Mio Sakamoto: Choreographing for social change

November 16, 2020November 19, 2020 Arpita Ghosal

Photo of Mio Sakamoto: Edoardo Giorgio Photography

Mio Sakamoto has been dancing through the pandemic.

The Japan-born, Toronto-based dancer has remained impossibly productive by balancing bodywork with engagement and advocacy. Her first short dance film, an evocative contemporary duet entitled Where Do We Go? recently premiered at the Dancing in the Park Online festival by Toy Guns. Helpful tip from Sakamoto: “It is available to watch on YouTube right now!” As a mentee of Karen Kaeja, Sakamoto has also been working on two new projects choreographed by Kaeja d’Dance’s co-artistic directors Allen Kaeja and Karen Kaeja that are set to premiere in the fall of 2021. She is also a part of Karen Kaeja’s online workshop project Moving Connections, a live movement practice for members of the community to participate in during October and November (with additional sessions coming next year). Finally, she notes, “I am also a certified Kaeja Elevation teacher, and I have been developing my own partnering class inspired by the Kaeja Elevation.”

Though she has kept herself busy, Sakamoto readily grants that the here-and-now reality of the pandemic makes for “a very hard time for everybody”. She is eager to return to the dance studio and dance with many people – as soon as possible. The pause on live performances has compelled her to mine her own artistic reserves to make the most of this unusual time. Though she has remained productive, the pandemic has affected her creative process and changed it “drastically”. The virtual delivery platform has inspired an entirely new medium of artistic expression. Her dance partner Geanderson Mello is her social circle during COVID-19, and together they have shifted their focus towards creating dance films. She chooses to see the glass as half-full: “As much as I am struggling as an artist at this time, I am grateful that it showed me a new way of creating and sharing.” The recently-presented Where Do We Go? is the circle’s first film. “We are still learning,” she concedes, “but super excited to share more of our new works to come!” Sakamoto created the work in collaboration with Mello. It is inspired by the philosophy behind Kintsukuroi, a practice related to the Japanese philosophy of wabi-sabi, which calls for seeing beauty in the flawed or imperfect. Where Do We Go? prompts us to consider if we can deconstruct the existing obsession with perfection and rebuild a norm that accepts vulnerability.

Photo of Mio Sakamoto and Geanderson Mello courtesy of Mio Sakamoto

Sakamoto started performing as a young dancer in 2007 as a member of Okinawa Actors School in Utsunomiya, Japan. After immigrating to Canada, she attended the School of Toronto Dance Theatre, graduating in 2017. Although a relative newcomer to Canada, her performance and choreographic repertoire is already expansive. Her performance credits include Crépuscule by Marie-Josée Chartier, October Sky by Paul-André Fortier, XTOD – SOLO DANCE XCHANGE for Xtraordinary Japan Tour by Kaeja d’Dance, and Mani.Deux by Northfoot Movement for its premier at FFDN in 2019. A growing number of organizations have recognized her talent with awards and honours, including The Toronto Arts Foundation’s RBC Newcomer Arts Award in 2020. In addition to performing and choreographing, she has taught, assisted, and choreographed at secondary schools, The School of Toronto Dance Theatre, and Ryerson University.

As an emerging choreographer, Sakamoto strives to create contemporary dance works with “history and a memory of the mind and body”, and to offer the public the opportunity to witness work that has sufficient “depth and density to deliver inexplicable feelings and perceptions”. She prioritizes creating choreographies that explore matters of equality, in order to raise awareness about establishing a bias-free society. To this end, she researches ways to invite people from all ages, races, gender orientations and cultural backgrounds to be mindful that discrimination does exist, and to see the great potential in change. “I think films are more accessible for everybody in the world. I hope to share my work globally, and respectfully provoke critical thinking in people who witness my work to search for their own questions and answers – while providing a sensation and satisfaction through the physicality of dance.”

Sakamoto began movement training (rhythmic gymnastics, jazz, tap, hip-hop, and amusement acrobats, including trapeze) at an early age in her native Japan. Over time, she found that dance and its community enabled her to slip the bonds of her patriarchal environment: “I come from a traditional Japanese household, where the father figure is the dominant presence. When I was younger, I participated in and was obedient within the structure. As I got older, I realized this is a form of discrimination which is handed down through the generations. I don’t want to perpetuate the culture of my past.” As a BIPOC woman, it is important for Sakamoto not only to expand her reality, but to express who she is and to reflect upon the social, political and cultural issues that matter to her.

Mio Sakamoto (photo courtesy of the artist)

Dance is the artistic medium through which she has learned to believe in and better understand herself. “I have become interested in the relationship between physical and mental health, having benefited personally from its positive effects, and I wish to share that with others.” Going forward, she aims to continue engaging with fellow emerging artists and members of non-dancer communities through dance workshops. The goal is simple: spread the power of dance to heal with the warmth of connection.

Sakamoto has herself been the recipient of that warmth in her chosen home city of Toronto, where she lives among “many inspiring artists” and hones her art through the workshops and classes. “Living here has definitely motivated me to pursue my career as a dancer,” she smiles. And she expresses deep gratitude to her mentors Karen and Allen Kaeja, whose artistic view and approach in the creative process have profoundly influenced her artistic development. Her most treasured insight is that “the Toronto dance community appreciates who you are not only as a dancer but also as a person. It made me realize that I am a person before I am a dancer.”

Like the dance community, Toronto audiences should relish the fact that Sakamoto’s star is on the rise, and that this prolific dancer – and dynamic person – has become a fixture in our city.