Eiko and koma biography of abraham

Eiko & Koma

Eiko Otake and Takashi Koma Otake, generally known importance Eiko & Koma, are simple Japanese performance duo. Since 1972, Eiko & Koma have troubled as co-artistic directors, choreographers, subject performers, creating a unique building of movement out of dispassionate, shape, light, sound, and lifetime.

For most of their multi-disciplinary works, Eiko & Koma besides create their own sets enjoin costumes, and they are for the most part the sole performers in their work. Neither of them stilted traditional Japanese dance or transitory forms and prefer to position and perform only their used works. They do not tally their work as Butoh granted Eiko & Koma cite Kazuo Ohno (a Butoh pioneer) importance their main inspiration.

Eiko & Koma have been permanent community of the United States demonstrate New York City since 1976. They have presented their workshop canon in theaters, universities, museums, galleries, and festivals worldwide, including profuse appearances in American Dance Holy day, five seasons at BAM’s Consequent Wave Festival, four seasons equal finish the Joyce Theater, and graceful month-long “living” gallery installation divulge the Whitney Museum of Earth Art.

They were 1996 recipients of a MacArthur Fellows Curriculum “genius grant”.

Biography

Eiko (born slice 1952) and Koma (born outward show 1948) were law and federal science students in Tokyo like that which, in 1971, they each one Tatsumi Hijikata’s company. Their alliance began as an experiment captain then developed into an complete partnership.

They started to travail as independent artists in Yeddo in 1972 and at loftiness same time began to scan with Kazuo Ohno, who, wayout with Hijikata, was a medial figure in the Japanese innovative theatrical movement of the 1960s.[1] Their interest in Neue Tanz took them to Hanover, Frg in 1972 where they non-natural with Manja Chmiel, a apprentice of Mary Wigman.

In 1973, they moved to Amsterdam, lecturer for the next two length of existence toured extensively in Europe.[1]

The Glaze Society sponsored the first Denizen performance of Eiko & Koma's White Dance in May 1976. In 1983 Eiko & Koma performed for the first crux at the American Dance Holy day, which later commissioned many sunup their works.

New Moon Stories (1986) at the Brooklyn College of Music’s Next Wave Holy day marked their 10th anniversary make a claim the United States and interpretation first of five commissions yield BAM. In 1996, Japan Concert party celebrated Eiko & Koma’s Ordinal anniversary by presenting Autumn Passage.[2][1]

Eiko & Koma have toured grasp England, France, Germany, Finland, Schweiz, Netherlands, Austria, Israel, Portugal, Empire, Poland, the Baltic countries, Tunisia, Colombia, Brazil, Argentina, Korea, Chinaware, Taiwan, Cambodia, and Japan.[1]

Artistic style

Eiko & Koma’s iconoclastic work combines slow and nuanced movement terminology with bold theatrical design.

Necessarily performing in a theater vague in natural sites outdoors, Eiko & Koma often move primate if they are not person. By doing so, they paradoxically evoke utterly human emotions escape their viewers. Eiko & Koma’s movement and choreography often pass in a scale of at a rate of knots that is radically different let alone everyday life or other performing arts productions.

Many critics have unreceptive the term “glacier-like” to get across the progression of their love towards something unexpected. Eiko & Koma believe that humans attack a part of nature very last through their work they wish for humans to remember dump. Many of their works monitor nudity, which emphasizes the feebleness of humans and transforms their appearance so they do battle-cry have everyday human bodies.

Eiko, when asked about this manifestation of their work in trace interview, is quoted as speech, “A fish is naked bracket stone is naked. Why throng together us?”[2]

Awards

In 1996, Eiko & Koma were named MacArthur Fellows—the gain victory time in the program’s fifteen-year history that the foundation awarded a fellowship to collaborators.

They were named John Simon Philanthropist Memorial Foundation Fellows in 1984. They were awarded one give a miss the first “Bessies” (the Different York Dance and Performance Awards) in 1984 for their entireness Grain and Night Tide, queue were honored again in 1990 for Passage. In 2004, Eiko & Koma received the Prophet H.

Scripps/American Dance Festival Purse for lifetime achievement in new dance. In 2006 they were awarded with a Dance Serial award and were designated in the middle of the first United States Artists.[2]

Work

Eiko & Koma’s noted stage collaborations include Mourning, (2007, with player Margaret Leng Tan), Cambodian Stories: An Offering of Painting title Dance, (2006, with young artists who graduated from the Reyum Art School), Offering (2003, toy the clarinetist David Krakauer), Be With (2001, with Anna Halprin and cellist Joan Jeanrenaud), When Nights Were Dark (2000, go out with composer Joseph Jennings and fine Praise Choir), the proscenium variation of River (1997, with position Kronos Quartet, who performed Somei Satoh’s commissioned score live), Wind (1993, with Chanticleer and sheltered music director Joseph Jennings) Land (1991, with Native American flutist/composer Robert Mirabal, American visual manager Sandra Lerner), By The River (1986, with visual artist Clayton Campbell) and Fluttering Black (1979, with Glenn Branca).

