Reina Kimura
Based in Japan, Reina Kimura was born in Aomori and is now a Tokyo based dancer and choreographer. She began studying ballet and modern dance at the age of four and is professionally active as a dancer. She has participated over an extended period in Sioned Huws (UK) ‘Aomori Project’ from 2008, performing in Japan, Europe, Singapore and Australia as dancer and co-choreographer. Since 2015 she has participated in ‘Odori-Dawns-Dance’. She also took part as a scholarship student in the choreographer course ‘KOKUNAI DANCE RYUGAKU’ in Kobe 2012, organized by the Agency for Cultural Affairs and Dance Box, a nonprofit organization. Her interest is in changes of the body by environment or language (dialect) and the state of people’s existence. In recent years, the question “For whom is dance?” has also become the core of her activities.
A hithau’n byw yn Japan, ganwyd Reina Kimura yn Aomori ac mae hi bellach yn ddawnswraig ac yn goreograffydd yn Tokyo. Dechreuodd astudio bale a dawnsio modern yn bedair oed, ac mae hi’n gweithio’n broffesiynol fel dawnswraig. Mae hi wedi cymryd rhan dros gyfnod estynedig yn yr ‘Aomori Project’ gyda Sioned Huws (y Deyrnas Unedig), a hynny ers 2008, gan berfformio yn Japan, Ewrop, Singapore ac Awstralia fel dawnswraig a chyd-goreograffydd. Ers 2015, mae hi wedi cymryd rhan yn ‘Odori-Dawns-Dance’. Cymerodd ran hefyd fel myfyrwraig ar ysgoloriaeth yn y cwrs coreograffi ‘KOKUNAI DANCE RYUGAKU’ yn Kobe 2012, a drefnwyd gan yr Asiantaeth dros Faterion Diwylliannol a Dance Box, sy’n sefydliad nid-er-elw. Mae’i phrif ddiddordeb yn y newidiadau i’r corff yn sgil yr amgylchedd neu iaith (tafodiaith) a chyflwr bodolaeth pobl. Yn y blynyddoedd diwethaf, mae’r cwestiwn “I bwy mae dawnsio?” hefyd wedi dod yn ganolog i’w gwaith.
Still from Choci Loni Meets Tobiume at Chapter, Cardiff
Photo credit: Noel Dacey
“Choreography for Being Here”
Reina Kimura
I was the only participant from Japan in "Choci Loni Meets Tobiume. " I met Tess, the organizer, when Aoyagi Reiko, one of the project members, saw me dance with Sioned Huws at Chapter Arts Centre about 10 years ago. Dance connected us. Chapter Arts Centre is a memorable place, as it was the first time I performed outside of Japan since 2008, and I was thrilled to be able to return as a choreographer and dancer. It had been about seven years since I last visited Cardiff, so when I arrived I felt a bit strange as the atmosphere was suddenly different from Tokyo, but I also thought, "The light (sunlight) is beautiful/The shadows are beautiful. " From there, I walked about 40 minutes each way from my accommodation to the Chapter Arts Centre every day. At first, I was afraid to pass people on the street or when someone sat on a bench staring at me, so I walked quickly, but after about a week, I started to walk more slowly in those situations and was able to feel the physical atmosphere of the people passing by or standing there. I believe that these daily activities and changes in body and mind are closely related to dancing (and expressing it), so the 80-minute round trip became an important time for me to create and practice. Project members also shared ideas, and collaborations naturally emerged; for JT's piece, we filmed in front of Reiko's video work and danced to that video during the performance, and for Anushiye's piece, we recited her poetry in both Japanese and English.
I had been thinking for a long time about how I could exist in this land, in this space, and one day I saw a bird swimming among the moss at River Taff and thought, "I want to exist like that." I felt that the way it moves between things, as if connecting one thing to another, was the meaning of my existence as the only participant from Japan this time. So I created and presented "Choreography for Being Here." I hope that the weight, pain, warmth, suffering, and even a little joy were conveyed to someone. And meeting the project members who looked at my dance (existence) and said, "That's good!" was a great harvest in my life. I've always thought that wherever I visit, there are people living and working, and it's very dramatic. Even after returning to Japan, I think about how each person still exists today in faraway lands. I want to continue to question society through dance about the quiet dramas that already exist. And I will continue to slowly carry on with "Choci Loni Meets Tobiume." Let's create again.
