Minako Seki’s dance projects (solo and duo) that are ready to be booked and programmed


Dance solo


Who is in control of the puppet-body?

Would a disembodied human form be just another piece of useless object?

Or does it actually hold a deeper meaning for us?

In this work, I want to blur the boundaries between human and artificial bodies.

The human body, that becomes no more than a mere puppet, is stripped in just its form in the aim to reach the liminal space between the physicality and the artificiality.

To create this work, I draw inspirations from puppets and robots, and borrow elements from animation art, Japanese gardens and architecture.

Human Form is conceived as a series of 5 investigations that examine objects or entities, which can assume human form. The investigation starts off with the human body and extends to puppets, robots, corpses and incorporeal spirits or ghosts.

Choreography & Dance: Minako Seki

Music & Sound Composition: Zam Johnson

Costume : eyal Meistel

Lights: Nils Willers

This piece has 2 versions : 1) as a Site-specific performance, or 2) on stage.


Dance solo




Under the title ‘HUMAN FORM 2 – Puppets’, Minako Seki and COMMEDIA FUTURA condense a serie of investigations in which she goes beyond boundaries of the human and inanimate human-like forms, such as dolls, robots, corpses, ghosts and spirits.

She divides her investigation into four stages:
1) The human body and its physicality;
2) dolls and puppetry;
3) embodiment;
4) human projections

Minako Seki has dealt extensively with the first two aspects of HUMAN
FORM I. In her new work other aspects should come to the front:

*What does it mean to be human and alive?
*How can we embody inanimate objects?
*And how do our projections relate to the shape of the human being:
what projections do we impose on our bodies?
*What are the expectations and what happens to the expectations
when they become reality?
*How do we deal with challenges to our fixed views of reality?

”Dolls are a vessel into which we can project our desires and fantasies. They can embody what it means to us human and to be alive. But what happens when human beings represent lifeless objects, such as dolls? What is the difference between a real human body and a projection of it? What would it mean if people could only be reduced to their external human appearance?”


Coproduction Commedia Futura – Eisfabril Hannover

Choreography and Dance: Minako Seki
Assistance: Juana del Mar Jiménez
Director: Wolfgang A. Piontek
Dramaturgy: Peter Piontek
Music: Mo Heidrich
Costumes: Mido Kawamura
Videos: Volker Schreiner Lebens,
try Artist: Ralf Assmann
Lighting design: Wolfgang Denker

THE OWL (Existence)

Dance solo

or duet with Cello Willem Schulz




 The human kind fights between two poles:
The instinct to survive and the ability to achieve a peaceful state of being.
Minako Seki’s “Owl” is dedicated to life-determining issues: fear, hope, love, illness and death.

The origin of the piece is a hommage to her early deceased brother, and to her sister who endured a long time fatal disease. Drawing on this experiences Minako Seki (choreography & dance) develops together with Willem Schulz (cello-performance) an equally humorous as profound dance investigation of the vast landscape between life and death, heaven and earth.

The metaphorical imagery of the piece was inspired by an encounter in an abandoned
village: Five young owls, short after they hatched, are crouching on the ground, one on top of the other. They have small, naked bodies, and enormous heads with big dusty eyes, the color of their skin bright pink. The one on the very top instinctively screams in a horrible raspy and piercing tone to be fed: The power of survival and the extreme vulnerability of existence manifest themselves at the same time.

This piece is a walk on the sharp edge between the extremes of life and human condition.
The journey takes us to an insight of existence, which shimmers between consciousness
and the unconscious.

Direction and choregraphy: Minako Seki

This piece has a 2 versions: 1) as a dance solo Site Specific Performance, or 2) on stage as a duet with the cellist/performer Willem Schulz.


Dance duet with Yumiko Yoshioka



The new creation of Minako Seki and Yumiko Yoshioka follows the traces of the historical development of the Butoh dance in Germany.

In 1987 both dancers came together in Berlin and joined the German dancer delta RA’i to create the first German-Japanese Butoh company called “Tatoeba – Théâtre Danse Grotesque”.

In the Tatoeba group they merged the styles of Dance-Love-Mashine and Ariadone, with the influences of the German contemporary dance and the impulse of the creative and wild culture of Berlin. In this way, the Butoh technique was further developed in an intensive exchange with the contemporary expressive forms but without loosing its original intention.

In 1996 the group dissolved to continue their own trajectories. Yumiko Yoshioka and Minako Seki developed their very individual performance aesthetics, which can be identified with the neo and post-butoh practice.

In this year 2017 Yumiko and Minako come together again, to create a new piece. This revival responds to the initiative of the theatre director of the Eis Fabrik Theater in Hannover, Wolfgang Piontek, who wanted to connect the two dancers again. He wants to bring them again into a conversation and contrast their developments of so many years of butoh dance practice.

In their creative research, they worked on ideas like body memory, transformation or aging.

Furthermore, they wanted to analyse their personal relationship, their attachment to their cultural origin and the experience as long career dancers.

On this process, they re-enact old pieces, that they were playing 20 years ago within Tatobea group such as “June hitoe”, “All Moonshine” or “T for Three”.

Choregraphy and dance: Minako Seki and Yumiko Yoshioka

Direction: Wolfgang A. Piontek

Coproduction: Commedia Futura – Eisfabrik