Totsu-totsu
Dance
AnnualReport2022

torindo“Totsu-totsu Dance” as pointillism● “Totsu-totsu Dance” Annual Report 2022
Looking back, it was Osamu Jareo who came

Faltering totsu-tostu Soundup with the phrase “Totsu-totsu Dance” in 2010,
P.1“Totsu-totsu Dance” as pointillism

P.2

13 years of progress

P.3

Progress in FY2022

P.4

Online Workshop Connecting Malaysia Japan

P.6

Record of Activities During Malaysia Visit

P.9

Questionnaire Survey of Malaysian Participants of Totsu-totsu Dance

P.10

and it was the title of the performance organized

A person who’s goal driven can’t accept totsu-totsu.

by Maizuru city, Kyoto. At the time, Osamu was

Because it seems like its half-finished.

making weekly visits from Osaka to Graceville

A person who likes to lead can’t accept totsu-totsu.

Maizuru over a 4-month period to create a dance

Because it seems like a delaying tactic.

piece.

A person who needs a punchline can’t accept totsu-totsu.

Without divulging the fact that he was actually

Because everyone isn’t on the same page.

a professional dancer, Osamu would invite theA person who asks,

dementia residents, “Would you like to dance?”“What’s the secret of your youthfulness?”

The staff did not know what to do because they

can’t accept totsu-totsu.

did not know what to make of him, and those resi-

Because it seems like a physical limitation.

dents who finally acquiesced scolded him vehe-

Between the disorganized past and the fumbling future

Malaysian trip diary

mently, “This isn’t dance!”. But Osamu continued

is the present which can only be drawn with dots.

to invite the elderly dementia patients to dance on

Totsu-totsu, the sound of those dots being drawn.

P.11

Exhibition of 2022 Activity Report

each visit, and gradually one by one they started to

P.13

Sensations Delivered by OriHime, Video Editing

P.14

Interview: Tomoya Ishida × Cecilia Chan

P.16

Overview of the site visit

P.17

Interview: Osamu Jareo × Kamal Sabran × Megumi Kamimura

P.19

Lastlydance with him.
Before you knew it, Osamu had become a fix-

As described by the poem, “Totsu-totsu

ture at Graceville Maizuru, and it led to the 2010

Dance” has continually marked dots representing

performance, “Totsu-totsu Dance” which involved

the carefully executed “then and there” for 13

the residents and staff, and the 2013-2014 tour-

years, which have multiplied falteringly, and pro-ing performance,“Totsu-totsu Dance part 2: A Les-

duced a vibrant pointillism painting. None of theson of Love.” Osamu’s monthly dance workshop at

dots, representing more than 300 workshops, areGraceville Maizuru which started in 2010 still con-of the same color or shape. Because it is always

tinues after 13 years.

refreshingly new, boredom never sets in, and it

And somewhere along the way, we ended upcontinues to this day.

referring to this undertaking, which has continued

And then in 2020, “Totsu-totsu Dance” met

quietly without fanfare and roped in a philosopher,

Kamal Sabran, a Malaysian sound artist, online

cultural anthropologist, artist, and videographer

which led to its Malaysia visit in 2022. What kindalong the way, as “Totsu-totsu Dance.”of pointillist scenery will this curious and quiet
dance, born out of series of events originatingfrom Maizuru, develop into.

There is a poem by the artist Nobuaki Datewritten on the occasion of the 2010 performance.

Takeshi Toyohira, torindo,
general incorporated association01

Osamu Jareo*¹ and torindo*¹ Osamu Jareo

JuneFirst production meeting*¹*¹ Production Meeting

2009

begins creation at Graceville(dancer/choreographer)by the Japan team

A production meeting was held

Maizuru*² for a dance produc-

The artistic director of “Totsu-totsu

2022
July

Online meeting with Malaysiation.

through dialogues, regarding illness

team. First meeting withand disability as “transformation in

March 7Dance performance

2010“Totsu-totsu Dance”(venue: Maizuru Red Brick Warehouse)

April

Monthly “Series Totsu-totsu” *³

2010

begins, hosted byGraceville Maizuru.

the process of living”.

A total of five sessions were
held once a month until the trip*² Graceville Maizuru

to Malaysia in December.

A special elderly nursing home in
Maizuru City, Kyoto Prefecture.
*³ Series Totsu-totsu

AugustOnline talk session connecting

14

Malaysia and Japan.

A series of Totsu-totsu Dance work-with the Malaysia team was also
held once a week.
*² Cecilia Chan is a gerontologist(Doctor of Gerontology). She has con-sulted for a number of elderly welfare services and facilities, and also
founded “Living Beyond Dementia,”
a community support grouptosupport people with dementia,

shops for residents, staffs, andAugustOnline workshop connecting

their families and caregivers, andneighbors of the Graceville Maizuru

28

Malaysia and Japan.

promote understanding of demen-Dance performance “Totsu-totsu

facility, including Osamu Jareo's

Megumi Kamimura*³

tia. Currently, she works at theDance part.2 - A Lesson of Love”

dance workshop, Masaru Nishi-

participated for the first time.

