I saw Hiroaki Umeda yesterday at CTM transmediale Festival in Berlin.
Except a little baby in the audience who did not appreciated the super high frequencies part, it was so fresh and amazing that I've decided to post something about it, and will probably included some sound parts I've recorded (stoled) with my little and so handy shave unit Q3.
In few lines, Hiroaki Umeda has earned a reputation as one of Japan’s most exciting dance artists, using lighting, projections, self-created music and a powerful dance technique to create striking solo dance pieces.
Except a little baby in the audience who did not appreciated the super high frequencies part, it was so fresh and amazing that I've decided to post something about it, and will probably included some sound parts I've recorded (stoled) with my little and so handy shave unit Q3.
In few lines, Hiroaki Umeda has earned a reputation as one of Japan’s most exciting dance artists, using lighting, projections, self-created music and a powerful dance technique to create striking solo dance pieces.
Born in 1977, he studied photography at Nihon University and began dancing at the age of 20, having trained in classical ballet and hip-hop. In 2000 Umeda founded his own company, S20, and has showcased his work at cutting-edge dance festivals in Korea, Japan), Italy, France and Canada. while going to a condition, which will be presented at the PuSh Festival along with Accumulated Layout January 22-24, has been described as “a visual and sensorial experience . . The discovery of a young artist, both original and promising.”
Hiroaki Umeda - Adapting for distortion
Bringing elements of hip hop, ballet and butoh, Umeda has said in interviews, “there are no conceptual themes in my shows, which I empty of everything that might constitute a meaning”. Alternating between stillness and frenzy against a background of projected images and a cacophony of sounds, Umeda constructs meaning out of chaos, disorientation and sensation.
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