Routledge Companion to Butoh Performance

Bruce Baird is Associate Professor of East Asian Languages and Cultures at the University of Massachusetts Amherst, USA.Rosemary Candelario is Associate Professor of Dance at Texas Woman's University, USA.

• List of figuresList of contributorsAcknowledgements A note on Japanese names and wordsIntroduction: dance experience, dance of darkness, global butoh: the evolution of a new dance form - Bruce Baird and Rosemary CandelarioSection 1: Butoh instigators and interlocutors1. 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 Michio3. 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 Ono7. 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 Jansen13. 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 Rodman15. 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 Marenzi17. Butoh’s remediation and the anarchic transforming politics of the body in the 1960s - Peter Eckersall18. Bodies at the threshold of the visible: photographic butoh - Jonathan W. Marshall19. The book of butoh; the book of the dead - Uno Kuniichi (translated by Bruce Baird)Section 2: The second generation20. "Open butoh:" Dairakudakan and Maro Akaji - Tomoe Aihara (translated by Robert Ono)21. Growing new life: Kasai Akira’s butoh - Megan V. Nicely22. Light as dust, hard as steel, fluid as snake saliva: the Butoh Body of Ashikawa Yoko - SU-EN23. The expanding universe of butoh: the challenge of Bishop Yamada in Hoppo Butoh-ha and Shiokubi (1975) - Kosuge Hayato24. Murobushi Kō and his challenge to butoh - Katja Centonze25. Oscillation and regeneration: the temporal aesthetics of Sankai Juku - Iwaki KyokoSection 3: New sites for butoh26. "Now we have a passport": global and local butoh - Rosemary Candelario27. 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'Orazi29. German butoh since the late 1980s: Tadashi Endo, Yumiko Yoshioka, and Minako Seki - Rosa van Hensbergen30. SU-EN Butoh Company - body, nature, and the world - SU-EN31. Butoh in Brazil: historical context and political reenactment - Christine Greiner32. 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 Flournoy34. LEIMAY, CAVE, and the New York Butoh Festival - Ximena Garnica35. Iraqi Bodies’ The Baldheaded: "butoh"-inspired Iraqi contemporary performance - J Dellecave36. "We need to keep one eye open ...": approaching butoh at sites of personal and cultural resistance - Jeremy NeideckSection 4: Politics, gender, identity37. Butoh's genders: men in dresses and girl-like women - Katherine Mezur38. Death rituals and survival acts: Hata-Kanoko’s "butoh action" and alternative inter-Asian transnationalism - Chiayi Seetoo39. When the "revolt of the flesh" becomes political protest: the nomadic tactics of butoh-inspired interventions - Carla Melo40. Butoh beyond the body: an interview with Shakina Nayfack on transition, evolution and the spirit at war - Jacquelyn Marie Shannon41. Critical Butoh and the colonial matrix of power - Miki SeifertSection 5: Pedagogy and practice42. The daily practice of Hijikata Tatsumi’s apprentices from 1969 to 1978 - Caitlin Coker43. Butoh pedagogy in historical and contemporary practice - Tanya Calamoneri44. Waguri Yukio’s Butoh Kaden: taking stock of Hijikata’s butoh notation - Rosa van Hensbergen45. A flower of butoh: my daily dance with Ohno Kazuo (1995-2012) - Maureen Momo Freehill46. On and through the butoh body - Katherine Adamenko47. My Dairakudakan experience - Julia A. Vessey48. Butoh as an approach to performance in South Africa - jackï job49. Wrecking butoh: dancing poetic shores - Bronwyn PreeceSection 6: Beyond butoh50. Tanaka Min: the dance of life - Zack Fuller51. Body Weather Laboratory Los Angeles: an interview with Roxanne Steinberg and Oguri - Joyce Lu52. The cinematic forms of butoh films - Aaron Kerner53. Locus solus - locus fracta: butoh dance as protocol for visual self-representation - Lucile Druet54. Ohno Kazuo’s lessons for a French choreographer: Ô Sensei by Catherine Diverrès - Miyagawa Mariko55. Michael Sakamoto and the breaks: revolt of the head (MuNK remix) - Michael Sakamoto56. Burn butoh, start again - Shinichi Iova-KogaIndex