Due to sudden illness, Mr. Jan Goossens, Artistic Director, KVS, the Royal Flemish Brussels has had to cancel his attendance at TPAM-IETM Satellite Meeting. Consequently, we announce his replacement for the Keynote Session, 2 speakers below. There are no changes about the moderator, Mr. UCHINO Tadashi.
[with simultaneous Interpretation]
Keynote Session: Contemporary Performing Arts
● March 3rd [Mon]10:30-12:00 / Yebisu The Garden Room
UCHINO Tadashi [Professor, Performance Studies, Department of Interdisciplinary Cultural Studies, Graduate School of Arts and Science, University of Tokyo, Japan]
OKADA Toshiki [Playwrite, Director of chelfitsch, Novelist, Japan]
Christophe SLAGMUYLDER [Artistic Director, Kunstenfestivaldesarts, Belgium]
Discussion on the possibility of performing arts in the age of dynamic migrations of peoples from diverse cultural backgrounds.
● OKADA Toshiki
Playwright, director, novelist. Born in Yokohama in 1973, Okada formed the theater company “chelfitsch” in 1997. In 2005, “Five Days in March” (2004) won the 49th Kishida Drama Award. The work was invited by Kunstenfestivaldesarts07 in Brussels, Belgium, National Museum of Art, Osaka, and Mori Art Museum in Tokyo for the exhibition “Roppongi Crossing 2007”. In September, 2005, Okada won Yokohama Cultural Award/Yokohama Award for Art and Cultural Encouragement and in 2007 Kanagawa Culture Award-Outstanding Youth Award. He wrote stories titled “The end of the time that is permitted especially for us.”
© Michele Rossignol
● Christophe SLAGMUYLDER
Lives and works in Brussels, Belgium and is Artistic Director of the Kunstenfestivaldesarts. The Festival’s focal point is the creation of national and international contemporary art’s projects that it often initiates and follows. Each element in the programme is the result of an individual encounter with an artist. Each is free to choose his or her discipline. The festival is taking place each spring, it offers premieres in Brussels of about twenty creations from Belgium and abroad.
UCHINO Tadashi
● UCHINO Tadashi
Uchino Tadashi is Professor of Performance Studies at the Department of Interdisciplinary Cultural Studies, Graduate School of Arts and Sciences, The University of Tokyo. He received his MA in American Literature (1984) and his Ph.D in Performance Studies (2001), both from the University of Tokyo. His research interest includes contemporary Japanese and American theatre and performance. His publication includes “The Melodramatic Revenge: Theatre of the Private in the 1980s” (in Japanese, 1996), “From Melodrama to Performance: The Twentieth Century American Theatre” (in Japanese, 2001) and “Crucible Bodies: Postwar Japanese Performance from Brecht to the New Millennium” (2008, forthcoming). He is a contributing editor for ‘TDR’ (The MIT Press), and an editor for ‘Performing Arts’ (Kyoto Univ. of Arts and Design) and ‘The Journal of the American Literature Studies in Japan.’
Video Lecture I: On the Historicality of Japanese Contemporary Theatre 2 -
Theatre of Testimony and Thought from Outside
● March 3rd [Mon]13:30-15:30 / Yebisu The Garden Room
Speaker: OTORI Hidenaga[Theater Critic, Japan]
Recently, performing arts that seem to have “thought from outside” are emerging. It seems that they are trying to examine their own standpoint through actively making conversations with cultures of outside. There seems to be another tendency that generated from this - “testimony” as a method. “Theatre of testimony,” which tries to face the facts of “otherness” and to regain speeches in order to recover the power of theatre, is actually the basis of theatre that aims to think with pleasure. I would like to talk about this new resistance against globalized society that has lost the function of thought and reflection, remembering the thought of Walter Benjamin, who said “It cannot be said that there is no hope.”

Video materials planned to be used: Gekidan Kara-gumi / NODA・MAP / Gekidan Kaitaisha / Molecular Theatre, and more.
OTORI Hidenaga
● OTORI Hidenaga
Born in 1948. Artistic Director of Laokoon (Kampnagel, Hamburg) from 2002 to 2004. Among his books are “Nijusseiki Gekijou: Rekishi to shite no Engeki to Sekai [The 20th Century’s Polyphonic Theater: the Arts and the Worlds as a History],” “NODA Hideki: Akaoni no Chosen [Noda Hideki: The Challenges of Red Demon]” (co-written with NODA Hideki), and translations of Tadeusz Kantor’s “Essays and Manifestos,” Andrej Tarkovskij’s “The Sculpting Time” and Ilya Kabakov’s “60th-70th Notes about Unofficial Life in Moscow.”
