Performanscape - Butoh at the You Yangs
A few images from a larger body of work "Performanscape" created for the Core program of the 2013 Ballarat International Foto Biennale in collaboration with Vikk Shayen a Melbourne based Photographer. All performers were shot on location, nothing was added in post-production.
A few images from a larger body of work “Performanscape” created for the Core program of the 2013 Ballarat International Foto Biennale in collaboration with Vikk Shayen a Melbourne based Photographer. All performers were shot on location, nothing was added in post-production.
Photography: Vikk Shayen
Performers: Sebastian Peters-Lazaro / Yumi Umiumare / Harrison Hall / Willow Conway / Helen Smith / David Kemp / Daniel Mounsey / Felix Ho / Fina Po / Takashi Takiguchi
Production: Jesse Rasmussen / Ellen Strasser
For more information and Print Sales please go to vikkshayen.com
ABOUT THE BALLARAT INTERNATIONAL FOTO BIENNALE
The Core Program is a curated exhibition of Australian and International artists representing some of the best and most innovative contemporary photographic practice. With a focus on new work and a diverse curatorial approach the Core Program is a prestigious exhibition program staged across eight unique heritage buildings in Ballarat, Victoria.
ABOUT PERFORMANSCAPE
PERFORMANSCAPE is a collaborative photographic project with various Australian performance artists and theatre makers. The work exposes the stunning landscapes found throughout Australia that remain hidden from those living in urban areas. It also draws attention to the diversity, craftsmanship and physical virtuosity of various Australian artists and designers.
This project was originally inspired by a pervasive cultural disconnection between city dwellers and the natural environment as well as the emergence of an increasing number of site–specific performances within the world of theatre. In these works I reintroduce the corporeal reality of a performers body into the genre of landscape photography, asking how we see a contemporary human body in relationship to the land. This series explores a personal attraction to moments, objects and relationships that make strange the mundane, that challenges our perceptions of reality and that highlight the unfamiliar in a world that feels increasingly known, categorised and accounted for. I hope the images will bring you to a space in reality where the beauty of the improbable can exist.
ダッショク・シェイク！DASSHOKU SHAKE!
舞踏キャバレエ「DasSHOKU SHAKE!」は、２０１２年メルボルン・フリンジフェスティバルでプレミアを迎えた作品で、その２週間公演は満員御礼、また昨年、ダーウィン国際フェス ティバルにも招聘され、オーストラリア・グリーンルーム賞（INNOVATION:革新的な作品）と、メルボルン・フリンジフェスティバル賞を受賞した。
舞踏キャバレエ「DasSHOKU SHAKE!」は、２０１２年メルボルン・フリンジフェスティバルでプレミアを迎えた作品で、その２週間公演は満員御礼、また昨年、ダーウィン国際フェス ティバルにも招聘され、オーストラリア・グリーンルーム賞（INNOVATION:革新的な作品）と、メルボルン・フリンジフェスティバル賞を受賞した。
「ショックと癒しがクロスする」という謳い文句で、うみうまれを中心に公演を重ねてきた「脱・SHOKU(色)」舞踏キャバレエシリーズは、１９９９年か ら展開され、今作「DasSHOKU SHAKE!」は、その第４作目。観客をある時は混乱に、またある時は爆笑と感涙へと導いてゆく、混沌と調和の同居したその舞台創りには定評があり、過去 のシリーズ作品、「DasSHOKU Cultivation!」(劇団GUMBOとの共演、２００３年)は大阪サンホールにて、また「DasSHOKU HORA!」（２００６年）はシドニーオペラハウスでも大好評を博した。暗黒舞踏の抽象の世界に、神話的やおとぎ話、底抜けに明るく風刺の効いたキャバレ エとをミックスさせた「舞踏キャバレエ」スタイルには、オーストラリでも高い評価を受けている。
今作品「DasSHOKU SHAKE!」では、震災を通して考えさせられた人間の「ゆれ」「ぶれ」「ずれ」「はぐれ」が深いテーマになっている。揺れる感覚、ぶれる思考、はぐれる アイデンティティー、ずれるコミュニケーション、そして「シェイク」した大地から喚起された様々な思いを、色彩豊かなキャラクター達が、踊り、演劇、歌や 語りを通して問いかけてゆく。
オーストラリアで活躍するうみうまれの舞踏と、大阪パワー炸裂、劇団GUMBO抱腹絶倒のコメディに、多彩なるオーストラリア人のパフォーマンスが加わり、その絶妙なバランスが激発する文字通りの日豪合作狂想劇。
「自分の心を揺らす」（ヤイコシラムスイェ）とはアイヌの言葉で「考える」と解釈されるようで、この作品を通し、演者、観客共、いかに自分達の心をシェイク（揺らして）ゆけるかが、作品の深いテーマとなっている。
批評抜粋
“ビジュアル、コンセプト共に豊かなこの作品は、「クレマスター」（マシュー・バーニーによる独特なスタイルの映像作品）より も面白い。（中略）うみうまれは私たちの住むこの街に、途方もない、ひどく面白い、全く素晴らしい舞台を持ってきてくれた。ハローキティのおしめをする特 大の赤子、唄ううんこ頭にファースト・フードの踊り。何が一番混乱したかと言えば、何故この作品がメルボルン国際フェスティバルの目玉商品になっていない かということであった。” The Age (オーストラリア有力新聞)
“想像を絶するような見た目に抽象的な動き、素晴らしいコスチュームに騒々しい音楽、そして、死と笑いを共に誘発するかのような不快な絵画的イメージに感嘆する” Herald Sun (メルボルン新聞)
“この作品のメッセージ性には意味深く差し迫ってくるものがある。混沌とした私たちの存在そのものに対する静かな沈思黙想のようなものを呼び覚ませる。” The Peril Magazine (メルボルン雑誌)
公演記録
TimePlace
2014年東京、大阪公演ツアー、宮城県南三陸地方にてワークショップ（劇団ガンボとのコラボレーション）日豪交流基金助成
2013年ダーウィンフェスティバル
The Amphitheatre, George’s Green
2012年メルボルン・フリンジフェスティバル
２週間公演 ＠fortyfivedownstairs
3 Minute Video Highlights
DasSHOKU SHAKE! Aftershocks
DasSHOKU SHAKE! Short Clip from Fundraising Event 2014
DasSHOKU SHAKE! Butoh Cabaret
The award-winning DasSHOKU Butoh Cabaret series that has been recognised by audiences in sell-out seasons around the world since 1999. The show gained rave responses from audiences and critically acclaimed reviews, receiving Green Room Awards for INNOVATION in cabaret category, and the Fringe Award – Innovation in Culturally Diverse Practice.