August 26, 2025
Woke up at 8:30. Had a good sleep.
Had a good sleep.
Eat breakfast.
10:10 Tess came to pick me up.
We walked together to the CHAPTER.
On the way, we met a musician named Bob.
He's a traditional Welsh harp player.
A kind-looking man.
I hope he'll come to the performance on September 3rd.
As I was talking with Tess, I passed a road near CHAPTER. It brought back memories. The shops had changed a lot, but the atmosphere remained the same. I was finally starting to feel at home in this place. Little by little. When I turned onto the road leading to CHAPTER, I felt a sense of nostalgia and my heart tightened. I told Tess that this road was an emotional one for me.
Arrived at CHAPTER.
It brought back memories. It felt so calming, and I no longer had the tension and awkwardness I felt 17 years ago. Perhaps it's because I'm getting older. I was shown the gallery where Tess works. This is the place where I danced with Sioned in 2011. I remember the nostalgic floor. The shop I loved was gone, replaced by an exhibition space in a gallery. I spoke to a man from the gallery called John. He probably likes to joke around, as we seemed to be mixing jokes with the truth the whole time. There were parts of his English I didn't understand, but it was interesting because I could sort of understand what he was saying from his body language and voice.
I saw the foyer of the theatre where I'll be performing on September 3rd. We were not able to see inside, but I'm happy to be back here. It was the first place I danced outside of Japan in 2008.
There is a printmaking studio, a cinema and a cafe.
We bought a cafe latte and was shown around Tess's studio (a different building). It was originally an office building, but now it's more like a shared office, and artists, filmmakers, and music professionals use it as an atelier. Tess's studio was in one of the many rooms. Entering her creative space feels like entering her body and mind. I found the relationship between the sensations she has when listening to music, the world around her, and her creations very interesting. I don't go to clubs that often, but from that perspective, I thought I'd like to go.
I met Anushiye, a member of the project. Anushiye is friends with Sioned Hughes, a dancer and choreographer with whom I worked for many years, and she used to come to see our performances, so it's been a really long time since we last met. The last time we saw each other was in 2011. Tess invited me to this project, and I'm happy we were able to meet like this. We talked about the Edinburgh festival she was involved in until recently, Japanese public baths, parents, the balance between creative work and everyday life, and her ideas for performance. We also decided to go out somewhere on Friday. Apparently we're going to a garden somewhere. It seems there will be a music concert at CHAPTER in the evening. I'm looking forward to it.
After saying goodbye to Anushiye , I headed to the studio with Tess. This place holds many memories for me, as I practiced here the first time I came here in 2008, and again in 2011 and 2013. We even performed here in 2013. Tess said she thought she'd seen that performance, so we looked back at the footage from that time, and to my surprise, there was Tess in it.
“Amazing!” We both laughed. I was so happy, and I think it was fate.
In 2008, I was 25 years old, barely able to speak English, and still not knowing much about Sioned, but I still hung on and danced there desperately. I stayed there for about a month. I really miss it.
And now in 2025, I am here alone, writing this text.
I spent the time listening to "Choci Loni" by Young Marble Giants, which gives the project its title, and "tobiume" by Susumu Yokota.
Filling the space gently.
Endless repeat = no beginning or end
Walking in the room.
Floating feeling.
lenient
A picture of de-image / a moment / from the construction of the in-between A picture of de-image / a moment /from the construction of the in-between
It's been going on forever
It has neither begun nor ended.
Choreography for someone (that someone somewhere might carry out) → Paper?
Black rope
Mirror
Wind (electric fan?)
Walking running sitting standing lying down turning
Connecting
Connecting Boundaries in and out and both in and out and both
The center of gravity tends to drop downward.
If we divide the body into upper, middle, and lower, the lower part is lower.
The inside is lighter than in Japan, and the top is fluffier and looser than in Japan.
The Problem of Contour.
Being here.
