［A］SR/Yuria Onishi”Pulse”
This work uses dance to visualize each dancer’s sense of rhythm, and expresses the process of combining them to form one whole.
The dancers share the physical logic and tools they have accumulated, and by embodying adaptation and emotion as they accept or resist it, this work seeks to break away from the ambiguous boundary between unison and solo, while also questioning the necessity of symbolized dance forms.
The work explores the necessity of “”this person dancing here and now”” and the meaning of the individual’s existence through the presence of humans in a dance work.

［B］Tanaka Misa ＋Akashi mariko＋Shimizu Haruka”DNA”
We sometimes think of our existence as something like a fragment that is isolated from other life. However, our bodies remember that we can never be isolated from all other life in our relationship with all life that exists at this moment, or from the system of genetic information of life that has been protected and passed down for hundreds of millions of years.
It is believed that life began about 3.5 billion years ago when amino acids and sugars reacted with the surface of clay minerals and iron-sulfide minerals in hydrothermal vents on the ocean floor, establishing the self-replicating function of RNA. After that, a system of storing and transforming information through DNA (deoxyribonucleic acid) was formed, and the system has been passed down while its form has changed according to the environment. Humans can share “”brain information”” through language and numbers. Conflicting information controls the body and has created a system that allows the extinction of the species itself, but as long as the body exists as a medium for feeling warmth, love, and beauty, the potential of human life will not be destroyed, and I would like to repeatedly recognize this through the filter of performance.

［C］Ayako Kato”(Meta)fiction by Violinist”
Who does this body belong to, really?
On April 4, 2025, I gave a solo violin recital called “Fiction for Violinists.” This “(Meta)Fiction” is an attempt to deconstruct and recreate that recital.
Classical music, and the contemporary music that is associated with it, are often called “reproduced art.”
Performers try to recreate the intentions of composers from scores of different eras and languages. The audience tries to read the intentions of the composers that are recreated through the performance.
The recital, where such exchanges take place as a matter of course, is itself a traditional form, and therefore also fiction.
Recreating music and bodies that are not “here and now,” layered, overlapping, and twisted. What remains at the end of the festival may not be the composer or the work, but rather a tiny body of 149 cm and just under 50 kg.