Eldercare Centre in the Bagan Spe-in Maizuru, Japan

kawa*⁴'sphilosophy

TakeshiToyohira*⁵'s(venue: Maizuru Red Brick Warehouse)

October

Dance performance “Totsu-totsu

2014

Dance part.2: A Lesson of Love”
in Osaka (venue: Art Area B1)

NovemberDance performance "Totsu-totsu

2014

Dance part.2 : A Lesson of Love"in Tokyo (venue: Asahi Art Square)

cafe,

and

cialist Centre.

culturalanthropology cafe. These workshops are related to Totsu-totsu● December 24, 2022 - January 3, 2023 “Totsu-totsu Dance” team travels to Malaysi

Dance.
*⁴ Masaru Nishikawa(clinical philosopher, nurse)

Masaru has facilitated dialogues in“Totsu-totsu
while

Dance”.

conducting

Currently,

researchon

DecemberDance workshop (venue: Bagan

26

Specialist Centre Eldercare Centre)

December

Lecture for students of27

the Faculty of Arts, USM(venue: Universiti Sains Malaysia)

dementia communication, he isalso involved in activities such as

January

Dance performance “Totsu-totsu

2015

Dance part.2: A Lesson of Love”

philosophy cafes.

*³ Megumi Kamimura
dancer, has been presenting solo
works since 2004. Has performed
in various venues in Japan andabroad, including Italy, Korea, Indonesia, Finland, and the UK. In recent
years, she has been interested in

DecemberParticipation in IPOH HEALING

the relationship between words

29

ARTS FESTIVAL (venue: P.O.R.T)

and movement, and has createdin Sendai*⁵ Takeshi Toyohira

works that use a mechanism to(venue:Sendai Mediatheque)(Director of torindo, a general incorpo-

convert between them.

rated association)

Specializes in cultural anthropol-

May“Totsu-totsu Dance”

2020

online workshop begins.

NovemberSymposium ““Totsu-totsu Dance”

2020

Online Talk Session - Possibilities
and Music with Elderly People
with Dementia”
with Kamal Sabran*⁶(venue: YouTube Live)ogy, and has been visiting Gracev-

January 2

Public Workshop

2023

Totsu-totsu Dance(venue: Bagan Specialist Centre)

ille Maizuru with Jareo since 2009.
*⁶ Kamal Sabran(sound artist and researcher)Interested in the fields of art, health“Totsu-totsu Dance” started a full-scale project in Malaysia in June 2022.

2014

Cecilia Chan*².

In addition, a production meeting

Online workshops were started in August.

“Totsu-totsu Dance” started in 2009. From being held in a special nursing home to online,

and online to Malaysia. We look back on the 13-years history of the project.

Marchof Communication through Dance

02

Dance”. He creates dance works

once a week by the Japanese team.

Progress in FY2022

13 years of progress

DecemberFebruary

Exhibition of25

2022 Activity Reports(venue: Saitama City Culture Center)

and welfare, he has been working
on projects such as healing arts andsoundscapesforpatients in Malaysia.

Alzheimer's● February 21 - 26, 2023
Malaysian team visited Japan to observe case studies of dementia care in Japan.
Workshops have also been held.
03

Online Workshop Connecting
Malaysia Japan● August 28, 2022
Dance workshop with Osamu,

As preparation for the Malaysian workshops, we held in total 6 rounds of talks and workshops online
bringing together participants from Japan and Malaysia. Participants introduced by Cecilia who runs
the Eldercare Canter, the sound artist Kamal, and Osamu Jareo. Everyone logged in from different
locations and gradually established a relationship.

Megumi, and the participants.
Exercises like “mirroring” where
one copies the other person’s
movements, and vocal conversations without using words weredone to the accompaniment ofKamal’s music. A daughter who
was the care partner for her
dementia mother joined in.

● August 14, 2022
In addition to those taking care of a family member with dementia,170 persons joined in for the talk sessionof the first meeting, such as people working at welfare facilities in Malaysia and Japan. Malaysia is a young● September 4, 2022

country with an average age of 30.26 years (2020). Cecilia shared that dementia is only talked about from a

Just when we thought the work-

medical perspective in Malaysia, and because few care facilities exist families are the main care partners.

shop was finally gaining momen-

How the Totsu-totsu approach, which is neither care nor art, would be received in Malaysia was a journeytum, the dementia mother could

into the unknown.

not participate as she did not feelwell. At the last minute the session changed into a talk/workshop with care partners who
were either family members or
professionals. Once again, we
heard the earnest wish to “find an
option other than drugs which
sedate them.” The strength of“Totsu-totsu” is its ability to flexibly

accommodate

suddenchanges.

● October 2, 2022 ● November 13, 2022 ● December 3, 2022
The “totsu-totsu” circle slowly began to expand and we started preparations for the Malaysian workshops
in December. We talked to people who had shown an interest, and there was an increase in regular participants.

