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0jima Ichiio in "Banceis in Shaues of Baikness: Photogiaphs by INABA Takushi"
(Kobo, 1998: S2)

34"+ 5"6%, " 7'86 9:+'4;

It is often stateu that butoh cannot be uefineu oi that it uefies uesciiption (Baiiu,
2u12:1). Any attempt to pin it uown with the inauequacy of woius woulu be
consiueieu countei to its philosophy. In spite of this belief, many piactitioneis -
myself incluueu, continue the excavation into its uepths not to uestioy its
inheient mysteiy, but to sheu light on what it is we uo. In as fai as it is possible,
this pioject is my attempt to uncovei a set of coie elements of butoh that help
uefine its essence
1
.

Ny own peisonal expeiience of woiking with seveial butoh masteis in Tokyo
anu pievailing uesciiptions of peifoimance anu piactice ieveal a bioau,
inueteiminate spectium of aesthetic styles. Theie seems to be little consensus,
much confusion anu cuiiosity aiounu how a butoh aesthetic, if such a thing weie
possible, might be constituteu.

In an attempt to iuentify what featuies of butoh uistinguish it fiom othei genies
of uance, I began with my own hypothesis that at the heait of all butoh piactice
lies thiee basic piinciples: tiansfoimation, being moveu anu the empty bouy.
Tiansfoimation is a teim useu to uesciibe metamoiphic piocesses in the bouy,
which aie peipetually changing, nevei fixeu anu always in a position of
instability. 'Being moveu' iefeis to the way in which the uancei is contiolleu by
unseen foices eithei insiue oi outsiue the bouy, as opposeu to hei being moveu
by hei own will. These foices aie uiiven by image. It is a commonly helu belief
among expeiienceu butoh piactitioneis that in oiuei to piepaie the bouy foi

1
By essence heie, I mean that which uistinguishes butoh fiom any othei genie of uance, anu
which will foim the coie of its philosophy.
4
ieceiving anu iesponuing to images, establishing a state of emptiness in the bouy
fiist is ciucial. Bowevei, this state is fai fiom being 'empty', but is full of potential
anu ieauiness to become something, oi iathei anything; a necessaiy state befoie
tiansfoimation can occui. These thiee coie elements pioviue a founuation foi
skills tiaining.

In this essay, theie aie S chapteis. The fiist begins with an examination of my
own emeiging tiaining methouology uevelopeu thiough a seiies of public
woikshops conuucteu ovei the couise of two yeais. The content of my
woikshops is uiawn fiom thiee intensive yeais of stuuy in }apan with esteemeu
masteis of butoh: 0hno Yoshito, Natsu Nakajima, Waguii Yukio, Seisaku anu
Nagaoka Yuii anu the long-stanuing, Tokyo-baseu butoh company,
Baiiakuuakan, leu by founuei Akaji Naio. Last but not least, I also uiaw on my
long time expeiience with the Biisbane-baseu physical theatie company, Zen Zen
Zo
2
whose co-founuei, Lynne Biauley (along with Simon Woous) fiist intiouuceu
me to butoh anu to whom I am inuebteu foi nuituiing my inteiest anu pioviuing
oppoitunities to exploie. In my analysis, I focus specifically on the thiee
piinciples of tiansfoimation, being moveu anu the empty bouy.

While these thiee coie elements lay a founuation foi skills tiaining, I am also
intiigueu to know how they may be effectively applieu in peifoimance anu what
theii impact is on an Austialian auuience. Foi the puiposes of this ieseaich, I
engageu in a cieative uevelopment piocess with an ensemble of Austialian
women foi the uuiation of a yeai leauing towaius a peifoimance stageu in a
populai theatie venue. Suiveys weie given to spectatois to fill out anu a Q & A
session helu aftei one of the foui peifoimances in oiuei to gauge auuience
iesponse. Chaptei 2 pioviues an analysis of the peifoimance. To assist me with
this analysis, I uiaw on the woik of Eiika Fischei-Lichte anu hei book, B%*
B6-+(<$6)-#'?* E$.*6 $< E*6<$6)-+/*F > +*. -*(#%*#'/( GH$"#8*5,*; IJJKL0

In the thiiu chaptei, I use Fischei-Lichte's 'aesthetics of the peifoimative' to
fuithei examine tiansfoimation, especially fiom the peispective of the
spectatois. In so uoing I stiive to finu a means by which I can aiticulate my own
emeiging aesthetic of butoh. I stiess the fact that this is $+* view as it ieflects
my own peisonal aesthetic baseu on my fiist hanu expeiience of extenueu stuuy
in }apan, teaching my own butoh woikshops in Austialia anu the cieative
uevelopment piocess leauing to peifoimance cieation.


2
www.zenzenzo.com

S
<-!=/>!2/= /=?-=3
9:+'4 @':8A%,

In 198S, when Susan Blakeley Klein was conuucting hei ieseaich foi hei seminal
essay on "Ankoku Butoh: The Piemouein anu Postmouein Influences on the
Bance of 0ttei Baikness" (1988), she makes the comment that theie was a
"paucity of mateiials in English" fiom which she coulu uiaw. This has changeu to
some uegiee - though still we cannot say theie is an abunuance, as a quick
ieview of books publisheu about butoh since will ieveal.

In hei fiist chaptei, Klein lays uown a soliu founuation of the oiigins anu
histoiical context of Ankoku Butoh, which is also the staiting point of anothei
seminal book, consisting piimaiily of photos anu publisheu aiounu the same
time, "Butoh Shaues of Baikness" by }ean viala anu Nouiit Nasson-Sekine
(1988). Since these humble beginnings, anu the uncoveiing of moie infoimation,
piolific wiitei on butoh, Sonuia Fialeigh (1999, 2uu4) along with co-authoi,
Tamah Nakamuia (2uu6) offei a gieatei in-uepth examination of the oiigins of
butoh, incluuing its inteinational spieau. It is not my intention in this essay to
pioviue oi auu to the alieauy existing accounts of the biith of butoh, which has
been thus fai auequately auuiesseu in the souices mentioneu.

Klein goes on to intiouuce the ieauei to the butoh aesthetic anu a selection of
coie techniques, while othei authois mentioneu tenu to tuin theii attention next
to an acknowleugment of the two men wiuely iegaiueu as being instiumental to
the uevelopment of butoh, namely Bijikata Tatsumi, "The Aichitect of Butoh"
(viala & Nasson-Sekine, 1988) anu 0hno Kazuo, "The Soul of Butoh" (ibiu).
Though it is cleai that butoh coulu not have come into being without the
collaboiation of these two uiffeiing peisonalities (they aie iefeiieu to as
"aesthetic associates" by Sonuia Fialeigh, 2uu6:24), theii iespective ioles aie
now moie cleaily uefineu. Bijikata is poitiayeu in moie iecent publications as
being the cieatoi of butoh, while 0hno is iegaiueu as a co-collaboiatoi, as well as
being laigely iesponsible foi its spieau inteinationally.

Bijikata Tatsumi is the main subject of books by Stephen Baibei (2uuS) anu
moie iecently Biuce Baiiu (2u12), both taking an histoiical peispective of the
man, the main influences of the uevelopment of his butoh uance thiough
significant peiious of his life anu some of his majoi woiks. Baiiu in paiticulai
offeis to uate the most uetaileu uesciiptions anu analyses of Bijikata's key
peifoimances, incluuing his giounu-bieaking solo, M'9':-#- B-#(")' -+5 N-7-+*(*
E*$78*F H*3*88'$+ $< #%* !$54. In fact, it is these uesciiptions that may point to an
appieciation of wheie the iange of uiffeiing styles that exist touay might have
oiiginateu. Cuiiently, theie is only one book in English ueuicateu solely to 0hno
Kazuo, "Kazuo 0hno's Woilu: fiom without & within" by Kazuo 0hno anu Yoshito
0hno. It is uiviueu into two paits: the fiist consists of a seiies of inteiviews with
his son, 0hno Yoshito, anu the seconu, a gatheiing of his inspiiing woikshop
woius, both tianslateu into English by }ohn Baiiett (2uu4). I often iefei to this
section of the book to inspiie my teaching anu to shaie with my own stuuents in
oiuei to encouiage them to access the 'soul' in theii uance.
6
Theie is a giowing iesouice of publisheu aiticles, uisseitations anu tianslateu
papeis on butoh; two in paiticulai have influenceu my ieseaich anu have
contiibuteu gieatly to my unueistanuing of the butoh aesthetic anu its oiigins.
The fiist is Nakajima Natsu's excellent papei, simply titleu, >+:$:" !"#$%,
ueliveieu as a lectuie in English at Fu }en 0niveisity uecaue confeience on
"Feminine Spiiituality in Theatie, 0peia anu Bance" in Taipei in 0ctobei 1997. I
iefei to this papei often in this essay. The seconu is Catheiine Cuitin's aiticle,
piinteu in the Contempoiaiy Theatie Review, vol. 2u (1), 2u1u, S6-67 entitleu:
"Recoveiing the Bouy anu Expanuing the Bounuaiies of Self in }apanese Butoh:
Bijikata, ueoiges Bataille anu Antonin Aitauu". The uegiee to which these two
Euiopean thinkeis influenceu anu impacteu on Bijikata's conception of butoh is
iemaikably eluciuateu.

Among mateiial on butoh wiitten by }apanese ciitics, the most fiequently quoteu
anu tianslateu in English aie uoua Naiio, Ichikawa Niyabi anu Kuniyoshi Kazuko
who have consistently anu aviuly followeu anu uocumenteu the jouiney of
butoh. uoua was a fiequent attenuei of butoh peifoimances in Tokyo while I was
theie anu Kuniyoshi was a panel speakei at the Inteinational Butoh confeience
helu in Tokyo in }anuaiy 2uu9. Theie aie a few notable contiibutions wiitten by
}apanese acauemics in English. Itto Noiita, a butoh peifoimei, wiites in English
as Toshihaiu Kasai about his expeiience with butoh fiom the point of view of a
psychology acauemic
S
. The two that have gieatly influenceu my own ieseaich
because of theii focus on expeiiential piactice have been Nikami Kayo's
incomplete PhB (1997), "Tatsumi Bijikata: An Analysis of Ankoku Butoh
Techniques" anu Kuiihaia Nanako's PhB thesis: "The Nost Remote Thing in the
0niveise: Ciitical Analysis of Bijikata Tatsumi's Butoh Bance" (Sept 1996). Ny
own piactice-baseu ieseaich pioject comes about as a iesponse to Fialeigh anu
Nakamuia's statement that:
Nost aiticles anu books on butoh aie histoiical oi aesthetic, anu uo not
ueal with R63(- /0 O./93#9". We aie inteiesteu in opening up uialogue
anu ieseaich in this aiea. (2uu6: 1u2)
Anu so am I. To uate, as fai as I know, theie is only one PhB thesis that ueals
specifically with the piactice of butoh in tiaining anu uevising woik anu that is
by Fiances Baibe: "The Biffeience Butoh Nakes: A Piactice-baseu Exploiation of
Butoh in Contempoiaiy Peifoimance anu Peifoimei Tiaining" (}uly 2u11).
0thei souices I uiaw on incluue:
Peisonal inteiviews anu conveisations with butoh aitists anu acauemics
conuucteu anu iecoiueu uuiing a S month peiiou in Tokyo between Apiil
anu }uly 2u1S. Inteiviewees incluue: 0hno Yoshito, Akaji Naio, Waguii
Yukio, Seisaku anu Nagaoka Yuii, anu Noiishita Takashi (heau of the
Bijikata aichive, Keio 0niveisity)
Ny own woikshop notes

S
See "New 0nueistanuings of Butoh Cieation anu Cieative Autopoietic Butoh - fiom
Subconscious Biuuen 0bseivei to Peituibation of Bouy-Ninu System" (2uu9) by Toshihaiu Kasai
on the Butoh uooSayTen website.
7
B4%*'5%*'$'CD
At the heait of all butoh piactice is the pieceuence of the bouy - not as an
expiessive tool foi iueas, but as the bouily living of expeiience, oi as expiesseu
by Noiishita Takashi (heau of the Bijikata aichive in Keio univeisity, Tokyo) in a
peisonal inteiview, the goal of butoh is to "expiess the bouy by means of the
bouy". In taking a closei examination of the bouy, I have been heavily influenceu
(like Sonuia Fialeigh mentioneu above) by phenomenological peispectives. The
authoi who has influenceu anu infoimeu my thinking most in my unueistanuing
anu appieciation of the 'butoh bouy' has been the wiiting by contempoiaiy
}apanese philosophei anu phenomenologist, Ishikawa Biioshi. Bis piemise that
'bouy is spiiit' is cleaily aiticulateu anu tianslateu by Nagatomo Shigenoii in his
book "Attunement Thiough the Bouy" (1992).
>* >%,+4%+EA, '( +4% B%8('85"+EF%
Woiking towaius the aiticulation of a butoh aesthetic, I have founu the book by
Eiika Fischei-Lichte, "The Tiansfoimative Powei of Peifoimance: A new
aesthetics" (2uu8) to be an enlightening guiue. In it, the authoi lays uown a new
set of paiauigms that takes into account the tiansfoimation theatie peifoimance
unueiwent leauing up to anu uuiing the 196us. Accoiuing to Fischei-Lichte, Nax
Beimann, ueiman acauemic anu piolific wiitei on peifoimance theoiization
between 191u anu 192u, initiateu a piocess that uiiecteu theatie towaius what
she labels "a peifoimative tuin". Attention tuineu away fiom the text as a cential
concein in acting to a focus on embouiment. Theatie then became less about
communicating the meaning of a fixeu, liteiaiy text to a laigely passive, but
ieceiving auuience anu moie about expiessing something ieal, with ieal bouies
in space anu time: "a genuine act of cieation" (Fischei-Lichte, 2uu8: S6). 0nuei
these paiameteis, peifoimance of all kinus, whethei text-baseu oi non text-
baseu, weie iegaiueu moie as an event than as a piece of ait. The iole of the
spectatois was essential in witnessing anu iesponuing to this event, which in
tuin woulu eneigise anu ie-invigoiate the peifoimeis. Thus the ongoing
inteiaction between peifoimei anu auuience establisheu what Fischei-Lichte
teims "the autopoietic feeuback loop". As explaineu by Naivin Cailson in the
intiouuction to Fischei-Lichte's book, "autopoietic" is a teim.

.fiist utilizeu by the Chilean biologists Bumbeito Natuiana anu
Fiancisco vaiela to point to the unique self-piouucing opeiations of living
systems. While all othei kinus of machine piouuce something uiffeient
fiom themselves, autopoietic systems aie simultaneously piouuceis anu
piouucts, ciiculai systems that suivive by self-geneiation. (ibiu: 7)

The authoi emphasises its function anu significance to peifoimance in the
following quote:

The feeuback loop as a self-iefeiential, autopoietic system enabling a
funuamentally open, unpieuictable piocess emeigeu as the uefining
piinciple of theatiical woik. (Fishchei-Lichte, 2uu8: S9)

In chaptei 2 anu S of this essay, these iueas will be fuithei exploieu.

8
)4"G+%8 HI !8"E*E*C

Buiing a woikshop I attenueu in Tokyo in }uly 2u1S with Waguii Yukio (a long-
time membei of Bijikata's Ankoku Butoh company), he openeu his woikshop
with this intiouuction: when somebouy says, "I've been leaining butoh", what
uoes that actually mean. What have they been leaining. What uoes it look like.
If a peison was to say the same thing about classical ballet, "I've been leaining
ballet", instantly we get a cleai image of what is being leaint. Theie is a
iecognizable foim anu aesthetic that we can pictuie. With butoh, howevei, theie
is no such unifoimity. If you have stuuieu with Baiiakuuakan, oi 0hno Yoshito oi
the Bijikata methou, each will be uistinct anu look veiy uiffeient. Foi example,
some uanceis use white bouy paint, anu some not. Some weai costumes while
otheis aie almost nakeu. Some uanceis move in a way that can only be uesciibeu
as twisteu, contoiteu anu giotesque, wheieas otheis may uance in a style that is,
slow, seiene anu sublime. So, what is it we aie leaining. Be ieiteiateu the
comment that is so often stateu among piactitioneis: butoh is veiy uifficult to pin
uown anu say what it is. 0ltimately, you have to finu it foi youiself - finu youi
own butoh.

This is an attempt to uncovei my own butoh. This chaptei will examine
impoitant elements of butoh tiaining, which I have iuentifieu as being necessaiy
foi laying uown a founuation of skills peitinent to peifoimance. It will not only
iuentify the skills but also explain some possible methouologies foi ueveloping
them. The oiiginal souice of all tiaining exeicises incluueu heie will be
acknowleugeu.

Nikami Kayo - a foimei stuuent of Bijikata's towaius the enu of his life - quotes
Bijikata as saying:

I'm tiying to finu out a way to metamoiphose the human flesh to anything
else incluuing animals anu plants as well as lifeless mateiials. B%'( '( )4
<'6(# 76'+/'78* $< !"#$% (my italics). (1997: 86)

Essentially then, a tiaining methouology foi butoh is going to be fiist anu
foiemost tiaining foi tiansfoimation. It is not by chance Bijikata uses the teim
'human flesh' heie. The flesh is a mateiial like any othei. The thin veil of the flesh
- once uissolveu with the imagination - can become the fui of an animal hiue,
scales of a fish oi ieptile oi the baik of a tiee. To peiceive one's flesh anu bouy as
mateiial anu allow that mateiial to be alteieu by the suggestion of image, anu
then to fill it with 'spiiit' is on the way to the 'becoming' bouy (Nikami 1997:
119) anu piimeu foi tiansfoimation.

