What I do:

今から10年ほど前に、私は音楽家として自身のキャリアをスタートさせました。私は活動を続ける中で音楽が発生する場やプロセスに興味を持つようになりました。その興味は、障害がある人たちとの表現活動や、アートプロジェクトのマネジメントに関わることでより深くなっていきます。 現在私は障害福祉の仕事に従事しながら表現活動をしていますが、私は商学学士でもあり、まるでかつての帝国主義のような現代社会の経済格差による歪みを私は具体的に捉えることができます。私のその歪みへの観察が、私をオルタナティブなアートの現場やジャンルを超えた表現方法へ向かわせる理由ともなりました。私は今、改めて、文化背景の異なる現場で表現を問いなおしたいのです。 「人はなぜ音楽を鳴らすのか＝表現するのか？表現してしまうのか？他者に私や私の作品をどう感じてもらいたいのか？他者は私をどのように受け止められているのか？そもそも、人々は日々どのようなことに問題を感じているのか？」 人々が表現するツールは今や自由自在にあります。しかし、私は形から入る以前に人々が抱えている自分自身の問題意識から出発し、模索しながら表現の形を自らの手でつくるであると私は考えます。ゆえに、どこからどこまでが表現的であるのかが不明瞭な作品やプロジェクトを私は創作してきました。そのようなわかりにくい状況を人々に見せることにより、人々の表現欲求や考えてきたことを外に出すための刺激を私は与えたいし、今まで表現できなかった人や未熟な表現者が、まずは技術的な問題を気にせず自由に創作の喜びを感じられるようになってほしいと私は考えています。 そして、私は私のプロジェクトを実行することを通して、相互の文化的背景や現在の様々な価値観をあぶり出し、人々がそれぞれが持つ価値観や問題意識を問い直し、それを観衆同士やアーティスト同士、左記それぞれの立場を超える交流が生まれるきっかけとなるような新たな対話の場を形成していきたいと考えています。 それを実行する上で、私は、未完成な状態、ゴールが見えていない時点、プロセスから公開していくことが最重要だと考えています。 下部(A little more about me)で記載するとおり、私は、ダンサーや演劇人、福祉施設の職員などと協働するため、私のことをコミュニティアーティストや演劇の演出家のような存在として他者は認識するかもしれません。 私の肩書きの複数性・曖昧性は、その多岐にわたるパートナーシップを表現しているともいえますし、あなたが表現の幅を選択することができるという可能性を提示しているともいえます。 それぞれの未来をそれぞれが夢想し、ともに示しあい、 受容し合う... 現在と現代をよりよいものとする契機を私はつくりたいと私は思うのです 。答えや方法はひとつではない。だからこそ私はチャレンジし続け、提示していきたいのです。 About 10 years ago from now, I started my career as a musician. As I continued my activities I became interested in places and processes where music occurs. The interest will be deeper by involving expression activities with disabled people and management of art projects. Currently I am engaged in expression work while engaging in disability welfare work but I am a bachelor of commerce as well and I can concretely grasp the distortion due to the economic disparity of modern society like the former imperialism I can do it. My observation on the distortion also became the reason for moving me toward expressive methods beyond alternative sites and genres of alternative art. I would like to re-query the expression again on different scenes of culture background. "Why do people express the music?" Do you express it? How do you want others to feel about me and my work? How does the other people receive me? In the first place , What do people feel problematic on a daily basis? " The tools people represent are now freely available. However, I think that departing from my own problem consciousness that people have before getting into shape, I will make a form of expression with my own hand while exploring. Therefore, I have created works and projects that are unclear where from where to how expressive. By showing such a confusing situation to people, I want to give stimulus to let people express their desires to express and what I have thought about, and people who were unable to express themselves or premature representation, First of all, I do not mind the technical problem and I want you to feel the joy of creation freely. And, by carrying out my project, I surprised the mutual cultural background and various current values ​​and people reviewed the values ​​and problem consciousness that each one has, and I will exchange it with the audience and artists, between the artists I would like to form a new forum for dialogue that will lead to the creation of exchanges beyond their respective positions. In doing that, I think that it is most important to publish from the process when it is in an unfinished state, when the goal is not visible. As stated in the lower part (A little more about me), in order to work with dancers, theaters, staff of welfare facilities, etc., I like myself as a community artist or a director of theater as others You may recognize it. It can be said that the pluralism / ambiguity of my title expresses its diversified partnership, and it can be said that it presents the possibility that you can choose the range of expressions. I dream of each future, show them both, accept it ... I think that I want to make a chance to make better today and modern times. There is no single answer or method. That is why I will continue to challenge and present it.

