The Routledge Companion to Butoh Performance

"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 - Bruce Baird and Rosemary Candelario Section 1: Butoh instigators and interlocutors 1. On the eve of the birth of ankoku butoh: postwar Japanese modern dance and Ohno Kazuo - Kuniyoshi Kazuko (translated by Bruce Baird) 2.From vodou to butoh: Hijikata Tatsumi, Katherine Dunham, and the trans-Pacific remaking of blackness - Arimitsu Michio 3. Contemporary nightmare: an avant-garde dance group dances Forbidden Colors - Mishima Yukio (translated by Bruce Baird) 4. The relationship between avant-garde dance and things - Mishima Yukio (translated by Bruce Baird) 5. Rethinking the ""indigeneity"" of Hijikata Tatsumi in the 1960s as a photographic negative image of Japanese dance history - Inata Naomi (translated by Bruce Baird and the author) 6. À la maison de Shibusawa: the draconian aspects of Hijikata’s butoh - Robert Ono 7. Hijikata Tatsumi: burnt offering dancer - Shibusawa Tatsuhiko (translated by Robert Ono) 8. A certain kind of energy: dancing modern anxiety - Shibusawa Tatsuhiko (translated by Robert Ono) 9. Butoh and taboo - Gunji Masakatsu (translated by Jane Traynor) 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 - Takechi Tetsuji and Tomioka Taeko (translated and with an introductory essay by Maki Isaka) 11. The problematics of butoh and the essentialist trap - William Marotti 12. Returns and repetitions: Hijikata Tatsumi’s choreographic practice as a critical gesture of temporalization - Sara Jansen 13. Ohno Kazuo: biography and methods of movement creation - Lucia Schwellinger (translated by Charlotte Marr and Rosemary Candelario) 14. What we know and what we want to know: a roundtable on butoh and neuer Tanz - Kate Elswit, Mariko Miyagawa, Eiko Otake, and Tara Rodman 15. Oikawa Hironobu: bringing Decroux and Artaud into Japanese dance practices - Yoshida Yukihiko (translated by Bruce Baird) 16. Foundations and filiations: the legacy of Artaud in Hijikata Tatsumi - Samantha Marenzi 17. Butoh’s remediation and the anarchic transforming politics of the body in the 1960s - Peter Eckersall 18. Bodies at the threshold of the visible: photographic butoh - Jonathan W. Marshall 19. The book of butoh; the book of the dead - Uno Kuniichi (translated by Bruce Baird) Section 2: The second generation 20. ""Open butoh:"" Dairakudakan and Maro Akaji - Tomoe Aihara (translated by Robert Ono) 21. Growing new life: Kasai Akira’s butoh - Megan V. Nicely 22. Light as dust, hard as steel, fluid as snake saliva: the Butoh Body of Ashikawa Yoko - SU-EN 23. The expanding universe of butoh: the challenge of Bishop Yamada in Hoppo Butoh-ha and Shiokubi (1975) - Kosuge Hayato 24. Murobushi Kō and his challenge to butoh - Katja Centonze 25. Oscillation and regeneration: the temporal aesthetics of Sankai Juku - Iwaki Kyoko Section 3: New sites for butoh 26. ""Now we have a passport"": global and local butoh - Rosemary Candelario 27. A history of French fascination with butoh - Sylviane Pagès (translated by Sherwood Chen) 28. The concept of butoh in Italy, from Ohno Kazuo to Kasai Akira - Maria Pia D'Orazi 29. German butoh since the late 1980s: Tadashi Endo, Yumiko Yoshioka, and Minako Seki - Rosa van Hensbergen 30. SU-EN Butoh Company - body, nature, and the world - SU-EN 31. Butoh in Brazil: historical context and political reenactment - Christine Greiner 32. A sun more alive: butoh in Mexico - Gustavo Emilio Rosales (translated by Jordan A. Y. Smith) 33. Global butoh as experienced in San Francisco - Brechin Flournoy 34. LEIMAY, CAVE, and the New York Butoh Festival - Ximena Garnica 35. Iraqi Bodies’ The Baldheaded: ""butoh""-inspired Iraqi contemporary performance - J Dellecave 36. ""We need to keep one eye open ..."": approaching butoh at sites of personal and cultural resistance - Jeremy Neideck Section 4: Politics, gender, identity 37. Butoh's genders: men in dresses and girl-like women - Katherine Mezur 38. Death rituals and survival acts: Hata-Kanoko’s ""butoh action"" and alternative inter-Asian transnationalism - Chiayi Seetoo 39. When the ""revolt of the flesh"" becomes political protest: the nomadic tactics of butoh-inspired interventions - Carla Melo 40. Butoh beyond the body: an interview with Shakina Nayfack on transition, evolution and the spirit at war - Jacquelyn Marie Shannon 41. Critical Butoh and the colonial matrix of power - Miki Seifert Section 5: Pedagogy and practice 42. The daily practice of Hijikata Tatsumi’s apprentices from 1969 to 1978 - Caitlin Coker 43. Butoh pedagogy in historical and contemporary practice - Tanya Calamoneri 44. Waguri Yukio’s Butoh Kaden: taking stock of Hijikata’s butoh notation - Rosa van Hensbergen 45. A flower of butoh: my daily dance with Ohno Kazuo (1995-2012) - Maureen Momo Freehill 46. On and through the butoh body - Katherine Adamenko 47. My Dairakudakan experience - Julia A. Vessey 48. Butoh as an approach to performance in South Africa - jackï job 49. Wrecking butoh: dancing poetic shores - Bronwyn Preece Section 6: Beyond butoh 50. Tanaka Min: the dance of life - Zack Fuller 51. Body Weather Laboratory Los Angeles: an interview with Roxanne Steinberg and Oguri - Joyce Lu 52. The cinematic forms of butoh films - Aaron Kerner 53. Locus solus - locus fracta: butoh dance as protocol for visual self-representation - Lucile Druet 54. Ohno Kazuo’s lessons for a French choreographer: Ô Sensei by Catherine Diverrès - Miyagawa Mariko 55. Michael Sakamoto and the breaks: revolt of the head (MuNK remix) - Michael Sakamoto 56. Burn butoh, start again - Shinichi Iova-Koga Index"