A Japanese Australian Butoh Cabaret Extravaganza
DasSHOKU SHAKE! is the fourth work in the award-winning DasSHOKU Butoh Cabaret series which has been recognised by audiences in sell-out seasons around the world since 1999. The show gained rave responses from audiences and critically acclaimed reviews, receiving Green Room Awards for INNOVATION in cabaret category, and the Fringe Award – Innovation in Culturally Diverse Practice.
REVIEWS FROM THE SEASON PREMIERE
“…this is a visually and conceptually rich work that is much more rewarding than the Cremaster Cycle.. Umiumare gives our city an extraordinary, hilarious and actually beautiful gift. Expect outsize babies in Hello Kitty nappies, singing faeces and dancing fast food. Expect also to be a little confused as to why this work is not a central feature of the Melbourne Festival.” The Age
“transgressive imagery, abstract movement, stunning costumes, loud music and uncomfortable imagery that trigger both dread and laughter.” Herald Sun
.”..potent with the urgency for us all to create space for quiet reflection within our chaotic existence.” The Peril Magazine
CREDIT FROM THE ORIGINAL SEASON PERFORMERS
AUSTRALIA
Yumi Umiumare, Matt Crosby, Helen Smith, Willow J, Harrison Hall
THEATRE GUMBO
Kayo Tamura,Kenichi Mabuchi,Ryo Nishihara, Nono Miyasaka
FROM OSAKA
Hiromitsu Oishi, Chizuru Misaki (intere-P),Tomomi Nakayama(joli ma coeur),AYA (Osaka Shinsengumi)
PRODUCTION
Co-Director Yumi Umiumare & Kayo Tamura
Dramaturgy Matt Crosby
Set Design Ellen Strasser
Sound Design Dan West
Costume Design Kiki Ando and Theatre GUMBO
Lighting Design Tom Willis
Photo & Design Vikk Shayen
Photo Masami Kikuchi (Japan)
(original write up)
Be ready to get lost in this funky cross cultural emo shake up! DasSHOKU SHAKE! is the fourth work in the award winning DasSHOKU repertoire – the unique culture-crushing dementia, which has been recognized by audiences in sell-out seasons nationally and internationally since 1999. Dasshoku means ‘to bleach’.
Butoh Punkess Yumi Umiumare ignites her next infamous DasSHOKU Cabaret, bursting from the shaking earth. Osaka’s legendary Theatre Gumbo, international guest artists from Japan plus four of Melbourne’s shock-toy acolytes bring things of darkness out into footlights. Jap-pop and white mysticism assault Buddhist Heart sutra! Comic! Bizarre!
Does devastation transform us, cleanse us or bleach us?
PERFORMANCE HISTORY
2015Mildura wentworth arts festival
2014Japan Tour- Tokyo and Osaka, and workshop in Minani Sanriku
2013Darwin Festival
2012Melbourne Premire season at fortyfivedownstairs, Melbourne Fringe Festival, winning Fringe Award and Green Room Award
TECHNICAL SPECIFICATIONS
Please click here for technical specification and download the document
Photo by Vikk Shayen
3 Minute Video Highlights
DasSHOKU SHAKE! Short Clip from Fundraising Event 2014
DasSHOKU SHAKE! Aftershocks
E-motion in motion
In collaboration with Indonesian Australian media artist Bambang Nurcahyadi to experiment and create visual poetries- rich tapestry and narratives through ‘e-motion tracking’ process, dividing into different chapters. The audience/viewer’s interactions will be also tested in the process to add another layer that provokes the their expressions and emotion.
This is a project in development, collaborated with media artist Bambang N Karim, to experiment and create visual poetries- rich tapestry and narratives through ‘e-motion tracking’ process, dividing into different chapters. The audience/viewer’s interactions will be also tested in the process to add another layer that provokes the their expressions and emotion.
The juxtapositions of body and landscape are portrayed through digital moving images .It was originally coming from a Japanese ancient belief of Life and Death. In the world of ‘after-death’, the whole world exists in reverse from the world of the living. It was also to use the metaphor of my daily experiences of living in Australia as the ‘reverse-world’ from Japan, searching own cultural identities. A body interacts with a digital image of body/multiple bodies-digital images appear to enter and exit from the real-time body. The effect creates an eerie world as if spirits are jumping in and out of real-time performing body. Digital images of multiple faces also explored and it provokes my question about our identities-who are we? Where are we coming from?
