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After making his theatre debut with the performance FÜYA Requiem, Damiano Fina met the audience present telling them about his dance, the sources that inspire his artistic work and some central aspects of his research.

We have a responsibility to everything that exists,  but we have a responsibility towards all things could not come true. Kazuo Ohno, one of the founders of butoh dance, he said we owe it to all those spermatozoa that didn’t reached the ovule… We bring death with us… all that we eat… all of our ancestors… all of that evolution that was in our cells, connecting us with the stars…

Well, this dance is about responsibility, it is about transformation… a body like that young turns into old it turns into a tree, it turns into blood… becomes a computer that no longer works, it becomes a cloud, it blooms… each cell blooms… Requiem, for me, is that we still owe a cock to Asclepius… I have wondered what my reason to dance is…

Why dancing today?

What’s the point of dancing today… it makes sense… go back to our roots, figure out how the dance was born… imagine our monkeys when they came down from the trees, they lost their fur and, yes, they gathered around the fire… they found the fire! somehow… they had to pay something to nature… they felt that… the jump they did, they did it through imitation… miming the jaws of the beasts that preyed on them… they invented the bow, they invented the spear, they reinterpreted the teeth of these predators… and they have become predators of their predators… there was a new world to populate, a world you couldn’t see, a world you couldn’t see, a way that picked up what was gone… that because of guilt, perhaps… it had to be populated of something else… there comes the dance, there comes the ritual, well, stories were born around the fire… animal preys skins become drums, rhythm, music… and immediately dance!

And today we may have forgotten this… maybe today we’re a long way from our origins, far from the ritual, far from giving devotion to things… to see the spirituality in our actions… today we have a fire in the pixel, in our smartphone – well, if it makes sense to me… dancing today is to remember where we were around the fire… remembering that dance is not entertainment, dance is not just entertainment, the dance doesn’t have to show anything, there isn’t a single dance, surely… but the dance I’m interested in… it opens doors… it opens wide the invisible, it brings us closer to the ritual… This is FÜYA

About butoh dance

Then there’s also butoh dance, this dance was born in ’59 by Tatsumi Hijikata in Japan… imagine Japan coming out World War II with an imposed constitution… imagine you, as an avantgarde artists in Tokyo ’50s how would you feel with a world power coming in your country and tells you how you must behave, tells you that your emperor has no power except spiritual, it has no political power… well… some people didn’t care about Western democracy, like Yukio Mishima… here’s the butoh dance born in this… it was also born in Tatsumi Hijikata’s interest to make a revolution… he’s gonna bring a magnificent performance also in ’69… in those cultural days that made famous ’68 and ’69 all over the world… we’re also in that political context… we are in a Japan that looks at German Expressionism, that looks at the Surrealism, to Dada, that to Jean Genet and to his novels… what I’m interested in is bringing Butoh to its soulRevolt of the Flesh… the rebellion of the flesh… the very body of flesh… This is the message from Tatsumi Hijikata, in ’59 staging Mishima’s Kinjiki “Forbidden Colors” on stage…

About Socrates and Alchemy

Third and final point… then if you want I can… answer a few questions… there is Plato himself, who through the mouth of Socrates says on his deathbed, hey! we still owe a cock to Asclepius… a cock to Asclepius yes… …so on his deathbed, Socrates says, “thank you, god Asclepius…you’re curing me of life’s disease.” well, I don’t know if this is particularly interesting… what interests me most is that it takes a lot of irony to hold life and death in that ironic expression… it takes irony to get to the end of life and to say, “okay, now I’m cured”… and it takes irony to express it with words of devotion to a divine… well, the point I’m interested in is that it seems to me that Socrates is trying to tell us that we need to connect with this thing… we need to express devotion… I believe it’s from our cells, in our DNA

"Sensing vertebra by vertebra. Art is a vulnerable hunt."


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