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Friday, January 13th, 2012
11:54 pm - Butoh: Embodiment

shanmonster
For the past week, I spent the majority of my time in Studio E of The Children's Dance Theatre in Cabbagetown. I've been going to this studio off and on for about six years now: as long as I've lived in Ontario. I go there to study butoh, and occasionally other dance styles, as well. This week, I was studying under the tutelage of Denise Fujiwara. The workshop was entitled Embodiment, and the theme was fear.

Every now and then, someone asks me what butoh is, and I always pause. I have a hard time defining it in a way that will make sense. Although I've been studying butoh for about six years now, I think it's only been within the past year or so that I have begun to get a tentative understanding of what it is I have been investigating. Butoh is not like any other dance or movement style I've ever experienced. For the most part, it's not a technique sort of thing. That is, there is no real component of first you put your foot here, and then you move your arm like so. No, it's not like that, at all.

And it's easy to get the wrong idea by watching a performance or two, as well. You might watch this incredibly compelling presentation and think that the dancer was showing us his or her most innermost feelings, or was taking on a character role, but no.

In a fucked-up sort of way, the closest way I can think to describe butoh is akin to shamanism. Or maybe even a strange form of lycanthropy. Let's say the dancer is performing something about trees. The dancer would not be doing a sort of kindergarten approach to trees, coming out with her or his body held out in the shape of a tree, with the legs playing the part of the trunk, and the arms waving about like branches in the breeze. Instead, the dancer might focus on some aspect of the tree and become that.

Obviously, you are not seeing an actual transformation. The human in front of you is not about to start sprouting leaves and producing chlorophyl. But it's not so simple as pretending to be a tree....

Over the years of studying with Denise, I have learned that the progression is not fast. Our warm-ups are gradual. There is a certain amount of repetition. I have done many of the exercises numerous times, and I often wonder just how they will fit into the context of performance. We start with tiny movements. This week, we began with microscopic movements of the head on the occipital joint, and tiny movements of the tailbone. We worked on waking up the entire spine in a gradual fashion, getting larger and larger motions, and then progressed to suri-ashi, the gliding walk of Japanese dance (and Japanese martial arts). This walk, which is the only specific physical technique I've ever studied in butoh, gives a physical focus to practice while mental focus is upon external forces which do not actually exist. It is essentially a moving meditation, and I slip away into a different state while I do it. My mind may wander occasionally, but if I'm in the moment, the only things which exist are the floor beneath my feet and the strings which pull me along.

A string pulls the top of my head to the sky. Another draws my tailbone to the earth. Another string is attached a couple of inches below my navel and extends to the horizon. Each of these strings pulls inexorably, and I am drawn along at a constant speed. Once I am moving with no acceleration or deceleration, other strings are added. They may be attached to the back of my heart, my left floating rib, or the back of my right ear. They may be attached in multiple places, all pulling me along. Which string will pull the strongest? Which will change my direction or speed? I do not know until it happens. The impulse is subconscious. If I make a conscious decision, then my ego is too much at the forefront. The strings are what controls my direction, not my conscious decisions.

In an earlier workshop, we worked on killing the self. Since I'm here now, typing this to you, you know this wasn't a literal suicide. But it was a destruction of ego. If a dancer was caught emoting, s/he would receive a scolding. No choreographing. No showing. No acting. Just being. Embodying.

This week, as often before, we started working on the elements of fire, air, water, and earth. We would sit in a circle and free associate terms associated with one of those elements. For fire, we might hear the following:
  • heat
  • burning
  • scorch
  • incandescent
  • radiating

Then we would become hollow beings, and we would become filled with the qualities of that element. I was filled with fire. My bones were no more. I was flame. My skin and eyes and hair and flesh were fire. Sometimes I flickered. Sometimes I burst in a conflagration. Sometimes I smouldered.

We repeated the same exercise for the other elements, and at the end of the first day, we were given homework: we were to prepare a list of our ten worst fears and bring it into class the next day.

The next morning, we shared some of those fears. Some are ubiquitous: things like losing your loved ones, violent death, cancer, old age. Some were unique: insects indoors, flushing the toilet at night, having feet skewered or smashed.

I was mystified. Here were were, sharing things very personal to us, but studying something which strips the personal away. What were we going to do with these fears? We paired up, and did a descension/ascension exercise while holding our partner's head, and moving it around gently while they relaxed and surrendered all muscular control of it to our hands. This takes a lot of trust and concentration, and is darned tricky. We then repeated the exercise, but this time, the person whose head was being held had to talk about their greatest fear throughout the exercise. This was difficult for multiple reasons. Just on a purely mechanical basis, it's much harder to free the muscles in your head and neck while you're talking. There is also the discomfort of talking about something that scares the shit out of you, and opening up to someone you don't know all that well about something intensely personal. There's the almost inevitable stiffening up that will happen while you think about something terrifying.

But something unexpected happened. Even though the exercise took us all outside our comfort zones, with our heads being supported by our partners, the initial tension melted away. Interesting....

We set that aside and went back to embodying elements. Once again, I was left wondering how everything fit in together.