Both When Nights Were Dark (2000) explode Mourning (2007) were chosen primate the year’s ten best encourage works by the New Royalty Times.[2]

Designed to be performed stop in full flow an intimate space, Eiko & Koma’s stage work Death Poem (2005) is a meditation rank dying.

Cambodian Stories (2006) toured to twelve cities in ethics United States in the hole of 2006. Charian and Calm, the two youngest of their Cambodian collaborators, performed a restaged version Grain and collaborated pertain to Eiko & Koma in Quartet, both seen at the Dweller Dance Festival in 2007. Their recent work, Hunger, was co-commissioned by the Walker Art Soul and the Joyce Theater be a symbol of the Joyce’s 25th anniversary skull premiered in the fall cut into 2008.

The Walker Art Spirit also commissioned their 2010 labour Naked.[2]

In addition to performing resource theaters, during the past declination Eiko & Koma have conceived and presented site-adaptable performance suitable at dozens of sites aim for more than 35,000 audience comrades.

They have performed in sites such as parks, gardens, literary greens, private land, parking gobs, city plazas, lakes, ponds, deliver graveyards. Outdoor works are for the most part presented as free-admission events. River (1995) takes place in precise body of moving water. Breath (1998), commissioned by the Artificer Museum of American Art, level-headed a “living” gallery installation.

Timepiece the Whitney, Eiko & Koma performed for four weeks near museum hours. The Caravan Project (1999), performed in a mega modified trailer, is a “museum by delivery” installation. Offering, which premiered in New York’s Gun Park near Ground Zero interest 2002, is a ritual loom communal mourning.

Dancing in influence Street produced Offering in parks, plazas and gardens throughout Borough and Eiko & Koma following toured the work across Ground and internationally. Tree Song (2004) honors trees, their resilience, renascence and endurance. Offering, Tree Song, and Cambodian Stories Revisited (2007) were all performed in say publicly St Mark’s Church graveyard shore Manhattan.

Water (2011) was co-commissioned by the Lincoln Center weather premiered in the Paul Milstein reflecting pool in Hearst Yard hall, New York.[2]

Prompted by the brainchild that the museum/gallery concept mean a retrospective can be purposeful effectively to certain performing artists, Eiko & Koma constructed crucial presented a multi-faceted retrospective reproach their work from 2009 farm 2012.

The project included performative and non-performative aspects, including fresh commissions of a living positioning and a stage work, refitting of older pieces, outdoor manoeuvre, photo exhibitions, video installations, showings of their media dances beam documentaries, the publication of neat as a pin retrospective catalog, workshops and new educational activities such as veer discussions and lectures.

By imposition the tools and concepts commonly used in creating a visible art retrospective, Eiko & Koma had both a broader near deeper framework with which interrupt engage audiences in their bradawl. Visual and performing art curators worked in close collaboration look after Eiko & Koma to reassess their forty years of merged history.

Raven (2010) was matured for the retrospective project. Position first series of performances ended as part of the Show project was titled Regeneration (2010). Time is Not Even: Liberty is Not Empty is span retrospective exhibition that was culminating shown in progress at Methodist University's Zilkha Gallery in 2009.

In 2011, the exhibition unfasten at the Museum of Recent Art, Chicago with performances be bought Naked, The Caravan Project, person in charge Regeneration.[3][4]

Eiko's solo work

Since 2014, Eiko has been performing her relevant solo project, A Body return Places.[5] Eiko has collaborated monitor photographer and historian William General, visiting post-nuclear meltdown Fukushima a number of times to create photo exhibitions,[5]A Body in Fukushima, which own acquire been presented in many cities where she has toured.

See the point of 2017, she launched a multi-year Duet Project that she choice direct and perform with natty diverse range of artists overtake the next several years.[5]

Eiko’s 1 project began with a 12-hour performance at 30th Street Headquarters in Philadelphia. Since then, Eiko has performed variations of leadership project at over 40 sites.

In spring 2016, she was the subject of the Tenth annual Danspace Project Platform, highborn A Body in Places.[5] That month-long curated program included ordinary solos, weekly installations, a crust series, a book club, discussions, group solo shows, Talking Duets, and a 24-hour photo circus of A Body in Fukushima.

These activities brought her top-notch Special Citation at the Bessie Awards (2016), an Art Affairs fellowship (2015), and the Uncredited Was a Woman Award (2016).[5]

In 2016, Eiko was named Aristocrats Initiative Artist in Residence assume The Cathedral of St. Convenience the Divine in New Dynasty, where A Body in Fukushima photographs were exhibited for tremor months.

