Butoh America

Butoh America unearths the people and networks that popularized Butoh dance in the Americas through a focused look at key artists, producers, and festivals in the United States and Mexico. This is the first book to gather these histories into one narrative and look at the development of American Butoh. From its inception in San Francisco in 1976, American Butoh aligned with avant-garde performance art in alternative venues such as galleries and experimental theaters. La MaMa in New York and the Festival Internacional Cervantino in Guanajuato both served to legitimize the form as esteemed experimental performance. A crystallizing moment in each of the three locations—San Francisco, New York, and Mexico City—has been a grand-scale festival featuring prominent Japanese and numerous other international artists, as well as fostering local communities. This book stitches together the flow of people and ideas, highlights the connections in the Butoh diaspora, and incorporates interviewee perspectives regarding future directions for the genre in the Americas.

"Both a refraction of the bombings of Hiroshima and Nagasaki and a protest against Western values, butoh is a form of Japanese dance theater that emerged in the aftermath of World War II. Sondra Fraleigh chronicles the growth of this provocative art form from its midcentury founding under a sign of darkness to its assimilation in the twenty-first century as a poignant performance medium with philosophical and political implications. Employing intellectual and aesthetic perspectives to reveal the origins, major figures, and international development of the dance, Fraleigh documents the range and variety of butoh artists around the world with first-hand knowledge of butoh performances from 1973 to 2008. Her definitions of butoh's morphology, alchemy, and philosophy set a theoretical framework for poetic and engaging articulations of twenty butoh performances in Japan, Europe, India, and the West. With a blend of scholarly research and direct experience, she also signifies the unfinished nature of butoh and emphasizes its capacity to effect spiritual transformation and bridge cultural differences."--Publisher.

This book is about dance’s relationship to language. It investigates how dance bodies work with the micromovements elicited by language’s affective forces, and the micropolitics of the thought-sensations that arise when movement and words accompany one another within choreographic contexts. Situating itself where theory meets practice—the zone where ideas arise to be tested, the book draws on embodied research in practices within the lineages of American postmodern dance and Japanese butoh, set in dialog with affect-based philosophies and somatics. Understanding that language is felt, both when uttered and when unspoken, this book speaks to the choreographic thinking that takes place when language is considered a primary element in creating the sensorium.

The Routledge Companion to Butoh Performance provides a comprehensive introduction to and analysis of the global art form butoh. Originating in Japan in the 1960s, butoh was a major innovation in twentieth century dance and performance, and it continues to shape-shift around the world. Taking inspiration from the Japanese avant-garde, Surrealism, Happenings, and authors such as Genet and Artaud, its influence can be seen throughout contemporary performing arts, music, and visual art practices. This Companion places the form in historical context, documents its development in Japan and its spread around the world, and brings together the theory and the practice of this compelling dance. The interdisciplinarity evident in the volume reflects the depth and the breadth of butoh, and the editors bring specially commissioned essays by leading scholars and dancers together with translations of important early texts.

Approaching the avant-garde Japanese performance art form of butoh from a cross-cultural, gender studies, and scientific perspective, award-winning artist and teacher Vangeline brings a fresh look at this postmodern dance form.Butoh, a performance art form that grew out of the Japanese avant-garde scene of the 1950s, has traveled from east to west over the last 60 years, growing in popularity as it evolves. With origins in modern dance, French mime, and the surrealist movement, this fascinating postmodern dance genre is often thought of as mysterious and is frequently misunderstood. Through twenty years of research, interviews with some of the world's top practitioners, historical documents, and rare photographs, Vangeline shines light on this "dance of darkness." New revelations include the under-represented role of women in the development of the form, the connection between butoh and neuroscience, and the cross-cultural perspective of international influences on the evolution of the dance. Butoh: Cradling Empty Space will appeal to dance students, teachers, performance art scholars, somatic healers, and anyone interested in choreography, theater, and Japanese history, culture and art.The book includes rare photographs, helpful graphics, a detailed bibliography and footnotes, and resources for additional information."[A] handbook for the butoh practitioner, the (art) historian, the dance critic, and the curious reader. Encompassing, and reconciling, problems of movement, gender, race and universality, Cradling Empty Space guides the reader through the many possibilities of butoh."-Alice Baldock, Faculty of History, University of Oxford, from the ForewordPraise for Vangeline's choreography and dance work:"Captivating." -New York Times "[She] moves with the clockwork deliberation of a practiced Japanese Butoh artist."-Los Angeles Times

America’s Japan and Japan’s Performing Arts studies the images and myths that have shaped the reception of Japan-related theater, music, and dance in the United States since the 1950s. Soon after World War II, visits by Japanese performing artists to the United States emerged as a significant category of American cultural-exchange initiatives aimed at helping establish and build friendly ties with Japan. Barbara E. Thornbury explores how “Japan” and “Japanese culture” have been constructed, reconstructed, and transformed in response to the hundreds of productions that have taken place over the past sixty years in New York, the main entry point and defining cultural nexus in the United States for the global touring market in the performing arts. The author’s transdisciplinary approach makes the book appealing to those in the performing arts studies, Japanese studies, and cultural studies.

A resource ideal for students as well as general readers, this two-volume encyclopedia examines the diversity of the Asian American and Pacific Islander spiritual experience. Despite constituting a fairly small proportion of the U.S. population—roughly 5 percent—Asian Americans are a widely diverse group with equally heterogeneous religious beliefs and traditions. This encyclopedia provides a single source for authoritative information on the Asian American and Pacific Islander religious experience, addressing South Asian Americans, such as Indian Americans and Pakistani Americans; East Asian Americans, including Chinese Americans, Japanese Americans, and Korean Americans; and Southeast Asian Americans, whose ethnicities include Filipino Americans, Thai Americans, and Vietnamese Americans. Pacific Islanders include Hawaiians, Samoans, Marshallese, Tongan, and Chamorro. The coverage includes not only traditional eastern belief systems and traditions such as Buddhism, Confucianism, and Hinduism as well as Micronesian and Polynesian religious traditions in the United States, but also the culture and religious rituals of Asian American Christians.

Flowers Cracking Concrete is the first in-depth study of the forty-year career of Eiko & Koma—two artists from Japan who have lived and worked in New York City since the mid-1970s, establishing themselves as innovative and influential modern and postmodern dancers. They continue to choreograph, perform, and give workshops across the United States and around the world. Rosemary Candelario argues that what is remarkable about Eiko & Koma’s dances is not what they signify but rather what they do in the world. Each chapter of the book is a close reading of a specific dance that reveals a choreographic theme or concern. Drawing on interviews, live performance, videos, and reviews, Candelario demonstrates how ideas have kinesthetically and choreographically cycled through Eiko & Koma’s body of work, creating dances deeply engaged with the wider world through an active process of mourning, transforming, and connecting.