Totsu-totsu
Dance
AnnualReport2023

torindo“Totsu-totsu Dance” Annual Report 2023

P.1

Forward / Takeshi Toyohira

P.2

The Journey of Totsu-totsu Dance in 2023

P.3

If One Were to Verbalize Totsu-totsu Dance

P.4

Record of activities in Malaysia and Singapore

P.8

Essays - Malaysia and Singapore

P.12

Site Visit, Workshops and Lecture in Kagoshima

P.14

Essays - Kagoshima

P.16

Exhibition of Activity Reports 2023

P.18

The Future of Totsu-totsu Dance / Kanji Miyashita

P.19

Exhibition of Activity Reports 2023: Participant Comments (excerpt)

P.20

Artist Essays / Tomoya Ishida, Megumi Kamimura, Okui Lala

P.24

Survey of Totsu-totsu Dance Participants

P.25

Lastly / Osamu JareoForward

Takeshi Toyohira, torindo,
general incorporated association

Totsu-totsu Dance, developed by dancer/choreographer Osamu Jareo and torindo, is
now on the cusp of its 15th year. I believe it is an unusual example of an art project that haslasted as long as this.
The start of Totsu-totsu Dance was in Graceville Maizuru, a special elderly nursing
home, in Maizuru city, Kyoto. It began with a residency Jareo did as a precursor for a stage
production, and continued as a workshop at the facility for roughly 10 years. Once a month
Jareo conducted a dance workshop with the elderly residents and caregivers, and clinicalphilosophers and cultural anthropologists would attempt to describe it with the participants. Even after visitors were not allowed due to the outbreak of Covid in 2019, the workshops continued online. And then in 2022 it took flight from Maizuru and began activities
overseas to share the experiences accumulated thus far with people of other cultures.
Now this year, in addition to Malaysia where we ventured last year, we expanded ouractivities to Singapore and Kagoshima in Japan. Of special note is the start of full-fledged
dance workshops with people with dementia and their families. In Malaysia last year,
although there were workshops at some facilities as well as online, it was constrained
mainly to dialogue through dance with locals interested in dementia care but this time wewere able to devote time to full-fledged workshops with many elderly people with dementia and their families. The fact that the local coordinators in both Singapore and Kagoshima
masterfully perceived our intentions played a key role. In Singapore, we were able to do a
public workshop with people with dementia at a large-scale stadium event promoting
understanding of dementia, and in Kagoshima we were able to visit not just special elderly
nursing homes but also hospices and day service centers.
Furthermore, for HR development we also held workshops for artists, and exploredways to report the outcome of Totsu-totsu Dance while at the same time present a workin-progress performance not just with Jareo but with other participating artists.
I believe Totsu-totsu Dance is an “open textbook”. Everyone who gets involved writes
into it and new colors are created. The content changes every time it is read. This Report isa description of Totsu-totsu Dance as it stands at this moment in time.

01

The Journey of Totsu-totsu Dance in 2023

In addition to organizing workshops overseas, in 2023 Totsu-totsu Dance focused onholding continuous workshops in Japan and building interaction partners.

● Malaysia

Date: August 1-5
Venue: Taylor’s Lakeside Campus,
Bagan Specialist Centre/Elder Care Centre, Five Arts Center
Participants: Elderly people with dementia, carepartners, and artists
Activities: Workshops and lectures● Singapore

Dates: August 7-10, September 5-9
Venue: New Horizon Center, Dementia Social Club, Apsaras Arts, Our Tampines Hub, and online
Participants: Elderly people with dementia, carepartners, and artists
Activities: Workshops, lectures, performance, and participation in “Family Fiesta Carnival”● Kagoshima, Japan

Dates: September 22-23, November 2-3
Venue: Aozora Higashi Sengoku, Home Hospice Mokuren no Ie,
LL Sanekata, Home Hospice Anma no Ie,
Special Nursing Home Silk Road Shichifukujin, Hirayama no Ie,
Fun2 Terrace Shichifukujin, Myogyouji Montokaikan Hall
Participants: Elderly people with dementia, carepartners, caregivers and medical personnel
Activities: Site visits, pinion exchanges, workshops, and lectures● Tokyo, Japan

Date: December 2-3, 2023
Venue: Tokyo Performing Arts Center, White StudioParticipants: General public
Activittes: Report on activities in FY2023(Video and text exhibition, work-in-progress performance, talk session)02

If One Were to Verbalize Totsu-totsu Dance

Takeshi Toyohira, torindo,
general incorporated association
A new activity that started this year was the Totsu-totsu Dance workshop for
artists which were held in Malaysia and Singapore. We would like to get various
artists such as dancers and performers interested in Totsu-totsu Dance so thatthey could conduct their own version of the workshops with people with dementia
and carepartners. This rises from our desire to explore how the activity could continue even without visits by the Totsu-totsu Dance team led by Jareo.
Incidentally, we had thus far avoided verbalizing Totsu-totsu Dance. We didhave people from various fields such as philosophers, anthropologist and medical
practitioners verbally trace the outlines of Totsu-totsu Dance but we had madesure that it did not result in a definitive statement, “ Totsu-totsu Dance is ….” Theworry was that the moment it was verbalized, its meaning would become set instone, and the valuable blank margins would be lost, but when we tried to conduct
a workshop for artists we were confronted by the question,“What is Totsu-totsu
Dance?” which we had purposely avoided. In addition, it was one thing to do it inJapanese but we had to explain it with our halting English.
Once we decided to do a workshop for artists, we broke down the component
elements of Totsu- Totsu Dance together with Osamu Jareo and attempted to verbalize each one. We would verbalize it, present it at a workshop, and then makerevisions. As a result, we extracted several key words, such as “synchronize breathing,” “lock eyes with each other,” “maintain distance,” “join hands,” “cross the border”. By using these as guides we were able to have a meaningful workshop withthe artists, and it resulted in the “Outcome Report” in the form of a performanceat the Exhibition of Activity Reports 2023. But this journey has only just begun andI believe it is a question that we need to continuously examine moving forwards.

03

Record of activities in Malaysia and Singapore
The Japanese production team lead by Osamu Jareo travelled to Malaysia and Singapore in the summer of 2023. Inorder to explore the possibility of activities from different perspectives, contemporary artist Okui Lala who works in
Malaysia joined us for most of the program. Here we share the activities conducted at various places we visited.