DEVELOPMENT HISTORY
2012 Melbourne University Student workshop
George Patton Gallery for a showing
2009 A studio Residency, Metro ScreenSydney
Transmute Butoh Caberet: University of Melbourne
Melbourne’s legendary Yumi Umiumare, leads student performers in the creation of a playful, transgressive and hyper-energized hybrid. Combining the physical extremes of butoh and the emotional intimacy of cabaret, Trans-Mute will reframe everyday stories as strange outlandish songs and dances.
Melbourne’s legendary Yumi Umiumare, leads student performers in the creation of a playful, transgressive and hyper-energized hybrid. Combining the physical extremes of butoh and the emotional intimacy of cabaret, Trans-Mute will reframe everyday stories as strange outlandish songs and dances.
Director/Devisor – Yumi Umiumare
Dramaturg – Tom Gutteridge
Designer – Ellen Strasser
Assistant Director/Sound Designer – Felix Ho
Lighting Designer – Matthew Seah
Lighting Mentor – Richard Vabre
Photography: Vikk Shayen
Talk You Me
Collaboration with Brunswick Women's Theatre, the project aims to provide a supportive, creative environment for all women, particularly women from Non-English Speaking backgrounds and other under represented groups, to explore the richness of their own lives through the use of theatre and performance skills.
When language is lost and new meanings sought, English becomes the second language and our human language is revived in an experimentation of movement, lyrics, rhythm and stories.
Artistic Director Catherine Simmonds in collaboration with
Yumi Umiumare- Choreography
Lynnelle Moran-Lyrics & Music
Mary Quinsacara-Rap & Rhythm
Riza Manalo-Multi Media
Yasmin Ferda Khan-Project Manager
Performed and co-devised by the women of Brunswick Women’s Theatre
The image photo by Eelin Cheah
Performance Dates
Thursday 10th November 1:30 pm
Visy Cares Learning Centre. 3-13 Hudson Circuit Meadow Heights
Friday 11th November 1:30 pm Kangan Batman TAFE Auditorium Pearcedale Parade BroadmeadowSaturday12th November 7:00pm
Glenroy Senior Citizens Centre 11 Cromwell St Glenroy
BRUNSWICK WOMENS THEATRE – DISCOVERING THE NEED TO SPEAK AND SPEAKING THE UNSPOKEN
Brunswick Women’s Theatre aims to provide a supportive, creative environment for all women, particularly women from Non-English Speaking backgrounds and other under represented groups, to explore the richness of their own lives through the use of theatre skills, with the aim of developing empowerment through increased self esteem, enhanced social networks and a greater understanding of the personal and collective experiences of women. And through the fruition of these processes, to provide the community with performances that are not only expressive of the women in the group, but also of a high artistic quality.
The Intent of The Brunswick Women’s Theatre: There is no process of audition in BWT and performances do not rely on talent, but on the importance of the story to the group and the broader community. BWT is not a fixed group. With every new project women are sourced through community networking, assisting women from marginalised communities to enhance self esteem and relieve experiences of social isolation. Through public performances, Brunswick Women’s Theatre successfully promotes community understanding of such issues as displacement, trauma, discrimination and survival for culturally and linguistically diverse women. Brunswick Women’s Theatre 2011
Not just my stories
Not Just My Story is a special opportunity for audiences to encounter the human face of compelling asylum seeker stories. Weaving together the moments, memories and voices of the performers, the work challenges the popular narrative of seeking asylum in Australia. Not Just My Story will open your heart to the potential of our shared humanity.
The Asylum Seeker Resource Centre presents Not Just My Story as part of the Human Rights Arts and Film Festival.
When do you tell your story and why? What happens to your sense of self when you’re under suspicion? Stories of persecution, family, resilience and love are explored by 30 asylum seekers through physical theatre, story telling, movement and music.
Directed by Catherine Simmonds
Choreography by Yumi Umiumare
Dramaturg by Arnold Zable
Sound design by Myles Mumford
Not Just My Story is a special opportunity for audiences to encounter the human face of compelling asylum seeker stories. Weaving together the moments, memories and voices of the performers, we challenge the popular narrative of seeking asylum in Australia. Not Just My Story will open your heart to the potential of our shared humanity.
When:Saturday May 14 2011 5:00 AM – Sunday May 15 2011 11:00 AMWhere:St. Martins Youth Arts Centre, 44 St. Martins Lane, South Yarra, VIC, 3141Contact:Asylum Seeker Resource Centre
This event is not organized by Amnesty International Australia but by the Asylum Seeker Resource Centre and all inquiries should be directed to them.
Quote from Pozible campaign
“Not just my story” evolved in consultation with the 22 (protagonists) of JOAW. “We feel so lucky to have been touched by the creative work but we need to give that opportunity to other people and we could help to open the door for new asylum seekers.” The events that lead a person to be named as an “Asylum Seeker” are inevitably infused with tragedy.
“Not just my story” will actively research the symbols, dreams and intimate details within the tragedy, with the aim to extract and portray the experiences that create universal resonance. Our participant asylum seekers have largely been represented and judged within legal frameworks where they’ve had to prove their ‘truth’ time and time again.
