|Choreographer/ Director||: Kaori Seki|
|Performers||: Ikumi Kurosu, Miharu Goto, Yu Goto, Yui Yabuki,
|Stage manager||: Chikage Yuyama|
|Lighting||: Masayoshi Takada (RYU)|
|Sound mixer||: Yuji Tsutsumida (WHITE LIGHT)|
|Costume||: Yoko Takeuchi|
|Aroma direction support||: Toshifumi Yoshitake (Perfume Design Laboratory)|
|Promotional artwork||: Hironobu Hosokawa|
|Photography||: Hironobu Hosokawa/Kazuyuki Matsumoto|
|Production Cooperation||: PLATEAU, Steep Slope Studio|
|Organizer Specified Nonprofit Corporation||: STspotYokohama / Kaori Seki|
|Cosponsor||: Yokohama city / Yokohama Arts Festival Executive
|Sponsors||: ASAHI GROUP ARTS FOUNDATION Japan Arts
|Support||: Toyota Creative Space Project|
|Special Cooperation||: Steep Slope Studio|
* Organization names and affiliations are as was written when the choreographers were awarded.
Premiered on July 14 2012 at STspot Yokohama / 72min
February 2013 Duo ver. (20min) at YOKOHAMA RED BRICK WAREHOUSE (Yokohama)
Performers Miharu Goto / Yu Goto
December 2010 Premiered DANCE DANCE DANCE at Yokohama and STD25 (Yokohama)
Title: “Hevellud” – In Hebrew, Hevel means ‘breath’ and Lud means something ephemeral. Hevellud is the coined word.
The choreography was initially a search on the mirroring in the standing position and mirroring of up-and-down.
In addition, the choreographer will make some research on the ecology of animals besides human.
The self can be the other, and the other can be the self; however, the other is nevertheless the other. The performer is an individual,
but the choreography seeks that the performer can be represented as a being or as a cell of a body, without putting out his/her character.
The scent used in the performance is “heliotropine” and “aldehyde”. In the very beginning and the middle of the performance,
the audience will sense the sweet aroma.
Then later to the closure, another smell of petroleum will be added. As a result,
the sweet flowerly scent will change into the smell of oil stove in the cold winter. This use of smell is aimed to evoke our nostalgia to the childhood, the coldness of the air in winter, warm room and the memories in these times.
This is an experience to arouse our emotion of sadness or sense of warmth of human bodies.
Countless number of the one, deep in my body.
Melting the skin, leak out.
Breathing sweetly, drag me all the way in.
Two in one, or one with two. Inside of me, there are millions of lives and their own memories.
Consisted of these things, I am here in existence. Everything tangible will vanish eventually, someday.
If I don’t exist anymore, all the millions of little cells of my body will also be gone, regardless of their will.
If this place where I am vanishes, I will vanish too; and if where this place existed vanishes, this place will also vanish.
They say that even if we die, we will still live on in someone’s hearts, but that someone will also die eventually, and everything will be gone too. In the time of this uncertainty of living, I wish to become one, passing through your skin.
I don’t have to remain in everyone’s memory; but at least, I wish that I could remain quietly inside of one of your tiny cells.
Kaori Seki is one of the rare dancers who have the kind of presence that evokes your interest, even before you see her dance.
When you realize, she is already there. Then, she is already gone leaving a trace of faint smile.
The lightly lifted fingertips will reach deep into the audience…After watching Seki’s visionary performance, there remains the sense of dance somewhere full of secrets.Seki intends to use “fragrance”, continuing from the last performance.
I look forward to experiencing Seki’s even more profound performance using all my five senses.
Takao Norikoshi (Dance critic)