2019年11月13日水曜日

news&media

◯2019/11/13
ダンスカンパニー 「neji&co.」ダンサー募集
https://akichi-akichi.blogspot.com/2019/11/neji.html

◯2019/11/12
“ダンサーズ”定期練習メンバー募集
https://akichi-akichi.blogspot.com/2017/12/blog-post_7.html

◯2019/6/22.23
ダンス・レジデンス2019
捩子ぴじんダンスワークショップ
「からだをうごく/からだでうごく/からだがうごく」
https://www.toyohashi-at.jp/event/workshop.php?id=322

◯2019/02/16
KAC Performing Arts Program 2018/Contemporary Dance
カゲヤマ気象台「シティI・II・III」
主催:京都芸術センター
撮影:前谷開
https://www.flickr.com/photos/162250482@N05/sets/72157703403446032

◯2019/01/20
gallop「石飛びこむ 鯉浮きあがる」
ポスト・パフォーマンス・トーク
https://www.facebook.com/events/2261681904066022/

◯2019/01/06
第18回AAF戯曲賞トーク2 戯曲とは何か?
https://www-stage.aac.pref.aichi.jp/event/detail/000113.html#000113

◯2018/10/15
ステージナタリー「シティ3」演出インタビュー
https://natalie.mu/stage/pp/aaf02

◯2018/9/7.8
エンゲキ・カフェ 声に出して読む演劇体験
http://www.city.nagakute.lg.jp/bunka/bunka_ie/butai/ri-dhinngu.html
http://isshiki-ccp.jp/event/

◯2018/9/6
「危口統之一◯◯◯」出版記念トークイベント
http://real.tsite.jp/kyoto-okazaki/

◯2018/8/23.24.25
えんげきdeコミュニケーション
http://www.aac.pref.aichi.jp/gekijyo/syusai2018/detail/180823_ws_engeki/

◯2018/5/23
音で観るダンスのワークインプログレス アーカイブ
http://otodemiru.net

◯2017/12/15.16
篠田千明・神村恵「さっきあった時間は今」
アフタートーク出演
http://soto-kyoto.jp/event/171215-16/

◯2017/8/6.19
CREATIVE AUDIO DESCRIPTION
音で観るダンスのワークインプログレス WORK SHOP 2, 3
http://www.kaat.jp/d/otodemiru_ws2_3

◯2017/7/19.20
CREATIVE AUDIO DESCRIPTION
音で観るダンスのワークインプログレス WORK SHOP 1
http://www.kaat.jp/d/otodemiru_ws

◯2017/2/11
TPAM シンポジウム&トーク
https://www.tpam.or.jp/2017/?program=talk1&sf_action=get_results&_sft_cate=tpamexchange


◯2016/5/6-8
Our Masters Hijikata Tatsumi
<방언/glossolalia>
(Curation:Pijin Neji)
https://www.youtube.com/watch?v=9mHrYr7LP6Y&list=PLum8lDELb928sC9Suwfd96bfxm317OO-n


◯2016/5/15
セゾン文化財団「viewpoint 74」
http://www.saison.or.jp/viewpoint/index.html


◯2015/6/11
創造都市横浜 捩子ぴじん最新作の稽古場から
http://yokohama-sozokaiwai.jp/eventreport/10894.html


◯2015/6/8
MAGCUL.NET 立ち呑み文化放談
http://magcul.net/focus/tachinomi5/


◯2015/5/17
BONUS
捩子ぴじんのダンスのかたち
http://www.bonus.dance/interviews/05/


◯2015/5/11
Performing Arts Network Japan
“Recycling” Butoh
The artistic aesthetic of Pijin Neji
English
http://www.performingarts.jp/E/art_interview/1502/1.html
日本語
http://www.performingarts.jp/J/art_interview/1502/1.html


