Conversazione via Zoom con l’artista Masako Matsushita in occasione della restituzione del progetto Diary of a Move durante Bmotion 2020. Un archivio di sessanta diari raccolti durante il lockdown, un’esperienza collettiva per riflettere sul movimento, la memoria e i nuovi spazi.
_ Registrazione in italiano, riassunto in inglese
Meeting Masako Matsushita for her new work Diary of a Move at Bmotion 2020. An archive of sixty diaries collected during the lockdown, a collective experience to reflect on movement, memory and new spaces.
_ Video in Italian, summary in English
There is a pre and post Covid-19 marked by an overbearing entry of a digital space. How has this digital space fit into your new work Diary of a move?
The digital space, through video-call or just phone-call, has allowed me to meet the participants of this new work process. It was a means of sharing. It has also let us meet in the distance.
The core of this project deals with the personal side, the activation of our senses, of our memory. To trace these memories the participants have used, alongside the diaries, videos, recorders and photos.
For me it’s very interesting this public and private space. Even the media are using these new spaces, not so high-defined, with the result of a complete reshaped aesthetics that brings you back to a past memory.
[There is an alarm sound during this conversation]
I think that everyday interferences are enriching and confronting. Talking about private space, my father was an Aikido master: you learn to find harmony in the conflict. To deny an intrusion is a censorship.
Is there anything that has aroused your curiosity in the participants’ use of this digital space?
A diary is an intimate place, an analogical space where you confront yourself equipped only with your body, a pen, and the diary itself. Every diary has been a surprise for me, from the way they have been returned to their layout. I was also surprised from what I hadn’t received. Few people have left the process, and I will never have the chance to meet them. It’s been challenging to gather all these information. I took care of every participant with one-to-one talks.
Dance is considered the daughter of a lesser God, but it might also be the most suited to convey other minority messages.
There are at least ten different answers that come to my mind, but I would say lucky us that it’s the son of a lesser God. Dance is so powerful that the system tries to make it invisible as it could make the individual, and therefore the community, free. Of course I wish it was more visible, but it’s our duty, as artists, writers and organizers, to make it so.
Thinking about your works, their aesthetics and the importance of the scenic element, what will you bring into the future?
I work with costumes a lot, but this comes easy to me, like an inner tradition that goes on by itself. I wonder how much our personal lives feed the tradition, and again, how much each of us is responsible for this transmission. This diary is a small result, as we have written a short story that can continue either at a tangible or intangible level.
In which direction is dance going?
It’s difficult for me to talk about future. This new aesthetics adaptation will definitely affect dance. One of the participants asked how much art is at risk in this moment. I ask to myself how much are we willing to risk now that there has been a break in several spaces, from digital to analogical, public and private, three and two-dimensional. We’ll see…
Rita Borga | video
Lara Crippa | text
Diary of a move
ideazione, coreografia e interpretazione Masako Matsushita
con la collaborazione di Vittoria Caneva e Ilaria Marcolin
con il contributo dei diari di 64 cittadini
produzione Operaestate Festival Veneto
prima nazionale mercoledì 19 agosto #BmotionDanza2020