「天よ地よ、
わたしに宿れ
この身体を空蝉の容れ物のごとく
貴方で満たしてください」
そう祈りながら天地万物に身を委ね
風に揺らぐ草花のように
大地を湿らす露のように
あのひとは舞う
大地の神の宿りし舞びと
— 元々は日本画の勉強をされていたそうですね
大学で日本画を専攻していました。興味を持った理由の一つが「素材」。日本画の主な材料は鉱物や水、貝殻や和紙など土に還る素材なんですね。花鳥風月を繊細に観察し愛でる心と、自然の素材が内に秘める力強さに惹かれました。
もう一つが「余白」の存在です。何もない無の空間を意識することは日本画を描いている時からありました。踊っている時はいつも日本画の線画のような画面が頭に浮かんでいる。下地となる紙の上に構図があり、骨描きがあり、空間が存在することを認識しながら踊っています。遠近感的な画像の処理ではなく“どこに間があるか”という空間把握の意識は日本画を描いていた素地が活きていると感じます。色彩感覚こそまさに日本画由来の感覚があります。静けさというか、日本画の中の重力がかかっているような世界観が好きで、身体表現で私の目指す姿にも通ずるものがあります。
— どのようなきっかけで踊りと出会ったのでしょうか
学生時代に日本画を描いてゆく中で次第に“媒体を介さないあるがままの表現とは”という問いが浮かびました。自分そのものの生身が生み出す表現とでもいうのでしょうか。それが踊りを始めるきっかけでした。直接この身体を媒体にして鑑賞者とコミュニケーションをすることに興味を持ったのです。私が言葉でのコミュニケーションが苦手だったこともあるのかもしれません。踊っている時が最も素直な自分になれているという感覚がありました。絵から身体へと表現の方法を変えていきました。
— 身体表現としての踊りをどのように追求していったのでしょうか
日本を出て様々なジャンルの踊りに挑戦しました。コンテンポラリー、ジャズ、ストリート。踊りの世界地図を描いてゆくような感覚です。最初の気づきを得たのはアフリカンダンス。即興の演奏に合わせて躍りながらエネルギーが交差してゆく中に自分が入った時にとても衝撃を受けました。音楽と踊りは同等のもので一心同体の存在なんだと。次第に生演奏と踊りの世界に深く足を踏み入れるようになり、それは伝統芸能の中にあると知りました。
その後も各地に赴き、地域の民族舞踊を見て、習い、踊る。どんどん踊りの世界地図が広がってゆきました。ですが、まだ自分の生まれた土地は入っていませんでした。大学卒業後、海外でパフォーマンスさせていただく機会に恵まれましたが、当たり前ですが海外だと私は日本人として見られます。しかし当時の私の表現のスタイルは、海外の様々な民族舞踊を自分なりに咀嚼しインスピレーションを受けたものでした。すると徐々に他国の文化をただ借りている状態に感じるようになり、そこで初めて日本の伝統文化や民俗芸能を強く学びたいと感じるようになりました。
— 外の世界を見たことで辿り着いた日本の伝統文化に気づきや発見はありましたか
感覚的な話になりますが開放的というよりは引力を内側に保ち続けるような静けさの中にある文化性を感じました。ただ内心は何も知らない自分が日本人として海外で表現者として活動しても良いのか不安がありました。でも２０代後半にフランスで踊った時に「あなたの踊りからは大地を感じる。私たちの神様は天にいるけれど、あなたの神様は大地にいるのね」という言葉をかけていただき、日本という島国に生きて歩んできたことが自然と身体や感覚を通して滲み出ていることを教えていただいた気がしました。その時に、ただ表現をする一人として許された気持ちになりました。そこからより一層、自分のルーツとは何なのだろうと深く学びたいと思い、日本と周辺のアジア圏の文化、中でも韓国伝統芸能と日本の神楽、能に焦点を絞ってゆきました。
— 韓国舞踊に今まで以上に強いシンパシーを感じたと
韓国の伝統舞踊は精神的にも身体的にも日本と通ずるものを感じます。韓国は近くて遠い国と言われますが、遡ってゆくと雅楽や能など、その他の伝統芸能にも大陸からの影響が多々あります。古くから伝わる伝統文化を直に感じた時、私たちは国境を超えて繋がっていると思うと同時に、文化を通して大河の一滴のように一つになれるのだと思います。日本だけでなくアジア圏の芸能を同時に学ぶことでそれぞれの土地の力という縦軸と人々の暮らしという横軸によって織り成された美しさや多様性が自分の中で豊かになってゆきました。
— 多様性を持ち感性のままに舞う中でも自分の中での理想の型などはあるのでしょうか
踊りの師は花でもあります。踊りを深めてゆくほどに花の中やお茶のお点前、自然界などあらゆる風景に踊りを見るようになりました。同時に世界はこんなに美しい踊りが溢れているのに、今更自分に何を踊れるのだろうという戸惑いもありました。そんな迷える時に出会い、触れたのが花でした。
人も草木と同じように足裏から大地に根を生やし、茎や幹のように両足と胴体があり、風を受ける葉のように両手があり、花のように綻び笑うことができます。ただ純粋に咲き誇り、風に揺れる草木の姿に私が理想とする踊りを見たのです。それ以来、自分が何をしたら良いか迷う時、私は花のようになりたいと心を寄せるようになりました。人と自然との関わり合いの中にも踊りのヒントは隠れていると感じます。
— 世界、アジア、そして日本。辿り着いたこの地での活動について詳しくお伺いできますでしょうか
この古い日本家屋「桂花御抄」では「身体の霊性」を取り戻すことがコンセプトです。日常生活の中で“どれだけ自分を丁寧に扱えるか”を全身で感じてほしい。例えば都市のコンクリートは頑丈なので気にせず動き回れます。しかし、古民家は紙や古木など脆く弱い素材に囲まれているので簡単に傷ついてしまう。日々の暮らしの一挙一動を丁寧にすることが実は自分自身を丁寧に扱うことに繋がってゆき、繊細な所作の中に本質を見出し、自身を変える糸口を見つけます。
もう一つは“己の内なる声に耳を傾ける時間”を大切にしています。例えば身体を揺らした後にふと目を閉じてみると、本来は揺れた後の余韻が身体の中に残っているのです。しかし目まぐるしい速度で変化する現代社会では微細に響き合っているものに気づけないことが非常に多い。そのために静寂と余韻を纏うこの空間で本来自分の中に響いているものを浮かび上がらせる体験をして欲しいのです。本当は自分の中でこんなにも豊かさが響き合っているということを。子供の頃に夏の気配を全身で感じていたような、各々が本来持ち合わせている感覚。精神と身体が密接に繋がっていることを知ることが自分自身、引いては人間同士の緩やかで穏やかなコミュニケーションに繋がると信じています。
— 最後に、この場を通じて、またご自身の新たな展望として今後の活動について聞かせてください
少しでも自らの身体に興味を持つことが、人生を豊かに生きることに繋がる。その感覚をこの場を通じて皆さんと共有してゆきたい。大袈裟かもしれないですが願うのは世界平和でしょうか。今もそしてこれからも。万物の調和のために身を尽くしてゆけたらと思います。
— So, you had originally been studying Japanese-style paintings?
