National Ballet of Japan’s Dance to the Future is a programme featuring contemporary dance creations by the company dancers (NBJ Choreographic Group). This choreographic incubator programme was inaugurated in 2011, by its then artistic director David Bintley in an effort to nurture talent within the company. Several talents have emerged from it who have created full-length works for the company.
This year’s creations were curated by Kenta Kojiri, former dancer and choreographer with Nederlands Dans Theater, who has since been engaged in a wide range of work, not only his own projects but also in figure skating and musicals. Six works were selected as a result of an in-house competition. The project is always very popular with the audience, with tickets selling out very quickly. This is, in part, because it is also a chance to watch talented young dancers who usually are in the corps de ballet have an opportunity to be featured as soloists.
Seul et unique choreographed by principal dancer Takafumi Watanabe, was a tender work danced by two male dancers, Mizuki Watanabe and Takuro Watanabe (who happens to be the choreographer’s younger brother). Clad in white shorts and transparent sleeveless shirts, the two have complementary attributes in their solos, highlighting their differences: one dynamic and virtuoso, the other sensitive and soft. The partnering was sensual in an intense tango duet and yet there was a sense of loneliness.
Shiki was by former first soloist Keigo Fukuda, who has been a regular contributor in previous years to this project. Shiki in Japanese has many meanings, such as the four seasons, colour, sensuality, and the time at which death is approaching. It addresses aspects of love within the seasons changing, the two becoming closer and falling in love, and then their eventual separation, each using four different composers. Principal dancer Saho Shibayama, such an ethereal ballerina, delivered her emotions, her anxiety and doubt, in great detail – whereas Ryosuke Morimoto, a youthful and reliable partner, embodied young love. The hand movements within the choreography were eloquent and expressive.
Re (by Kei Nishikawa) was one of two ensemble pieces on the programme, and was inspired by the COVID-19 era when people had to live with social distance. It delivered a distinct message that people needed to be closer once again. The lighting, which showed the dancers in silhouette, was stylish and effective, and the energetic solo by Risako Ikeda was impressive. It was a powerful piece that conveyed strong emotion, but a little short in duration.
Jeux interdits by principal Yuri Kimura was the only piece with a narrative, based on René Clement’s 1951 film with the same title, and using the famous theme music, dubbed with the sound of air raids. Kimura and Takafumi Watanabe played the two children who formed a secret friendship during war-time, but were tragically separated at the end. Kimura has developed her own style of choreography such as the two lying on the floor with feet tangled, and telling the narrative through the movements that were touching, while echoing the children’s suffering and tragedy of war with what is happening in today’s world. One of my favourite works of the evening.
Light and Darkness by Yoshito Kinoshita was a duet piece with principal Ayako Ono, a stylish pas de deux with music by Yusuke Tsutsumi and Max Richter, the two dancers embodying the opposing features of the title. Kinoshita is a skilled choreographer who has presented several works at this choreographic workshop. His use of razor-sharp movements, light and shadow and his structure within the composition, was of a very high standard, showing a different side of prima ballerina Ono.
The final company dancer creation, Afterglow, was by a young corps de ballet dancer Mao Hashimoto. An ensemble piece with six female dancers, Hashimoto showed promise as a choreographer with her own distinctive voice. She depicted fragile emotions of sisterhood within the women, warm-coloured lighting and multiple flowing shapes, with the work’s soloist, Honoka Kinjo, creating ripples in the ensemble to Peter Gregson’s minimal music.
Kenta Kojiri presented his choreography Preludes, set to Debussy’s Afternoon of a Faun. This was an exquisite, classical duet with mystical lighting. Kojiri’s masterful musicality, under the influence of his mentor Jiří Kylián, shone through. I saw two casts, Haruka Sotome with Kazuyoshi Nishi and Risako Ikeda with Takuro Watanabe. Each had their own individual interpretations with sophisticated, academic movements and an ability to express Debussy's sensuality.
This year, the standard of choreography was high compared to previous years, and the ability of the dancers to express these contemporary works was noteworthy. However, some of the works made similar impressions: duets, dim lighting, minimal music or movement with no sound, and some of them were very small-scale. However, this opportunity is essential to develop the creativity, versatility and expression of the dancers as most of the company’s repertoire is 19th century classics. We look forward to see further talents emerging.
