靴を脱ぎ、足の裏を土に浸す。
地面の先の奥行きへ知覚の針を刺し、その暗がりに潜む気配に触る。

本作は、「着地」から出発する歌と踊りです。
田上と小山の二人にとって、彼の地にまつわる共通の関心は「ジャワの踊り手やそこで生活する人々の体の、床や地面との親しさ」でした。彼らが地面に親しむ時、その地面は重力に従って物が行き止まるところではなく、世界が広がり始める可能性の在りかなのではないか。

この考えを礎にして、田上は床に親しむことで変化する視界や発声と、現地の影絵芝居をヒントに体から詩と歌を紡ぎ、小山はジャワの身体について、かねてより自身が強く興味を持っている東北の郷土芸能との共通項を見出し、そこから導き出された地面との交感というテーマから踊りを創作します。

歌う身体と踊る身体。それぞれの着地から、先の景色を望みます。

Take off your shoes and dip the soles of your feet into the earth.
Stick the needle of perception into the depths beyond the ground and touch the signs that lurk in its darkness.

This performance is a song and dance that departs from “Landing”.
For both of us(Aoi and Yuuka), our common interest in the land was “the intimacy of the bodies of Javanese dancers and the people who live there with the floor and the ground.” When they become familiar with the ground, it is not a place where things stop, but a place where the world can begin to expand.
Based on this idea, Aoi weaves poems and songs, inspired by her vision and vocalization that change as she becomes familiar with the floor, and by local shadow puppet theater. Yuuka has found commonalities between the Javanese body and the local performing arts of the Tohoku region(Japan), in which she has a strong interest, and creates dances based on the theme of communication with the ground derived from this interest.

The body that sings and the body that dances. From each landing point, we hope to see what will occur in the view ahead.