And on the third day of the workshop, everything started to click. We each chose a fear from our list, and we mapped that fear to an element. My fear is decrepitude. I've sampled this a few times in the past because of sickness or injury. There have been times when I was unable to do simple things for myself, like walk or even get in and out of bed without assistance. The thought of experiencing these things again, or, even worse, experiencing them again without a chance of getting better, gives me the heeby-jeebies. This fear is an enormous stimulus for why I do so much physical training.

My fear of decrepitude is heavy, and weighs upon me like earth, so that is the element I chose. Specificity is key, so I decided upon sand. The way I see it, sand is infertile. It has no life of its own, but is blown by the wind, fills cracks and corners, and gets heavy and sodden. These are the characteristics I embodied. I did not act out my fear, but transformed myself into sand, giving it the same sort of "loudness" engendered by my fear. I was heavy. Everything about me was heavy. I was drawn toward the floor without collapsing. My eyes were blind because they were sand. My skin was heavy. Face. Belly. Legs. Lungs. Everything. I was pushed by a wind. I was pressed against a wall. Sodden with trickling grains.

We became these elements in groups. Some people were able to successfully transform themselves. Others had a harder time, and used their bodies to describe their element rather than to become it. Some had a difficult time divesting themselves of prior dance training, and there were exhortations to get rid of the embellishments and to stop choreographing. Demands included more specificity, no censoring, no hiding, and no expressing. With practice, there were no more frowns or sad faces, arabesques or pliés, and something much more primal, authentic, and unpracticed appeared. Performances became much more compelling, and though the dancers were not using expression of emotion at all, as an audience, what we saw was intensely expressive and deeply moving.

We continued to progress with these exercises for the remainder of the workshop, and by the end, we had three pieces placed together in a group: two fears and one thing which was the opposite or cure of a fear. I decided to go with the decrepitude again, and decided the opposite or cure is self-mastery.

So my three were:
  1. Fear of decrepitude as engendered through earth. Sand,
  2. Fear of tooth extraction as engendered through fire. Radiation and the contraction caused by heat.
  3. Self-mastery as engendered through water. Fluidity and the coalescence of water surface tension.

Our fears and chosen elements are immaterial to the audience. I did not know what fears were obliquely represented by the dancers in front of me, although I could make an educated guess as to what element they might be embodying. What mattered was what I saw. And I saw something beautiful and grotesque and powerful.

I saw butoh.

current mood: accomplished

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Monday, September 12th, 2011
2:19 am - ODDdance. 17-19 сентября. Мастер-класс в Москве.

lo_sha_rik

Тема: "Соло и дует. 10 шагов - 10 картин. Опыт построения перформанса."
Первый этап.
С чего начать, выбор темы, рождение темы, поиск темы. Откуда и как рождается тема?? - дискуссия 
Как из слушания тела перейти к собиранию материала для постановочной работы.
Структурированный перформанс.
Постановочный перформанс.
Импровизационный перформанс. 
Хореография в постановочном и структурированном перформансе.
Умение создать первичный хаос.
Путь от первого наброска к первой картине, умение остановиться и выбрать нужную тему из первичного материала.
http://www.odddance.com/ru/news/17-18_sent11_Moskva.html
http://odddance-com.livejournal.com/
http://vkontakte.ru/event29805145
http://odddance-com.livejournal.com/67021.html

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Wednesday, March 23rd, 2011
9:28 pm - 26-29 марта. Театр OddDance. МОСКВА. Гастроли.

lo_sha_rik
В программе гастролей:
БУТО-МАСТЕР-КЛАСС (26-28 марта)
ПЕРФОРМАНС (29 февраля)

community.livejournal.com/odddance_com/

vkontakte.ru/event23850797
www.odddance.com

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Thursday, December 16th, 2010
6:54 am - Буто. Мастер-класс в Москве.

lo_sha_rik
в эти выходные
18 - 20 декабря

Последний мастер-класс
по работе с маской, предметом и костюмом

http://www.odddance.com/ru/news/gastroli-msk-dek.html


19 декабря в 20.00 ждем вас в клубе Artefaq
буто-пати
(это для тех, кто ни разу не пробовал или пробовал и понравилось)
"Тонкая Линия"

http://vkontakte.ru/event22135937

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Wednesday, September 29th, 2010
6:53 am - 2 - 4 октября МАСТЕР-КЛАСС театра буто OddDance.

lo_sha_rik
 Архитектура танца. Работа с маской, предметом и костюмом.



2 октября 11.00 - 20.00
3 октября 11.00 - 15.00
4 октября 18.00 - 22.00

Адрес: Москва, м.Спортивная, ул. Усачева, д.50, лицей N 1535
Стоимость: 2000 р

Обязательно сообщайте о своем желании
прийти по адресу: yankalir@yandex.ru
_________________________________________

3 октября 16.00 - 16.50 мастер-класс театра OddDance в рамках международной конференции "Свободный стих и свободный танец: движение воплощенного смысла"
Центр творчества «Прометей». Проточный пер., 9, 4-й этаж
М. «Смоленская» Филевской (голубой) линии.
вход свободный при условии регистрации на isiro@mail.ru
http://vkontakte.ru/event20294399

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Saturday, July 11th, 2009
12:33 pm - Danse Perdue/Death Posture in Seattle

erynn999
Date: Friday, July 24, 2009
Time: 6:30pm - 10:00pm
Location: Jewel Box Theater
Street: 2322 2nd Avenue (Seattle)
Cover: $8
21+

'8 Gates': A Metamorphic Ritual Theatre Production & 'rehctaWatcher' Music Performancy by Orryelle Defenestrate-Bascule (Australia) -- also featuring Butoh performance by Danse Perdue/Death Posture (Seattle).