Video Lecture II: Extension of Butoh and Emergence of Contemporary Dance:
The Body in Dance in Japan Today
● March 3rd [Mon] 16:30-18:30 / Yebisu The Garden Room
Speaker: ISHII Tatsuro [Dance Critic, Japan]
Taking HIJIKATA Tatsumi’s “Kinjiki” (1959) as its beginning, the history of butoh has been as long as a half century. Butoh emerged in Japan and has spread worldwide drawing international attention, and now “butoh festivals” are actually held in cities far from Japan. There must be certain reason why butoh did not end up in narrow self-orientalism but became an important style of dance. What was the question that butoh posed against “the body” or “dance”? This lecture also considers Japanese contemporary dance since the mid 1980s, of which development is very unique and could be related to or without any relation to butoh.

Video materials planned to be used: “Kijiki” by HIJIKATA Tatsumi, “Kaiin no Uma” by Dairakudakan, works by Sankaijuku, “Le sacre du printemps” by H. Art Chaos, “Noiject” by TESHIGAWARA Saburo, “O/R” by dumb type, “Kinjiki” by ITOH Kim, “no direction” by Nibroll
ISHII Tatsuro
● ISHII Tatsuro
Writes articles for major newspapers and magazines such as ‘Asahi Shimbun’ and ‘Dance Magazine’ as dance critic, and makes field works on shamanism, festivals, traditional performing arts and acrobats of Korea, India and Indonesia reflecting on such themes as dance, circus, sexuality and physical culture. Among his writings are “Essays on Female Transvestism,” “The Filmology of Circus,” “The Man Who Sustained Circus with His One Finger,” “Polysexual Love, Sexuality of Transvestism,” and “The Critical Point of the Body.”
World premiere screening of the newest video work by TESHIGAWRA Saburo
“Friction of Time - Perspective Study vol.2” (20 min)
* For more detail, please CLICK the banner on the toppage!
[with consecutive interpretation ]
Potential of Contemporary Drama using Methods of
Japanese Traditional Performing Arts
● March 3rd [Mon] 16:30-18:30 / Studio A, Setagaya Public Theatre
Part 1: About Setagaya Public Theatre
Speaker: OKUYAMA Midori (Chief producer, Setagaya Public Theatre)
Introduces the Setagaya Public Theatre and its productions since its opening in 1997 using video materials.
Part 2: Projects of NOMURA Mansai as artistic director of Setagaya Public Theatre
Speaker: NOMURA Mansai (Artistic director, Setagaya Public Theatre)
Introduces his projects since 2002 and his own creations using video materials.

* A small meeting with the speakers after the sessions will be prepared.
● NOMURA Mansai
Artistic director of Setagaya Public Theatre, Kyogen Actor. NOMURA Mansai II studied under his father Mansaku II and his late grandfather Manzo VI (both Living National Treasure). He made his stage debut at age 3. His stages go far beyond that of traditional Kyogen and Noh actors’- he also plays the title roles of “Oedipus” directed by NINAGAWA Yukio, “Hamlet” directed by Jonathan KENT. He also stars in such a hit Japanese movie as “Ran” by KUROSAWA Akira and “Ommyoji.” Beside his exuberant acting career, he is committed to direct plays that merge the classics and the contemporary, east and west. Beside “The Kyogen of Errors” that toured to London Globe Theatre in 2002 and the U.S. in 2005 and 2008, his directing credits include “Kuni-nusu-bito (from Richard III),” “Yabu no Naka (In a Thicket),” “Kagamikaja (Mirror Servant),” “Atsushi (from the late NAKAJIMA Atsushi’s “Sangestsuki” and “Meijinden”) which brought him Asahi Performing Arts Award and Kinokuniya Theatre Award 2005 for his direction and composition. He has received National Arts Festival New Artist Award, and The Ministry of Education’s Art Encouragement Prize for New Artists. Holder of the Important Intangible Cultural Property: Nohgaku. Artistic Director of Setagaya Public Theatre since 2002.