● Malaysia (31 July - 6 August 2023)

1 Taylor’s Lakeside Campus
Date: 1th August 2023
Venue: Taylor’s Lakeside Campus(Subang Jaya, Selangor)

Facilitators:
Osamu Jareo and Megumi Kamimura
Guest Artist: Okui Lala
Coordinator: Cecilia Chan
● Morning: Closed workshop.
Participants: 31 in total; elderly people with dementia, their families, and carepartners.
Content: Look at each other, imitate partner’s movements, mirror partners’ movements without making physical contact
Feedback from participants- The “lock eyes” exercise was awkward as being Asian I was not used to looking eye to eye. It felt likemy partner was also uncomfortable.
- In the exercise of sensing your partner without touching them, despite the lack of physical contact wesettle into a rhythm and started moving together. It wasn’t as if either one of us was taking the lead. I
felt a rhythm develop.
● Afternoon: Public lecture, designing a workshop.
Participants: 86 in total; students studying dance or art, and medical practitioners.
Content: Introduction of past Totsu-totsu Dance activities, design a workshop for elderly dementia
patients.
Participants’ Feedback- Because it was post-pandemic, it reminded me of the joys of a workshop involving physical contact(carepartner).

- I used to work at a Japanese facility but I never knew of this approach. I now run an elderly nursing carefacility. I’d like to learn more about it (facility operator).

04

Bagan Specialist Centre/

2 Elder Care Centre
Date: 3-4th August 2023

Venue: Bagan Specialist Centre/Elder Care Centre(Butterworth, Penang)

Facilitators: Osamu Jareo and Megumi Kamimura
Guest Artist: Kamal Sabran, Aida Redza, Okui Lala
Coordinator: Cecilia Chan
Participants: 39 in total; elderly people with dementia, carepartners, USM students, dancers based nearby.
Content: Day 1- Self-introduction and simple exercises. Day 2- Without setting any particular rules,
dance along to the movements that well up naturally from within while listening to the music.
Feedback from participants- I was very surprised that my father, who initially had no desire to talk, was dancing at the end.
(dementia patient’s family).

- I simply followed my partner at the start. When we made eye contact, I started wondering what am I
doing, what is the other person thinking? Gradually the user I had paired up with started teaching mevarious movements, such as elbows and back. (carepartner).
- As I’m a dancer, I started off thinking I should take the lead. Normally I listen to the sound and danceby recollecting my memories but this time I danced wondering if the (movement) was suitable or unpleasant for my partner (dancer).

3 Bagan Specialist Centre
Date: 3rd August 2023
Venue: Bagan Specialist Centre (Butterworth, Penang)
Facilitators: Osamu Jareo, Megumi Kamimura
and Takeshi Toyohira
Coordinator: Cecilia Chan
Participants: 85 in total; carepartners and medical practitioners.
Content: Each group designed a workshop, presented, then emulated it. Q&A session.

4 Five Arts Center
Date: 5th August 2023
Venue: Five Arts Center (Kuala Lumpur, Selangor)
Facilitators: Osamu Jareo and Takeshi Toyohira
Coordinator: Kyoko Kugai
Participants: 15 in total; artists residing in Malaysia.
Content: Briefing on aging in Japan and its social impact.
Implement and design workshops. Q&A and discussion about
detailed physical movement, distance between body and mind.
05

● Singapore #1 (6 - 11 August 2023)

1 New Horizon Center
Date: 7th, 8th, 10th August 2023
Venue: New Horizon Center (Bukit Batok)
Facilitators: Osamu Jareo and Megumi Kamimura
Guest Artist: Mohd Yaziz Bin Mohd Hassan (Yaziz) ,Kamal Sabran and Okui Lala / Coordinator: Audrey Perera
Content: Creating portraits, exercises to music, lectureon activities for caregivers and designing workshops .
● Closed workshop (7th, 8th, 10th August 2023)
Participants: 45 in total; elderly people with dementia, carepartners.
Feedback from participants- I had difficulty with the “Lock eyes” exercise because I couldn’t get rid of my “caregiver’s hat”. I wantto continue thinking what was meant by Jareo’s words, “Lock eyes and movement begins, lock eyes foran encounter.” (carepartner).
- I felt that sound and music was important. When one hears sound the body moves instinctively and so
it would be good if everyone move in the same manner. Does a connection form as a result? (carepartner).
● Lecture & Workshop for Carepartners (8th August 2023)
Participants: 16 in total; carepartners working at Dementia Singapore.
Feedback from participants- The slow walk exercise was very good because I felt a sensation that was different usual from in myfeet, fingers and knees.
- Because I had dance experience, I felt like I could see how the creative powers of dance and art could
be helpful to elderly dementia patients.

2 Dementia Social Club
Date: 7th August 2023
Venue: Dementia Social Club (Tiong Bahru)
Facilitators: Osamu Jareo and Megumi Kamimura
Guest Artist: Yaziz and Okui Lala
Coordinator: Audrey Perera
Participants: 46 in total; elderly people with dementia livingin the community and their families.
Content: Exercises such as “Make physical contact with a part of the body” and “Walk together without
touching each other.” Some participants were from the previous year’s online workshop.
Feedback from participants- It wasn’t as if my relationship with my partner changed dramatically because of the workshop. But
what was important is how one can acquire the sensations born out of dances like these and how one
could develop a relationship that lets you do it together. Today my partner continued to watch over me.
I’d like to think about what lies beyond that. (J, a participant of last year’s online workshop).
06

● Singapore #2 (6 - 10 September 2023)

1 Apsaras Arts
Date: 7th September 2023
Venue: Apsaras Arts (Goodman Arts Centre)
Facilitators: Osamu Jareo
Coordinator: Audrey Perera
Participants: 20 in total; artists residing in Singapore
and staff members.
Content: After explaining about the Totsu-Totsu Dance thus
far, the elements comprise it described. Exercises based on said elements are done. Lock eyes with eachother and move, close eyes and move together with one’s partner.

2 Our Tampines Hub
Date: 9th September 2023 (Creation of works: 5, 8 September)
Venue: Our Tampines Hub (Tampines Area)
Facilitators: Osamu Jareo and Takeshi Toyohira
Collaborator: Yaziz, Dementia & Co.
Coordinator: Audrey Perera and Dementia Singapore
Content: Composed of 2 parts. In part 1, a workshop-based
performance was created. The audience and dementia
patients joined in as well in the dance. Part 2 was a public workshop. An exercise where a tissue paper
placed on the back of the hand is passed along to your neighbors was done together with the generalparticipants.

