Quotations: Min Tanaka

Quotations: Min Tanaka
translated by Kazue Kobata

Japanese and English
I am an avant-garde crawling on the ground.

I dance NOT in the place; I dance the place.

Dance is my daily life.

Dance emerges in the time and place, and it is something one pursues without an end. It escapes as soon as you define it in definite words.

I am beginning to feel like calling “dance” the entire reality of my living. It would be greate if I can announce “I am a dance.”

I would be dead if I don’t dance. That is why it is not a profession for me. I am a farmer by profession.

It seems to me it is respect that prompts me to continue to dance. Respect for the fact that human beings began to dance at one point in time.

With no doubt dance is an expression concerned with what it is to be human. And it is aspires to be a means available within the institution of the history of the earth and of life.

My “off-spring” never ceases popping up here and there, smiling and changing, in my living environment. It has such a affirmative posture that I always feel “you are dancing!” Yes, dance is something affirmative even when one counters it on a way to one’s death. Then what is dance? Exodus from, and returning to, one’s own body? Returning to it with something extra? An expression of a receptacle spilling with those variety of extra factors, but not abandoning any one of them….

“I” is a form without content.
Sometimes I regret about, and other times I feel affectionate sympathy with, my “body” that is immersed in doing something everyday with no regard with what I am. I want to dance what “I am” beyond the semantic and verbal realm. That is “my off-spring” derived from my unconscious phase.

I wish to dance what I am…the non-existent self…that which is not found in my memory.

Tradition is like water. Water does not disappear, but it transforms as it moves to different places. Dance, too, is something we have been practicing, never losing sight of it. So isn’t dance an intrinsic part of human traditon?

I’d like to take a position that I dance because I fell in love with it, rather than because it chose me to become a dancer. I regard myself as someone who decided to live on by attracting dance towards me by all means, by force.

We feel restless, sometimes excites. What do we mean when we say our heart is dancing? I began dancing because I wanted to trace back hundreds of millions of years of the history of life…in a attempt to find dance prior to its coronation as a branch of art.

A body that does not move, a stalemate body, is full of something. That is the fascination of a non-moving posture.

I moved here, to this rural village of Hakushu. I find beautiful those old people when they are just looking at the rice paddy doing nothing. I want to be like that. If I am moved by something, I want to be the same as that.

The relation between the audience and the dancer is that we exchange the premonition that my dance may be found in you too. I think that this kind of exchanging (sharing) is an important element of dance.

Dance is immense to tackle with.

心あるダンサーならば「自然」 「踊り」を日常の中にたずさえ思考し続けることは、当然の事と思えるのです。天然の事と言い換えても良いかも知れません。つまり「人の踊りの歴史の真っ只中にダンサーは生きている」ということでしょうか。「生きている人 踊りを踊る」ということは人生の問題なんぞではなく、生命の問題なの。だ。
A decent dance is one who matter-of-factly continues thinking about and carrying on “nature” and “dance” through everyday life. Yes, matters of the physical world. I may mean that “A dancer is living amidst the human history of dancing.” To practice dance as a live form is not a matter of private life, but a matter of life as a collective process.

When we present a work of dance, “ a piece,” it comes to look like a result. But for us, those who present something publicly, a performance is a mere statement. It only marks the beginning of a dialog.

Out intent is to build a village community of dance.
A village that emerges anywhere we go in thiws world.

For me dance has been the symbol of despair and courage.

In agriculture one can find the anti-modern coming from the past. There you find the concreteness of the present.

Is this matter, that which materializes dance, a gene?

Nature is a form of tradition with a maximum scale.

We we move, we may be telling a lie. Choreography is fundamentally deceptive. I am concerned with how a dancer fills the gap between what he/she feels in a given moment and how he/she is moving.

A dancer indeed embodies the “body weather.” An ideal state of a dancer is that his/her center is blurred, and that his/her self is outside of the body.

Where do U stand within the history of dance? Or which part of it do I bear? Which part do I represent as I live through it? My position in this regard is important for me

In order for me to thoroughly take responsibility as a dancer, it is essential to discern to what extent dance is involved with the human society. The question is probably significant for those who may become interested in dance in the future.

Improvising is a manner of expressing, of living. And I am skeptical about the current fashion that merely regards it as a mode or technical method of artistic expression.

What one does on stage has its beginning and consequence before and after the time you are on stage. As so many dancers don’t realize that, boring dance is increasing.  

Dance resides in the realm of senses by all means; and it gets increasingly closer to the domain of verbal appreciation. Ultimately it culminates back in what is indescribable in words, the sensorial world. On the contrary, theatrical art begins in the verbal world, and approaches the senses. And it returns to words. Theater is a concrete, and dance is an abstract world. They are entirely different in this sense.

さて、私たちが舞踊資源研究所と名付けようとするものは、生命の営みの大半にも及ぶかと思われます。舞踊資源に研究所を付属させます、すると場所が生まれ、目的が発生します。これらもとてもおどり的です。私たち、舞踊資源研究所が動き始めて五年、生命の営みの中からおどりが生まれる瞬間を捕らえ収集する喜びを、永久のもの にしたいと考えています。もちろん芸術的舞踊の行く末に、資源としての舞踊が大きな助成をもたらすことを信じて疑わないのであります。
The organization we want to call The Dance Resources on Earth is probably concerned with most of our endeavors as living organisms. There will be this deliberate group dedicated to the collection, documentation and study of dance resources. Then there will be a place, a forum, ad a purpose. This process is very much like that of dance. Five years have passed since we started the group. We want to keep finding the joy of capturing the genetic moment of dance coming to the fore. We certainly believe in the contribution of dance as a natural resource to the future of dance as a form of art.

話題は「人はいつ、どのようにしておどりを始めたのか?」会議場では時間の規制なしに、感情・共同体・生死・意識・勇気などなどと、おどりの関係が永久に語り合わ れるでしょう。おどりの可視不可視の部分についても議論がわきおこるのでしょう。 「おどり粒子」なるものの存在についても注目を集めるかも知れません。遺伝子による舞踊学会も発足します……。
From On “Dance as a natural Resource”
I feel like calling at any moment an international conference of genes living within my body. The subject matter to discuss would be “when and how did human beings start dancing to begin with?” With no time limitation, debates would go on endlessly about emotion, sensation, community, life and death, consciousness, courage, so on and so forth about everything relevant to dance. There will be an argument also on the invisible part of dance. People may be deeply intrigued by the idea and probably existence of what you may call “dance particles.” A Society of Dance may be organized by a group of genes…