The Routledge Companion to Butoh Performance

Description

The Routledge Companion to Butoh Performance provides a comprehensive introduction to and analysis of the global art form butoh. Originating in Japan in the 1960s, butoh was a major innovation in twentieth century dance and performance, and it continues to shape-shift around the world. Taking inspiration from the Japanese avant-garde, Surrealism,　Happenings, and authors such as Genet and Artaud, its influence can be seen throughout contemporary performing arts, music, and visual art practices. This Companion places the form in historical context, documents its development in Japan and its spread around the world, and brings together the theory and the practice of this compelling dance. The interdisciplinarity evident in the volume reflects the depth and the breadth of butoh, and the editors bring specially commissioned essays by leading scholars and dancers together with translations of important early texts. Cover Title Copyright Dedication CONTENTS List of figures List of contributors Acknowledgements A note on Japanese names and words Introduction: dance experience, dance of darkness, global butoh: the evolution of a new dance form SECTION 1 Butoh instigators and interlocutors 1 On the eve of the birth of ankoku butoh: postwar Japanese modern dance and Ohno Kazuo 2 From vodou to butoh: Hijikata Tatsumi, Katherine Dunham, and the trans-Pacific remaking of blackness 3 Contemporary nightmare: an avant-garde dance group dances Forbidden Colors 4 The relationship between avant-garde dance and things 5 Rethinking the “indigeneity” of Hijikata Tatsumi in the 1960s as a photographic negative image of Japanese dance history 6 À la maison de Shibusawa: the draconian aspects of Hijikata’s butoh 7 Hijikata Tatsumi: burnt offering dancer 8 A certain kind of energy: dancing modern anxiety 9 Butoh and taboo 10 “Inserting the hip/s” and “lowering the hip/s” excerpt from Chapter 1, “That Which Is Nanba-like” from What Are Traditional Arts? A Dialogue for Criticism and Creation 11 The problematics of butoh and the essentialist trap 12 Returns and repetitions: Hijikata Tatsumi’s choreographic practice as a critical gesture of temporalization 13 Ohno Kazuo: biography and methods of movement creation 14 What we know and what we want to know: a roundtable on butoh and neuer Tanz 15 Oikawa Hironobu: bringing Decroux and Artaud into Japanese dance practices 16 Foundations and filiations: the legacy of Artaud in Hijikata Tatsumi 17 Butoh’s remediation and the anarchic transforming politics of the body in the 1960s 18 Bodies at the threshold of the visible: photographic butoh 19 The book of butoh; the book of the dead SECTION 2 The second generation 20 “Open butoh”: Dairakudakan and Maro Akaji 21 Growing new life: Kasai Akira’s butoh 22 Light as dust, hard as steel, fluid as snake saliva: the Butoh Body of Ashikawa Yoko 23 The expanding universe of butoh: the challenge of Bishop Yamada in Hoppo Butoh-ha and Shiokubi (1975) 24 Murobushi Kō and his challenge to butoh 25 Oscillation and regeneration: the temporal aesthetics of Sankai Juku SECTION 3 New sites for butoh 26 “Now we have a passport”: global and local butoh 27 A history of French fascination with butoh 28 The concept of butoh in Italy: from Ohno Kazuo to Kasai Akira 29 German butoh since the late 1980s: Tadashi Endo, Yumiko Yoshioka, and Minako Seki 30 SU-EN Butoh Company – body, nature, and the world 31 Butoh in Brazil: historical context and political reenactment 32 A sun more alive: butoh in Mexico 33 Global butoh as experienced in San Francisco 34 LEIMAY, CAVE, and the New York Butoh Festival 35 Iraqi Bodies’ The Baldheaded: “butoh”-inspired Iraqi contemporary performance 36 “We need to keep one eye open . . . ”: approaching butoh at sites of personal and cultural resistance SECTION 4 Politics, gender, identity 37 Butoh’s genders: men in dresses and girl-like women 38 Death rituals and survival acts: Hata Kanoko’s “butoh action” and alternative inter-Asian transnationalism 39 When the “revolt of the flesh” becomes political protest: the nomadic tactics of butoh-inspired interventions 40 Butoh beyond the body: an interview with Shakina Nayfack on transition, evolution, and the spirit at war 41 Critical Butoh and the colonial matrix of power SECTION 5 Pedagogy and practice 42 The daily practice of Hijikata Tatsumi’s apprentices from 1969 to 1978 43 Butoh pedagogy in historical and contemporary practice 44 Waguri Yukio’s Butoh Kaden: taking stock of Hijikata’s butoh notation 45 A flower of butoh: my daily dance with Ohno Kazuo (1995–2012) 46 On and through the butoh body 47 My Dairakudakan experience 48 Butoh as an approach to performance in South Africa 49 Wrecking butoh: dancing poetic shores SECTION 6 Beyond butoh 50 Tanaka Min: the dance of life 51 Body Weather Laboratory Los Angeles: an interview with Roxanne Steinberg and Oguri 52 The cinematic forms of butoh films 53 Locus solus – locus fracta: butoh dance as protocol for visual self-representation 54 Ohno Kazuo’s lessons for a French choreographer: Ô Senseï by Catherine Diverrès 55 Michael Sakamoto and the breaks: revolt of the head (MuNK remix) 56 Burn butoh, start again Index