August 30, 2025
I walk to Chapter.
It's raining today.
I listen to Yokota Susumu and stroke the outlines of the buildings and the lines of the land that come into view.
Still from Choci Loni Meets Tobiume at Chapter, Cardiff
Photo credit: Noel Dacey
“Coreograffeg dros fod yma”
Reina Kimura
Fi oedd yr unig gyfranogwr o Japan yn "Choci Loni Meets Tobiume". Cwrddais â Tess, y trefnydd, pan welodd Aoyagi Reiko, un o aelodau’r prosiect, fi’n dawnsio gyda Sioned Huws yng Nghanolfan Celfyddydau Chapter tua deng mlynedd yn ôl. Creodd dawnsio gysylltiad rhyngon ni. Mae Canolfan Celfyddydau Chapter yn lle sydd wedi aros ar fy nghof, gan mai dyma’r lle cyntaf i mi berfformio ynddo y tu allan i Japan ers 2008, ac roeddwn i wrth fy modd yn cael dychwelyd fel coreograffydd a dawnswraig. Roedd tua saith mlynedd wedi mynd heibio ers i mi ymweld â Chaerdydd ddiwethaf, felly pan gyrhaeddais i, roeddwn i’n teimlo’n go rhyfedd, gan fod yr awyrgylch yn sydyn yn wahanol iawn i Tokyo. Ond dyma feddwl, "Mae’r golau (golau’r haul) yn brydferth/Mae’r cysgodion yn brydferth." Byddwn i’n cerdded wedyn tua 40 munud bob ffordd, bob dydd, o fy llety i Ganolfan Celfyddydau Chapter. Ar y dechrau, roedd gen i ofn pasio pobl ar y stryd, ac ofn pan fyddai rhywun yn eistedd ar fainc yn syllu arna’ i, felly byddwn i’n cerdded yn chwim. Ond ar ôl tua wythnos, dechreuais gerdded yn arafach yn y sefyllfaoedd hynny, ac roeddwn i’n gallu teimlo awyrgylch corfforol y bobl oedd yn pasio neu’n sefyll yno. Rwy’n credu bod cysylltiad agos rhwng y gweithgareddau dyddiol hyn, rhwng y newidiadau yn y corff a’r meddwl, a dawnsio (a mynegi hwnnw). Felly daeth y daith ddwyffordd 80 munud yn amser pwysig ar gyfer creu ac ymarfer. Roedd aelodau’r prosiect hefyd yn rhannu’u syniadau, ac yn naturiol, dechreuwyd cydweithio. Ar gyfer darn JT, dyma ffilmio o flaen gwaith fideo Reiko a dawnsio i’r fideo hwnnw yn ystod y perfformiad. Ar gyfer darn Anushiye, dyma ni’n adrodd ei barddoniaeth mewn Japaneg ac yn Saesneg.
Roeddwn i wedi bod yn meddwl ers tro byd am sut y gallwn fodoli yn y tir hwn, yn y gofod hwn, ac un diwrnod gwelais aderyn yn nofio yn y mwsog yn afon Taf, gan feddwl, "Dyna sut rydw i eisiau bodoli." Roeddwn i’n teimlo mai’r ffordd roedd yr aderyn yn symud rhwng pethau, fel petai’n cysylltu un peth â rhywbeth arall, oedd ystyr fy modolaeth, fel yr unig gyfranogwr o Japan y tro hwn. Felly es ati i greu a chyflwyno "Coreograffeg dros fod yma." Rwy’n gobeithio bod y pwysau, y boen, y cynhesrwydd, y dioddefaint, a hyd yn oed ychydig o lawenydd wedi’i gyfleu yn y ddawns. Ac roedd cwrdd ag aelodau’r prosiect a wyliodd fy nawns (fy modolaeth) a dweud bod y ddawns yn un dda yn foment wych yn fy mywyd. Ble bynnag y bydda’ i’n mynd, rwyf wastad wedi cael fy nharo gan y ffaith y bydd pobl yn byw ac yn gweithio yno, ac mae’n ddramatig iawn. Hyd yn oed ar ôl dychwelyd i Japan, rwy’n meddwl am sut mae pob unigolyn yn dal i fodoli heddiw mewn gwledydd pell i ffwrdd. Rwyf eisiau parhau i gwestiynu cymdeithas drwy ddawns am y dramâu tawel sydd eisoes yn bodoli. A bydda’ i’n parhau i ddal ati’n ara’ deg gyda "Choci Loni Meets Tobiume." Dewch i ni greu eto.