07

Essays - Malaysia and Singapore
The following essays were written by three people who have been instrumental in the development of <Totsu-totsu
Dance> in Malaysia and Singapore. Cecilia Chan has coordinated in Malaysia, and Audrey Perera in Singapore. Don
Mendoza is a senior manager of a welfare organization, Dementia Singapore, in Singapore.

well as in KL. There were two different catego-

Malaysia

ries of workshops conducted, one catered forthe public and the other specifically for thoseliving with dementia and their family members
and care partners.
What I observed and discovered from theworkshops in the year 2023 is that many participants shared their positive experiences, especially from the family members of those livingwith dementia. This is especially so with PWD
who are non-verbal, and who are not able tocommunicate using language. Totsu-totsu proCecilia Chanvides a tool for them to connect with their loved(Coordinator / Malaysia)

ones without having to use language. This is a
powerful mechanism as very often in Malaysia,
those who are not able to communicate verbally

08

In Malaysia, people living with dementia areare being ignored. Thus, they are deprived of any

among the most stigmatized. It is usually framedhuman connection, and their fundamental needs

within a medical model which often conveys

as human beings are often ignored. Many partic-them as lost, robbed of mind, doomed, and theipants who are family members of those living

living dead. This has profound consequences forwith dementia voiced their surprise when they

Malaysians with dementia and their families,

saw their loved ones fully participate during theperpetuating the stigma and misunderstanding

totsu-totsu workshops. Many also shared thatabout dementia and causing much harm, suffer-they were calmer and happier after the tot-

ing, and discrimination.

su-totsu experience. I believe it is because their

My objective is to challenge this perception

basic need to connect and to be a part of theand change the narratives by creating a moreshared human experience was met during theinclusive culture for all. However, this is a huge

workshop. The positive emotions were very

challenge and an uphill battle as this concept is

prominent as it appeared to have evoked a posi-very new in Malaysia. I believe that the Tot-

tive response from everyone involved. Partici-

su-Totsu dance is one platform that can help

pants seemed to forget their physical condition,

create this inclusive culture.

especially those confined to wheelchairs while

Totsu-Totsu dance has been introduced todancing, and there was a mutual tenderness in

Malaysians for the past two years. Last year wascommunication between the dancers( partici-

the second time we experienced hands-on Tot-pants). The most significant result was the emo-su-Totsu with the team from Japan. It took placetional reaction shown when those living within August 2023 with sessions both in Penang as

dementia moved and their bodies were engaged

as they danced with different partners.

form of therapy – that has been proven toThis demonstrates how totsu-totsu has the

improve mood, memory and create joy – there

potential to challenge the stigma associatedare already ongoing programmes at the various

with dementia and support social inclusion. Thisdementia care centres and geriatric wards.

underscores the urgent need to make dance
programs such as Totsu-Totsu more widely
accessible to people living with dementia. I

But Tots-totsu dance was something no one
had experienced before.

believe that this experience has strengthened
my belief that compassion and hope are possi-

Thanks to Dementia Singapore, the national

ble when we recognize our shared humanity and“anchor” organisation for dementia, for its sup-one such experience is through the Totsu-Totsu

port, enthusiasm and willingness to work withexperience.

Torindo/Totsu-totsu dance. With its support, wewere able to organise several pilot workshops.
These were conducted in dementia day care
centres managed by Dementia Singapore over 2
weeks in August and September 2023. The par-Singapore

ticipants

included

Young

Onset

dementia

patients. Care partners at the centres and caregivers of the participants also participated.
In order for the workshops to be as lively andengaging as possible, and also to include somefamiliar musical sounds which the participants
hear in Singapore, we enlisted the services ofrenown percussionist Mohd Yaziz Bin Mohd
Hassan (Yaziz), who is co-founder and executive
director of percussion ensemble, Nadi SinAudrey Perera

gapura. Yaziz already conducts drumming work-(Program Manager / Singapore)shops for people living with dementia, and waseager to experience and contribute to the Totsu-totsu dance workshops. He brought with him

It was very fulfilling to introduce Totsu-totsu

his rhythmic talents, a range of Asian percussion

dance to Singapore. Our country, like Japan andinstruments and some creative approaches tomany other countries, is facing the realities of an

integrating his percussive beats with the dance/

aging population. This population has a higher

movements of Osamu Jareo and Megumi

life expectancy, bringing with it the need to

Kamimura.

effectively manage and provide treatments forchronic illnesses and conditions such as dementia.

We realised that if we are to develop a fullTotsu-totsu dance programme in Singapore, weneed to be able to scale it up. This means that

The Singapore government is racing to pre-we must be able to train a few dancers/choreog-pare the country’s healthcare and social service

raphers/movement artists in the Totsu-totsu

sectors for the rising numbers of people living

dance methodology. To kickstart this process,with dementia. In the area of using the arts as awe organised a Totsu-totsu dance workshop for09

performing artists in Singapore. This presented
us with an idea of whether/how many artists
may be interested to understand this approachbetter, and keen to use their talents towards
working with people living with dementia.
It was heartening for two reasons: firstly, 17artists signed up and 15 of them attended (thetwo who did not attend were on medical leave); and sec-

ondly, most of them were in their 20s and 30s.
Don Mendoza

Of these, Osamu Jareo identified some with thepotential to be trained in the methodology.

(Senior Manager, Advocacy &Communications, Dementia Singapore)

The venue, AV equipment and operation for
the workshop was provided at no charge by
homegrown Singapore Indian classical dancecompany, Apsaras Arts. Senior dancers from this1 About Dementia Singapore

company have been trained in dance therapy, so

Formed in 1990 as Alzheimer’s Disease

there was a natural willingness to support Tot-

Association to better serve Singapore’s growing

su-totsu dance.

dementia community, increase awareness about
dementia, and reduce the stigma surrounding

The experience of organising the workshops

the condition, Dementia Singapore is today Sin-and bringing so many people together, andgapore’s leading Social Service Agency in spe-working with so many creative talents from dif-cialised dementia care. Its aim is to advocate forferent disciplines for a shared cause, was indeed

the needs of people living with dementia andvery profound. We hope to develop a Totsu-totsu

their families, and empower the community

dance programme in Singapore, developed

through capability-building, knowledge, andbased on research and findings from the experi-

consultancy, as well as deliver quality per-ences in Japan.

son-centred care innovations.
As such, Dementia Singapore is constantly

Our primary focus must begin with develop-

looking into ways to innovate and improve how

ing a pool of performing artists who can conduct

we support our growing community of PLWDs

the sessions, and we look forward to beginningand their unique needs. We know that arts-

work toward that goal.

based programmes are increasingly being used
to help with their wellbeing, to engage theirminds and lift their moods. But aside from craft
work (which also creates a sense of achievement), dancing has in fact proven to be particularly beneficial in delaying the effects of dementia. The process of combining music and movement toexpress oneself can create well-being, stability,
and connection with reality at the physical, sensory, emotional, and social level. And the success of the creative arts programmes we offer at10

our care centres offer further prove of these

the local arts community – from dancers toadvantages.

musicians to sound artists and even filmmakers

This is also why we find the Totsu-totsu– and in new ways, to boot. Such collaborations

Predominantly

could also create new ways to engage the wider

because it aims to find and create connections

community, create conversations and help

on a deeper level, affording PLWDs and their

reduce the stigma surrounding dementia.

approachveryinteresting.

caregivers the opportunity to communicate
more intimately even when the task seems challenging or on some days seemingly impossible.