Join us for an evening of music & alchemy, butoh dance, myth, magick and performancy, with ritual artists Orryelle Defenestrate-Bascule and Danse Perdue.

Orryelle will open the night with live performancy featuring music from his latest CD release 'rehctaWatcher', followed by a classical and transgressive butoh performance w/ Danse Perdue, then closing with "8 Gates", a metamorphic ritual solo performance which is part short play, part shamanic Underworld journey, concerning past lives, atavistic resurgence, mists, ravens and the density of matter.

Using hypnotic repetition and hceeps sdrawkcab Orryelle begins by taking the audience/initiates into trance and guiding them through a path-working to access past lives.

He then cuts to dramatically relating some of his own experiences with this journey-work, choreographing this tale onto a spider-web mandala used to ritually access 8 Gates of experience and share the journey through Butoh dance and physical theatre.

Shards and fragments of different lives and selves (including a Norse viking, a saber-tooth tiger and a fly-agaric mushroom) eventually link back up in a complex mosaic of non-linear relativity resolved in a paradox of profound absurdity/ absurd profundity.


Danse Perdue/Death Posture is a multidisciplinary collective specializing in the creation of the raw fine arts. Their work is both classical and transgressive, exploring the same spiritual/environmental terrain as Artaud, Galas, Coil, Bataille, de Sade, Genet, Bresson, Deleuze/Guattari, Bosch, and Witkin among many. Through the twin alchemical tools of visceral perception and intellectual restlessness we create a living mirror reflecting how empathy is mutated by violence, how a multiplicity of emotive currents flow within atrocity, how through these we are each and all inextricably linked. We arc toward revolution by means of experiential work/life-- to seek, to question and to share-- acolytes of the unknown.

Alex Ruhe and Vanessa Skantze have performed extensively in the U.S. and Europe, both as Danse Perdue/Death Posture and with butoh master Atsushi Takenouchi. They are bonded to Atsushi Takenouchi's Jinen Butoh in approach to performance as being. They create group works for multiple dancers as well as solo and duo structured and improvisational works. Initially formed with two experimental guitarists in New Orleans, Donald Miller and Rob Cambre, Dance Perdue works constantly with live music and has performed with many extraordinary improvisers from the U.S., Europe and Japan. They hold practices twice weekly as well as more extensive workshops which draw from Jinen butoh, Body Weather, yoga, Noguchi gymnastics, voice and somatic movement training and years of practice, exploration, and creation of original work.


for more information:

http://www.myspace.com/orryelle
http://www.crossroads.wild.net.au/morph.htm

www.danseperdue.org
www.myspace.com/deathposture
www.facebook.com/DansePerdue

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Monday, September 22nd, 2008
6:22 pm - Oregon Butoh

dmt81
Etenraku Rojo



Etenraku Rojo
Butoh Performance - to ancient Gagaku masterpiece "Etenraku"

BurningCollapse )

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Tuesday, September 9th, 2008
11:52 am

alexruhe
YUKO OTA & DEATH POSTURE

PERFORMANCE AND WORKSHOP CALENDAR

SEPTEMBER And OCTOBER 2008



Greetings Creatures and Performers
the following is the workshop and performance schedule for Yuko Ota’s residency in the Northwest.

first to alert you to the Seattle workshop, and the rest of the calendar is listed below

SEATTLE BUTOH WORKSHOP WITH
YUKO OTA:
OCTOBER 10, 11, 12 (FRI/SAT/SUN)
M’ILLUMINO STUDIO
6921 ROOSEVELT WAY NE
$175.00 for entire workshop
or
Friday, Oct 10 5-9 pm $60.00
Saturday, Oct 11 10 am - 5 pm $80.00
Sun, Oct 12 3-8 pm $60.00

Workshops will be for up to 15 people.


If you would like to participate in the SEATTLE and/or PORT TOWNSEND WORKSHOPS, please register with me, Alex, by Friday, September 26, 2008.

To do this, write to Me
alex@deathposture.org or call 206 383 4105 and
Send a $50.00 registration/commitment/pact thing to
Alex Haverfield
2207 A East Terrace St
Seattle WA 98122

and to register for the PORTLAND WORKSHOP, please register with Mizu Desierto by October 1.
mizudesierto@gmail.com
503-289-3499
those $50.00 checks can be mailed to
Mizu Desierto P.O. Box 17143 Portland, OR 97217-0142

Below is the September and October Calendar, followed by Additional workshop description and biographical information.

I very much hope to see you there, and to continue working with everyone to expand the practice of butoh here in the Northwest.

Yuko’s Butoh is close to the root. I wish she was staying here.
Alex R.


