Since I moved to Belgium over thirty years ago, my job is
expressing things. However, whenever I am asked what the
theme of a performance is or what it is that I want to
convey, there usually isn’t anything in particular.
Nevertheless, I always end up with the topics of ‘memory’
and ‘loss’. With life and death, with rebirth. A
performance is never the same twice, a moment doesn’t
repeat itself, and the same theme does not result in the
same piece. We repeat the same thing differently all the
time. Moments pass, we lose time. If there are many
moments when I think: “I am glad to be losing these
moments together with Un,” then I am happy to ‘lose time’
with her. That’s why I want to work with her. The time we
are both losing coincides briefly. A chemical reaction
occurs. That is all. Friction. Compromise. I acquire more
secrets. That is all. It’s alright if the audience
forgets what it saw and heard. If we can create a
performance that leaves behind our scent, then I am
happy. Fumiyo Ikeda
Fumiyo Ikeda: strong and fragile at the same time, like
life itself. Rather than telling a story together it is
about a kind of meeting of the minds, something that
transcends the body, that transcends language. I want to
meet her at a level that transcends just fate bringing us
together. So far it is a long distance creation between
Japan and Belgium. The dance before the dance. We send
each other words by e-mail, for instance. One word a day.
Blessing > Forgetting > Mischief > Secret > Color >
Transparent. As an answer to the word of the other, or
consciously not as an answer to the word of the other, we
exchange one word every day. The chosen word shouldn’t
have too much meaning. But not too little either.
Sometimes we carefully select a word. Sometimes we try to
not choose it too carefully. Getting to know each other
without getting to know each other too well. Because the
real partner in dance suddenly appears in real life.  Un Yamada

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