“Not just my story” aims to explore the vulnerabilities and contradictions that occur when telling a story, – what happens to ones sense of ‘truth’ when under suspicion? In this project we will also emphasize the positive experiences and memories of our participants, for example the love stories, celebrations, and creative imagination of our participants, thus exploring the expression of the multidimensional person who hashumour, is a musician, actor, poet and dancer. Our aim is to transmit a different image of asylum seekers neither just as ‘poor things’ or the nastier stereotype and to deconstruct the common media representation. The ‘protagonists’ who were in JOAW also wish to investigate issues of cultural integration and settlement post “Permanent Residency” – “You get the visa and then you’re all alone. I didn’t have work experience I needed to get a job. But I came from a country where there’s no technology, no cars, no basic stuff.” “In Dandenong there is the perception that because Sudanese young men congregate together, that they are therefore a gang. It’s important to combat those perceptions in the public, also in the police force where there’s a lot of racism”
Ngapartji Ngapartji
Ngapartji Ngapartji was a community development and Indigenous language maintenance/revitalisation project produced by the Australian arts and social change company Big hART conducted in various locations across the Anangu, Pitjantjatjara and Yankunytjatjara (APY) Lands in Central Australia and in Alice Springs.
“It’s a magical piece of theatre” – Sybil Nolan, Herald Sun
“The most important event for local audiences to see this Festival” – Andi Moore, Artszine
“It does honour to the festival that has presented it” – John Slavin, The Age
“A pure gift” – Alison Croggon, Theatre Notes
“An inclusive plea for understanding and justice” – Miriam Cosic, The Australian
Ngapartji Ngapartji was a community development and Indigenous language maintenance/revitalisation project produced by the Australian arts and social change company Big hARTconducted in various locations across the Anangu, Pitjantjatjara and Yankunytjatjara (APY) Lands in Central Australia and in Alice Springs. The project ran from 2005 to 2010 with spin-off projects and related performances creating a strong legacy beyond this timeline. The project was structured around an experimental and reflexive arts-based community development program which included the creation of an online interactive language and culture learning website by Pitjantjatjara-speaking young people, elders and linguists; a bilingual touring theatre work and a media campaign promoting the development of an Australian national Indigenous language policy.
さかさま SAKASAMA
オーストラリアと日本で全く「さかさま」な季節を行き来するアーティスト自身の経験や、 あの世とこの世は左右・上下などが「さかさま」の反世界であるというアイヌの人たちの考え方からインスピレーションを得て、此岸（生きている世界）と彼岸（死んだ後の世界）を抽象的に捉えた作品。
オーストラリアと日本で全く「さかさま」な季節を行き来するアーティスト自身の経験や、 あの世とこの世は左右・上下などが「さかさま」の反世界であるというアイヌの人たちの考え方からインスピレーションを得て、此岸（生きている世界）と彼岸（死んだ後の世界）を抽象的に捉えた作品。
「DEATH-死」 をテーマに数人のアーティストたちが集まって作品を制作、展覧するOzAsiaFestival(オズアジア・フェスティバル)で展覧されたビデオ映像作品。それをもとにしてダンス作品にも創作された。
オーストラリアのいわゆる原始的な川を流れ、行き来するうみうまれの姿と、「さかさま」に編集されたサウンドスケープが効果的に使われている。
批評
力強く、不思議に入っていきやすい作品に出来ている。描かれているカリカチュア（女性が川に浮いている姿）が、絶望や寂しさ、ソーシャルな世界や夜の世界のもつ霊的な深みへといざなってくれるかのようだ。—はっきりしないことこそが、日常的で些細な美しさに満ちているということを、何度も思い出させられる。
オンライン批評 シェイラ・リベイロ２０１０
パフォーマンス,映像公演歴
TimePlace
2009年Sakasama—さかさま(マルチメディア・パフォーマンス) パルスPulse, @ Rooftop ルーフトップ・メルボルン
2009年Sakasama-さかさま I-DANCE フェスティバル、香港
2007年フェスティバルセンター）でプレミア
エントランス ENTRANCE
うみうまれのソロダンス代表作。２００９年にメルボルン、モルトハウス劇場でプレミア公演、以後アデレード、キャンベラ、シドニー、クイーンズランドで公演ツアーをした。舞踏、キャバレエ、トランスダンスにコンテンポラリーダンスという４つの影響されたアートフォームをもとに集大成されたマルチメディアとダンスの融合した作品。
うみうまれのソロダンス代表作。２００９年にメルボルン、モルトハウス劇場でプレミア公演、以後アデレード、キャンベラ、シドニー、クイーンズランドで公演ツアーをした。舞踏、キャバレエ、トランスダンスにコンテンポラリーダンスという４つの影響されたアートフォームをもとに集大成されたマルチメディアとダンスの融合した作品となっている。メルボルン在住日本人ヴィジュアルアーティスト、太田奈穂美の繊細な舞台美術に、シドニー在住インドネシアンアーティスト、バンバン・ヌチャヤディのハイテク映像が加わり 視覚的にも色彩豊かな作品で、新聞批評、雑誌などで好評を得た。
批評抜粋
“舞踏と演劇が摩訶不思議に出くわしたような作品だ。（中略）エントランスは非常に魅力的な夢の物語が、音楽、セリフ、視覚的イメージや動きの素晴らしい融合によって、素晴らしく解きほぐされて行くようだ。” The Age 新聞
“エントランスは私たちのハート,ボディと心を開いてくれ、人間の本質的なスピリットを変容してくれるかのようだ。” Canberra Times
公演記録
TimePlace
2012年Performance Space シドニー
2011年The Street Theatre キャンベラ
2010年NORPA (Lismore) リズモア クイーンズランド
2009年OzAsia フェスティバル アデレード
プレミア公演、Malthouse Theatre メルボルン
ディス・オリエンタル DIS-ORIENTAL
ダンス・ソロ小作品。オリエンタル（Oriental)でありながら、方向がわからなくなって混乱する(ディスオリエントーDisorient)ことをタイトルでもじり、自らの移民生活をメタファーに創った作品。 日常品を使って非日常である現実を表現した動きは、コミカルで抽象的
ダンス・ソロ小作品。オリエンタル（Oriental)でありながら、方向がわからなくなって混乱する(ディスオリエントーDisorient)ことをタイトルでもじり、自らの移民生活をメタファーに創った作品。
