Our Masters Hijikata Tatsumi
(Curation:Pijin Neji)

セゾン文化財団「viewpoint 74」

◯「Urban Folk Entertainment」 WEB

創造都市横浜 捩子ぴじん最新作の稽古場から

MAGCUL.NET 立ち呑み文化放談


Performing Arts Network Japan
“Recycling” Butoh
The artistic aesthetic of Pijin Neji



schedule 2016



Toshiki Okada 「God Bless Baseball」

Toshiki Okada 「God Bless Baseball」

off the dramatic passions

Toshiki Okada「God Bless Baseball」

Our Masters Hijikata Tatsumi

Contemporary Talk

Sound Performance Platform

Ko Murobushi Festival

Toshiki Okada 「God Bless Baseball」



2000年〜2004年 大駱駝艦
2005年 1月 「呪い」ラボ5~20#17(キュレーター:伊藤キム) STスポット
2005年10月 「振子」ラボセレクションーSTスポット
2005年11月  横浜ダンス界隈#2 ーBankART studio NYK、他
2006年-2007年 ジョセフ・ナジ「遊*ASOBU」出演
2007年 1月 「フルエテ!透明」 ダンスが見たい!新人シリーズー神楽坂dieplatz
2008年1月 虹 (企画:エナメル小玉)ー現代美術製作所
2008年2月 道場破り(企画:手塚夏子)ー篠原の里
2008年4月 「タッチ」ーいずるば
2008年6月 実験ユニット「匿名的断片」ー門仲天井ホール
2008年8月 山縣美礼「こなたかなた」出演ー駒場アゴラ劇場
2008年9月 ディック・ウォン「Encounter」出演(企画:Dance Asia)ー森下スタジオ
2008年12月 「NJPJN」 traverses2008ーオルレアン振付センター
2009年4月 「syzygy」glow up!Dance projectーアサヒアートスクエア
2009年5月 53235イベントーOn going
2009年5月 道場破り〜復讐戦(企画:手塚夏子)ー篠原の里
2009年6月 「track of traces」新人振付家のためのスタジオシリーズ(キュレーター:手塚夏子)ーアーキタンツスタジオ
2009年7月 「NJPJN」dies de dansa ーバルセロナ、他
2009年10月 「停電EXPO」 横浜国際映像祭ー新港ピア
2009年11月 大野一雄フェスティバル〜横浜迷宮劇場ーBankART Studio NYK
2009年12月 V.I.I.M. Session-三軒茶屋Heaven's Door
2009年12月 新鋪美佳作品 出演  INSIDE/OUT 建築の時間・ダンスの瞬間ー世田谷美術館
2010年2月 新鋪美佳「ドレみ空」 Wedance2010ー横浜開港記念会館
2010年2月「4damages」 Wedance2010ー横浜開港記念会館
2010年3月 「syzygy」 TPAMインターナショナルショーケースー東京芸術劇場
2010年3月 神村恵「385日」出演ー世田谷美術館
2010年5月 神村恵「385日」出演 深川ダンスチョロッシングーSNAC
2010年5月 空き地vol.1(企画:神村恵、捩子ぴじん)ー小金井シャトー2F
2010年7月 神村恵「配置と森」出演 トヨタコレオグラフィーアワード最終審査会ー世田谷パブリックシアター
2010年7月 実験ユニット WOSK Vol.9ーSuper Delux
2010年8月「おかあさんといっしょ」 ゼロダテ展ーオナリ座
2010年11月「モチベーション代行」 京都国際舞台芸術祭フリンジ企画HAPPLAYーアトリエ劇研
2011年2月 We dance2011ディレクター
2011年2月 「syzygy」 横浜ダンスコレクションー赤レンガ倉庫
2011年5月 実験ユニット「実験地獄〜生きたいから反応する」ー小金井シャトー2F
2011年7月 紐霧泡イベントー小金井シャトー2F
2011年10月 「モチベーション代行」 フェスティバルトーキョー公募プログラムー池袋シアターグリーン
2012年2月 faifai「アントン猫クリ」出演ーnitehi works
2012年3月 「観光/field work」KASHIMA2012ー永久別府劇場
2012年4月「モチベーション代行」 FESTIVAL BO:Mーソウル
2012年4月 実験ユニットー永久別府劇場
2012年7月 faifai「アントン猫クリ」出演 トヨタコレオグラフィーアワード最終審査会ー世田谷パブリックシアター
2012年10月 「over cage」 蓮沼執太のスタディーズ 9:STUDIES(for Event)ーアサヒアートスクエア
2012年11月 ASA-CHANG&巡礼「新アオイロ劇場」出演 京都国際舞台芸術祭ー京都芸術センター
2012年11月 捩子ぴじん×梅田哲也 TRANS ARTS TOKYOー旧東京電機大学
2012年12月 手塚夏子「私的解剖実験6」出演ーart space tetra
2013年1月 手塚夏子「私的解剖実験6」出演ーSTスポット
2013年2月 手塚夏子「私的解剖実験6」出演ーダンスボックス
2013年8月 吾妻橋ダンスクロッシングーアサヒアートスクエア
2013年8月 フラムドールのある家ーアサヒアートスクエア
2013年9月 舞踏・舞踊フェスティバルinAKITAーエリアなかいち
2013年9月 演技、日曜日ーOn going
2013年11月-12月 faifai「アントン猫クリ」アメリカツアー