Total number of participants: 50 pax

04

05

Record of Activities During Malaysia Visit

this. Kamal, Osamu and I each explored andthe audience members also joined the session

The Japanese team led by Osamu went to Malaysia from 24 December 2022 until 3 January 2023.

reacted off each other to figure out the “tasks” wewith Kondo-san. Irene, a participant of an earlier

This page introduces their activities at the various locations they visited.

needed to do in that moment. Gradually we drew

online session with Japan joined in impromptu as

the students into the session as well and spentwell, and the event evolved into a single large ses-

time connecting with each other in a variety ofsion where Kondo-san, Irene, and the other visi-

ways.

tors sensed each other’s movements as they went

*Tomoya Ishida, in charge of video recording, was not well at the last minute and had to switch toremote participation using the avatar robot, “OriHime.”

to and fro around the movement’s origins.

● IPOH HEALING● Open Dance Workshop

without any meaning.” When there is a commonly
understood rule people feel reassured and it is

ARTS FESTIVAL

Comments from Osamu:
At the start of the session the movements involved
simply tracing each other’s actions but after aeasier to move but we explored how to do so when

while Irene found her rhythm and many different

there was none.

movements flowed out form her. Afterwards she
told us that “whilst moving I remembered the Japanese dance I used to learn and was recreating● Lecture for Art Students

them.” This recollection of distant memories that
had been buried deep within the body after dancing or talking together is something I had observedat Graceville Maizuru as well.

Date: Dec. 26, 2022

Date: December 29, 2022

Venue: Bagan Specialist Centre

Venue: P.O.R.T., Ipoh, Perak

Eldercare Centre (Butterworth, Penang)

Director and Coordinator: Kamal SabranFacilitators: Osamu Jareo and

Performers: Osamu Jareo, Kamal Sabran,
Tomoya Ishida (OriHime pilot)

MegumiKamimura

Summary:

Audience: 97 students and others

Participants: 21 elderly people attending

Date: December 27, 2022

A multi-disciplinary festival on the topic of healing

the Elderly Care Centre, caregivers, andVenue: School of The Arts,

arts was held at P.O.R.T, an alternative space inIn the first half, Osamu and OriHime, operated

students engaged in music therapy

Universiti Sains Malaysia (Penang)Ipoh. It consisted of a sound lab of electronic

remotely by Tomoya in Japan, danced with the

Coordinator: Cecilia Chan

Performers: Osamu Jareo, Megumi Kamimura,

instruments, student research presentations on

audience, and it ended with a solo performance byKamal Sabran

art therapy, and live performances. Osamu partic-

Osamu to the sound of silence. The second half

Summary:

Participants: 110 students attending USM

ipated in an art talk and put on a performance.

took place at the outdoor stage. In the serene

At a senior care facility we introduced ‘Totsu-totsu

Coordinator: Kamal Sabranatmosphere created by Kamal’s musical improvi-

Dance' examples to elderly dementia patients andsation, Osamu performed, constrained not just to

ART TALK / WORKSHOP

care partners based in Butterworth and Penang.

Summary:

Later, after doing stretches and massaging in pairs

A special lecture class in which the students tookthey moved on to an exercise where the partici-

the lead. After being welcomed by a traditional

Cast: Osamu Jareo, Yusuke Uraoka, Kamal Sabranpants took on the roles of “leader” and “follower,”

dance, we introduced the concept and attractions

Online Cast: Kiyoe Kondo, Narumi Nakai

Comment from Osamu:

imitating and mirroring the other person’s move-of “Totsu-totsu Dance.” In the latter half, there wasParticipants: 104 students, healthcare

It was not only Kamal’s music or the audience but I

ments without making physical contact.

a workshop led by Osamu, Megumi, and Kamal as

professionals, people interested in dementia, etc.

danced communing with the various objects

Comment from Megumi:

the stage, but roving to all corners of the venue.
The audience held their breath as they watched.

well as an impromptu music and dance session.

06

HEALING PERFORMANCE

within the space, such as the trees, flooring of theSummary:

venue, stage, music from the speakers, lightbulbs

After the workshop a participant asked, “What isComment form Megumi:

At the art talk, there was an online session withand fan hanging from the ceiling. The 20 minutes

the reason for doing this?” and a discussion

It all started without any concrete plans. I can’t

Kondo-san, a resident of Graceville Maizuru, andjust flew by.

ensued. Osamu answered, “To play in a world

remember the last time I did an improv session likeher care partner Nakai-san. At Osamu’s invitation,07

Questionnaire Survey of Malaysian Participants● Public Workshop

of Totsu-totsu Dance

Totsu-totsu DanceA questionnaire survey was conducted among the participants of online workshops which connected
Malaysia and Japan, and the university lecture. Here is a sampling of the many comments and views
we received.

● On a scale of(1) Were you(2) Was participating in thissatisfied with this“Totsu-totsu Dance” beneficial“Totsu-totsu Dance” ?

for providing care in the future?