◯2014/12/10
 福岡市文化芸術振興財団「Wa」vol.64
チョン・ヨンドゥ×捩子ぴじん
http://www.ffac.or.jp/wa_organ/webbook/vol64/m/index.html#page=1

2019年9月13日金曜日

schedule 2020

2020/11/20.21.22
neji&co.
@Kyoto

2020/5/?
@Kyoto

2020/2/16
TPAM
@Yokohama

2019年6月9日日曜日

schedule 2019

2019/12/27
Tetsuya Umeda“On the origin of voices”
@Fukuoka

2019/12/13.14
Okazaki Art Theatre
“+51  Aviation, San Borja”
@Mexico

2019/12/19.20
Okazaki Art Theatre
“+51  Aviation, San Borja”
@Peru

2019/10/17.18.19
Choy Ka Fai “UnBearable Darkness”
@Sydney

2019/10/5.6
Choy Ka Fai “UnBearable Darkness”
@Kyoto

2019/8/31
CREATIVE AUDIO DESCRIPTION
@Yokohama

2019/8/17.18
Choy Ka Fai “UnBearable Darkness”
@Taipei

2019/07/21
Compulsory&Free Program
@Tokyo

2019/6/30
Dance Residence
@Toyohashi

2019/1/25-27
Kisyodai Kageyama CITY III
@Kyoto


2014年9月25日木曜日

Purgative Rhythm Mix

Purgative Rhythm Mix
Concept, Direction : Pijin Neji
Choreographer: Pijin Neji Yanchi.
Performer: Yanchi. Pijin Neji
Sound design:Daisuke Hoshino
Lighting design:Nami Nakayama

The first part of the show was made in the project to put audio description for visually impaired person to enjoy contemporary dance. The audio descriptions were made by the choreographer, Noh actor and rapper, etc. The dance is performed without audio description for sighted people. The second part is the dance which emerged from two different backgrounds, HOUSE and BUTOH. Sometimes looking like Butoh, or robotic dance of the mollusks, this show feels kind, docile and pleasant. The creation process was exchanging and mixing each technique from the two different bodies, creating new GROOVE with macro beat and micro movements.


https://www.youtube.com/watch?v=L-5ftDhzcm4

profile

Pijin Neji  
Born in Akita prefecture, Japan. Pijin Neji was a member of Dairakudakan, a butoh company from 2000 to 2004. He studied under Akaji Maro and danced in all of the company’s main productions while he was a member.After leaving Dairakudakan, he began his career as choreographer/dancer.  With his unique physicality developed through butoh training,he approaches to his body microscopically in his solo works and treats bodies materially in choreographic piece.Recently he tries to invent a contemporary urban folk performing arts, observing a system that song and dance have developed, and picking out elements stored in individual bodies and lives.He received the Yokohama Dance Collection EX2011 Jury Prize, and his piece “the acting motivation”,a self-documentary based on Neji’s own experience with part-time work, won Festival/Tokyo F/T AWARD. The Saison Foundation Junior Fellow in 2015-2016.  He is a curator of Asian Arts Theater season program  Our Masters “Tatsumi Hjikata” in Gwangju South Korea.

2014年9月24日水曜日

no title

no title

concept, direction : Pijin Neji
house dance lesson : YANCHI.
dancer : YANCHI., Pijin Neji
stage manager : Megumi Sato
lighting design : Nami Nakayama
lighting operator : Masayo Okano
sound design : Daisuke Hoshino

TOYOTA CHOREOGRAPHY AWARD NEXTAGE
3/Aug/2014 Setagaya public theater

https://www.youtube.com/watch?v=-bCLcDt2kuc&list=UU-e-rJK86Yo5LJ3r4-H2bVw

2014年8月11日月曜日

air or fart

air or fart
Concept, Direction, Choreography : Pijin Neji
Cast : Ken Shinohara, Kento Kanno, Rie Wakabayashi, Pijin Neji
Music : Ken Shinohara, Kento Kanno