YUKO OTA & DEATH POSTURE

PERFORMANCE AND WORKSHOP CALENDAR

SEPTEMBER And OCTOBER 2008

SATURDAY, SEPTEMBER 13, 2008 (SEATTLE)
8 p.m.
Death Posture Performance: I MISS YOU with Solo by Yuko Ota
featuring music by
celadon, vox vespertinus, Noise Poet Nobody
and performance by
Yuko Ota, Vanessa Skantze, Kaoru Okumura, Katrina Ellison, Azrael,
Lin Lucas, Helen Thorsen, Briana Jones, Alex Ruhe

CHAPEL PERFORMANCE SPACE
at the Good Shepherd Center
4649 Sunnyside Avenue N. in Wallingford
$5- $25 donation
206 697 3855 for information

SUNDAY, SEPTEMBER 21, 2008 (PORTLAND)
8 p.m.
Performances by Yuko Ota, Death Posture, music by Bill Horist and others... tba... Power Circus? Nequaquam Vacuum? Soriah?
FEZ BALLROOM
316 SW 11th Ave
PDX, OR 97205
www.myspace.com/fezballroom
info line: 503-221-7262

SATURDAY, SEPTEMBER 27, 2008 (SEATTLE)
8 p.m.
Tribal Fusion Belly Dance, Butoh, Ethnic/Trip Hop, Post Industrial Soundscapes
Performances by Katrina Ellison of Sataray, Yuko Ota, Death Posture, celadon and other musical guests
THE JEWELBOX THEATER
Rendezvous Tavern
2322 2nd Avenue, Belltown, Seattle
info: Katrina Ellison earthmermaid85@gmail.com
or Jewelbox: 206 441-5823


SATURDAY, OCTOBER 4 (SEATTLE)
8:00P.M.
bonsoir SAMDI
Vanessa Skantze’s monthly Salon of Experimental/Improvisational music and Dance
2511A E. Yesler Way btw. 25/26 Aves.
Info: Vanessa 206 697 3855

FRI/SAT/SUN, OCTOBER 10, 11, 12 (SEATTLE)
SEATTLE BUTOH WORKSHOP WITH
YUKO OTA
WORKSHOP HOURS:
Friday, Oct 10 5-9 pm
Saturday, Oct 11 10 am - 5 pm
Sun, Oct 12 3-8 pm
M’Illumino Studio
6921 Roosevelt Way NE

please register with me,
Alex R.,
by Friday, September 26, 2008.
alex@deathposture.org or call 206 383 4105
workshop price $175.00 by September 26, 2008, $200.00 thereafter.
please send a $50.00 registration fee to
Alex Haverfield
2207 A East Terrace St
Seattle WA 98122
to reserve your space



FRIDAY, OCTOBER 17 (PORTLAND)
8 p.m.
PERFORMANCES by YUKO OTA, DEATH POSTURE, & MIZU DESIERTO BUTOH THEATRE with guest musicians
The Headwaters: kinesthetic laboratory & center for international exchanges in the arts @ Disjecta:
8371 N. Interstate Ave. pdx 97217

SATURDAY, OCTOBER 18 (PORTLAND)
PORTLAND BUTOH WORKSHOP WITH
YUKO OTA
10 a.m - 6 p.m
The Headwaters: kinesthetic laboratory & center for international exchanges in the arts @ Disjecta:
8371 N. Interstate Ave. pdx 97217

please register with with
Mizu Desierto:
mizudesierto@gmail.com
503-289-3499
Workshop price: $90.00 before October 1. $100.00 thereafter.
$50.00 registration checks can be mailed to
Mizu Desierto
P.O. Box 17143
portland, or 97217-0142
to reserve your space

FRIDAY, OCTOBER 24 (SEATTLE)
8 P.M.
Vanessa Skantze of Death Posture, Dean Moore, GONGS PERCUSSION
Good Shepherd
CHAPEL PERFORMANCE SPACE
at the Good Shepherd Center
4649 Sunnyside Avenue N. in Wallingford
$5- $15 donation
VANESSA 206 697 3855 for information

SAT, SUN, OCTOBER 25, 26 (PORT TOWNSEND)
Port Townsand BUTOH WORKSHOP AND PERFORMANCE WITH
YUKO OTA
DETAILS TBA.

HALOWEEN, FRIDAY, OCTOBER 31
DEATH POSTURE ART OPENING AND MUSIC EVENT
8 PM
HAREM
618 BROADWAY E
SEATTLE WA 98102

Regular Open Butoh Practice Session
led by Vanessa Skantze or guest teachers
Every Monday
6:30 - 9:00 pm
2207 A East Terrace St
Seattle WA
98122
by Donation
info: alex@deathposture.org
206 383 4105

YUKO OTA
Workshop concepts and themes:

Walking in the cemetery,

we can feel as if we heard the inaudible voice from the spirits of people in the hereafter,

felt their insensible presence and talked with them.

Then, when we are walking on the street, walking by the river, by the coast,

walking among the building, walking inside, walking in the forest…

We are always with the dead spirits.

We are always walking on the layer of the dead, are surrounded by them and they exist in ourselves.

Open your sense, your sense organ which has already a dialogue with them, each your cell which holds them for listen their devotion for the living and the lived body.

When your body listens deeply them, you are dancing.