2/11「air or fart」@Yokohama
2/22-3/9  Tetsuya Umeda「0才」 @Nishinari
3/21-22「Top of the 0th inning, Bottom of the 0th inning」@Seoul
4/11-12「10 Years in 1 Minute-Transition」@Busan
4/18.20「Anton Neko Kuri」@Fukuoka
6/21-22 PLAN-Co. #1 「소리, 소문도 없이」 @Busan
7/26  Torikouen reading&talk @Yokohama
9/6 Asahi Art Square Long Party vol.2
10/25 DIG AKITA @Akita
11/13-16 「10 YEARS IN 1 MINUTE」@Tokyo
12/5.7「Anton Neko Kuri」 @Berlin
12/13 Isak Immanuel @Kobe

4/1〜 BONUSダンス演習室 http://www.bonus.dance/creation/16/
6/25-27「Urban Folk Entertainment」 @Yokohama Red Brick Warehouse No.1 Hall
9/19-20 Toshiki Okada「God Bless Baseball」 @Gwangju
10/31 「10 YEARS IN 1 MINUTE」 @Copenhagen
11/6 Nora @Fukuoka
11/19-29 Toshiki Okada「God Bless Baseball」@Tokyo
12/7 whenever wherever festival 2015 @Tokyo
12/16 BONUS @Tokyo



Pijin Neji was a member of Dairakudakan, a butoh company from 2000 to 2004. He studied under Akaji Maro and danced in all of the company’s main productions while he was a member. After leaving Dairakudakan, he began his career as choreographer/dancer. His main works are solo works and choreographies in which he doesn’t dance. In “Noroi(The curse) ”presented in Lab 20 in the ST spot, the solo work featured and expanded on Pijin Neji’s physical characteristics. In his following choreography “The pendulum”, he attempted to visualize a body beyond the physical body through the choreography where individualities of the dancers were trimmed down to the minimum. In 2006, he appeared in “ASOBU”, a piece by French choreographer Josef Nadj, and toured in Europe and Japan including the Avignon Festival. In addition, he has performed in the dance group with Megumi Kamimura, Natsuko Tezuka and Kuri Suzuki. In 2008, he created solo“NJPJN” for the festival of the Orleans National Choreographic Center TRAVERSES. He received the Yokohama Dance Collection EX2011 Jury Prize(Grand Prix), and his piece “the acting motivation”,a self-documentary based on Neji's own experience with part-time work, won Festival/Tokyo F/T AWARD.


no title

「no title」

concept, direction : Pijin Neji
house dance lesson : YANCHI.
dancer : YANCHI., Pijin Neji
stage manager : Megumi Sato
lighting design : Nami Nakayama
lighting operator : Masayo Okano
sound design : Daisuke Hoshino

3/Aug/2014 Setagaya public theater



「air or fart」

「air or fart」
Concept, Direction, Choreography : Pijin Neji
Cast : Ken Shinohara, Kento Kanno, Rie Wakabayashi, Pijin Neji
Music : Ken Shinohara, Kento Kanno

Yokohama Red Brick Warehouse Number 1, 3F Hall  
Yokohama Dance Collection EX2014 Performance by Former Prizewinner
<A TPAM Showcase Program>

After the March 2011 nuclear accident in Fukushima, the Internet was filled with suggestions for how to protect oneself against radiation. One proposal involved lactic-acid bacilli, a kind of bacteria, grown in water that has been used for washing rice. (White rice is washed before cooking.) The recipe called for adding salt and sugar to the water and leave it in a warm place. The bacteria would grow, and when someone drank the resulting liquid, they would strengthen the body’s immune system. According to some blogs and other sites,  radioactive substances inside the body would be consumed by the bacteria, which were transformed into macrophages, protecting the body against exposure to radiation.  Cult-like and totally outrageous: that’s what  this health tip was called. But in 2013, two years after the nuclear accident,  I decided on a whim to grow my own lactic-acid bacilli in water used to wash rice at my home.  Via the Internet, I purchased unpolished rice from Kyushu  and natural salt and brown sugar from Okinawa. I washed the rice in  mineral water, then added a small amount of the salt and sugar to the water and poured them into a PET bottle. Warming the bottle with these ingredients in the middle of winter in Tokyo, I saw small bubbles appear. Something was clearly alive there. I placed the bottle in front of the space heater, took it into the bath with me, held it on my chest under the comforter as I slept. The result was clearly different from what I had started with. The PET bottle was so filled with bubbles that its shape was distorted. Thinking that the time was right, I added a little of the liquid to soy milk, warmed the mixture for a day, and I had homemade soy milk yoghurt. I continue to eat it to this today.

