Dancer and choreographer Yuichiro Inoue bringsrich international experience to Toronto Dance Theatre (TDT) with his first full piece KIOKU NO MA – 記憶の間. And on the occasion of this world-premiere piece, in which he expresses fully his cultural heritage, he spoke with SesayArts Magazine about creating this work.
But first… some info on Inoue’s career to date, paired with some insights he shared with us.
Born in Japan, Inoue trained in Germany’s prestigious John Cranko Ballet School at the age of 15 years. And his pursuit of dance was just getting started: “After graduating, I danced professionally for 8 years with a ballet company in Germany. When I turned 27, I continued my journey and moved to Canada” – a move leading directly to what would become an illustrious 18-season career with Toronto Dance Theatre.
Inoue’s repertoire extends far beyond his performances. He has collaborated with renowned artists and companies on stages across the USA, UK, Europe, and Asia. And his contributions to dance have not gone unnoticed: he has received a choreographic award at the Hiroshima International Dance Competition and has been a finalist for several prestigious awards, including the Dora Mavor Moore Awards and the Johanna Metcalf Performing Arts Prize.
Beyond the spotlight, Yuichiro dedicates himself to nurturing the next generation of dancers. With teaching positions at Dance Arts Institute and the Pia Bouman School, he shapes the future of dance both in Canada and Japan. Showcasing his versatility and innovative approach to dance, his work also extends to choreographic commissions and film.
His new original piece, KIOKU NO MA – 記憶の間 is part of the Toronto Dance Theatre’s Spring Double Bill with ALIENS by KINAJ (duo Kin Nguien and AJ Velasco). Yuichiro is excited about the work, which is both a performance and a reflection of his life’s journey, interwoven with the diverse cultural experiences that have shaped him: “This is my 18th season as a company dancer with Toronto Dance Theatre, and I’m thrilled to be exploring and sharing my new original piece with you!” Inoue expresses.
In KIOKU NO MA – 記憶の間, Inoue investigates memory and consciousness, using sensory experiences and the performances of three dancers. When the Japanese words 記 (Ki), meaning to “write down” or “to record,” and 憶 (Oku), meaning “memory,” are put together, they form ‘Kioku,’ signifying the act of remembering and conserving memories. The addition of ‘Ma’ (間) highlights Japanese aesthetic values, emphasizing the beauty in gaps, pauses, and voids to enhance harmony and balance. ‘Ma’ focuses on the deliberate use of space in design and timing to enrich rhythm and encourage deep reflection. The connecting particle の, denoting ownership or the relationship between nouns, links these concepts and integrates them seamlessly into the performance.
SesayArts Magazine discussed with Inoue the genesis and creation of KIOKU NO MA – 記憶の間, the collaborative aspect of the choreography, and how audiences can experience “Ma” for themselves.
SesayArts Magazine: What inspired you to choreograph KIOKU NO MA – 記憶の間? Can you share more about the inspiration behind choosing the theme of memory and consciousness for KIOKU NO MA – 記憶の間?
Yuichiro Inoue: In my final season with the company, choreographing KIOKU NO MA – 記憶の間 is a means of transmitting myself — who I am, my essence, and how I feel through emotions and experiences. I began with the Japanese concept of “Ma,” interested in playing with time and space, and in this process, I found memory. I gathered memories from my own experiences and recalled the physicality and sensations in my body and started building from there. I collaborated with fellow company members through conversations and improvisation, and the choreography evolved, reflecting their perspectives, and researching how my language is being embodied through their movement. This choreography is a revelation of my inner quality of life.
SesayArts Magazine: KIOKU NO MA – 記憶の間 integrates the concept of “Ma” to highlight the beauty in intervals, pauses, and emptiness. How did you approach incorporating this element of Japanese aesthetics into the choreography, and how does it enhance the storytelling of the piece?
Yuichiro Inoue: I approached “Ma” through individual interpretation of their own “Ma” – intervals between moments in time. Often, we think that “Ma” refers to timing; however, I challenge this concept by integrating and shifting the influence of each other’s “Ma” through shared experiences and their interconnectedness to find new meanings. It empathizes harmonious ways of active and passive timing, and we are in constant research of how the choreography and performers sync up, move in different directions, towards and away from each other – or crossing over one another. It is more about the quality of time, versus a quantitative measurement.
SesayArts Magazine: The creation of KIOKU NO MA – 記憶の間 involved collaboration with three dancers with whom you share significant memories. How did these relationships influence the creative process and the dynamics of the performance?
Yuichiro Inoue: With Peter Kelly, Megumi Kokuba, and Roberto Soria, we’ve worked together for many seasons at TDT, and we feel a sense of comfort and ease together. I’m grateful for their openness and willingness to express the most intimate parts and processes of “Ma”. I learned new “Ma” from the dancers, and they helped me see moments of surprise, shock, excitement – new patterns in the choreography! Erin Poole provided guidance and perspective into these relational moments, since we are familiar with each other’s experience, it added to the richness of the choreography. Sound Designer and Composer Sarah Shugarman is my wife and partner, and implemented her own concepts into the creation of music, which stems from our trust, vulnerability, and respect for each other’s artistry.
SesayArts Magazine: Why do KIOKU NO MA – 記憶の間 and KINAJ make a great spring double bill, in your opinion?
Yuichiro Inoue: KIOKU NO MA – 記憶の間 and ALIENS by KINAJ make up such a vibrant spring double bill. KINAJ’s street dance background contrasts with my classical training background, creating a mix of dance not often seen alongside each other. This offers a unique experience for audiences.
SesayArts Magazine: What are you most excited for audiences to experience?
Yuichiro Inoue: As we approach Asian Heritage Month, it feels especially meaningful to share the stage with another Asian-led choreographic project. I can’t wait for audiences to discover our shared passion for movement, culture, and creativity.
SesayArts Magazine: Thank you for this opportunity to speak with you about KIOKU NO MA! The final word is yours. What would you like to add that I didn’t ask you?
Yuichiro Inoue: Thank you so much for your questions. In respect to my work, one question I would like to explore with readers is: How can the general public experience “Ma” for themselves? My answer is: I invite folks to experience the work by being a part of the collective “Ma” which my piece presents.
I’m grateful that TDT believes that cost should not be a barrier to experiencing live performances like this, and we are happy to be offering a sliding-scale ticket model for all of TDT’s productions. If you are unable to attend in-person, I invite you to join us virtually and purchase a livestream ticket for $5! I’m pleased to share my work with you and I look forward to hosting you at TDT’s Spring Double Bill, opening April 4th until April 13th, 2024, 7:30 pm at the Winchester Street Theatre.
A livestream is scheduled for April 12, and the recording will remain on demand to ticket holders for 14 days following initial airing. ASL interpretation will be available at the April 11 performance. Running time is 75 minutes, including a 15-minute intermission. Reserve tickets on tdt.org.
© Arpita Ghosal, SesayArts Magazine, 2024
