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About me


My name is Megumi Eda. I was born in Nagano, Japan. At the age of 3, I began training in classical ballet with my mom, who is a ballet teacher, using a dresser as a barre in our small living room. My entire childhood and teenage years were focused on my dream to become a ballerina, dedicating countless hours to mastering the skills of ballet. Looking back, I feel very lucky to channel such passion into my pursuits. This early dedication laid the foundation as a dancer and shaped my identity as an artist.

At 15, my dance career took off when I joined the Matsuyama Ballet in Tokyo. The following year, reaching the semi-finals of Prix de Lausanne—a gateway to success for young dancers—I became the first Japanese dancer to join the Hamburg Ballet. Over the next 15 years, I worked for the Dutch National Ballet and the Rambert Dance Company, touring internationally and performing in all the major classical ballet repertoires. I had the honor of working directly with some of the greatest choreographers of this generation including John Neumeier, Christopher Bruce, Jiri Kylian, Lindsey Kemp, William Forsythe, Hans van Manen, Twyla Tharp, and David Dawson.

In 2003, I entered into the avant-garde realm of post-punk dance with Armitage Gone! Dance in NYC, where I spent 15 years as Karole Armitage’s muse, contributing to the creation of groundbreaking works.It was a period of immense growth and exploration, during which I received recognition for my contributions. Among these accolades are the prestigious New York Dance Award (Bessie Award) in 2004 and being named one of the Best Performers by Dance Magazine in 2009 and 2015.  


As my artistic sensibilities continued to evolve, I found myself with a more modern and contemporary style, as well as a passion for filmmaking.  This led me to begin a close collaboration in 2014 as both a performer and filmmaker with New York-based activist and conceptual artist Yoshiko Chuma.  This ongoing collaboration has significantly influenced my artistic journey, creating new perspectives and inspiring innovative approaches to my craft.


Since the summer of 2019, I have called Berlin home, transitioning from a career as an interpreter to a multimedia performing artist, marking a new chapter in my career. This transition has allowed me to explore diverse topics and media, from stage productions to multimedia projects.

I secured two scholarships from DIS-TANZ-SOLO in 2020 for "Dance Past the Stage and Onto the Screen'' and in 2022 for "Human Channel." Additionally, in 2023, I received two research grants, Fonds Daku and Darstellende Künste, for my study on "Trauma from institutional abuse in the dance world."

Time has rolled back, but since 2012, I've been actively engaged in filmmaking. Even during my pursuit of becoming a ballerina in the early '90s, I harbored a passion for filmmaking. I remember spending time in the early '90s doing tape-to-tape editing with VHS tapes and cutting film as a child. My current focus is on exploring how I can integrate my identities as a dancer and filmmaker, striving to achieve both simultaneously.


2022 was an important year for me to prove that, leading to progress and increased confidence. Independently, I produced and performed two stage productions: Please Cry, and "DIVINE in Berlin. 

Finally, I can't help but feel deeply concerned by the state of our world today. It breaks my heart to see innocent lives lost and the most vulnerable, especially children, suffering from unimaginable brutality. Why does it feel like we're stuck in a loop, repeating the same mistakes from history? It's like we're back in ancient times when we're supposed to be in modern times. Looking back on my family's past and living here in Berlin, it's clear that the scars of war run deep, haunting us across generations. But, I still want to hold onto hope. It's what keeps me going.

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