A little more about me:

主な活動歴を古いものから列記します。

◇過去行なった継続している主な自主企画（プロジェクトやワークショップ、バンド）
Main autonomous projects (projects, workshops, bands) that I have done or are continuing in the past：
・Band「geeq」
→バンドによる音源はドイツ南西放送にてサウンドトラックとして使用された。
The sound source by the band was used as a soundtrack in the German Southwest broadcast.
(2009-)
URL:https://m.soundcloud.com/geeq_japan

・Events「やってみたかったことをやってみるための時間 みるみる」w/Tadashi YONAGO
→毎月第一日曜10-13時に開催したレギュラーイベント。参加者たちによるジャンルレスのアイデアセッションの会。
Regular event held at 10-13 o'clock on the first Sunday of every month. A group of genre less idea sessions by participants.
(2013-2016)
URL:http://www.seijitakahashi.net/mirumiru/

・Long time Workshop『「？を自動販売機で売ろう！」ワークショップ』w/Tadashi YONAGO,Takashi KOJIMA.etc...at enoco
→米子匡司による自作自販機内に地域に住む子どもたちのアート作品を展示し販売した。自作自販機は公共のアートセンターに設置していた。
Displayed and sold artworks of children living in the area within self-made vending machines by Tadashi YONAGO. His self-made vending machines were installed in the public art center 'enoco'.
(2014)
URL:http://pivot.floating.jp/workshop/

・「無職・イン・レジデンス」at Osaka Konohana-ku,Yodogawa-ku
→下部（Projects I'm working on）で説明。
Explained at the bottom (Projects I'm working on).
(2015,2016)
URL:http://www.seijitakahashi.net/mushoku-in-residence/

・Band「無職・イン・エクスカーション」w/YukoNexus6
(2015-)
URL:http://app.f.m-cocolog.jp/t/typecast/436170/424215/97338065

・Music work · Performance「ウイスキーがのめるまで/Until we can drink whiskey」
(2015-)
URL:https://youtu.be/3T1QCI1ftag

・Performance「実験の途中/In the middle of the experiment」w/Natsuko TEZUKA at Edamitsu Iron theater
(2015)
URL:http://nora116.blogspot.jp/?m=1

・Solo exhibition「やってみたかったことを売ります買います展/[want(ed) to do / not yet to do
⇄
sell or buy / do or not to do]」at FUKUGAN GALLERY
(2016)
URL:http://fukugan.net/

・Reading meeting「彼方へ思考を飛ばすための巡業読書会/A cruise reading meeting to fly thoughts to others」w/Mitsuki AKITA
(2017-)
URL:https://m.facebook.com/kanatabook/

◇参加した、または現在も継続している主なプロジェクトおよび作品、グループ展など
Main projects and works that I participated or are still continuing, group exhibitions, etc.：
・Space「FLOAT」
→米子匡司が立ち上げたオルタナティブ・スペースの後期にシェアメンバーとして関わり、多くの企画の立ち上げや共同企画を行なった。
He was involved as a share member in the latter term of Alternative Space launched by Tadashi YONAGO. In that place I have launched many projects and co-planned.
(2014-2016）
URL:http://float.chochopin.net

・Project「朽木の知恵と技発見・復活プロジェクト」
→「古屋の六斎念仏踊り（過疎地域の民俗芸能）」を復活させ、継承していく取り組み。その踊りの実演および体制を構想することを私は担当した。下部（Projects I'm working on）で説明。
Efforts to revive and inherit 'Furuya no RokusaiNenbutsu (Folk Performing Arts of Depopulated Area) '. I was responsible for conceiving the dance demonstration and regime. Explained at the bottom (Projects I'm working on).
(2015-）
URL:https://www.facebook.com/kutsukichiewaza/