WORKSHOP DESCRIPTIONS & THEMES
-What is the individual body?
-Is it truly body, which the skin divides the exterior and the interior?
-But, what is the body without skin as border?
-Do we really control our own body with intention?
-Or does something else control us?

-No one exists independently or separately.
-All are in the influence All are always changing the form among relationships with others, with the earth.
-Let's manifest the nature that is already with us.
-Let's dance the life in transforming from one form to another.

BODY TRAINING
-Mixed practices, including Yoga and Noguchi gymnastics.
-Recovering body which resonates wholly by the observation of one part of body and of the rest which are always connected to this part, and also body which follow the external force: gravity

IMPROVISATION
-Research on the starting point of the movement and the reason by dancing various existences of the life, natural elements and conditions
-How and why do they move, wave, wind, fire, grass, baby, stone, tree, bird, cat, and sneak…?
-How and why does the body move, in sorrow, in anger, in joy, in love, in despair, in bad weather, in intense heat or severe cold…?

YUKO OTA
Seattle Workshop:
October 10, 11, 12
M’Illumino Studio
6921 Roosevelt Way NE
Seattle WA 98115
Friday, Oct 10: 5-9pm; Saturday, Oct 11: 10am-5pm; Sun, Oct 12: 3-8pm
Price: $175.00 3 days. $60.00 for Friday
Workshops will be for up to 15 people.

We ask you to send a $50.00 registration/promise/pact thing to hold your spot by September 26.


To Everyone:
If you have an idea for a collaboration, performance, event, etc. please write me (alex) at alexanderuhe8@gmail.com and we can talk about possibilities.

INFORMATION ON WORKSHOPS,
ON YUKO OTA
AND ON JINEN BUTOH...

Biographical Sketch of Yuko Ota:

Dancer living between Japan and Europe.
She is born in Fukuoka (Japan).
In 1999, she encounters butoh in a workshop of Atsushi Takenouchi
in Kyoto. She was deeply touched by butoh. Since, she followed lessons and workshops of several masters of butoh: Yoshito Ohno, Toru
Iwashita, Tenko Ima, Katsura Kan etc.
She takes a part, essentially as dancer and assistant, of the
company Globe JINEN directed by A. Takenouchi.
In parallel, from 2003 to 2006 she participates to a French
company : Les Transe-Mutants (trans-disciplinary art/dance ;
afro-Cuban, kathak, martial arts, modern, classic...) which she
met in Paris and in which she deepened physical techniques.
Today, she executes her own researches on butoh around the
question about the way to live dance of lives and bodies at the
crossroad of connection with others, in organizing workshops
of butoh (France and Italy) in the same way as solo performance.
In 2008, she extends more her radius of activities and gives workshops in Germany, Poland and Spain.

Solo pieces 'Mater Dolorosa'(2004), 'globular garden'(2005), 'born again'(2006)...
Performed in 'Oto no Kakawari' (1999) 'Tanagokoro' (2001) 'Gen' (2005) 'Butoh Byo' (2006) 'U-Pipe' (2006-08) by A.Takenouchi; 'Shirtologie' (2000/ J.Bel); 'Imouto no chikara' (2000, T.Ima); 'Curious Fish' (2004) 'Dance Experimetaiton' (2007) by K.Katsura; 'Kundalini' (2004) 'Ardent Baby' (2005) 'Rite of Spring' (2006) with Co. Les Transe-Mutants...
Improvisation with musicians Roberto Bellatalla, Matteo de Bellis, Christelle Bonneau, Jean Bordé, Lena Circus, Benjamin Duboc, Jassem Hindi, Nelly Pouget, François Sardi, Christine Sehnaoui, Sharif Sehnaoui, Mauro Tiberi...

Yuko Ota's website: http://millenary-euphoria.net


Yuko Ota hails from Atsushi Takenouchi’s Jinen Butoh lineage

Here is Atsushi’s explanation of Jinen Butoh

Jinen is an old Japanese word. Its meaning encompasses ALL that is even larger than nature.

Jinen is ALL, Jinen Butoh is a life force that dances with ALL.
Jinen ... is the swirl of the River of the Universe that embraces all life and death, light and dark..

Sea, mountain, grass and trees, even machine, car, gasoline, computer---
-- they do not belong to people. They are already alive. Even our body is not ours. We are simply lives facing one another -- so we resonate, rebel, grow angry , cry, laugh, and dance with them. All of them are JINEN.

Jinen Butoh is to join together with all the life that are already dancing, to dance with the flow of the universe that is Jinen. We remove the wall of consciousness that perceives dance as the individual " I " dancing. We are dancing with, and are danced by , the Jinen, accepting all the environment and conditions around us as Jinen.

