Rage (1985/86, 1987)
Choreographed by Jay Hirabayashi
Originally titled Half and Half and performed at the Powell Street Festival, the piece was retitled Rage for Vancouver Dance Week where it was performed at the Q.E. Playhouse and at the Firehall Theatre. Essentially, a struggle by a man to stand up against tension created by latex tubing restraint, the work stretches time through minimal movement. Additional tension is created by a musician who never sounds a note. At the Queen Elizabeth Playhouse, a flautist took ten minutes to get the flute to his mouth; at the Firehall, a taiko drummer took ten minutes to address his drum without hitting it.
A sixty minute work for fourteen taiko (Japanese drum) players (Katari Taiko) and five dancers including a stilt-walker (Paul Gibbons), a martial artist (Keith Hirabayashi), Barbara Bourget, Jay Hirabayashi, and Sioux Hartle. Music by Robert J. Rosen. Costumes by Tsuneko Kokubo. Lighting by Edward Arteaga. Set by Duncan Wilson. The work is concerned with the repercussions of the internment of Japanese Americans and Japanese Canadians during and after World War II. This work drew standing ovations at the Asia Pacific Rage later was developed into our program for schools and was renamed The Believer in 1995 when it toured Toronto and Vancouver schools with a cast of three.
A version for young audiences for three dancers and three drummers incorporating slide projection, masks, taped text and movement of forty minutes duration. Over 100 performances will have been given by the end of the 1989/90 season.
The seventh version of this piece, this time with reference to the American experience as well as the Canadian and changing the focus to a more personal retrospective using slides spanning a fifty year period of Canadian and American history. A new score by Robert J. Rosen and a different drumming sequence by Eileen Kage, Bonnie Soon and Leslie Komori. This piece was performed in Vancouver, New York, Montréal, Toronto and London, Ontario.
Version eight of this work with yet another drum score and a changed choreographic structure implementing more butoh vocabulary and incorporating the drummers into the group movement sections. Performed in San Antonio, Texas and Vancouver.