schedule 2021


neji&co. “Cues”



neji&co. “Cue”




THEATRE E9 KYOTO 第二期アソシエイトアーティスト発表



ダンスカンパニー 「neji&co.」ダンサー募集



KAC Performing Arts Program 2018/Contemporary Dance

gallop「石飛びこむ 鯉浮きあがる」

第18回AAF戯曲賞トーク2 戯曲とは何か?


エンゲキ・カフェ 声に出して読む演劇体験



音で観るダンスのワークインプログレス アーカイブ


音で観るダンスのワークインプログレス WORK SHOP 2, 3

音で観るダンスのワークインプログレス WORK SHOP 1

TPAM シンポジウム&トーク

Our Masters Hijikata Tatsumi
(Curation:Pijin Neji)

セゾン文化財団「viewpoint 74」

創造都市横浜 捩子ぴじん最新作の稽古場から

MAGCUL.NET 立ち呑み文化放談


Performing Arts Network Japan
“Recycling” Butoh
The artistic aesthetic of Pijin Neji




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.


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.



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

3/Aug/2014 Setagaya public theater



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.  



the acting motivation

the acting motivation
Concept, Direction : Pijin Neji
Cast : Kaoru Soya (BUNGAKUZA), Shintaro Wada, Pijin Neji
Stage Manager : Chikage Yuyama
Lighting Design : Nami Nakayama
Sound Design : Norimasa Ushikawa
Sound Operate : Akino Hayashi
Video : Minoru Ide
English subtitle/an interpreter : Tomoko Momiyama
Photo : Ujin Matsuo
Publicity Design : Noriko Yatsuhashi
Production Support : PLATEAU
Special Support : KOGANEI ART SPOT Chateau2F
duration : 100min
prize : Festival/Tokyo F/T Award

This self-documentary theatre work is themed around Pijin Nejin's own experiences with part-time work. It will also feature Nejin's colleague at the conveniencestore where he works, Shintaro Wada, as well as the actress Kaoru Soya, who is attached to the BUNGAKUZA, a theatre company established 74 years ago. It will draw on the actuallives of the three performers for its material, comparing and analyzing their social positions and workdescriptions, and looking at the balance between performing and retail work, between artistsand the so-called freeter, between actors and dancers…

Currently in Japan the numbers of freeter (people not working in permanent or stable full-time employment, often regarded as drifters) are increasing while the issue of the ageing society is also becoming chronic. Theatre artists could also be labeled as people chasing their dreams, since they work on their creative activities while also doing part-time jobs. Thus, the occupation of being an "artist" means to continue artistic activities while working part-time: essentially, a freeter. The actors, dancers, choreographers, performers, musicians, and artists interviewed as part of the research for this project support themselves through part-time work and indeed many of them could be classified as "dream-chasing" freeter. However, they are almost all aware of the impossibility of actually in the future being able to make a living solely as an artist, and yet they still continue to produce creative and artistic work. This performance will look at the dilemmas of motivation for these artists to keep on going with their creative work; at how they are able to make ends meet through part-time shop work; whether in fact they are just the same as other part-timers at a convenience store; and ultimately what is an artist.

First the three performers introduce each other. Actor and dance Neji will then look at definitions of "service work", drawing on texts from playwright Oriza Hirata, Butoh dancer Tatsumi Hijikata, and sociologists Macdonald and Sirianni. There will also feature the
poetry of Kaoru Soya's late mother, a poet. Other elements in the piece include: Soya's "proof" that she is a professional performer; the dialogue from Neji's audition for a film role; the work manual for the convenience store where Neji is employed; the way the body looks when working; security camera footage of the workers at the Fukushima Daiichi nuclear power plant; security camera footage of Neji whilst working at the store; fast food sold at Neji's workplace; the story of Shitaro Wada's father, who was a manager at a Kentucky Fried Chicken outlet; the monotonous phrases convenience store staff have to use; and even Skype conversations with the colleagues working Neji and Wada's regular shifts at the store while they are performing.