Memorandum on Safety and Ethics
The rehearsal room is a place where actors' bodies, emotions, and memories are laid bare. I have long believed that some theatre can only come alive by betting on that vulnerability. At the same time, I am deeply aware that vulnerability is also easily wounded — and that for this very reason, conscious and ongoing practices of safety and mutual respect are indispensable in any creative space.
In 2022, I received reports that my conduct during shelf rehearsals in 2013 had harmed participants. While some of the accounts do not match my own memory, the existence of multiple testimonies compels me to question that memory. I hereby acknowledge again that my conduct caused harm to participants, and I offer my sincere apology.
Based on this recognition, I have fundamentally reviewed my creative practice and taken concrete steps to prevent recurrence and restore trust.
1. Ongoing Learning and Integration of External Expertise
Since 2022, I have been engaged in continuous learning about safety, consent, and ethical facilitation. This includes completing online programs and public courses offered by ARTNOTO (Tokyo Arts and Culture Consultation Support Center) and similar organizations, covering power dynamics in creative processes, artistic responsibility, and care. I intend to actively and systematically apply these insights to future rehearsal management and directing practice.
2. Establishing a Consent-Based Creative Process
All creative processes I lead will be carried out based on clear explanation and informed consent. Performers will not be asked to engage with physical, emotional, or narrative material without prior agreement, and they have the right to refuse or withdraw without suffering any disadvantage within the project.
To make this right meaningful in practice, the following measures will be taken.
- A consent form will be prepared for all participants to review and sign on the first day of rehearsal. The templete will be archived and made public after the project ends. *1
- A staff member other than Yano (such as the production manager) will also explain verbally that participants will face no disadvantage if they refuse or withdraw.
Additionally, as an external harassment consultation service, shelf has entered into an annual contract with NonHara (operated by the National Association of Public Interest Corporations: https://lp.koueki.jp/nonhara/). Contact details will be shared in writing with all participants before rehearsals begin. *2
- *1 For the first project of this year, "CROSSING TEXT 2.0 The Legacy of the Black Flower," the consent form will be titled "Acknowledgement and Confirmation Regarding Participation in Rehearsals" and created as an online form in Japanese, English, and Indonesian. Time for verbal Q&A will be provided in advance, and the form will be shared among all cast and staff.
- *2 As NonHara currently serves Japanese-speaking users, for international co-production settings, shelf will designate an English-speaking contact person internally, and will request that the co-producing company also establish a point of contact on their end.
3. Transparency in Artistic Intent and Methods
Before rehearsals begin, the following information will be clearly shared with all participants.*3
- The conceptual and artistic goals of the project
- The nature of any sensitive subjects or materials that may be explored
- The creative and directorial methods to be used in the exploration
This will ensure that participants can make fully informed decisions about their involvement. The shared information will be documented and published online after the project ends, including an overview of the materials explored and the directorial methods used.
- *3 For CROSSING TEXT 2.0 The Legacy of the Black Flower, co-director Sir Ilham Jambak and I will prepare this material together in advance and address it jointly at the first online meeting.
4. Awareness of Power Dynamics and Measures to Balance Them
Recognizing the structural power that comes with the role of director, the following steps will be taken to prevent that power from operating in a one-sided way.
- Creating an environment where performers can express their views in their own words
- Welcoming critical feedback on directorial decisions and instructions
- Involving third parties (dramaturgs, facilitators, partner organizations, etc.) where possible
When third parties (such as dramaturgs) are involved, their roles will be clearly credited.
5. Documentation and Accountability
The rehearsal process will be properly documented and shared among those involved. When concerns or problems arise, rather than attributing them to individuals, they will be made visible, recorded, and addressed as an organizational matter.
The following methods will be used for public disclosure of records.
- A production report by the researcher/dramaturg involved in the project will be made publicly available after the project ends. (For international co-productions, a Japanese translation will be included.)
- An overview of the process for consulting the NonHara service will be shared with all relevant parties in advance. (The confidentiality of all consultations will be strictly maintained.)
- After each production, an anonymous survey will be conducted among participants, and a summary of the results will be made publicly available before the next production. (The method of implementation will be discussed with and explained to the participants in advance.)
6. Ongoing Review and Dialogue
I recognize that safety and ethical practice are not fixed rules but practices that must be continuously updated. Through ongoing dialogue with collaborators, partner organizations, and international developments in arts ethics, I commit here to continuing to examine and improve my own methodology.
The implementation of the practices described in this memorandum will be reviewed after each project, based on the records and surveys mentioned above, and this memorandum will be updated as needed. A history of revisions will be made publicly available on the website.