MESs

MESs

By Yoko Higashino and Toshio Kajiwara

 

March 25-27, 8PM

Iseman Theater (1156 Chapel Street)


“Fascinating. A vision of apocalyptic darkness penetrated by a pop sensibility.”
Asahi Newspaper

 

Piercing lasers, flashing LEDs, and a pulsing techno beat illuminate choreographer and performer Yoko Higashino’s exploration of gender and transformation in a world of constant loss and confusion.

Japanese multimedia performance group Baby-Q draws on the talents of dancers, actors, musicians, and visual artists. Baby-Q’s director and choreographer, Yoko Higashino, performs her solo shows at galleries, nightclubs, and music venues throughout Japan to great acclaim, for which she has received the 2004 Toyota Choreographer Award, the 2005 Next Generation Choreographer Award, and the 2005 Yokohama Solo and Duo Award and Grand Prize. Baby-Q’s other works include GEEEEEK, ALARM!, E/G, Rhizome: Mother, Monster, Machine,M..., and I'm aroused.

MESs is presented in part by the generous support of the Council on East Asian Studies at Yale University

MESs has a running time of approximately 45 minutes, and each performance is followed by a talk back with the artists.


For mature audiences. Please contact the Box Office at (203) 432-1234 if you have further questions about the themes or content of this production.

Related Programs

Free and open to the public

Workshop

Tuesday, March 23, 6-8pm
Broadway Loft Studios, 294 Elm Street, 3rd Floor Dance Studio

Audiences are invited to engage in an interactive studio session with featured artist Yoko Higashino. Capacity is limited to 30 and spots will be available first-come, first-served.

Baby-Q and the Bio-Politics of Japanese Choreography
in the Wake of Butoh

Lecture by Reginald Jackson, Associate Professor,
University of Chicago
Response by Paige McGinley, Assistant Professor of Theater Studies, Yale University

Wednesday, March 24, 5:30-7PM
Whitney Humanities Center, 53 Wall Street, Room 208

Professor Jackson will consider the work of Baby-Q in relation to broader choreographic trends in Japanese dance since the advent of Butoh in the 1960s. How should we understand the work of Japanese dance in the 21st century, particularly with regard to the range of postures and political investments it displays? What are the stakes of Japanese dance today? And finally: How might Baby-Q's embodied engagement with the technological debris and stimuli of the current moment extend or interrupt the critiques of capitalist values advanced by Butoh's politics of movement?

Reginald Jackson is an Assistant Professor of Theater Studies and East Asian Languages and Civilizations at the University of Chicago. Having earned his Ph.D. from the department of East Asian Studies at Princeton University in 2007, he is currently completing revisions for his book manuscript, “Midare Performance and the Ethics of Decomposition,” which examines tropes of degenerescence in relation to conceptions of virtuosity and the ethics of representation in medieval Japanese dance-drama and calligraphy. Jackson has interpreted for professional Noh actors as part of the Kyoto Art Center’s Traditional Theater Training Program, and from 2005-2006 served as a Fulbright Research Fellow at the Nogami Memorial Institute for Noh Drama Research in Tokyo. He teaches courses on Japanese theater, literature, performance analysis, and critical theory.

Co-sponsored by Yale Theater Studies Program and the Whitney Humanities Center, and presented in part by the generous support of the Council on East Asian Studies at Yale University.

Talk Backs

Q&A sessions with the artists will be held immediately following all performances.