I asked myself this question after attending, Between Experiment, Form and Culturalism: Butoh in History and Contemporary Practice at UCLA on May 20-22. I drove down with two other women, who also practice and dance Butoh. I received so much information, it was almost too much! But I got to see some amazing Butoh Dancers perform and connect with other like-minded Butoh enthusiasts.
So what is my relationship to Butoh? I don't know where to start, so let's ask another question, what is Butoh to me? Here's a list:
- mysterious
- transformation
- different from other dance forms such as ballet, modern, etc.
- cathartic
- emotional
- physical
- dark
- beautiful
- violent
- sensual
- moving meditation
- chaotic
- disorganized
- surreal
- healthy
I love it because it's everything for me when I witness, perform and practice it. I can't stand it sometimes because I can never explain it in words to someone, who has never heard of it. I usually say, "Go on youtube and search 'butoh'." I guess that's why I keep doing it. It's a continuous, ongoing practice, which changes each time you experience it. Something new emerges and more becomes clear or confusing. There's no set form because everyone carries it differently.
For example, Maro Akaji, who was one of the panelists and workshop facilitators at the UCLA Butoh Symposium, explained how we have "molds" or histories within us. These "mold" come from our past, ancestors, traumas, etc. We bring these molds to our Butoh practice. This is why I find it so intriguing and rich.
Although, I could probably write an entire essay on my relationship with Butoh, I feel, right now, it's complicated. But open. I'm open and willing to see what it presents itself to me, and not pushed or pressured into finding its meaning. Only a sense of allowing and appreciation for its mystery and beauty at this time.
For those of you who have practiced, performed and/or witnessed Butoh, what's your relationship with it? What keeps you interested and/or coming back? Love? Hate? Meaning?
I went to the UCLA symposium a relative newcomer to Butoh. I’m a figurative artist who found the body gestures and overall aesthetics captivating. After watching several hours of on-line video, there was a very definitive, visceral feeling that I had to draw this dance. I was fortunate to have a model who had taken Butoh workshops and agreed to a dance/drawing session. The goal for the trip to Los Angeles was primarily to meet the Butoh community, develop a network and work towards artistic collaborations. I came away with that and much more.
ReplyDeleteIn retrospect, I now understand how the first sessions that I set up to draw Butoh missed much of the overall picture. The poses, which were “freeze frames” during an improvised dance, only lasted for 3 – 5 minutes (for the model’s comfort & safety). In that short of a time span just capturing the rhythm of the gesture and a basic outline of the body is possible. After experiencing the performances of Katsura Kan, Joan Laage and Moro Akaji I now realize that expression is vital to Butoh. Watching Moro San, his facial expressions, the way he designed the simple staging and lighting to incorporate cast shadows into the dance opened my eyes to the breadth of Butoh.
The first six prints are hanging in a café/bistro here in Phoenix, nicely framed. I had dinner there last night and looked at them in a new light. I didn’t take too many notes during the symposium, but one of the few was: Moro – Capturing something alive inside. Now I’m not sure those first drawings hit the mark. A couple of them did, but in general I didn’t transpose that something “alive” in the dancer/model onto paper. Should point out that I did not direct or suggest any poses, the models were encouraged to do their own thing.
What I love about figure drawing is that all of us have stories to tell. When it all comes together the model’s joys, pains, thoughts, and my reaction to them find their way onto the paper. What also fascinates me is how an outside viewer of the drawings reacts to the result. Somehow I can’t help but think that there must be a similar process working in dancing Butoh. I think my attraction to Butoh is based on the visceral authenticity of the stories that each dancer shares.
Thanks for providing this space Liz. Looking forward to continuing the conversation.
Thanks for commenting, Eric! I look forward to seeing your figure drawings on your blog :)
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