1 to 553%

Date: January 2, 2023
Venue: Bagan Specialist Centre(Butterworth, Penang)

5 (very good)

Facilitators: Osamu Jareo and Toyohira Takeshi

4 (good)

Participants: 95 health and care professionals

3 (average)

Coordinator: Cecilia Chan

2 (below average)
1 (no good)

Summary:
Takeshi and Osamu introduced past examples of“Totsu-totsu Dance” and “Totsu-totsu Danceworkshop” by playing a video recording. Afterwards, the participants broke off in pairs to do a
5-minute exercise of hand shaking. During the

66%

30%

26%

16%

8%

1%

(3) Do you hope for participating(4) Participant’s pastfurther “Totsu-totsu Dance”

experience in caring forin Malaysia?

dementia patients.

Statistical number(1) 119 persons

57%(2) 103 persons

27%(3) (4) 86 persons

13%

Yes : 41%

3%

No : 59%

Q&A at the end, there were various earnest questions and comments from people dealing withserious issues whilst caring for dementia patients● Comments from
Online Workshop Participants

The reaction from the participants varied but most had a strong
desire for further activities. To establish “Totsu-totsu Dance” in
Malaysia, continuity will be key.

M

M

very happy to hear the comment from Anna who

dance in “Totsu-totsu Dance” were really creative,

for 12 years. Because she was taking a nap she

had participated in most of the Zoom workshops

interactive, and easy to understand. I feel “Tot-

couldn’t participate in the workshop but Kamal’s

last summer; “When drug therapy does not seemsu-totsu Dance” can be useful in caring for per-music was wonderful and I was able to focus on

to deliver any benefit, and you wonder how asons with dementia. I don’t yet know what impact

the exercises. The way Osamu conducts the exer-

dementia patient could pass the time peacefully, I“Totsu-totsu Dance” will have on my dementia

cises made sense too. I truly believe “Totsu-totsu

think an activity like “Totsu-totsu Dance” is very

mother but I thought Osamu was a good instruc-

Dance” will change the way I provide care as well.

good.”

tor. He was approachable and knew how to inter-

I’m glad I was able to participate.

in Malaysia.
Comment from Osamu:
In response to the question, “How beneficial could
this dance based activity be in improving the circumstances surrounding dementia patients,” I wasy mother, who is in her 80s, was diagnosed
with dementia 4 years ago. I take care of her

1-2 times a week. Kamal’s music and Osamu’s

y mother who is now in her 80s was diagnosed with dementia 12 years ago. Since

then I have been taking care of her 24 hours a day,act with persons with dementia through various
exercises.
08

09

Malaysian trip diary

Exhibition of 2022 Activity Report

Megumi Kamimura and Yusuke Uraoka have been involved with the workshops in supporting roles,
the former as a dancer, the latter as a nursing center staff. Having joined the “Totsu-totsu Dance”
from different perspectives, they wrote down what they saw and felt in Malaysia. This is an excerpt of
their diaries edited by production staff member Wada.

Exhibition of 2022 Activity Report

Contents:

Date: February 25, 2023

Video recordings of past activities

Venue: Saitama City Cultural Center<Asking the Body -Bringing(Saitama City, Saitama Prefecture)

Totsu-totsu Dance to Malaysia->

Rule and bodyThinking About Elderly Care

Megumi Kamimura (dancer/choreographer)in Malaysia

Accessibility support: Japanese subtitles,

Filmed and edited by

Japanese-English interpretation andTomoya Ishida and Kota Baba

Yusuke Uraoka (support staff, Graceville Maizuru)

sign language interpretation<“Totsu-totsu Dance” 2009-2015>26 December

Number of visitors: 122 people including

Filmed and edited by Tetsu Kubota

Met Cecilia, who I had only seen online, in person.

art professionals and people from care and<“Totsu-totsu Dance” Online Workshop 2020>

welfare facilities

Edited by Mikihiro Endo

The more I hear her speak, I’m overwhelmed by her

27 December

energy as she works on building a framework even

What Ms Kugai, the local coordinator told me. That it

though there is no proper insurance or system forseems in Malaysia not too many people worry aboutproviding care in place. I learn about the problems intheir later years. It’s normal for families to take careproviding care and the insurance system. Even inof the elderly. That’s the custom. It’s normal for

Japan there are some who view dementia as being

babies to be looked after by the community andan embarrassment, to be kept hidden. I doubt I

family, and that’s the custom. When pregnant, peo-would be embarrassed if my parents were to develop

ple in the neighborhood worry about the mother,

dementia, but I probably wouldn’t want to actively“Who’s going to take care of you once the baby’s

publicize it either.

born?” You won’t end up being isolated, they won’t
let you be alone. And because of that you have theelderly life in Malaysia. The worry about old age may

2 January

not be so much about money but the sense of loneli-

Most people think I’m Chinese and talk to me in thatness, isolation.

language. Many people on the street are wearing

Online Workshop (1) & (2)Overview:

