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      The Routledge Companion to Butoh Performance
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      Book

      The Routledge Companion to Butoh Performance

      DOI link for The Routledge Companion to Butoh Performance

      The Routledge Companion to Butoh Performance book

      The Routledge Companion to Butoh Performance

      DOI link for The Routledge Companion to Butoh Performance

      The Routledge Companion to Butoh Performance book

      Edited ByBruce Baird, Rosemary Candelario
      Edition 1st Edition
      First Published 2019
      eBook Published 8 April 2020
      Pub. Location London
      Imprint Routledge
      DOI https://doi.org/10.4324/9781315536132
      Pages 588
      eBook ISBN 9781315536132
      Subjects Arts
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      Baird, B., & Candelario, R. (Eds.). (2019). The Routledge Companion to Butoh Performance (1st ed.). Routledge. https://doi.org/10.4324/9781315536132

      ABSTRACT

      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.

      TABLE OF CONTENTS

      chapter |22 pages

      Introduction

      Dance experience, dance of darkness, global butoh: the evolution of a new dance form
      ByBruce Baird, Rosemary Candelario

      section 1|155 pages

      Butoh instigators and interlocutors

      chapter 1|12 pages

      On the Eve of the Birth of Ankoku Butoh

      Postwar Japanese modern dance and Ohno Kazuo
      ByKuniyoshi Kazuko, Bruce Baird

      chapter 2|15 pages

      From Vodou to Butoh

      Hijikata Tatsumi, Katherine Dunham, and the trans-Pacific remaking of blackness
      ByArimitsu Michio

      chapter 3|2 pages

      Contemporary Nightmare

      An avant-garde dance group dances Forbidden Colors
      ByMishima Yukio, Bruce Baird

      chapter 4|2 pages

      The Relationship between Avant-Garde Dance and Things

      ByMishima Yukio, Bruce Baird

      chapter 5|15 pages

      Rethinking the “Indigeneity” of Hijikata Tatsumi in the 1960s as a Photographic Negative Image of Japanese Dance History

      ByInata Naomi, Bruce Baird

      chapter 6|7 pages

      À la Maison de Shibusawa

      The draconian aspects of Hijikata’s butoh
      ByRobert Ono

      chapter 7|1 pages

      Hijikata Tatsumi

      Burnt offering dancer
      ByShibusawa Tatsuhiko, Robert Ono

      chapter 8|2 pages

      A Certain Kind of Energy

      Dancing modern anxiety
      ByShibusawa Tatsuhiko, Robert Ono

      chapter 9|4 pages

      Butoh and Taboo

      ByGunji Masakatsu, Jane Traynor

      chapter 10|7 pages

      “Inserting the Hip/s” and “Lowering the Hip/s” 1 Excerpt from Chapter 1, “That Which is Nanba-Like” from What are Traditional Arts? A Dialogue for Criticism and Creation

      ByTakechi Tetsuji, Tomioka Taeko, Maki Isaka

      chapter 11|7 pages

      The Problematics of Butoh and the Essentialist Trap

      ByWilliam Marotti

      chapter 12|14 pages

      Returns and Repetitions

      Hijikata Tatsumi’s choreographic practice as a critical gesture of temporalization
      BySara Jansen

      chapter 13|13 pages

      Ohno Kazuo

      Biography and methods of movement creation 1
      ByLucia Schwellinger, Charlotte Marr, Rosemary Candelario

      chapter 14|11 pages

      What we Know and what we Want to Know

      A roundtable on butoh and neuer Tanz
      ByKate Elswit, Miyagawa Mariko, Eiko Otake, Tara Rodman

      chapter 15|5 pages

      Oikawa Hironobu

      Bringing Decroux and Artaud into Japanese dance practices
      ByYoshida Yukihiko, Bruce Baird

      chapter 16|8 pages

      Foundations and Filiations

      The legacy of Artaud in Hijikata Tatsumi
      BySamantha Marenzi

      chapter 17|8 pages

      Butoh’s Remediation and the Anarchic Transforming Politics of the Body in the 1960s

      ByPeter Eckersall

      chapter 18|13 pages

      Bodies at the Threshold of the Visible

      Photographic butoh
      ByJonathan W. Marshall

      chapter 19|7 pages

      The Book of Butoh; The Book of the Dead

      ByUno Kuniichi, Bruce Baird

      section 2|64 pages

      The second generation

      chapter 20|11 pages

      “Open Butoh”: Dairakudakan and Maro Akaji

      ByTomoe Aihara, Robert Ono

      chapter 21|11 pages

      Growing New Life

      Kasai Akira’s butoh
      ByMegan V. Nicely

      chapter 22|11 pages

      Light as Dust, Hard as Steel, Fluid as Snake Saliva

      The Butoh Body of Ashikawa Yoko

      chapter 23|12 pages

      The Expanding Universe of Butoh

      The challenge of Bishop Yamada in Hoppo Butoh-ha and Shiokubi (1975)
      ByKosuge Hayato

      chapter 24|11 pages

      Murobushi Kō and his Challenge to Butoh

      ByKatja Centonze

      chapter 25|6 pages

      Oscillation and Regeneration

      The temporal aesthetics of Sankai Juku
      ByIwaki Kyoko

      section 3|115 pages

      New sites for butoh

      chapter 26|9 pages

      “Now we have a Passport”

