A collaborative duo performance, Anoyonodekigoto sets up a sort of negotiation between a musician, a dancer, the audience and the space we’re all sharing. As a drummer with Fushitsusha, Kosokuya, High Rise, Che-SHIZU, Maher Shalal Hash Baz, and a host of others, Takahashi has contributed to some of the great music in Japan over the last 20 years. Muronoi also has a lengthy career of experimentation, as a dancer of solo butoh pieces, as well as collaborations with multi-media and visual artists, filmmakers and musicians.Read
Translated by our pal Alan Cummings, anoyo no dekigoto could mean something like ‘happenings in the other world’: a phrase that captures the liminal nature of their performances, which seem to shimmer on a whole series of thresholds; the sensory threshold between sound and movement, the physical (or physiological?) one between audience and artists, the cause and effect of their actions and movement. For this improvisation, Takahashi uses tens of small personal alarms and oscillators, which once all going teem in an insectoid, swarming threnody that alters with even the slightest movement on your part: a cocked head enough to set off a whole other drone. Over these he slowly introduces intense but sparsely placed percussion: perhaps just a snare drum, belted with the heel of a hand, the drumhead pressed under a thumb. Muronoi’s wraith-like improvised dance, building from the Butoh tradition, feels like a channeling of energy, from her surroundings and the sound that fills them, directly to (at?) the audience.