I majored in Japanese-style paintings in university. An element that sparked my interest in the style was the kinds of materials that were used to create the pieces. Japanese-style paintings are mainly composed of ecological materials such as minerals, water, seashells, and traditional Japanese paper. I was intrigued by the style’s fine representation of the beauties of nature as well as the dynamism hidden within the natural materials.
Another feature I was fascinated by was the style’s application of Yohaku. I had always been conscious of applying blank spaces when I created my paintings. When I dance, I always imagine a vision of the line drawings which also act as foundations for Japanese-style paintings. I dance while acknowledging there are compositions, outlines, and blank spaces on the paper. Instead of having a perspective-based recognition of images, I believe my background as a painter of Japanese-style paintings contributes to how I’m capable of grasping where these spaces exist. Additionally, I believe my sense of color is heavily rooted in the style. I am very fond of its sense of silence as well as its gravitated feel. This sense is similar to what I aim to achieve as a dancer.
— Please tell us how you discovered the world of dance.
As I created my paintings while attending university, I began wondering what methods I could utilize to create natural expressions that do not intervene with physical mediums. For example, a style of expression that I could manipulate through my flesh and blood. These contemplations inspired me to start dancing. I took an interest in communicating with my viewers directly through the use of my body. This may also be because I was not proficient in verbal communication. However, I felt I was capable of being my honest self while I danced. This is how I shifted my mode of expression from painting to dance.
— How did you pursue dance as a mode of physical expression?
I traveled overseas to practice various dance genres including contemporary, jazz, and street dance. It was sort of like drawing a world map through dance. I had my first epiphany through African dance. I was overwhelmed when I joined an energetic session in which participants would dance freely to improvised music. This is where I truly discovered that music and dance had equivalent properties. From there, I would gradually begin delving deeper into the world of live music and dance, and discover that these elements were crucial parts of traditional performance arts.
I then went on to continue to expand my world map of dance by traveling around the world to watch, learn, and participate in various folk dances of each region, but I hadn’t considered practicing any of the traditional dance styles from my place of origin. After I graduated from university, I had an opportunity to perform overseas. Naturally, when overseas, people see me as a Japanese national. However, back then, my style of expression was inspired by my interpretation of varying folk dances from overseas. I had then come to realize that I had only been borrowing from the cultures of other countries. This realization was what triggered me to feel the urge to educate myself on traditional cultures and traditional performances of Japan.
— Were there any realizations or discoveries that you encountered when you approached Japanese traditional cultures after your experiences overseas?