      Global and local butoh
      ByRosemary Candelario

      chapter 27|8 pages

      A History of French Fascination with Butoh

      BySylviane Pagès, Sherwood Chen

      chapter 28|14 pages

      The Concept of Butoh in Italy

      From Ohno Kazuo to Kasai Akira
      ByMaria Pia D’Orazi

      chapter 29|9 pages

      German Butoh since the Late 1980s

      Tadashi Endo, Yumiko Yoshioka, and Minako Seki
      ByRosa van Hensbergen

      chapter 30|9 pages

      SU-EN Butoh Company – Body, Nature, and the World

      chapter 31|9 pages

      Butoh in Brazil

      Historical context and political reenactment
      ByChristine Greiner

      chapter 32|10 pages

      A Sun more Alive

      Butoh in Mexico
      ByGustavo Emilio Rosales, Jordan A. Y. Smith

      chapter 33|12 pages

      Global Butoh as Experienced in San Francisco

      ByBrechin Flournoy

      chapter 34|12 pages

      LEIMAY, Cave, and the New York Butoh Festival

      ByXimena Garnica

      chapter 35|6 pages

      Iraqi Bodies’ The Baldheaded

      “Butoh”-inspired Iraqi contemporary performance
      ByJ Dellecave

      chapter 36|15 pages

      “We Need to Keep One Eye Open …”

      Approaching butoh at sites of personal and cultural resistance
      ByJeremy Neideck

      section 4|48 pages

      Politics, gender, identity

      chapter 37|10 pages

      Butoh’s Genders

      Men in dresses and girl-like women
      ByKatherine Mezur

      chapter 38|10 pages

      Death Rituals and Survival Acts

      Hata Kanoko’s “butoh action” and alternative inter-Asian transnationalism
      ByChiayi Seetoo

      chapter 39|7 pages

      When the “Revolt of the Flesh” Becomes Political Protest

      The nomadic tactics of butoh-inspired interventions
      ByCarla Melo

      chapter 40|11 pages

      Butoh beyond the Body

      An interview with Shakina Nayfack on transition, evolution, and the spirit at war
      ByJacquelyn Marie Shannon

      chapter 41|8 pages

      Critical Butoh and the Colonial Matrix of Power

      ByMiki Seifert

      section 5|74 pages

      Pedagogy and practice

      chapter 42|9 pages

      The Daily Practice of Hijikata Tatsumi’s Apprentices from 1969 to 1978

      ByCaitlin Coker

      chapter 43|8 pages

      Butoh Pedagogy in Historical and Contemporary Practice

      ByTanya Calamoneri

      chapter 44|11 pages

      Waguri Yukio’s Butoh Kaden

      Taking stock of Hijikata’s butoh notation
      ByRosa van Hensbergen

      chapter 45|10 pages

      A Flower of Butoh

      My daily dance with Ohno Kazuo (1995–2012)
      ByMaureen Momo Freehill

      chapter 46|4 pages

      On and through the Butoh Body

      ByKatherine Adamenko

      chapter 47|5 pages

      My Dairakudakan Experience

      ByJulia A. Vessey

      chapter 48|8 pages

      Butoh as an Approach to Performance in South Africa

      Byjackï job

      chapter 49|17 pages

      Wrecking Butoh

      Dancing poetic shores
      ByBronwyn Preece

      section 6|58 pages

      Beyond butoh

      chapter 50|8 pages

      Tanaka Min

      The dance of life
      ByZack Fuller

      chapter 51|12 pages

      Body Weather Laboratory Los Angeles

      An interview with Roxanne Steinberg and Oguri
      ByJoyce Lu

      chapter 52|7 pages

      The Cinematic Forms of Butoh Films

      ByAaron Kerner

      chapter 53|9 pages

      Locus Solus – Locus Fracta

      Butoh dance as protocol for visual self-representation
      ByLucile Druet

      chapter 54|6 pages

      Ohno Kazuo’s Lessons for a French Choreographer

      Ô Senseï by Catherine Diverrès
      ByMiyagawa Mariko

      chapter 55|8 pages

      Michael Sakamoto and the Breaks

      Revolt of the head (MuNK remix)
      ByMichael Sakamoto

      chapter 56|6 pages

      Burn Butoh, Start Again

      ByShinichi Iova-Koga
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