It would prove impossible to stereotypically categorize a
performance by the company Pappa Tarahumara. Its performances could
easily fall under the genres of dance, opera, song or abstract art.
And although the company is based in Japan, the Tokyo ensemble
bears the name of a Native American tribe.
All that is certain is to expect nothing close to the usual from
director Hiroshi Koike. Instead, audiences will journey through an
abstract representation of life and memory in Koike’s
acclaimed work, “Ship in a View,” which makes its West
Coast debut Feb. 3-4 at Royce Hall through UCLA Live.
Although “Ship in a View” will be Koike’s 21st
production, it is his first work that focuses on his personal
memories. “Memory is one of the treasure houses for
developing new ideas,” he said.
Set at a seaside village during the 1960s, the performance
features many polar opposites. It includes moments of gentle
stillness followed by swift, turbulent scenes, which produce an
uncertain, alternating rhythm intended to resemble the
unpredictability of the ocean. The company moves collectively while
also showcasing sudden individual motions. Songs become both
soothing and harsh as a story of life unfolds.
The stage objects used by the company add further meaning to the
performance: a bicycle, a doll and, most conspicuously, a large
pole that serves as a mast and school flagpole, among many other
possible interpretations. Through his own personal, abstract
elicitations of memory, Koike hopes symbolism throughout the
performance will allow the audience to come away with a meaning of
its own.
The fact that the company’s name is derived from the North
Mexican tribe Tarahumara is a testament to Koike’s dedication
to exploring intercultural elements of art. Koike was introduced to
the tribe through the works of French philosopher, actor and poet
Antonin Artaud.
“I thought the tribe was the usual ancient tribe but I was
fascinated by their customs and ideas,” Koike said. “I
thought their customs had some key to solving the question of what
the modern age was.”
Though Koike’s work clearly deals with multicultural
aspects, he discourages attempts to separate his various
influences.
“I don’t distinguish between Western elements and
Japanese elements,” Koike said. “I know it’s much
easier for most people to understand the situation if there are
clear differences between Western elements and Japanese ones. But
this is an illusion, because over the last 100 years so many
Western elements were imported to Japan.”
Koike also stresses the importance of the multiple disciplines
to be looked at as one. “I want to make “˜performing
arts,’ not just a dance, not just a play, not just an
opera,” he said.
He revolved the piece around the ocean to showcase this
expansive view of his work. “I wanted to express the universe
between the minimum and maximum, individual and public, opening and
closing, dream and fact,” Koike said.
It is this dedication to unrestricted universality and abstract
art that makes “Ship in a View” such a memorable and
unique experience.
“It is so multilayered in regards to performance quality.
There is dance. There is song. There is voice. Stillness. A lot of
visuals. All these different disciplines meld into one
performance,” Cathy Pruzan, agent for the national tour,
said. “It’s so hard to do, and Koike does it so
beautifully. That’s what is so amazing. Besides a message,
it’s a beautiful work of art.”