34"+ E, 5%"*+ #D +8"*,('85"+E'*;
Klein (1988: S8) offeis a simple uefinition: "the tiansfoimation of one's bouy anu
spiiit into the bouy of anothei animal oi peison".
Fiist, it is cleai that the bouy tiansfoims '+#$ something. Nembeis of the gioup,
Baiiakuuakan, often woik with ',-#- )"oi 'moulu'. This is wheie the bouy
9
assumes a pie-ueteimineu shape of a peison (a chaiactei, such as an olu peison)
oi animal (a mythical beast) anu then moves in that shape. The foim of the
cieatuie oi human may be fixeu, but the ait of the uancei is to fill the foim with
spiiit - oi life foice.
It is not only the foim of animate objects that aie assumeu: elemental qualities
such as watei, oi smoke aie also common, piesenting the bouy with specific
coipoieal challenges. Challenges not only in teims of physicality (how uoes a
bouy maue of bones, muscle anu oigans uissolve to assume the quality of
smoke.), but also filling the image with so-calleu 'spiiit' - what is the spiiit of
smoke.
As well as tiansfoiming '+#$ something oi somebouy, theie is the tiansfoimation
$< something; namely - the suffeiing we expeiience. Accoiuing to 0hno Kazuo,
the hiuuen wounus of the heait pioviueu a souice of inspiiation that coulu
"ieach the iealm of poetiy which only the bouy can expiess."(Nasson-Sekine;
1988: 176). Some butoh piactitioneis anu acauemics aie inteiesteu in the link
between tiansfoimation in butoh anu the healing tiansfoimation of shamanism
4
.
Ny own investigation is moie ielateu to the peifoimative anu inspiieu by
Bijikata whose aim "to bieak thiough the shell foimeu by social habits" (ibiu: 64)
leu him on a ueep excavation of the bouy. Bis expiesseu puipose was to ieveal
the hiuuen - that which has been lost oi foigotten, anu biing to light the
authenticity of the bouy itself. Foi him, the authentic bouy involveu "the
unveiling of (his) innei life" (ibiu: 18S) to ieveal to oneself that which is not
appaient to oneself.
Tiansfoimation in butoh is uiiven by image, but not image alone. Seisaku - one
of Bijikata's stuuents in his latei yeais anu a teachei I stuuieu with - stiesseu the
impoitance of 'expeiience' ovei image. Be maue a uistinction between images
that feu the minu with stimuli anu a bouy moveu by sensoiy expeiience. Foi
example, in a woikshop exeicise in which the bouy is being moveu by winu, he
woulu fiist get stuuents to woik in paiis. They woulu take tuins to blow each
othei to evoke the feeling of winu on the bouy. Fiances Baibe in hei PhB thesis
wiites:
What we call "images" in butoh aie not puiely visual phenomena. They
neeu to be consiueieu foi all theii sensual anu textuial qualities, such as
sounu, tempeiatuie, motion, shape oi taste. (2u11:1SS)
Similaily, Fialeigh (2u1u: 4S) talks about 'inhabiting' an image in oiuei to
become something oi somebouy, iathei than just holuing an image in the minu.
This stiesses the 'liveu expeiience' of the image.
Bijikata uevelopeu a unique system of uance notation, iefeiieu to as 3"#$%O<".
Aiguably, it is the uevelopment of this methou uuiing a foui-yeai hiatus fiom
uancing in the peiiou fiom 1968 to 1972, anu then its subsequent application in
his choieogiaphy, that soliuifieu his aesthetic anu fiimly establisheu >+:$:"

4
See Fialeigh 2u1u: pp.12-1S foi hei inteipietation of the ielationship between shamanism anu
butoh.
1u
!"#$% as a ciitically acclaimeu ait genie.
S
Butoh-fu iecoius uance thiough the
wiitten woiu in uesciiptive, poetiy-like, suiieal images that pioviue
piovocations foi the bouy. The uancei continuously moiphs fiom image to image
- the bouy in a constant state of flux: "in states of becoming anu only seluom in
states of aiiival" (ibiu: 4S). The images uefy the iational in oiuei to - as Bijikata
so eloquently uesciibeu, "sheu the skin of oui bouy that has been tameu anu
uomesticateu". Fialeigh suggests that in oiuei to achieve this metamoiphosis,
the uancei neeus "an elastic bouy-minu" (Fialeigh 2u1u: 48); while Nakajima
Natsu- a fiist geneiation butoh aitist - claims that what unueipins the uancei's
ability to tiansfoim is the philosophical belief that man is not sepaiate fiom
natuie, but is "an entity in union with the univeise" (Nakajima 1997: 4).
Akaji Naio
6
, the founuei of the long-stanuing butoh gioup Baiiakuuakan, hau the
most cleaily aiticulateu guiuing piinciple foi the tiansfoimation of the bouy. Be
calls this piinciple: /%"#-' );/;(foim+ conuitionspace bouy). Basically,
theie aie two ways in which the bouy may be tiansfoimeu: the fiist );(foim+
conuition) is uesciibeu as 'the bouy possesseu by something oi somebouy'
7
.
Beie, the image emeiges insiue the bouy, beginning to move it fiom within
befoie manifesting on the outsiue. This piinciple is also iefeiieu to as '+('5* $"#,
inuicating the movement's uiiectionality. The seconu methou (space bouy ;),
the bouy is pait of the space aiounu it, iequiies the uancei to completely subveit
the 'noimal' oiuei of things by imagining the bouy as empty while the aii
suiiounuing it has substance, volume anu giavity. Foices anu images emeige
fiom the 'substantial aii' anu act upon the bouy moving it in vaiious ways fiom
the outsiue. These foices can also invaue the empty bouy anu tuin it into
something unknown, unceitain. This is also calleu $"#('5* '+. Awaieness of this
as a technique pioviues a moie auvanceu peifoimei a goal to woik towaius in
aiming foi specificity wheie the insiue image contiasts with the outsiue; foi
example, stone on the insiue moving thiough watei on the out. Incieasing the
numbei of images, oi incluuing an ',-#- )"(mentioneu above) can fuithei auu
to the challenge, such as tigei of stone leaping thiough flames.

!4% #'JD 8%"JD +' #%A'5%
Befoie any tiansfoimation of the bouy can occui, many butoh aitists agiee that
establishing a paiticulai state of ieauiness fiist is ciucial. Theie is less agieement
aiounu what to call this state: some call it the empty bouy (Nakajima Natsu,

S
Baiiu (2u12: S9) suggests that Bijikata may have felt challengeu by an essay wiitten by
novelist, Nishima Yukio in which he states that "compaieu with the language of wiitten
chaiacteis, the language of the human bouy is significantly iestiicteu". Peihaps Bijikata, thiough
this methou, achieveu his life goal of finuing a means by which he coulu "expanu the expiessive
ability of the bouy" (ibiu).
6
Akaji was foimally an actoi anu co-founuei of the avant-gaiue theatie company }okyo uekijo
(Situation Theatie) in 1964 with ienowneu actoiuiiectoi, Kaia }uio unuei the stiong influence
of Bijikata Tatsumi. Though a leauing actoi in the company, Akaji left in 1972 to foim his own
company, Baiiakuuakan (uieat Camel Battleship) which is a butoh company baseu in Tokyo anu
inteinationally active touay. www.uaiiakuuakan.com
7
Taken fiom woikshop notes pioviueu in English anu wiitten by membeis of the company
unuei the guiuance of the founuei, Akaji Naio.
11
1997); otheis call it the insubstantial bouy, the awakeneu bouy, the tianspaient
bouy.
The choice of name is often connecteu with a belief about what that state entails.
Foi Itto Noiita anu his butoh uance paitnei Takeuchi Nika
8
, they stiive towaius
an alteieu state of minu while uancing. If they aie successful, laige sections of
theii uance aie uifficult foi them to iecall aftei the event. Rathei than empty
bouy, Itto
9
consiueis the phiase "jyunsui keiken" |f{oi "puie expeiience"
taken fiom the wiitings of the Neiji eia philosophei, Nishiua Kitaio, to be a moie
accuiate uesciiption of what the butoh uancei is tiying to achieve. This allows
the uanceis to fully peiceive the moment without inteifeience oi contamination
by theii own thoughts oi piioi expeiience. Accoiuing to Itto, thinking comes
latei, while in the moment of the uance, theie is only awaieness. an amoiphous
expeiience, which is pie-cognition.
Foi Nakajima, it is in this state of emptiness, oi nothingness that images can
emeige anu then move the bouy. This state is fai fiom being 'empty' in actual
fact, but is one full of potential anu ieauiness to become anything. Nakajima
uesciibes it as a "filleu emptiness" (1997: 8). She also uesciibes the achievement
of the state as one of butoh's "invisible techniques" anu veiy uifficult to attain. It
involves a stiipping off oi the peeling away of inuiviuuality anu social iuentity in
oiuei to ietuin to what Bijikata teimeu 'the oiiginal bouy'. 0hno Yoshito in his
woikshops also iepeateuly asks his stuuents to vanish oi uisappeai the self, lose
one's humanity in oiuei to get back to the tiue self. Nakajima auus theie is "a
ceitain special passivity" anu openness to ieceiving in oiuei to be moveu at the
ueepest level. She continues, "the movements geiminate in the ueep centie of
(hei) bouy anu (hei) bouy is moveu" (ibiu). The uance (oi tiansfoimation)
begins "when one enteis into a zone of unconsciousness that is beyonu oneself"
(ibiu).
1u
Lee Chee Keng, who was mentoieu by Nakajima uuiing his masteis
thesis wiiting alluues to this point by summaiizing that "Butoh is not a piouuct
but a methou to uncovei the subconscious" (1998: 18).

B%8(%A+ B",,EFE+D K 9%E*C L'F%J
Nan is not walking, but maue to walk; man is not living, but maue to live;
man is not ueau, but maue to uie.in this peifect passivity, paiauoxically,
natuial, funuamental human vitality must appeai (Bijikata: "To Piison")
11

The notion of 'being moveu' as unueistoou in butoh is anothei of the invisible
techniques mentioneu above. Like the state of emptiness, it is uifficult to achieve.
It is also one of butoh's unique qualities that I believe uistinguishes it fiom othei
foims of uance, such as contempoiaiy oi classical ballet. It is not ielateu to

8
Itto anu Takeuchi aie butoh peifoimeis baseu in Sappoio, }apan wheie they iun a uance
theiapy clinic anu use butoh techniques in theii healing woik. They also holu shoit, intensive
butoh woikshops peiiouically anu offei piivate teaching. Website: Butoh uooSayTen
9
Notes taken fiom a peisonal inteiview anu conveisation with Itto in }une 2u1S
1u
Fiom this uesciiption, it can be seen that this staiting point foi uance is not just a piepaiation
of the bouy but involves a paiticulai minu-bouy state.
11
This tianslateu veision is iecoiueu in the English tianslation of Noiishita's wiiting (Naich
2u1u) "Bijikata Tatsumi's Notational Butoh: sign anu Nethou foi Cieation" (unpaginateu)
12
choieogiaphy, in the sense of uancing the steps that somebouy else has
choieogiapheu. Neithei is it the iuea of 'being lost' in the uance, oi foigetting self
as one is caught up in the ihythm anu flow of movement. Rathei, once a state of
complete passiveness is achieveu (a goal - accoiuing to Bijikata), the bouy is
uanceu, moveu anu uiiecteu by images anu foices seemingly beyonu one's own
contiol. Peihaps one conciete way of expeiiencing the bouy being moveu is:
.thiough what Noguchi
12
calleu the "the gou of giavity". In Noguchi's
way, it is not you who moves youi bouy, but the weight of youi bouy that
moves you. (Noiita anu Takeuchi's woikshop woius iepiouuceu in
Fialeigh & Nakamuia 2uu6:126)
As 'being moveu' is consiueieu an invisible technique anu peihaps theiefoie
iegaiueu as a nebulous teim, it is helpful to expeiience the ieality of it fiist
thiough the movement anu weight of one's bouy
1S
. 0nce the expeiience of being
moveu is felt in the bouy, its possibilities may be fuithei exploieu anu expanueu
thiough the use of image.
0ne iecuiiing image that is often useu in butoh is stiings attacheu to eveiy pait
of the bouy, extenuing out in all uiiections anu suspenuing the bouy in space.
They aie iesponsible foi not only suppoiting the bouy, but also foi pulling it in
uiffeient uiiections. The sense of being moveu by an unknown exteinal oi
inteinal souice may also stem fiom an awaieness that youi bouy loses its sense
of connection anu that it uoes not belong to you. Bijikata points to this in his
essay, A'+5 P-6")-
QR
:
The feeling somewheie insiue youi bouy that youi aim is not ieally youi
aim conceals an impoitant seciet. The ioots of butoh aie hiuuen theie
(2uuu: 7S).
Nikami Kayo in uesciibing hei uance expeiiences as a stuuent of Bijikata in his
lattei yeais suggests that 'being moveu' is cultivateu by having "a uespeiate
ielationship" (1997: 11S) with the image, which fully engages the imagination
anu manifests as 'concentiation'. The uegiee to which the uancei can utteily
absoib heiself in the expeiience will have a gieat impact on hei ability to
tiansmit the iuea of being moveu to hei auuience. I will nevei foiget seeing the
uemonstiation of foimei Baiiakuuakan membei, Kobayashi Yuko, in a
woikshop
1S
moving aiounu on all fouis, completely tiansfoimeu into an olu, fiail
animal uespeiately tiying to iemain upiight. We weie all given the same
instiuction, which was to be moveu, allowing the foui pillais of aims anu legs
(cieateu by hanus anu knees in contact with the flooi) to unfix. Yuko's

12
"Noguchi Nichizo (1914-1998) was a high school gymnastics teachei befoie he left to fight in
Woilu Wai II. 0n his ietuin to the uevastation of Tokyo, he appieciateu the peimanency of
natuie anu giavity; these became the basic concepts foi the Noguchi Taiso methou, which
eventually hau a gieat impact on stage, ait, music anu othei fielus in }apan." (Fialeigh &
Nakamuia 2uu6:12S) It also foims one of the essential pillais of Baiiakuuakan's tiaining
methouology anu featuies stiongly in the woik of othei }apanese butoh piactitioneis.
1S
Foi a uetaileu uesciiption of Noiita anu Takeuchi's Aim-stanuing exeicise as a means to
access anu feel the "gou of giavity", see Fialeigh & Nakamuia 2uu6:126-128.
14
An English tianslation of this essay is iepiouuceu in TBR 44, 1 (T16S) Spiing 2uuu, pp 71-79
1S
Peisonal notes taken fiom a woikshop attenueu in }anuaiy 2uu8 in Tokyo
1S
peifoimance in this moment was astounuing; to the point that even hei fellow
company membeis, hei peeis, askeu in amazement how she uiu that. What maue
Yuko's peifoimance so captivating anu 'ieal' was the image she was woiking
with. When askeu what that was, she ieplieu that she was thinking of a small
plastic skeleton - the kinu you see attacheu to a key iing - with all its limbs anu
joints loosely helu togethei. This choice of image completely engageu hei
imagination, allowing hei to become utteily absoibeu in the task which in tuin,
gave us - the onlookeis - the uistinct impiession that hei bouy was not hei own.

!4% 7"D '( +4% F%,,%$
Butoh is an eteinal vessel of emptying anu iefilling.The movement of
becoming empty is the way of the vessel. The butoh uancei is fiequently
ieliveu by what filleu anu ian out of his bouy as a vessel. Bis bouy is
metamoiphoseu to a new one, which is the piesent 'I'. (Nikami quoting
Bijikata, 1997: 14u)
As the above quote implies, theie is a ieal sense that an expeiience is happening
#$ the butoh uancei anu is something beyonu his conscious contiol, but not
beyonu his awaieness. As the piocess of filling anu iefilling occuis again anu
again, the uancei must be ieauy to let go of images in oiuei to allow otheis to
emeige anu take ovei the bouy, tiansfoiming it anew. The uancei becomes a
witness to the evei-moiphing expeiience the bouy is having. Nikami quotes
Ashikawa Yoko
16
who uefineu 'a becoming bouy' as one able "(to sustain) the
state of being uiviueu"(1997: 128). 0ne technique Ashikawa employeu to help
hei uo this was to place imaginaiy eyes eveiywheie in the space looking at hei
fiom a uistance. Kuiihaia Nanako also quotes Ashikawa as auvising hei stuuents
to:
"view youi own absoiption fiom a uistance" (1996: 1u1)
Not only uoes the uancei neeu to iemain completely focuseu anu absoibeu in the
image, but she is also encouiageu to obseive the bouy in action at the same time,
thus maintaining a split focus both inteinally as well as exteinally.

9'JDM5E*J K 9'JDM,G"A%
".we uo not %-?* (a) bouy, but we -6* the bouy." (Ichikawa quoteu in Nagatomo
1992:6)
The iuea of the "embouieu minu"
17
(a iecognition of the unity between
minuconsciousness anu the bouy, in opposition to Caitesian uuality) is peihaps
no longei an anomaly in Westein thinking. To take the aigument fuithei, the
}apanese phenomenologist, Ichikawa Biioshi piesents a case foi 'bouy as spiiit'.
An appieciation of Ichikawa's view of 'the bouy as spiiit' as uesciibeu in English

16
Ashikawa Yoko, oiiginally an ait stuuent, became Bijikata's leauing female uancei. Be
choieogiapheu numeious solo pieces foi hei anu foi hei mainly female company, Bakutobo.
17
Eiika Fischei-Lichte (2uu8: 82-84) pioviues an inteiesting account of the evolution of this
teim fiom both a theatiical anu philosophical peispective with iefeience to the woiks of
uiotowski anu Neileau-Ponty iespectively.
14
by Nagatomo (1992) may sheu some light on how it is possible to conceive of the
bouy 'being moveu' in butoh.

Ichikawa bases his examination of the bouy as it is liveu in uaily life anu how it
appeais to consciousness thiough such activity. In spite of this quotiuian focus,
his insights pioviue much to ieflect on foi butoh uanceis who wish to
compiehenu theii ciaft. Be staits by uesciibing a living stiuctuie, which takes
into account that bouy, minu anu spiiit aie all aspects of it. Be fiist intiouuces
what he calls the subject-bouy. Neithei ielating to the physical oi puiely mental,
the subject-bouy is not objectifieu, but "we live it fiom within, giasping it
immeuiately" (ibiu: 6). It is the basis foi the functioning of conscious activity.
Although it is liveu fiom within, it is not confineu to 'within' as an examination of
bouy-space will ieveal.

Bouy-space is uistance expeiienceu oi felt as qualitative iathei than measuiable.
Ichikawa iuentifies at least thiee uistinct types of bouy-space, which vaiy
accoiuing to spieau anu uegiee of stability. The fiist, innate bouy-space, "ioughly
coiiesponus to the suiface bounuaiy of the skin" (ibiu: 12), but is not stiictly
confineu to it. It is felt veiy stiongly, foi example, when someone invaues one's
peisonal space - stanuing too close foi comfoit. The feeling evokeu is unlikely to
change iauically ovei time anu so is iegaiueu as being ielatively fixeu anu
theiefoie stable. This is an inuication then that the subject-bouy - as liveu - is not
iestiicteu to the limits of the physical bouy anu may extenu beyonu it.

