That was still within the initial year of the COVID-19 pandemic, shortly before the second lockdown in France. In front of Théâtre National de Bretagne in Rennes, Kazutomi ‘Tsuki’ Kozuki walked toward me with a takeaway coffee in hand. Apart from the crew cut, he looked unchanged compared to the first time I saw him in Puz/zle. When I asked about the hair, he explained: “It is a change for my 40.”
“My body lacked strength when I was a kid. Struggling with fevers, not being able to run for long, fainting…” said Tsuki. Such a situation deprived him of the frolic with other kids, burdening him with frequent medical visits. Fortunately, there was music. At that time, his dream was to become a singer. After turning 12, Tuski was interested in judo. His mother took him to a judo class under the condition that he could only observe. “The judo instructor promised to fulfill my mother’s request, but still trained me like the other boys. My body gained strength and I learned to concentrate even when my body wasn’t at its peak,” said Tsuki, considering it the debut of his physical expression.
In his teens, he listened to all kinds of music. “But I also loved the sound of rain, passing cars, people chatting…” he added, “Every sound was music for me.” At university in Amagasaki, Tuski discovered clubbing connecting music and movement. With friends, he frequented clubs in Kyoto, Kobe and Osaka. Apart from that, university life lacked enjoyment as his father insisted he study economics. “I am the only son with three sisters. My father was very strict with me; I felt a sense of freedom when he passed away. I quit university during this period,” recalled Tsuki.
In 2004, Yoko Higashino, founder of Dance Company BABY-Q, spotted Tsuki dancing in a club and invited him to attend her contemporary dance class for free. As an outsider, Tsuki was unsure of learning contemporary dance; Higashino’s teaching style impressed him and he decided to work as her assistant. “Three months later, Yoko invited me to join a project initially with female dancers only although I still doubted my potential as a dancer. Over the next three years, I learned tremendously about body expression through 3 projects with her,” said Tsuki. Turning 27, Tsuki questioned his future and considered quitting the company. However, a friend suggested he audition for Jan Fabre without knowing who he was. During the Japanese tour of I AM BLOOD, Fabre auditioned for his next project Requiem fur eine Metamorfose. Tsuki got the role and ended up in Antwerp.
One year earlier, Damien Jalet discovered Tsuki in a performance at the Museum of Arts in Aomori and immediately recommended him to Sidi Larbi Cherkaoui. Upon arrival, Tsuki emailed Cherkaoui and met him in Brussels. Geographical closeness accelerated their collaboration: one month after the tour of Fabre’s work, Tsuki joined Cherkaoui for Origine. Ever since, he has participated in around 20 projects with Cherkaoui, mainly as a dancer and sometimes as a singer. He told me: “I owe my existence to Larbi.”
During these years, Tsuki also had the opportunity to work with other choreographers such as Kaori Ito, Yabin Wang and Fabien Thomé Duten. “Kaori is a fountain full of ideas;” he said, “Yabin impressed me with her beauty inside and out; Fabien captivated me with his vision.” When I asked about whom else he would like to work with, Tsuki mentioned Damien Jalet and Dimitris Papaioannou.
Now Antwerp has become another hometown for Tsuki and he feels floating in an in-between space. So does he when he flies back to Japan. “It is not about the place anymore but the people you stay with and care for,” completed Tsuki. His life is simple: home-loving, going out with friends, grocery shopping… Music is still his passion: he has more opportunities to explore classical music and continues to follow great techno DJs.
In the context of the pandemic, we two Asians could not ignore the topic of racism. “At the beginning, passengers would call me ‘F*** Corona’ or avoided me when I wore a mask;” he said, “but when the Belgian government required mask-wearing, people turned to me asking where I had bought mine.”
The pandemic was over and Tsuki continued to perform actively on stage: 3S, Vlaemsch (chez moi), Satyagraha, Ukiyo-e, Nomad… “My plan for the next ten years is to stay fit as I am today,” said Tsuki at the end of our conversation.
Tsuki’s favorite places in Antwerp:
– Scheldt riverside
– Cathedral of Our Lady
– Eastman Office
Dance Visa 