incredible experiences. I am extremely grateful to all of my teachers and people that have believed in me along the way. I hope that by joining Noism1 I can learn a lot but also share with the audiences my passion for dance. I hope that they will respond well to my performances and get something from them.
I grew up in a household where the presence
of hip-hop and R&B music could always be heard. I suppose this is where my
interest in rhythm and movement began. You could always find a young me
preforming in the living room, and directing choreographed dance pieces staring
my reluctant friends.
I had tried different hobbies and sports
but none ever really sparked my interest. It wasn’t until my mother encouraged
me to explore this interest in movement by taking me to my first dance class at
the age of ten. I had found a place that catered to my love of attention but
still challenged my abilities. It was a space to be creative, it was a space to
I continued dance throughout high school,
where I attended a specialist dance high school. This was my first contact with
contemporary dance. I had become enamoured with contemporary & abstract
dance, and began doing my own research into this fascinating sector of the
dance world. While other students were obsessing over pretty movements and how
many turns they could do, I was in awe of the videos of dancers throwing
themselves at the ground and finding the beauty of stillness in choreography.
Although I had the love and talent for
dance I still never thought of it as being an eligible option for a career. I
had originally wanted to be an architect, unfortunately my grades in school
were never going to allow that to happen. I had never really been an
academically strong student, and with failing grades I dropped out of high
school before my final year. But with the encouragement and help from one of my
very supportive dance teachers, I found myself in University studying dance;
circumventing the educational system, and proving that most archaic educational
systems do not allow students to show their true intelligence and prove their
I began to study at the Western Academy of
Performing Arts, finding a renewed joy for learning and an interest in the
effects of dance on history and the body. It was there where I fostered close
relationships with other artists, learnt from inspiring mentors and discovered
the possibility of a career in the performing arts. I graduated with a Bachelor
of Arts in 2011 and began my professional life immediately, securing various
dance jobs as a freelance dance/performance artist, in Australia.
It didn’t take long after beginning my
professional career, that I realised I had more interest in being a
choreographer than a performer. I began to focus more on choreographic
endeavours, and less on performing. Yet early on I found myself hitting
creative walls, and not having enough experience meant that I struggled to see
my creative visions come to fruition. I decided that in order for me to be a
successful choreographer I needed to stay as active as a dancer as I am a
choreographer; working with and learning from different choreographers to build
my arsenal of choreographic methods.
At an age where I would still consider myself to be a “young” artist, I continue my research, delving into the choreographic processes of different artists of various generational, racial and social backgrounds. I believe we have a lot to learn from each other especially as artists, and I hope the knowledge I gain will help me create art that inspires others.