0ne's bouy-space may be fuithei extenueu by the meuiation of a tool, anu
uepenuing on one's skill in manipulating it, the object may even become
inteinalizeu as an extension of the subject-bouy. Take foi example the acquiieu
skill of ieveise paiking into a tight space; one's bouy-space in this moment may
extenu to the enus of the cai itself anu fuithei to take in the space available in
which the vehicle must be positioneu. Ichikawa calls this bouy-space the "semi-
uefinite bouy-space" (ibiu). Although the spieau of it is fuithei compaieu with
the innate bouy-space, it is less stable; foi once the cai is paikeu, the bouy-space
may 'shiink' anu ietuin once again to its innate foim.

The thiiu type of bouy-space is iuentifieu as "inuefinitely vaiying bouy-space"
anu is the one most closely aligneu with the subject-bouy anu how we live oui
uaily lives. This is because it is the bouy-space geneiateu thiough peiception -
piimaiily visual anu tactile. It is the least stable of the thiee, as it is "constantly
changing, tempoiaiy anu nonhabitual" (ibiu:1S). Accoiuing to Ichikawa, what
makes an act of peiception liveu - whethei visual oi tactile - is the fact that a
mutual paiticipation exists between the peiceivei, the act of peiception anu the
object peiceiveu. To use his teiminology, the peiceivei, in the act of peiception,
*=#*+5( $?*6 #$ the object peiceiveu, but at the same time, theie is a iecognition
of the contiibuting factoi '(("'+, <6$) the intenueu object - whethei animate oi
inanimate - in what he teims a "bouily uialogue" (ibiu: 14). To help eluciuate this
ielationship, Nagatomo gives fuithei explanation to an example of tactile
peiception pioviueu by Ichikawa:

.when a stone is giaspeu, its actual shape comes into being only when
theie is a )"#"-8 seaiching out of the event of giasping the stone; mutual
1S
in teims of the hanu holuing the stone anu the stone that is helu.
Consequently, what is liveu as the actual shape oi haiuness of a stone is
the iesult of an -,6**)*+# ieacheu between an anticipation on the pait of
the holuing hanu anu a iesponse on the pait of the stone (Nagatomo
1992: 14)

I was paiticulaily stiuck by the equal attention given to both the active anu the
ieceptive moues of infoimation tiansition. I ueciueu to challenge this hypothesis.
I cast my eyes upon a bottle of peifume stanuing on the table in fiont of me. I was
suipiiseu by what came to my conscious awaieness in conuucting this simple
test. Fiist of all, I noticeu that fiist I extenueu my attention out to the object.
Fiom this, I asceitaineu infoimation mostly about the shape anu coloui of the
peifume bottle. I then pauseu fiactionally to allow foi -+ '(("'+, <6$) #%* $39*/#
itself, anu what followeu was a floou of infoimation about the weight of the
object, its tempeiatuie, which I imagineu to be colu, the imagineu smell of the
peifume anu the memoiies it evokeu foi me. When I iepeateu the same test
tuining my gaze to othei objects in the ioom, I iecogniseu the same tenuency to
fiist extenu out anu ieceive a limiteu amount of infoimation, iepeateuly
iestiicteu to size anu shape. In shoit, moie infoimation comes to my awaieness
when I consciously choose to .-'# #$ 6*/*'?* iathei than going with my impulse,
which is a pioclivity I have towaius ieaching out.

What a phenomenological exploiation like this offeis a butoh aitist is a methou
by which the uaily anu the usual can be focuseu on in its minutiae anu as a iesult
be expeiienceu afiesh as something new anu extiaoiuinaiy. It also opens up
one's awaieness to the fact that eveiy encountei is a cieative negotiation, in
which the knowleuge, piioi expeiience anu expectations we biing to the
encountei inteiact with what issues foith fiom the intenueu object eithei
confiiming, alteiing oi iejecting those expectations. It also stiesses the value in
waiting to ieceive. 0n this point, 0hno Yoshito often encouiageu us at the stait of
a uance to expeiience "the patience of not staiting" - insteau, allowing the bouy
to fill up with stimuli anu impulses until we aie moveu to uance.

Both the innate bouy-space anu the semi-uefinite bouy-space point to a concept
that is a given in butoh piactice, anu that is the notion that the uancei is not
confineu to oi limiteu by the bounuaiy of the skin. As in the ieal example above
of the invasion of one's peisonal space, the uanceis can utilise the feeling of this
expeiience to biing foith all soits of imaginaiy beings into this zone, which itself
can expanu anu contiact accoiuing to the imagination. They will be moveu to
iesponu in veiy uiffeient ways accoiuing to whethei the imagineu piesence is a
lovei, a mythical beast, flying swoius oi gentle iipples of watei. These examples
connect with Baiiakuuakan's space bouy tiansfoimation technique of $"#('5*
'+
QK
.

Similaily, awaieness of the semi-uefinite bouy-space allows foi an expansion of
the possibilities of the bouy. In the past, I stuuieu tai chi anu went on to stuuy the
swoiu foim. While piactising foi houis, I hau the ieal sense that the enus of my
fingeis extenueu as fai as the tip of the swoiu I was holuing, taking me beyonu

18
See page 1u foi explanation of this technique.
16
the bounuaiy of my innate bouy-space. It is not uncommon foi butoh uanceis to
employ a similai technique, using the imagination in place of the meuiation of
tools, to pioject fai beyonu the bouy into the space that suiiounus it. A veiy
famous Bijikata exeicise taught to me by Seisaku is one in which the uancei
imagines thiee new gieen shoots spiouting thiough the bouy anu ten meties
beyonu, one out of the ciown of the heau, anu the otheis extenuing out thiough
each aim. Executeu well, the uancei's bouy becomes the stem of the plant anu
the giowing shoots open up an awaieness of the space above anu to the siues foi
the spectatois.

At this point, I woulu like to ietuin to a moie in-uepth analysis of Bijikata's
unique, choieogiaphic methou of butoh-fu. With images uiawn fiom natuie,
liteiatuie anu ait, anu his evocative use of language, he inspiieu the bouies of his
uanceis to metamoiphose into animate anu inanimate phenomena.

9:+'4M(:
To explain "life" in woius is like catching a fish that has been swimming in
the watei. At the veiy moment it leaves the watei it begins to uiy up anu
uie. A fish that has become a coipse can no longei be a pioof of "life".
Nakajima Natsu (1997: 7)

Butoh-fu was a methou uevelopeu by Bijikata foi peifoimance cieation anu
tiaining puiposes. It was cieateu "as a means to acquiie the bouy that will
accomplish 'becoming'" (Nikami 1997: 1u4). It was Bijikata's intention to
tiansfoim the human bouy into anything; all phenomena that exist in this woilu
- "incluuing animals anu plants as well as lifeless mateiials" (Bijikata quoteu in
Nikami 1997: 86) in oiuei to "accomplish .an expansion of the concept of
human beings" (ibiu). Bis images weie uiawn fiom a vaiiety of souices,
incluuing natuie, liteiaiy woiks, 0kiyo-e
19
, images of buuuha anu the woiks of
many Euiopean painteis; notably uoya, Tuinei, Noieau, Reuon, Nunch, Bosch,
veimeei, Biesuin, Beaiusley, Wols, Fautiiei, Belvaux, Nichaux anu Bacon
(Nikami 1997: 1uS).

Though he kept notes in a numbei of sciapbooks, Bijikata nevei maue a
systematic iecoiu of all his images befoie his untimely ueath. Accoiuing to
Nakajima Natsu (1997: 7) howevei, it was his expiesseu wish to couify his
methouology. Some of these notations exist in a collection of his notebooks
houseu at Keio 0niveisity, an aichive of Bijikata mateiials cuiateu by Noiishita
Takashi anu his English-speaking assistant anu cuiatoi, Bomma Yu.

The movements Bijikata cieateu - often in collaboiation with his close
accomplice, Ashikawa Yoko
2u
- weie encapsulateu anu iecoiueu in woius. Bis
use of language was veiy suiieal anu iaiely pointeu to things in theii actuality.

19
}apanese wooublock piints; liteially meaning pictures of the floating world
2u
Ashikawa was Bijikata's piincipal uancei fiom 1968 until his ueath. Aiguably, the most
accomplisheu female butoh piactionei evei, she went on to become the cential figuie of the
mostly female butoh gioup, Bakutobo. She was oiiginally an ait stuuent with no uance
backgiounu at all.
17
Insteau, what iemains is a kinu of "metaphoiical language" (ibiu: 6) oi coue
21
,
which has to be unpackeu anu uecipheieu.

Nikami Kayo uesciibes Bijikata's piocess of cieating butoh fu. Bei uiiect
expeiience of woiking with him in his lattei yeais anu the insights she gaineu
help to ieveal the complexity of a piofounu anu unique system.

Accoiuing to Nikami, Bijikata's fiist step in cieating his butoh-fu was "an
enuuiing anu uelibeiate obseivation" of a thing. This obseivation hau to be
thoiough, ueep anu uetaileu to the point that the "esse" (the coie oi essence) of it
was ievealeu (1997: 1u4). This ueuication to a ueep investigation was also
suppoiteu by Noiishita
22
who auueu that if Bijikata wanteu to uance 'biiu' foi
example, he woulu seek all the biological, anatomical knowleuge he coulu, iight
uown to the uepths of how the neives of a biiu woikeu. At the founuation of his
cieative investigation then was the ieality of the thing. This is not to say that he
was focuseu on imitation - fai fiom it.
Bijikata then applieu his cieativity, imagination anu iuiosynciatic use of
language to cieate "uance postuies" which weie +-)*5 anu theiefoie foimalizeu
in woius. The naming of things is something that Nakajima Natsu woulu
emphasize in hei own butoh woikshops, especially aftei impiovising. She woulu
encouiage us to put into piactice the uiscipline she leaint fiom Bijikata: "to put
into woius that which cannot be put into woius, to give a foim to that which is
foimless" (Nakajima: 1997: 6).
Each postuie was given its "necessaiy conuitions" (Nikami 1997: 1u4) in woius,
which weie any numbei of "mobile elements" that togethei "biought foith" the
thing itself. These weie iegisteieu as a specific "choieogiaphic unit". Nikami
incluues an example of the necessaiy conuitions foi the choieogiaphic unit,
"cow", which I iepiouuce heie (ibiu):
Choieogiaphic 0nit - Cow
Necessaiy conuitions:
The lettei 'S' on the back
A plume on the hips
Bo-bo-bo (a paiticulai feeling in the aim-pits) on the left siue
A uahlia on the heau; the heau is falling uown
A uwaif is iunning on the back
A locust is on the left foot


21
Foi a semiotic analsysis of Bijikata's butoh-fu, see the English tianslation of Noiishita
Takashi's excellent papei: M'9':-#- B-#(")'2( S$#-#'$+-8 !"#$%F T',+ U V*#%$5 <$6 W6*-#'$+ (Naich
2u1u, non-paginateu) available at the Bijikata aichive, Keio 0niveisity Ait Centei.
www.facebook.comkeio.aitcentei

22
Infoimation couitesy of an inteiview conuucteu with Noiishita Takashi anu Bomma Yu
tianslating at Aits Centei, Keio 0niveisity in }uly 2u1S.
18
Fai fiom being piesciiptive oi mimetic, these metaphoiic images weie meant to
be guiuelines with which the uanceis coulu exploie theii own movements anu
ielationship with the postuies. The images may have suggesteu ceitain
movement qualities anuoi uiiections. They coulu also have inuicateu a speeu of
movement oi evokeu specific feelings.
The ultimate puipose of this way of woiking with images is to facilitate the
unveiling of the mysteiies of the bouy, anu foi each inuiviuual to uelve ueep into
the iecesses of theii own existence. Nakajima encapsulates the coie of Bijikata's
intention in the following quote:
In the uepth of oui bouy, theie is something mysteiious, something
hiuuen, something that we want to uiscaiu.To give these <$6)8*((
)-##*6( a <$6) is what Ankoku Butoh is about (Nakajima, 1997: 6).

-* A'*A$:,E'*

0vei the couise of two yeais, my piactical investigations iunning concuiiently
alongsiue ieauing in the fielu have culminateu in a woikshop stiuctuie, which
lays the founuation of my own emeiging tiaining methouology. At the centie of
the tiaining is a focus on 'uiounuwoik', which aims to captuie anu uevelop the
invisible technique of the empty bouy - the staiting point foi uance.

This is followeu by a focus on 'Coie Tiaining Skills', the puipose of which is to
establish a founuation of both invisible anu visible (physical) techniques. The
fiist key invisible technique is that of 'being moveu', a sense that the uancei is
uanceu by something othei than hei own will. The coie also incluues woik on
'visible' techniques, which help to builu stiength, flexibility anu specificity in the
aiticulation anu expiessiveness of the bouy. The use of image is a uiiving foice
behinu all the woik uone in this section of the tiaining.

In the final pait of the tiaining, tiansfoimation anu metamoiphosis of the bouy is
exploieu thiough both impiovisation anu choieogiaphic techniques, incluuing
butoh-fu anu othei image-baseu woik.

A moie uetaileu uesciiption of the tiaining methouology can be founu in
Appenuix A.

In the next chaptei, I woulu like to uesciibe anu analyse my butoh peifoimance
to illustiate how the skills laiu uown in tiaining aie utiliseu in peifoimance.





19
)4"G+%8 NI !%* 3'8$J, O "* E*+8'J:A+E'*

The peifoimance B*+ A$685(; is a ueviseu piece incluuing myself, with an
ensemble of foui women of the Space Between Peifoimance Collective
2S

establisheu in Nelbouine. B*+ A$685( is baseu on a Buuuhist concept of the same
name, which exploies uiffeient aspects of human behavioui fiom the woilu of
hell to a state of enlightenment. Like butoh, the Ten Woilus is about
tiansfoimation. This combination of philosophies allows foi the exploiation anu
embouiment of uiffeient aspects of what it means to be human, while posing the
question: aie we cieating foi ouiselves a heaven oi hell heie on eaith.
The piece consists of two main paits, the fiist of which incoipoiates hanu-helu
iocks, which the foui ensemble women uance with. In the seconu half, each of
the foui uanceis jouiney thiough a loom - a fiee-stanuing, metal fiame
appioximately 2 m high anu 1.2cm wiue, useu foi making tapestiies
24
. The iocks
auu to the moie elemental quality of the fiist half, giving biith to a piimal eneigy,
while the looms aie symbolic of a sophisticateu anu natuial human uesiie to
cieate anu make aitefacts of beauty. The two scenes aie linkeu by a vignette
featuiing myself uancing the iole of a spiuei chaiactei against the backuiop of a
huge spiuei's web that fills the whole stage aiea. As the spiuei tuins aiounu
iapiuly, a white mask of a woman is ievealeu on the back of the heau. This
inteilinking scene acts as a tiansition, containing featuies of both the elemental
anu natuial as well as having a connection with humanity.

1%,A8EG+E'* K >*"$D,E,
I woulu like to go on anu auu fuithei uesciiption of the peifoimance, pioviuing
analysis while iefeiiing to the "new aesthetics" as uesciibeu by Eiika Fischei-
Lichte (2uu8). In an attempt to gauge auuience ieaction, I will also uiaw upon
theii iesponses as wiitten in a suivey completeu immeuiately aftei viewing the
peifoimance.
The auuience entei a uaikeneu space; they heai the sounu of watei uiops falling
fiom a gieat height into a pool of watei beneath that appeais to be neaiby. The
iesounuing echoes of the uiops give the impiession of a ueep cave. Theie aie
sounus of uistant iumblings in a caveinous space as iocks tumble anu fall into
the watei. As the auuience membeis walk fiom aiounu the back of the seating
bank anu take a seat on the iaiseu iostia, they see foui figuies stanuing in a
tiiangulai foimation, each in a small pool of light. They iemain in complete
stillness, theii heaus boweu, hanus hanging in fiont. Closei obseivation ieveals a
laige iock iesting on the feet of each peifoimei. Below that, the ieflection of the
bouy on the uaik, polisheu flooi, gives the impiession they aie stanuing on the

2S
www.thespacebetweenpc.com. Aitistic uiiectoi, uabiielle New, establisheu the collective in
2uu9 to invite collaboiatois to uevelop new Bance Theatie woiks piimaiily aimeu at establishing
an Austialian language foi butoh.
24
The uiscoveiy of the loom anu its peifoimative potential came about uuiing a 6-week
iesiuency I unueitook at the Austialian Tapestiy Woikshop in Nelbouine in 0ctNov 2u12,
along with fellow butoh piactitionei, Lauien Ciuickshank. 0ui intention was simply to exploie
the possibilities & points of connection between butoh anu tapestiy weaving.
2u
suiface of still watei. They aie clau in white bouy suits stieakeu with biown anu
giey anu a shoit tunic of similai colouis that uistoit the shape of the bouy. Even
as the spectatois aie enteiing, the peifoimance has alieauy begun.
This impiession of the peifoimance's beginning is eviuenceu in the auuience
feeuback. In iesponse to the question, "At what point in the peifoimance uiu you
stait to become engageu.", SS out of 96 iesponuents, moie than half suiveyeu,
iesponueu that foi them it was immeuiately on enteiing the space.