Atsushi Takenouchi’s Website:
http://www.jinen-butoh.com/



Yet more information...?
I will whisper for you
alex@deathposture.org
www.myspace.com/deathposture
www.deathposture.org
http://people.tribe.net/deathposture-alexruhe
http://inthedeepmuseum.com/ http://maia-arts.com/music/ http://www.xaxiswye.com/noisepoetnobody/home.htm
www.myspace.com/billhorist
http://www.myspace.com/voxvespertine

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Monday, September 1st, 2008
10:20 am - Death Posture And Yuko Ota Perform Sept 13, Seattle

alexruhe
Death Posture (Danse Perdue) presents a new work

I MISS YOU

created by Death Posture (Vanessa Skantze, Alex Ruhe and Celedon)
based on the work of their teacher, Jinen butoh master Atsushi Takenouchi

With A Solo Dance Performance by YUKO OTA

Saturday, September 13, 2008 8 p.m.
Chapel performance space at the Good Shepherd Center
4649 Sunnyside Avenue N. in Wallingford
$5- 15 donation



PERFORMERS

Dance: Yuko Ota, Vanessa Skantze, Alex Ruhe, Kaoru Okumura, Lin Lucas, Helen Thorsen, Azrael, Briana Jones, Katrina Ellison

music: celadon soundscapes, bass Noise Poet Nobody prepared stringboard, noise vox vespertinus voice

I MISS YOU is created from this experience with Atsushi. I MISS YOU explores our often isolated and anguished natures and the longing to connect with one another and with Jinen, the life in everything. I MISS YOU exhibits the cycles of seasons and animal life and the incomplete nature of every encounter ... of every love, of every violent act.

Yuko Ota will be performing a solo this night, and teaching workshops in Seattle and Portland. Yuko Ota has spent several years working as Atsushi's assistant, traveling and teaching throughout Europe. She is one of the principle dancers in Atsushi's company, Globe JINEN.

Death Posture recently traveled to Italy for a four-week intensive workshop with their teacher, Jinen Butoh master Atsushi Takenouchi. He describes Jinen:

'Jinen is an old Japanese word. Its meaning encompasses ALL that is even larger than nature.

Jinen is ALL, Jinen Butoh is a life force that dances with ALL.
Jinen ... is the swirl of the River of the Universe that embraces all life and death, light and dark..
Sea, mountain, grass and trees, even machine, car, gasoline, computer---they do not belong to people.
They are already alive. Even our body is not ours. We are simply lives facing one another -- so we resonate, rebel, grow angry , cry, laugh, and dance with them. All of them are JINEN.
Jinen Butoh is to join together with all the life that are already dancing, to dance with the flow of the universe that is Jinen. We remove the wall of consciousness that perceives dance as the individual ' I 'dancing. We are dancing with, and are danced by , the Jinen, accepting all the environment and conditions around us as Jinen.


www.myspace.com/deathposture www.deathposture.org http://people.tribe.net/deathposture-alexruhe http://inthedeepmuseum.com/ http://maia-arts.com/music/ http://www.xaxiswye.com/noisepoetnobody/home.htm www.myspace.com/billhorist http://www.myspace.com/voxvespertine





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Monday, August 25th, 2008
10:19 am - Yuko Ota Northwest Workshops of Butoh, sept, oct 08

alexruhe
Greetings Creatures, Dancers, Musicians,

Vanessa and I are making arrangements for our Jinen Butoh dance compatriot

Yuko Ota

to come across the waters ... to dance with all of us, and make workshops. Her time frame to be in the North West is

Sept 12 - October 26.

It is pretty rare and exciting that we get an opportunity to work with someone for so long a time ... but I know that it is really short notice. I really hope that we will find a way to share and work and dance with as many of you as possible.


We have one Seattle Workshop already set ... and we are working to plan for Portland and other places (Port Townsend, Vancouver, and..?).

Please let me know as soon as you can if you would like to participate.

So, WORKSHOPS!

YUKO OTA
Northwest Workshops of Jinen Butoh
fall 2008
Workshops will be for up to 15 people.

Seattle:
October 10, 11, 12
M’Illumino Studio
6921 Roosevelt Way NE
Seattle WA 98115
Friday, Oct 10: 5-9pm; Saturday, Oct 11: 10am-5pm; Sun, Oct 12: 3-8pm
Price: $175.00 3 days. $60.00 for Friday

Please Register Early to Reserve Workshop Space! JA!

To do this, write to Me (Alex) at
alexanderuhe8@gmail.com or call Vanessa 206 697 3855
and
Send Checks to
Alex Haverfield (who is that? I don’t know.)
2207 A East Terrace St
Seattle WA 98122

a $50.00 registration/promise/pact thing to hold your spot is OK!
If you have strong interest in an earlier workshop as well, write me this in your mail, and I will work towards making that happen.

Portland,
Vancouver,
Port Townsend and ? To Be Announced...

To Portland People:
We will be performing with Noah Mickens & Nequaquaam Vacuum, Bill Horist and maybe Power Circus, maybe Soriah, on September 20 (sat) or 21 (sun)
This is very short notice for a workshop, but we can probably organize one with Mizu Disierto at her new space.
If you would like to do Sept 19-21 Fri, Sat, Sun workshop, or Sept 20, 21 Sat, Sun workshop, please write me right away. If I can get about 10 people, I can work to confirm this ... and it is possible that we could come back for a second week in October. Otherwise, We try to organize just the workshop for October.

To Traveling people
... if you come from out of town we can probably find a place for you to stay.

To Everyone:
It's more than a month, but still, we don’t get to keep Yuko very long, so we are trying to do as much as possible, with as many people as possible ... if you have an idea for a collaboration, performance, event, etc. please write me (alex) at alexanderuhe8@gmail.com and we can talk about possibilities.


