Butoh - Butoh Exercises

Butoh Exercises

Most butoh exercises use image work to varying degrees: from the razorblades and insects of Ankoku Butoh, to Dairakudakan's threads and water jets, to Seiryukai's rod in the body. There is a general trend toward the body as "being moved," from an internal or external source, rather than consciously moving a body part. A certain element of "control vs. uncontrol" is present through many of the exercises.

Looked at from completely scientific standpoint, this is rarely possible unless under great duress or pain but, as Kurihara points out, pain, starvation, and sleep deprivation were all part of life under Hijikata's method, which may have helped the dancers access a movement space where the movement cues had terrific power. It is also worth noting that Hijikata's movement cues are, in general, much more visceral and complicated than anything else since.

Most exercises from Japan (with the exception of much of Ohno Kazuo's work) have specific body shapes or general postures assigned to them, while almost none of the exercises from Western butoh dancers have specific shapes. This seems to point to a general trend in the West that butoh is not seen as specific movement cues with shapes assigned to them such as Ankoku Butoh or Dairakudakan's technique work, but rather that butoh is a certain state of mind or feeling that influences the body directly or indirectly.

Hijikata did in fact stress feeling through form in his dance, saying, "Life catches up with form," which in no way suggests that his dance was mere form. Ohno, though, comes from the other direction: "Form comes of itself, only insofar as there is a spiritual content to begin with."

The trend toward form is apparent in several Japanese dance groups, who merely recycle Hijikata's shapes and present butoh that is mere body-shapes and choreography which would lead butoh closer to contemporary dance or performance art than anything else. A good example of this is Torifune Butoh-sha's recent works.

A paragraph from butoh dancer Iwana Masaki, whose work shies away from all elements of choreography.

I have never heard of a butoh dancer entering a competition. Every butoh performance itself is an ultimate expression; there are not and cannot be second or third places. If butoh dancers were content with less than the ultimate, they would not be actually dancing butoh, for real butoh, like real life itself, cannot be given rankings.