Yokohama Red Brick Warehouse Number 1, 3F Hall  
Yokohama Dance Collection EX2014 Performance by Former Prizewinner
<A TPAM Showcase Program>

After the March 2011 nuclear accident in Fukushima, the Internet was filled with suggestions for how to protect oneself against radiation. One proposal involved lactic-acid bacilli, a kind of bacteria, grown in water that has been used for washing rice. (White rice is washed before cooking.) The recipe called for adding salt and sugar to the water and leave it in a warm place. The bacteria would grow, and when someone drank the resulting liquid, they would strengthen the body’s immune system. According to some blogs and other sites,  radioactive substances inside the body would be consumed by the bacteria, which were transformed into macrophages, protecting the body against exposure to radiation.  Cult-like and totally outrageous: that’s what  this health tip was called. But in 2013, two years after the nuclear accident,  I decided on a whim to grow my own lactic-acid bacilli in water used to wash rice at my home.  Via the Internet, I purchased unpolished rice from Kyushu  and natural salt and brown sugar from Okinawa. I washed the rice in  mineral water, then added a small amount of the salt and sugar to the water and poured them into a PET bottle. Warming the bottle with these ingredients in the middle of winter in Tokyo, I saw small bubbles appear. Something was clearly alive there. I placed the bottle in front of the space heater, took it into the bath with me, held it on my chest under the comforter as I slept. The result was clearly different from what I had started with. The PET bottle was so filled with bubbles that its shape was distorted. Thinking that the time was right, I added a little of the liquid to soy milk, warmed the mixture for a day, and I had homemade soy milk yoghurt. I continue to eat it to this today.

In May 2013 I participated in the Kanda Festival in Kanno Kentō’s neighborhood of Tokyo, Awajicho, helping to carry the omikoshi, the sedan chair in which the god rides.  The Kanda Festival, labelled one of the Big Three festivals in Japan, is enormous.  It is normally held every other year, but was not in 2011 because of the disaster in the Tohoku.  Since the 2013 festival was the first in four years, the participants were extra excited. The gods celebrated in this festival are those worshipped at the Kanda Myojin Shrine and include Taira no Masakado, a warrior who rebelled against the central government. The space was jammed with “Edokko,” natives of Tokyo.  The kind of caustic humor you can hear in Rakugo performances filled my ears. The atmosphere was lively, with, given the worship of an enemy of the imperial court, an anti-establishment vibe.  This was Tokyo, another Tokyo, a Tokyo of which I, born and raised in Akita, had been unaware. The fierce pride I sensed raised goosebumps on my skin.



I think of the Kanda Festival whenever I eat my soy milk yoghurt made with lactic-acid bacilli grown in water used to wash rice.  The image of those little bacteria, unsterilized, circulating through my intestines, battling bad bacteria,  is connected for me with the pride I sensed at the Kanda Festival, which refuses to disappear in a globalizing world. Those lactic-acid bacilli, who come alive and make their bubbles in the bath or snuggled up with me under my comforter, embody the same human and local character as  those who parade carrying the omikoshi in that festival.  When that yoghurt slides down my throat, I feel the omikoshi biting into aching shoulders and hear its bearers’ enthusiastic shouts as they heave it about. Apart from hope for  my own health, there is some inexpressible desire embodied in my eating my soy milk yoghurt.  It is like that “Oh, I’ve done it” sensation we feel when we fart. In Japanese, we don’t just “break wind.” A wind emerges. A desire pent up within us erupts, like that wind. If we believe that art’s goal is  a healthy humanity, that crazy association is inescapable.

*In the foyer, you can taste my homemade soy milk yoghurt made with lactic-acid bacilli grown in water used to wash rice. If you would like to give it a try, just say so.  The yoghurt has not gone through a health inspection. The performers have eaten it and experienced no physical ill effects, but eat it at your own risk.  

https://www.youtube.com/watch?v=pDxOeEhYr5Y