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Nodoka: “Incorporating a Sense of Active Participation in the Event and Connecting with Different Perspectives and Values”
Last year’s Bonna Pot was held at Nishi-Izu Auto Camp Ginga, a beautifully maintained campsite that has earned rave reviews from its visitors. When the event was hosted here in 2021, it also received high praise from the audience for its setting.
The dance floor was situated in the Star Viewing Site, the highest point of the campground. The expansive grassland here offers a sweeping view of the sky, where you can gaze up at the stars at night or watch the breathtaking sunrise in the morning. It’s the perfect place for Kazu’s vision—a space where the beauty of nature and the power of music can blend seamlessly.
Looking back on the event, Kazu reflected, “The focus was on how to bring out the full potential of this already stunning location. That was the core idea behind the planning.”
Nodoka: As in previous events, the first step is to meticulously track the timing of the sunset and sunrise on the event day, along with the movements of the sun and moon, using an AR app. With these natural rhythms as a guide, I craft the timetable, carefully selecting DJs who resonate with the energy of each moment. I then share this vision, ensuring their sets align with the flow of the day and night.
For the last event, I imagined the kind of music that would harmonize with the specific times of day at the Star Viewing Site in Auto Camp Ginga. I invited nø¡R to open the second day, asked BING to perform in the early morning hours before dawn, and had Scott, an expert at closing, create a powerful long set to close the final day. Each of these artists was chosen with their unique time slot in mind, reflecting the essence of that moment.
When it comes to designing the venue, I’m deeply committed to preserving the natural beauty visible from the dance floor. I make sure that no unsightly structures, like sports tents or scaffolding, disrupt the view.
When adding lighting and decorations, my goal is to blend seamlessly with the existing beauty of the space, amplifying its natural allure without overshadowing it.
On the day of the event, the areas surrounding the dance floor and pathways were filled with booths showcasing art and handmade accessories brought by participants. As highlighted in the event’s initial statement, Bonna Pot warmly encourages the sharing and exhibition of art, creations, decorations, and performances. It was heartwarming to witness the spontaneous exchanges between visitors and exhibitors, as they connected over the unique pieces on display.
In addition, the food stalls within the venue offered a variety of options, including vegetarian and halal choices, catering to the diverse tastes and dietary needs of the crowd. This thoughtful attention to the preferences, backgrounds, and beliefs of attendees reflected the organizers’ commitment to creating an inclusive space that honors a wide spectrum of values.
Nodoka reflects on the motivation behind these initiatives, saying, “I aimed to foster a sense of active participation in the event, while also encouraging a deeper connection with cultural differences, even if just in small ways.”
Nodoka: On the surface, it might seem like the event is an underground gathering that’s hard to access, but from our point of view, we want anyone who shares a love for music and treats others with respect to feel welcomed. We want people from all walks of life and diverse perspectives to be a part of it. This mindset is inspired by David Mancuso’s philosophy. I really connect with his simple belief that “the more diverse the crowd, the more interesting it becomes.”
We also encourage those who can’t afford tickets to contribute as volunteers. Our goal is to remove as many barriers as possible to participation. We’re focused on creating an environment where everyone feels invited and at ease to join the experience.
One more thing we focus on is keeping the dynamic between the performers and the audience as balanced and unpretentious as possible. We don’t want to create an atmosphere where performers are put on a pedestal. That’s why we’ve kept the DJ/live booth level with the dance floor and avoid spotlighting the DJs with harsh lighting.
The kind of inspirational expressions we’ve witnessed, ones that transcend the realm of music, are deeply rooted in the formative experiences of both individuals, who have drawn immense inspiration from a life filled with music. “The influence we received, particularly from LIFE FORCE in the early 2000s, was truly profound,” they share. They speak about the shared, transformative experience they had at LIFE FORCE as follows:
LIFE FORCE is a warehouse and open-air party series that has been taking place in Tokyo since 1993, renowned for its distinctive sound design crafted by PA engineer Yasushi Asada.
Nodoka: What stands out to me the most are Nick The Record’s sets as the resident DJ and Asada-san’s sound design. Normally, Nick’s focus is deep house, but at LIFE FORCE, he ventured into world music, like Latin and African rhythms. These genres could easily lose their impact when mixed with house or techno, but under Asada-san’s sound system, even those tracks became the perfect dancefloor bangers.
It’s incredible how the same DJ can sound completely different depending on the sound environment. The trust the DJs have in Asada-san’s setup allows them to explore a broader range of music, knowing it will still work on the floor.
From this experience, I’ve consciously worked to create an acoustical space at Bonna Pot that encourages DJs to play a diverse range of tracks they might not typically get to play on a regular dancefloor.
Fujita: t’s not just the sound; the thoughtful design of the event itself also had a significant impact on us.
At LIFE FORCE, for example, the floor was naturally divided for smoking, but it wasn’t something the organizers enforced—it just happened organically among the participants. That really struck me. It’s a space that nurtures active, free-spirited thinking. There was a beautiful balance between freedom and order, and the acoustics, blending with the richness of the music, created an atmosphere that held real influence. I have such vivid memories of how that space shaped my sense of spirituality and cooperation.
A similar vibe can be found at LOFT. It was a place where children would play tag, and elderly couples would sit on benches, chatting for hours. At certain times, a buffet would appear, and the dancefloor would empty out. I was influenced by that spontaneous, free-flowing atmosphere. I believe that expanding the musical spectrum is an extension of that freedom. LOFT was also a place where diverse music, powered by great sound, turned into the perfect dance tracks.