● OKUYAMA Midori
Chief Producer of Setagaya Public Theatre. Previous positions include Producer of Theatre Division of Kanagawa Arts Foundation (2004-2005), Founder of Ame Arts, Inc (1999-2006), Associate Producer of Sankai Juku (1995-2006), Producer of Ginza Saison Theatre (1987-1993). As Saison Foundation International Scholar, she studied in Program in Arts Administration, Teachers College, Columbia University (1998-1999). Bachelor of Education, Department of Letters and Education, Ochanomizu University (1986).
[with simultaneous Interpretation]
Contemporary Performing Arts
- From Perspective of Europe and Americas
● March 4th [Tue] 10:00-12:00 / Yebisu The Garden Room
Alison ANDREWS [Performing Arts Officer, Arts Council England, UK]
Richard SOBEY [Executive Producer, IOU, UK]
Nan VAN HOUTE [Independent Producer, The Netherlands]
Christopher BANNERMAN [Head, ResCen, Middlesex University, UK]
Nayse LOPEZ [Dance Critic / Curator, Panorama Dance Festival, Brazil]
The word 'contemporary' in performing arts can sometimes cause confusion as well as suggesting interesting questions for artists, critics and audiences:

Does it relate to work created 'now' and which connects to current national or global themes and issues? Is it concerned with the artist's subversive relationship to 'tradition' which can be identified throughout the history of artistic production?

When the avant garde becomes orthodox, does its significance change?
How do young artists build on the legacy of their avant garde predecessors?

This session will be an opportunity to explore these and other questions, taking into account that the idea of contemporary performing arts is distinct across cultures. We propose to make a short overview of contemporary Western performing arts, taking the last hundred years as a rough time frame, and examine how artists respond to the shifting challenges of reflecting their culture and engaging their audiences.
● Alison ANDREWS
Andrews joined Arts Council England in 2002 as Performing Arts Officer in the Yorkshire region, with responsibility for Street Arts, Circus, Carnival and interdisciplinary practice, including science and art collaborations and International work. A board of IETM. She began her career in the 1980s, both in experimental performance as a writer, performer and director and in theatre for young people through development work, encouraging youth services. As a scenographer she is particularly interested in site specific performance and working with communities. She has just created a guided tour at the Newcastle Literary and Philosophical Society and the North East Mining Institute in partnership with Northern Stage.
Richard SOBEY
● Richard SOBEY
As Executive Producer, Richard manages internationally renowned IOU, creating work across a variety of media for international contexts. Richard is also a freelance consultant, specialising in business development and strategic planning currently managing two projects for Arts Council England - one to support the development of International networking for arts organisations and another to develop the skills of directors working in outdoor contexts. He is a co-founder and steering group member of NASA - the UK network for artists working outdoors and manages the online network for this and PAN-Calderdale, the professional arts network for the Calderdale region of the UK. He is a key member of EON - the European Off Network of independent artists. Richard was sculptor-in-residence at ArtEscape in Lincolnshire, UK in 1986.
Nan van Houte (f/1954) is just about closing down her 15 years appointment as director of [FRASCATI], 5 stages for contemporary performing arts in Amsterdam, also active as the producer (mainly emerging artists). Since her graduation at the University of Amsterdam in literature, theatre and aesthetics her professional fields of experience included: management of a 55 pax arts organisation (hosting 170 guest companies p/y, organising 2 festivals p/y, producing 6 performances p/y), programming, dramaturgy, theatre journalism, teaching/lecturing, coaching young professionals, organising and presiding conferences on cultural diversity, emerging artists and audience development and (vice-) presidency of IETM. Most recently she has got involved in the development of a theatre production in Cambodia and the research for an alternative educational system for young theatre practitioners in Amsterdam.
Christopher BANNERMAN
● Christopher BANNERMAN
Christopher Bannerman is Head of ResCen, a research centre at Middlesex University, London that works with artists researching their creative processes. He had a long career as a dancer, choreographer and arts education worker and performed and choreographed internationally. He has served as Chair of Dance UK and the Arts Council of England’s Dance Panel. He is currently Chair of London North Creative Partnerships; co-facilitator of Rural Retreats, a series of intensive seminars for leaders in the arts; a member of the Peer Review College of the AHRC, the College of Reviewers for the Canada Research Chairs Programme and is a member of the Dance Forum of the Department for Culture, Media and Sport (DCMS) UK.