日常品を使って非日常である現実を表現した動きは、コミカルで抽象的。舞台作品はシドニー、メルボルン、アデレードで公演され、ダンスフィルムとしてはイギリスのチャンネル４との提携で制作された。（２００４−２００７年）
批評抜粋
“舞踏と日本的な伝統を背景に持つうみうまれの信じられないぐらい強烈なソロでは、個人的で家庭的な細かい動きにでも、のすご い意味を持っているかのように客の集中力を引き込んでゆく。（中略）目の前に映るものは、心理的かつ感情的なことを熟考して積み重ねた動きやオブジェクト であり、その確たるものに裏付けられた中での変容ぶりに、私たちは釘付けにされるのである。”
シドニーモーニングヘラルド２００４年
パフォーマンス,映像公演歴
TimePlace
2007年OzAsia フェスティバル （アデレードフェスティバルセンター）
2006 年春のダンスプログラム、 メルボルンダンスハウスにてシーズン公演
2004 年プレミア公演
Once upon time at midnight ある真夜中に
Once Upon a Midnight is a Japanese/Australian rock musical. The script is bilingual, featuring seven Japanese performers and seven Australian performers. It follows the adventures of Kelsey Clarke and the warrior doll Nozomi as they journey to the Underground to liberate the monster world from the mysterious Angelica.
Once Upon a Midnight is a Japanese/Australian rock musical. The script is bilingual, featuring seven Japanese performers and seven Australian performers. It follows the adventures of Kelsey Clarke and the warrior doll Nozomi as they journey to the Underground to liberate the monster world from the mysterious Angelica.
The show was first performed at the Kijimuna Festival in Okinawa, Japan, and later appeared as a headline act at the OzAsia Festival in Adelaide, South Australia. It was a collaboration between the Kijimuna Festival, Flinders University Drama Centre and Adelaide Festival Centre.
Synopsis
Kelsey Clarke is very afraid. She is afraid of germs, she is afraid of traffic…even the toaster makes her feel very afraid.
Deep in the Underground, the monsters are afraid too. Angelica, the Blue Fairy, has flown into their world. No longer will the monsters be allowed to terrify unsuspecting children, no longer can they drink blood and dance the night away.
Powerless to confront Angelica, the Tengu — Lord of the Underground — has no choice but to find the world’s most frightened child and teach her to confront her fear. For timid Kelsey, this means putting on her best cardigan and plunging headlong into the monster kingdom — from murky swamps to haunted Ghost Roads!
With an enchanted doll and a vegetarian vampire to guide her, Kelsey touches her darker side. But is becoming her own nightmare any better than cowering alone under blankets? Can Kelsey summon the courage to find her true self, face her demons and stand against the magical Angelica? Or will the sun rise forever on a future where only the fearful survive?
Production credits
Publicity photo: Yoshiki, Ryan and Tweetles
Director: Catherine Fitzgerald
Choreography: Yumi Umiumare
Assistant Director: Momoko Iwaki
Costume Design: Oka Kazuyo
Dramaturg: Julie Holledge
Set Design: Naomi Steel
Design consultant: Mary Moore
Stills Photographer: Tomoaki Kudaka
Music consultant: Stuart Day
Sword Fight Choreographer: Tuyoshi China
Lighting Designer (Japan): Yoshimi Sakamoto
Lighting Designer (Australia): Fred Schultz
Stage Manager (Australia): Maj Green
Production Manager (Australia): Andrew Bailey
Set Construction (Australia): Glen Finch
Book Translation (to Japanese): Ken Yamamura with Yumi Umiumare Lyrics Translation (to Japanese): Ken Yamamura, Yumi Umiumare, Keiko Yamaguchi, and Mai Kakimoto
Produced by Hisashi Shimoyama, Artistic Director of the Kijimuna Festival, and Professor Julie Holledge, Flinders University Drama Centre.
Dis-oriental
Using everyday objects as metaphors of ‘loss’, while also collecting residential memories defined by a psycho-emotional space, Yumi takes on the notion of ‘oriental’ in the context of moving and living in “foreign” spaces. The work explores the cracks and spaces between disorientation / destruction & attraction / familiarities.
Winner of ReelDance International Dance On Screen Festival (2008)
Using everyday objects as metaphors of ‘loss’, while also collecting residential memories defined by a psycho-emotional space, Yumi takes on the notion of ‘oriental’ in the context of moving and living in “foreign” spaces. The work explores the cracks and spaces between disorientation / destruction & attraction / familiarities.
Inspired by Japanese architect Shigeru Ban’s emergency cardboard tubing house, Yumi explores the notion that a house, usually an object of permanence, could be specifically designed to provide momentary comfort.
Choreographed and Performed by Yumi Umiumare
Sound Design: Cat Hope
Lighting Design: Richard Vabre
Produced by Hirano Production
This work premiered at Performance Space as a part of Rakini Devi’s project, Women in Transit in 2004.