2 Purpose and potential● Profile:

One of the main reasons we feel the Totsu-totsu approach opens the door to potentiallydeeper connections is because we feel it there isa uniquely personal exchange between participants using the Totsu-totsu’s approach, as it utilises the principles of improvisation. Whichmeans there are no wrong or right moves or set
moves to memorise. Instead, the approach utilises elements of trust exercises to help facilitatea more intimate channel of communication,
shared Dr Chen Shiling, who is also a Dementia
Singapore board member. She added that “itleaves participants open to discovering new
ways to connect, and that is particularly beneficial when dealing with the uncertainties andanxieties persons with dementia may face”.
While the positive effects are not always
immediately obvious, we have witness how Totsu-totsu’s approach is able to engage a participant of the workshop who had been having an
emotionally stressful week and was not in theright mood or place for engage in the usual, funactivities.

Anothercaregiversharedhow

impressed she was that the Totsu-totsu team
was able to connect with participants “throughboth physical and non-physical contact (non-verbal), and the effect it had on them”.

Cecilia Chan

Gerontologist (Doctor of Gerontology). She has consulted for a number of elderly welfare services
and facilities, and also founded “Living Beyond
Dementia,” a community support group to support people with dementia, their families andcaregivers, and promote understanding of
dementia. Currently, she works at the Eldercare
Centre in the Bagan Specialist Centre.
Audrey Perera

Singapore-based arts festival producer andwriter. In 2018, she directed the first True
Colours Festival (TCF), held in Singapore and presented by The Nippon Foundation. From 2018,
Audrey was Advisor and then Executive Producer of TCF, which brings people together tocelebrate diversity and inclusion through concerts, documentaries, music videos, film festivals, workshops and dialogues. She serves in avoluntary capacity as a board member of two
Singapore traditional arts companies, Apsaras
Arts Singapore and Nadi Singapura.
Don Mendoza

Senior Manager of Advocacy & Communicationsat Dementia Singapore, a social welfare agency
in Singapore. Dementia Singapore is one of theleading organizations in Singapore in dementia

3 Local advantage
Just as obvious is the potential the Tot-care, caregiver support, training, consulting, andadvocacy.

su-totsu approach has in engaging partners in
11

Site Visit, Workshops and Lecture in Kagoshima
In 2023, we also focused on further expanding our activities within Japan. As a first step we visited several facilities
such as hospices in Kagoshima, a region which our staff had a gies with. We worked on organizing a Totsu-Totsu Dance
that suited the characteristics of the facilities, its residents and caregivers. Here is an introduction of the facility andworkshop as seen through our eyes.

● September: First site visit to Kagoshima, and subsequent lecture and workshop

1 Home Hospice Mokuren House
A hospice meant to be a final home for residents.
Jareo sits diagonally in the front of a woman who
happened to be there, and a silent and steady“dance” unfolded between the two of them, involving fingers and toes.
Date: 22nd Sep. / Venue: Hioki city / Participants: 5 in total; elderly people with dementia, carepartners.

2 Hirayama House(Iroha Co. Ltd.)A home with a large window providing a wide view of the outside and a unique floor plan. Received a
grand welcome and a workshop was conducted impromptu.
Date: 23rd Sep. / Venue: Minami-kyushu city / Participants: 15 in total; elderly people with dementia, carepartners.

3 Myogyoji Temple, Monto-kaikan
An introductory lecture and workshop for carepartners and others who came in response to the open
invitation. They experienced standing in a long horizontal line and walking from one end of the space tothe other as slowly as possible. They shared theirthoughts afterwards.
Date: 22nd Sep. / Venue: Kagoshima city / Participants: 40 in total; carepartners, medical professionals, university staff, community members interested
in dementia care, etc.
*In September we conducted site visits of several other facilities
in addition to the above.

12

● November: Full-fledged workshops were held at those facilities
who had expressed interest during the earlier site visit.

1 Aozora Higashi-Senzoku
A facility that is located in a building in the centre of the city.
Because there were many participants, Jareo explained usinga whiteboard. He got the carepartners involved, and hadthem do exercises in pairs like taking 5 minutes to shakehands, and moving hands at a distance close enough to touch
but never making contact.
Date: 2nd Nov. / Venue: Kagoshima city / Participants: 20 in total; elderly people with dementia, carepartners.

2 LL Sanetaka
Community-based, day care facility located in a house on ahill. An in-depth conversation takes place outdoors, led by a
man who plays the harmonica, Jareo and Ishida. A relaxedatmosphere with staff working nearby and a mobile vegetable seller stopping by.
Date: 3rd Nov. / Venue: Kagoshima city / Participants: 5 in total; elderly people with dementia, carepartners.

3 Fan 2 Terraces Shichifukujin
A group home located on a quiet residential street. Carepartners
also joined in the workshop which had people sit across fromeach other in pairs and moving hands at a distance close enoughto touch but never making contact.
Date: 3rd Nov. / Venue: Kagoshima city / Participants: 20 in total; elderly people with dementia, carepartners.

4 Myogyoji Temple, Monto-kaikan
Following up on September, a workshop for the general public was held at Myokoji. Participants moved their bodies using
the key words that were used at the workshop for artists
overseas. Totally unrelated conversations were conductedamong the group.
Date: 3rd Nov. / Venue: Kagoshima city / Participants: 30 in total; carepartners, medical professionals, university staff, community members interested in dementia care, etc.
Photo: Kota Baba (excluding Myogyoji Temple of 4)

13

Essays - Kagoshima
The development of “Totsu-totsu Dance” in Kagoshima was coordinated by UD Labs, LLC. In addition to introducing
us to the various facilities, they also introduced us to the Myogyoji Temple as a venue for workshops for the public. The
essays here are written by Reiko Tsutsumi, the representative of UD Lab LLC, Satomi Adachi, a staff member, andYoriaki Inoue, the chief priest of Myogyoji Temple.

