Voice of Session House 2022
Foreword: Overcoming the Pandemic and the Ravages of War
In the world we live in now, as though adding another blow to the COVID crisis, the wars in Ukraine and Myanmar are growing ever more fierce, and we cannot spend our days feeling at ease. In 2022, within that difficult world, individual dancers, choreographers and producers pursued a variety of activities with many different thoughts and feelings. Everyone kept working with the spirit of "Just dancers—but dancers nonetheless; just artists—but artists nonetheless."
In 2022, under the title "Power of Dance Project," we created three works in the series "Family Stories, Past and Present." Mitsutake Kasai created "Poem of Joy," the story of a family, beginning with his father Akira Kasai (笠井叡), who have all devoted their lives to dance. In "Song of Akasha," based on his grandfather’s written account of his experiences on the Okinawa front, Kentaro Kujirai gave artistic form to his thoughts of peace. Mademoiselle Cinema created "Woman Is a Journey," based on the experience of choreographer Naoko Ito’s grandmother, who emigrated to America as a picture bride. "Dance Bridge," which takes a different approach each year, also presented five projects in the autumn under the title "Three Dances," with 15 groups of dancers rich in stage experience presenting works. Particularly worthy of note was Yasuyo Omoto, who has continued teaching ballet classes since Session House was established in 1991, returning to the Session House stage after a long absence to dance the solo "Song of the Swan."
Ryohei Kondo, who became artistic director of Saitama Arts Theater in Saitama last year, has launched large-scale new projects in a large theatre while also energetically pursuing original sessions in small theatres like Session House, the place that gave him the impetus to begin his activities. This year too, he is moving forward without changing that stance. Young dancers who will carry the next generation also presented richly varied works in programmes such as "Dance Flower," "Akai Kutsu—Red Shoes" and "Ringo Dance Museum."
We have also long been exploring ways to deepen our local connections with Kagurazaka. Toyoaki Onogi of Koten Kukan (古典空間) recognised the fascination of encounters between classical performing arts and Mademoiselle Cinema—like a match between different disciplines—and has been planning sessions at Session House and in the grounds of Bishamonten for the past two years. This year too, he is considering joint performances with practitioners of classical performing arts, a development that holds great promise.
Meanwhile, at Session House 2F Garden on the second floor, Ichie Watanabe’s talk gathering "Let’s Listen to the Voices of Fukushima!," which reached its forty-second session last year, has continued its activities with the determination that memories of the nuclear accident, so liable to fade, must not be forgotten. These include holding a concurrent exhibition of fabric pictures by someone who has evacuated from a difficult-to-return area. Please listen to these people’s diverse voices.
(Written by Takashi Ito / 伊藤孝)