In May 2013 I participated in the Kanda Festival in Kanno Kentō’s neighborhood of Tokyo, Awajicho, helping to carry the omikoshi, the sedan chair in which the god rides.  The Kanda Festival, labelled one of the Big Three festivals in Japan, is enormous.  It is normally held every other year, but was not in 2011 because of the disaster in the Tohoku.  Since the 2013 festival was the first in four years, the participants were extra excited. The gods celebrated in this festival are those worshipped at the Kanda Myojin Shrine and include Taira no Masakado, a warrior who rebelled against the central government. The space was jammed with “Edokko,” natives of Tokyo.  The kind of caustic humor you can hear in Rakugo performances filled my ears. The atmosphere was lively, with, given the worship of an enemy of the imperial court, an anti-establishment vibe.  This was Tokyo, another Tokyo, a Tokyo of which I, born and raised in Akita, had been unaware. The fierce pride I sensed raised goosebumps on my skin.

I think of the Kanda Festival whenever I eat my soy milk yoghurt made with lactic-acid bacilli grown in water used to wash rice.  The image of those little bacteria, unsterilized, circulating through my intestines, battling bad bacteria,  is connected for me with the pride I sensed at the Kanda Festival, which refuses to disappear in a globalizing world. Those lactic-acid bacilli, who come alive and make their bubbles in the bath or snuggled up with me under my comforter, embody the same human and local character as  those who parade carrying the omikoshi in that festival.  When that yoghurt slides down my throat, I feel the omikoshi biting into aching shoulders and hear its bearers’ enthusiastic shouts as they heave it about. Apart from hope for  my own health, there is some inexpressible desire embodied in my eating my soy milk yoghurt.  It is like that “Oh, I’ve done it” sensation we feel when we fart. In Japanese, we don’t just “break wind.” A wind emerges. A desire pent up within us erupts, like that wind. If we believe that art’s goal is  a healthy humanity, that crazy association is inescapable.

*In the foyer, you can taste my homemade soy milk yoghurt made with lactic-acid bacilli grown in water used to wash rice. If you would like to give it a try, just say so.  The yoghurt has not gone through a health inspection. The performers have eaten it and experienced no physical ill effects, but eat it at your own risk.  



「the acting motivation」

「the acting motivation」
Concept, Direction : Pijin Neji
Cast : Kaoru Soya (BUNGAKUZA), Shintaro Wada, Pijin Neji
Stage Manager : Chikage Yuyama
Lighting Design : Nami Nakayama
Sound Design : Norimasa Ushikawa
Sound Operate : Akino Hayashi
Video : Minoru Ide
English subtitle/an interpreter : Tomoko Momiyama
Photo : Ujin Matsuo
Publicity Design : Noriko Yatsuhashi
Production Support : PLATEAU
Special Support : KOGANEI ART SPOT Chateau2F
duration : 100min
prize : Festival/Tokyo F/T Award

This self-documentary theatre work is themed around Pijin Nejin's own experiences with part-time work. It will also feature Nejin's colleague at the conveniencestore where he works, Shintaro Wada, as well as the actress Kaoru Soya, who is attached to the BUNGAKUZA, a theatre company established 74 years ago. It will draw on the actuallives of the three performers for its material, comparing and analyzing their social positions and workdescriptions, and looking at the balance between performing and retail work, between artistsand the so-called freeter, between actors and dancers…

Currently in Japan the numbers of freeter (people not working in permanent or stable full-time employment, often regarded as drifters) are increasing while the issue of the ageing society is also becoming chronic. Theatre artists could also be labeled as people chasing their dreams, since they work on their creative activities while also doing part-time jobs. Thus, the occupation of being an "artist" means to continue artistic activities while working part-time: essentially, a freeter. The actors, dancers, choreographers, performers, musicians, and artists interviewed as part of the research for this project support themselves through part-time work and indeed many of them could be classified as "dream-chasing" freeter. However, they are almost all aware of the impossibility of actually in the future being able to make a living solely as an artist, and yet they still continue to produce creative and artistic work. This performance will look at the dilemmas of motivation for these artists to keep on going with their creative work; at how they are able to make ends meet through part-time shop work; whether in fact they are just the same as other part-timers at a convenience store; and ultimately what is an artist.

First the three performers introduce each other. Actor and dance Neji will then look at definitions of "service work", drawing on texts from playwright Oriza Hirata, Butoh dancer Tatsumi Hijikata, and sociologists Macdonald and Sirianni. There will also feature the
poetry of Kaoru Soya's late mother, a poet. Other elements in the piece include: Soya's "proof" that she is a professional performer; the dialogue from Neji's audition for a film role; the work manual for the convenience store where Neji is employed; the way the body looks when working; security camera footage of the workers at the Fukushima Daiichi nuclear power plant; security camera footage of Neji whilst working at the store; fast food sold at Neji's workplace; the story of Shitaro Wada's father, who was a manager at a Kentucky Fried Chicken outlet; the monotonous phrases convenience store staff have to use; and even Skype conversations with the colleagues working Neji and Wada's regular shifts at the store while they are performing.