Totsu-totsu Dance isa Tree of Acceptance
Reiko Tsutsumi

Satomi Adachi(representative of UD Labs, LLC. / Coordinator of(staff member of UD Labs, LLC. / Coordinator of Tot-

Totsu-totsu Dance in Kagoshima)su-totsu Dance in Kagoshima)

The number of senior citizens with dementia

Jareo said that, “All the cells in a person’sin Japan was estimated to be 4,620,000 in 2012,body are aching to dance.” Although their every-

and is forecasted to reach roughly 7 million in

day lives differ, do the cellular rhythm of people

2025, or 1 out of every 5 seniors above 65 years

with dementia and the carepartners ever syn-old (New Orange Plan, Comprehensive Strategy to Acceler-

chronize? I felt a cellular dance naturally

ate Dementia Measures). Our company provides staff

appeared from within the people with dementia,

who travels with and cares for persons requiring

travelled across to others, and synchronized. It

nursing care, and half of our clients are elderly

was a moment I felt the depth of dance as an art

dementia patients.

form.

This time we took on the job of introducing
Totsu-totsu Dance to carepartners in Kagoshima,
but we struggled with how to describe it. Generally dementia symptoms tend to be thought ofas a condition requiring intensive care, and Totsu-totsu Dance has no beginning, middle or end,
nor a landing point, and is far removed from regular dance.
Jareo, a dancer, expressed it as, “Wanting to
be a plant next to you.” The tree’s existence puts
elderly with dementia at ease about “living” andthey start to express themselves. A dance ofbreath begins. A metaphor would be the tree of
acceptance. After each Totsu-totsu dance, I end
up quietly weeping. Why do I feel like my soulhas been cleansed? It’s a dance I’d like to get as
many carepartners as possible to watch.

14

● Profile:

Having Experienced

Reiko Tsutsumi:

Totsu-totsu Dance

Representative of UD Lab LLC. Started businessin Kagoshima in 2015 as an accompanying serYoriaki Inouevice for outings. She provides services ranging(chief priest of Myogyoji Temple / cooperator infrom personal outings to planning and accom-

organizing “Totsu-totsu Dance” workshops

panying senior tours for facilities. She has beenand providing the venue)

working energetically to “Let’s give elderly people a chance to go out!”

Out of the desire to make the temple a “aSatomi Adachi:

safe place to rely on” for the local community,

UD Lab LLC Staff. As president of the NPO Lis-

we have held many events to learn and consult

tening Mama Project, she manages a party

about medical treatment and welfare to create aorganization that provides online listening ser-“place of safe haven” which resulted in thisvices to mothers in child-rearing. Since theworkshop. The exercise at the beginning, “formCorona disaster, she has been advising and sup-a line from one end to the other and simply walkporting online outreach at UD Lab regarding

slowly”; initially I kept looking at the feet of

relations with those who are unable to go out-

those in front of me and fretted about maintain-side the home.

ing my distance but I was gradually engulfed by
the many “heartbeats of life” like the sensation

Yoriaki Inoue:of my feet pressing down on the tatami mat, theBorn in 1962. Graduate of College of Arts, Rik-various noises around me, the breath of others,

kyo University; postgraduate course, Chuo Buk-and I began to sense my existence in the

kyo Gakuin. Previously headmaster of Taniyama

moment. Once that was achieved, I was excited

Kindergarten, putting into practice the approach

about “what” I would notice and gain during thecentered on play and educating all children

workshop. How greatly the “distance” between

together regardless of whether they have dis-

individuals when they are together impacts ourabilities or not. Currently as priest of Jinkizan“emotions,” how difficult the seemingly simple

Myokoji, Jodo Shinshu Honganji-ha, he coordi-

act of “synchronized breathing” is and its pre-nates with specialists in medical, welfare andciousness; by experiencing each movement thatfuneral matters to create a temple that is a safe

I normally do without a second thought in thishaven for the community (temple providing compre-

workshop, I had the opportunity to think about

hensive care to the community).

the abundance of treasures not just in our relationship with people with dementia but the preciousness of being with others.
It feels like that this “temple,” a space thathas valued people and been overflowing withrespect for life over its long history, played a rolein nudging me to recognize this importantawareness as a human.

15

Exhibition of Activity Reports 2023

Video of activities at the places visited in Singapore,
Malaysia and Kagoshima were screened at the venue
as well as past Totsu-totsu Dance performances.
Also, the performance piece produced with the Japanese and foreign artists who were involved in the2023 activity was presented a total of 3 times. There
was also a talk session reflecting back on the activities and performances in the afternoon of the 2ndday. Many people came, mainly those interested inart and dance as well as those involved in welfare
and caregiving in the Kanto region. For certain timeslots, we received many seat reservation requests*For details regarding speakers

for performances, indicating a high level of interest.

(https://torindo.net/news/2023report/)

Date: 2-3 December 2023 / Venue: Tokyo Art Center, White Studio (Adachi-ku, Tokyo)
Supports: Japanese subtitles, Japanese-English text support, Japanese-English interpretation and sign
language interpretation / Participants: 202 people
Contents:● Video recordings of past activities
1. “Totsu-totsu Dance 2023 in Malaysia-Singapore” Filming and editing by Kota Baba
2 “Totsu-totsu Dance 2023 in Kagoshima”
Photographed by Kota Baba and production team members
3 “Totsu-totsu Dance 2009-2015” Director: Tetsu Kubota● Talk session: Report on activities in 2023
Speakers: Audrey Perera, Okui Lala, Megumi Kamimura, Osamu Jareo, Takeshi Toyohira● Performance
Artist: Tomoya Ishida, Okui Lala, Megumi Kamimura, Osamu Jareo
Cooperation for Workshops: Dementia & Co. / Technical Director: So Ozaki
Lighting Designer: Yasuhiro Fujiwara / Video and Sound Design: Yoshihiro Yoshida (Edith Grove)
Video Operation: Yosuke Sakai / Video Editing: Kota Baba, Okui Lala / Time: 60 min.
The program kicked off with an online session connecting 2-3 sets of people with dementia and theirfamilies based in Singapore who we met this year with Jareo and Kamimura in Tokyo. Afterwards, witha physical performance by Jareo and Kamimura as a center piece they talked about their experiences,
Okui Lala who had participated in the Malaysian leg recited a poem, Tomoya Ishida who took part in the
Kagoshima portion talked and presented a performance. The Totsu-tosu Dance activities were presented using a variety of methods.
16