The following information is collected and abbreviated from my discussions with Yuko and Atsushi and from their websites. I hope only to give you a clear first impression of the themes and philosophy of JINEN Butoh, but it is still a lot of information. If you’ve come this far, you have already read the workshop essentials. So, please only continue to read if it feels good to you.

ok, here we go:

INFORMATION ON WORKSHOPS,
ON YUKO
AND ON JINEN BUTOH...

The principles of Yuko’s Butoh stem from the style Jinen Butoh created by Atsushi Takenouchi. She has spent several years working as Atsushi’s assistant and as one of the principle dancers in Atsushi’s company, Globe JINEN. She also has influence from, Yoshito Ohno, Toru Iwashita, Tenko Ima etc. In parallel, from 2003 to 2006 she worked in a French company: Les Transe-Mutants (trans-disciplinary art/dance; afro-Cuban, kathak, martial arts, modern, classic...)

Here is Atsushi’s explanation of Jinen Butoh

Jinen is an old Japanese word. Its meaning encompasses ALL that is even larger than nature.

Jinen is ALL, Jinen Butoh is a life force that dances with ALL.
Jinen ... is the swirl of the River of the Universe that embraces all life and death, light and dark..

Sea, mountain, grass and trees, even machine, car, gasoline, computer---
-- they do not belong to people. They are already alive. Even our body is not ours. We are simply lives facing one another -- so we resonate, rebel, grow angry , cry, laugh, and dance with them. All of them are JINEN.

Jinen Butoh is to join together with all the life that are already dancing, to dance with the flow of the universe that is Jinen. We remove the wall of consciousness that perceives dance as the individual " I " dancing. We are dancing with, and are danced by , the Jinen, accepting all the environment and conditions around us as Jinen.

Atsushi Takenouchi’s Website:
http://www.jinen-butoh.com/


Yuko’s Butoh has a little more of the theatrical element to it than does Atsushi’s (until the performance itself, Atsushi’s work is almost entirely primal, and specific to the practical mechanics of the body and its possible transformations) ... but her Butoh remains that of embodiment, of the forces of nature, and of transformation. During this recent month that we worked together, this time in Italy, I learned so much, and was so inspired and challenged by dancing with Yuko. Like Atsushi, her willingness to be human, to take risks and make mistakes makes it a lot easier to feel like you are learning together. That no one is above the others.

I should say, along with the basic philosophies of Jinen butoh, the communal beliefs that come along with it are very strong. There is a negation of the idea that the teacher is a better person, a better or higher human being ... and in the dance, any body and any style of dance is to be celebrated as long as it pushes itself towards its total meaning -- not acting, but emanating from inside and connecting to the nervous system of the universe.


WORKSHOP DESCRIPTIONS & THEMES
-What is the individual body?
-Is it truly body, which the skin divides the exterior and the interior?
-But, what is the body without skin as border?
-Do we really control our own body with intention?
-Or does something else control us?

-No one exists independently or separately.
-All are in the influence All are always changing the form among relationships with others, with the earth.
-Let’s manifest the nature that is already with us.
-Let’s dance the life in transforming from one form to another.

BODY TRAINING
-Mixed practices, including Yoga and Noguchi gymnastics.
-Recovering body which resonates wholly by the observation of one part of body and of the rest which are always connected to this part, and also body which follow the external force: gravity

IMPROVISATION
-Research on the starting point of the movement and the reason by dancing various existences of the life, natural elements and conditions
-How and why do they move, wave, wind, fire, grass, baby, stone, tree, bird, cat, and sneak…?
-How and why does the body move, in sorrow, in anger, in joy, in love, in despair, in bad weather, in intense heat or severe cold…?

Workshop Skills
WALKING
-Balance
-Neutral walk which doesn’t have a meaning
-Walk changing with mental images
-Walking by transferring your weight.
-Life walking, Death walking.
-Walking in the various situation with restriction.

FEELING INTERIOR & EXTERIOR WORLDS
-The way of body operating to make the movement come out from inside.
-Sketch the things in the nature world like living life, animal, natural material by body properly.
- one cycle of an embryo, a baby, a child, an adult, an old man.
- an insect, a beast, trees, grass, a flower.
- a gas, a liquid, a solid, gel, amoeba, an organism, minerals.
-Capturing a conscious movement and an unconscious movement as a dance.
-Dance a fragmented dream.
-Gravitation and floating.
-Various sound and body expression, voice.
-Dance the seasonal body of your own.
-The process of the metamorphosis.
-The dance by organic and inorganic contact with other life.
-How we can be desperate.
-A collaboration and an improvisation by body and sound.
-Find out your own expression coming from your emotion with focusing on really personal things which is inside of you.


