Dance & Design
Tetsuro Fukuhara
 Memory + Space + Posture + Information + Alter Ego + Universe




We hold “FLOWER SECRET, BUTOH-SPACE DANCE” by Tetsuro Fukuhara as art & science and dance & design project described by 4 key words, Dance, Architecture, Information, and Design.

[“Pilot Performance” for “FLOWER SECRET”]

■What is Art? What is Design?
Seeks for a new Expression of Art & Science as a Japanese, after UKIYOE


What is Art? What is Design? What is Science? What is Japanese Culture? What is Society with Mulch Cultures? We ask these several questions, then we seek for a new possible expression of art & science in our today’s society.

As Japanese arts which are attracted in the world, we have traditional Noh, KABUKI, and UKIYOE in the Edo period, Fashion and Butoh in the 1970’s, and now MANGA, Animation, and Game. But always the persons who received these cultures with the international high values are the foreigners in Paris, or in New York, or in other foreign city, not by our Japanese in Japan.

Our japanese always have the desperate fights to get the circulation in the cultural market in the world, in the past and just now. Now we have still carry on our back a contradiction to depend its acceptances from foreign cities as the “Reverse-Import“. Japanese creativities are strong, but its presentations are poor. Also in Japan we have a big distressed seperation between young cultures and adult cultures.

For Japanese, how to construct a new cultural strategy to conquest these contradictions? For its purpose, what kind of technique should we develop? And how to create the original works again and how to manage its circulation?

We catch up these themes through “FLOWER SECRET, BUTOH-SPACE DANCE“. In this work we think again about AnimismZen philosophy, and Japanese technology which still now regulate the essence of our Japanese sense, and the characteristic Japanese way for constructing the space. Then, we will develop a long-expected robot with a mind by ourselves, same time we think about the needed dramatics, and we try to realize the possibility of “after UKIYOE” influenced by Hokusai Katsushika.


“We create a Design after a Dance”


◎A Way of Design after Dance

In Space Tube the dancer’s movement always decide the shape of the space, and the repulsion in Space Tube always support the dancer’s body, so the relationship between the dancer and the space will be maintained as an amicable relationship of its unity.

We express this relationship as a “Body-Space Model” as a program on the network. Then we use this model as a medium to design a robot suit as “Memory Chair” as a digital manikin and “Alter Ego” as a real existence.

At first, we try to dance “Several Postures including Animal’s Postures” as a human.

As many animal’s postures have experienced the big changes in their historical life into the water and on the ground, then as our human beings we could been born by our walking using two feet, human’s posture is a parameter which will change by the change of its environments.

Now we think that in our world human are faced in the new unknown change of environments influenced from the outside of the informational space and the outer space, and the problem of environmental pollution, and from the inside of the body, with the artificial bodies by robotics and bio-technology. So our human should seek to create new postures with a new outlook on the body for adjusting its changes.

Therefore, in Space Dance, we reconsider the “Making Forms” in our dance as the “Making Postures“. Also we are taking notice of a fact that always the postures will be born with the relationship of the condition of the space, so then we develop Space Tube and a Robot Suit for the dancers as both intelligent robots through the interaction between the dancer and the space. And we develop each dancer’s unknown postures which sleep in their unconsciousness using by these intelligent robotic spaces.

Further, we define and choose each developing unknown postures from the view point of the evolution. Then, at first, on the network, we express a Robot Suit as “Memory Chair” as a digital manakin with a sound. And secondly, as a real existence, we create a Robot Suit as “Alter Ego” as a real existence.

So, we construct these series of all works as a “8 Stories of Body“, then we will perform. As a result, we can get several new designs.

Like that, through these works, we can get a new position that Space Dance is not only a dance work to perform a “New Story” but also a “Bauhaus Work” to create new designs.





Story 1 “MEMORY”

I dance “Paradise of Hand” through MEMORY. In my dream, I am traveling to one memorial planet to meet my missing wife. Then, I go to my favorite site and organize my body as the object. In that time my “Bone Space” and brain will be active and I get back various “Forgotten Memories“. I feel “Unknown Movement’s World” exists behind my usual dance movements. So, I shake with its freshness.


I dance “Paradise of Foot” through WAKING DANCE. I make an amicable relationship between my feet and the ground. Then, I come into “Unknown Movement’s World” and express several unexpected dance movements mainly using by lower half of body. Truly I am amazed to my dance with a big joy.


I dance “Paradise of Body” through LITTLE MOVING. “Unknown Movement’s World” wake up a strong nostalgia in my mind and this nostalgia give new energy to me. I know this energy arise like the growth of a snowball when I keep my dance as the little moving. So, I never feel tired and I realize a dance called “PARADISE“. In this dance climax I renew my all feelings to the world completely and I behave freely in all directions. I get back the wildness lost in my daily life.

Story 4-1 “DIMENSION”

I come in Space Tube. Space Tube is a closed soft space using by special cloth, so in Space Tube my body movements can cope to the shape of the space as a very familiar relationship with one unity. In Space Tube I receive one inspiration and I feel my lost wife still has been alive at another world and this another world overlaps with our world as the surplus dimension.


In Space Tube I find a very beautiful border and i image several creatures will appear at this border. I find this border is a true entrance to another world. Then, I could feel I meet with lost animal, my missed wife, and alien live in this surplus dimension as a STRANGE FRUIT.


When I realize “Affinity” in Space Tube I can extend Space Tube as my second body. Also, through “Floating” in Space Tube, at the less gravity condition I make several postures not only as human but also as a fish, an amphibian, an animal with 4 feet, a bird, and a monkey. Then, using by Space Tube and my dance as a medium, i design “Fluid Furniture“.

Story 4-4 “ALTER EGO”

In Space Tube, also I understand my character will be not only one. in short, I have several possibilities for it as “Alter Ego“. and if I hope I can organize the direction of the evolution as the diversity depend on each my characters.

Story 5 “SITING ZEN”

I think about myself through SITTING ZEN, why I stay here? What is my work? Why I am human? I know I have one true vocation. but, what is it? where can I find it? and, with whom I should work together? Finally where I go?


I try again WALKING DANCE as STANDING ZEN. I dance hotly and fast on the surface, but inside my spirit is very calm like a spinning top. Then, I aim to touch the “Climax” of the movements. In this dance my missed wife whisper in my ear “could you enjoy your two-footed walking as a human? could you remember your first walking?”. So, through WALKING DANCE I start again my walking as a human and I enjoy a mystery of Two-Footed Walking.


I express my hidden characters through “Laugh + Sexuality + Crying + Song”. Then I get the individual strength and extension of the soul with the wildness. When I reach a trance, a temporal lobe of my brain shook subtly. Then finally, through a divine possession I come to “Catharsis” as my final station of my dance movement through “Paradise”.


I squat down slowly, lie down, rest with closed eyes, and I accomplish “Catharsis”. I organize my best feeling as if I can finish my feet, and as if I start the preparation to step up to “Post Human” at some less-gravity condition. Finally I enjoy a time to wait a new sunrise of a new world on the another planet. My missed wife waits for me with her beautiful smile and her chic dance. In my mind I return there and I say I am happy. I want to study “archaic smile” with flowers.



“Throw a New Bridge” 
Peter Lynch, Architect, Cranbrook Academy of Art, Detroit

Space Dance was one of the most wonderful events that I have seen. It was striking for the audience, I was amazed at the attentiveness and interest of the crowd, which represented a wide range of people and not just “art folks”. It was a great experience for the workshop participants and collaborators. I begin to understand the crossovers Tetsuro Fukuhara is interested in between space, technology, and architecture, in more than a superficial way.”

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