Awst 26, 2025
Deffro am 8:30. Wedi cysgu’n dda.
Wedi cysgu’n dda.
Bwyta brecwast.
10:10 Daeth Tess heibio.
Fe gerddon ni gyda’n gilydd i CHAPTER.
Ar y ffordd, fe gwrddon ni â cherddor o’r enw Bob.
Mae’n chwaraewr telyn traddodiadol o Gymru.
Dyn sy’n edrych yn garedig.
Rwy’n gobeithio y bydd yn dod i’r perfformiad ar Fedi’r 3ydd.
Wrth i mi gerdded gyda Tess, pasiais i ffordd ger CHAPTER. Llifodd atgofion yn ôl. Roedd y siopau wedi newid llawer, ond yr un oedd yr awyrgylch. O’r diwedd, roeddwn i’n dechrau teimlo’n gartrefol yn y lle hwn. Yn ara’ deg bach. Pan droais i lawr y ffordd sy’n arwain at CHAPTER, teimlais ryw hen hiraeth a thynhaodd fy nghalon. Dywedais wrth Tess fod y ffordd hon yn un emosiynol i mi.
Cyrhaeddais CHAPTER.
Llifodd atgofion yn ôl. Roedd y lle’n teimlo mor heddychlon, a doeddwn i bellach ddim yn teimlo tensiwn na chwithdod fel 17 mlynedd yn ôl. Efallai am fy mod i’n mynd yn hŷn. Ces fy arwain i’r oriel lle mae Tess yn gweithio. Dyma lle dawnsiais i gyda Sioned yn 2011. Rwy’n cofio’r llawr hiraethus. Roedd y siop roeddwn i’n ei charu wedi diflannu, ac yn ei lle roedd gofod arddangos mewn oriel. Siaradais â dyn o’r oriel o’r enw John. Mae’n siŵr ei fod yn hoff o dynnu coes, oherwydd roedd hi’n teimlo ein bod ni’n cyfuno’r jôcs a’r gwirionedd drwy’r adeg. Doeddwn i ddim yn deall ei Saesneg i gyd, ond roedd yn brofiad diddorol, gan y gallwn i hanner deall beth roedd e’n ei ddweud drwy iaith ei gorff a’i lais.
Gwelais gyntedd y theatr lle bydda’ i’n perfformio ar Fedi’r 3ydd. Doedd dim modd i ni weld y tu mewn, ond rwy’n falch o fod yn ôl yma. Dyma’r lle cyntaf i mi ddawnsio y tu allan i Japan, yn 2008.
Mae yma stiwdio gwneud printiau, sinema a chaffi.
Prynon ni goffi latte a dangoswyd fi o amgylch stiwdio Tess (sydd mewn adeilad gwahanol). Swyddfeydd oedd yno’n wreiddiol, ond mae bellach yn debycach i swyddfa sy’n cael ei rhannu, gydag artistiaid, gwneuthurwyr ffilmiau a cherddorion proffesiynol yn defnyddio’r lle fel gweithdy. Roedd stiwdio Tess yn un o’r ystafelloedd niferus. Mae camu i’w gofod creadigol hi fel camu i’w chorff a’i meddwl. Diddorol iawn oedd y berthynas rhwng y teimladau y bydd hi’n eu cael wrth wrando ar gerddoriaeth, y byd o’i chwmpas, a’i chreadigaethau. Dydw i ddim yn mynd i glybiau’n aml iawn, ond o’r safbwynt hwnnw, dyma deimlo yr hoffwn i fynd.