“My dance is never anti conventional dances.
If anything, it is the extension of human being’s idea
and my fundamental principle of butoh is
on the discovery of the possibility
to metamorphose human body into all,
including animal, plant and object without life.”
--Tatsumi Hijikata


Biographical Sketch of Yuko Ota:

Dancer living between Japan and Europe.
She is born in 1977 in Fukuoka (Japan).
In 1999, she encounters butoh in a workshop of Atsushi Takenouchi
in Kyoto to where she had moved for her studies on
French language. She was deeply touched by butoh and discovered
the world of dance. Since, she followed lessons and
workshops of several masters of butoh : Yoshito Ohno, Toru
Iwashita, Tenko Ima etc.
She takes a part, essentially as dancer and assistant, of the
company Globe JINEN directed by A. Takenouchi.
In parallel, from 2003 to 2006 she participates to a French
company : Les Transe-Mutants (trans-disciplinary art/dance ;
afro-Cuban, kathak, martial arts, modern, classic...) which she
met in Paris and in which she deepened physical techniques.
Today, she executes her own researches on butoh around the
question about the way to live dance of lives and bodies at the
crossroad of connection with others, in organizing workshops
of butoh in the same way as solo performance.

Yuko Ota’s Website:
http://millenary-euphoria.net/



Yet more information...?
I will whisper for you
alexanderuhe8@gmail.com

www.myspace.com/deathposture www.deathposture.org http://people.tribe.net/deathposture-alexruhe http://inthedeepmuseum.com/ http://maia-arts.com/music/ http://www.xaxiswye.com/noisepoetnobody/home.htm www.myspace.com/billhorist http://www.myspace.com/voxvespertine

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Monday, June 9th, 2008
4:38 pm - Paul, butoh danser from Poland

margary




We often go to forest near school.
Today's teacher was pine seed.
They are carryed by wind, and fortunately some seeds which grounded at the tiny gap of rock are able to survive.
But which shape could they ground is unkown, sometimes head is bottom, sometimes another position they may ground by chance.
The first position will decide their first constelation in life at all.
The rocks are like the parents for us. we could not choose them, but the first position between huge rocks decides our inner constelation deeply during our whole lives.

It is so clear if it is possible, it's better to initialize the first accidental condition at all. Then we can live new life freely without binds of accidental conditions.
It is clear, but it is not so easy. We need to dance the first constelation of life again and again untill we will feel that it is stupid to be bound by the accidental condition. Then we can release from our own accidental conditions of life.

The term of "Constelation" is by C.G.Jung.
It means a condition of inner qualia stream which resonates with outer qualia stream. Always these two are resonating. Then it often appears as synchronisity which two different things happen together at the same time without real contact. Yes, there are no physical contact. But our life is always resonating with everything, there are neither mystery nor supernatural power like a telepathy, clairvoyance, prescience, extrasensory, and so on. All of them come out from the life resonance.

When we did not notice of life resonance, these misterious archetypes bind us.
We just need to die down thinking and listen in the subtle signal of life sway.

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Tuesday, April 22nd, 2008
9:00 pm - Master Butoh Artist Katsura Kan visits Seattle

insecte
Image Hosting by PictureTrail.com

Performance Tue May 06 CAPITOL HILL ARTS CENTER 1621 12th AV door-7:30, show-8pm

Workshop Fri May 02 and Sun May 04 from 6-9m Chamber Theater (vVelocity studio 2) 915 E Pine

For more info, please see attachment or contact Douglas 206-271-4541

Please feel free to forward this to anyone who may be interested

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Tuesday, August 14th, 2007
2:25 pm - Looking for exercises

faerieboy
I've just recently encountered Butoh and am utterly in love. Alas the closest school is almost two hours away and in another country. So until I can arrange my affairs to go study in Toronto, my self and a few others are looking for exercises and writings to help us direct our selves in performance. I found an earlier post that outlines a few and was hoping for a few more.

Love.
Potter.

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Tuesday, April 10th, 2007
2:10 pm - butoh in Russia

breck403
Hello again,

Here is an interesting story about a butoh performance in St. Petersburg that I thought was worth sharing:

http://www.sptimesrussia.com/index.php?action_id=2&story_id=21168

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Thursday, March 1st, 2007
10:34 am - Unetsu DVD

breck403
Greetings,

Thought I would pass on this link re: one of my favorite butoh groups, Sankai Juku.

http://www.io-factory.com/unetsu.htm

I just viewed my copy of the DVD this week and it is an astounding piece of work. There is also an interview with Ushio Amagatsu included. Highly recommended!

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Friday, October 6th, 2006
1:06 pm - Diego Piñon

tabristheangel

Hello, everyone.

What follows are some reflections on exercises from Diego Piñon's October 2006 butoh workshops in Chicago, IL (through Blushing Poppy Productions).





The OxCollapse ) 


I can't wait for the weekend intensive to begin tomorrow - I hope some of you will be able to come and participate.

Warm regards,
Ben in Chi



current mood: thirsty

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Friday, September 8th, 2006
6:16 pm - yay youtube!

rachelbutoh

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Friday, July 14th, 2006
1:54 pm - edits and cuts and fun

rachelbutoh

grand rapids festival of the arts  street performance  butoh!

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Tuesday, July 4th, 2006
2:46 pm - ashville nc....

rachelbutoh

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Friday, June 23rd, 2006
5:02 pm - youtube is a great resourse

rachelbutoh
apparently i have lost my mind and decided to place every bit of butoh footage i have on youtube.  there is also rare footage of ohno and hijikata and byakko sha on some crazy japanese tv show that looks like american idol via 1986.  go here  this will take you to all this stuff.   you tube is a great way to find footage of butoh from around the world.  let's all share!

rachel butoh

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