・Theatrical work by Riki TAKEDA「わたしたちになれなかった、わたしへ」on Hanarart
→演劇上演に際しての音楽装置の発明と音響担当。
In charge of inventions and sound of music equipments in theatrical performances.
(2015）
URL:http://hanarart.jp/2015/archives/204

・Group exhibition by Parplume「パープルタウンにおいでよ」展
→音楽作品を複数出展。
I exhibited several of my music works.
(2016）
URL:http://www.parplume.jp/tennji/tokusetu201606.html

・Dance performance by Pijin NEJI on Hanarart
→ダンサーとして参加。
I participated as a dancer as a member of his performance.
(2016）
URL:http://hanarart.jp/2016/archives/325

Location:

Osaka,Japan

Projects I’m working on:

主なものを取り上げます。
I will pick up the main ones about it.

・「無職・イン・レジデンス」
→In Japan there is still a strong negative label against the existence of unemployed. Or, there are figures of the parties who express myself as unemployed murderously or appeal as a good unemployed. For them, you can find part of their appearance on Twitter.
Because of that label detachment I decided to rebel against the way of viewing a certain resultual process of artist in residence and replace the above unemployed as "unemployed".
"Unemployed" swallows all occupational titles. In other words, "unemployed" refers not only to artists but all general people
. Entrants can decide that everyone can apply for a residence and live with me. At the venue and the period that I decided, I will run a shared life using my pocket money on condition that I do not expect achievement in the residence "unemployed". And I argued that it was "unemployed" to reside what kind of thing is that "(Japanese citizens) is guaranteed the minimum cultural and healthy life" which is hardly experienced described in the Constitution of Japan, I will try to guarantee it. If my pocket money runs out, it may be frustrating during the set period. It happened as if the exchange with communities around the venue and the "unemployed" friends I and the residence was inevitable, and discussions about the definition of "unemployed" or unemployed have occurred. I think that by doing so, a new community will be standing up and I think that such a democratic place is necessary.
For this country, to live is to work, what is being forced, who is forced to do what is necessary to live, how to create a community? , It can be said that one person exclaims their thoughts about them, and it can be said to be an effort to redo the edge for the parties by the parties.

http://www.seijitakahashi.net/mushoku-in-residence/

・「朽木の知恵と技発見・復活プロジェクト」
→Folk traditional entertainment "Furuya no RokusaiNenbutsu" that has been continued for about 800 years in Kutiki Furuya in Shiga prefecture has ceased five years ago. Participated as a guest artist in this project implemented led by the administrative agency two years ago, and in August 2016 it played with a few successors existing in the village and made a successful revival. From 2017 onwards I will reconsider the inheritance structure and reconsider the entertainment.

https://www.facebook.com/kutsukichiewaza/

・「穴を掘る」
→It was devised and implemented together with dancer / choreographer Norumi SAITO. After the first implementation in Sumida Ward, Tokyo, it will be sometimes carried out independently for the sake of mutual convenience.
Acts of exploring differences in expression genres and the possibility of dialogue with people who do not do artistic expression activities in the first place. Through a simple collaborative work of digging a hole, those who could only meet at that time remember a sense of solidarity. I feel the difference in experience with me and the geology of the participants' locals. It reminds me of memorizing that I dug a hole when I was a child. And it gave us the opportunity to talk about the history of where we dug a hole naturally to us who dig a hole from the surrounding residents. I did not imagine that just digging a hole would listen to the voices of many joy from the surroundings. I predicted that the people around me would be bothered me. And finally, when we fill the hole, we felt it personally like a ceremony to fill time capsule. It seemed that the quietly rising closing party began in a blink of an eye and ended. This time capsule will never be excavated by anyone, but it will continue to remain as memories of participants. With SAITO, I talked about how to record performance acts like this drastic action = dance while running thoughts about its possibilities and impossibility.

https://www.facebook.com/events/518686378292717/?ti=icl

Personal Website/CV:

http://www.seijitakahashi.net

Twitter @username:

Taka_khan3