● Talk Session
During the talk session, Osamu Jareo, Megumi
Kamimura, and Okui Lala commented about thevarious workshops and the creation process
leading up to the performance piece, andKamimura and Okui shared how the Totsu-totsu
Dance experience has shaped their own creative
process. Furthermore, after a brief commentary
by Audrey Perera, the Singapore coordinator,
about the current state of dementia care and art
in that country, we heard about how facilities tohost Totsu-totsu Dance were selected and thehopes she had for it in the future.
In the latter half of the session there were manykeen questions regarding

dementia care in

Malaysia and Singapore, as well as about dance
and art from the caregiving point of view, and wewere able to share about many aspects of thisyear’s activities.
Photo by Masanori Nishino

17

Contributed essay
Totsu-totsu Dance 2023 activity report session was a unique experience consisting of a video exhibition, a performance, and a talk session. Mr. Kanji Miyashita, a researcher of performing arts, contributed an article on “Totsu-totsu
Dance”.

The Future of Totsu-totsu Danceencounter with an individual is by chance andsustaining that connection is most likely noteasy and sustainable.

Kanji Miyashita

This performance was not just a moment of
reminiscence but also a moment to encounter
various people who came on the stage. This was

The Work-in-Progress presented at the Exhibi-

because we could see their bodies and listen totion of Activity Reports 2023 was a performance

their voices through a physical method not

not just by Osamu Jareo but also artists frombound by rules. Furthermore, it was also adiverse genres with varying backgrounds such

moment where we could meet those present as

as Megumi Kamimura, Tomoya Ishida and Okui

well as others we could potentially meet, and it

Lala. On the other hand, those who did not actu-

no longer felt like a dance expressing Jareo’s

ally get up on stage (although connected via online)

personal reminiscence. The question had shifted

were the people with dementia. I felt this con-from how to transform an encounter into a

trast gave a glimpse of the issues this Project

dance but how to create that moment ofaims to address, how a physical art form likeencounter. The ethical position that dance rep-

dance can provide a unique ethical answer.

resents attempts to answer this question, and to

At the outset Jareo and Kamimura expoundedcreate an opportunity for a physical encounteron the 4 tasks. Based on their past experience,no matter how unstable and limited it may be.

these tasks are muscular memories of theirinteractions with various people which havebeen translated into a methodology. If anything,● Profile:these tasks seem like a physical contact that

Part-time lecturer at the Department of Litera-occurs just before an explicit communicationture, Keio University as well as the Department

takes place. Furthermore, because it is not aof scenography Design, Drama and Dance the-movement which recreates an actual episode, it

atre, Tama Art University. Left school after earn-

is abstract. As a result, although we may not be

ing doctoral student credits. An expert of con-able to vividly experience the past through thetemporary dance and performance in Japan andimplementation of the task, we can experience

Europe. Currently working on PhD dissertation

the delicate moment of physical contact eachon “subjectification” in contemporary dance andtime. Within the performance space created by

performance based on his knowledge of dancetasks which are physical methods, it becomes

and theatre studies in Germanic regions.

possible to get a little closer to dementia patients
who are constantly physically absent. At thesame time we continue to reminisce about getting close to physically an absent person, and(just as the execution of tasks yields varied reactions), an

18

Exhibition of Activity Reports 2023:
Participant Comments (excerpt)

The performance and video made me think about

It was really interesting. I was very happy as

what it means to touch a person, and the sense ofsomeone coexisting within the same space.

distance to someone. The desire to know despite

Director Ishida’s work also left a deep impres-not being able to understand. I tend to be pessi-

sion. But I felt that this project is what it ismistic about this and protect myself by not trust-because of Jareo.

ing others but I felt a warm hopefulness after
today’s performance. Thank you.
academic researcher/technical expert

Japanese language instructor

I was thinking about the distance between theaudience in real and in streaming performances,

Ms. Kamimura’s comment, “I’m always fasci-

and I noticed that this performance included allnated by how quickly Jareo, in any situation, canof the various forms of mediums of viewing! I

entrust himself to another person”. I was in total

realized that this is actually one of the mostagreement.

technologically advanced performances avail-welfare/medical practitioner

able today.
Performing arts practitioner

I was interested in how experiences were summarized in a dance. The video was also beautiful

I felt the time of each individual. I thought of theand striking.

time not being visualized. Fragility? Anxiety? I

academic researcher/technical expert

It was comforting to see how it was not about

felt like I was being suffocated, but at the sametime I felt relieved.
Art-related practitioner

getting a dementia person to “do something”
but to “draw something” out from them
primary school teacher

I was slightly surprised by the “attempt to
explore the relationship between a person withdementia, a carepartner and a third person” butit was really interesting how at the end theThere were so many memorable scenes!! For
example, the story about the physical sensationof “seeing” mentioned in Tomoya Ishida’s reading was truly refreshing. The phrase, “people living with dementia,” (as in coexistence including otherdiseases and disabilities) was also interesting.

object and person turned into the same shape,
and the reading by Tomoya Ishida and Alison
and Kit’s relationship who appeared online were
all condensed within those words.
welfare/medical practitioner

housewife living with an elderly person

19Artist Essays / Tomoya Ishida, Megumi Kamimura, Okui Lala
In 2023, we were aware of how we could create “Totsu-totsu Dance” together with multiple artists.For this report, we
asked Tomoya Ishida, Megumi Kamimura, and Okui Lala to write about “Totsu-totsu Dance” respectively.