PERFORMANCE HISTORY
2007 SeptemberTheatre, Adelaide Festival Centre, OzAsia Festival
2006 OctoberSpring Dance program at Dancehouse
2004 July as a premier season of Woman in Transit
Film Project
Choreographed and Performed by Yumi Umiumare
Director Sean O'Brien
Writers Sean O'Brien Yumi Umiumare
Sound designer Darrin Verhagen
Producer Beth Frey
Production Company
Australian Broadcasting Corporation Arts Council of England Australia Council for the Arts Channel Four International Circe Films Pty Ltd
REVIEWS
“….Yumi Umiumare does incredibly intense solo in which her Japanese heritage and butoh dance background provide an irresistible focus for small actions on personal or domestic themes that hint at larger concerns……The transformations is riveting, powered by the knowledge that visual is built on layers of psychological and emotional considerations.”
Sydney Morning Herald 2004
Photo by Heidrun Lohr
DasSHOKU Hora!!
DasSHOKU suru is a Japanese term meaning to bleach, to strip off colour. Hora! in Japanese means Look Out! In DasSHOKU Hora!!, the third in the DasSHOKU series, Yumi and the DasSHOKU team strip back the candy-coloured surface of Japanese culture and tickle its hoary underbelly.
DasSHOKU suru is a Japanese term meaning to bleach, to strip off colour. Hora! in Japanese means Look Out! In DasSHOKU Hora!!, the third in the DasSHOKU series, Yumi and the DasSHOKU team strip back the candy-coloured surface of Japanese culture and tickle its hoary underbelly.
Yamamba, an ancient mountain hag who cannibalises those who stray too close, gives birth to twins the scientist and the businessman. Together they exploit a shallow world hooked on instant gratification and collective denial of the dark within.Yamamba mutates into Ganguro girl, the blonde, tanned Japanese icon of Shibuya subculture. At dawn she arises from her nocturnal trance dance to become Muijina, the kimono girl with no face. Then, pretty in pink as Hello Kitty! girl in the enjokosai ‘rescue relationship’ lounge she sells her panties to wrinkled lovers.
Creator / Performer Yumi Umiumare
Co-Creator/Performer Matt Crosby and Ben Roogan
Dramaturg Moira Finucane & Jackie Smith
Set Design Mary Moore
Costume Design ESS HOSHIKA LABORATORY
Sound Design Tatsuyoshi Kawabata
Lighting Design Dori Bicchierai
PERFORMANCE HISTORY
2006 May – June – Season at The Studio @ Sydney Opera House
2006 February – 2005 Green Room nomination
2005 November – World Premiere @ the Tower Theatre, Malthouse, Melbourne
TECHNICAL SPECIFICATIONS
Please click here for technical specification and download the document
REVIEWS
“Wild extremes in fearless performance shock, fascinate”
THE AGE
“It is a bizarre mixture of butoh, grotesquerie and highly physical acting..”
Herald Sun
“.. Frenzied and stimulating, DasSHOKU Hora!! is at times both comic and confronting, but always compelling.”
Melbourne Stage on line
“Watching Umiumare dance butoh is like watching a stainless steel mannequin ram a knife into a toaster.”
Vibewire on line
Online Reviews/Previews
“Butoh’s difficult, non-naturalistic exploration of extremely physical emotionality is put into relief through the inventive and playful ironies of the cabaret tradition, and in the instance of DasSHOKU Hora!, the result is both frightening and energising.”
RealTime 71 February / March 06
“Umiumare is a thrilling and compelling performer”
melbournestage.com.au
“Cultural anthropology with sound production you can feel in your belly and visuals that will never leave you.”
vibewire.net
“Which way reality from here?”
theage.com.au
“a sight for the wicked”
theprogram.net.au
“Crazy crazy nights”
Atmosphere Harmonics for Lone Voice
The Burlesque Hour
From the frenetic house of Finucane & Smith - internationally acclaimed Queen of Cabaret Bizarre Moira Finucane and Patrick White Award winner Jackie Smith - the work that has created an international storm of sell out critical acclaim and won 6 Australian theatre awards for its provocative and astonishing images of gender, sexuality, power and desire.
From the frenetic house of Finucane & Smith – internationally acclaimed Queen of Cabaret Bizarre Moira Finucane and Patrick White Award winner Jackie Smith – the work that has created an international storm of sell out critical acclaim and won 6 Australian theatre awards for its provocative and astonishing images of gender, sexuality, power and desire.
The Burlesque Hour… SIZZLES! With a mind-cracking mixture of the old, the new, the unexpected, in the world’s most astonishing, most sizzling salon of showgirls with very sharp teeth!
Artistic & Performance Directors! Moira Finucane and Jackie Smith
Creators of the Burlesques! Moira Finucane and Jackie Smith
Azaria Universe
Yumi Umiumare
(Kitty’s World and Hebi Onna created in collaboration with Finucane and Smith)
Deluxe Designers! Sensational Set by Adrienne Chisholm
Luxe Lights by Marko Respondeck
Curvaceous and Crazy Costumes by David Anderson
Sonic Seamstress Darrin Verhagen
HOT ON THE HEELS OF A WORLD TOUR, THE SMASH HIT OF FESTIVALS EVERYWHERE RETURNED TO MELBOURNE FOR 4 SIZZLING SUMMER NIGHTS!
More information : http://www.moirafinucane.com/shows.html
Legendary iconoclast Maude Davey with her infamous and fabled strawberry act; Moscow circus trained circus and burlesque star Azaria Universe; Japanese butoh dancer and shock cabaret artiste Yumi Umiumare and guest artiste Clare Bartholomew’s Pierre – Magician and Love Machine!
