Butoh body/Butoh tai: dancing through and beyond dichotomies

Toshiharu Kasai worte a very interesting article stemming from 1999 EX…IT! – www.exit.broellin.de/eX11/e-atsushi.html 

“If creativity means inventing new things
that have never been done, the primary turning point
in dance lies in negation of movements. When the
movement “syllable,” the fundamental component of
dance, ceases to be a physical movement, there
appears brand-new bodily activities that hardly can
be categorized as a dance. The author believes that
Hijikata initiated one of these “un-dances.” When he
was asked the reason why he stopped dancing and
devoted himself to choreographing his disciples after
the success of his Butoh dance, he answered that he
had been dancing, but nobody noticed it.
If the value of dance lies in being seen by
others, the negation of being seen also starts
another “un-dance.” There are two types of
“un-seen dance”: 1 When there is no audience who )
sees the performer, and 2 when the movements are )
not explicit to the outside, but are internal or mental”


Access to the article can be found here: www.ne.jp/asahi/butoh/itto/method/butoh-body.pdf



Published by ambra gatto bergamasco

Artist dancer Processual Choreographer Corporeal Dramaturg; Butoh dancer and teacher; Moving Bodies Festival Director and curator, Artistic Director of Compagnia Sperimentale Drammatica/ Espace Productions. Research: Cultural Anthropology_Urban Geography_Art and Geography_Cartography_Score_SiteSpecific_Mental Health_Humans_Ecosystems_Embodied Politics Economies of culture and culture economy

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: