"MY LIFE & YOUR LIFE ARE WORTH LIVING.
LET'S BELIEVE IN THAT"
An interview with Ayane Nakagawa of Suichu-megane∞
By Lauren Ormond
The performances of Ayane Nakagawa and Suichu-megane∞ have their own definition of art. Ayane, who founded Suichu-megane∞ in 2011, is well versed in many forms of movement, such as ballet and traditional Japanese dance known as Nihon Buyo. She studied both simultaneously in her childhood, starting ballet at age three and Nihon Buyo at age four.
“There were times when I felt confused by the differences in aesthetics and values between them, but my feeling that both were genuinely beautiful never changed.” Ayane shares. “I believe that my ability to find beauty in many things, regardless of genre or category, comes from that experience.”
Ayane would go on to even further diversify her dance background, performing in more contemporary genres such as street dance. When it comes to choreographing and her own work, she draws inspiration from both her traditional and more modern backgrounds in dance and movement.
“Engaging with both traditional and contemporary dance allows me to perceive the beauty that has remained unchanged over time, as well as the evolving aesthetic values. While the expectations for dance have diversified, they have also become more specialized and refined due to the increase in other forms of entertainment. Understanding these changes enables me to be deeply conscious, during the creative process, of what we should be questioning in society through dance. I believe this awareness is one of my defining characteristics as an artist.”
It is not just Ayane’s dance background that shapes her art, but her own personal background. Her perspective and lived experience as an out bisexual woman also shapes her directing work and choreography, which often centers around the exploration of relationships and gender.
“I believe that everyone has some part of themselves that belongs to a minority in some way. For me, that happens to manifest in my romantic orientation. Because of this, the concerns I have in relationships are sometimes a little different from those around me—but that’s all there is to it. That said, perhaps the reason I am now so interested in love and the creation of new life is precisely because I belong to a minority in this regard.”
Several shows of Suichu-megane∞ under Ayane’s direction have undergone renewals and recreations. When asked why a piece calls for a transformation, the truth had little rhyme or reason behind it, rather just a fondness for the act of creation.
“To be honest, I’d like to re-stage any of my works, anytime, and as many times as possible—because I love all of them. That said, I try to choose the piece that I think the audience who are gathering in the moment will enjoy the most.”
Two well loved works, my choice, my body and Anchor, are the pieces Ayane and Suichu-megane∞ will present while making their United States debut at the Festival. The title of the former, my choice, my body, is reminiscent of powerful phrases heard around the world in various arguments for bodily autonomy. The way that it fits as the title of Ayane’s piece, however, differs from that meaning, but is not any less impactful.
“I first came across the slogan ‘My body, my choice’ in an interview video from an LGBTQ parade held in Tokyo. Since I’m not fluent in English, I actually misunderstood its meaning at first. Instead of interpreting it as ‘It’s my body, so I decide,’ I thought it meant ‘I chose to be born into this body.’ When I saw a transgender person holding this slogan, it seemed to me that they were embracing all the struggles they had experienced with their body and still declaring, ‘I love this body. I chose this body.’ Their dignified, beautiful, and powerful presence left a deep impression on me, and at that moment, the concept for this piece came to me—so I decided to use this phrase as the title.”
My choice, my body, incorporating the beautiful physicality of Nihon Buyo, also includes the use of Noh masks. These are used in traditional Noh theatrical performances to represent specific roles such as demons, ghosts, gods, etc. The spirituality they traditionally depict is similar to the abstract world and inhabitants Ayane brings to life in my choice, my body.
“In my choice, my body, the world I depict is that of the soul before it is born into this world. I would be delighted if I could engage in a dialogue with the audience as an entity that is not yet anyone.”
Both my choice, my body and Anchor share those major themes of life and birth, but they differ on, as Ayane puts it, “physicality and the creation of choreographic rules.” But the takeaway Ayane hopes audiences will carry with them after seeing either are the same.
“Through our works, I hope that audiences can take a moment to reflect on their own lives and their own choices—and come to love them. I know it’s not an easy thing to do—speaking as someone who lives as a minority and openly so, in a society where many choose not to—but if our work can help in some small way, I’d be truly glad. My life, and your life, are worth living. Let’s believe in that.”