● Nayse LOPEZ
LOPEZ is a cultural journalist and dance critic in Rio de Janeiro since 1993. As a freelance writer and a researcher, her career varies from magazines and newspapers to TV programs not only in Brazil but in North America and Europe as well. In 2001 she started to work at Panorama Dance Festival, in Rio de Janeiro and has been a curator since 2004. She organized the International Dance Conference in Rio de Janeiro and Sao Paulo and various projects. In 2003 Nayse created the first professional website for contemporary dance in Brazil, www.idanca.net, where she currently editing an online publication in a partnership with www.ietm.org.
[with simultaneous Interpretation]
Potential of Space ― “playground” for Artists
● March 4th [Tue] 13:30-15:30 / Yebisu The Garden Room
KONDO Yasuyo [Chief Program Coordinator, 21st Century Museum of Contemporary Art, Kanazawa, Japan]
Mike KUBECK [Executive Producer, Super Deluxe, Japan]
Virve SUTINEN [General and Artistic director, Dansens Hus Stockholm, Sweden]
Vallejo GANTNER [Artistic Director, Performance Space 122, USA]
Realization of a performance requires architectural hardware (venue) and software (opportunity). While the hardware mainly belonged to the privileged classes such as aristocrats and samurais before the 19th century, public halls developed and rapidly became gigantic in the 20th century. The software was divided into genres and each genre became specialized in its own venues and contents also in the 20th century. Now, in the 21st century, “spaces” where venues and artists are in mutual activation and cultivation are emerging and trying to break through old frameworks. This session, in free-talking style, considers some actual examples of such “spaces” that are managed in both private and public basis.
KONDO Yasuyo
● KONDO Yasuyo
She has produced concerts of classical, Japanese traditional and contemporary music and collaborations with fine arts and dance. After being the musical director of Kanagawa Kenritsu Ongakudo (Kanagawa Music Hall) from 1996 to 2000, she coordinated events related to various art genres as a freelance producer. Since April 2004, she has been the chief program coordinator of 21st Century Museum of Contemporary Art, Kanazawa and has been producing civic participation programs based on Theater 21 at the basement of the museum. She has graduated from University of California, San Diego.
Born 1971 in Fresno, California, USA. Loves books, music and the outdoors. Studied Film Production and Japanese Literature at the University of Southern California. Moved to Tokyo in 1993 to study at the International Division of Waseda University. Graduated from USC while studying in Japan, then began working for a Japanese company. Spent 5 years doing technical translation and attending numerous underground and experimental music performances throughout Tokyo. Joined Namaiki and Klein-Dytham Architects at the newly formed Tokyo Brewing Company in 1998 and started an improvised music concert series at our office 'Deluxe' in Azabu Juban. Formed 'SuperDeluxe' with the addition of RISA Partners in 2002. Currently serving as Executive Producer.
Virve SUTINEN is the General and Artistic director of Dansens Hus in Stockholm since 2008. Since 2007 she also has acted as the president of IETM, and chaired The Expert Group for the Modules Network Funding and Mobility Funding. Sutinen was earlier the director of Kiasma Theatre and in charge of the performing arts program at Kiasma Museum of Contemporary Art in Helsinki. She is also the director of URB, Urban Festival Helsinki, and was Artistic co-director of the Dancing in November Contemporary Dance Festival in Helsinki in 2004 and 2005. She was a curator of the exhibitions ARS01 Unfolding Perspectives and Process, and Encounters in Live Situations /Shifting Spaces in 2003. She was also the chief curator of the First We Take Museum exhibition in 2005.
● Vallejo GANTNER
Vallejo GANTNER has been the Artistic Director of Performance Space 122 since December 2004. Performance Space 122 is one of New York’s leading presenters of experimental and innovative performance arts. He is also the co-producer and director of Spiegelworld, a commercial producer and presenter of contemporary circus, cabaret, music and entertainment in NYC in 2006-2007 and 2008 on a pier and Miami in 2007/8. Prior to this, he was Director of the Dublin Fringe Festival from 2002 - 2004, and the Artistic Associate of the Melbourne Festival from 2000 - 2001. Born and raised in Melbourne, Gantner has worked in a wide range of capacities throughout the arts including as a director, writer, performer, agent, producer and programmer.
[with simultaneous Interpretation]
What is Site-Specific Work?