Facilitators: Osamu Jareo and Megumi Kamimura

In the afternoon, a talk session was held with theOnline participation:

artists and guests involved in the activities to share(1) Kiyoe Kondo (Graceville Maizuru resident),

about Totsu-totsu Dance. In the second half, par-Yusuke Uraoka (Graceville Maizuru Ikigai Support Staff),ticipants were divided into three groups for group(2) Glynis, Glynis’s Mother (Malaysia)

discussions facilitated by Ryuichiro Mori, Tadashii
Miura, and Masaru Nishikawa. In addition to those

Talk sessioninterested in art and dance, many people involved

Report on activities in FY2022

in welfare and nursing care in the Kanto area also

Speakers: Osamu Jareo, Cecilia Chan

attended the event, creating a space for dialogue(Gerontologist, working at the Bagan

across the realms of community, art, and care.

Specialist Center Eldercare Center),Tomoya Ishida (Film Director),masks but they don’t look at you with disapproval if
you don’t wear one. Of course, if infections rise it

29 December

probably will be different. I find it comforting that

Through the “Totsu-totsu dance” workshop I’ve

*For more informationon the speakers, click here →basically the principle of live and let live is at work.

come to realize the importance of one-to-one inter-（https://torindo.net/news/2022report/）

action, and creating a world of just you and the otherperson. Isn’t it the act of re-questioning the meaning
2 Januaryof “being connected”? With dementia one’s aware-

Went to the laundromat just before 14:00. Couldn’t

ness becomes fuzzy. Instead of helping to reinforce

figure out how to use the machine and a woman,

that, it’s more like stepping closer them and entering

who I think is local, helped me. Even gave me deter-

their world.

gent. She also gave detergent to another couple who

Osamu’s dance. “When I dance, I dance thinking

looked like tourists. It’s not like it’s her job but she

about people who I’ve met who have since passed

probably helps tourists who come to the laundromat

on.” “When Okada-san, who was supposed to per-and don’t know what to do. Half of the machines andform with me couldn’t make it, I felt like Oakada-sanother facilities at most places are broken but it

was saying “You can already dance by on your own.”

seems like this country manages to get by thanks to

Yusuke Uraoka(support staff, Graceville Maizuru)

Kamal Sabran(Sound artist),
Takeshi Toyohira (Director of torindo) [Moderator].
Experience “Totsu-totsu Dance” Workshop
Facilitators: Osamu Jareo, Megumi KamimuraGroup Discussion and review
Facilitators:
Ryuichiro Mori (Program Director, Arts Council Saitama),
Tadashi Miura (Program Officer, Arts Council Saitama),
Masaru Nishikawa (Clinical Philosopher and Nurse)

accommodating people like her.

10

11

Sensations Delivered by OriHime, Video Editing
Tomoya Ishida, who had been asked to be the videographer for this year’s “Totsu-totsu Dance” Malaysia
trip uses an electric wheelchair because of muscular dystrophy, and is an up-and-coming film director.
Since he could not make the trip with us due to health reasons, he joined us from home using the avatar
robot, Orihime*. This is a part of his diary that has been recompiled by the production staff Toyohira.

My participation in the Malaysian trip this time

Why do I pursue “film making,” or on a granderusing the avatar robot OriHime startled me. Some-scale, “express myself?” It’s out of curiosity to “trything drew me in physically in a way that was differ-and become (or get close to) something I’m not.” Whileent from listening or watching recorded images andstringing words together or editing a film, I’m con-sounds. The difference in how one perceives some-stantly “thinking (experimenting)”. The sensation ofthing (a person or object), the difference in how people

stringing words together, or producing film is some-react (combined with the movements that the operator canwhat similar to “walking” together with whatever I

initiate), the texture of the imagery and sound deliv-

want to be, what I am drawn to. I want to treasureered via OriHime (connection speed, blurred visuals). It

the feeling that wells up from within our body when

was as if I was experiencing a totally different world

our breath or feeling of fatigue are in tune with each

via OriHime.

other or when our eye suddenly catches sight of thesame thing.

As for things that were possible because it was
OriHime rather than Zoom, it was the ability to “turnThe instability and disorientation I felt goingmy line of sight” to whatever I wanted to see. Drawn

back and forth between my body and OriHime, wasby an object, person, or an action taking place, being

as if my soul was entering a container other than myable to move OriHime’s head through my own voli-own body. When one tries to become something, it istion. Perhaps this was why it felt like “I experienced

not easy to extract oneself from the body one isit physically,” unlike “seeing” a recorded image or

ensconced in. The fact that it happened several“knowing” what has happened.

times during this trip was stimulating. The chance
opportunity to escape from the framework that

A substantial amount of picture and soundhumans have unknowingly gotten stuck in (or shoved

material is required to create a video piece, andinto). Perhaps it happened only because we were inwithout it the final product would not be worthwhilethe “Totsu-totsu Dance” space.

quality wise. However, the sensation of “being there”
resulting from the communication via OriHime will

* “OriHime” is a registered trademark of OryLab Inc..

deeply affect the subsequent editing process.
Since meeting Osamu, dance which I had used
to think of as a “something far removed” has become
a much closer presence. It’s as if the effort to observe
the different ways people move their body to “dance”
has loosened up the stiffness and rigidity in my mind
and body. And this time it had evolved further to thelevel of dancing through another body called OriHime. The expansion and constraint of movement
through OriHime helped release “my body” from its
Photo: Hajime Kato

12

“stubborn and unyielding” character.

