REVIEW: NDT1’s Japan Tour 06/07/2024

NDT1 (Nederlands Dans Theater)'s Japan premium tour started on 30th June and ended on 13th July 2024. I had an opportunity to watch one of their sold-out performances in Yokohama. The dancers of NDT showed us the extremes of physical expression.

"La Ruta" by Gabriela Carrizo

"La Ruta," choreographed by Gabriela Carrizo, left an impact on the Japanese audience. Not only in the depiction of some dead animals, but also in how she described the essence of the Japanese cultural. In the beginning, a Japanese lady wore a red stripper like Kimono with makeup too pale, resembling the Japanese ghost Sadako. Another Japanese guy wore a glittered, shiny Kimono with Kabuki-like expression. It seemed the choreographer wanted to infuse ethnic essence to emphasize her originality. Her Japanese-like expression was unusual and emphasized the spooky atmosphere, but it was too much for me, especially since the other dancers in "La Ruta" wore usual clothes. I was disappointed by the way the choreographer imagined Japanese culture in this manner.

However, while their cultural depiction was too extreme, the DANCERS WERE AMAZING! (Alexander Andison, Thaila Crymble, Surimu Fukushi, Nicole Ishimaru, Kele Roberson, Charlie Skuy, Yukino Takaura)

It seemed like all of them were being swallowed up by more and more insanity, teetering on the brink of death.
One dancer (Alexander Andison), implanted with animal heart, was a striking example of how they were losing control of their own movements. Another woman (Thaila Crymble), appearing as though dying with bones broken all over her body, resembled a realistic zombie. I still remember how hauntingly she ascended to heaven. The dancer who impressed me the most was Kele Roberson, without a doubt. All the dancers attempted to move their bodies as if possessed by madness, yet Roberson seemed completely manipulated by the unseen. I got chills.

"I love you, ghosts" by Marco Goecke

"I love you, ghosts" choreographed by Marco Goecke was performed by 9 sharp dancers (Alexander Andison, Pamela Campos, Thaila Crymble, Chuck Jones, Madoka Kariya, Charlie Skuy, Yukino Takaura, Luca Tessarini, and Theophilus Vessely).
Marco's distinctive choreography showcased another facet of the dancers' capabilities. Finely danced yet powerful.

Marco Goecke's production is always unique. I have seen only 2 other productions on different stages in Japan. "Someone to watch over me," performed by Shori Yamamoto, was bright and like a young good daydream. Another production, "Nachtmerrie," performed by Friedemann Vogel & Leonor Baulac, had a unique worldview, almost like a dark dream. "I love you, ghosts" also seemed to relate to a dream. It appears Marco Goecke often incorporates dream-like imagery into his productions.

"Jakie" by Sharon Eyal & Gai Behar

"Jakie," choreographed by Sharon Eyal & Gai Behar, was the production I anticipated the most because Yuka Hisamatsu, the lighting designer of NDT, recommended it to us on SNS. Japanese audience love ballet, but they mostly prefer classics. While some appreciate contemporary works, they are not as widely known, so we do not have much information about them. She provides a lot of information about NDT, which is why so many fans have become interested in this tour.

One prominent feature of "Jakie" is dancing on tiptoes. Unfortunately, the large footlights obstructed our view, preventing us from observing how they moved their toes. However, their strong energy made a significant impact, and their movements seemed to create vibrations. Eloquent.

How do we get the specific contemporary dance company like NDT in Japan?

As I watched the NDT dancers, I suddenly wondered how Japanese dancers find or establish company like NDT, and would be able to pursue such high levels of physical expression.
Observing the ultimate physical expression of the NDT dancers, I got the impression that they were not dancing just to earn money, but rather to pursue the pinnacle of physical expression. Perhaps NDT and other European ballet companies offer adequate compensation and guarantees, providing an environment where dancers can focus on their expression.

I believe that the Japanese dance world should be similar, and to achieve this, it is necessary to increase subsidies so that dancers can pursue their art without financial concerns.