● March 4th [Tue] 13:30-15:30 / Maison Franco-Japonaise Hall
Moderator: Henk KEIZER [Program Manager, Vrede van Utrecht, The Netherlands]
Speakers: TAKAYAMA Akira [Director, Port B, Japan]
Yelena GLUZMAN [Director, Science Project, USA/Japan]
Works that are based on a specific site are emerging in festivals across the world, and coincidentally with changes in technologies and cultural policies, these works have new notions of “production” and “audience.” A performance with one viewer in a moving vehicle, or a dining table as the “stage” and dining chairs as “seats” for audience... Guests who have been producing this kind of works explain the idea.
Henk Keizer studied cultural studies and drama, became coordinator of cultural youth centres, and worked as actor and production leader for different theatre companies. From 1991 till 1996, he was managing director of Trajekt Theatre Company, and toured all over Europe. From May 1996 till July 1999 he worked as managing director of the Oerol Festival and with the artistic leader and the festival team, he developed the festival from a street theatre festival to one of the main site specific festivals in Europe. From 1999 till 2005 he was managing director of theatre company Dogtroep and produced site specific work worldwide. In 2005 he was managing director of a new cultural program Vrede van Utrecht and became program manager in 2008.
Born in 1969. Moved to Germany in 1993 and began to direct and write plays there. Returned to Japan in 1998. Established a theatre unit, Port B, in 2002 and has been working through unique creative processes with singers, engineers and video artists to pursue possibility of contemporary theatre based and focusing on Tokyo. He has also been working on a collaborative project in Germany with Hans-Thies Lehmann, the writer of Postdramatisches Theater since 2008. Artist-in-residence of Nishi-sugamo Arts Factory since 2006.
● Yelena GLUZMAN
Yelena GLUZMAN founded Science Project in 1999, and, working with collaborators, creates unusual cross-cultural performances. Typically, one work will be in progress for a long time, and have a number of incarnations, since all participants create the piece together, building the choreography, the semantics, and even the script as a group. She is also a videographer and art writer. She was the co-editor of The Emergency Gazette, a biweekly broadsheet about radical performance (1999-2002). She has written and created videos for Tokyo Art Beat, Kakiseni, The Star Magazine (Malaysia) and guest teaches at Kenjiro Okazaki’s experimental art school Yotsuya Art Studium. She lives in Tokyo.
[with simultaneous Interpretation]
Re-questioning Contemporary Notions of “Europe” and “Asia”-
Gestures, Network, and Economy
● March 4th [Tue] 16:30-18:30 / Yebisu The Garden Room
MUTO Daisuke [Dance Critic, Japan]
Tang FU KUEN [Critic, Researcher, SEAMEO-SPAFA, Singapore/Thailand]
HATA Yuki [Performing Arts Coordinator, Performing Arts Division, The Japan Foundation, Japan]
Christophe SLAGMUYLDER [Artistic Director, Kunstenfestivaldesarts, Belgium]
Now that the end of Cold War, post-colonialism and globalization have changed the notion of “Europe” and “Asia,” EU and East Asian Community are constantly reformed as economical blocks with thorough networking rather than political domains or cultural identity.
In this situation, in terms of performing arts, what is the central issue of the relation between Europe and Asia? In the time of information technology and mobility that causes interference among individual bodies, history and capital, what kind of change is our imagination going through? This discussion examines politics around the Other, power, market and the body through plural individuals’ eyes.
MUTO Daisuke
● MUTO Daisuke
Dance critic. Born in 1975. Majored in the aesthetics at Graduate school of the University of Tokyo (MA). His research interest is focused on geopolitical and historical analysis of dance and body within Asia/Japan/The US relations. His recent papers include “Sai no Kukan to shite no Ajia (Asia as a space of differences)” in Butai Geijutsu (Performing Arts) vol.12 among others. He is the recipient of a 2005 Asian Cultural Council Fellowship. He has served as the facilitator of The 3rd ITI Asian Dance Conference held in Tokyo in 2007, and also a member of the artistic board of Indonesian Dance Festival 2008 in Jakarta. He teaches at J.F.Oberlin University, Tokyo.