This is a very aesthetic based representation of how I felt, but I felt a sense of culture in the silent aspects. Rather than a sense of openness, I felt a gravitational force that was maintained internally. I did have doubts concerning my identity as a Japanese dancer who performed overseas since I lacked knowledge related to Japanese culture. However, while I was performing in France during my late twenties, I was told my style of dance was reminiscent of earth, and that unlike in some western cultures, where gods are believed to be in the heavens, my deity of worship exists within the earth. I believe this analysis made me realize that I had been naturally capable of conveying my experiences being born and raised in Japan through my body movements and senses. It was at this moment I felt I had finally been accepted as an artist. From there, I felt a stronger urge to discover my roots and started exploring deeper into Japanese cultures as well as other Asian cultures. I had particularly focused on traditional Korean performance arts as well as Kagura and Noh of Japan.
— So, you are saying you’ve felt a strong bond with Korean dance.
I believe traditional Korean dance is spiritually and physically similar to the Japanese style of dance. It is often said that Korea is a country that is close, yet far away, but if you trace back through history, there are several influences in Gagaku and Noh as well as other traditional performance arts that come from China. When we directly encounter traditional cultures that have been passed down from generation to generation, we can sense the relationship between cultures that connect across borders, and I feel we can come together as one through them. In addition to Japanese styles, by practicing performance art styles from various regions of Asia, my perception of beauty woven with the influences of each region and its people as well as my sense of diversity became richer.
— While you freely incorporate diverse cultural styles in your performances, do you have an ideal form of dance?
I consider flowers as my master. As I dove deeper into the world of dance, I began discovering influences in flowers and the otemae of tea as well as in various scenes of nature. At the same time, I started to question what methods were left for me to express since the world was already full of fascinating dances. It was during this time I discovered the beauty of flowers.
Like plants, human beings have roots sprouting into the earth, legs and body like stems and stalks, hands like leaves that sway in the wind, and can express delight like flowers. I was able to discover my ideal style of dance in their natural growth process as well as in the way they sway in the wind. Since then, whenever I felt lost, I came to strongly desire to become like a flower. I believe that there are various clues that I can draw influences from within the relationship between human beings and nature.
— So, you’ve been around the world, finally arriving in Japan. Could you tell us about your activities here?
Our concept here at our old Japanese residence “Keika Misho” is to regain the spirituality of the body. I would like for our visitors to discover and sense how to handle their bodies with care in their daily lives. For example, in the city, one can move around in a carefree manner on concrete for its sturdiness. However, traditional Japanese residences, which are built on frail materials such as paper and old trees, can easily be damaged. Handling each movement with care throughout one’s daily life will lead to handling their bodies with care, bringing about essence-based discoveries through delicate gestures, which will then offer clues on how to generate change in oneself.
Another thing we embrace is to make time to hear your inner voice. For example, if you close your eyes after you sway your body, you will naturally feel that lingering pull in your body. However, in our modern society, where things change at a hectic pace, it is extremely common that we are unable to recognize the subtle resonance between various phenomena. Therefore, I would like for our visitors to experience the surfacing sensation of resonating phenomena that naturally exist within our tranquil space. I would like for them to discover how rich their bodies are of resonating phenomena. It is sort of like the feeling we had when we’d acknowledge the signs of summer through our bodies when we were children. I believe that understanding that the spirit and body are closely connected will lead to a gentle and peaceful communication between oneself as well as with other people.
— Finally, could you tell us of any future activities and prospects you wish to pursue through this space.
To even have the slightest interest in one’s body leads to living a rich life. I would like to share this feeling with everyone through this space. It might sound like an exaggeration, but I wish for world peace. I would like to continue my efforts to achieve harmony between all things.
Profile
Jiu / 慈雨
シルクロードより渡り来た文化や芸能に惹かれたことから、アフリカ大陸から日本列島までの民族芸能や土着芸能をフィールドワークを通じて学び、その体験により古来からの芸能の中に垣間見える空なる身体性に出会ってゆく。
現在は東アジアの伝統芸能・文化の研究を主軸としながら滋賀・長浜に身体に纏わる稽古場『桂花御抄』を主催。
Having been inspired by cultures and performance arts that were transmitted to Japan through the Silk Road, the artist traveled to gain first-hand experiences of various folk and indigenous arts from countries ranging from Africa to Japan. Through these experiences, the artist continues her quest to discover the essence of an empty physicality that can rarely be seen in performance arts from ancient times.
In addition to exploring the history of traditional performance arts and culture, the artist currently hosts the rehearsal space Keika Misho in Nagahama of Shiga Prefecture.
https://www.instagram.com/keika_misho/
【共同企画】
株式会社 無茶苦茶（Mucha-Kucha Inc.）
"Respect and Go Beyond"をミッションに日本の総合芸術である「茶の湯」
With the mission of "Respect and Go Beyond," the company is developing an art production business that raises the spirituality and aesthetics of the tea ceremony by "reinterpreting" the comprehensive Japanese art of "chanoyu" by crossing it with various domains such as technology and street culture.
