What differences have you found comparing the stage production to dance battles?

RYUICHI : Since battles are for competition, even the members of RECKLESS are rivals during a battle. The good thing about creating a production is that we’re united toward the same goal as a group. I was really moved that all of us are able to work together for one goal, compared to the battles where we just think “I want to win” as individuals.

During this production, we ended up selecting elements that we all agreed on after going through brain-storming and conflicting phases, telling each other “No, I don’t like that idea” or “Let’s do it like this”. We can’t really experience that in battles. I found that creating a production was fascinating because it strengthened our bond as a group and made us love this kind of artistic expression we’re doing even more.

BAFARIN : In the battles, I’m always trying to see how far I can stand out rather than winning. In that sense, there’s no difference for me dancing in the battles or in a stage production. Also, just like in a battle I’m happy when, during a stage performance, the audience comes alive and shouts “Wow!” for an idea of mine.

It was sometimes hard to create a production while crossing over genres since RECKLESS is a group of dancers from different styles like Popping, Locking and Krumping, but I felt like there was a lot of possibility in this kind of creation because it enabled me to be a part of a performance which I couldn’t do just with my style of dance, Popping.

KTR : I found that it’s just the same as creating a show, although the process of creation is quite different for the battles and stage performances. Dancers tend to take a stage performance as something formal, but performing like this has taught me that there isn’t much difference compared to the shows we’ve been doing, and I didn’t feel any walls getting in the way, so now I really want to try more of these stage productions.

How do you think your performance was received by the audience?

RYUICHI : They were super-energetic. Japanese audiences usually start watching with suspicious attitudes like “What kind of dancers are they?” or “What type of group is this?” and first try to grade the performance or dancers. In Jakarta, the audiences cheer as soon as they like something. They’re very quick and spontaneous in feeling and expressing what they feel.

KTR : I was curious how the audience in Jakarta would react to our piece since I had already participated in the DANCE DANCE ASIA Bangkok tour in Thailand (as a member of 90’s). I was really happy to receive standing ovations in Jakarta and felt like they got what we performed.

BAFARIN : I hadn’t heard about the dance scenes in Indonesia and so I had no idea how they would react, but everybody watched us with such bright eyes and wild cheers. I was so happy. I thought “I’m so glad I came. It gives me motivation to keep doing my best!”

How was your impression of the dancers in Jakarta?

RYUICHI : Their motivation toward dance is amazing. For me, motivation is the most important thing in dance because if you don’t have that, you can’t even start creating a work or practicing on your own. People in Jakarta dance with an emotion that just shouts “I love dancing”. That kind of emotion spreads to the people watching it too. I saw that all the participants were shining with joy when they danced during the workshops. I was inspired by them in so many ways, such as having an attitude of applauding yourself when you dance well. There were so many great dancers — I really wanted to see more.

Lastly, if you were given an opportunity to create a stage production not only by street dancers but in collaboration with a playwright and director, would you try it?

RYUICHI : I think I prefer creating works on our own.

KTR : I’d love to try it because I think we could gain a lot for our future productions by hearing opinions from a third party such as a playwright or director.