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
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.
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.
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.
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
The 2025 prize is worth $10,000 to research, develop, or produce new work
On the DAWN program, the renowned choreographer reimagines a work whose black-hooded puppeteers embody the unknown
World premiere at Downtown Eastside Heart of the City Festival sees artists break away from traditional gendered movements and costumes
The a cappella work by Joby Talbot is meant to be seen and heard
At The Cultch, Tentacle Tribe gets kaleidoscopically inventive; at the Playhouse, a masterful live band accompanies a show that roots out the soul of Argentina’s beloved art form
As part of the Canadian Arts Coalition’s national call to action, the Canadian Dance Assembly has launched an advocacy campaign
Through visceral synchronized rhythms, the full-length work challenges mandatory conformity and cohesion
Presented by plastic orchard factory, the solo is performed partly in the nude
Benefit at Scotiabank Dance Centre features the principal dancer with the National Ballet of Canada
With projections and a live band, the show celebrates the inclusivity of Argentina’s essential dance form
Le Radeau production sees Yaffe cultivate an exchange between performer and audience with unguarded emotion and humour
Colour, light, reflection, and hip-hop-influenced moves as Montreal troupe’s kaleidoscopic new piece hits The Cultch
Aerial dance show created by Gabrielle Martin and Jeremiah Hughes explores the space between holding onto—or letting go of—one another
Six emerging dance artists from Vancouver and Surrey share performances after months of movement and writing mentorship
Canada’s leading contemporary dance company presents a Pierre Pontvianne premiere, the return of a Dutch choreographic duo, and a large-scale Crystal Pite creation
The Biting School’s new dance work looks at struggle and letting go, with a surreal array of hazard tape, bread dough, mic cords, coffin tents, and more
The Dancers of Damelahamid’s most ambitious production to date explores the precious artistic legacy passed down by Elder Margaret Harris
At The Dance Centre, Anusha Fernando directs an expressive piece born from a year’s worth of nonhierarchical gatherings
When an inquisitive young woman wanders into a fantasy world of astounding acrobatics, she learns that humans have the power to shape the natural world
The new contemporary-dance work launches the Firehall Arts Centre’s 2024-25 season
Immersive performance sees a shy woman swept off her feet by the seductive world of tango through live music and projections
Sophie Dow and Laura Reznek’s meld of live music and dance created a warm, dreamlike experience
Ensemble works by Alvin Erasga Tolentino, Naishi Wang, and Alvin Collantes premiere in a captivating program dedicated to environmental stewardship
Montreal's Sarah Bronsard creates striking visual poetry at the Vancouver International Flamenco Festival
The outdoor site-specific series offers dance in unconventional spaces like public stairwells and storefronts
Headlined by Polaris Music Prize–winning Colombian Canadian artist Lido Pimienta, program spans film, visual arts, dance, literary, and music events
Annual fest’s founders, Barbara Bourget and Jay Hirabayashi, step down from leadership roles after more than two decades
Dancer Sophie Dow and musician Laura Reznek join forces for a free-flowing work performed in intricate papier-mâché masks
Now in its second year, local company will perform at Vancouver Playhouse for the first time
What on EARTH features world premieres of ensemble pieces by Tolentino and artists in residence Naishi Wang and Alvin Collantes that speak to global warming