Yubiwa Hotel: Photography by Serena Davidson

A beautiful work that stayed with me. Got me thinking and opened me up in that way that great performances can at their best. Reawakening me to the long view of life in a way that brings me more into the present. What can I say? I liked it.
After reading the other blog posts on this piece here – I must have walked away with a little something different than the other people posting so far.
To me it said: “Loss and pain interupt our plans and our joys. Playmates and dear friends can bring our deepest pains. In the end – perhaps just to get through it all – forget about societies expectations and ridicule. Live life while you have it and do what feels right for you.”
For these ladies – part of that is smoking a cigarette while dancing around alone in their underwear.
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wedding day interupted by the death of a girlhood friends mother
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young girls playground fun with glee
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young girls playfulness and bullying
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The scene where one woman does an impression of urinating into a skillet which then is cooked into a pancake by another woman. Two women feed the pancake to one another in a very funny way with ravenous appetite. Much sweet sharing and offering bites to the other that were dropped on the ground.
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partially shedding the mask and some clothing, stretching out in the light
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the stupor of loss and grief
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growing old, taking the mask off
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some times call for putting on your red dancing shoes
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what appeared to me to be dancing alone …. together
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the rhythm and repitition of this dancing in their underwear while smoking a cigarett reminded me of that line in an old song: “If that’s all there is…. then let’s keep dancing”
To see more TBA photography by Serena Davidson click here: Serena Davidson Photography

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One Response to Yubiwa Hotel: Photography by Serena Davidson

  1. Linda of Lincoln says:

    What hasn’t been posted about the performance, and what struck me as its abating theme, is the unemancipated place of women in Japanese society. Maybe that’s what’s been lost in translation to an American audience that takes female actualization somewhat for granted in western culture (accepting perhaps, the boat achor of poverty). As a member of the Gloria Steinim generation, I would suggest that the full circle presented in the piece takes us from the death-like moments before an arranged marriage (which will result in a life not preferred) back to the innocence, and yes, fickleness, of girlhood. Is there a potion or antidote (or pancake ritual) which might stave off the inevitable arrival of womanbeing? Maybe. At first the pancake satisfies. The innocent animal creatures eat cones as the mistresses of their own destinys, and display clarity and accuracy over their freely chosen actions and intensity (the choreographed basketfall tossing). But, in the end, they strip themselves to reveal they are, in the final analysis, sexual beings who whirl around in the gaze of others (instead of themselves). The high heels, glittery lingere and cigarettes may at first suggest an emerging body politic. As the piece suggested after the miscarried wedding scene: parts of their souls are lost forever. The longing for what is gone will not be fulfilled. They dance. They are not free.

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