THE ASIAN REPORTER
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Hong Phat
Supermarket
101 SE 82nd Ave.
Portland
TRADITIONAL DANCE. Professor Naoko Kihara adjusts the sash
of her disciple, Eiko Moriya, at her dance studio in Mexico City. Kihara
won’t reveal her age, but she’s been practicing the Japanese traditional
Hanayagi-style dance for almost 24 years. (AP Photo/Ginnette Riquelme)
In Mexico, a Japanese traditional
dancer shows how body movement
speaks beyond culture and religion
Continued from page 15
receiving her diploma in Japan. It’s like a manual of
honor, Kihara said. A promise to preserve one’s legacy.
Thirteen students — seven of them at the basic level —
study in Ginreikai, her dancing studio.
“In our performances, it’s all about patience,” Kihara
said. “We call them ‘long songs,’ because they are not plays
with a beginning nor an end.”
Eiko Moriya, another descendant of Japanese migrants
who will soon travel to Tokyo to get certified, has spent the
last three years perfecting the long songs she’ll perform
before the Hanayagi committee.
Her mentor watches her attentively while Moriya’s feet
slide delicately over the wood floor, and always provides
feedback. “Move your foot only when the music asks for it.
Be mindful of the rhythm. Don’t overbend your arm.”
“Dancing is a transformation,” Moriya said. “Our
dances are pieces of culture that are re-signified.”
The meaning of their performances is conveyed through
music and movement, Kihara said. Even in front of foreign
audiences who might not understand a Japanese song,
their bodies are their means to speak.
Her favorite long song, a story about an unrequited love,
portrays a princess convinced that the man she loves has
transformed into the bell of the local temple. So, to get to
him, she turns into a snake.
“There are just a few movements, but each of them
portrays her belief of transforming,” Kihara said. “It is a
story about anger, courage. It symbolizes the suffering of
humanity.”
The songs that she and her colleagues perform for
Mexican audiences are shorter and less complex than the
original Japanese long songs — a dance can last up to five
minutes instead of 20 or 30 — but creating new
choreographies and adaptations for foreign scenarios does
not diminish her excitement.
“Through Japanese dance, we connect,” she said. “It is
an exchange of cultures.”
“Ginreikai,” which translates into “silver mountain,”
was the name chosen by her predecessor for the school
because she believed that Japan and Mexico share more
than their sacred volcanoes. If Mount Fuji and
Popocatépetl are so similar, she used to say, it’s because
deep down we are all the same.
“At Ginreikai we have that cosmic vision,” Kihara said.
“Humanity is divided by religion, by culture, but for me,
dancing is a way of saying: We are all one.”
Associated Press religion coverage receives support through The AP’s
collaboration with The Conversation US, with funding from Lilly
Endowment Inc. The AP is solely responsible for content.