The Routledge Companion to Butoh Performance

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