Bio Kenzo Kusuda
Kenzo Kusada studied economics and business management and worked part-time at the fish market in Tokyo. Kusuda became so fascinated by the dance performances he attended, that he decided to further study this art form. Through his autodidactic process he developed a very personal and intense movement language that gained almost immediate recognition. Since moving to The Netherlands in 1999, Kusuda has danced in works by various choreographers and groups for example: Boukje Schweigman, Emio Greco/PC, Elshout & Handeler, Shusaku Takeuchi, Dylan Newcomb, DOGTROEP, Cora Bos-Kroes(C-Scope), Paul Selwyn Norton, Jack Gallagher, Martin Butler, Joaquim Sabate, Katie Duck(Magpie), Michael Schumacher, Dont Hit Mama, Karina Holla, Kirstie Simson, to name but a few. All were fascinated by a seemingly inexhaustible creativity and the imaginationwith which this self-taught dancer made movement into dance. Kusuda already began making choreographies in Japan, mainly solo pieces for himself. His first choreography in The Netherlands was Moisture Rocket (2001/ Dansateliers, Korzo Producties) and was cited by the commission of the Nederlandse Dansdagen as one of the high points of the season 2001-2002. Further productions: Muse on Screw (2002/ Korzo), Hypnos Loco Loco Locomotion (2003/ DWA, Korzo), Invisitors' vista (2005/ Korzo), Tangent (2006/ Korzo), Honey Crypto (2008/ Korzo). Kusuda's work stems from a highly original imagination and aims for a communication with his audience precisely by finding a connection with their imaginative powers.
A Study About A Body In Front Of The Other Body
Face to face. Eye to eye. Body to body. Senses to senses.
An exploration in various forms of physical dialogues between performing bodies. Bodies that cannot escape from becoming the subject to change in the ever shifting, fleeting tide of relationships with other bodies. Investigating through various dialogues, creating a physical, tangible sensation between them. Attempting to step across the physical, personal boundaries of the other(s).
* How much can one affect the state of the other's being?
* How much can one allow oneself to get affected, changed, connected by the energetic flows from the others?
* What energy and phenomena will these relationships bring about on these bodies and the space they inhabit?
(Realisms and virtualisms of meaningful events)
In this research Kenzo (dancer, choreographer), Nuska (researcher, dramaturge, dancer) and Bouke (film-maker, researcher) work within a mode of conversing. Just like any conversation, this process is based on interactive, relational patterns, as well as loads of contributing sub-themes, sudden ideas, shaping arguments, mixed with contextualizing it all - body language…
Seemingly fragmented, it nevertheless has its developing routes and eventually, a thorough, directional shape.
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