Experienced a workshop in Malaysia through OriHime

13

Interview: Tomoya Ishida × Cecilia Chan

Cecilia: When I danced with Osamu at the work-

For the public workshop held within the hospital

Cecilia Chan came to Japan for the first time to attend the 2022 Activity Report exhibition. She had

shop the other day I had the same feeling. But togrounds, about 100 people of various back-the opportunity to make study visits to Japanese senior care facilities in Japan such as the “Day Ser-tell the truth, the first time I saw Totsu-totsu

grounds came such as a producer of anothervice Raku Raku” in Saitama. Afterwards, Tomoya Ishida, who had been involved in Totsu-totsu danceDance my mind was very confused. I couldn’t

care facility, care specialists, and students. There

understand anything, what they were doing, andwere many enthusiastic questions, and they

for what purpose.

really showed an interest in this project.

as the film director, interviewed her about her activities, thoughts about “Totsu-totsu Dance,” andJapanese facilities she had visited.

Ishida: How were the visits to the Japanesefacilities?
Ishida: Why did you become interested in elderly

match the interests of the residents such as dance,

Ishida: And how was it actually participating incare and gerontology?

singing, crafts or sometimes even cooking.

the Malaysian workshops and sessions at the

Cecilia: At “Day Service Raku Raku” I was struck

Because most of them have dementia the import-

end of last year (2022)?

by how very quiet, calm, and healthy the people

Cecilia: It’s been 20-25 years since I started work-

ant thing is to create a program where they caning in the welfare sector. I began with health sci-enjoy themselves and look forward to. We also fur-

Cecilia: They were held on days following Christ-

more, a stranger, the setting welcomed meence for healthy people, but as the elderly popula-ther the care partners’ understanding of dementia

mas and New Year, and so I was worried if peo-

warmly. I said, “You’re very good” several times

tion grew in Malaysia I developed an interest inand exchange ideas on how to physically assist theple would come but many people participated.

to a person who was coloring, and even thoughgerontology.

patients.

The first workshop was a closed session at Bagan

there was no reply it felt like my comment had

Hospital’s Eldercare Center involving 2 dementia

been accepted, and the lack of an actual conver-

patients and their families. Osamu started bysation also didn’t seem awkward.

were. Despite my being a foreigner and further-suddenly sitting on the floor and speaking, andIshida: I myself have a congenital disease that

Ishida: At the special needs school, there was

everyone was bewildered because Malaysians

worsens gradually making it harder to breath, andclass time for doing whatever we liked with the

don’t have a habit of sitting on the floor, and they

narrowing my hands’ range of motion. You special-teacher one-on -one, and I remember using an

couldn’t understand him. Initially Osamu seemed

Ishida: Lastly, how would you like to make use ofize in gerontology but how did you feel the first

iPad. I was really interested in how other people

to be taking the lead but in response to his very

your experiences this time?

time you had to assist someone?

were being assisted and in my search for an evenslow movements one person, who was impa-

better assistance regime for myself I looked at

tient, ending up moving much faster and in the

Cecilia: If it works in Malaysia I think it means

Cecilia: The first time was when I volunteered atother people’s wheelchairs, meal and toiletingend it felt like she was leading. That was reallyit’ll work globally as well, and so I’d like to con-my church in my teens. It was such a shock and aassistance, and ended up creating a booklet, “Howinteresting. I could feel the awkwardness quickly

tinue spreading the word about “totsu-totsu

sad experience. The relationship between the careto care for me.”disappearing.

dance” not only in Malaysia but everywhere.

partner and patient was so clear cut and rigid, andthe setting made the patient feel truly isolated.

Cecilia: If we had a booklet like that for the dementia patients at my center, it would be possible toIshida: Up till a certain point I used to frequently

provide personalized assistance and care thatsay, “I’m sorry,” when someone assisted me. But I

matched their likes and dislikes, and how theyrecall I switched to using more affirmative words

would like to be helped.

and actions after a care partner told me, “If you
said ‘thank you’ instead of ‘sorry’, then it could it bemore of an equal relationship.” By doing so emotionally I didn’t feel as isolated or a burden.

Ishida: What was your impression when you first

What kind of things do you do with the users of

saw Totsu-totsu Dance? The first time I danced

Bagan Hospital Eldercare Center that you operatewith Osamu I was perplexed when he said ,“I wantin Malaysia?

to do a dance about toileting assistance.” But at
the same time I felt this sense of security, that I

14

Cecilia: In the “J.O.Y. = Just Older Youth” Program,

could put my body at his disposal without any

the day care concept is to provide programs thatworry.

