TomoeArts closes the curtain with program commemorating legacy of late artistic director Colleen Lanki, January 20
Fifteen Years of Dream features performances by company’s closest collaborators over its 15-year run, in honour of Japanese classical dance master Lanki
Colleen Lanki. Photo by Javier R. Sotres Photography
TomoeArts presents Fifteen Years of Dream at the Nikkei National Museum & Cultural Centre on January 20 at 2 pm
ONE FULL YEAR after Vancouver’s TomoeArts announced the passing of its founding artistic director and Japanese classical dance master Colleen Lanki, the company is officially closing its doors with a final program of performances.
In commemoration of the dance society’s diverse 15-year legacy, it is hosting Fifteen Years of Dream, a final, culture-crossing celebration and reflection that will unite some of its closest artistic collaborators.
The afternoon will feature dance performances by Anusha Fernando of Shakti Dance Society; Hanayagi Toshikotono (Mamie Kakimoto) with Tomoe Kai Japanese dance students Ryan Caron, Mara Coman, and Jasmine Su; taiko drummer Eien Hunter-Ishikawa and the Portland Shishimai Kai; contemporary dancer Matthew Romantini; and Noh dancer Evelyn Leung. There will also be musical performances from Japanese shakuhachi (bamboo flute) player Alcvin Ryūzen Ramos; soprano Heather Pawsey with pianist Leslie Uyeda; Farshid Samandari of the Vancouver Inter-Cultural Orchestra with flutist Mark Takeshi McGregor; erhu player Lan Tung of the Orchid Ensemble; and Celtic harp player Miriam Kehler.
Lanki was a respected maven of nihon buyoh, a classical 17th-century Japanese dance form characterized by refined movements and deep-rooted symbolism. Born and raised in East Vancouver, the artist spent seven years in Tokyo training under late master dancer Fujima Yūko. At the culmination of her learning she was given the name Fujima Sayū, making her a part of Yūko’s artistic lineage. During Lanki’s time in Japan she also trained in Noh, a 15th-century theatre art in which stories are conveyed through emotion and movement.
Colleen Lanki in Yūko-kai 2021 – A Personal Journey. Photo courtesy of TomoeArts
Combining traditional Japanese learnings with her background in Western movement art and theatrics, Lanki opened TomoeArts in 2009. The company flourished into an incubation platform for interdisciplinary excellence, where Lanki had opportunities to both honour her sensei Yūko’s artistry while expanding her own.
TomoeArts’s innovation spans 2010’s EN (circle/fate), which saw dancers and a taiko drummer move through the Downtown Eastside while creating motifs out of circles and lights, as part of the Procession of Performing Circles; 2012’s Voices of Hiroshima, a concert presented in conjunction with the UBC Museum of Anthropology which featured traditional Japanese music by Ramos and Hunter-Ishikawa in a sombre reflection on the atomic bombing of 1945; and 2017’s Kayoi Komachi (Komachi Visited), a chamber opera composed by Samandari that premiered at The Cultch’s Historic Theatre and featured performances by Pawsey and Noh actor Yamai Tsunao.
In more recent years, Lanki dedicated several performances to the memory and teachinigs of Yūko, including Yūko-kai 2019 – Jiuta-mai and Tea, and Yūko-kai 2021 – A Personal Journey. Her last work, 2022’s Goshoraku, was a beautifully moving dance commission from the Vancouver Chinese Music Ensemble which incorporated reconstruction of an 8th-century AD Tang-dynasty piece.
EN (circle/fate). Photo by Eugene Lin
As Stir reported last January, TomoeArts remembers Lanki as “the heart” of the company, who “to the end embodied her sensei Fujima Yūko’s dream of bringing together people from many backgrounds to celebrate the beauty of traditional and contemporary Japanese dance and theatre.”
The closing event on January 20 will be hosted at the Nikkei National Museum & Cultural Centre in Burnaby, a place that honours the heritage and history of Japanese Canadians. A reception with light refreshments and a cash bar will follow the 90-minute program.
