amness is an extraordinary meeting of two dancers that are almost contemporaries. They share the same roots, but followed a different path. As a 16 year old Fumiyo Ikeda came to Belgium and developed her career, to a large extent with Rosas. Un Yamada, six years younger, grew up in Japan and started her professional dance career relatively late. Un had seen performances with Fumiyo by Rosas in Japan, but they both met each other for the first time in 2010 in Lisbon. However different their background, there was an immediate bond and the desire to work together. They start mailing each other on a daily basis a “Word of the day’. This diary of words will turn into a shared vocabulary of about 900 words. Through this dictionary you get an idea of what drives both dancers, but the different interpretations of the words and the ideas that lie behind them, are endless. Despite the distance between Brussels and Japan and despite the limited communication of words, gradually and almost invisibly, a real- be it virtual- meeting between the two performers develops. Their meeting is still contained in the exchange and accumulation of words, but will soon have a physical continuation on the stage. The glossary will be the dancers’ starting point for improvisation, wherebythe meaning, the sequence and the interpretation will constantly move and provoke small or large changes. Just like there are large and small changes in our daily lives. Herein lies an interesting paradox that occupie both dancers: The apparent contradiction between the conclusion that life is a routine accumulation of the same facts, which apparently do not change, and the conclusion that everything constantly changes and never returns. This contradiction will find its way on stage, both in the tension between the two bodies of the dancers, as well as between the bodies of the dancers andother elements on the scene: the live music of BL!NDMAN and lighting design by Hans Meijer.

Fumiyo & Un is actually not a duet, but a trio, with the music as a third partner.The choice of music was obvious. Both share a passion for Bach. Much more than other classical music – Bach’s music feels very open to both dancers. The scores offer manyopportunities to improvise. At the same time Bach’s music works in a structuring way. The seemingly contradictory open and structured character of the music fits. well with the material that the dancers want to explore in this performance.

Through improvisation Fumiyo and Un discover that the tonality and depth of wind instruments such as saxophone and tubax, ‘fit’ the movements of their bodies. The combination of Bach and wind instruments immediately lead to BLINDMAN, the Belgian quartet of Eric Sleichim, that in 1999 made a remarkable arrangement of Bach’s chorale partitas for saxophones. In close collaboration with Eric Sleichim the dancers will continue their wondrous quest through the organ music of Bach and give it a prominent role in the show. In this sense the live performance of the music will be the major importance.

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