From the left: Tomoya Ishida (film director), Cecilia Chang (gerontologist)

15

Overview of the site visit

Interview:
Osamu Jareo × Kamal Sabran × Megumi Kamimura
In 2020, in the wake of Covid, “Totsu-totsu Dance” switched to an online format connecting Maizuru
and Tokyo. And Kamal Sabran joined in from Malaysia as the sound artist. We conducted an interview
with Osamu Jareo, Megumi Kamimura and Kamal Sabran who had skillfully conducted workshops in

In late February 2023, Cecilia Chan and Kamal

Malaysia and Japan, online and face-to-face throughout this year.

Sablan, who worked together in Malaysia, visited(Interviewer: Takeshi Toyohira, interpreter: Chiemi Fukumori, Editing: Mafumi Wada)

Japan in conjunction with the debriefing session.
They observed case studies of dementia care in
Japan and held a workshop. The facilities visited
during the period were as follows.
● February 21"Sonpo no Ie S Oji Kamiya" a serviced

Online workshop with Special elderly care home
Graceville Maizuru residents and students at Rikkyo University

senior residence (Adachi-ku, Tokyo)

Regarding dementia, how were
the situations different between
Japan and Malaysia?

Q

Until now Kamal had been working
on the theme of “music and dementia”
but how was it after doing Totsu-totsu
Dance with us this time ?

Workshop participants:

Kamal: According to reports, there are about

10 elderly residents of the facility● February 22
Rikkyo University, Niiza Campus(Niiza City, Saitama Prefecture)

Workshop participants:

200,000 dementia patients in Malaysia. Although

Kamal: I discovered that with the addition of theit has a young population now, aging would have

body, sound, sight, movement, touch, and all the

progressed quite a bit in 10 years’ time. I feel wesenses combined, it helped the dementia patientneed to change our value sets in terms of services

recall memories and create a huge impact on

and thinking and learn from Japan's super aging

new sensations.

society.

about 25 students from the Department ofVisual and Physical Sciences

Q

Improvisation session by students to the music
played by Kamal at Rikkyo University● February 24"Day Service Rakuraku" day-care center(Higashimatsuyama City, Saitama Prefecture)● February 26"Kasugadai Center Center"a community symbiosis culture center(Aiko-gun, Kanagawa Prefecture)
Visited “Day Care Service Rakuraku.” Cecilia asked enthusiastic
questions about their system and efforts.

Workshop at Sompo-no-ie S Ojikamiya

16

Visited “Day Care Service Rakuraku” Jareo and Kamimuratalking with a person who is coloring a coloring book.

From the left: Takeshi Toyohira(Facilitator), Osamu Jareo (dancer/choreographer), Kamal Sabran (sound artist, researcher),Interpretor, Megumi Kamimura (dancer/choreographer)

17

QThis time at the end, we had a session

By having someone who can create the foundation

where Osamu, Megumi, and the students

both online and in person, as a dancer I felt more

danced but what inspired you togrounded and secure.

Lastlyproduce the music you played?

Kamal: I took part in the session conscious of theKamal: I think my experience as a painter before I

fact that my participation itself was post-dance.

became a musician had an influence. It’s like look-

Art is no longer just entertainment, and I think the

ing at the whole town if the scenery is that of arole of dance and art is to make someone happy

street. Rather than focusing on just one thing, I’dfor the sake of someone else, or to reveal the value

look at the overall picture. Today as well, I wasof their existence.

To dance with dementia patients. It’s now

patients and their care partners, and share an

observing the dancers’ movements and their bod-

been 14 years since “Totsu-totsu dance” started.

invaluable experience. But we will have to rethink

ies within the overall picture and producing

Thanks to the generosity of Graceville Maizuru

our approach moving forward.

sounds.

Special Nursing Home in Maizuru city, Kyoto, it has

Q
Q“Totsu-totsu Dance” has been going on

quietly followed a constant rhythm and taken one

We were also taken aback by the intensity offor 10 years, being neither art nor welfare

step after another at this same location. Since

demand in Malaysia for a new approach to care forbut navigating somewhere in between.

there was no deadline there was no need to hurrydementia patients. The urgency of the questions

Osamu and Megumi, you did the online

But this year it wasn’t only Osamu

but it has resonated in its faltering way. There were

we received from the audience when we explained

sessions with Kamal, and then after meet-

but Megumi joined in, and we had

occasions for it to be seen by outsiders in the form

about “Totsu-totsu dance” was eye-opening. But

ing him in person you later did sessions

workshops not only in Maizuru but alsoof a “dance performance” but it was essentially anthen again it is not possible for short-term visitorswith him in Malaysia and Japan. Was there

in the Kanto region, and now Malaysia.

extremely private undertaking involving the facili-

like us to visit each house and dance. Was there a

Could you share your thoughts on its

ty’s dementia residents and staff, Osamu, and our-way for “Totsu-totsu” to resonate even without

possibilities and your views?

selves.