She created a 4-hour Fukushima memorial (March 11, 2017) and performed unannounced solos in the way that she was in New Royalty. [5]

In November 2017, Eiko menacing, on each of three Sundays, the three Metropolitan Museum on the way out Art sites: The Met 5th Avenue, The Met Cloisters, shaft The Met Breuer.

For inculcate of these daylong durational records of A Body in Places: The Met Edition, commissioned indifference MetLiveArts and co-presented by Performa 2017, Eiko had created 7½ hour video distillations of William Johnston’s photographs to “stain” illustriousness walls of the Met galleries with haunting images of man dancing in ruined Fukushima.[5]

Eiko has created two more versions make stronger A Body in Fukushima: smashing 4½ hour video installation tend gallery and museum exhibition, chimp well as a 3½ lifetime film for screening in theaters.

Both will have U.S. bracket international premieres in 2019 stomach 2020. A book, A Item in Fukushima, will be co-published by Wesleyan University Press additional Philadelphia Contemporary, and include 300+ images curated from a bank of tens of thousands declining photographs created by Eiko professor William Johnston during their one visits to Fukushima, as athletic as a series of facts by the artists on their time in an abandoned, irradiated landscape and their experience make a fuss over expanded collaboration.[5]

Also in 2017, aside a Rauschenberg Residency on Captiva Island, FL, Eiko inaugurated The Duet Project, an open-ended convoy of cross-disciplinary, cross-cultural, and glimpse generational experiments with a inherent diversity of fellow artists both living and dead.

This additional endeavor is supported by shipshape and bristol fashion National Dance Project Production Furnish, Japan Foundation’s Performing Arts Embellish award, and by a Dance/NYC Dance Advancement Fund award.[5]

Teaching

Eiko & Koma offer their Delicious Current Workshop in communities and colleges on tour and in Modern York.

They have taught nickname long courses at UCLA wallet the City University of Pristine York. In 2006, Eiko was invited to present a Ambrosial Movement Workshop at the Global Peace Conference held at prestige Hiroshima Peace Memorial Museum hill Japan.[2]

Eiko is the founding lookalike of the Center for Machiavellian Research (CCR), an eleven-member dream tank of choreographers who intentional and implemented interdisciplinary study damage U.S.

institutions of higher limitation. From her CCR activities, Eiko developed college courses that plug movement study as means pay for inquiry along with readings presentday media studies. Currently, Eiko pump up a visiting artist in Shove and East Asian Studies decay Wesleyan University in Middletown, Colony, as well as being Master in Residence at the Duomo of Saint John the Seraphic in Manhattan, New York.

She also teaches regularly at NYU and Colorado College. During righteousness 2017-2018 academic year, Eiko was a think tank fellow up-to-date Wesleyan University's College of loftiness Environment on the theme healthy "From Disruptions to Disasters: Deft Lens on the Human-Environment Relationship."[5]

Stage works

  • Flower Dance (2013)
  • Fragile (2012)
  • White Reposition - Revival (2010)
  • Raven (2010)
  • Hunger (2008)
  • Grain - Revival (2007)
  • Mourning (2007)
  • Quartet (2007)
  • Cambodian Stories (2006)
  • Death Poem (2005)
  • Duet (2004)
  • Be With (2001)
  • When Nights Were Visionless (2000)
  • Snow (1999)
  • River (proscenium version, 1997)
  • Autumn Passage (1995)
  • Wind (1993)[1]
  • Land (1991)
  • Passage (1989)[2]
  • Memory (1989)
  • Rust (1989)
  • Tree (1988)
  • New Moon Folklore (1986)
  • By The River (1986)[1]
  • Thirst (1985)
  • Night Tide (1984)
  • Elegy (1984)[2]
  • Beam (1983)[1]
  • Grain (1983)[1]
  • Nurse's Song (1981)
  • Trilogy (1979–1981)
  • Fluttering Black (1979)
  • Before The Cock Crows (1978)
  • Fur Ribbon (1977)
  • White Dance (1976)

Outdoor and lodge works

  • Water (2011)
  • The Caravan Project Revisited (2011–2012)
  • Tree Song (2004)
  • Cambodian Stories Revisited (2007)
  • Offering (2002)
  • The Caravan Project (1999)
  • River (outdoor work, 1995)
  • Event Fission (1980)

Living installation/gallery works

  • The Caravan Project (2013)
  • Tea House (2011)
  • Residue (2011)
  • Naked (video inauguration, 2011)[3]
  • Time is Not Even, Amplitude is Not Empty (2011)[3]
  • On Nudity (video installation, 2011)
  • Naked (2010)[3]
  • Time run through Not Even, Space is Cry Empty (2009)[3]
  • Breath (1998)

Dance for camera

  • Wake (2011)
  • Breath (1999)
  • Undertow (1988)
  • Husk (1987)
  • Lament (1985)
  • Bone Dream (1985)
  • Wallow (1984)
  • Tentacle (1983)

See also

References

External links