Creating a frenzy amongst critics and audiences around the world, from Tokyo to Trieste, London to Ljubljana, Edinburgh to Croatia to the Opera House and beyond; The Burlesque Hour mixes vaudeville and variety, circus and sideshow, striptease and cartoon strip, boho and butoh, music hall, monologue and mayhem in a wild ride that hijacks Burlesque, explodes expectations, and delights and disturbs long after the carnival is over.
SELECTED REVIEWS
“Dramatic, original, effective, breathtaking … beyond genre: the cabaret variety set on fire, definitively”
Vecer News, Slovenia
“I thought I would have nightmare after seeing this show but it was a fantastically indecent and breath-taking night!! In this political time, this indecent and crazy event was so perfect to have at the old warehouse in Yokohama, where it was as if “evil place” in a famous action movie popped up for one night only”
Wander Distance Magazine Yokohama
“Intensive and hairsplitting physicality… it opens up a whole new world, a world of the surreal”
Dnevnik News, Slovenia
“Sexually emancipated, hilarious and kerosene fuelled… gender bending, bodice ripping, stereotype trashing, neo-circus cabaret madness”
Metro UK
“Every single artiste is wickedly entertaining, yet hugely different… saucier than your Edinburgh chippy … grotesquely addictive … with more than a tablespoonful of gothic sex appeal…”
Three Weeks UK
“Unmissable…The minds that inspired it are as sexy as the bodies that perform it… comic, erotic, dynamic, acrobatic… The Burlesque Hour is a night to remember and will retain its power to delight and disturb long after the carnival is over”
The Sunday Age
“From the sublime to the subversive, the hot to the hilarious… outrageous and unforgettable”
The Times, London
“… it was a fantastically indecent and breath-taking night!! Big applause!!”
Wander Distance Yokohama, Japan
“Prepare to be shocked and overwhelmed. Expect no less. Experience so much more. The Burlesque Hour is not for the faint-hearted, the queasy or the conservative. But even these types have to appreciate the entertaining spectacle for what it is. It’s difficult not to. These showgirls are polished and prepared to dazzle, from their go-go dancing routines right through to mad moments of nudity. Jaw dropping, feisty, seductive, dynamic. I suggest you grab a drink, sit back and allow yourself to be thrilled. Unmissable.”
Edinburgh Guide 2005
“The Burlesque Hour is a series of set pieces-lip-synching mimes, dances and commando acts- by an unholy trinity of fatale feministas : Moira Finucane, Yumi Umiumare and Azaria Universe.
Umiumare has a crazy sense of humour and an absolute devotion to her distinctive style of Butoh cabaret.”
Chris Boyd – Herald Sun, 19 July 2004
“The Burlesque Hour is succession of delights; short pieces devised and performed with enormous wit, style, intelligence and originality… ”
“…Umiumare is also funny as a schoolgirl stripper shedding multiple pairs of knickers, and starkly impressive, revealing and ascetic black costume beneath a rich kimono…”
Bill Perrett – The Sunday Age,18, July 2004
“Pain and pleasure in the art of the tease”
“The Burlesque Hour …, involves pungent commentary on gender, power, violence and desire.”
“Yumi Umiumare ..takes the pop culture icon Hello Kitty and makes a notion of demonstrating the evil flipside of this cute, demure creature which happens to lack a mouth..”
Thuy On The Australian, 19 July 2004
“Moira Finucane, Azaria Universe and Yumi Umiumare deliver powerful performance, drawing on contemporary popular song from the schmaltzy sob of love-gone-wrong, to hard-core thrash..” “Umiumare always pushes the limit when she perform…her most profound act was a sustained solo cloaked in orientalism, her body concealed then tantalisingly revealed..”
Hilary Crampton – The Age, 19 July 2004
Tokyo DasSHOKU Girl
Tokyo DasSHOKU Girl touches on the shadowy life of Japan which many would never encounter. DasSHOKU (to bleach) strips off the colour of the superficial to reveal the reality behind the happy face of consumerism, bleaching away the commonly held views of Japanese women as kawai, or cute, polite and submissive.
Tokyo DasSHOKU Girl touches on the shadowy life of Japan which many would never encounter. DasSHOKU (to bleach) strips off the colour of the superficial to reveal the reality behind the happy face of consumerism, bleaching away the commonly held views of Japanese women as kawai, or cute, polite and submissive. In Tokyo DasSHOKU Girl Yumi pays homage to the roots of Butoh as an anarchic dangerous and at the same time beautiful dance form.
Choreography and Directed by Yumi Umiunare
Collaboration with Matt Crosby and Ben Rogan
Music Mixed by Tatsuyoshi Kawabata
Costume by Hoshika Oshimi and Yumi Umiumare
Lighting Design/ Operation by Dori Dragon Bicchierai
PERFORMANCE HISTORY
March 2004 – National Multicultural Festival, Canberra
July-August 2003 – Kultour, Fremantle, Adelaide, Tasmania, Lismore (funded by the Australia Council)
May 2001 – Adelaide Cabaret Festival
February 2000 – Gasworks (return Season)
October 1999 – Czech House, Melbourne Fringe Festival
1995 – Melbourne
REVIEW
“….Umiumare’s inventiveness and physical discipline were in evidence in the way she could almost redesign her physique to embody her different characters.”.
THE AGE 1999 (Hilary Crampton)
“….Tokyo DasSHOKU Girl is a tequila slammer – it is a shocking, sprawling, comedic assult of a cabaret. Umiumare and off-siders Ben Rogan and Matt Crosby unearth some of Japan’s most extreme culture, from cults and the vending of school-girls’ panties to karaoke. ….(it) is daring and exceedingly entertaining.”.
