1st Edition

Hijikata Tatsumi and Ohno Kazuo

By Sondra Fraleigh, Tamah Nakamura Copyright 2018
    194 Pages
    by Routledge

    194 Pages
    by Routledge

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    Now re-issued, this compact book unravels the contribution of one of modern theatre’s most charismatic innovators. Hijikata Tatsumi and Ohno Kazuo combines:

    • an account of the founding of Japanese butoh through the partnership of Hijikata and Ohno, extending to the larger story of butoh’s international assimilation

    • an exploration of the impact of the social and political issues of post-World War II Japan on the aesthetic development of butoh

    • metamorphic dance experiences that students of butoh can explore

    • a glossary of English and Japanese terms.

    As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today’s student.

    PREFACE TO 2018 RE-ISSUE, Sondra Fraleigh



    Kaze Daruma: the origins of butoh

    Hijikata’s butoh

    Nature, mud, and butoh morphology

    Butoh alchemy in global circulation

    Hijikata: a corpse standing desperately upright

    Yoneyama Kunio

    Studying Neue Tanz

    The drug of Ohno


    New names

    Dancing life: Ohno Kazuo

    Born to dance

    Together and apart

    Together again

    Ohno’s international stage

    Ohno is a bridge

    Butoh, community, and healing



      The criminal and the fool: writing/living darkness

      Body as spirit: writing/speaking the butoh body

      Being a corpse

      Hijikata’s butoh-fu: what is an image?

      Words that dance: Ohno’s images

      Spiritual darkness: inside Ohno’s studio and Konpaku

      How Ohno prepares: words for the speech of the body

      The Ishikari river’s hooked-nose salmon

      Body as universe: Kazuo and Yoshito speak of love and care



      Two butohists: why they dance the way they do

      Dance as experience: shedding the social body 

       Challenging modernization

      Kinjiki (Forbidden Colors, 1959)

      Barairo Dansu (Rose Colored Dance, 1965)

      Nikutai No Hanran (Rebellion of the Body, 1968) 

       Note on Natsu No Arashi (Summer Storm, 1973)

      La Argentina Sho (Admiring La Argentina, 1977)

      Suiren (Water Lilies, 1987)

      Interview with Ohno Yoshito – on Suiren

      The future of butoh



    Introduction to metamorphic explorations

    Nakajima Natsu: becoming nothing/ becoming something

    Ohno Yoshito: the patience of not starting

    Yoshioka Yumiko: body resonance

    Morita Itto and Takeuchi Mika: psychosomatics of butoh

    Takenouchi Atsushi’s Jinen Butoh

    Frances Barbe and the practice of butoh-fu

    Harada Nobuo: butoh is everything

    Waguri Yukio and Butoh-Kaden CD-Rom

    English glossary of terms Japanese glossary of terms


    Sondra Fraleigh is Professor Emeritus of dance and somatic studies at the State University of New York at Brockport. She chaired the Department of Dance at SUNY Brockport and has been a Faculty Exchange Scholar for the State University of New York. Her innovative choreography has been seen in theaters in New York, Germany, and Japan, and she is often a guest lecturer in Europe, America, and Asia. Fraleigh is the founding director of Eastwest Somatics Institute for the study of dance and movement therapy, a member school of ISMETA, International Somatic Movement Education and Therapy Association.

    Tamah Nakamura is a professor at Chikushi Jogakuen University, Fukuoka Japan. Her areas of expertise are contemporary Japan, popular culture and gender. Research interests include artistic inquiry, and butoh. She has published articles and presented on butoh in Japan and internationally.