伝統芸能
Our philosophy
Dancing in tatami room
The feeling what the Japanese focusing for a long period
The era in which the choreography was made - Aiming to approach the original choreography which was created in Edo and Meiji Period.
Pursuing the essence of tradition
Originally Zashikimai (Jiutamai and Kamigatamai) was performed in a tatami room. So we do not have any particular preference of performing place like a theater.
I think the essence of Japanese culture lies in the ambiguity of boundaries. It could be described flexibility by another word.
For example, difficulty of drawing a line of inside and outside separate line at Japanese style porch, Engawa, a Japanese-style room that can be used as both a guest room or a bedroom, and even a view of life and death.
Of course, the lyrics and choreography of the dance are based on this sensibility, and the atmosphere that exists between the dancer and the audience as they move between inside and outside of themselves is also an important element. I think a tatami room is a place where you can share that dense atmosphere more than anywhere else.
You could discover the significance of contacting old Japanese culture through Jiutamai feeling the sound of breathing, the sound of silk, rustling, the feeling of vague eyes under natural light and the echo sound sink to your body in the space made by wood and paper.
Universal Expression
This Mai is not a dance to play a role but to describe the "scenery in the mind" of the dancer, accompanied by "murmuring" lyrics.
The impression of the Mai shall be completely different even performed by the same dancer, the same song because it reflected by the atmosphere created by each dancer's personality and life experiences.
The true charm of enjoying Mai is that if you have some prior knowledge, you could enjoy even more but even if you do not have knowledge you could enjoy from your personal feeling.
Therefore, anyone could enjoy beyond language, time period.
To pass on to the next generation
Many tangible cultural properties in Japan are made of wood, a material that easily deteriorates, so restoring them is difficult. The most important thing is to consider what to keep and how to make new, and I hear that half of the restoration process is spent on this consideration.
Mai-dance is the same. In some cases, it can be said to be even more delicate because it has no form.
If we do not carefully consider how to accept changes that come with the times, the form will certainly remain, but the core charm of the thing may become diluted.
If we do not make an effort to carefully consider what can be changed and what cannot be changed, we will lose sight of the original charm.
Originally, Mai was performed without wearing costumes for the role. Zashiki-mai is characterized by detailed expression in a dense atmosphere in a small Zashiki room, so I think it is important to dance with simple preparations and without lighting so that the content of the dance can be more clearly brought out.
It is also important to change the stereotype that rehearsals and performances cost a lot of money, and to create many opportunities for many people to know and learn about Mai.
I believe that Mai performed in zashiki (tatami rooms) is more familiar, more delicate, and more natural than in theater.
I think there is still a charm that we have not yet noticed.
It has a charm that has captured the hearts of so many people, and that is why it is still accessible to us today.
I will work hard to preserve it for the next generation.