Cwrddais ag Anushiye, aelod o’r prosiect. Mae Anushiye yn ffrindiau gyda Sioned Hughes, dawnswraig a choreograffydd y bûm i’n gweithio gyda hi am flynyddoedd lawer. Roedd hi’n arfer dod i weld ein perfformiadau, felly mae hi wedi bod yn adeg hir iawn ers i ni gwrdd ddiwethaf. Y tro diwethaf i ni weld ein gilydd oedd yn 2011. Gwahoddodd Tess fi i fod yn rhan o’r prosiect hwn, ac rydw i’n falch ein bod wedi gallu cwrdd fel hyn. Cawson ni sgwrs am ŵyl Caeredin, y bu hi’n rhan ohoni tan yn ddiweddar, am faddondai cyhoeddus Japan, am ein rhieni, am y cydbwysedd rhwng gwaith creadigol a bywyd bob dydd, ac am ei syniadau ar gyfer y perfformiad. Penderfynon ni hefyd fynd i rywle ddydd Gwener. Yn ôl pob golwg, rydyn ni’n mynd i ardd yn rhywle. Mae’n ymddangos y bydd cyngerdd cerddorol yn CHAPTER gyda’r nos. Rwy’n edrych ymlaen.
Ar ôl ffarwelio ag Anushiye , es i’r stiwdio gyda Tess. Mae gen i gynifer o atgofion o’r lle, gan i mi ymarfer yma pan ddes i yma’r tro cyntaf yn 2008, ac unwaith eto yn 2011 a 2013. Fe wnaethon ni hyd yn oed berfformio yma yn 2013. Dywedodd Tess ei bod hi’n credu ei bod hi wedi gweld y perfformiad hwnnw, felly edrychon ni yn ôl ar y lluniau o’r adeg honno, ac er syndod i mi, dyna ble roedd Tess.
“Anhygoel!” Fe chwarddon ni’n dwy. Roeddwn i mor hapus, ac rwy’n credu taw ffawd oedd hyn.
Yn 2008, roeddwn i’n 25 oed, prin yn gallu siarad Saesneg, a ddim yn gwybod rhyw lawer am Sioned, ond fe wnes i ddyfalbarhau a dawnsio yno gyda fy holl egni. Arhosais yno am tua mis. Rwy’n hiraethu’n fawr am y cyfnod hwnnw.
A bellach yn 2025, dyma fi fan hyn, yn ysgrifennu’r geiriau hyn.
Treuliais yr amser yn gwrando ar "Choci Loni" gan Young Marble Giants, cân sydd wedi rhoi’i henw i’r prosiect, a "Tobiume" gan Susumu Yokota.
Llenwi’r lle gan bwyll bach.
Ailadrodd yn ddi-ben-draw = dim dechreuad na diweddglo.
Cerdded yn yr ystafell.
Teimlad o arnofio.
trugarog
Llun o ddatgymalu delwedd / moment / o greu’r gyfod rhyngol / Llun o ddatgymalu delwedd / moment / o greu’r gofod rhyngol
Mae wedi bod yn digwydd erioed
Nid yw wedi dechrau na gorffen.
Coreograffi i rywun (y gallai rhywun yn rhywle ei wneud) → Papur?
Rhaff ddu
Drych
Gwynt (ffan trydan?)
Cerdded rhedeg eistedd sefyll gorwedd i lawr troi
Cysylltu
Cysylltu ffiniau i mewn ac allan a’r ddwyffordd, i mewn ac allan a’r ddwyffordd
Mae tuedd i ganolbwynt disgyrchiant ddisgyn tuag i lawr.
Os byddwn ni’n rhannu’r corff yn rhannau uchaf, canol ac isaf, y rhan isaf sydd isaf.
Mae’r tu mewn yn ysgafnach nag yn Japan, a’r top yn fwy gwlanog a llac nag yn Japan.
Problem Cyfuchlinau.
Bod yma.
Awst 30, 2025
Rwy’n cerdded i Chapter.
Mae’n bwrw glaw heddiw.
Rwy’n gwrando ar Yokota Susumu ac yn cyffwrdd amlinellau’r adeiladau a llinellau’r tir sy’n dod i’r golwg.
Footage from Choci Loni Meets Tobiume at Chapter (2025)
Videography by Alastair Gray