Make the manga dance

The opening monologue, in French with English surtitles, linked the after-effects of two Japanese tragedies – last year’s earthquake and tsunami and the 1945 atomic bombing of Hiroshima and Nagasaki. It set the right tone immediately.

When Tezuka’s well-known characters like Astro Boy appeared onstage and his comic-book stories began to unfold, it was easy to draw further links between the illustrator’s social activism and what’s happening today.

The stage was filled but never overfilled with projections of calligraphy and Tezuka’s cartoons, occasionally drawing the focus away from the movements of the multinational ensemble of dancers. But it was fun being able to choose what to watch. 

Versatile composer Nitin Sawhney’s music ranged across cultures as well, serving the meaning of each scene with no risk of becoming merely pan-Asian.

Cherkaoui told me he was given full liberty by Tezaka Productions, but made sure he remained respectful to the late artist. “The sad thing was that while I was working on this project, I couldn’t ask him what he thought,” the choreographer said.

He did meet Tezaka’s children last December, telling them his favourite among all the tales told by their father was that of the Buddha. “He’s the only character he portrayed from before the moment of birth until death,” Cherkaoui noted. “It’s a real life story whose evolution had me in tears. Most people tend to like characters that are eternal. And Tezuka’s daughter seemed to agree.”

They talked about the fact that many of the comic books were criticised when they first appeared. “It’s funny how, 10 or 15 years later, people have different perspectives. Tezuka was a visionary, in the sense of someone who could see the future. His works are like stones – they become stronger and more solid over time.”

Cherkaoui also admires Tezuka’s understanding of human nature. “Even the villains have good somewhere in their hearts.” Tezuka was a certified physician. He never practised medicine, but Cherkaoui pointed out that the characters he created are like “healers”.

“Like mythological characters, they give you a sense of what’s happening when you do certain things in your life. I wanted to show how wise Tezuka was, being able to fill the rainbow with all the colours. His works are not just about heroes, but people.”

So Cherkaoui’s “TeZukA” becomes an explanation as well as a tribute, and also confirmation that art born of difficulty can have a vivid impact even far from its place of origin.

And it is further evidence that contemporary dance is increasingly liberal in its creativity, blending various art disciplines, leaping cultural boundaries and embracing a world of inspiration. 

Plus, consider the fan of Japanese comics visiting the theatre just because of this show about his favourite artist, and he’s seeing contemporary dance for the first time. Hopefully he’ll come back for more. 

I remembered a sticker I got from a gallery – “Art: No experience necessary”.

The writer thanks Alexia Chow of the Hong Kong Arts Festival Society for all assistance.

 

       Also in Hong Kong

_ See Tang Shu Wing’s reinterpretation of “Titus Andronicus” this Friday and Saturday before it heads to the London Cultural Olympiad this summer as part of the World Shakespeare Festival of the Globe Theatre. 

_ Get the details at www.HK.ArtsFes-tival.org.