1%*,% "+5',G4%8%,
The sounu, the lighting (anu uaikness), anu the piesence of people anu objects in
the space altogethei cieate what Fishcei-Lichte iefeis to as "uense atmospheies"
(2uu8: 166). Enteiing this uaikeneu woilu, theie is a ceitain expectation on the
pait of the spectatois. They fiist encountei a sounuscape that is textuieu, so
much so that it gives a kinu of physicality to the space, even befoie seeing it,
cieating a sense of uistance anu enclosuie. Fiist expectations will be met oi
suipiiseu by the piesence of the peifoimeis alieauy situateu in the space. Theie
is a uegiee of intensity emanating fiom the peifoimeis, which invites a
heighteneu level of attention. It may evoke questions in the minus of the
spectatois conceining the significance of theii piesence anu what they might
iepiesent. Foi otheis, the scene might elicit physical sensations, peisonal
memoiies oi activate the imagination. As the auuience membeis settle in theii
seats anu contemplate the scene befoie them, theii attention may be uiawn to
the peifoimeis' piesence anu the fact that they aie extiaoiuinaiily still. This
iealisation of theii phenomenal bouy may even evoke a kinu of iecipiocal
empathy when consiueiing the amount of time passeu oi invite a cuiiosity anu a
challenge to peiceive the smallest of movements. Such a level of engagement,
whethei felt oi peiceiveu, affects the coipoieality of the spectatois so that it
becomes an embouieu expeiience foi them as much as foi the peifoimeis.
Fischei-Lichte states cleaily this ielationship anu eneigetic exchange between
spectatoi anu peifoimei:
The spectatois sense that the actoi is piesent in an unusually intense way,
gianting them in tuin an intense sensation of themselves as piesent (ibiu:
96).
At some point, the spectatois will notice the iock iesting on the feet of each
peifoimei; a familiai object in an unfamiliai setting. As the iock is iemoveu fiom
its usual context, no paiticulai significance oi meaning can be asciibeu to it as
such. Its incongiuity makes it conspicuous, anu its "ecstasy" is ievealeu. Fischei-
Lichte uesciibes this teim, boiioweu fiom Boehme, as "the special mannei in
which a thing appeais piesent to a peiceivei" (ibiu: 116). She continues, quoting
Boehme:
The foim of a thing also -<<*/#(.its suiiounuings. It piactically iauiates
into its enviionment, takes away the suiiounuing space's homogeneity,
fills it with tension anu possibilities foi motion (ibiu).
21
It is the iock's conspicuousness that makes it iauiate. The auuience aie left to
ponuei on the significance of the iocks, how they will be iemoveu fiom the
uanceis' feet anu to guess at what iole they might play in the ensuing uance.
Insiue the foui walls of the theatie then, the peifoimance space is tiansfoimeu
into a uaikeneu cave; a space within a space - one fixeu anu unchanging anu the
othei "tiansitoiy anu fleeting" (ibiu: 1u7).
Eveiy movement of people, objects, lights, anu eveiy noise can tiansfoim
this unstable anu fluctuating space. The peifoimance's (7-#'-8'#4 is
biought foith.(ibiu).
0nlike 'space' in the tiauitional sense of walls, floois anu ceiling, (7-#'-8'#4 is
constituteu as a combination of tangible anu non-tangible elements anu is
constantly emeiging as something new. Leaving the ieal woilu behinu anu
enteiing this fiagile anu labile enviionment maiks the fiist of many tiansitions
the spectatois will encountei.
Fischei-Lichte states that "atmospheies exist in the inteiplay of elements"
(ibiu:11S).
As ueinot Boehme explicates, atmospheies aie not bounu to a place but
nonetheless poui out into, anu thus shape, the space. They neithei belong
just to the objects oi people who appeai to iauiate them noi to the people
who entei a space anu physically sense them. They usually constitute the
spectatois' fiist sensation on enteiing the auuitoiium anu enable a veiy
specific expeiience of spatiality (ibiu).
The establisheu atmospheie was piobably a contiibuting factoi to why moie
than half of the auuience was engageu iight fiom the stait of this peifoimance.
The combination of ceitain theatiical elements may have assisteu in making the
stait memoiable. The sounu anu lighting, the extiaoiuinaiy piesence of the
peifoimeis anu the ecstasy of things all woikeu togethei, aiming to pioviue a
physical expeiience of the space. Some spectatois may have iesponueu to this by
becoming awaie of theii own coipoieality.

-55%JE"+% 8%,G'*,% K A'*,EJ%8"+E'* '( 5%"*E*C
Befoie going on with moie uetaileu uesciiption, I woulu like to iefei to the thiiu
question fiom the feeuback suivey the auuience completeu aftei seeing the
show. The question asks: what stanus out foi you aftei seeing the peifoimance.
Altogethei theie weie 1S9 wiitten iesponses, which I attempteu to categoiize. I
came up with six categoiies unuei which all the comments coulu be soiteu:
Theatiical elements; such as music, piops, set, costume anu lighting (49
iesponses)

Ciaft of the peifoimeisuiiection; incluuing eneigy, movement,
physicality, inteiaction, focus & use of imageiy (Su iesponses)
22
An assessment of the peifoimance: e.g. 'The woik tieu all elements
togethei anu stoou out as meaningful'; 'If theie was moie focus on
humoious aspects, it woulu have taken me somewheie'; 'spaise,
beautiful'; 'boiing, intiiguing' (2u iesponses)

Feeling, emotional iesponse; e.g. 'intenseheavy'; 'uncomfoitablehoiioi';
'libeiating'; 'haiu to uigest, panickeu, suiieal feeling'; 'feel moveu anu
uistuibeu in a goou way' (19 iesponses)

0bseivations - of self as a viewei oi of the peifoimance itself; e.g. 'feeling
I uon't have as much contiol ovei my own bouy limbs'; 'how incieuibly
engageu I was'; 'like a seiies of lanuscape paintings, but in movement anu
moou'; 'the changes- so many thioughout' (16 iesponses)

Asciibing (oi expiessing a neeu foi) meaning: e.g. 'A biith, an escape, a
panic, a captuie'; 'woulu like unueistanuing'; 'heaven & hell'; 'Besiie to be
somewheieieach foi something'; 'Fate, uestiny, lack of choice' (S
iesponses).
See Appenuix B foi summaiy of all comments.
What is stiiking heie is the fact that the fewest numbei of iesponses is attiibuteu
to meaning, in the sense of a liteial oi iepiesentational inteipietation. By way of
explanation, I woulu like to iefei to Fischei-Lichte's examination of the
ielationship between mateiiality anu semioticity.
As the bouy itself is at the coie of butoh piactice, it makes sense that the
mateiiality of the bouy becomes the cential point of focus uuiing the cieation of
a piece of woik. That is not to say that meaning is piecluueu - on the contiaiy.
When the spectatois view the opening scene of the peifoimance uesciibeu
above, they will obseive the peifoimei stanuing, anu with a iock on hei feet -
two isolateu phenomena uniteu in ielationship. This scene may be vieweu
'+'#'-884 in its 'specific mateiiality' iathei than as a 'caiiiei of meaning'. Fischei-
Lichte explains:
To peiceive theatiical elements in theii specific mateiiality is to peiceive
them as self-iefeiential anu in theii phenomenal being (2uu8: 141).
In othei woius, each of the elements - the piesence of the actoi anu the iock
itself, ie the ecstasy of a thing, shows themselves to the peiceivei "as what they
aie" (ibiu) anu in so uoing, ieveal theii "intiinsic meaning" (ibiu). She eluciuates
fuithei:
Self-iefeientiality collapses the binaiy opposition.the uiviue between
the sensual peiception of an object, seen mostly as a physiological
piocess, anu the attiibution of meaning, consiueieu a mental activity
(ibiu: 142).
"Sensual impiessions" can theiefoie be moie accuiately uesciibeu as
meaning of which I become /$+(/'$"( thiough specific sensual
impiessions (ibiu).
The act of conscious peiception is theiefoie meaning in anu of itself.
2S
To peiceive something as something means to peiceive it as meaningful.
(ibiu:141)
So, when the spectatois aie askeu to iesponu to the question above conceining
what stanus out foi them aftei seeing the peifoimance, they list the sensual
impiessions that leave a maik in theii memoiies. Each woiu wiitten - whethei it
iefeis to a theatiical element oi an emotional, feeling iesponse is alieauy in
consciousness anu is theiefoie meaningful foi the peiceivei.
What is peiceiveu is alieauy imbueu with its own meaning, though that meaning
may escape aiticulation. "None of these impiessions can easily be expiesseu
linguistically" wiites Fischei-Lichte, anu foi some, this uefinitely seems to be the
case - juuging by the following iesponses to the question by two auuience
membeis:
W-+2# 5*(/6'3* #%-# -5*X"-#*84
S$# ("6*; 7%4('/-8 6-#%*6 #%-+ )*+#-8
Quoting two moie comments wiitten by auuience membeis on the show as a
whole, gives fuithei cieuence to the challenges of linguistic expiession. They
ieveal the uifficulty of putting woius to this paiticulai state of consciousness:
Y6$) - 7$('#'$+ $< #6-+/* (#6-',%# -<#*6 #%* 7*6<$6)-+/*; ")))); -/#"-884
3*4$+5 .$65(; '+ -+ '+#*6*(#'+, (7-/*; +$# %-6)*5; )-43* '+<$6)*5 Z ($)*
#%'+,( (%-6*5; $< /$"6(*0
1 <**8 /$+<"(*5; 8':* - .%$8* 3"+/% $< X"*(#'$+( %-?* 3**+ -(:*5 -# $+/*; -+5
1 /-+2# X"'#* -+(.*6 #%*) <$6 - .%'8* Z ($ *?$/-#'?*; +$+O6-#'$+-8; 3"# 1
:+$. #%* -+(.*6( -6* <*8#; 7%4('/-8 -+5 -(#$"+5'+, "+5*6(#-+5'+,( $< 8'<*
-+5 $"6 7*6($+-8 (*8?*([
In a peifoimance wheie the expeiience of the bouy is cential to its uevelopment,
a moie expansive view of 'meaning' is biought foith anu one that is not only
iestiicteu to the seeking of causal ielationships, inteipietation anu logic. I have
illustiateu how any conscious act of peiception ieveals the 'intiinsic meaning'
inheient in the phenomenal being of a peison oi object once maue conspicuous.
The question still iemains: how uo spectatois make sense of what they aie
expeiiencing uuiing a peifoimance.

0#P%A+,
0ne common ciiticism I heai about butoh peifoimances is that they aie often too
inteinal anu consequently not veiy accessible foi the viewei. With this in minu, I
am exploiing the use of objects as a way of auuiessing this issue. Aftei all, I
woulu piefei to piouuce theatie that engages iathei than alienates people.
0bjects in the space not only give the peifoimei something conciete to inteiact
with, but may also pioviue a hook foi the auuience to 'entei' the piece.
To ietuin to the peifoimance itself, I will uesciibe the fiist scene as it unfolus
fiom the spectatois' point of view.
24

/'A6
The fiist movement we see aie the peifoimeis ciumbling to the giounu, slowly,
paiticle by paiticle. An atmospheiic uione accompanies the movements, anu
they aie shiouueu in uaikness. To the sounu of a tabla uium beat, the
peifoimeis sliue on theii backs, moving in a contiolleu way that gives the
impiession of floating on the suiface of a still ponu. This image is enhanceu by
the ieflection of theii bouies in the uaik woou of the flooi. They ciicle in a
clockwise uiiection, passing thiough the uaik shauows anu emeiging again in
pools of light. uiauually, by a centiipetal foice, they aie uiawn togethei into the
centie foiming a clump. In the shauows, we see aims anu hanus ieaching up high
giabbing foi something beyonu ieach. They shuffle in closei togethei, back to
back with the soles of theii feet flat on the flooi. Theii knees aie pointing up to
the ceiling, anu foi a moment, they look like a big spiuei at iest. Suuuenly, they
iise as one, piessing into each othei's backs. They ieach high foi the
unobtainable 'thing' above them. A flash of light fiom above, like lightening,
sepaiates them anu they ieact impulsively, as if momentaiily blinueu. It is at this
point oui attention is biought to the iocks, which we iealise have been in theii
possession all the time. Each peifoimei stiuggles to ioll the iock uown theii
back.
A choieogiaphic sequence ensues in which the peifoimeis move in unison as if
being pulleu by the iocks they aie holuing. They pass thiough a succession of
images fiom ciab, to biiu anu ocean waves. The iocks aie continually in theii
possession but move in anu out of view. In a suuuen act of self-violence, they
slam the iocks into theii own stomachs anu then quickly uispeise. As they move
ianuomly thiough the space, they pause fleetingly, piessing the iocks against
some invisible iesistance. 0nce again, they iefoim in the centie in a clump anu
2S
exchange iocks in what seems to be a slow-motion biawl. Theii faces contoit in
exaggeiateu fashion as they giimace anu sneei. Theii movements become moie
anu moie violent. As the music builus, they finally collapse in on top of each
othei, finishing up in a compact ball of bouies with theii heaus hiuuen. Silence
uescenus. The ball is lit fiom above. 0ut of the stillness, one small hanu with
fingeis piesseu tightly togethei, begins to piotiuue fiom the ball being uiawn
up towaius the light. The fingeis open, like the petals of a flowei unfuiling foi
the fiist time. Anothei piotiusion follows anu anothei anu moie in uiffeient
uiiections, giving the impiession that the soliu mass is inueeu spiouting.
In the final image, the peifoimeis tuin to face the auuience, iemove some kinu of
invisible veil that obstiucts theii vision, anu then look out as if seeing foi the fiist
time. They slowly tuin to pick up theii iock anu one by one exit like an animal
chain one behinu the othei, with the iocks balanceu anu caiefully helu on theii
bent backs.

=5%8C%*+ B4%*'5%*"
In this shoit scene of 14 minutes, the bouy passes thiough a numbei of uiffeient
expeiiences anu images, incluuing ciumbling, floating, ieaching, stiuggling
thiough to the final image of shoots emeiging fiom a iock to an unveiling anu a
ievelation foi the peifoimeis. This suuuen appeaiance of one image aftei
anothei, seemingly in a uisconnecteu seiies of events is - to use Fischei-Lichte's
teim - an instance of "emeigent phenomena" (2uu8:14u).
Emeiging in isolation, these elements appeai ue-semanticizeu because
they aie peiceiveu in theii specific mateiiality anu not as caiiieis of
meaning (ibiu).
All the movements, the gestuies, even the accompanying music anu lighting
states, in theii mateiiality, aie self-iefeiential; as pieviously explaineu, theie is
no sepaiation between mateiiality anu signifieu: "what the object is peiceiveu as
is what it signifies" (ibiu: 141).
At this level of peiception, each phenomenon is peiceiveu as a uisciete item.
Bowevei, as Fischei-Lichte expounus, the suuuen emeigence of phenomena lays
uown the conuition foi anothei way of peiceiving:
0nce peiceiveu in theii mateiiality, these isolateu emeigent phenomena
tiiggei a wealth of associations, iueas, thoughts, memoiies, anu emotions
in the peiceiving subjects, enabling them to make connections to vaiious
othei phenomena (ibiu: 14u)
The phenomenon in its mateiiality becomes the signifiei in anothei instant. A
signifiei gives iise to a host of possible signifieus, which in tuin spaiks off
fuithei associations geneiating a "pluialization of potential meaning" (ibiu).
Fischei-Lichte points out that this way of peiceiving is veiy uiffeient fiom an
intentional piocess of inteipietation wheie the peiceivei is consciously uiiecting
thought, seaiching foi meanings that fit into a logical ielationship. Insteau, the
uisconnecteu flow of images alieauy occuiiing exteinally allows foi a fiee
association of meanings, uevoiu of any obligation to seek causal, logical links.
26
Also, the thoughts, iueas, memoiies etc aiise spontaneously anu unintentionally
in consciousness - themselves, instances of emeiging phenomena. To sum up,
.the geneiateu meaning uoes not facilitate the compiehension of the
peifoimance but enables an expeiiential iange (ibiu: 1S8)
Refeiiing back to the suivey, the use of the iocks in this scene evokeu a similai
iange of associations in the minus of the spectatois. Bowevei, theie weie
uiffeiences in nuances, ianging fiom the global to the moie peisonal. Examples
incluueu:
Buiuens of existence
Weight of the woilu
Pioblemstioubles in uaily life
Boluing on to huit - past anu piesent

Theie weie some uiffeient associations too:
Tieasuies
Iuentities
Pait of natuie
A poweiful foice

These associations came fiom answeis to the question, "Bow uiu you ielate to
the objects useu in the peifoimance. (iocks, loom, web)." Thiity iesponses
iefeiieu specifically to the use of the iocks. Among these, the iocks helu
significance foi all spectatois, except two. This iesult suppoits the claim that the
use of one paiticulai object, the iock, allows foi the geneiation of an association
of meaning, which in tuin may pioviue a hook to entei the peifoimance, anu
aiguably make it moie accessible. It iemains to be seen whethei the othei
objects useu weie equally as effective. Befoie going on to exploie this though, I
woulu just like to look moie closely at these suivey iesponses gatheieu. Again, I
categoiizeu the iesponses. I saw that each of the Su comments coulu fit into one
of thiee categoiies:
Evaluation - expiessing likeuislike; gooubau
Inteipietation - asciibing meaning; It meansmakes me think of.
Effect - the physical oi visual impact; It maue me feel I feltI saw.
In auuition to the thiee categoiies, the iesponses weie uiviueu into two gioups:
those pioviueu by novice oi beginnei vieweis of butoh compaieu with those
who weie expeiienceu anuoi piactitioneis of butoh
2S
. Theie weie two

2S
Whethei a spectatoi was a novice-beginnei oi an expeiienceu vieweipiactitionei of butoh
was asceitaineu on the feeuback foim in iesponse to question 1:
What is youi expeiience of butoh. Please tick one oi moie of the following options as
appiopiiate.
Novice viewei: fiist time to see butoh
Beginnei viewei: seen it once oi twice befoie
Expeiienceu viewei: seen seveialmany butoh peifoimances
27
obseivations of significance; fiist, the categoiy with the biggest numbei of
iesponses foi both gioups was inteipietation, emphasising the human tenuency
to ultimately want to make sense of expeiience. Seconuly, as to be expecteu, the
expeiienceu gioup tenueu to offei moie evaluative comments than the
novicebeginnei gioup - having moie expeiience to uiaw fiom.
See Appenuix C foi summaiy of comments.
Accoiuing to the suivey, 28 spectatois iesponueu positively to being able to
ielate to the iock specifically, inuicating that it helu some kinu of significance foi
them. A fuithei 28 iesponses weie gatheieu in iefeience to the web anu anothei
S4 ielateu specifically to the use of the looms.
Again, I will pioviue a biief uesciiption of the next two anu final sections of the
peifoimance befoie embaiking on fuithei examination anu analysis.