Getting to Know a Person
Through Their Preferences

be called a dance?
LL Sakaneta: I met a man who played theharmonica well. Jareo handed him objects like atangerine, coat, and pot and talked to him. After

Tomoya Ishida (film director)

a while I approach them. The man mutters, “ will
you wait a bit before I play?.” When I handed him
my brown stick, he gently traced the grain of theThis year I actually visited Kagoshima (*1)

wood. Next I received his harmonica. I held it forand participated at the Exhibition of Activity

the first time, and took my time exploring how it

Reports 2023 as a performer. In Kagoshima I had

should be held and how to blow into it. After thethe opportunity to experience the reaction

interaction through the exchange of objects, theresulting from “being in the same space” for the

stick and harmonica are returned to theirfirst time. I especially spent quite a bit of time

respective owners. The light blue harmonica

interacting with the people I met at the follow-

seemed to hesitate at the awkward touch of aing 2 facilities.

stranger but once it returned to the man it

Anmar’s House: Conversation around pork

seemed at comfortably settled between his fin-stew and omusubi(rice balls). As she eats her

gers. It was curious that I felt more nervous

omusubi, the woman next to me sneaks looks at

about the exchange of personnel objects thanthe omusubi that has been placed on my wheel-

looking at the owner face to face. Just as I waschair table. She places her half eaten omusubi

about to leave towards the end of an hour thisonto her plate. Just as I thought she was going to

man gave me a gift..

reach out for another one from the main plate
our eyes meet. Her gaze pleads, “I want to eatthat little omusubi.” In her mind, it has become“this omusubi.” The omusubi on the wheelchair
table is now just the plastic that had been
wrapped around it. When written this way it
seems as if the omusubi had been “taken” by the
woman but it felt like I had had the most directconnection with her in that moment. It warmed
my heart that despite being strangers she had
told me “her preference.” Around us there were20

not only eating utensils but also tissue paper,

At the Exhibition of Activity Reports 2023, I

rubbish bin, items labeled “Belongs to ___” .

read aloud about an episode triggered by a

Daily items which tend to be edited become

movement of a female participant at the Maizuru“this object” and there were numerous conver-

online workshop. I had written about what had

sations along the lines of “Could I have ___’s tis-welled up from my observation but I would likesue?” Could this interaction with the woman not

to put on record that this reading session also

transported me to the same sensation as Tot-

dementia occurred because Totsu-totsu dancesu-totsu.

spends ample time on each exercise and adopts
a “waiting” attitude as we invite them to partic-*1 Ishida participated from his home last year via OriHime, aipate.

remote avatar robot.

There was also an incident which left a strong*2 A tool used by Ishida to press elevator buttons and toimpression on me at the workshop held at Tay-

operate the levers of his electric wheelchair

lor’s University in Kuala Lumpur, when we asked
participants to think up of a Totsu-totsu Dance
exercise.
The exercise a woman who was caring for her
elderly mother at home shared together with adrawing was how her mother, who had difficulty
walking, would slowly descend the stairs every
morning from her room upstairs by sitting on

What Already Exists,
What Has Already been Achieved

each step.
Normally negotiating the stairs in a sitting position because walking was not possible would be

Megumi Kamimura (Dancer/ Choreographer)considered a negative but she saw how her
mother was actually enjoying the movement
and recognized a form of beauty in the action. I

For Totsu-totsu Dance 2023, I participated infelt that the woman showed me an important

the Malaysian and Singapore tours held from 31

facet of Totsu-totsu Dance, to shine a light on

July to 11 August, and as Jareo’s assistant con-not what one cannot do but what has alreadyducted many workshops with elderly dementia ,been achieved, and to appreciate and enjoy it.

their families, carepartner, and performing art-

This Totsu-totsu-like perspective can help thoseists.

who care for the elderly and related persons

At all of them I witnessed firsthand how elderly

break free from pursuing idealized correctness

persons who had not moved or spoken much tillto creating a relationship where both sides canthen change as they participated, moving ener-

be more relaxed.

getically or starting to talk.
For example, at the Bagan hospital in Butterworth, northern Malaysian peninsula, a woman
who normally had difficulty walking began spontaneously dancing a duet with Jareo partway
through the workshop and entranced everyone
with her smooth and confident movements.
When I asked if she had done tai chi or dance
before, she replied, “I just used to cook.”
It was not that all elderly persons who moved
energetically had suddenly acquired the ability
to move in that manner but seemed to beinstinctively

rememberingandexpressing

movements they had used to do.
I believe these changes in the people with21

“Totsu-totsu Dance” and Timeshe moved vigorously with the camera in her
hand! The camera goes up and down, up anddown, a constant movement and in the video weOkui Lala (Artist)

can also see the images of us being shaken as
well (refer video still 2).

In the very first workshop that I joined the
Totsu-totsu Dance team at Bagan Specialist
Centre, we were tasked with giving a slow massage to our partner. As I gently massaged Aunty
Lim’s hand, I noticed my thumb was hanging in
the air when I tried to slow down my movements. My motions were hesitant and clumsy as
I was adapting to the slow pace. In contrast,
Aunty Lim executed the task naturally, moving

refer video still 1

slowly and softly across my palm. We repeatedthe same task with different partners in theworkshop, which consisted of people living withdementia, doctor, nurses, caretakers and members of the Totsu-Totsu Dance. I realized thateveryone’s slow massage was different: some
applied firm pressure, while another partner
was so gentle it felt like a cloud on my palm. It
was this realization that made me more com-refer video still 2

fortable with my clumsy massage.
However, it is not always “slow” during myThat was one of the most beautiful video I

time spent with Totsu-Totsu Dance. During oursaw in 2023. I thought about what Jareo shared,

session at Dementia Singapore, Megumi andthat he was inspired by the post-war danceJareo led a session of making a collective video

movement: “How do we dance in the most nat-with the people living with dementia. As every-ural way?”—a question I’ve pondered in my vid-

one began swinging their hands and tapping

eo-making practice as well: “How do we appear

their feet, a phone was passed around to record.

in the video in the most natural way?”. ThroughAt the end of the dance, we watched the video

these experiences, I’ve come to understand thattogether. In the video, we witnessed many

the concept of “natural” differs for each individ-

movements from a first-person perspective:

ual, and at times, something out of norm isshaking, swaying, clapping, and numerous fin-required to evoke it.

gers covering the camera lens. These fingers

22

gave an intimate feeling and a baby-like experi-

During the two-day performance and shar-ence. It felt like I was sitting on a baby chair,ing in Tokyo, our discussions and conversations

while others were making hand gestures andwere centered around dementia and elderly

trying to make me smile (refer video still 1). Therecare; which we rarely talk about in our daily

was also an aunty who had been sleepy through-lives. Reflecting on my own journey while taking

out the sessions that day, but in this exercise,care of my family members, I recall how we needto carve out time in our everyday lives to makespace for the caretaking. It is definitely not easy
to remain patient and it took me some time to
get into the rhythm of it. At times, it does feellike we were in another time zone with othersaround us.
I often tell the team that everytime after a Totsu-Totsu encounter, I talk much slower. By saying so, I also realize that my usual pace is actually fast. Perhaps that’s why I like to relate myexperiences with Totsu-totsu Dance to the sensation of feeling jet-lagged. Similar to the disorientation travelers feel after crossing different
time zones, our bodies take time to sync withthe present. It is in these transitional and temporary moments that we realize our usual norms.

