|
|
|
|
|
|
"Latent in the soul and history of any region
is what is often referred to as the avant-garde.
Through Mikuni, I want to show that innovative music
can arise from local traditions."
Jujiro Maegawa
|
|
 |
|
 |
|
| IN the spring of 2002, various artists working in video production, theater, music, and dance started to create a new form of performance they called Mikuni, rooted in their enthusiasm for Maegawa’s vision and music. In Mikuni, the free exchange between artistic disciplines generates a new art centered on music and physical expression. |
|
|
Mikuni-Country (kuni) of the future (mi)
Mikuni jin-The people from a wise and ancient civilization
Scholars examining the Egyptian pyramids, the temples of Angkor Wat, and the undersea ruins near Okinawa and Micronesia have concluded that there was an immense continental civilization over thirty thousand years ago. We honor the people of this civilization and their wisdom, and seek to express the sense of beauty and the values they held dear. We find the signs of these in Okinawan folk songs and nursery rhymes, songs that also resonate in Hebrew and Greek- amazing for a small island in the Pacific Ocean. We call these people the Mikuni-jin, and their civilization Mikuni-a place from long ago that is treasured deep in our hearts.
We take a step into art
And as we strive to master the discipline,
Challenging our physical and spiritual limits
We struggle to know what is eternal.
Forgotten memories,
Where there is only God’s knowledge and rhythm
Finally manifested in clear silence.
Once existed an ancient tribe called Mikuni.
They knew the embrace, but not the fight.
They avoided the horror of war,
Respected traditions, and respected customs.
In the great festivals of each season,
The martial arts were only practiced
For their beauty.
Soldiers were dancers,
And dancers were soldiers. |
|
|
|
|
|
 |
IJujiro Maegawa
Director, Composer, Text
Jujiro Maegawa started working in the Tokyo Cabaret circuit in the early eighties. In 1985 he formed the stylistically innovative band, Hole in my Shoes with Mickey Yoshino. By 1987 he had released his first solo album, Mamamia and in the following year he was featured in the musical Star Shine, produced by one of Tokyo’s most elite venues, the Parco Theater. At this point he had a recording contract with the major record label For Life, but in 1994 he decided to break away and form his own record company, Guerrilla Records. In the following year he released his first record on the new label and began a series of legendary performances called Sex & Traditional at the Parco Theater with the folk singer Takio Ito. Since 1998 he has produced a number of albums with Kawachi Chito and often performs with the big band Chuchu/Mega. His current collaboration with Tomohisa Suzuki, Geidan Mikuni, started in 2002.
Tomohisa Suzuki
Director, Choreographer
Tomohisa Suzuki first became known for his performances in the Mr. Slim Company, in which he performed from 1984 to 1989. At that point he decided that he needed to expand his perspective on performance and dance, so he moved to New York and underwent rigorous training at the Peridance Center, under the tutelage of Miguel Godreau and Michael Blake. Four years later he returned to Tokyo, and soon was in much demand for work in musicals, television productions, and dance concerts. In 1999 he decided to form his own dance company Khoreia as a vehicle to express his own choreographic vision. The group has won the admiration of Tokyo dance audiences for its memorable performances such as Less is More at the Kitazawa Town Hall in September 2000 and Avara Hakya at the Saitama Arts Theater in November 2002. In the past two years he has found a satisfying collaborative vehicle for setting his choreography within a larger artistic exchange in Geidan Mikuni.
|
|
|
|
|
|
Mikuniﾕs latest work, available for touring
Katarai - an oath using archaic Japanese expressions.
Without realizing it, people often make oaths with unknown powers,
although there are rare individuals who knowingly enter into such oaths.
Kami, Blood, and Desire ﾐ the latest work by Mikuni demonstrates the engagement of these powers.
Kami
Those who engage Kami give peace to the world. They can replace pain with the joy of life. It is the energy of the virgin sending rays of light flying up to heaven before your eyes.
Blood
Those who engage blood protect posterity so bloodlines will not be exterminated. Asians worship this as a powerful spirit. Women who have received the power of blood can develop good seed.
Desire
Those who engage desire live life like a bottomless, endless swamp. Depending on the religious perspective, they could be called those engaged to the devil. It is distilled in the unbearable sight of the old man unable to control his cravings even to his death.
|
|
|
|
|
|
Mikuniﾕs latest work, available for touring
Katarai-an oath using archaic Japanese expressions.
Without realizing it, people often make oaths with unknown powers,
although there are rare individuals who knowingly enter into such oaths.
Kami, Blood, and Desire-The latest work by Mikuni demonstrates the engagement of these powers.
Kami
Those who engage Kami give peace to the world. They can replace pain with the joy of life. It is the energy of the virgin sending rays of light flying up to heaven before your eyes.
Blood
Those who engage blood protect posterity so bloodlines will not be exterminated. Asians worship this as a powerful spirit. Women who have received the power of blood can develop good seed.
Desire
Those who engage desire live life like a bottomless, endless swamp. Depending on the religious perspective, they could be called those engaged to the devil. It is distilled in the unbearable sight of the old man unable to control his cravings even to his death. |
|
|
|
|
|
 |
Stage
1) Size: 7.2 meters minimum width and depth
2) Stage floor: sprung wooden floor suitable for dancing
3) Stage floor covering: White professional linoleum dance floor (“Marley”)
4) Audience seating: All seats must have a good view of the dance floor
5) One drop bag pipe with control rings spaced 30 centimeters apart.
Minimum length, 6 meters
6) Seven platforms measuring approximately 1.8 X 1.8 X 0.3 meters
7) Three equipment tables (when the group provides their own equipment)
60 X 180 X 70 (h) centimeters
8) Vacuum cleaner (for carpets and floors)
9) Two stage hands for set up and strike (no stage hand duties during performance)
10) Two extra hands for load in and load out, three hours each
Backstage
1) Minimum of two dressing rooms
2) Two full length mirrors (to be placed in the wings)
3) Three small clip lights (to be placed in the wings)
4) Ten chairs (to be brought on stage and used to place props, etc.
5) Two clothes racks with hangers (to be placed in the wings on both sides)
6) One iron and ironing table set, to be ready in the dressing room
7) Four long, narrow tables for musical instruments (two on each side of the stage)
Sound System
1) Minimum 24 to 40 channel PA mixer with two MSL4 and one 650P
Monitors for each musician and side fill monitors, with graphic EQ for all output channels
2) One professional CD playback deck
3) One professional MiniDisc playback deck
4) Four Shure UHF headset type wireless microphones and receiver
(note: the group can supply the headsets if the venue supplies the transceivers)
5) Backstage headset intercom system (minimum three stations: stage, projection position, and sound & light control booth
6) One house sound person for stage monitoring, and two for set up and strike Projection
1) 4 video projector with a minimum ANSI rating of 3500 lumens, capable of XGA
projection
2) 150 inch diagonal screen×２
3) Video cable from control position to projector
Lighting
Please refer to lighting plan
Tech Schedule
Day one (set up)
9am load in and hang
10am fly out pipes, lay dance floor
11am PA system check, begin focus
12noon lunch
1pm finish focus
2pm build light cues, set up dressing rooms
4pm PA monitors
5pm full sound check
6pm fixes and adjustments
7pm dress rehearsal
9pm meeting
10pm leave theater
Day Two (opening night)
9am fixes and adjustments
12noon lunch
1pm rehearse sections
5pm dinner
6pm final preparations
7pm show
9pm post show meeting
10pm leave theater
|
|
|
|
|
|
|
|
|