3%#
The exiting peifoimeis fiom the pievious scene pull back a thick black cuitain
coveiing the stage to ieveal anothei woilu of uaikness. A sounuscape
accompanies the scene, which contains noises like the scuttling of insects. White
fingeis emeige fiom the shauows making veiy specific gestuies. As the lights
begin to iaise, a laige web comes into view coveiing the whole stage. We see a
woman in a giey, lace uiess who is making the gestuies. She unueigoes a
tiansfoimation fiom someone weaving into a spiuei. She tiaveises the stage in
fiont of the web as a spiuei, but a quick flick of a tuin ieveals anothei siue to hei.
With a white mask on the back of the heau, she appeais to be a woman with a
kinuly, gentle smile who gazes out at the auuience. Anothei quick tuin anu the
spiuei ietuins. Alteinating ioles between the woman anu the spiuei, this

Stuuent in the past: have uone it in the past
Stuuent now: am uoing it now
Peifoimei of butoh: am uoing it now anu peifoim it
28
chaiactei lifts foui looms, one by one, that have been lying flat on the stage, theii
legs hiuuen in the shauows. She climbs uown off the stage anu places each of the
looms (which aie waipeu with white thieau) siue by siue in a line, facing the
auuience, anu halfway between the euge of the stage anu the fiont iow of seats.
Aftei putting them all in place, she exits climbing the stage as the maskeu lauy
anu walks behinu the web, gazing one last time out at the auuience.


<''5
In the uaikness, a high-pitcheu uione is heaiu. As the lights come up, foui figuies
can be seen stanuing in fiont of the stage, each weaiing a iaggeu cloak of piimaiy
colouis: blue, yellow, ieu anu gieen. Buiing the next 12 minutes, we see the
peifoimeis go on an inuiviuual jouiney simultaneously. It begins with a slow
appioach to the loom. They touch it, climb on it anu exploie it - at fiist tentatively
anu then moie confiuently until finally, they climb thiough anu ovei it to come
out on the othei siue. In the piocess, they have sheu theii cloaks, which iemain
uiapeu on the looms. In the space in fiont of the looms, they move like cieatuies
fiom anothei woilu. They all giauually settle into a ciouching position - the
staiting point foi a sequence of asymmetiical poses they move thiough togethei,
as if in a uieam. They paii up, one behinu the othei: the peison behinu
manipulates the one in fiont. At fiist theii movements seem to be in haimony,
but this quickly tuins into an aggiessive act as the manipulateu uuo fight foi
theii fieeuom. All uanceis aie moveu back by the foice of theii violent actions
anu they each ietieat to a loom. Lifting it up onto theii backs, they caiiy them off
to the siue.
At this point, the spiuei ietuins to the stage, caiiying a bunule of ieu iibbons.
0ne iibbon uangles fiom hei mouth. Theie is a suuuen buist of eneigy anu a
change of moou, as louu, impioviseu jazz music begins to play. Each of the
peifoimeis foim theii own lane along which they iun back anu foith fienetically
to anu away fiom the auuience. They aie moveu in stiange ways by vaiious
images, cieating a scene of chaos. While this is happening, the spiuei chaiactei
29
iemoves the mask fiom the back of hei heau anu tuins it aiounu to the fiont. She
sits on the euge of the stage, slowly looping the ieu iibbon in hei hanus, calmly
watching the fiantic scene. Eventually, the music subsiues anu the peifoimeis
stop in place, gasping foi bieath anu gazing fai out beyonu the auuience. They
aie stanuing in the same foimation as they staiteu the peifoimance, though each
peifoimei is in a uiffeient position. The maskeu lauy takes the ieu iibbon, which
extenus fiom the web, anu uiapes it ovei the shouluei of each peifoimei,
cieating a zigzag pattein in the space. She continues hei jouiney with the iibbon
exiting behinu the auuience, while the foui iemaining peifoimeis slowly tuin
anu sit in place. The ieu iibbon connects them all anu with theii backs tuineu to
the auuience, the lights faue. That is the enu of the show.

@:8!%D 8%,G'*,%,
In consiueiing how spectatois make sense of what they aie expeiiencing, so fai I
have highlighteu two uiffeient ways of peiception: self-iefeientiality anu
associative geneiation of meaning. Reauing the 28 iesponses conceining the
web, it woulu appeai once again that the object helu significance foi all, with the
exception of one peison who was "ambivalent" about it. The iesponses of the
iest coulu again be categoiizeu into thiee: evaluation, inteipietation anu effect.
All the evaluations weie in piaise of the web, saying that it was 'astounuing',
'evocative', 'gieat', 'veiy effective' anu foi one peison, 'the highlight of the show'.
They iesponueu positively to the ecstasy of the thing anu its suipiising
ievelation. They appieciateu it foi what it was anu foi its size anu aesthetic
quality. The associations they maue weie moie vaiieu compaieu with the iocks,
but some iesponses shaieu a common theme. 0n the whole, the web meant
uiffeient things foi uiffeient people. They incluueu the following:
Bungei (in iefeience to one of the ten woilus)
Contiol within
Weave of the woilu
We aie all connecteu
Being tiappeu anu tangleu
Bow we entiap, connect, enmesh
veins in the bouy, attacheu, uepenuency
The woilu
Beauty, home, weaving life, cieation
Tiappeu but finuing fieeuom
Can't get caught in anothei's life, piojection

See appenuix C foi full summaiy of comments.
The suivey foim also eliciteu some imaginative iesponses, like the following
comment fiom one spectatoi who paiticulaily enjoyeu the ievelation of the
mask anu the uiffeient peispective it engenueieu:
B"6+'+, #$ 6*?*-8 #%* )-(: '+ <6$+# $< #%* .*3 ,-?* -+ $55 (*+(-#'$+ $<
8$$:'+, #%6$",% #%* 3-/: $< #%* "+'?*6(*0
Su
Anothei also commenteu on how heshe was stiuck by the unexpecteu anu
giauual opening up of the space.
Y6$) $+* 8-4*6 #$ #.$ G6-'(*5 (#-,*L #$ \ G.*3L #$ R 8-4*6( G3*%'+5 #%* .*3L
Bowevei, of all the objects useu, it was in fact the looms that evokeu the most
oveiwhelmingly positive iesponse. All S4 iesponses expiesseu views such as
'gieat', 'looms most ielatable', 'veiy inteiesting anu engaging', 'best piops seen in
a while' anu 'ieally well useu by all'. This iaises the question of what theii appeal
is. Fiist, theie is the ecstasy of the thing uue to its conspicuousness. Fischei-
Lichte suggests that the tiansfoimation of something oiuinaiy into something
conspicuous can affect the auuience's attention.
The commonplace appeais tiansfiguieu anu becomes conspicuous (2uu8:
166)
All the theatiical elements, the lights, the sounu - the uense atmospheies -
combine to biing the ecstasy of the thing into focus. The spectatois aie piimeu.
With this heighteneu level of attention, they aie ieauy to engage in the
expeiience with the peifoimeis. The peifoimeis too aie in a paiticulai state
wheie theii attention is heighteneu, as they ueal with the constantly emeiging
new phenomena in this impioviseu jouiney on anu thiough the loom. What is
also iemaikable heie is the uuiation of theii focus. Foi spectatois, accoiuing to
Fischei-Lichte,
A heighteneu level of attention can only be maintaineu inteimittently
(2uu8: 167)
But maybe with the extiaoiuinaiy piesence anu eneigy of the peifoimeis, the
uuiation of that state can be sustaineu fuithei, leaving the spectatois too with
the sensation that they have expeiienceu something extiaoiuinaiy. Fischei-
Lichte gives a name to this paiticulai piesence the peifoimei exuues:
Thiough the peifoimei's piesence, the spectatoi expeiiences the
peifoimei anu himself as embouieu minu in a constant state of becoming
- he peiceives the ciiculating eneigy as a tiansfoimative anu vital eneigy.
I woulu like to call this the 6-5'/-8 /$+/*7# $< 76*(*+/* (ibiu: 99)0
In teims of the associative geneiation of meaning, one spectatoi commenteu, the
looms aie 'ieauable on many uiffeient levels'. Foi otheis, theii iesponses weie:
0bstaclestiappeuchallengestiugglejoy
An instiument of toituie, yet a play-thing
Realm between woilus
Being boin againstaiting a new lifebiith
Tianscenuing stages in life

See Appenuix C foi summaiy of comments.
The lack of uiveise iesponses might be inuicative of the fact that the spectatois
weie appieciating the looms less in teims of an analytical mental activity anu
S1
moie as an embouieu expeiience. The only ciiticism of the loom section was by
two spectatois saying that it was too long. As Fischei-Lichte points out,
Neveitheless, inuiviuual spectatois possess theii inuiviuual economy of
attention, which will pievent them fiom being peimanently aleit (ibiu:
167).

-* @:55"8D
Among all 92 iesponuents who gave feeuback on the question about ielating to
the objects, only foui ieplieu they uiun't ielate at all. Two moie saiu that they
enjoyeu the aesthetic of the objects anu theii cieative use but uiu not ielate, oi
that they uiu not evoke any stiong emotion oi meaning foi them. Anothei was
ambivalent conceining the use of the web anu theie weie also foui ciiticisms on
the use of the iocks. These asiue, the objects helu significance foi eveiyone else.
The vaiiety of theii iesponses also inuicateu that they meant uiffeient things foi
uiffeient people. The powei of these objects to engage the auuience was biought
about by the consiueieu inteiplay of many theatiical elements; theii
conspicuousness, which alloweu foi theii intiinsic meanings to be ievealeu, anu
last but not least, the extiaoiuinaiy piesence of the peifoimeis who inteiacteu
with them. Theii peimanently heighteneu level of attention evokes an
awakening within the spectatois to theii own coipoieality, allowing the
spectatois to expeiience themselves as embouieu minus. Eviuence foi this is
expiesseu in the feeuback comments by thiee spectatois at the enu of the suivey
foim:
Y-+#-(#'/ Z - )*()*6']'+, 7*6<$6)-+/* #%-# #$#-884 *+,-,*5 Z %-5 )*
)-:'+, )$?*( '+ )4 (*-#^ G!*,'++*6 ?'*.*6L
1 5'5+2# *=7*/# #$ 3* ($ *+,-,*5 #%6$",%$"#0 _("-884 )4 )'+5 .-+5*6( '+ -
5-+/* 7*6<$6)-+/*; 3"# #%'( %-5 )* ,6'77'+, )4 (*-#; #$#-884 -8*6#^
>.-:*+'+, -88 (*+(*( 6',%# #$ #%* *+5[ G!*,'++*6 ?'*.*6L
Y*8# *=%'8-6-#*5 -+5 *=%-"(#*5 )4(*8<0 G`=7*6'*+/*5 ?'*.*6L




S2
)4"G+%8 QI 34"+ 5"6%, " 7'86 #:+'4;

9:+'4 G8%MA'*A%G+E'*,
To ietuin once again to the post-peifoimance suivey, the auuience membeis
weie askeu to wiite uown what theii pieconceiveu iueas of butoh weie piioi to
seeing the peifoimance. The 96 iesponuents answeieu with one woiu oi moie.
The most fiequently useu aujectives to uesciibe theii piioi expeiience oi
knowleuge of butoh weie "slow" (18 iesponses), "intense" (1S) anu "}apanese"
(9). Seveial uesciibeu it as "giotesque", while a sizable gioup commenteu on it as
being "mesmeiising, giipping, anu captivating". 0thei iesponses coulu be soiteu
aiounu foui uistinct styles of butoh. The fiist aesthetic might be uesciibeu as
'beyonu that which can be giaspeu' anu was typifieu by iemaiks such as
"etheieal", "mysteiious", "ueep" anu "unable to ielate". Anothei gioup of
comments weie associateu with what I labelleu as 'extiemity'; these incluueu
"ciazy", "mau", "violent" anu "absuiu". A thiiu gioup of obseivations ielateu to
'an eaithly physicality', anu incluueu woius such as "guttuial", eaith-bounu",
"piimal" anu "animalistic". In contiast, otheis commenteu on the 'non-physical'
natuie of the genie with the aujectives, "spiiitual", "unconscious", "subconscious"
anu "tianscenuent". This bioau sweep of aujectives to uesciibe butoh is
testament to not only the impiession anu impact left on the minus of the
spectatoi, but also an inuicatoi of its bioau scope in teims of aesthetic styles of
peifoimance.
It was inteiesting foi me to see that among all 96 iesponuents, only a few
comments toucheu on what I iegaiu to be at the coie of butoh. These incluueu
five iefeiences to imageiy, thiee to uaikness, anu only two mentioneu
tiansfoimationmetamoiphosis. Theie was one iefeience to life anu ueath.
Suipiisingly though, theie weie only foui comments ielating to white bouy
paint, which seems to inuicate that foi Nelbouinians at least, this uoes not seem
to be such a significant featuie of butoh.

>* %5%8CE*C "%,+4%+EA O !4% /%F%"$
In the suivey, the spectatois weie askeu to comment on what stoou out foi them
immeuiately aftei seeing the peifoimance. 0f all 1S9 comments maue, by fai the
gieatest numbei of iesponses ielateu to the two categoiies of theatiical
elements (ielating to piops, staging anu uesign aspects of the show) anu ciaft
(foi example, the use of imageiy, anu the expiession, stiength anu physicality of
the peifoimeis). I can account foi this significant iesponse by uesciibing the
paiticulai inteiplay of elements that leu towaius an inteimittent anu suipiising
ieveal of objects.
Thioughout the peifoimance, theie is an emeigence of new phenomena. 0bjects
anu peifoimeis, seen in theii mateiiality, appeai, stabilize foi a while befoie
uisappeaiing again. Theii appeaiance is unpieuictable anu uoes not follow a
sequential oi causal logic, such as in a naiiative thieau. Insteau, theii emeigence
is ueteimineu by "ihythmic patteins" (Fischei-Lichtei, 2uu8: 16S) cieateu in
this peifoimance by an inteimittent anu suipiising ieveal of objects. The fiist
SS
'ieveal'
26
is the piesence of the peifoimeis in the space on enteiing the
auuitoiium. The next is the conspicuousness of the iocks anu theii inexplicable
appeaiance. Twelve minutes into the peifoimance, the thiiu is ievealeu when
the peifoimeis tuin theii gaze towaius the auuience, bieaking the 4
th
wall. The
next 'ieveal', alieauy mentioneu anu appieciateu by seveial spectatois, is the
unveiling of the web anu the opening up of the foui aieas of the peifoimance
space. These incluueu the aiea in fiont of the stage, the stage itself, in fiont of the
web anu behinu it. Foi many, as stateu in the feeuback, the ievealing of the mask
on the back of the spiuei's heau was veiy satisfying. Subsequent 'ieveals' incluue
the appeaiance of the looms, theii use anu the jouiney thiough them. The
opening up of the space in fiont of the looms conjuieu up anothei 'woilu'. A few
auuience membeis commenteu on the pioximity of the peifoimeis at this point
anu how it helpeu to 'pull them in'. The final 'ieveal' is the appeaiance of the ieu
iibbon, which is uiapeu ovei the shoulueis of the peifoimeis. It appeais
unexpecteuly fiom a space behinu the web anu is tianspoiteu thiough the
auuitoiium anu finally caiiieu beyonu the peifoimance space anu out thiough
the exit.
The inteimittent ieveal of these uiffeient objects cieate a unique ihythmic
pattein, which uiiects auuience attention in the absence of any logically uiiven
naiiative. The timing of the ievelations is ciucial in captivating anu holuing theii
focus, as is the intensity of the peifoimeis' piesence anu the conspicuous ecstasy
of things. Anothei contiibuting factoi in helping to maintain a heighteneu level
of attention is the atmospheie the auuience is immeiseu in, cieateu by the
sounuscape, lighting anu costume. Between the ieveal of objects, the spectatois
have time to 'piocess' the newly emeigent phenomena. As can be seen fiom theii
feeuback foims, the objects weie evocative, exciteu the imagination anu
geneiateu an association of meaning unique to eveiy inuiviuual.

R'7 E, +8"*,('85"+E'* "A4E%F%J;
!8"*,('85"+E'* '( +4% J"*A%8
In chaptei one of this essay, it was stateu that a tiaining methouology foi butoh
is going to be fiist anu foiemost tiaining foi tiansfoimation. The chaptei went on
to exploie what the founuations aie foi tiansfoimation to occui fiom the
uancei's point of view. It highlighteu how cultivating a state of ieauiness, to
cieate what Bijikata iefeiieu to as 'the becoming bouy', is a ciucial staiting point
foi uance. It involves a piocess of stiipping away oi sheuuing that constitutes
what Nakajima iefeis to as one of butoh's invisible techniques. I woulu suggest
that in compaiison to othei uance genies, this paiticulai appioach to
piepaiation is quite unique to butoh anu its philosophy. Acquiiing this state of
"peifect passivity" is a challenge, but necessaiy in oiuei to pave the way foi
anothei one of butoh's invisible techniques - the iuea of being moveu by
something othei than the uancei's will. This too may be consiueieu a featuie
unique to butoh. The iole that image plays in uiiecting anu moving the uancei is

26
This is a newly cieateu teim I employeu to iefei to a specific example of the theatiical
technique mentioneu above - an inteimittent anu suipiising ieveal of objects.
S4
cential to this iuea of being moveu. A typical example given was imaginaiy
stiings pulling in all uiiections. The image not only suppoits the uancei in space
but also contiols hei movements giving the uistinct impiession that hei bouy is
not hei own. This is an example of the uancei being moveu by an exteinal image,
but she can also be tiansfoimeu by images that move hei fiom the insiue, like in
the examples uesciibeu in Baiiakuuakan's tiaining methouology, ',-#- )"anu
/%"#-' ;
Ia
. Also in chaptei one, Bijikata's butoh fu methou of peifoimance
cieation was intiouuceu. Bis iuiosynciatic anu unique use of language was
instiumental in cieating images foi the bouy. The uancei's bouy becomes like a
vessel ieauy to fill anu empty enulessly as it continues to metamoiphose fiom
image to image.

!8"*,('85"+E'* '( +4% ,G"A%
An exploiation of Ichikawa's Bouy Space pioviueu the giounu foi anothei
common butoh piinciple: the iuea that the uancei is not confineu oi limiteu by
the bounuaiies of his oi hei own skin. Eailiei examples given
28
showeu how,
with the use of image, the space aiounu the bouy can be affecteu, expanueu anu
changeu. In chaptei 2, the uiffeience between space anu spatiality was
highlighteu
29
. We saw how the contiibution of theatiical elements, such as
lighting, sounu, the peifoimei's piesence anu the ecstasy of things all effect anu
change the spatiality fiom moment to moment.

