Eiko Otake’s success The Body in Positions was recently seen in New York. She wore a white and red robe during her set. Throughout her results, the backdrop displayed various images she took in Japan with various poses of her body in various locations. The concert begins with her sitting against a wall and making slow movements steadily, starting with her thighs, which she extends slowly one at a time. She bends over and gently pushes her clothing into her lips, then rubs it across her face and head. She then rises from her seated posture and saunters into the crowd. From a different set, Eiko is sitting on a bench in an open field facing down. She gradually raises her head and stands in slow motion. Afterwards, she makes various moves rapidly that entail stamping her feet as she raises her red robe across herself.
Different scholars have tried to explain the main motives and themes depicted in Eiko’s wok. Notably, her body moves are slowly and characterized by silence. A major objective of this kind of art is to have the ability to provide a vital non-hierarchical association between images, bodies, sounds and the body. According to Eiko’s partner, Koma, all these factors are resonated with each other and are bound by the micro movement depicted in Eiko’s art. Micro-movement should be spasmodic, occasional, very slow and intense.
Another objective of Eiko’s art can present herself as a nameless creature. Eiko’s nonspectacular crawling and smooth gestures exhibit a surprising urgency, positivity, as well as force. Eiko’s art shows a new horizon in a world in which the environment and body. According to Lepecki, an event of such fusion could be referred to as becoming space of a body in which the dialect of outside and inside, background and image, body and movement, inorganic and organic, background and image.
Additionally, Eiko’s also depicts the relief of man from being confined within humanity. This means “the thing that feels” logic according to Perniola Mario. However, in Koma and Eiko they do are moved by things but object to move the thing which depicts human beings of sovereignty. Furthermore, the body in places aims at showing a vivid explanation regarding what matters to the artist as well as strengthen the artist’s insistence. Eiko creates here own costumes using furs, cowhides, mud, water, dry leaves, wind, straw, wind and tree branches. By making the environment her costume, hence making it naked. However, it could be clothed by the naked body. Therefore, the costumes become part of the artist body extension which leads to particular body movements. Hence, the dresses become the artist’s house exhibiting the reversibility’s between bare nature and bodies, mutually undressing and clothing each other in reciprocating alliances and exchanges.
Eiko’s art also depicts that time does swallow time. This is exhibited through her dance sculptures which entail slow gestures at a time that would never materialize. Therefore, Eiko’s movements provide the audience with a possibility of realigning the senses; they do also offer a chance to have an experience of time that endlessly extends itself within an instant discrete contour. This explains why Eiko’s performance is slow and unpredictable.