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.

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• 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