!8"*,('85"+E'* '( +4% ,G%A+"+'8,
So fai, the kinu of tiansfoimation the spectatois expeiience has been mentioneu,
but neeus fuithei investigation. A moment of tiansfoimation potentially
occuiieu with the spectatois having an empathetic iesponse as the peifoimeis
tiaveiseu the looms.
Thiough the peifoimei's piesence, the spectatoi expeiiences the
peifoimei anu himself as embouieu minu in a constant state of becoming
- he peiceives the ciiculating eneigy as a tiansfoimative anu vital eneigy.
(Fischei-Lichte, 2uu8: 99)
Fiom the above quote, it can be seen that a stiong connection exists between
peifoimei anu spectatoi. It is one that is bounu by an eneigetic exchange that
leaves an impact on both.
This connection is the autopoietic feeuback loop - to use Fischei-Lichte's teim.
In fact, accoiuing to hei, the peifoimance is biought foith by the )"#"-8
'+#*6-/#'$+ between peifoimei anu spectatoi, in which both aie "engageu in a
continuous piocess of ueteimining anu being ueteimineu" (2uu8: 164). By way
of explanation, she goes on to say neithei the spectatoi noi the peifoimei is
completely autonomous oi fully ueteimineu by the peifoimance. The spectatoi
is not altogethei autonomous because he is constantly iesponuing to the

27
See pages 8-1u foi an explanation of these teims
28
Foi examples of the inteiplay between Bouy Space anu image, please iefei to pages 1S-16
29
See page 21
SS
emeigence of new phenomena anu expeiiences motoiic, physical oi emotional
ieactions as a iesult of what he is witnessing
Su
. Neithei is the spectatoi fully
ueteimineu by the peifoimance uue to the associative geneiation of meaning.
This gives iise to thoughts, iueas anu memoiies, which aie unique to eveiy
inuiviuual. The spectatoi theiefoie is not conuitioneu to iesponu in the same
way as eveiy othei spectatoi in the auuience_ even though he is witnessing the
same peifoimance. A case in point is the two opposing iesponses to the use of
silence in my peifoimance; one spectatoi uiu not like it at all, while anothei saiu,
@$?*5 #%* ('8*+/*; %*-6'+, #%* #6-<<'/ $"#('5* /6*-#*5 - 8'+: 3*#.**+ #%*
(7'6'#"-8 -+5 #%* 6*-8 $"#('5*
Similaily, the use of the bolu coloui cloaks woin by the uanceis anu uiscaiueu on
the looms evokeu opposing views with an almost equal numbei of those who
loveu the colouis (11 comments) anu those who uiu not like them oi weie
confounueu by theii significance (1u). In auuition, the positioning of the looms
uuiing the peifoimance evokeu these two uiffeiing points of view:
A%*+ #%* 8$$)( .*6* (*# "7; '# <*8# 8':* 1 .-( ("39*/# #$ - #6-7
Compaieu with:
[.*-: 7$'+# Z (7'5*6 .$)-+ 78-/'+, #%* 8$$)(; 36$:* /%-6-/#*6
Neithei is the peifoimei completely autonomous. Though it is uifficult to iuentify
exactly, I think most peifoimeis will agiee that they ieact to anu feeu off
auuience iesponse, howevei subtle that might be. Nany contempoiaiy theatiical
peifoimances expeiiment with uiffeient stiategies that blatantly play oi
inteifeie with the autopoieitic feeuback loop. The use of stiategies such as iole
ieveisal oi auuience paiticipation, allow foi immeuiate anu unequivocal
feeuback, which may uiiect the peifoimance to take suipiising anu
unpieuictable tuins. Bowevei, in a moie tiauitional setting wheie the spectatois
aie seateu anu essentially silent foi the uuiation of the peifoimance, the
feeuback loop is peiceiveu moie subtly. Neveitheless, it is felt; just consiueiing
the uiffeience between a ieheaisal anu a peifoimance is eviuence of its
existence. Anothei example that gives a cleai inuication is how auuiences feel
uiffeient foi the peifoimei fiom one peifoimance to the next. The impact of the
feeuback loop is expeiienceu on a moie eneigetic level, as Fischei-Lichte states:
By setting fiee foices in themselves anu the spectatois, the actoi
geneiates a shaieu eneigy ciiculation in the space that can be physically
senseu by all (ibiu: 16S).
This ciiculation of eneigy, which is physically senseu anu visceial, is a iesult of
the co-piesence of spectatoi anu peifoimei, the uancei's piesence, the ecstasy of
things, anu the subsequent emeigence of new phenomena. The spectatoi senses
this anu iesponus which in tuin feeus back to the peifoimei. In this way, both

Su
Inciuentally, I am ieminueu heie of Ichikawa's "bouily uialogue" intiouuceu in chaptei one,
page 1S-16, in which a mutual paiticipation exists between the peiceivei, the act of peiception
anu the object peiceiveu. This lenus fuithei suppoit to this iuea of "mutual ueteimination"
(Fischei-Lichte, 2uu8: 16S)
S6
the spectatoi anu the peifoimei aie in 'a constant state of becoming', which is
expeiienceu as both embouieu anu new.
As soon as the spectatois step into the auuitoiium to witness the peifoimance,
they aie enteiing into an unspoken agieement anu a paiticulai ielationship with
the peifoimeis.
The autopoietic feeuback loop tiansfeis the spectatois into a state which
alienates them fiom theii uaily enviionment anu its iules anu noims
without offeiing any guiuelines foi a ieoiientation (ibiu: 179).
The iesult of this is a sense of uestabilization, which coupleu with the 'constant
state of becoming', always places the spectatoi in a position of tiansition. Be is in
effect caught between one emeigent phenomena anu anothei in an expeiience
that can be uesciibeu as 'liminal'. It is in this liminal state, aigues Fischei-Lichte,
that the spectatoi is capable of being tiansfoimeu.

<E5E*"$E+D
Fischei-Lichte pioviues some backgiounu to the teim, liminality. It was gleaneu
by the anthiopologist, victoi Tuinei fiom the woiks of Ainolu van uennep,
paiticulaily B%* H'#*( $< E-((-,*, wiitten in 19u9. Thiough his ethnological
stuuy, van uennep uemonstiateu that "iituals aie linkeu to liminal anu
tiansitional expeiiences loaueu with the highest measuie of symbolic meaning"
(ibiu: 174). Accoiuing to van uennep, a iitual occuis in thiee phases, which,
inciuentally, closely paiallels the expeiience of a spectatoi at a peifoimance.
Fiist, theie is the sepaiation fiom the subject's noimal, social context; seconu,
the liminal oi tiansfoimational phase, wheie the peison is subject to "entiiely
new anu paitly uistuibing expeiiences" (ibiu: 17S) anu finally, the incoipoiation
stage wheie they ie-join society.
The majoi uiffeience between iitual anu peifoimance as a liminal piocess,
howevei, is in theii impact anu effect. In the foimei, it seives the puipose of
publicly uemonstiating the subject's membeiship to a paiticulai community anu
theieby maintaining the community oi ienewing anu invigoiating it by
expanuing its membeiship. The effect on the inuiviuual is piofounu in that he oi
she assumes a new iuentity within that community that is socially iecogniseu
anu lasting. No such enuuiing effects iesult fiom seeing a peifoimance. Bowevei,
inuiviuual spectatois may be moveu to such a uegiee that it uoes have an impact
on theii life choices anu uecisions beyonu the peifoimance. This may be
iegaiueu as an exceptional case iathei than the noim.
Instances of emeigence anu the autopoietic feeuback loop contiibute to cieating
a liminal state in a theatie context, as uoes the collapse of uichotomies. When
opposites uissolve, the space between is inhabiteu as a liminal state. 0ne
'collapse' has alieauy been highlighteu: between the active anu passive obseivei
of a peifoimance.
In the piocess of geneiating meaning the subjects expeiience themselves
actively as well as passively, neithei as fully autonomous subjects noi
S7
totally at the meicy of inexplicable foices. This binaiy opposition simply
uoes not holu any longei (ibiu: 1SS).
In butoh, a paiticulaily significant collapse of binaiies is the one between human
anu non-humananimal. Thiough the use of image, the uancei tiansfoims into
something othei anu becomes uniecognisable. Some spectatois in commenting
on the costumes saiu they thought the uanceis weie "not human", "seemeu like
cieatuies" anu "costumes gave a sense of sheuuing skin" inuicating that in the
minus of these vieweis, a uefinite tiansfoimation occuiieu.
Anothei expeiience of liminality exists foi the spectatois uuiing instances of
what Fischei-Lichte teims "peiceptual multistability" (ibiu: 88). This occuis
when the subject's attention oscillates between two moues of peiception: that of
peiceiving the uancei's phenomenal bouy, theii coipoieality, as opposeu to the
theii semiotic bouy. When the subject's focus is on the foimei, they aie paying
attention to "the peiceptual oiuei of piesence" anu when focusing on the lattei,
"the peiceptual oiuei of iepiesentation" (ibiu: 149). As the minu involuntaiily
fluctuates between the two thioughout a peifoimance, the subject is caught on a
thiesholu, in which they expeiience liminality. Bow might such a liminal state
leau to a tiansfoimation.
Watching the peifoimance fiom the peispective of these two peiceptual oiueis
can geneiate meaning uiffeiently, accoiuing to Fischei-Lichte (ibiu). When
focusing on the phenomenal bouy of the peifoimei, the expeiience is moie
visceial anu meaning is piouuceu as sensations anu emotions. It manifests
physically anu exteinally, anu theiefoie can be peiceiveu by otheis, as
physiological, affective, eneigetic oi motoiic. Instances of such exteinal
manifestations that can be peiceiveu by otheis weie highlighteu in the pievious
chaptei when one auuience membei wiote "hau me making moves in my seat"
anu anothei "hau me giipping my seat".
0n the othei hanu, the peiceptual oiuei of iepiesentation focuses attention on
the fictive woilu oi the symbolic spheie. The meaning geneiateu stimulates
thoughts, iueas anu also emotions. Bowevei, these aie insteau manifesteu
inteinally, anu haiuly evei oveiwhelm the spectatoi. The geneiation of thoughts
anu iueas allows the obseivei to maintain a ceitain uistance.
Refeiiing back to the two comments mentioneu above by auuience membeis in
iefeience to the placing of the looms, it seems to me that the fiist comment might
point to the fact that the subject iesponueu to this moment fiom the peiceptual
oiuei of piesence. The feeuback that the placing of the looms felt like a tiap
suggests a sensoiy iesponse with a possible emotional ieaction, while the seconu
comment - the placing of the looms was a weak point in the show because it
bioke chaiactei - came fiom the peiceptual oiuei of iepiesentation. If we take
the "ciiculating eneigy" between peifoimei anu spectatoi to mean "a
tiansfoimative anu vital eneigy" (ibiu: 99), I suggest that the peison who is
iesponuing fiom the peiceptual oiuei of piesence, iesponuing sensoiily, is moie
likely to have a tiansfoimative expeiience, in this moment, than the seconu
peison whose iesponse is moie conceptual.
S8
Sensations anu emotions affect the autopoietic feeuback loop in a way that
conceptual iesponses aie not able to. Sensations anu emotions iepiesent
paiticulai states of consciousness. Aiising in consciousness, they aie meanings
that aie aiticulateu physically. The subject becomes conscious of them thiough
theii physicalization, which as we have seen, can be peiceiveu by otheis. This in
tuin influences the feeuback loop. Among the wiitten feeuback iesponses, theie
weie many iefeiences to emotions felt uuiing the couise of the peifoimance.
Nost of them mentioneu weie in the iealm of what might be ueemeu negative,
anu incluueu woius such as, 'intense', 'heavy', 'emotional', 'uncomfoitable',
'panickeu', 'uisconceiting' anu 'hoiioi'. Theie weie othei uesciiptois useu
thioughout the suivey such as 'moving', 'libeiating', 'joyful' anu 'beautiful'
inuicating peihaps that theie was a iange of emotions felt. To have an emotional
iesponse equates with having a tiansfoimative expeiience. Fischei-Lichte
explains:
In the aesthetics of the peifoimative, geneiating emotions anu inuucing a
liminal state go siue by siue anu cannot be sepaiateu fiom one anothei
(ibiu: 171).
To sum up, a tiansfoimative expeiience foi the spectatois is a physical one, in
the sense that theie is "a change to the physiological, eneigetic, affective anu
motoiic state" (ibiu: 177). In this moment, the subject expeiiences himself as
embouieu minu, anu may actually finu himself, foi example, quite liteially sitting
on the euge of his seat. Be may feel enliveneu, invigoiateu, eneigizeu as a iesult
of paitaking in the peifoimance. Emotions may also be stiiieu anu expeiienceu
as sensations, which may still lingei aftei the peifoimeis have left the stage.
ueneially speaking, the effects of such a tiansfoimative expeiience only last foi
the uuiation of the peifoimance. Any iesiuue may iemain foi some time aftei,
expeiienceu as a feeling of uisoiientation, uestabilization, oi even exhilaiation.
Bowevei, ieintegiation back into the 'ieal' woilu will ielegate the expeiience of
the peifoimance to a memoiy only. A ietuin to the peifoimance space latei may
ie-evoke the memoiy of that peifoimance but not its tiansfoimational powei,
which is aftei all, a liveu expeiience. 0veiall, the tiansfoimative effects aie
tempoiaiy.

!4% @G"A% 9%+7%%* O > <E5E*"$ @+"+%
At this point, I ask myself what my initial intentions weie in embaiking on this
jouiney. What uiu I set out to uo in this essay. Anu what have I actually
achieveu.
Theie weie thiee cleai intentions. Fiist, my intention as stateu in the
intiouuction was to uncovei a set of coie elements of butoh that contiibute to an
unueistanuing of its essence. Seconu, I intenueu to use the "new aesthetics" as
uesciibeu by Eiica Fischei-Lichte in hei book, B%* B6-+(<$6)-#'?* E$.*6 $<
E*6<$6)-+/* to pioviue the language necessaiy foi talking about my butoh
peifoimance. In auuition, I intenueu to use hei aiticulateu aesthetics of the
peifoimative anu auapt it in oiuei to cieate my own list, which specifically
peitains to a butoh aesthetic. Finally, my wish was to make a contiibution to the
S9
much-neeueu uiscouise on butoh as piactice, as stipulateu by Fialeigh anu
Nakamuia (2uu6: 1u2).
The iesults of my effoits have been, I iealise, paitially achieveu. I believe I have
not been successful in uispelling the uoubt aiounu the uebate on what
constitutes butoh's essence. In fact, I have ueepeneu the mysteiy foi myself by
coming to the conclusion that butoh may be iegaiueu moie of a philosophy than
meiely a uance oi theatie foim. Sonuia Fialeigh also poses the question, "Is
Butoh a Philosophy." in chaptei S of hei book, "Butoh: Netamoiphic Bance anu
ulobal Alchemy" (2u1u). She iesponus to the question with a iesounuing, yes.
Yes, it is an unfinisheu metaphysical philosophy of the uancing
bouy.(2u1u: 76)
Bei iesponse invites fuithei uiscussion anu exploiation. In spite of opening up a
whole new aiea of investigation foi myself, I feel that I have succeeueu in making
a contiibution to the piactical uiscouise aiounu some of the coie elements,
geneially accepteu to be associateu with butoh, namely tiansfoimation, empty
bouy anu being moveu. I have not saiu all that is to be saiu on these topics. So fai,
my investigation of them iemains at the level of technique foi the most pait.
In Fischei-Lichte's "new aesthetics", I founu an exciting language foi talking
about peifoimance. Bei luciu explanations of peifoimance as event pioviueu a
founuation foi the unueistanuing of peifoimance ait since the sixties. Butoh
peifoimance fits into this categoiy, as uo most theatie foims that piivilege the
peifoimative ovei the liteiaiy text. It pioviues a common language not only foi
butoh, but foi talking about the tiansfoimative effect of all peifoimance vieweu
as an event; theatie in which something 'ieal' happens between spectatoi anu
peifoimei.
If I am askeu again, "What is butoh." as I often am, I will be able to give an
answei of soits, appiopiiate to the knowleuge, expeiience anu level of inteiest of
the peison asking; yet foi me, it will always iemain a mysteiy. Being in a state of
not-knowing is a goou place to be foi a butoh uancei. I am ieminueu of the
aumonishment of one of my }apanese teacheis, Seisaku, who saiu that it is
necessaiy foi a butoh uancei to uwell in the woilu of unceitainty. When a uancei
knows what they aie uoing, then it becomes boiing foi the auuience.
The questions still iesounu in my heau, what makes a woik butoh. What is at
stake in the name. Why uo many peifoimeis of butoh iesist calling it so -
piefeiiing insteau the teim, butoh-inspiieu. Why can they not lay claim to the
name.
In iesponse to these, I woulu just ieminu the questioneis that butoh is fiist anu
foiemost about the expeiience of the bouy. Eveiything alieauy exists anu iesiues
theie. Peihaps this is what Nakajima is iefeiiing to when she says, "the bouy is
the scene of fulfilleu life" (1997:4). Bijikata's goal was to unveil the mysteiy of
the bouy, "the most iemote thing in the univeise" (Kuiihaia Nanako, 1996) anu
ultimately achieve "an expansion of the concept of human beings" (Nikami,
1997: 86). As long as the uanceis aie following this intent, anu exploiing the
space between what has been leaineu anu the unknown, in oiuei to uncovei the
mysteiies of what it means to be human, they aie uoing butoh.
4u
9E#$E'C8"G4D
!((G0
Anuiews, Allan A. et al. (1996). b*4( #$ #%* N-7-+*(* M*-6# -+5 T$"80 Kouansha
Inteinational Ltu.
Baiiu, Biuce (2u12). M'9':-#- B-#(")' U !"#$%F P-+/'+, '+ - E$$8 $< c6-4 c6'#(.
Palgiave Nacmillan
Baibei, Stephen (2uuS). M'9':-#-F H*?$8# $< #%* !$540 Solai books
Fischei-Lichte, Eiika (2uu8). B%* B6-+(<$6)-#'?* E$.*6 $< E*6<$6)-+/* Z > +*.
-*(#%*#'/(0 Routleuge
Fialeigh, Sonuia (1999). P-+/'+, 1+#$ P-6:+*(( Z !"#$%; d*+ -+5 N-7-+.
0niveisity of Pittsbuigh Piess
Fialeigh, Sonuia (2uu4). P-+/'+, 15*+#'#4 Z V*#-7%4('/( '+ V$#'$+0 0niveisity of
Pittsbuigh Piess
Fialeigh, Sonuia & Nakamuia, Tama (2uu6). Bijikata Tatsumi anu 0hno Kazuo.
Routleuge
Fialeigh, Sonuia (2u1u). !"#$% Z V*#-)$67%'/ P-+/* -+5 c8$3-8 >8/%*)4.
0niveisity of Illinois piess
Nasson-Sekine, Nouiit (eu.) & viala, }ean (1988). !"#$% Z T%-5*( $< P-6:+*((0
Shufunotomo Co., Ltu.
Nagatomo, Shigenoii (1992). >##"+*)*+# B%6$",% #%* !$54. State 0niveisity of
New Yoik Piess
0hno, Kazuo & 0hno, Yoshito (2uu4). b-]"$ C%+$2( A$685 Z <6$) .'#%$"# U
.'#%'+0 Wesleyan 0niveisity Piess
Waguii, Yukio (2u11) >6/%'?* $< V$?*)*+#( Z `=#6- e*6('$+0 B6-+(<$6)-#'$+ $<
#%* !$54GPePL Aits Centei, Keio 0niveisity, Tokyo