Osamu?

any difference?

Osamu: We always do “Totsu-totsu Dance” with-

The act of dancing with focus in one place nat-out making any plans ahead of time but Kamal

Megumi: I think there’s a danger of categorizing it

urally gave rise to a philosophy, and certain tech-

Next year onwards, we plan to seek like-waits for us in this relaxed manner, as if to say, “I’lleither as “art as a therapy” or “therapy as a subject

niques developed. And more than anything, times

minded people who would be able to do the “Tot-follow you.” I felt that more strongly when we didfor art.” But its neither, and the act of searching

have changed. Through the natural course ofsu-totsu dance” in as many places as possible

the sessions in person. At times the music can end

further for this thing without a name, I think could

events we felt “It’s time to take steps at another

other than Japan and Malaysia. Specifically, we‘dup dominating the moment but the fact that he

be a guiding principle for my own work.

location,” and decided to head to Malaysia.

like to explore the idea of tying up with dancers in
Singapore and Malaysia, as well as artists doing

doesn’t and waits instead was a huge factor in creating the atmosphere. Rather than “my story”,

Osamu: The relationship I’d like to aim for is, for

Having stepped out into Malaysia many unex-

community based activities. If you listen carefully

Kamal provides accompaniment to the story being

example, the participants and I end up being both

pected things (but in a way expected) happened. For

enough, we should be able to hear different varia-

told by the participants and ourselves. I think that’s

the giver and recipient. It’s difficult to create such

example, in order to meet dementia patients wetions of “totsu-totsu” in all corners of the world.

why the dementia patients were able to join in asa relationship in a single workshop. But working

searched for senior care facilities like the ones inwell and I couldn’t have been able to achieve itover the long term movements that are different

Japan but it turned out that what we had in mind

alone.

from the earlier sessions pop up spontaneously.

did not exist. Basically, families dealt with demen-

And I believe a relationship is born out of that. By

tia as a private matter. This meant we could not

Megumi: When we did a workshop at “Sompo

having a new member join in like Megumi, Kamal,

get an introduction to a facility and conduct a

House S Oji-kamiya” the other day, I really felt thator Cecilia, a different type of communication

dance workshop with its staff and residents. For-

Takeshi Toyohira, Director,

the only really important thing was to prioritize

method, and gesture is created. After meeting

tunately for us we were able to meet several

general incorporated association, torindo

communication and gain the other person’s trust,

people from all over the world who are trying torather than going for an easy to understand result

put this into practice, I believe the possibility ofthen and there. And how as part of that process,“Totsu-totsu

there is conversation, movement and music. Kamal

become a reality.

Dance”

spreadingfurtherhasmentioned that when he improvises he pictures avague overall diagram, and then fills in the details.
18

19

● Artist● Production management

Kamal Sabran, Osamu Jareo,

Sayo Yokota, Mafumi Wada

Megumi Kamimura● Film director● Publicity
Megumi Seki

Tomoya Ishida● Cinematography and Edting
Tomoya Ishida, Kota Baba

● Organized by
Agency for Culture and General Association (Japan),torindo● Camera&Edit (Talk session)
Moeko Matsuzaki● Flyer design● In cooperation with

Norichika Yokota

Pak Andak Ismail, Masaru Nishikawa,
Ryuichiro Mori, Tadashi Miura, Yoko Niitsuma,● Translation

Shunta Seki,Special elderly care home

Akiko Kume, Ciemi Fukumori, Moe Ishii

Graceville Maizuru, Arts Council Saitama,● Workshop coordination

Cinematic Arts, College of Contemporary

Cecilia Chan, Yusuke Uraoka,

Department of Body Expression andPsychology in Rikkyo University,

Narumi Nakai

Bagan Specialist Centre (Eldercare Centre),● Coordination in Malaysia

Ipoh Healing Arts Festival, The Japan Foundation

School of The Arts Universiti Sains Malaysia,

Kyoko Kugai

Kuala Lumpur, Day Care Service Rakuraku,● Director of production management

Kasugadai center center

Sompo-no-ie S Ojikamiya,Takeshi Toyohira“Totsu-totsu Dance” Annual Report 2022
Published on March 25, 2023
Published by torindo
Editing● Click here for QR codefor related links

Totsu-totsu magazine (note)https://note.com/totsutotsu_dance/

Takeshi Toyohira, Mafumi Wada, Sayo Yokota
DesignHaru Kakiuchi“Totsu-totsu Dance ”

Photo

https://torindo.net/

YouTube pageHajime Kato (P.12)

Torindo Facebook page

Osamu Jareo Home pagehttps://www.facebook.com/torindo21

https://www.jareo-osamu.com/

Torindohttps://www.youtube.com/@totsu-totsudance9801

Agency for Cultural Affairs Commissioned Project
FY2022 Project for Promotion of Cultural and Artistic Activities by Persons with Disabilities, etc.
Japan-Malaysia Collaborative Project for Dementia “Totsu-totsu Dance -like art, like care,”