Choreographic Notion practically in this exposition (My movement in a video is not based on Noh-Dance, it is based on Gagaku Dance, which relates to Takemitsu's composition in Daosim. In-between Western and Non-Western, in-between tradition and modernity were the subject in post-war in Japan. I learned Gagaku choreography also, when I was a child, through Itsukushima, Hiroshima): A choreography (in a video, it is just a part of, therefore, I have been exploring rhythms (time in contemporary notion), and syntax (logic) of body and movement as an artistic language. – nonsense art without artistic expressional form (reduced choreographic decoration)), I started in 2011. The starting point of the last composition of Toru Takemitsu in the rage training space at the Dachverband Tanz Deutschland in Berlin. Because no one in the Japanese Traditional Dance Theater can create the choreography for the last composition of Toru Takemitsu. I asked my Master Hanayagi, Masatoyo (花柳雅豊) for the choreography of the last composition by Toru Takemitsu for the presentation in Berlin in 2012, she gave up it and gave me the Takemitsu's composition (material for choreography) back. (She has own research aim in the whole of her life in the Japanese Traditional Dance-Theater of Formalism in the context of Hanayagi-ryu. It is the academic study system in all of the world, not only in the Traditional Japanese Arts.). The choreography for the music composition in the Japanese traditional Dance-Theater is unusual, they don't analyse the music composition. The composer analyses the choreography.). Since then, she allowed me, my own Dance choreography freely. -Semi Formalism. Choreography by Erika Matsunami as an individual artist, not Hanayagi, Hosenyu (花柳豊仙遊). I can write the thesis. After 2012, I became a member of the international dance council CID/UNESCO, Paris, and I gave the lecture for the thesis at the CID World Congress. Choreography is an artistic language for us. There is the documentation of my solo Traditional Dance-Theater piece (original) with others at the presentation and lecture at the Dachverband Tanz Deutschland in Berlin. I have been solving the issue of the Japanese Traditional Dance-theater choreography in Formalism in the context of the Language in Japanese. In the Japanese Traditional Dance-theater choreography is the first line in the literature, and the second line is the choreography, which is an interdisciplinary study, and the third line is the music composition, which is the cross-disciplinary study. Then, there is the "entity" of openness in a transdisciplinary study in performing arts. On this guideline, the Japanese Traditional Dance-Theater is Comprehensive art dynamically. – flexibility toward the Western civilisation of coordination, systematization, morphology, organisation, and management in which refers to minimalism and neuroscience.
I reached the last composition of Toru Takemitsu in 2015, I would like to work in my own art for the collaboration with individual composers, musicians and many others autonomy, not in the guideline of Toru Takemitsu's composition. What I studied in the composition by Toru Takemitsu, was on embodiment in the environment in his composition, not embody to his music composition, is a musical painting in an abstract expression in semi-formalism. He is a composer between concrete and abstract from the aspect of visual arts, was his openness in his composition. from this aspect, my idea is critical toward practical Dr in piano performaning arts Luka Huisman's performance. But without rehearsal in the same place, we can never communicate, is the limitation of argument in the knowledge. Non-functional communication, it never solve the issue of research through the argumentation, as well as the question. Because of the notion of Takemitsu's embodiment. I attempted to do in the virtual space, but it is for us the third space and its warp (transposition) of time, space and body in Takemitsu's notion (for the creating in the arts), it was only stress, not for creative mentaly. Namely, Takemitsu's composition, it does not work within this working condition. For example, with the composition of Steven Reich, we can just read his composition (the notion of a composer) at the first, but Takemitsu's is, we cannot just read the notion of a composer, i.e. Corona (1962) for pianist(s)), which is in-"being". His notion will appear through the embodiment so that he wrote the notice (annotation) of his composition in his partitur precisely. He has dealt with between Western and Non-Western languages and notions. (I embodied it in a choreography in a video of this parctical exploring.)
The third space is not for the space of "embodiment", that I am exploring currently, which refers to cognitive neuroscience and psychology, such as in philosophy of language - communication