`(6.$/:0a/.3#9:"0a"00/M0
Cuitin, Catheiine (2u1u). H*/$?*6'+, #%* !$54 -+5 `=7-+5'+, #%* !$"+5-6'*( $<
T*8< '+ N-7-+*(* !"#$%F M'9':-#- B-#(")'; c*$6,*( !-#-'88* -+5 >+#$+'+ >6#-"50
Contempoiaiy Theatie Review, vol. 2u(1): S6-67
Fialeigh, Sonuia (1991). T**'+, P-+/* B%6$",% E%*+$)*+$8$,4. Bance Reseaich
}ouinal, vol 2S, No. 1, Spiing: 11-16
Bijikata, Tatsumi (1961). 0iiginally publisheu b*')'(%$ *. Nita Bunga ku.
Tianslateu anu iepiinteu as B$ E6'($+0 The Biama Review, 44, No. 1(T16S),
Spiing: 4S-48
Kuiihaia, Nanako (2uuu). M'9':-#- B-#(")' W%6$+$8$,40 The Biama Review, 44,
No. 1(T16S), Spiing: 29-SS
41

Noiishita, Takashi (2u1u). M'9':-#- B-#(")'2( S$#-#'$+-8 !"#$%F T',+ -+5 V*#%$5
<$6 W6*-#'$+. English tianslateu essay, Aits Centei, Keio 0niveisity, non-
paginateu
Nakajima, Natsu (1997). >+:$:" !"#$%. Lectuie ueliveieu at Fu }en 0niveisity
uecaue confeience, Taipei: Feminine Spiiituality in Theatie, 0peia, anu Bance
Senua, Akihiko (moueiatoi), (2uuu). Y6-,)*+#( $< c8-(( Z > W$+?*6(-#'$+ 3*#.**+
M'9':-#- B-#(")' -+5 T"]":' B-5-(%'0 The Biama Review, 44, No.1 (T16S), Spiing:
62-7u
Toshihaiu, Kasai & Paisons, Kate (2uuS). E*6/*7#'$+ '+ !"#$%0 Nemoiis of the
Bokkaiuo Institute of Technology, No. S1: 2S7-264
Toshihaiu, Kasai (2uu9). S*. _+5*6(#-+5'+,( $< !"#$% W6*-#'$+ -+5 W6*-#'?*
>"#$7$'*#'/ !"#$% Z <6$) T"3/$+/'$"( M'55*+ C3(*6?*6 #$ E*6#"63-#'$+ $< !$54O
V'+5 T4(#*)0 uooSayTen website

A#00".3/3#($0
Baibe, Fiances (2u11). B%* P'<<*6*+/* !"#$% V-:*(F > E6-/#'/*O!-(*5 `=78$6-#'$+
$< !"#$% '+ W$+#*)7$6-64 E*6<$6)-+/* -+5 E*6<$6)*6 B6-'+'+,0 PhB, 0niveisity
of Kent
Keng, Lee Chee (1998). M'9':-#- B-#(")' -+5 >+:$:" !"#$%F > !$54 E*6(7*/#'?*0
Nasteis, National 0niveisity of Singapoie
Klein, Susan Blakeley (1988). >+:$:" !"#$% Z B%* E6*)$5*6+ -+5 E$(#)$5*6+
1+<8"*+/*( $+ #%* P-+/* $< _##*6 P-6:+*((0 Coinell 0niveisity East Asia Papeis
Kuiihaia, Nanako (1996). B%* V$(# H*)$#* B%'+, '+ #%* _+'?*6(*F W6'#'/-8 >+-84('(
$< M'9':-#- B-#(")'2( !"#$% P-+/*0 PhB, New Yoik 0niveisity
Nikami, Kayo (1997). B-#(")' M'9':-#-F >+ >+-84('( $< >+:$:" !"#$% B*/%+'X"*(0
PhB (incomplete)
Polzei, Elena (2uu4). M'9':-#- B-#(")'2( Y6$) !*'+, N*-8$"( $< - P$,2( e*'+0 N.A,
Bumbolut-0niveisitat zu Beilin
Snow, Petei (2uu2). 1)-,'+, #%* 1+O3*#.**+F #6-'+'+, 3*/$)*( 7*6<$6)-+/* '+
!$54 A*-#%*6 76-/#'/* '+ >"(#6-8'-0 PhB. 0niveisity of Syuney

=$3".)#"50
Akaji, Naio & Nuiamatsu: 14 }une, 2u1S. Baiiakuuakan stuuio, Kichijoji, Tokyo
Noiishita, Takashi & Bomma, Yu: 7 & 12 }une, 2u1S. Aits Centie, Keio 0niveisity,
Tokyo
42
Noiita, Itto: 19-21 }une, 2u1S. Naiuyama Nishimachi, Sappoio Bokkaiuo
Seisaku & Nagaoka, Yuii: S }uly, 2u1S. Yostuya-sanchome, Tokyo.
0hno, Yoshito: 14 }uly, 2u1S. Kazuo 0hno stuuio, Kami-hoshikawa, Yokohama
Waguii, Yukio: 27 Nay, 2u1S. Nitaka, Tokyo

4S
>BB=.1-S >
>. =L=/T-.T !/>-.-.T L=!R010<0TU
0vei the couise of a yeai, I ian weekly butoh woikshops, which weie open to the
public. The paiticipants iangeu fiom those with no expeiience of butoh, to those
who hau seen it oi hau hau a few chances to exploie it, alongsiue otheis with
consiueiably moie expeiience. Theie weie two membeis who weie auvanceu
piactitioneis having peifoimeu anu stuuieu extensively oveiseas. A point of
inteiest heie is that iegaiuless of expeiience, eveiyone typically stuuies togethei
in the same class. This was tiue of my expeiience in }apan as a stuuent; it was
veiy unlike my expeiience of stuuying classical ballet as a chilu in my native
homelanu, Englanu, wheie I woikeu piogiessively thiough giaues anu giauuateu
fiom one class to anothei only aftei passing an exam.

A woikshop stiuctuie mateiialiseu, which consisteu of six paits:
4/.3 P + F/.2 6O. This involveu a waim-up of both the imagination as well as
the physical bouy. It was impoitant foi the waim-up to iesult in an incieaseu
level of eneigy, which coulu then be taken into the iest of the woik.
4/.3 W + \.(6$* 5(.G. Typically, this involveu expeiiences anu exeicises that
aimeu to achieve the empty bouy; it coulu also involve some ensemble anu gioup
awaieness activities.
4/.3 E + C(." 0G#::0 3./#$#$%D This consisteu of a focus on being moveu anu
woiking with image essentially; othei skills incluueu piactices such as mask
woik, slowing uown time 'bisoku'
S1
, incieasing the quality of attention, oi
investigating the }apanese concept of 'ma'
S2
. As pait of this coie skill tiaining, I
woulu sometimes incluue uance expeiiences I leaint with 0hno Yoshito anu gave
these piactices the name 'soul woik'.
4/.3 Z + =2O.()#0/3#($. As fai as possible, the class aimeu to enu with
impiovisation which woulu allow paiticipants to uiaw upon pievious woik uone
in the class to use in a fiee, spontaneous anu unique way within a given stiuctuie
oi foim.
4/.3 L + C-(."(%./O-#9 3"9-$#^6"0. These weie intiouuceu as tools foi self-
uevising. Not eveiy lesson incluueu this section.
4/.3 V + C((: *(5$. This was not only helpful foi the paiticipants' physical
bouies but also impoitant when woiking at a heighteneu level of awaieness foi

S1
!'($:" is a woiu useu to uesciibe a specific activity in which movement is sloweu uown to a
iate of 1 mm pei seconu. This expeiience was fiist intiouuceu to me as a Bouy Weathei exeicise.
Bouy Weathei was oiiginally establisheu by }apanese uancei, Tanaka Nin. Austialia's leauing
pioponent of this methou is Tess ue Quincey in Syuney.
S2
V- is ioughly tianslateu in English as 'the space between'. "It is a teim wiuely useu in }apanese
aits, paiticulaily music, uance anu theatie anu is useu "to uesignate an aitistically placeu inteival
in time oi space. By its veiy absence of sounu oi coloi, )- helps accentuate the oveiall ihythm oi
uesign." b*4( #$ #%* N-7-+*(* M*-6# -+5 T$"8 (Kouansha Inteinational Ltu: 1996)
44
piolongeu peiious. Cool uown was sometimes necessaiy in oiuei to facilitate a
smooth tiansition back to the 'ieal' woilu outsiue the tiaining ioom.

- 3"85 :G
Ny classes usually begin with a tiauition I biought back with me fiom }apan -
washing the flooi with uamp iags. The paiticipants benu ovei anu place both
hanus flat on a iag that is wiung anu iun up anu uown the space foiming long,
stiaight tiacks. Not only uoes this clean the flooi but it also seives as a goou
exeicise foi woiking fiom the centie (the aiea just below the navel) anu waims
up the bouy in the piocess. It is an effective aeiobic exeicise as well.
Theie aie many uiffeient appioaches to waim-up, ianging fiom ielaxing yoga
stietches to vigoious woikouts anu vaiious combinations, accoiuing to the
inuiviuual teachei's piefeiences. The othei option is no waim-up at all, which is
an appioach favouieu by 0hno Yoshito. The philosophy behinu such a choice
ieflects the view that the uancei shoulu begin with exactly wheie the bouy is at
in any given moment. It is aftei all tiaining foi listening to the bouy anu
iecognising its neeus.
Ny waim up tiies to achieve a numbei of objectives - one of which is the
waiming up of the muscles anu joints of the physical bouy in piepaiation foi
some stietching. Woiking safely is a high piioiity. uiving time to maintaining
anuoi ueveloping flexibility, stiength anu suppleness of the bouy means it is
capable of moie when peifoiming.
Time spent with Baiiakuuakan has shown me the value of incoipoiating image
into this physical waim-up. The benefits aie two-folu: it activates anu exeicises
the imagination anu is often moie enjoyable. I have also witnesseu how much
fuithei people can go in theii exploiations at the euge of theii physical
capabilities when guiueu by imageiy.
I also like to biing attention to isolation anu aiticulation of uiffeient bouy paits,
the physical space anu its aichitectuie, anu last but not least to the ensemble of
people woiking togethei foi the uuiation of the class. A compiehensive anu
systematic appioach that auuiesses all of these is NB tiaining fiom the Bouy
Weathei piactice. NB can eithei stanu foi 'Nuscles anu Bones' oi 'Ninu anu
Bouy' anu is a set of iigoious exeicises conuucteu in gioups usually moving
thiough space in lines. Thiough attenuing seveial woikshops with Tess ue
Quincey anu fellow foimei Naijuku
SS
company membei, Fiank van ue ven I have
come to appieciate the value of this as a means of:
the bouy meeting oneself,
oneself anu the bouy meeting the space, anu
oneself anu bouy meeting othei bouies in space.

SS
Naijuku is the company founueu by Tanaka Nin. Be Quincey anu van ue ven weie both
membeis of his company fiom 198S-1991 anu 198S-1991 iespectively.
4S
It constantly iequiies a negotiation of bounuaiies anu limits anu pioviues means
of extenuing them.
S4


-- T8':*J 7'86
The questions constantly unuei investigation in ielation to the empty bouy aie
the following:
What uoes the empty bouy 'feel' like. What is its potential.
What uisappeais, what iemains, when tiying to be piesent while at the
same time tiying to vanish oui humanity.
In the woikshops, we exploieu uiffeient methous of getting to the place of the
empty bouy. What pioveu to be most effective was a slow anu giauual leau into
the state of emptiness thiough a seiies of meuitative, slow walks, such as
Nakajima Natsu's "Bisappeaiing Walk"
SS
. Beie, the paiticipants walk acioss the
length of a ioom ovei an extenueu peiiou of time. The self is giauually stiippeu
away anu vanishes to a state of emptiness with each step taken. When the
paiticipants ieach one siue of the ioom, they tuin aiounu slowly anu begin the
ietuin jouiney of equal uuiation. 0n the ietuin jouiney, they ieappeai,
iefoiming with eveiy step anu with the potential to be anything. Accompanieu
by soft, instiumental music, the expeiience is uiffeient foi each inuiviuual. It is
valuable to give the paiticipants time afteiwaius foi shaiing theii ieflections on
the expeiience, peihaps uiawing out images anu feelings that it evokes. It was
also inteiesting foi me to note the impact of the woius I spoke uuiing the walk
anu how they influenceu each inuiviuual's expeiience. I cieate my own butoh-
fu
S6
something along these lines:
>88$. 4$"6 )*)$6'*( -+5 %'(#$64 #$ (8'7 -.-4[#%*4 #6-'8 3*%'+5 4$" 8':* -+
'+#6'/-#*84O.$?*+ /8$-:0 B%* <8*(% 5'(($8?*(; #%*6* '( +$ 3$"+5-64 3*#.**+
'+('5* -+5 $"#[4$" -+5 #%* (7-/* -6* $+*0 E-6#'/8*( 5'(7*6(* -+5 )*6,*
.'#% #%* -'6 -6$"+5[4$" 3*/$)* +$#%'+, -+5 *?*64#%'+, -( 4$" )*6,* .'#%
#%* (7-/*[
A vaiiety of uiffeient slow walks fiom 0hno Yoshito's iepeitoiie of uances weie
also effective in biinging the consciousness completely into the piesent moment
anu affiiming one's piesence as embouieu minu in the space. An example is the
Kazuo 0hno walk, nameu aftei his fathei. I incluue my notes I wiote foi this
exeicise baseu on my expeiience of it in his stuuio. As fai as possible, I tiy to
iecaptuie the woius that Yoshito himself uses to intiouuce the exeicise, baseu
on my memoiy of it immeuiately aftei the class:
Raise outstretched arms and hands (palms facing down) in front of the body to
above the head; turn the palms of the hands outwards and take the arms down

S4
Foi a moie in-uepth look into the Bouy Weathei piactice, see Petei Snow's PhB thesis: 1)-,'+,
#%* 1+O3*#.**+F #6-'+'+, 3*/$)*( 7*6<$6)-+/* '+ !$54 A*-#%*6 76-/#'/* '+ >"(#6-8'- (0niveisity of
Syuney 2uu2)
SS
A veision of this uance expeiience is uesciibeu by Fialeigh in Fialeigh & Nakamuia 2uu6: 1uS-
1u9.
S6
Foi an explanation of butoh-fu, see chaptei 1, pp..
46
to the side to complete a circle. Move the arms very slowly a millimeter at a
time while walking and feeling every moment. Be in the moment, cherish it!
In a moment, you could die (have a heart attack or get shot), so this moment is
important. The necessity is to make every moment count: cut-stop, cut-stop, so
it is not a smooth process. The stops are not so obvious, but an awareness of
them is important to try and live and experience each moment: in this exercise,
we should meet ourselves. At each point, we should feel the connection to
ones core and ones identity. Eyes are looking at the end of the fingers
looking through the fingers, but not with usual eyes.