● Tang FU KUEN
Tang Fu Kuen (b.1972) developed heritage and arts programs for Southeast Asia at the Bangkok-based inter-governmental agency, SEAMEO-SPAFA. One of his projects was co-organising the first IETM meeting in Singapore in 2004. He has worked as a dramaturg, critic, and festival organizer, promoting contemporary dance and performance between Asia and Europe. He read media and cultural theory at University of London; literature and theatre at National University of Singapore; and public policy at Korea Development Institute.
● HATA Yuki
HATA Yuki studied musicology at the doctoral course of Ochanomizu University. In 1989, she joined the Japan Foundation in Tokyo, a public cultural institution specifically devoted to deepening ties between Japan and other countries through arts and culture. Since then, she has been engaged in researching and staging the performing arts, focusing upon the contemporary theatre of Asian countries, and has produced such performances in Japan as "Lear," bringing together staff and cast extensively from China, Indonesia, Japan, Malaysia, Singapore, and Thailand; "Memories of a Legend - Inspired by The Baburnama," a theatre collaboration of 5 South Asian countries (Bangladesh, India, Nepal, Pakistan, and Sri Lanka), "Performing Women - 3 Reinterpretations from Greek Tragedy," a theatre collaboration of India, Iran, Japan, and Uzbekistan.
© Michele Rossignol
● Christophe SLAGMUYLDER
Lives and works in Brussels, Belgium and is Artistic Director of the Kunstenfestivaldesarts. The Festival’s focal point is the creation of national and international contemporary art’s projects that it often initiates and follows. Each element in the programme is the result of an individual encounter with an artist. Each is free to choose his or her discipline. The festival is taking place each spring, it offers premieres in Brussels of about twenty creations from Belgium and abroad.
[with simultaneous Interpretation]
Networking in the Age of Mobility
● March 5th [Wed] 11:00-13:00 / Maison Franco-Japonaise Hall
It could be said that performing arts as an art form is not suitable for being “mobile,” and this might be one of the reasons why human networking is indispensable to it. This is a discussion on networking in the age of “mobility” with panelists who have actually been building unique networks.
Moderator: MATSUI Kentaro [Program Director, Setagaya Public Theatre, Japan]
Speakers: Amna KUSUMO [Director, Kelola Foundation, Indonesia]
Mary Ann DeVLIEG [Secretary General, IETM, Belgium]
SATO Norikazu [Executive Director, Japan Contemporary Dance Network, Japan]
MATSUI Kentaro
● MATSUI Kentaro
Producer of Black Tent Theatre from 1980 to 1996 managing the company’s tours across Japan. Theatre critic since 1988. Took part in the planning of Setagaya Public Theatre since 1989, and has led the theatre’s academic projects since its opening in 1997. He has also planned theatrical creations, workshops, lectures, publications and many collaborative projects with Asian and European directors and choreographers.
Amna Kusumo has a long career in the performing arts as independent arts manager and producer of cultural programs. She has produced and toured traditional and contemporary Indonesian performances in Indonesia as well as Asia, Australia, the US, Europe and South America. As the first generation of arts administrator in Indonesia, she has served as consultant and speaker on numerous cultural projects and international conferences. In 1999, together with three cultural activists, she founded Kelola, a national non-profit organization which promotes Indonesian art, through providing learning opportunities, access to funding and information. Kelola works in collaboration with organizations in and out of the country to enhance the capacity and facilitate cultural exchange in Indonesia.
Mary Ann DeVLIEG
● Mary Ann DeVLIEG
Born in United States and now living in Brussels, she has been Secretary General of IETM since October 1994. Holds a Master's Degree in European Cultural Policy from the University of Warwick, UK. Her professional career include cultural manager in California, New York, London and the South West of England specialising in production, presentation, diffusion, development of performing arts, and in funding institutions. Taught cultural management training and has initiated several training programmes for artists and arts managers. Teaches, advises and speaks frequently on cultural policy, cultural networking, international and European culture issues. Winner of the EU “Individual” Prize, 2007: Year of Workers’ Mobility” for her life long contribution to mobility of art and artists.
SATO Norikazu
● SATO Norikazu
He joined butoh company “Byakkosha” in 1980 as both a dancer and company manager until it was dissolved in 1994. He studied arts management at the Dance Theater Workshop in New York in 1996 and worked on the Triangle Art Project that toured the United States of America, Indonesia and Japan in 2007. Then founding a non-profit organization, the Japanese Contemporary Dance Network (JCDN) in Kyoto in 2001, he has been organizing various activities that connect dance and society across Japan.
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