THE AGE 2000 (Fiona Scott-Norman)
In-compatibility
In-compatibility is a powerful new dance performance which creates a unique devotional space that is a synthesis of Asian shamanistic trance-dance, Butoh and contemporary western traditions. This pushes the boundaries of Yap and Umiumare's ongoing investigation into the separate but interdependent natures of yin and yang - of moments compatibility and incompatibility.
Melbourne based internationally acclaimed dancers/ choreographers Tony Yap and Yumi Umiumare, are launching their company “-“. and premiere a season of their new work, in-compatibility at this year’s Melbourne Festival 2003.
In-compatibility is a powerful new dance performance which creates a unique devotional space that is a synthesis of Asian shamanistic trance-dance, Butoh and contemporary western traditions. This pushes the boundaries of Yap and Umiumare’s ongoing investigation into the separate but interdependent natures of yin and yang – of moments compatibility and incompatibility.
This arresting new work features an original live musical score composed and performed by this years Green Room awards winners Madeleine Flynn and Tim Humphrey, with a visual realization by acclaimed stage designer Michael Pearce.
Yap and Umiumare bring in three other performers to upset and stretch the boundaries of their well established duo working relationship in ongoing How could you even begin to understand series.
Yap and Umiumare are leading lights in the Butoh dance community, frequently invited to participate in international festivals and conferences. Last year they featured at the Beyond Butoh Program at the JADE Festival in Tokyo, where their performance was greeted with great enthusiasm from critics and audience.
The premiere of this piece will further challenge the dance community’s perception of what is beyond Butoh.
Choreography Yumi Umiumare & Tony Yap
Performers Yumi Umiumare, Tony Yap, Tom Davies, Nic Hempel, Meredith Elton
Composition / Music Tim Humphrey composer/musician & Madeleine Flynn
Set & costume design Michael Pearce
PERFORMANCE TIMELINE
2003 October – Presented by Multicultural Arts Victoria in association with Melbourne International Arts Festival
REVIEWS
“In a stunningly compelling performance, they shift from one meditative state to another, the dynamics changing from quiet composure to frenzied ecstasy”.
THE AGE, MELBOURNE
いのり IN-VISIBLE
１９９６年の阪神大震災後、の鎮魂の踊りとして創作された作品で、宝塚市阪神大震災５周年メモリアル・イベントとメルボルン・ダンスハウス公演（２０００年）、またデンマーク、コペンハーゲン、ポスト舞踏フェスティバルにも招聘された。作品にはアンソニー・ペルケンによるシンプルな舞台美術が効果的に盛り込まれている。
１９９６年の阪神大震災後、の鎮魂の踊りとして創作された作品で、宝塚市阪神大震災５周年メモリアル・イベントとメルボルン・ダンスハウス公演（２０００年）、またデンマーク、コペンハーゲン、ポスト舞踏フェスティバルにも招聘された。作品にはアンソニー・ペルケンによるシンプルな舞台美術が効果的に盛り込まれている。
批評抜粋
“ゆみうみうまれは舞台上で動物になっていたのではなく、まるで不思議に歪んだ人間のようになっていた。キット・ジョンソンと同様（同じ日に踊ったデンマークのダンサー）彼女達はその究極の肉体を消し去り、それを舞踏パワーに変容してゆくことのできる力がある。いや、もしくは地面ですら消し去る力かもしれない。” （コペンハーゲン インフォメーションマガジン）
パフォーマンス,映像公演歴
TimePlace
2003年Traces ポスト舞踏フェスティバル、コペンハーゲン、デンマークに招聘されソロ公演
2000年メルボルンダンスハウスにてシーズン公演
DasSHOKU Cultivation!!
Dancing between two contrasting cultures (Osaka and Melbourne), Umiumare tactically manipulated two languages and smoothly proceeded with the whole show. The balance of the contexts and the sense of timing in each scene change was incredible.
Performers
Performers (from Australia)
Matt Crosby
Yumi Umiumare
(from Japan – Theatre GUMBO)
Kayo Tamura Kenichi Mabuchi Yuko Nishimura Seiichi Oda
In Collaboration with Theatre Gumbo & Matt Crosby Osaka, Japan (Arts Victoria Cultural Exchange program)
DasSHOKU Cultivation!!
PERFORMANCE HISTORY
2003 July Sun Hall Osaka
Reviews
脱・ＳＨＯＫＵ・色 カルチベーション！！
批評
Umiumare は、この相対する地域文化の間で身を翻しつつ、ふたつの言語を操りながら巧みに作品を進行していった。諸要素のバランスと場面を切り替えるタイミング、観客を作品世界に巻き込む戦略はすばらしく、客席も大いに盛り上がった。
…. 脱色」プロジェクトは、 Yumi Umiumare の活動と移動にともない改訂されていくだろう。その改訂版の一つが大阪で制作・上演されたことの意義は、実は少なくない。
カルチャーポケット vol 25 カルチャーポケット 2003 年月
“.Dancing between two contrasting cultures (Osaka and Melbourne), Umiumare tactically manipulated two languages and smoothly proceeded with the whole show. The balance of the contexts and the sense of timing in each scene change was incredible. Her strategy to include the audiences was great and I could sense the audience being extremely livened up.
…DasSHOKU Project would evolve with Yumi Umiumare’s activities and movement. It is very significant event to have this DasSHOKU Project produced and performed in Osaka.”
Culture Pocket vol 25 Naoko Kogo Oct 2003