23

Survey of Totsu-totsu Dance Participants
Out of the many comments and views we received regarding this year’s activities, we would particularly like to sharethe feedback from the public workshop held in Kagoshima. These were thoughts from people with a wide range ofbackgrounds who had experienced Totsu-totsu Dance for the first time.

● On the Scale of 1 to 5

I feel like I’m much more aware of my own body, contact andStatistical number: 164 persons

relationship with those around me. There were new discoveries

5 (very good) 4 (good) 3 (average)

listening to various people talk about the same phenomena,and it was very enjoyable. Thank you.

2 (below average) 1 (no good)(1)

How was the Totsu-totsu Danceworkshop?

physical therapist

I often talk with dementia patients because of my work, but I
now realize that I had assumed that they lack the capacity to
5

78%

4

21%

3

1%

2

0%

1

0%

(2) Did you find Totsu-totsu Dance tounderstand, not seriously listened to what they said and was
imposing myself on them. Furthermore, it seemed like one
could sense their feelings better by placing a hand on theirs
rather than a hand shake.
medical doctor

I was surprised that one could dance without using words,
avoiding eye contact. And I also realized the importance ofbe useful for your caregiving orinteraction without categorizing someone as having a disabil-

activities in the future?

ity or dementia. That’s the difficulty
carepartner
5

66%

4

26%

It was my first time and it made me realize that there were so

38%many things I had missed out on in my communications with20%

others. I wish there had been more time at the end to share

10%

views with other participants. The workshop made me hopeful
for what will happen next.
chief priest(3) Do you hope for more from

Totsu-totsu Dance?
It was not an unpleasant sensation to feel unspeakable, ambiguous, and unsure with someone else through all five senses,

24

5

59%

4

30%

3

11%

2

0%

1

0%

even though I was puzzled by it, but rather, I felt a warm senseof security, as if I was accepted for just being here. I think thatis the most fundamental basis for living as a human being, andI hope that this is the starting line for everything.
Music therapist

Lastly
What Totsu-totsu Dance 2023 has Allowed me to See

Osamu Jareo (Dancer/ Choreographer)
Until it was conducted in Malaysia last year, Totsu-totsu Dance had mainly takenplace at Graceville Maizuru, a special elderly care facility located in Maizuru, Kyoto.
The methodology we have today is the result of having spent the time slowly building
a relationship with the elderly residents of Graceville. While having the freedom toslowly allow our activity to take shape at one facility has helped the Totsu-totsu Dancemethodology to mature, we were some what lax when it came to verbalizing and theorizing it.
Since last year though, Totsu-totsu Dance has suddenly began expanding its activity overseas, to Malaysia last year, then Singapore and Kagoshima, Japan this year. I
was happy that this project which had slowly developed at one facility was now spreading to various new places and languages but as we met different people we had to go
back to the fundamental questions of “What exactly is Totsu-totsu Dance?” and “Whatam I doing with this work?”
Aware of these issues, I had many discussions with our producer Toyohira withwhom I had built this project on the sidelines, and worked on verbalizing Totsu-totsu
Dance. We also obtained the cooperation of Okui Lala, a Malaysian contemporary artist, who accompanied us and shared her verbal observations an outsider. As a result of
these efforts, 4 key phrases, “synchronize breathing,” “maintain distance,” “lock eyeswith each other,” “join hands” were identified. Furthermore, together with dancer/choreographer Megumi Kamimura, we converted those sensations which could not be
expressed by these key phrases into physical expressions. By repeating this cycle ofworkshop, verbalization, physical expression, and working with the video artist,
Tomoya Ishida as well as Okui Lala mentioned earlier, we were able to sublimate theconcept around Totsu-totsu Dance into a performance.
After these series of works, the Totsu-totsu Dance project in which I had played acentral role, has managed to build a relationship with various other people and opened
itself to an even wider audience, not limited to the care of the elderly but how to relatewith others, medium and a place to think about living and put into practice. Next year
I hope to not only conduct workshops building on the performances of last year but get
the people of each place to participate as performers and think about how to expand
the workshop activities, HR development and its continuity into the future.

25

Artist: Osamu Jareo, Megumi Kamimura,

Sanekata, Home Hospice Anma no Ie, Special

Tomoya Ishida, Kamal Sabran, Okui Lala,

Nursing Home Silk Road Shichifukujin, Hirayama

Mohd Yaziz Bin Mohd Hassan

no Ie, Fun2 Terrace Shichifukujin, Myogyouji

Film Director: Kota
Kota Baka
Baba
Camera & Edit (Talk session) : Mikihiro Endo
Flyer design: Norichika Yokota, Haru Kakiuchi
Translation: Moe Ishii, Akiko Kume

● Click here for QR code for related links:

Workshop Coordination:

torindoKyoko Kugai, Cecilia Chan (Malaysia),
Audrey Perera (Singapore), Reiko Tsutsumi,

https://torindo.net/

Satomi Adachi (Kagoshima)
Director of production management:
Takeshi Toyohira
Production management:“Totsu-totsu Dance ”
YouTube pagehttps://www.youtube.com/@totsu-totsudance9801

Sayo Yokota, Mafumi Wada
Publicity: Megumi Seki

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

Organized by Agency for
Culture and General Association (Japan),torindoTorindo Facebook pagehttps://www.facebook.com/series.totsutotsu

In cooperation with:Osamu Jareo Home page

Masaru Nishikawa, Special elderly care home
Graceville Maizuru, Department of Body Expression and Cinematic Arts, College of Contemporary Psychology in Rikkyo University, Bagan Specialist Centre (Eldercare Centre), Taylor’s LakesideCampus, Five Arts Center, Dementia SIngapore,
Dementia & Co., Apsaras Arts, Aozora Higashi
Sengoku, Home Hospice Mokuren no Ie, LL

26https://www.jareo-osamu.com/

“Totsu-totsu Dance” Annual Report 2023
Published on March 25, 2024
Published by torindo
Editing: Takeshi Toyohira, Mafumi Wada, Sayo Yokota
Design: Haru Kakiuchi

Agency for Cultural Affairs Commissioned Project FY2023 Project for Promotion of Cultural and Artistic
Activities by Persons with Disabilities, etc. Japan-Malaysia and Asia-Pacific, Collaborative Project for
Dementia “Totsu-totsu Dance -like art, like care,”27