activity 1

Festival d’Avignon 2013 “L’ETE CHUSHINGURA”
Direction/ Choreographer
BANDO Sengiku
at : La Condition des Soies


“The Another Chushingura”

Concept Artist / Choreographer BANDO Sengiku

Performance – dance, was Chûshingura was born of historical grandeur majestically presented Chûshingura . To open new horizons expressions, the performance presents this famous story , derived from classical Kabuki theater, the dance, the body language.
What does this story today? That tells the story of revenge and bushido, globally recognized nowadays ? Frame Chûshingura that of a dead man for the sole purpose of revenge and poses various questions on our present condition .
How to represent the dramatic tension of Chûshingura through body language ? It is through a search on our bodies, rooted in the present , so considering this story from a different angle and opening new possibilities of expression that we have tried to create an original performance for the Sibiu International Festival.
As for dance productions, we have produced, among others, The Chikamatsu, a dance version of a play by the great 18th century Japanese playwright Chikamatsu Monzaemon, The Invitation to Noh, a dance version of Noh theatre scenes, Genji, a dance version of the famous classical story, The Tale of Genji.
They were much acclaimed both in Japan and abroad as very innovative and highly skillful dance performances.


“ restriction”
Nigyou Jyoruri
“Date Musume Koi No Higanoko” Dance
____ 2010, August Theater X ____

The Japanese Puppet Show used “The Greengrocer’s Daughter” (The story of Yaoyaoshichi who was sentenced to be burn at the stake because of arson) as a text to tell about the emotions behind people’s secrets. The doll charms the watcher with its movement, which is seen through dance in the contradictions of both restriction and freedom.
Depending on the restriction, the dancer’s body changes and that change is reflected in the dance.
“restriction” means restriction, or restraint.
Now, there is a quiet but worldly boom called “Wa”
“Wa” not only carries the meaning of Japanese culture, it also bares the meaning that we should co-exist freely with things that are different from us. This time, this piece is meant to hold both of these meanings.



Sengiku/Laurent Ziegler/Ryohei
______ Three ______
Part of the 2006 Agency for Cultural Affair’s Art Festival
After being nominated, this piece was chosen and there after presented at the 2006 Monaco Dance Forum.


Concept Artist: Sengiku
Dancers: Sengiku, Ryohei Kondo
Sound: Takahiro Kawaguchi
Photographer: Laurent Ziegler

“Three” is a dance and installation art piece created by Bando Sengiku and Laurent Ziegler.
The concept came to life after the two first met and discovered each other’s work as a dancer and as a photographer at the 2004 Monaco Dance Forum.
“Three” takes three different worlds, Japanese Traditional Dance (Sengiku), Contemporary Dance (Ryohei Kondo), and Photography (Zeigler) and shows how they unexpectedly encounter. Flashes of the two dancer’s movements are captured by the photographer through video then displayed as ‘memories’ on multiple screens.
The visitors who came and walked through this multimedia garden were able to experience a space never seen before. That space, made up of the dancers and the visitor’s own self, constantly changed and facilitated the contradiction of memory and the present to exist in a space as one.
“Three” is the collaboration between a Japanese Traditional Dancer, a Contemporary Dancer, and an Austrian Photographer.
“Three” is not only the meeting of these artist’s three viewpoints and their way of life, but it I also the name of the interchange of space between them.
This space can also be seen as a picture book that tells the stories of life’s past and present through screens inside the performance area.
In this art installation the dancers, photographer and visitors walk through the various screens. The screens show videos of the dancers taken in that same area. Sometimes the videos show playback of the same movements, sometimes they are shown in stop motion, while other times they may show still frames. The outcome indicates the contradictions of the relationship between dance and photography.
The first objective of “Three” is to show and let the audience experience, in the middle of everyday life, the instant of the meeting of a disappearing dance being captured and fixed into a photograph that lasts forever.
In between the screens that play the photographer’s set of captured images, the dancers can be seen continually dancing. Because the screens are half translucent the audience is able to see the dancers from whatever vantage point they happen to be. Thus, the audience is able to see both a reflection of the past through the screens and the live dance performance at the same time. The second objective of “Three” is to entice the audience with this place of intersection of the past and present.
Altogether the theme of this presentation was to take “an unexpected kind of art have it meet performance.”



Part of the 2003 Agency for Cultural Affair’s Art Festival Ryohei Kondo x Bando Sengiku “Genji”
from“Aoii no ue” in “Genji Monogatari”
Concept Artist: Bando Sengiku
Choreography: Ryohei Kondo, Sengiku Bando
Producer: Jiro Ariga Wardrobe: Tiseko Oka
Music: Kohei Harashima (Sonic Wave)
Lighting: Reiko Fukuda Stage Director: Akiyoshi Tsutsui Promotion: Hiroaki Yaginuma (VERSO)
Performers: Ryohei Kondo, Bando Sengiku
Shomyo: Koshin Ebihara, Tendai Shomyo Shichiseikai Court Music: Tsukiji Honganji Court Music Society Cello: Udai Shika
Yushima Seido Taiseidan (National Historic Site)


The author of “ frrom“Aoii no ue” Murasaki Shikibu, wrote 54 complete volumes to the “Genji Monogatari” and we decided to focus on a part of the ‘Hollyhock volume’. More specifically, we wanted to illuminate the spirit swaying Rokujo no Miyasudokoro and show the ominous side to her buried emotions.
In this piece, “From Above the Hollyhock”, we focus on Rokujo no Miyasudokoro’s insanity that has been projected onto Genji. Move over we took away all expression through speech, and instead describe the scene with ‘sound’, ‘light’, and ‘movement’. With the spatial freedom of Noh and the bold action of changing the timeline, we were able to take the performance into the present.


“Genji” Review < 2003, 11, 13 an extract from the Nikkei Newspaper>
The hair, sleeves and the pulled and stretched hemline of the kimono upon the partially stiff line of the body produced an extraordinary presence. It was an impressive beginning, almost as if the doors to a world dominated by passion had just opened.
. . . That hesitation of the body, and the progress of Kondo drawing nearer, displayed his unique angular movements, as though he was sawing through the performance space. It was almost as if contemporary ballet, in it’s complicated and intense partnering, had unfolded the hatred the two had for one another. However, this was despite their unbroken affection, which made the sins of man and women begin to draw forth sympathy . . . . The natural voices of Shomyo amplified and helped to resonate the dance’s sublimation and affection to the feeling of love, which left an indescribable impression.
___ Dance critic, Yuki Nagano ___