Yuka Takahashi is a Japanese dancer, performer, and choreographer currently based in Boston after being based in NYC and Vienna, Austria. She actively engages in the field of dance, performance art and experimental performance. Her original works and performances were presented in Europe, Japan and the United States in such venues as “100 Years version #4” organized by MoMA PS1 in collaboration with Performa, Judson Church (US), Siggraph (JP), Wuk (AT), Grunthaler9 (GE) among others.
After she received professional dance training at Joffrey Ballet School, she extended her interest and training in experimental dance and performance art in NYC and Europe. In 2006, she moved to Vienna, Austria. There, she received residency with full production support for 2years by the experimental performance platform, LABfactory under the direction of Thomas J. Jelinek and Kazuko Kurosaki. She also received a residency at D.I.D under the direction of Liz King. Since Vienna, she has been strongly engaged with artists of other disciplines and she has been expanding the use of alternate media in her performances.
Since moving to Boston in 2011, she has presented her own works at Mobius, Boston Center for the Arts, Boston University, Movement Research (NYC), the Y Theater at YMCA and OBERON as well as collaborated with local and international artists and dance companies. She produced the experimental performance events 'Living Space' at OBERON (2012), 'Test Kitchen' at Cambridge Y (2014) and curated <3Artrage (2015). In 2014, she was invited to become a member of Boston’s leading experimental artist collective, Mobius. Most recently she received Residency at Workspace Brussels (BE).
Yuka Takahashi’s works are strongly based in conceptual / experimental practice and movement invention. She approaches her creations by actively making an attempt to employ various media and taking advantage of the specific performance site to visualize the underlying concept from many perspectives. She uses sensible observation of human psychological states and social configurations to translate the underlying condition into the bodily performance. This approach allows her to present the concept in many layers without ignoring the existence of the body. At the same time she is interested in taking the audience out of its passive role and to actively engage it in the performance.