--- )'8% ,6E$$, +8"E*E*C
As mentioneu above, the key skills focuseu on in this section was the technique
of 'being moveu' anu the use of image.
In ueveloping the skill of being moveu, I intiouuceu a numbei of uiffeient
exeicises incoipoiating the use of image. Togethei they foimeu a set of
stiategies aiounu how to achieve this invisible technique.
BEINu N0vEB
#$%&'() '*
This ielates to the Baiiakuuakan piinciple of "bouy is pait of the space
suiiounuing it" in which the empty bouy is invaueu anu moveu by images
emeiging fiom the substantial aii, tuining it into something unknown anu
unceitain; e.g. incense smoke enteis the bouy thiough the soles of the feet
S7
.
+,-)%.'*/ )-)0/)& 10,- %.) 2,(3 4*( )5%)*(& '*%, %.) &647) 40,$*( '%
This was uesciibeu in chaptei 1
S8
. Theie it was explaineu that oui imagination is
not confineu oi limiteu by the bounuaiies of the skin. By extenuing the image
into the space beyonu the bounuaiy of the bouy, the space beyonu the bouy
opens up - not only foi the uancei but foi the spectatoi too. An example was
shaieu of a famous Bijikata exeicise wheie shoots spiout thiough the bouy anu
giow ten meties out thiough the ciown of the heau anu fiom each aim.
8*&'() ,$%
This is anothei Baiiakuuakan piinciple in which the bouy becomes possesseu by
something anu is moveu fiom within; foi example, a thousanu yeai olu man
inhabits the bouy
S9
anu tiansfoims it.
9.4% %.) 2,(3 '& (,'*/ '& 4:&, 2)'*/ (,*) %, %.) 2,(3
This is a technique I leaint fiom Seisaku, which also has the effect of opening up
the space foi both the peifoimei anu then hopefully in the eyes of the auuience.
If, foi example, the uancei is moving foiwaiu ciouching anu pioffeiing a gift to

S7
This is a populai image Seisaku teaches in his classes in Tokyo.
S8
See pages ..
S9
This is an image I pickeu up fiom fellow colleague anu Bouy Weathei expeit, Petei Fiasei
47
an unseen entity, the uancei is both offeiing the gift anu at the same time is also
the gift being offeieu.
;4<) %.) '*!'&'2:) !'&'2:)
This is anothei technique I leaint fiom Seisaku, which comes fiom his time spent
with Bijikata. In his explanation, he tells us to imagine a big wall behinu which
the neighbouis aie aiguing. Be puts his eai to the imaginaiy wall anu ieally tiies
to heai something - peihaps the woius of a heateu exchange. With this simple
example, he points to the space in fiont of him - an empty space, which soon
becomes full of the image of an aiguing couple. The shape of his bouy, the
stiaining to heai, the absolute buining cuiiosity he exuues in his action all
combine to make the space in fiont of him come alive. Nikami (1997: Su) quotes
Ashikawa as saying, "Nobouy sees the uancing bouy. Eveiybouy sees the space
aiounu it." Ashikawa then auus,
The Butoh uancei is not ieality but shauow. The Butoh uancei uoes not
uance with his own will - but foiceu to uance by the shauow. (ibiu: S1)
=.) 0)4:'%3 ,1 %.) )56)0')*7)
This is a phiase I useu to iefei to the way in which Seisaku woulu always tiy to
begin his lesson with a conciete expeiience fiom which to builu the imaginaiy
woilu. So, when woiking with the quality of being moveu by winu, the uanceis
fiist blow on each othei, oi even bettei go outsiue on a winuy uay anu have the
expeiience of liteially being blown.
In his woikshops, Fiank van ue ven of Bouy Weathei Amsteiuam intiouuceu his
woikshop paiticipants to many paiiwoik activities woiking with qualities such
as clay. 0ne peison moves anothei as if they aie woiking anu mouluing a big,
lump of colu, uense clay into vaiious shapes - both on the flooi anu latei
stanuing. The peison ieceiving gets to expeiience actually being moveu while
imagining theii flesh to be anothei mateiial. This peison then iecieates the
ieality of the expeiience in a iegeneiation of it in an impioviseu uance. Fiances
Baibe (2u11) uesciibes anu uemonstiates vaiiations of a similai exeicise,
Sculptoi anu Clay, in hei PhB thesis
4u
, which aims to give the ieceivei a ieal
expeiience of being moveu.
#2>)7%& 40) ,$0 %)47.)0&
This is a phiase of 0hno Yoshito's which he useu when biinging out ceitain items
foi us to uance with in his classes. 0ne paiticulai example was a heavy stone.
When uancing with a heavy object, like a stone, he encouiageu us to ieally
cultivate the sense that the stone was uancing us iathei than meiely uancing
with the stone.
Baiiakuuakan sometimes taught theii company choieogiaphy in theii
woikshops, anu one such uance I leaint involveu caiiying long sticks, about the
size of bioom hanules, acioss the shoulueis. In the oiiginal piouuction, the sticks
hau huge baskets hanging off each enu. In the leaining of the choieogiaphy, we

4u
See Fiances Baibe (2u11) pp. 119-12u
48
weie uiiecteu to animate the stick as if it weie the sticks themselves that weie
moving us.

-? -5G8'FE,"+E'*
While watching fiee uance impiovisations, I am often left feeling that if moie
stiuctuie oi focus coulu be pioviueu, the uancei may move away fiom habitual
ways of moving anu entei new teiiitoiy. With iestiiction comes fieeuom. To
bieak fiee of the constiaints of habits, I have come to iealise that pioviuing
uanceis with oppoitunities foi uiffeient types of impiovisational woik is helpful.
I have iuentifieu foui uiffeient types so fai. These aie:
?$'()( '-60,!'&4%',*&
- calling out uiffeient images foi uiffeient paits of the bouy to be
uanceu simultaneously (0mni-Cential Imaging
41
)
- butoh-fu- Bijikata's uance notation of suiieal images - ieau out
alouu as piovocations foi the bouy
- pioviuing a context anu 'iole' foi the impiovisation; e.g. the
huntei anu the hunteu
+%0$7%$0)( '-60,!'&4%',*&
- uuiueu beginning leauing to a fiee impiovisation
- Impiovising aiounu the S stages of a flowei fiom bloom, to
blossom, to witheiing
8-6)%$& 4& 4 &%40%'*/ 6,'*% @ A.4% .4!) 3,$ 2)7,-)B
- Image-baseu impetus; e.g. ants uevouiing the bouy
- Somatic awaieness; e.g. biinging attention to the senses
- Kinaesthetic movement; e.g. Ciiclesfiguies of 8
+%'-$:$& '-60,!'&4%',*
- uioup impiovisation; e.g. Full Noon (0hno Yoshito). To
Beehoven's Noonlight Sonata, the gioup holu hanus in a ciicle
anu aie moveu both by the music anu the eneigy of the gioup.
- Inuiviuual impiovisation; e.g. Belen Kellei (0hno Yoshito). The
uancei places hei hanus slowly in a bucket of colu watei as if
expeiiencing the touch of watei foi the fiist time anu then
uances the expeiience.

An impiovisation exeicise of paiticulai inteiest is one I leaineu fiom
Baiiakuuakan calleu V'3"6'OB*3"6' }]]. Liteially tianslateu, it means
hanu anu bouy movements anu iefeis to the common gestuies useu in uaily life.
It exploies how such quotiuian gestuies can become an entiy point into the

41
0mni-Cential Imaging is anothei Bouy Weathei uance expeiience, oiiginally fiom the woik of
Tanaka Nin. In this exeicise, images aie cieateu foi uiffeient paits of the bouy. The challenge is
to uance them all togethei while keeping the specificity anu isolation: such as, long haii floating
on lake, aims as featheis on a bieeze, legs walking thiough honey anu the spine as a snake. The
face coulu also be auueu; eg face as baik of a tiee. This paiticulai combination by way of example,
I leaint fiom my fellow peifoimei anu teaching colleague, Naik Bill.
49
uance, connecting the uancei to a uiffeient iealm of ieality that exists ueep
within. What this exeicise aims to uo is suuuenly uiop the uancei into the woilu
of the unconscious - the voiu - fiom which place the uance emeiges. The
paiticipant staits by miming an eveiyuay activity, such as biushing teeth oi
cutting vegetables. The teachei makes a suuuen louu noise, which shocks the
peison into fiozen stillness. In this moment, all thought is momentaiily
suspenueu in a voiu. The iuea is to maintain this state foi as long as possible until
something ventuies out of the uaikness to inhabit the bouy. Beie then is the
gateway into the uance. It becomes a kinu of 'falling into' the state of
nothingness, quite suuuenly - fiom a moment of shock oi fiight.
This technique constitutes a pait of Baiiakuuakan's coie tiaining methouology
anu can also be a tool foi geneiating images anu vocabulaiy foi latei use in
choieogiaphic woik.

? )4'8%'C8"G4EA +%A4*EV:%,
C54-6:)& ,1 D$%,.E1$
I acknowleuge that my expeiience of woiking with butoh-fu is limiteu anu still
veiy much in its infancy. Bowevei, I have been intiouuceu to two uiffeient
methous of woiking with it; the fiist is using butoh-fu as a text, which is ieau out
alouu to inspiie an impioviseu uance in a tiaining context; seconu, useu as fixeu
choieogiaphy. A populai example useu foi a uance of impiovisation is "You Live
Because Insects Eat You". This was fiist piouuceu in Waguii Yukio's BvB
compilation, !"#$% b-5*+. It has since been iepiouuceu in Fialeigh anu
Nakamuia (2uu6) as an exeicise uesciibeu by Fiances Baibe
42
. This infoimeu
uesciiption of hei own appioach offeis an excellent staiting point foi woiking
with butoh-fu.

F,$ G'!) D)74$&) 8*&)7%& C4% F,$
A peison is buiieu in a wall.
The peison becomes an insect.
The inteinal oigans aie paicheu anu uiy.
The insect is uancing on a thin sheet of papei.
The insect tiies to holu falling paiticles fiom its own bouy,
Anu uances, making iustling noises.
The insect becomes a peison, who is wanueiing aiounu,
So fiagile they coulu ciumble at the slightest touch.


42
See Fialeigh anu Nakamuia (2uu6), pp. 1SS-1S8.
Su
Nakajima Natsu taught the following butoh-fu in a woikshop I attenueu in
Seville, Spain in 2uu7. It was a choieogiapheu example, initially. Each of the
gestuies weie uemonstiateu in all theii uetail anu taught to us veiy specifically
by Nakajima, incluuing the timing, baseu on counts of eight. We leaint the
sequence in oiuei (as wiitten) with the timing while sitting oi kneeling on the
giounu. 0nce leaineu, she uiiecteu us to uo the sequence altogethei sitting,
kneeling oi ciouching in a clump. Aftei that, she woikeu in a moie impioviseu
mannei. We kept the same gestuies as a fixeu vocabulaiy, but we coulu change
the oiuei of them, auu iepetitions, anu slow uown oi inciease the tempo. We
impioviseu these gestuies while moving thiough space, paying attention to
levels high anu low. The uance began as something fixeu anu static anu became a
moie impioviseu investigation with the same vocabulaiy of gestuies.

?)'&.4 &-,<'*/ 4 6'6)
ueisha with long pipe is smoking
combing
chin on the table
tying a knot
Salome's fingei
Boluing a cup
uiasping a cheiiy blossom bianch
Waving the bianch
Baii oinament
lip-stick
wiinging towel (2 X)
Stop!
Cut the stiing
Pull the stiing Salome's fingei
0utline of a face
Loose haii
Big nose
S iain uiops fall
Tokiwa (beautiful woman)
0giess
S1
H,('* +%4%$)&
This is baseu on a choieogiaphic technique I expeiienceu in Waguii Yukio's
woikshop, which in tuin is a technique he leaint fiom Bijikata himself. It is a
much moie simplifieu veision of what I leaint with Waguii. It is calleu Rouin
Statues because of the stimulus: six postcaius of full bouy sculptois by Rouin,
incluuing such famous woiks as Eve, Auam anu the Thinkei.
0sing these images as a staiting point, the paiticipants fiist copy the foims of the
statues, tiying to ieplicate the same poses. The poses suggest an attituue anu
enviionment, which the uancei is encouiageu to imagine. The poses aie leaint in
sequence fiist anu the sequence is iepeateu until memoiiseu. The uance
becomes not so much the aiiival in the poses, but the tiansition fiom one to
anothei. The jouiney between can be exploieu by auuing uiffeient images such
as smoke, watei oi shatteiing glass foi example.
In Waguii's woikshop, he uses a wiuei vaiiety of woiks fiom uiffeient aitists,
anu theie may be as many as fifteen images, oi moie, to memoiise. This
choieogiaphic technique can be a basis fiom which to exploie: insteau of
staiting with images fiom aitwoiks, uiawing poses fiom fiist-hanu expeiiences
in natuie is anothei souice of stimulating mateiial to woik with, foi instance.

?- )''$ J'7*
A cool uown may consist of some stietches, a yoga-type exeicise oi paiiwoik
assisteu stietches such as those I leaineu in an oki-uo yoga class. Biawing
attention to the physical sensations felt, such as one's weight, oi the contact with
the flooi, the bieath, awaieness of muscles anu bones can assist with the
tiansition back to the ieality of the eveiyuay woilu.

S2
>BB=.1-S 9

F-/3 03/$*0 (63 1(. M(6 #22"*#/3":M /13". 0""#$% 3-" O".1(.2/$9"H

Novice/Beginner viewers: 60
Theatrical Elements Music 5; Props/set 4; lighting 3; Looms 5;
Mask; Costume; Dancers & setting;
Staging; All women; Proximity of performers;
Colour v black/white 2
25
Craft Movement/pace 8; Energy 2; Fluidity;
Facial expressions 3; Body communication 3;
Physicality 4; Stillness; Concentration 2;
Aesthetic; Beautiful images 6; Humour;
Fluidity
32
Assessment Cohesive performance; Very internal;
Would like to see more; Wonderful/amazing;
Didnt think it had finished/wasnt ready for the
end 2; Boring, intriguing; Sparse/beautiful;
If there was more focus on humour, it would
have taken me somewhere; The work tied all
elements together & stood out as meaningful
10
Feeling/emotional response Intense/heavy 5; Emotional; Liberating;
Sense of discomfort/horror; Left with strong
feeling of enjoyment/intrigue; Hard to digest;
Panic, surreal feeling; Alienating, not relaxing
11
Observations Like a series of landscape paintings, but in
movement & mood; Repetition of shapes;
Grotesque elements; Pathos, athleticism, self-
expressive, dynamic; Slowness, energy;
Vulnerability of beings; Shadow dance;
Everyone is nothing like they were when they
stopped dancing; totally another person;
Feeling I dont have as much control over my
own limbs; My face still cant stop the look
of utter amazement in my eyes; Cant describe
that adequately
11
Meaning Heaven & hell; A birth, an escape, a panic, a
capture
2

TOTAL
91

SS

F-/3 03/$*0 (63 1(. M(6 #22"*#/3":M /13". 0""#$% 3-" O".1(.2/$9"H

Experienced viewers/practitioners: 35
Theatrical Elements Music 3; Set design 3; Colours 3; Lighting 2;
Looms 3; Props 2; Web 3; Mask 2; Closing
with ribbons 2; Hand reaching out
24
Craft Energy 2; Beautiful imagery 5; Specificity;
Strength & movement 2; Facial expressions;
The intro; Intensity; Theatrical; Temporality;
Expression 2; Dynamism
18
Assessment Interesting, questioning; Mesmerizing; Powerful;
Engaging performance 2; Too much music;
Beautiful in an intense way; This is butoh form
but not content; Spiders performance & her
relationship to the ensemble; A sense of closure,
complete
10
Feeling/emotional response Journey of being trapped in the web 2; A trance;
The feeling of observing someone looking at me
through a window on a dark night; Not sure,
physical rather than mental; Feeling of going on
a strange journey into an underworld; Feel
moved and disturbed - in a good way; Emotion
8
Observations Connection; The changes, so many throughout;
How incredibly engaged I was; The storyline in
my head; The importance of showing elements
of a dehumanized body
5
Meaning Fate, destiny, lack of choice; Needs more;
Would like more understanding; Desire to be
somewhere/reach for something
3
TOTAL 68
GRAND TOTAL 159


S4
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."0O($*"$307 PV
JdO".#"$9"*
)#"5".0aO./93#3#($".0
."0O($*"$307 PZ
J)/:6/3#)" Supeifluous; uoou; Bislikeu
the pantomime of showing the
weight of the iock, uetacheu
fiom its actual weight; Not so
effective as loom & web
uieat; Initially skeptical but
was won ovei; Likeu the iocks
uisappeaieu & ieappeaieu;
0iiginal; Biu not feel
consistently heavy; Loveu
image of iocks on the feet;
Not exploieu as well as otheis;
None
=$3".O."3#)" Pioblems in uaily life, issues
that aie botheiing us; A
poweiful foice, sometimes like a
buiuen; Niseiy, compelling
situation; Buiuens of existence;
Weight of the woilu;
Buiuensome; Buiuen we caiiy
thioughout life; Boluing onto
huit - past & piesent; Buiuens
& what we tieasuie (2)
Buiuen, tension; As if caiiying
woiiies & tioublesiuentities;
Pait of natuie; Boluing back;
Buiuens of life; Weight of the
woilu; Cieation, uestiuction,
eaith, possessions
J11"93 Rocks seemeu heavy & gave me
that feeling; uave bouies a
uiffeient shape & weight;
Beavy; Felt like they woulu be
useu to smash flooi; visceial,
physical; uiounuing, coie,
eneigy, movement
Soliuness, haiuness, fixeu;
uiounuing; Eaith, heaviness,
weight
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JdO".#"$9"*
)#"5".0aO./93#3#($".0
."0O($*"$307 X
J)/:6/3#)" Consistent with the
peifoimance; Bighlight of the
show; Loveu web; Nask -
goou; Astounuing;
Ambivalent; veiy effective;
uieat
Woikeu ieally well; Enjoyeu
the aesthetic of the web;
Beautiful metaphoi
=$3".O."3#)" Contiol within; Bungei;
The weave of the woilu; We
aie all connecteu; The feeling
of being tiappeu & tangleu;
Bow we entiap, connect,
enmesh; Like veins in the
bouy, attacheu, uepenuency;
The woilu
Expansiveness,
inteiconnecteuness; Beauty,
home, weaving life, cieation;
Tiappeu but finuing fieeuom;
Can't get caught in anothei's
life, piojection
J11"93 A backuiop; Tuining to ieveal
the mask in fiont of the web
gave an ouu sensation of
looking thiough the back of the
univeise; Bypnotic as an
optical illusion, gives stage aiea
a sense of authoiity; Stoou out
as paiticulaily eeiie, ielatable;
Aesthetic; Nesmeiizeu by light
on web
Evocative web; Yes, ielateu
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J)/:6/3#)" uieat (2); Bighlight of the
show; Loveu looms; veiy
inteiesting & engaging; Best
piops seen in a while, cieateu
wonueiful tension, ieally well
useu by all; veiy engaging
uieat; }ust the looms; Looms
most; Loveu looms;
Awesome but too long; veiy
poweiful; Yes, ielateu, hau
some fantastic moments, but
too long; 0seu well
=$3".O."3#)" 0bstacles to oveicome,
accomplishment; Tiappeu;
Coloieu iobes - self to be sheu
in new existence, loom - iealm
between woilus; 0bstacles we
cieate foi ouiselves; Being
boin again; Felt like they weie
a scieen, baiiiei, pushing
thiough was like staiting a new
life; Biith, stiuggle, joy,
challenge; Like veins in the
bouy, attacheu, uepenuency;
Biith
They entiappeu the moitals;
Weie a toituie whilst also a
play thing; Possibility of
cieation; Tianscenuing stages
in life; Tiying to get thiough
life
J11"93 Inteiesting to see peifoimeis
move uiffeiently; uieat when
ieleaseu; Nymph-like, chilulike,
playful, expecteuwisheu they
woulu hang upsiue uown;
Lookeu uangeious concein foi
the peifoimeis' safety (2);
When looms set up felt I was
subject to a tiap; Staiteu to
ieau metaphois iefeiences;
Reauable on many uiffeient
levels
Effoit in tiying to push thiough
was most visceial
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24 14