Tickets to Fifteen Years of Dream and more information can be found at TomoeArts.
Stir editorial assistant Emily Lyth is a Vancouver-based writer and editor who graduated from Langara College’s Journalism program. Her decade of dance training and passion for all things food-related are the foundation of her love for telling arts, culture, and community stories.
Related Articles
In this PuSh Fest, Music on Main, and Dance Centre premiere, humming songs, whispered words, and hypnotic movement bring a sense of serenity and connection to a chaotic world
With staging that evokes a Chicago jazz bar, the Dance Centre and PuSh Festival co-presentation draws on matrilineal fashion and line dancing
Program features Pite’s Frontier, a deep dive into the unknown, and Kylián’s 27’52”, an exploration of theoretical elements
In a riveting PuSh Festival and New Works copresentation, Belgium’s Cherish Menzo plays with repetition, chopped-and-screwed music, and flashing dental grillz
In DanceHouse and The Cultch co-presentation, the Hungarian company is full of flowing bodies and rippling fabric
In the deeply moving production, dancers embody the ancient tale of death and longing by tapping into their own experiences of tragedy
Productions that “push” forms include dance works that play with props and stereotypes, as well as ethereal odes to nature and the northern lights
Producer Natália Fábics says the Hungarian work, co-presented by DanceHouse and The Cultch, is as much a contemporary artwork and philosophical epic as a fusion of circus and dance
Choreographer’s latest creation is a dazzling blend of dance, lighting, and sound that draws on her Black matrilineal heritage
Big bands play West African music with guests Dawn Pemberton, Khari McClelland, and others
Electrifying performance reclaims hyper-sexualized “video vixen” of hip hop’s golden era
Festival brings live performances, conversations, and community workshops to the Scotiabank Dance Centre and Morrow
Chimerik 似不像 and New Works XR partner to continue the online festival with new artistic producer Caroline Chien-MacCaull
Provocatively reimagined endings to opera and Shakespeare were among the random scenes that stuck with us from the year onstage
Having steered the company toward full houses and extensive touring, French-born dance artist will leave after 40th-anniversary season
Set to a score by Mendelssohn, whimsical show puts a Northern Canadian twist on Shakespeare’s timeless comedy
The Leading Ladies bring to life Duke Ellington’s swingy twist on Tchaikovsky score at December 14 screening
Amid tulle tutus and fleecey lambs, director Chan Hon Goh reflects on the history of the “feel-good production”
Hungarian dance-circus company invites audiences to witness a visceral, mesmerizing spectacle set in the aftermath of a destroyed world
Pond hockey, RCMP battles, and polar bears bring this unique rendition home—with classic Russian touches, of course
Company’s annual holiday twist on The Nutcracker features a flavoursome assortment of styles, from classical ballet to hip hop to ’60s swing
Dreamlike Taiwanese show explores freedom and oppression, with Ling Zi becoming everything from spiky weapons to shivering life forces all their own
Presented by DanceHouse, Taiwan’s Hung Dance draws on the headpieces of Chinese opera to conjure calligraphy, weapons, and birds in flight
The local arts and culture scene has bright gifts in store this season, from music by candlelight to wintry ballets
New production comes as a result of the street dancer’s Iris Garland Emerging Choreographer Award win earlier this year
This spin on Tchaikovsky’s The Nutcracker features a flavoursome assortment of styles, ranging from classical ballet to hip hop
Quebecois choreographer Audrey Gaussiran’s work tours to Alliance Française Vancouver’s V-Unframed and the Shadbolt Centre for the Arts
Dancers Omer Backley-Astrachan and Jana Castillo explore the importance of connection and trust
Company looks sharp across opening program of eclectic, full-throttle LILA, mysterious SWAY, and epic BOLERO X
Renowned Indigenous choreographer Santee Smith brings her haunting yet hopeful piece to The Cultch and Urban Ink’s TRANSFORM Festival
